Romantic tragedy f. Essays on a free topic

8th grade

Elena KUDINOVA

Elena Aleksandrovna KUDINOVA - teacher of Russian language and literature, Komsomolsk-on-Amur, Khabarovsk Territory.

Lesson-reflection on F. Schiller’s drama “The Robbers”

I devote two lessons to work on the play, the third is a general lesson-reflection. In the first lessons, there is detailed work on the text of the play, reading by role.

In preparation for the final lesson, the children were divided into creative groups with assignments: the “Actors” group prepared the third scene of the second act “Bohemian Forests” for staging; the group “Design Artists” prepared a poster for the play, portraits of the main characters - Franz Moor and Karl Moor; The Researchers group worked on the novel by A.S. Pushkin “Dubrovsky”; the “Art Critics” group worked on the history of the creation of the 9th symphony by L.V. Beethoven.

Decor: theater screen, portrait of a writer, poster for a drama, illustrations for a work.

Musical accompaniment: L.V. Beethoven. 9th Symphony, Ode “To Joy”.

Epigraph:“I can truly cause amazement” (Karl Moor).

Teacher's opening speech

In previous lessons, we introduced you to the famous classical drama of the German poet and playwright Friedrich Schiller (1759–1805) “The Robbers,” a writer whom A.S. Pushkin ranked with the greatest figures of various eras - Homer, Dante, Shakespeare, Racine. Today the last page of the play has been turned, so there is an impromptu curtain in the classroom, since the conversation will not just be about a literary work, but about drama, where the art of speech and theater is fused together. “Let's talk about the stormy days of the Caucasus, about Schiller, about fame, about love,” we will say after A.S. Pushkin.

Today's lesson is a reflection lesson on what you read. We will try to answer the questions: How did we, 8th grade students, understand the pages of this great work? Do we need Schiller's plays in modern times or have they become deep history? What is a classic, a classic work? How did the main character of the play make you feel?

Conversation with the class

The action of the play "The Robbers" takes place in Germany in the 18th century. Its plot is based on the enmity of two brothers. What can you say about the main characters of the play?

Student answers

The main characters are brothers Karl and Franz Moor. One of them is the younger brother Franz - a heartless, hypocritical, low man. He does everything to discredit his older brother in the eyes of his father, Count von Moor. The treacherous, despotic, ugly-looking Franz pursues only one goal - power and money.

Another - noble, fiery, heroic, daring Karl Moor, by the will of fate, turned out to be the leader of a gang of robbers.

What artistic technique underlies the construction of the brothers' characters? Justify this.

When characterizing characters, Schiller uses the technique antitheses. The brothers' appearance, their inner world, and their actions are contrasting.

One hypocritically pretends to be a meek and loving son, although in reality he is ready for meanness in order to discredit Karl. The other is generous, capable of sublime feelings. Antonyms are used to describe the brothers: vile - generous, unscrupulous - honest, immoral - noble.

Look at the portraits of these heroes made by the group "Artists". How do you think they managed to convey the main character traits of the characters? Support your answers with quotes from the text. (Extended student answers.)

“Who now dares to come and hold me accountable or say to my face: “You’re a scoundrel!” Now away with the painful mask of meekness and virtue! Look at the real Franz and be horrified!.. Stroking and caressing is not in my customs. The pallor of poverty and slavish fear is the color of my livery. I will dress you in this livery!” (Characterization of Franz; act 2, scene 2.)

“Amalia. Faded colors cannot replicate the high spirit that shone in his fiery eyes...

Old Man Moore. This friendly, affectionate gaze.” (Characterization of Karl; act 2, scene 2.)

Teacher. As a result of Franz's intrigue, Karl Moor becomes a criminal, his desire for freedom turns into hatred of all humanity as a whole. Wanting to restore justice and take revenge on his brother, Karl becomes the leader of a gang of robbers. However, the life of robbers is far from the ideal of a “moral world order.” One of the key scenes of the play is the scene in the Bohemian forests. Let us turn to a fragment of the 2nd scene of the 3rd act.

Group "Actors" presents a fragment of this scene from the words of the priest: “So this is the dragon’s lair! With your permission, my sirs, I am a minister of the church, and there are one thousand seven hundred people standing over there, protecting every hair on my head...” until Moor’s words: “Now we are free, friends...”

Conversation with the class

Why is a priest brought into the camp of robbers?

Answer. The playwright takes his hero through a test of conscience.

What better helps us understand the character of the main character?

Answer. Schiller in “The Robbers” managed to show the most intimate movements of the soul through the hero’s monologues and remarks. Karl Moor's monologues help us understand the internally contradictory path from hatred and revenge to awareness of the horror of death and repentance the hero goes through. He takes upon himself the right to execute and pardon, but the atrocities and outrages of the robbers do not give him the opportunity to become his former self. The hero's monologue shows how deeply he experiences a discord with his conscience.

“Moor. How do you know that I don’t have terrible dreams at night, that I won’t turn pale on my deathbed? How many things have you had to do for which you were responsible? Know, ambitious young man: laurels are not green for murderers and arsonists! It is not glory that meets robber victories, but curses, dangers, death, shame!”

Teacher."The Robbers" is a rebellious drama, and its hero is a noble robber. What a rich topic! Schiller was not the first to discover it, and in Russian literature it found its continuation in the novel by A.S. Pushkin "Dubrovsky". I suggested comparing the hero of Schiller’s play with the famous hero Vladimir Dubrovsky to a group of literary critics.

What can you say about the life goals of these heroes? What qualities of the characters resonate with you?

Response from the Research Group. The theme of rebellion and the noble robber is presented in the novel by A.S. Pushkin's "Dubrovsky", written in 1832–1833. Vladimir Dubrovsky, a Russian nobleman, fueled by a sense of revenge for the insult and death of his father, is forced to burn the family estate and go into the forest as the leader of the robbers. The scene in the Bohemian forests resembles a scene from Chapter XIX: “In the middle of a dense forest, on a narrow lawn, stood a small earthen fortification, consisting of a rampart and a ditch, behind which there were several huts and dugouts... The robbers each took a specific place. At this time, three watchmen ran to the gate. Dubrovsky went to meet them. "What's happened?" - he asked them. “Soldiers are in the forest,” they answered, “they are surrounding us.”

Dubrovsky and Karl Moor are united by similar destinies. Karl does not kill for robbery, but distributes his rightful share of the spoils to orphans. The characteristic that applies to both of them is - noble. The actions of Vladimir Dubrovsky, his desire for revenge and refusal of it coincide with the path of Schiller’s hero, only he, unlike Vladimir, surrenders to justice, and does not hide abroad. Considering these images of world literature, we see similarities in the depiction of the rebel hero in Pushkin and Schiller. Nobility, honesty, and generosity unite these heroes. Their inner world and character are incompatible with the environment (a gang of robbers) into which they both find themselves: “I am not a thief, tell them that my craft is retribution, my trade is revenge” (Karl Moor).

Teacher. For two hundred years now, the ending of the play has been interpreted in different ways. The main question of the finale invariably arises before us:

Why did its main character condemn himself? Why is he surrendering to justice?

Based on the analysis of the last act, the guys show the main character’s awareness of the disastrousness of his path and the desire for retribution for himself for the death of Amalia, father and brother. A person is responsible for his actions both to himself and to society: “Oh, I am a fool who dreamed of correcting the world with atrocities and upholding laws with lawlessness! I called it vengeance and right!.. What I ruined is ruined. Never restore the defeated! But I can still pacify the desecrated laws, heal the wounded world...” With bitterness and shame, Karl Moor admitted that he had taken the wrong path. With the sword he tried to restore justice in the world, but his good intentions were accompanied by dishonorable atrocities.

Why did we make the words of Karl Moor “Yes, I really can cause amazement” as an epigraph to the lesson?

Did the main character surprise you? How do you feel about his action? (Students' answers.)

Teacher. F. Schiller remains popular in Russia in the 21st century, just as he was popular in the 19th century. His plays do not leave the stages of Russian theaters: the Moscow Theater named after A.S. Pushkin, Maly, BDT and others. Viewers and readers of our time continue to search for the answer to the question: is it possible to remain human without repentance? The action of the main character of the play, Karl Moor, continues to cause controversy and judgment to this day, some of which were presented in our lesson. The great poet’s thoughts about the extent of a person’s responsibility for his actions were close to the great Russian writers of the 19th century (for example, A.S. Pushkin and F.M. Dostoevsky).

The work of the great German poet did not go unnoticed by musicians.

Group "Art Critics". In 1824, already seriously ill, Beethoven wrote his last - the 9th symphony. It was a song of freedom, a fiery appeal addressed to descendants. The final part of the symphony sounded especially solemn. The composer set the music to the words of Schiller's ode "To Joy". In a single impulse, the great composer and the great poet called on everyone: “Embrace yourself, millions!” (Expressive reading of an ode to students.)

Joy, unearthly flame,
The heavenly spirit that has flown to us
Intoxicated by you
We entered your bright temple.
You bring us together without effort
All separated by enmity,
Where you spread your wings
People are brothers among themselves.
Hug, millions!
Join in the joy of one!

(Beethoven’s 9th Symphony, Ode “To Joy,” plays.)

Compare Schiller's ode-song with his "The Robbers". Could the characters in the drama accept it? (Students' answers.)

Final words from the teacher. Years pass, directors' interpretations and actors' costumes change, certain accents shift, but the fiery pathos of the tragedy remains unchanged. Schiller and his hero continue to passionately appeal to human conscience, and readers and viewers continue to search for truth to this day.

Homework. Write a short essay-reflection on the topic “How is F. Schiller’s drama “The Robbers” close to the modern reader?”

Literature

1. History of German literature: In 3 volumes. M.: Raduga, 1985. Vol. 1.
2. Libenzon Z.E. Friedrich Schiller. M.: Education, 1990.
3. Materials from I. Arkin's lessons: Literature at school, 1998.

Composition

Schiller's work took place in Germany, and his work flourished in the 1790s. Died in Weimar. Schiller was a man who, with his work, marked the threshold of romanticism. His main work is as a playwright. “The Robbers” (at the age of 18), “Cunning and Love”, dramas of a historical nature, do not very often refer to German history, but to European and world history. “The Maid of Orleans” (Joan of Arc), “Mary Stuart” (history of England), “Don Carlos” (Spain), “William Tell” (the national symbol of Switzerland - a free shooter).

Mature drama - the central theme of freedom, the idea of ​​national liberation (Joan of Arc), the clash of two characters of Mary Stuart - the character of the calculating Elizabeth and the spontaneous character of Mary Stuart. The reading drama “Wallenstein” is connected with German history. The drama "Dmitry the Pretender" is connected with Russian history (only sketches of this work). Schiller's fame was enormous until the 30s. 19th century. He is convinced and sought to convince the reader that the line between good and evil is very clearly drawn in the world. Stylistics: large monologues of the characters, enthusiastic, created for recitation.

"Mary Stuart" - Schiller knew how to create female characters and was not afraid to put them at the center. This play has 2 main female roles - two queens. Mary Stuart is a French princess, her father is a Scottish king, her mentor is a poet, she is educated, pretty, charming, attractive, a devout Catholic, but she was married twice. In Scotland there is strife - separation from England, the struggle of Catholics with the Anglican Church. She is drawn into conspiracies that contribute to the death of one of her husbands. At this time, Elizabeth Tudor (the Virgin Queen) reigned on the throne of England.

A woman politician, endowed with a state mind, businesslike, calculating, prone to intrigue. She had no rights to the throne. Her father Henry 8 sent her mother to the chopping block, after which Elizabeth was considered illegitimate. Henry's field had no 8 sons left and Bloody Mary ascended the throne. She sends Elizabeth to prison, but after Mary's death, Elizabeth became queen. She understood that if she got married, then everything would go to her husband and she would lose her independence, so she became the Virgin Queen. For Schiller, his drama is a clash of two approaches to life: a person’s natural desire for freedom and self-expression (Mary is unselfish, unambitious, a woman created for love, self-critical, open, her servants stay with her until the end because they love her). For Mary, the most striking scene is the meeting with Elizabeth. Elizabeth is smart, she views Mary as a threat to the well-being of the country. She remains a woman and understands that she does not have what Maria has. She envies her like a woman. A secret female rivalry lives within her.

The meeting of the two queens introduces the introduction: Mary is allowed to descend into the garden, having spent years in captivity, she is as happy as a child. The queen's only dream is for Elizabeth to let her out; she needs freedom. And Elizabeth talks down to her, she longs for Mary to obey her in everything, to recognize all her priorities. Otherwise, Elizabeth is ready for anything. When Elizabeth goes beyond the ethics of conversation, Mary loses her temper. Elizabeth reproaches Mary for being a sinner, Mary becomes furious and exposes the queen's hypocrisy. A splash of truth, freedom is more important to her than the future. Already left alone, realizing that there will be no liberation, she is proud that she humiliated Elizabeth so much. Elizabeth decides that she will only be safe after Mary's death. She begins to prepare her lords to make a decision on Mary's execution. The scene of Mary Stuart's farewell to those who accompany her. The Queen is calm until the last moment and accepts death with great dignity.

The plot is based on a family tragedy. In the family castle of the barons von Moor live the father, the youngest son, Franz, and the count’s pupil, the eldest son’s fiancée, Amalia von Edelreich. The beginning is a letter supposedly received by Franz, which tells about the dissolute life of Karl von Moor, the eldest son of the count, taking a course in science at the university in Leipzig. Saddened by the bad news, the old man von Moor, under pressure, allows Franz to write a letter to Karl and inform him that, angry with the behavior of his eldest son, he, the Count, is depriving him of his inheritance and his parental blessing.

At this time, in Leipzig, in the tavern where students of the University of Leipzig usually gather, Karl von Moor is waiting for an answer to his letter to his father, in which he sincerely repents of his dissolute life and promises to continue to do business.

A letter arrives from Franz - Karl is in despair. His friends are discussing in the tavern Spiegelberg's proposal to gather a gang of robbers, settle in the Bohemian forests and take money from rich travelers, and then put it into circulation.

The poor students find this idea tempting, but they need an ataman, and although Spiegelberg himself was counting on this position, everyone unanimously chooses Karl von Moor. Hoping that “blood and death” will make him forget his former life, his father, his bride, Karl takes an oath of allegiance to his robbers, and they, in turn, swear allegiance to him.

Now that Franz von Moor has managed to expel his older brother from his father’s loving heart, he is trying to denigrate him in the eyes of his fiancée, Amalia. In particular, he tells her that the diamond ring she gave to Karl before separation as a pledge of fidelity, he gave to the libertine when he had nothing to pay for love pleasures. He draws in front of Amalia a portrait of a sick beggar in rags, from whose mouth he smells of “deadly sickness” - this is her beloved Karl now.

But Amalia refuses to believe Franz and drives him away.

A plan has matured in Franz von Moor's head that will finally help him realize his dream of becoming the sole owner of the inheritance of the Counts von Moor. To do this, he persuades the illegitimate son of one local nobleman, Herman, to change clothes and, coming to the old man Moor, report that he witnessed the death of Charles, who took part in the battle of Prague. The sick count's heart is unlikely to withstand this terrible news. For this, Franz promises Hermann to return to him Amalia von Edelreich, who was once taken from him by Karl von Moor.

This is how it all happens. Herman, in disguise, appears to old man Moor and Amalia. He talks about Karl's death. Count von Moor blames himself for the death of his eldest son, he leans back on his pillows and his heart seems to stop. Franz rejoices at the long-awaited death of his father.

Meanwhile, Karl von Moor is robbing the Bohemian forests. He is brave and often plays with death, as he has lost interest in life. He gives his share of the spoils to the orphans. He punishes the rich who rob ordinary people, following the principle: “My craft is retribution, revenge is my trade.”

And in the family castle of von Moor, Franz rules. He achieved his goal, but does not feel satisfied: Amalia still refuses to become his wife. Hermann, who realized that Franz had deceived him, reveals to the maid of honor von Edelreich a “terrible secret” - Karl Moor is alive and old man von Moor is too.

Karl and his gang are surrounded by Bohemian dragoons, but they manage to escape from it at the cost of losing just one robber, while the Bohemian soldiers lost about three hundred people.

A Czech nobleman who has lost all his fortune, as well as his beloved, whose name is Amalia, asks to join von Moor’s detachment. The story of the young man stirred up old memories in Karl’s soul, and he decides to lead his gang to Franconia. Under a different name, he enters his ancestral castle. He meets his Amalia and is convinced that she is faithful to the “deceased Karl.”

No one recognizes the count's eldest son, only Franz guesses his elder brother is visiting, but does not tell anyone about his guesses. The younger von Moor forces his old butler Daniel to swear an oath that he will kill the visiting count. By the scar on his hand, the butler recognizes Count von Br'ande as Karl, he is unable to lie to his old servant who raised him, but now he must hurry to leave the castle forever. Before disappearing, he still decides to see Amalia and say goodbye to her.

Karl returns to his robbers, in the morning they will leave these places, but for now he wanders through the forest and in the darkness suddenly hears a voice and sees a tower. It was Herman who came stealthily to feed the prisoner locked here. Karl tears the locks off the tower and frees the old man, withered like a skeleton. This prisoner turns out to be the old man von Moor, who, unfortunately, did not die then from the news brought by Hermann, but when he came to his senses in a coffin, his son Franz, secretly from the people, imprisoned him in this tower, dooming him to cold, hunger and loneliness. Karl, having listened to the story of his father, is unable to endure any longer and, despite the family ties that connect him with Franz, orders his robbers to break into the castle, seize his brother and deliver him alive.

Night. The old valet Daniel says goodbye to the castle where he spent his whole life. Franz von Moor runs in in a dressing gown with a candle in his hand. He cannot calm down, he had a dream about the Last Judgment, in which he is sent to the underworld for his sins.

Having received confirmation from the pastor that the most serious sins of a person are fratricide and parricide, Franz is frightened and realizes that his soul cannot escape hell.

The castle is attacked by robbers led by Schweitzer, sent by Karl, they set the castle on fire, but they fail to capture Franz. In fear, he strangled himself with his hat cord.

“The Robbers” was completed in 1781. Schiller had just completed a course at the Military Academy in Stuttgart, and wrote the drama while still studying there. The young writer had to publish the drama at his own expense, because not a single publisher in Stuttgart wanted to publish it.

But the director of the Mainham Theater, Baron von Dahlberg, undertook to stage it. The premiere took place in Mainheim in 1882. Schiller immediately became famous.

Genre and direction

Young Schiller is an ideological follower of Sturm und Drang, an association close to sentimentalism. The participants of Sturm and Drang carried an educational ideology on German soil. The works of Rousseau, especially his literary work, are very important for Schiller. "The Thieves" reflects the idea of ​​"natural man", the rejection of modern civilization and doubts about progress. Schiller shared Rousseau's religious concept (one of the qualities of the negative hero Franz Moor is atheism). Schiller puts Rousseau's ideas into the mouths of his heroes.

The genre of the work “Robbers” is drama. In the finale, all of Karl’s loved ones die, and he himself goes to surrender to the authorities. The contradictions in his life are insoluble. He is broken morally and expects physical retribution. Some researchers specify the genre, calling the work a robber drama.

Topics and problems

The theme of the drama is enmity and hatred between loved ones, which can kill; a person’s responsibility for his choices and his actions, for his moral obligations.

The main idea is pronounced by the priest: there is no greater sin than parricide and fratricide. Karl echoes him in the finale: “Oh, I am a fool who dreamed of correcting the world with atrocities and upholding laws with iniquities!”

In the preface, Schiller admits that his goal as a playwright is “to spy on the innermost movements of the soul.” The problems raised in the drama are human passions: revenge and betrayal, slander of the eldest son, the grief of a deceived father, Amalia's choice, the loyalty of the robbers and Karl to his word.

Social problems are associated with the omnipotence of feudal lords (the story of Kosinsky, whose beloved became the mistress of the prince, and he took away Kosinsky's lands and gave them to the minister). One of the epigraphs of the drama is “On tyrants.”

Women in the drama make a choice between honor and love. Amalia (Kosinski's fiancée) chooses love (while losing her lover). And Karl saves his Amalia from such a choice by returning home on time.

Plot and composition

The plot was borrowed by Schiller from Schubart’s story “On the History of the Human Heart.” The plot was influenced by stories of noble bandits fighting against feudal lords. Robbery was a common social phenomenon of Schiller's time.

The younger son Franz slandered the elder Karl in the eyes of his father, and then declared him dead. He wanted to inherit his father's wealth and marry his brother's fiancee. He declared his sick father dead and locked him in the family crypt.

Karl, a noble robber, but also a murderer, feeling worried about his bride, decides to secretly sneak into the family castle. He finds his father barely alive, having spent 3 months in the crypt, and Amalia still loving him. Karl wants to take revenge on his brother for his father’s suffering, but he strangles himself with a cord. The father dies after learning that Karl is a robber, and Amalia asks to stab her, so as not to part with him again. Karl fulfills Amalia's request and is brought into the hands of justice, simultaneously doing a good deed for the father of 11 children.

Heroes and images

Old Man Moore wants only one thing: for his children to love each other. He is too soft, which Franz takes advantage of and pulls out of his mouth a curse directed at Karl. It was the father's refusal to accept his son in his castle that prompted Charles to become a robber. The father either curses his son or calls him a pearl in the crown of the Almighty and an angel. The old man is not ready to accept his son Karl as a robber and murderer, and dies from this news.

Franz Moor, the youngest son, is treacherous and deceitful. His goal is to take possession of his father's estate. In his own words, he was mired in all mortal sins. Franz suspects that all people are like him. Franz considers a person to be dirt, and he himself is completely devoid of conscience.

The priest calls Franz a tyrant. Franz is an atheist, but deep down he is afraid of meeting God. He is tormented by the sin of parricide, which is reflected in the dream of the Last Judgment. His death is correlated with his sins: he hanged himself, like Judas.

The older brother Karl Moor is a noble robber. He himself does not consider himself either a criminal or a thief, calling retribution his craft, and revenge his trade.

Karl is devout, but treats churchmen with contempt, calling them Pharisees, interpreters of the truth, monkeys of the deity.

Karl, according to the priest, is consumed by pride. Indeed, Karl treats the robbers with contempt, calling them godless scoundrels and instruments of his great plans.

Karl is a natural person who acts according to common sense. Having learned about his brother’s treachery, Karl is ready to flee so as not to kill him in anger. He is generous and generous, giving Daniel a wallet. At the end of the tragedy, Karl decides not only to surrender to the authorities, but also to help the poor man by giving him money for his capture.

Moreover, Karl is a robber and murderer. He would like to forget the screams of his victims, trying to find justification for his actions in his pedigree and his upbringing.

Karl has a keen sense of justice. He himself rebels against human laws, considering them unjust, but is outraged that Franz violates God's laws when he kills and tortures his father: “The laws of the universe have been turned into dice! The connection of nature fell apart... The son killed his father.”

From Karl's point of view, revenge justifies his robbery and murder of his brother. And yet he does not consider himself entitled to be happy and love if he has killed so many.

Daniel, a seventy-year-old servant, is exceptionally honest. He does not console Franz, who told him a terrible dream about the Last Judgment, but only promises to pray for him. Franz calls this sincerity the wisdom and cowardice of the mob. Daniel refuses to stab Franz when the hour of retribution approaches, not wanting to commit a sin.

Images of robbers

They are loyal to their chieftain and do not agree to hand him over to the authorities even for a signed pardon. Karl calls the robbers punishing angels. His obligations to them force Karl to kill Amalia.

Amalia

The girl is faithful to her lover and idealizes him. Amalia is ready to go to the monastery, having learned about the imaginary death of Karl and his father, but does not agree to become Franz’s wife, she wants to stab herself when her younger brother harasses her with force.

Amalia cannot imagine her life without her lover. When a girl finds out that her fiancé is a robber, she calls him both a demon and an angel. She herself becomes a victim of her lover's debt.

Conflict

The conflict in drama is external and internal. External social conflict: rebellion against feudal tyranny. He encourages Karl to become a robber, and Franz to plot intrigues against his father and brother. At the end of the novel, the conflict is resolved by Karl admitting the error of his ways.

Karl's internal conflict is the contradiction between the right to protest and the criminal ways of its implementation, based on violence. This conflict is insoluble.

Internal conflict is inherent in every hero. Amalia resolves the conflict between her love for Karl and her sympathy for Karl in disguise. Franz's internal conflict is the question of the existence of God. The father cannot decide whether to forgive or curse each of his sons.

Artistic originality

For the young Schiller, the main thing in drama is to convey his ideas to the reader and viewer. The plot is not based on facts of life, but comes from ideas. The character of Schiller's hero is conventional. He builds it rationally, based on his meager knowledge about society and the world, and subordinates it to an idea.

Schiller created a new type of drama. It has a political component, pathos, emotionality and lyricism.

Songs are of great importance in drama. Karl and Amalia sing, restoring their strength by playing the lute and pouring out their melancholy. The songs reveal the true feelings of the characters, for example, Charles sings about Caesar and the traitor Brutus, having learned about his brother’s betrayal.

FRIEDRICH SCHILLER

Theme of moral obligation in dramaF. Schiller "The Robbers"

Friedrich Schiller once said that he knew how to keep people from falling. To do this, you need to close your heart to weakness. The depth of this saying becomes more transparent if you look closely at the image of the German romantic poet Friedrich Schiller. He was a famous humanist and thought a lot about the meaning of human life. Schiller's contemporaries completely lost sincerity and openness in their relationships with their neighbors and no longer lived by faith, but by calculation, seeing people not as friends, but almost as enemies. Schiller was against the rise of such flashy individualism and unbelief.

Drama "Robbers" - This is Schiller's first dramatic work. The young genius managed to create a very interesting play, which is still relevant today. The drama shows the confrontation between the sons of Count Moor - Franz and Karl, who are bearers of two diametrically opposed worldviews. Karl is the embodiment of ro-

mantic view of life. He hates the squalor of life around him and treats with disgust and contempt the hypocrites who flatter powerful rulers while oppressing poor people. Karl does not want to live by the laws that deceivers and villains use to their advantage. Karl Moor says this: “The law makes what should fly like an eagle crawl.” But deep down in his soul the young man remains a kind and pure person. Having learned that Count Moor is depriving him of his father's inheritance, Karl falls into despair and perceives this personal insult as another manifestation of general injustice. The young man leaves society, hides in the Bohemian Forest and becomes the leader of robbers. Karl Moor, the count's son, robs the rich and noble and helps the outcasts and the disadvantaged. The young man’s behavior makes us recall the heroes of folk ballads about noble robbers.

Franz Moor, Karl's brother, adheres to other principles. Schiller paints a rather unpleasant image of an egoist, a cynic, devoid of honor and conscience. It was Franz who was the reason that his father disinherited Charles. He dishonored and slandered his brother, having two secret goals: to get all his father’s property and to marry Karl’s bride. Franz's goal in life is to satisfy his desires. This person believes that honesty is for the poor. Franz Moor craves money and power, believing that there are no obstacles to achieving these goals. If necessary, he is ready to condemn his own father to starvation. But in every crime there is a hidden punishment. Franz begins to be haunted by terrible visions, which become retribution for cruelty and crime. Franz Moor cannot survive the pangs of conscience. Fearing inevitable retribution, he commits suicide. It may seem that Karl’s philosophy of life has won, but this is not entirely true.

At the end of the drama, Karl Moor is overcome by grave doubts. He wonders: has he chosen the right path? Karl realizes that he was mistaken. He has to pay for his noble robbery with the death of his father and Amalia. Karl understands that high revenge and noble murder

does not exist. Finally he sees that the robbers are selfish and cruel. Karl Moor decides to voluntarily surrender to the authorities.

Friedrich Schiller depicted the confrontation between two brothers, Karl's clash with the law, in order to raise a serious question: if violence is fought against violence, then will the noble avenger become a noble criminal. The playwright comes to the conclusion that retribution is inevitable for anyone who violates unwritten moral laws and the motives for the crime do not matter. In the drama "Robbers" Schiller demonstrated the sharp contradiction between the inalienable right of every person to protest and the criminal content of all violence. This contradiction is a real tragedy for many thinking people. According to Friedrich Schiller, in real life this contradiction is insoluble.

GEORGE GORDON BYRON

Features of Byron's poetic world

(Based on the works of "Prometheus" and "Balshazzar's Vision" by George Gordon Byron)

Byron is one of the most famous representatives of the romantic movement in poetry of the 19th century. The life of this extraordinary person is, as it were, an interlinear reference to his work and poetry. If a noble Englishman, a lord, albeit from an impoverished family, dies in a foreign land, tired of fighting for the happiness of a foreign people, this already means something.

Despite the fact that Byron is considered a typical representative of the romantic movement in Western European literature, his poems differ markedly from, say, the poetry of his fellow countryman Southey or the Frenchman Hugo. Byron's romantic hero does not run away from life's troubles, but enters into a struggle

boo with hostile peace. Yes, the poet chose his heroes who entered into confrontation - one on one - with the whole world,

In the poem "Prometheus" Byron turns to the famous mythological character - the titan Prometheus. The hero was expelled by the gods for disobedience. The poet describes the titan as a fighter for the happiness of people:

The darkness of alienation, disobedience,Confrontation between trouble and evil,When you are strong by yourself,He will give battle to all black forces.

Prometheus received a terrible punishment for his generous deed. Byron enthusiastically notes that Prometheus showed his own will, disdaining the instructions of the gods, for which he was doomed to torment.

Byron's Zeus the Thunderer appears as an almost blind and angry force capable of strangling everything free and living. Let Prometheus be punished with severe torment, but humanity does not forget about the one who gave people fire and taught them crafts and writing. According to Byron, every conscientious person should follow the example set by Prometheus, the “proud spirit”, in ancient times. and whose disobedience was not broken by evil.

Another important feature of Byron's poetic worldview is sincere hatred of tyrants and oppressors of all stripes. In "Balshazzar's Vision" Byron, using poetic language, retells the biblical legend about the last Babylonian king - the terrible and cruel Belshazzar. During a feast, an invisible hand writes mysterious and ominous writing on the luxurious wall of the palace. The frightened king orders the secret of these words to be explained, but neither the magicians nor the priests are able to do this. And only a stranger unravels the ominous secret: “a grave, not a throne.” awaits Belshazzar, and Babylon will perish.

Bora. By the way, the same theme is heard in the famous Russian revolutionary song “Let the despot feast in a luxurious palace.”

A special genius, unlike anyone else - this is what one can say about Byron. This is a genius who never found a common language with society. When enlightened Europe began to read the poetry of the rebellious lord, the ashes of Byron, who died of illness in a foreign land, were buried in a small church near Newstead on his family estate. Byron became one of the leading figures in European literature, but in life he was lonely and not very happy.

AMADEUS HOFFMAN

Where Tsakhes are taken

(Based on Hoffmann's tale "Little Tsakhes")

The most prominent representative of German romanticism is Ernst Theodor Amadeus Hoffmann. This writer penned many works that were included in the golden fund of world literature. One of Hoffmann's most interesting satirical works is "Little Tsakhes".

In this tale, Hoffmann develops a popular folklore motif about miraculous hair. Out of pity, the good fairy gives the little freak three magic hairs. Thanks to them, everything significant and talented that happened or was said in the presence of Tsakhes is attributed to him. But the disgusting actions of the baby himself are attributed to the people around him. Tsakhes is making an amazing career. The kid is considered a most brilliant poet. Over time, he becomes a privy councilor, and then a minister. It’s scary to think what heights little Tsakhes could reach, but the timely intervention of a good wizard puts an end to his chimeric career. Having lost three magic hairs, Tsakhes became who he really was.

le - a pitiful semblance of a person. Now those who happily obeyed the baby are making fun of him. Fleeing from former admirers, Tsakhes falls into a chamber pot and tragically dies.

With great satirical force, Hoffmann creates the image of Tsakhes. The kid is the person who appropriates for himself the results of other people's work, other people's merits and honors. According to Hoffmann, three scarlet hairs donated by the fairy are a symbolic image of gold (money), their unlimited power over society. Where do people of this kind come from who can be called Tsakhes? Hoffman gives several of his versions of their origin: a blind society that, in complete self-forgetfulness, creates an idol for itself; power of the purse; interference of otherworldly forces and simply human madness. Hoffmann also traces the entire path of worship of a false idol. From admiration and fanaticism to mortal horror of the next tyrant. One should not think that the author is only making fun of the worthless and deceitful nature of Tsakhes. First of all, the target for satirical arrows is a society amazed by imaginary greatness. With his work, Hoffman brilliantly shows that the Tsakhes live and prosper only thanks to the worthlessness of the society that brought them to the pinnacle of life. Therefore, it is not surprising that in the country where little Tsakhes rules, there is no love, generosity, and lack of morality. Of course, it is a pity that the author, having managed to make an accurate diagnosis of a sick society, does not give recipes on how to cure it. However, it seems to the reader that the matter cannot be corrected with superficial treatment - serious surgical intervention is required.

Hoffmann also brings into the public arena the antipode of little Tsakhes, a student of Balthazar. This is a typical romantic hero. First of all, he is a creative person who opposes a rotten society. But the author is also ironic about this character: Balthaear quickly ceases to be interested in social problems, content with the easy happiness of the average person. He marries his beloved, the young family settles in a quiet rural

in the small house, and the souls of Baltaar and the beautiful Candida fall asleep forever.

At that time, the fairy tale “Little Tsakhes” sounds very sharp and sharp. In real life, there are no sorcerers and wizards, but the Tsakhes occupy high positions, and it’s time to smoke them out. It is the Tsakhes who marry beautiful candidates, it is they who buy “small” children for themselves. quiet houses on other continents for people's money. But something completely different awaits the Bal-Tazars - contempt, shame, imprisonment, death.

Today, young people should think about “Little Tsa-khes”, since it is they who will continue to live in our country and govern it. One thing is absolutely certain - it is better to ridicule the poor in spirit Tsakhes than to grovel before them, it is better to destroy the Tsakhes than to submit to their despicable power.

VICTOR HUGO

Quasimodo How example of spiritual beauty

For a long time, humanity has been addressing the issue of the compatibility of spiritual beauty and physical perfection. The ancient Greeks came closest to solving this issue. But later they somehow forgot about physical perfection - the Middle Ages were approaching.

Victor Hugo's novel "Notre Dame de Paris" tells about Paris in the Middle Ages. With his characteristic encyclopedic knowledge and penchant for rhetoric, Hugo creates several interesting characters, to each of whom entire volumes of research could be devoted. One of the main characters of the novel is Quasimodo, the bell ringer of Notre Dame Cathedral. Translated from the Latin "Quasimodo" means ";as if";. And indeed,

The bell ringer resembles one of the sculptural chimeras that still decorate the pediment of the Cathedral of Notre-Dame de Paris, with a huge head covered with red stubble, a hump between the shoulders and terribly crooked legs. Thanks to his ugliness, Quasimodo even became the “father of jesters.” during the folk fun.

Quasimodo, withdrawn into himself because of his ugliness, sometimes resembled a beast. But when he tenderly and purely falls in love with a girl of unearthly beauty, Esmeralda, this feeling amazes and causes some kind of painful surprise. Quasimodo saved Esmeralda's life and hid her in the Cathedral. During this time, their relationship turns into real spiritual understanding and unity, associating with the famous fairy tale “The Scarlet Flower.” Esmeralda understood the feelings of Quasimodo the freak and involuntarily got used to her gentle and sad savior. And the bell-ringer’s craving for beauty should be sought not in external manifestations, but in the very depths of his nature. Hugo could not unequivocally answer the question of why fate acted so cruelly and at the same time wisely with Quasimodo. Throughout the novel, the hunchback Quasimodo looks more and more spiritually beautiful the further he goes. The hunchback's devotion to Esmeralda is almost insane, incomprehensible; for her sake he could jump from the Cathedral tower without a second thought. The awareness of his own ugliness haunts Quasimodo until his death, and fate allowed him to unite with his beloved only after death.

Quasimodo is not a model of sobriety and balance. He is tormented by various feelings, sometimes he is overcome by anger, which can be considered a consequence of the attitude of the people around him. He could not resist his thirst for revenge on the priest Claude Frollo, whom he threw from the heights of the Cathedral. After the death of Esmeralda and Frollo, Quasimodo said: “This is everything I loved.” He truly loved beauty, embodied in Esmeralda, and God, whom Frollo personified. It may seem that there is nothing left in the whole world for Quasimodo. But, in my opinion, the hunchback had something that he never understood: the Cathedral. He could become part of this majestic structure, which

the swarm shoots its towers like hands towards the empty sky. But this is just a guess.

In his novel, Victor Hugo captured the meaning and cruelty of life, death, our passions, and the despair of love. Quasimodo embodies the versatility of human character. When re-reading "Notre Dame Cathedral" the reader discovers more and more new features in this most interesting hero, whose name in our time has become almost a household name.

Image of the Cathedral

(Based on the novel by V. Hugo "Notre Dame Cathedral")

Notre Dame Cathedral, or Notre Dame de Paris, is probably one of the most famous monumental buildings of the Middle Ages. Such widespread popularity of the Council is, not least, to be blamed on Victor Hugo. The writer's contemporaries recall how Hugo repeatedly said, pointing to the Cathedral, that the shape of this building resembles the first letter of his last name ("Hugo" - in French spelling it begins with the letter ";H";). And one can forgive the writer for such rather innocent pomposity, since “Notre Dame Cathedral” is a truly talented and interesting novel. And always, looking at the majestic towers and walls of the Cathedral, people will remember the lovestruck freak Quasimodo and the divinely beautiful gypsy Esmeralda.

Notre-Dame de Paris is a typical Gothic building. This architectural style left its mark on the social development of medieval Europe. Gothic is characterized by a striving upward, to spiritual heights, combined with the concept that heaven is inaccessible without earthly support. Gothic buildings seem to float in the air, they seem so weightless. But this seems only at first glance. In fact, the Cathedral was built

hundreds of unknown masters, endowed with truly folk, wild imagination. Hugo is captivated by the amazing works of the Middle Ages, in which at the same time there is originality, originality, and unsurpassed skill. But architectural buildings in the Gothic style are not only the embodiment of folk genius, but, as Hugo noted, they are “stone books of the Middle Ages, from the decorating bas-reliefs and sculptures of which illiterate commoners studied the Holy Scriptures. The most famous architectural element of Notre-Dame de Paris are chimeras - three-meter sculptural figures located on the pediment of the Cathedral. Chimeras are a symbol of dark, but not always hostile forces. It is admirable that these devilish creations have been grinning predatorily under the domes of the Catholic Cathedral for about seven hundred years. Hugo masterfully created the image of the ugly bell-ringer, Quasimodo, who seems to be one of them. these sculpted monsters.

First of all, the Cathedral is the center of religious and popular life of Parisians. Common people also gather around him, who are able to fight to improve their future. The Cathedral is also a traditional refuge for exiles: no one has the right to arrest a person while he is outside the walls of the Cathedral. At the same time, Notre Dame Cathedral becomes a symbol of oppression - religious and feudal. Quasimodo appears here as the one who is oppressed by the endless greatness of the Council, and as the “soul of the Council”. The hunchbacked bell-ringer can be considered the embodied image of the Middle Ages and, naturally, the Cathedral. The beautiful Esmeralda, with whom Quasimodo is in love, on the contrary, is the embodiment of bright vital forces. The girl dancer can be considered the embodiment of the Renaissance, replacing the Middle Ages. It should be said that these two cultural and historical eras have passed, but Notre Dame de Paris still towers under the Parisian sky.

Victor Hugo's novel seems to flip a calendar sheet from the past to the present. From their positions

tions, the writer spoke out against political reaction and social injustice. The novel is full of echoes of the revolutionary events that Hugo witnessed. It was this involvement that influenced the depiction of ordinary townspeople in the work. The people, according to Hugo, are not a dark crowd, but are filled with an unbridled will to fight and unrealized creative ideas. But the time of the common people has not yet come. The author describes the storming of Notre-Dame de Paris, which seems to be a rehearsal for the storming of the Bastille in 1789, when the long-term rule of the French monarchy was put to an end. When will the time of the people come? Hugo answers the question: “When the alarm bell sounds from this tower, when the cannons roar, when the walls fall with a terrible roar, when the soldiers and the crowd roar at each other, then that time will come.”

Hugo did not idealize the Middle Ages. The novel contains high poetry, a fiery love for France, its history and art, and depicts the dark sides of feudalism. Notre-Dame de Paris is an eternal Cathedral, outwardly indifferent to the endless bustle of human life.

10. 800 soyr. op. in Russian and peace. lit. 5-11 ON.

ESSAYS ON A FREE TOPIC

Only in work is a man great

(essay-reasoning)

Not every person is given the opportunity to feel the joy of work. Some people were simply born contemplators, not doers, and work for them is a burden that takes away energy, time, and energy. Others are unlucky: the type of activity they have chosen does not correspond to their abilities, inclinations, character, and psychological data. For them, work is torment, slavery, hopeless captivity without prospects of liberation! Such people pull the strings, some obediently, some embitteredly, just for the sake of a piece of bread.

There are people who are not suited to systematic work. They are impetuous, work from inspiration, periods of uplift alternate with periods of apathy.

Will they all agree that the greatness of man lies in his work? Hardly. Even popular ideas about a happy life primarily presuppose idleness. Let's remember fairy tales - Russian, Ukrainian, German, French, Japanese. They often feature a self-assembled tablecloth or a cooking pot, milk rivers with jelly banks, a wonderful tree that bears fruit all year round - symbols of abundance without labor. Even the Bible speaks of labor as God’s curse for the sins of Adam and Eve: “By the sweat of your brow you will earn your bread.” All legends mention the Golden Age, when people were carefree and happy, the earth gave ten harvests a year, the fish themselves swam in the net.

All this suggests that labor is not the initially desired lot for humanity that is not self-aware.

On the contrary, people have always sought the opportunity to benefit from the fruits of other people's labor. With the development of civilization and deepening specialization, the possibility of exchange appeared: I make dishes, and you make clothes. There is an opportunity to select

take up a profession, achieve mastery, gain experience. In European countries, a master is a respected person; work is almost a religion.

Russia lingered shamefully for a long time at the prehistoric stage of development; only recently did it get rid of slave labor. Perhaps this is why the taste and love for work, what is called work pride, enters our consciousness so hard. To trick, deceive, get more than you deserve - often these desires are much stronger than the desire to work honestly, having the opportunity to account for every penny, boldly saying: I owe everything that I have only to myself. Amazing Russian literature has long sounded the alarm: - inability and unwillingness to work is ruining the country. Dostoevsky in "The Teenager" wrote that Russia does not have practical people, Leskov, who knew the Russian people like no one else, noted with bitterness the loss of crafts.

And along with this, with what respect the masters wrote about working people; how they knew the true poetry of activity: “He endured restless work and a decisive effort of will; feeling that it was becoming easier and easier for him as the harsh ship broke into his body, and inability was replaced by habit... all work was torture , requiring close attention, but no matter how hard he breathed, with difficulty straightening his back, the smile of contempt did not leave his face. He silently endured ridicule, mockery and inevitable abuse until he became “one of his own” in the new sphere.. "; (A. Green, “Scarlet Sails”).

Bless every work, good luck. For the fisherman - so that there is a net of fish, for the plowman - so that his plow and nag can get enough bread for years.

S. Yesenin

Writing in sweat, plowing in sweat, We are familiar with a different zeal:

A light fire dancing over the curls, a breath of inspiration.

M. Tsvetaeva

And yet, is it possible to make work a measure of a person’s greatness? Humanity - for sure. We all stand on an endless staircase that goes back centuries, where each step is the fruit of the labor of a craftsman, a farmer, a scientist. It depends on our attitude towards work, on how our society treats the working man - it doesn’t matter whether he is a mason, a philosopher, a cook, a teacher - whether this ladder will continue into the future. It’s sad to think that so far we are only using what was invented and made by other people in other countries, where we have long learned the value of labor.

Want, so that they understand me

(essay-reasoning)

I can confidently say that my classmates and I dream of being understood. By understanding I mean the ability to hear. I can explain to my parents ten times what I want, but they don’t hear me. I can explain or prove something to the teacher, but he doesn’t hear me. My point of view may differ from theirs, it needs to be listened to, understood, and then challenged, and not categorically denied. I'm learning to listen to people. This is very difficult for me. There are a lot of ideas, a lot of thoughts, I want to interrupt the interlocutor, I catch myself interrupting, I don’t listen well, which means I don’t understand.

On a semi-free topic. The theme of these essays... a literary work. Creative composition. Essays this kind of thing most often...

Modern literature needs to be read, because the people in modern literature are ourselves. It's nice to realize that everything in our world does not stand still, including literature. One cannot ignore the fact that everyone can write, but not every person has the talent. Many modern writers and playwrights give literature a new breath also by radically changing its presentation. Many works of modern literature have been filmed. Visualization in our time is very important for society, and it is impossible to deny that it also happens that the film adaptation of a particular work pushes a person to read and understand the special metatext presented by the author to the reader.

1. Famous names of modern literature, such as Sanaev, Vyrypaev, Pelevin, Ulitskaya, touch a person, primarily because they offer plots subordinated to realism. In the modern world, play means a lot to a person. In literature, as in life, the author offers the reader a game with emotional intelligence, implying the reader’s complete openness, his interest, and a vital response to situations that are definitely life-oriented. We see that the heroes of modern literature are similar to ourselves. The way they evolve throughout the finished piece resonates with our souls. Modern literature should be read not for self-development, but for introspection, to penetrate into one’s own world, sometimes hidden from a person under many layers of unnecessary information, vanity and chaos.

“Someday a person will stop reading altogether, will stop picking up books and just reading, immersing himself in his atmosphere, will stop being open to literature. But as long as there are poets and writers influencing souls, literature will be alive.

Very often one hears the following question: “We know Pelevin, Sorokin, Akunin too. Tell me, are there any other good writers?” Conservative”, 5.10.2002 to ask and not be burned with shame for one’s own ignorance, Russian literature turned out to be the first time. They stopped loving her. With the exception of a few well-known names, they are no longer interested in her. They shun her. Although, however, they are quite lenient towards her: let her live for now. But separately. By her own. Far from the mainstream of primary national and personal concerns. In their increasingly narrowing circle, where they will soon know each other by sight and name. Accountants won in the dispute between physicists and lyricists.”

Sergey Chuprinin

In the dispute between physicists and lyricists, marketers won. The Eksmo publishing house has flooded the ratings with Marinina, Belyanin, Panov and other well-selling waste paper, which, from the point of view of artistic value, is only suitable for lighting a fireplace in an oligarch’s cottage. It is not re-read. They don't think about it. Thinking is not in fashion these days, and the book market encourages this trend. However, it is difficult to figure out what comes first here, the reader’s laziness or the publishers’ desire for profit. One thing I can say for sure is that the modern reader is eager to find a “good” writer, but will not look for one himself. People, willy-nilly, trust the market, and the market, in turn, does not miss the opportunity to play with the trust of a lazy reader. 2. “Judging by interests, what is modern is what the reader sees as adequate to his expectations and meets a “response” to his questions. Therefore, today the most modern can be considered, on the one hand, D. Dontsova and A. Marinina, and on the other, the same Pasternak and Akhmatova, who have become “brands”, and not just myths, sometimes (and more and more often, alas) regardless of insight into the essence of their creativity."

Ivanova N.

Before discussing the reader's expectations, we should understand whether there is an unambiguous “modernity”? Cultural realities, supported traditions, canons... Is there a stable idea in the minds of a Russian person about the reality in which he lives?

Modern man is abandoned by modernity. He is no longer required to create a new national idea. It is not surprising that in such a situation the reader becomes self-centered and relies only on himself in everything. He looks in literature for something that answers his personal questions and his personal interests. Who cares about Akhmatova’s life tragedies when she writes so aptly about women’s love and devotion? Who cares about the integrity of the text if it can be pulled apart into quotes taken out of context? Take a look at any thematic community on social networks - a lot of scattered quotes stolen from literary texts. And after all, each such piece of text can be given the meaning that suits the current state of an individual person. The reader sees in the text only what he wants to see. Perhaps this was the case before, but it seems to me that in the 21st century the reader’s desire to enter into a dialogue with the author is becoming weaker and weaker. Of course, there is a whole layer of modern literature that helps our lonely reader to reanimate his abilities. This is the ultra-modern Makanin, the lyrical Dovlatov, L. Ulitskaya, appealing to good nostalgia... And others.

3. « There are many wonderful things in the poetry and prose of the new generation that already help us live today. New literary landscapes make it seem as if the world is growing. The world is expanding in breadth and depth. Against the backdrop of dubious social and everyday vicissitudes, the new depth of literary space gapes with attractive prospects and promises to bestow an unprecedented experience of participation in a life more real than the chimeric reality of the era of fiction and spectacle.”