Mashtaller R.Kh.
"AND NOW WE ARE UNDERSTANDING THIS MYSTERY..."
(“Mozart and Salieri” by A.S. Pushkin: genre and generic specificity) Lesson analysis in the ninth grade
Subject: A.S. Pushkin. "Mozart and Salieri": genre-generic specificity.
To consolidate knowledge about the originality of drama as a literary kind, its stage purpose;
Regina Khuzziyatovna Mashtaller is a teacher of the highest category of the Bashkir lyceum-boarding school No. 3 in Sterley-tamaka.
Reveal the philosophical meaning of a small tragedy;
Improve students' writing skills.
During the classes.
1. Teacher's word:
In the center of our attention is one of the most complex plays of Russian classical drama - the tragedy "Mozart and Salieri" by A.S. Pushkin (from the cycle "Little Tragedies").
The class is conditionally divided into groups (departments): historical, scientific, artistic. Representatives of all these departments received assignments corresponding to their profile, and at certain stages of the lesson they are included in the work.
The purpose of our work is to reveal the specifics of Pushkin's tragedy "Mozart and Salieri", to understand its philosophical meaning, to answer the question: "Why does the fate of a richly gifted person become tragic in this world?
The general name of the cycle was given by the publishers. Pushkin himself called them "Dramatic Scenes", "Experiences in Dramatic Studies". These scenes were written during the famous Boldino autumn of 1830. What creative tasks did he solve by creating these ingenious "experiments"? It was important for him to see the possibilities of drama in comprehending the depth of human characters and passions. Opportunities for a direct conversation with the reader-viewer about complex philosophical problems.
In any case, the name that has become traditional - "Little Tragedies" - corresponds only to their volume. Each of them has only a few pages, two or three scenes...
2. Word to the scientific department:
Which of the words in the title of the cycle is the key?
Tragedy.
Give an interpretation of this genre, how does it differ from comedy?
Tragedy is a type of drama based on a particularly tense, irreconcilable conflict, most often ending in the death of the hero.
Have you managed to determine the size of the verse in which all the plays are written?
This is blank verse (devoid of rhyme, but endowed with internal rhythm), i.e. the author thus emphasizes the significance of the chosen topic (one of the eternal themes).
What is the peculiarity of the analysis of a dramatic work?
The action is concentrated to the limit and expressed only through dialogue.
As conceived by Pushkin, each of the "little tragedies" is an artistic study of a strong human passion. The researcher of the poet's work S. Bondi wrote: “The main theme. all small tragedies - an analysis of the human soul, human passions,
affect." 1. Write it down in your notebook, and one of you will find the interpretation of the word in the dictionary.
It seems to Pushkin that it was not the affects themselves that were important - stinginess, envy, voluptuousness, but that psychological "key" with which the secret of the human soul is revealed. The secret, according to Pushkin, lies in the fact that a person himself does not suspect what a volcano of passions is dormant for the time being at the bottom of his soul. Already in "Gypsies" he warned his "careless" hero, referring to the passions hidden from him in the depths of his soul: "How long, how long have they pacified? They will wake up, wait!”2.
The protagonist of the little tragedies is the same offended person who first appeared in Gypsies. The heroes of small tragedies - Baron Philip, Albert, Salieri, Guan, Valsingam - are outstanding people, but. offended. This internal discord in the souls of the characters is also reflected in the titles of the plays. So, for example, in the title of the tragedy “The Miserly Knight”, pay attention to the unusual combination of words: a miserly knight (what is behind the word knight? - true virtues in which there is no place for stinginess: stinginess and chivalry are incompatible).
What is the unusual name "Stone Guest"?
Guest, i.e. visitor, invited person, who in none of the meanings can be stone.
- "Feast in Time of Plague". A feast is a celebration of fun, a plague is a celebration of death.
What is the basis for the names?
Oxymoron.
The tragedy "Mozart and Salieri" was originally called "Envy". In 1824, reports appeared in the European press that the Italian composer Salieri, who was dying, confessed to poisoning Mozart, who died in 1791.
Why are "Little Tragedies" combined into one cycle? They have a lot in common. Genre - tragedy; the conflict is already in the name; at the heart of the tragedy is an artistic study of strong human passion, the secrets of the human soul. Moreover, the main thing is not the event, but its author's psychological, philosophical interpretation.
3. Messages about the life and creative fate of Mozart and Salieri, prepared by the historical department (there are photographs of composers on the screen; students make notes in notebooks accompanied by soft musical accompaniment from Mozart's works).
1 Bondi S.M. About Pushkin: Articles and research. - M., 2006.
2 Pushkin A. S. Poems Poems. - M., 1998. S. 129.
The legend about the poisoning of W.A. Mozart was the basis of A.S. Pushkin "Mozart and Salieri". Why did they become the heroes of Pushkin's tragedy? Why did Pushkin not take fictitious heroes, but turned to historical figures, retaining their names?
Giving the characters the names of real people, Pushkin immediately evoked the necessary associations in the readers: there was no need to explain that the characters are creative personalities and one of them
Genius. Imagine if this character were just a certain musician, endowed with a fictitious name - could you immediately believe in his special gift, a talent that arouses the passionate envy of another famous musician?
In fact, almost every one of us who today hears the name of Antonio Salieri immediately imagines a villain who literally and figuratively poisoned the life of the great Mozart. Serious historical research, based on numerous documents, long ago established the complete absurdity of such ideas. However, like any legend, this myth is alive and ineradicable, largely due to the little tragedy of A.S. Pushkin "Mozart and Salieri", where all the events appear before the reader in a categorical and peremptory form. But Pushkin tried not to mislead his readers, taking advantage of their trust, and not to slander a real historical person. The poet set himself a completely different goal when working on the little tragedy Mozart and Salieri. He was interested in the philosophical problem of the correlation and compatibility of "genius and villainy."
What is the composition of the tragedy?
There are two scenes in the tragedy, two meetings take place between the characters.
This “mirroring composition emphasizes the polarity of Mozart and Salieri. The conflict between them is primarily a clash of opposite, incompatible principles of attitude towards art.
What made Salieri take such a terrible step? Why did Salieri poison Mozart?
Because of envy.
Let's try to understand the origins of envy. Some researchers believe that the emergence of envy is preceded by
resentment arose. The hero directly admits: "... I feel deeply offended." What could be offended by Salieri?
So, resentment gives rise to pride (there are many similar examples in Russian literature), which the heroes, like a shield, hope to protect themselves from the world around them that has offended them. Pride dooms a person to loneliness and isolation. Grandiose projects of revenge on the “terrible” world are ripening there. There, a thirst for “great power” is born, to which different paths lead - money (power over the world), fame (power over souls), passion (power over bodies).
Thirst for glory - resentment - arrogance - envy - revenge?
4. Let's turn to the text.
Expressive reading of the opening lines.
The tragedy begins with Salieri's monologue. According to scientists, this monologue is nothing more than the story of the hero's illness, told by himself. It is impossible to trust Salieri unconditionally, the confession of the hero only seems to be a confession. This is an attempt to justify himself, and the author closely follows all the reservations of his hero in order to point us to the true origins of his tragedy.
Before us are the stages of Salieri's life.
I was born with love for art;
As a child, when the organ sounded high in our old church,
I listened and listened - involuntary and sweet tears flowed.
I early rejected idle amusements;
The sciences, alien to music, were shameful to me; stubbornly and arrogantly I renounced them and indulged in One music. The first step is difficult And the first path is boring. I overcame early hardships.
What is the origin of the tragedy of the hero? (in early troubles).
Where does he seek protection from them? (in the church, there for the first time I felt my involvement in world harmony).
Very often, the cause of Salieri's tragedy is seen in the fact that he became a creator in spite of the "genetic dominant, which does not imply a genius in him." Prove this idea with text.
At first, Salieri is a double of the author himself. Salieri was "born with a love of art". And Pushkin will say about himself: "I knew how to feel the lyre sounds of pleasure / As a baby." Both the author and the hero equally possessed the ability to experience “delight. inspiration." Life met both with "early hardships", and both "felt the offense deeply." But in the future, their paths diverge.
For Pushkin, creativity becomes the meaning of life. He recognizes only one power over himself - the power of the "Divine verb". Three years before the creation of "Mozart and Salieri" in the poem "Poet" he creates the image of an artist, close to himself, and Mozart, and Salieri's antagonist. Outwardly, the poet does not stand out from the crowd in any way, and moreover - "among the children of the insignificant world / Perhaps he is the most insignificant of all."
But due to mysterious incomprehensible reasons, in the process of inspiration, the element of his soul is transformed into harmony:
He yearns in the amusements of the world.
Human shuns rumors,
At the feet of the national idol He does not bow his proud head.
What does Salieri say about his work? Let us trace the history of Salieri's path to the knowledge of music, to the mastery of great art.
Salieri teenager - was it easy to reject idle fun?
Do you think such self-restraint is justified? Renunciation of the joys of life, of feelings?
This is a slow ascent to the heights of mastery. Endowed with love for music, subtly feeling harmony and capable of sincere enjoyment of it, he devoted his life to studying the secrets of music.
The mastery of technique is obligatory for a composer, but what comparison does Salieri make to prove that he has perfectly comprehended all the logical laws of music construction? “I killed the sounds, I smashed the music like a corpse. I believed harmony with algebra.
What is creativity for Salieri? Harmony verified by algebra. Creation of a piece of music based on mastery of technical techniques. Having achieved fame through hard work, he treats the uninitiated with contempt, rises above them.
How did Salieri react to "early hardships"?
The deeper the resentment was, the higher his claims became: “I began to create, but in silence, but in secret.”
What is the hero thinking about, creating in silence, in secret? Find in Salieri's first monologue what drives him, what desire?
Thirst for glory: "I began to create, but in silence, but in secret, / Not daring to think about glory yet. Glory smiled at me." Glory is Salieri's idol.
Why does he strive for it, what does glory give a person?
He hopes that it is glory that will bring him power, one of the most exciting - power over the human soul.
Glory becomes the goal of Salieri, and his musical talent is a means to achieve this glory, while for Pushkin creativity cannot be a means. He writes to Zhukovsky: “You ask what is the purpose of the Gypsies? Here on! The purpose of poetry is poetry." (April 20, 1825).3
This explains the Salieri tragedy.
How does Salieri correlate the concepts of "craft" and "art" in the first monologue?
- “I put the craft at the foot of art; I have become a craftsman."
But what does it mean to "become a craftsman"?
Scientific department:
Let us turn to the article of the explanatory dictionary. On the screen: “Craftsman comes from the word craft (old. Handicraft - needlework, manual labor) and means a person who is professionally engaged in some kind of craft. To master a craft is to know your business well. In a figurative sense, one who does not know how to work creatively. A person who does not invest creative initiative in his work, acting according to the established pattern. But let's not be like those critics who believe that by calling Salieri a craftsman, Pushkin shows him as a poorly gifted musician, jealous of a genius. “I have set craft as a footstool for art; I have become a craftsman." This is the price paid for fame.
Match the meanings of the words TALENT and GENIUS.
On the screen:
Talent is a special natural gift, a pronounced ability of a person to something.
Genius - 1. the highest creative gift, an original gift.
2. a person who has this gift, concentrating in himself the highest qualities of something.
Salieri in tragedy is a gifted musician, and his real prototype Antonio Salieri is a teacher of Beethoven, Liszt, Schubert. The path of Salieri could also become the path of Pushkin, who admitted more than once that "in his youth" "praise touched him." But in the future, the poet overcomes this desire for fame and chooses freedom. Salieri, on the other hand, throws his talent just "at the feet of the people's idol."
On the screen:
3 Jesuitoea R.V. Pushkin and "Diary" V.A. Zhukovsky. -M., 1978. S. 152.
Gluck Christoph Wallibald (1714-1787) is a famous composer who lived in Paris and Vienna, the creator of a new style in opera.
"Iphigenia in Aulis" - Gluck's opera.
Puccini Nicola (1728-1800) - Italian composer, lived and worked in Paris in recent years, where his operas were a success ("captured" the hearing of the Parisians).
Uvі sru yaareіє - “Oh you, who knows” (it.)
Cherubino's aria from Mozart's The Marriage of Figaro, based on the plot of Beaumarchais.
Beaumarchais Pierre Augustin (1732-1799) - French playwright, author of the comedies "The Barber of Seville", "The Marriage of Figaro", on the plots of which famous operas were written.
Alighieri - Dante Alighieri (1265-1321), Italian poet, author of The Divine Comedy.
Hayden - Haydn Franz Joseph (1732-1809), Austrian composer.
Priests - servants of a deity (among the pagans); here: people worshiping music, serving it as a deity.
Figlyar (obsolete) - jester, magician.
Cherubim (mythologist) - an angel, a resident of paradise.
Yaedit - a requiem - a piece of music of a mourning nature, performed during the funeral service in the church of a deceased person.
Why is the feeling of envy in him born precisely to Mozart? After all, Gluck, Haydn, Puccini are at the top of musical fame next to Salieri.
What is the character's explanation?
Where is the truth, when the sacred gift,
When an immortal genius is not a reward for burning love, selflessness,
Works, zeal, prayers sent - And illuminates the head of a madman,
Revelers of the idle?..
Why does Salieri call Mozart "a madman, an idle reveler"? The lightness, depth, courage, harmony of Mozart's creations seem to him not the result of hard work, but idleness bestowed from above. One who is endowed with a genius, but does not take music seriously enough, for Salieri is an apostate, a dangerous heretic. That is why he is so morbidly envious of Mozart. He envies Mozart because a great gift has been given to a man who does not deserve it. His carelessness, idleness, ease of attitude to his brilliant gift, according to Salieri, offend the greatness of music. Salieri is not an ordinary envious person, just as the Baron from the previous tragedy was not an ordinary miser. Both of them relate to the subject of their passion - one to gold, the other to music - from the
standing religious awe. Music for Salieri became the criterion of truth, in his picture of the world it turned out to be higher than God. And if God entrusted a gift of genius to an unworthy musician, an “idle reveler,” then He violated the immortal laws of truth (remember the beginning of the tragedy). And the one who inspiredly and disinterestedly serves his goddess, music, is obliged to correct God, become a god-fighter, restore the disturbed world order. That is to save the inspired music of Mozart from himself! The unworthy Mozart will die, his great music will remain, and Salieri will not envy her.
So, Salieri's first monologue is the beginning of a tragedy, but it is also the culmination of Salieri's torment, which has long tormented his soul.
The monologue ends with Salieri's exclamation: Oh, Mozart, Mozart!
What do you think, with what feeling does Salieri pronounce the name of Mozart? How does this reflect the emotional state of the character?
(Commenting remarks).
What is behind Salieri's question: "For a long time
eh?” (Mozart could hear reflections
Salieri).
What is the feeling in this question? What remark could be used to describe the question? (with apprehension, carefully.), and what remark - a pose, a gesture, how would this help the reader? (Staging).
5. The episode with the blind violinist.
How does Salieri listen to a blind violinist? What pissed him off?
Mozart laughs: the violinist plays from "Mozart", and Salieri is not funny. There is no envy here, it is not funny to him when the “contemptible clown (jester, conjurer)” plays the divine music of Mozart in a tavern, because Salieri treats music as a high imperishable art, not accessible to everyone.
While Mozart says: "I brought a violinist to treat you to his art." Mozart easily pushes the boundaries of the chosen priests of music.
This episode offers great opportunities for analysis. Let's try asking ourselves questions:
How long had Mozart and Salieri not seen each other before this meeting?
The heroes will have time to mention their closeness and sincere friendship many times. Prove with examples from the text.
Everything speaks of this: the conversation “on you”, and the possibility of an unexpected joke, and the need to show a new work (“I went to you, carried something
what can I show you. I wanted to hear your opinion"), and calling "friend" ("No, my friend Salieri!"; "With a beauty, or with a friend
At least with you. ”,“ Friend Mozart ”), and direct confessions (“ When am I not up to you? ..”), and the crowning tall toast: “To your health, friend, for the sincere union that binds Mozart and Salieri .".
Isn't there a lot of evidence? Maybe even too much. And, perhaps, Mozart insists on friendship especially actively. Does a strong, unclouded feeling need this? Maybe Mozart is talking about what was or what should be, but not at the present moment?
Three weeks ago, Mozart was ordered to "Requiem" - and the black man still does not go for the finished thing. What impression did this commission make on Mozart?
Meanwhile, his closest friend, Salieri, learns about him only today: “Ah! Are you writing a Requiem? How long ago?
Why hasn't Mozart said anything to Salieri about the Requiem? After all, even a “trifle” written on the same theme as the “Requiem” (“a vision of the grave, sudden darkness or something like that.”) Mozart brings this “trifle” to Salieri immediately; and she amazes him with "depth and harmony." There is some hidden meaning in this inconsistency, if we consider Mozart's actions, looking back at the last period of his life that is gradually opening up. Mozart is tormented by suspicions and tries to drive them away. But there is another subtext in this episode: researchers have repeatedly paid attention to Pushkin's note "On Salieri". “At the first performance of Don Juan, at a time when the whole theater, full of astonished connoisseurs, silently reveled in Mozart’s harmony, a whistle rang out - everyone turned indignantly, and the famous Salieri left the hall - furious, consumed with envy. An envious person who could boo "Don Juan" could poison its creator.
Thus, the performance by the blind violinist of an aria from this particular opera gives the joke a very definite coloring. Both heroes are unlikely to have forgotten about this incident.
How does Mozart soften Salieri's rudeness?
Salieri drives the old man away, but Mozart does not
forgets to pay. “Wait, here you are, drink to my health.” Music to order is also a family livelihood. Going to the tavern, Mozart warns his wife not to wait: not to worry, and maybe not to spend too much on lunch.
For Mozart, as well as for Pushkin, high art is not only a divine gift, pleasure, but it is also a means of existence in that “low” life, where there is also happiness, family, friends. In order not to be unfounded, I will read a fragment from Pushkin's letters to Pletnev: “Money, money. I am able to take a wife without a fortune, but I am not able to go into debt for her rags. There is nothing to do: I will have to print my stories. I will send it to you in the second week, and we will emboss it to the Holy One.”4
Mozart himself, "the chosen one, the lucky
idle," he knew well what the need of a low life was. For Salieri, such an attitude to art is unacceptable, art and everyday life are incompatible. For Mozart, these are two sides of his life. The ability to create Divine music and the ability to make friends, love, be attentive, cheerful, anxious. Salieri knows only one passion - art. Let's remember the last gift of beloved Izora - poison. Love is good if the beloved gives poison, friendship is good if there is poison in the cup!
Salieri shares the life of a man and the life of a composer. And if Mozart the composer causes delight and envy in him, then Mozart the man
Hatred. The most ingenious combination of human and divine gift in Mozart.
6. What is Mozart's mood in the second scene?
Salieri: Why are you cloudy today? ..
Are you, Mozart, upset about something? Mozart: My Requiem disturbs me.
What does "my Requiem" mean? What two meanings can be read in this phrase?
My "Requiem" is a work by Mozart. My requiem is a requiem for Mozart, about Mozart.
Let's listen to several musical fragments from Mozart's works, confirming that his music is life-affirming, often light, cheerful.
Why is he accepting a commission to write a requiem? Perhaps Mozart hoped to make money, as he always had financial difficulties. But that would be too simple an answer.
What impression did this order make on Mozart, and how did this work respond to Mozart's state of mind?
He is tormented by forebodings:
My black man does not give me peace day and night. He follows me everywhere like a shadow. And now it seems to me that he is with us himself - the third Sitting.
4 Pushkin A.S. Letter to Pletnev P.A. Full coll. cit.: In 16 vols. T. 14. - M., L., 1959. S. 89.
How do we see Mozart in this scene? Before us is another person, far from being an idle reveler, an easy person.
Below he will call his work "trifle". Does this mean that he disrespects his work?
How does Salieri evaluate music? Why is it important to see his face while listening to music? (cries).
What convinces him of the music? (in the genius of the composer).
Let's make sure of this (listening to "Requiem").
Compare the speech of two characters: selection of vocabulary, construction of a phrase. How do they talk about creativity? (“Delight, inspiration” - “trifle”, “Two, three phrases”). How does this characterize each of them? Salieri's speech is stingy and strict. The word of Mozart is cheerful, free, freer in expression.
7. Before us is Salieri's second monologue.
What decision did Salieri make? Why is it important for him to prove to himself: “I am chosen to stop him”? This monologue is a justification for the assassination plan.
Comment, referring to the text, the main proof of Salieri: "You, Mozart, are not worthy of yourself."
What is the use if Mozart is alive And still reaches new heights?
Will he raise art? No;
It will fall again as he disappears;
He will not leave us an heir.
The meeting with Mozart became fatal for Salieri, not only because of Mozart's exceptional talent, but also because of the false understanding of the divine gift by him. At first, he consoles himself with the hope that he is able to return this gift:
How the thirst for death tormented me,
What to die? I imagined: perhaps life will bring Me unexpected gifts;
Perhaps, delight will visit me And a creative night, and inspiration.
But. in vain. And then Salieri is furious with impotence. The impotence of the dead before the living. Everything that Salieri blames Mozart has to do with himself: he turned out to be “unworthy of himself”, he turned out to be an “enemy” to himself, he needs to be stopped. Mozart is a living reproach to Salieri's entire life, a denial of all his calculations. But, not wanting to admit the truth, Salieri is looking for another trick: he is elected to stop Mozart. But the only way to stop Mozart is to kill him.
God stops killing. How? His commandment: "Thou shalt not kill!" That's when a rebellion against God is born: "Everyone says: there is no truth on earth, But there is no truth above."
Almost all researchers believe that the tragedy begins with an atheistic rebellion. In fact, "eighteen years" "resentment" destroyed the soul of the hero, until it completely destroyed it. Murder is the climax of tragedy. “It hurts and it’s pleasant, as if I had done a heavy duty.”
Do you think Mozart foresaw the black plan of Salieri?
My black man does not give me peace day and night. He follows me everywhere like a shadow. And now it seems to me that he is with us himself - the third Sitting.
Having figured it out, he tries to "stop", save Salieri, save his soul. But the deafness of the envious is amazing: he hears only the voice of his envy.
Mozart makes a second attempt to stop Salieri: "Ah, is it true Salieri That Beaumarchais poisoned someone?"
The third attempt is the famous phrase that "genius and villainy are two incompatible things."
An attempt to keep Salieri from a fatal step failed. And Mozart drinks a glass of poison, boldly walking towards his fate.
It is curious that the poet Sokolov "guesses"
Salieri thought he didn't know.
But Mozart saw it. Mozart knew
What weakness fills a rigorous glass.
He turned away.
Let it pour.
Who is the main character of the tragedy?
Salieri.
And why is Mozart in the first place in the title?
The famous Russian writer Fyodor Mikhailovich Dostoevsky in his famous speech about A.S. Pushkin said: “Pushkin died in the full bloom of his powers and, no doubt, took a great secret with him to the coffin. And now we are solving this mystery without him.”
5 Dostoevsky F.M. Pushkin. Essay (Pronounced on June 8 at a meeting of the Society of Lovers of Russian Literature) // Dostoevsky F.M. Sobr. cit.: In 10 vols. T 10. - M., 1958. S. 459.
Working with terminology.
Let's remember what tragedy is and what literary genre it belongs to.
applies?
Tragedy is a dramatic work, which is based on a particularly acute irreconcilable conflict, most often ending in the death of the hero. ( Write the definition in a notebook ). (5 students at this time perform individual test tasks on the topic “The main motives of the lyrics of A.S. Pushkin”).
The history of creation and features of the cycle "Little Tragedies". One of the students prepared a message on this topic in advance.
[From the history of the creation of "Little Tragedies".
In 1830, Pushkin wrote four plays in Boldino: The Miserly Knight, Mozart and Salieri, The Stone Guest, and Feast During the Plague. In a letter to P.A. Pushkin informed Pletnev that he had brought "several dramatic scenes, or small tragedies."
The plays began to be called "Little Tragedies". They are really not large in volume, they have a small number of scenes and characters. "Dramatic Scenes", "Dramatic Essays", "Dramatic Studies" - these are the names A.S. Pushkin wanted to give his plays, emphasizing their difference from traditional ones.
The "Little Tragedies" are characterized by a rapid development of the action, a sharp dramatic conflict, a depth of penetration into the psychology of the characters, covered by a strong passion, a truthful portrayal of characters that are distinguished by their versatility, individual and typical features.
In "Little Tragedies" the life of other peoples in different historical eras is recreated. The Miserly Knight reflects the Middle Ages of Western Europe, the life and customs of a knight's castle, and shows the power of gold over a person's soul. In Mozart and Salieri, the destructive power of envy was revealed (the action takes place in the 18th century). In The Stone Guest, the old Spanish legend about Don Juan, who lives only for himself and does not take into account moral standards, is developed in a new way; courage, dexterity, wit - all these qualities he directed to the satisfaction of his desires in the pursuit of pleasure.
"A Feast in the Time of Plague" is a philosophical reflection on a person's behavior in the face of the danger of death.
All this indicates that "Little Tragedies" are realistic works. “The truth of passions, the plausibility of feelings in the proposed circumstances - this is what our mind requires from a dramatic writer,” Pushkin argued.]
III. Learning new material.
The works of the "Little Tragedies" cycle are united by the dramatic nature of disturbing experiences, the desire for their artistic and philosophical analysis predetermined the central theme of "Little Tragedies" - the theme of the tragic fate of the Personality. - These tragedies are united by a common idea - passion - a thirst for self-assertion in life. Family, love, friendship and, more broadly, universal human ties are broken. To achieve their goal, the heroes stop at nothing, use any means. Therefore, the main unifying idea of Boldin's plays is the idea of the spiritual values of mankind, of the true dignity of man.
Students write down the artistic features of the cycle "Little Tragedies":
1) Small volume, small number of scenes and characters.
2) Rapid development of action, sharp dramatic conflict.
3) The depth of penetration into the psychology of the characters, covered by a strong passion.
4) Recreation of the life of other peoples in different historical eras.
In "Little Tragedies" all-consuming passions or vices are shown. What are these vices?
[ Notebook entry:
- pride that despises everyone;
- greed, which does not give a person even a minute to think about the spiritual;
- envy, leading to atrocity;
- gluttony, not knowing any fasts, combined with a passionate attachment to various amusements;
- anger that causes terrible destructive actions.
IN "The Miserly Knight" reflected the Middle Ages of Western Europe, the life and customs of a knight's castle, shown the power of gold over the human soul. IN "Stone Guest" the old Spanish legend about Don Juan, who lives only for himself and does not take into account moral standards, is developed in a new way; courage, dexterity, wit - all these qualities he directed to satisfaction of your desires in pursuit of pleasure. "Feast in Time of Plague"- philosophical reflection on human behavior in the face of the danger of death.]
So, what is the theme revealed in the tragedy "Mozart and Salieri"?
(In Mozart and Salieri, the destructive power of envy was revealed.)
The theme is artistic creativity and envy as an all-consuming passion for a person's soul, leading him to villainy. The original name of the tragedy "Envy" has been preserved, which largely determines its theme.
Let's listen to the second speaker, who will tell about some facts from the life of Mozart and Salieri.
[Legend and facts of the life of Mozart and Salieri
The heroes of the tragedy are real people: the Austrian composer Wolfgang Amadeus Mozart (1756-1791) and the Italian composer, conductor, teacher Antonio Salieri (1750-1825).
Wolfgang Amadeus Mozart is an Austrian composer. Mozart has been composing music since the age of five. At fourteen he became a court musician in Salzburg. Then he lived and worked in Vienna. He visited Italy, was elected a member of the Philharmonic Academy in Bologna. In 1787, the first performance in Prague of his opera Don Giovanni took place. The following year it was staged in Vienna, Salieri was present.
High harmony, grace, nobility, humanistic orientation of Mozart's works were noted by his contemporaries. Critics wrote that his music is "full of light, peace and spiritual clarity, as if earthly sufferings awakened only the Divine sides of this person, and if at times a shadow of sorrow sweeps, then peace of mind is visible in it, arising from complete obedience to Providence." Mozart's music is distinctive and original. He created 628 works, including 17 operas: The Marriage of Figaro, Don Giovanni, The Magic Flute, and others.
"Requiem" - a work on which Mozart worked before his death, remained unfinished.
Mozart's premature, early death is associated with the legend of his poisoning by Salieri, who lived and worked in Vienna from 1766, was the court chamber conductor and composer of the Italian opera in Vienna. Then he went to Paris, where he became close to the composer Gluck, became his student and follower. Returning to Vienna, he took up the post of court conductor. Salieri's students were L. van Beethoven, F. Liszt, F. Schubert. Salieri wrote 39 operas: "Ta-rar", "Falstaff" (comic opera), etc.
The version that Salieri allegedly poisoned Mozart has no exact confirmation and remains a legend. It is based on the assertion circulated in the German press that Salieri confessed the sin of killing Mozart on his deathbed.]
Now let's see if the artistic images coincide with historical figures.
Images of the main characters.
(Consideration of questions from homework)
How does Mozart relate to life, to the world order?
How does Salieri feel about life and the world order?
- What testifies to the glory of Mozart?
- What does Salieri say about his work, what is his path to fame? How does Salieri evaluate his fame?
- How does Salieri speak of Mozart - a man and a composer? How does Mozart relate to his work, what does he say about the servants of art?
- Why is Salieri jealous of Mozart?
- How does Mozart answer the question: can a genius commit villainy?
- How does Salieri try to "justify" his crime, why can't his arguments be accepted?
- What did Salieri prove by villainy, what conclusion does he come to?
During the discussion, students fill out a table with the comparative characteristics of the characters.
(For example:
[ -How does Mozart relate to life, to the world order?
Mozart is a composer of fame and glory. As a person, he considers the Divine world order reasonable and just. He accepts earthly life with its joys and sufferings, comprehends high ideals coming from God. Mozart is a genius, he was chosen by heaven to convey goodness and beauty to people in the harmony of music as enduring, eternal values.
Life and art for Mozart - a single whole.
Cheerful, carefree from the immensity of talent, deeply humane Mozart creates his works easily, as if they arise by themselves. This is not the result of hard work and knowledge of technical methods, but a Divine gift - genius. At the same time, he does not hide the fact that his works are the fruits of "insomnia, light inspirations":
Salieri
What did you bring me?
Mozart
No - so; trifle. The other night
My insomnia tormented me.
And two or three thoughts came to my mind.
Today I sketched them. wanted
I hear your opinion...
How does Salieri relate to life and to the world order?
Salieri also belongs to the world of art, he is also a famous composer. But his attitude to the Divine world order is different from that of Mozart:
Everyone says: there is no truth on earth.
But there is no truth - and above. For me
So it is clear, like a simple gamma.
With these words of Salieri, the tragedy begins. They express his opposition to the Divine world order, his conflict with life.
___________________________________________________________________
What testifies to the glory of Mozart?
His music is popular, this is evidenced by its performance by a blind violinist from a tavern, he cannot see the notes and memorized both her and other works of the composer by ear. In the tavern, the violinist performed Cherubino's aria from the opera The Marriage of Figaro, and at Salieri's he performed an aria from the opera Don Giovanni. Inaccurate performance makes Mozart laugh, he does not feel contempt for the old man, thanks for the work.
What does Salieri say about his work, what is his path to fame?
Serving art, Salieri set a goal to achieve fame, he loves art and does not like life, he fenced himself off from it, began to deal only with music:
Salieri
I early rejected idle amusements;
Sciences alien to music were
Shame on me; stubbornly and haughtily
I renounced them and surrendered
One music.<...>
...Craft
I set a footstool for art...
In his music, "harmony" was verified by "algebra", the mortified music was dissected like a corpse. In other words, it was created on the basis of possession of technical methods. Salieri did not understand that a true work of art cannot be constructed purely technically, it is always the fruit of inspiration bestowed from above. He became a follower of Gluck and through hard work finally achieved recognition and fame, therefore he considers the service of art to be his feat and treats the uninitiated with contempt, rises above them, considering them artisans.
____________________________________________________________________
How does Salieri evaluate his fame?
I began to create, but in silence, but in secret,
Not daring to think more about glory.
Often. sitting in a silent cell
Two or three days, forgetting both sleep and food,
Having tasted delight and tears of inspiration,
I burned my work and looked coldly,
As my thought and sounds are born by me,
Blazing, with a light smoke disappeared ...
____________________________________________________________________
How does Salieri speak of Mozart - a man and a composer? How does Mozart relate to his work, what does he say about the servants of art?
Salieri realizes the genius of Mozart.
Mozart himself understands that there are few servants of the beautiful on earth, if everyone were given the gift of creativity,
...then I couldn't
And the world to exist; no one would
Take care of the needs of low life;
Everyone would indulge in free art.
Realizing his gift, Mozart feels like an ordinary mortal. He jokingly replies to Salieri who called him the god:
Ba! right? May be...
But my god is hungry.
Life and art for Mozart - a single whole. A true artist, he does not create for personal gain, "contemptible benefit", but for the sake of art itself. A true artist gives himself to art without demanding glory in return - such is Mozart's point of view.
____________________________________________________________________
Why is Salieri jealous of Mozart?
Salieri realized that Mozart was endowed with God's gift, and could not accept that this gift was given to an ordinary person, an "idle reveler", and not to him, a tireless worker. He is jealous of his friend's genius. Some researchers believe that his words comparing an envious person with a snake reflect an understanding of envy as a demonic obsession, for the snake is one of the incarnations of Satan. This is how Salieri's irreconcilable conflicts with the world order and with Mozart are connected.
____________________________________________________________________
How does Mozart answer the question: can a genius commit villainy?
Mozart does not know envy, is not capable of villainy. He is convinced that "the chosen one of heaven - a genius who shows in his art examples of perfection, high ideals - cannot commit villainy:
Mozart
...He's a genius.
Like you and me. And genius and villainy -
Two things are incompatible. Isn't it true?
____________________________________________________________________
How does Salieri try to "justify" his crime, why can't his arguments be accepted?
Salieri takes it upon himself to correct, as it seems to him, the injustice of the sky:
Where is the truth, when the sacred gift,
When an immortal genius is not a reward
Burning love, selflessness,
Works, zeal, prayers sent -
And illuminates the head of a madman,
Revelers of the idle?..<...>
No! I can't resist
My fate: I am chosen to have it
Stop - otherwise we are all dead ...
He realizes that Mozart's music is immortal and, trying to find a justification for his atrocity, more and more reveals the evil essence as a person and mediocrity as a composer:
What's the use if Mozart is alive
And will it reach new heights?
Will he raise art? No;
It will fall again as it disappears:
He will not leave us an heir.
He speaks of his "deaf" glory, that he belongs to the "children of dust."
____________________________________________________________________
What did Salieri prove by villainy, what conclusion does he come to?
For many years he carries poison, which was a "gift of love", and sends it to the "cup of friendship".
Salieri, having poisoned Mozart, listens to his game and cries. But it is not the harmony of music, as Mozart thinks, that touches the killer: now there will be no friend and he will feel like a genius. The villainy has happened, but there is no peace in Salieri's soul:
...you will fall asleep
For a long time, Mozart! But is he right?
And I'm not a genius? Genius and villainy
Two things are incompatible...]
Thus, Pushkin takes the legend of the poisoning of Mozart Salieri as the basis of the work, and not the facts of history.
The fact that Mozart was poisoned by Salieri, Pushkin first expressed artistically,
then - epicly (in one of the letters): “At the first performance of Don Juan, at that
the time when the whole theater, full of astonished connoisseurs, silently reveled in Mozart's harmony, a whistle rang out - everyone turned indignantly, and the famous Salieri left the hall - furious, consumed with envy. Salieri died 8 years ago. An envious person who could boo "Don Juan" could poison its creator. But during the hearing of the court case on this issue, Salieri was acquitted. This means that this story is an artistic invention of the poet, which is very deeply rooted in the minds of people.
Lesson plan 1. From the history of the creation of "Little Tragedies" From the history of the creation of "Little Tragedies" 2. The theme of the tragedy "Mozart and Salieri" The theme of the tragedy "Mozart and Salieri" 3. Legend and facts of the life of Mozart and Salieri Legend and facts of the life of Mozart and Salieri 4 .Analysis of imagesAnalysis of images 5.Ideological content of the tragedy "Mozart and Salieri"Ideological content of the tragedy "Mozart and Salieri" Alexander Sergeevich Pushkin Artist V.A.Tropinin
From the history of the creation of "Little Tragedies" In 1830, Pushkin wrote four plays in Boldino: "The Miserly Knight", "Mozart and Salieri", "The Stone Guest", "Feast during the Plague". In a letter to P.A. Pletnev, Pushkin reported that he had brought "several dramatic scenes, or small tragedies." (Teacher's lecture)
In the "Little Tragedies" all-consuming passions or vices are shown: pride, despising all; greed, which does not give a person even a minute to think about the spiritual; envy, leading to atrocity; gluttony, not knowing any fasts, combined with a passionate attachment to various amusements; anger that causes terrible destructive actions.
The Miserly Knight reflects the Middle Ages of Western Europe, the life and customs of a knight's castle, and shows the power of gold over a person's soul. In The Stone Guest, the old Spanish legend about Don Juan, who lives only for himself and does not take into account moral standards, is developed in a new way; courage, dexterity, wit, he directed all these qualities to the satisfaction of his desires in the pursuit of pleasure. "A feast during the plague" is a philosophical reflection on human behavior in the face of the danger of death.
Analysis of images Mozart (tasks for group 1) How does Mozart relate to life, to the world order? What testifies to the glory of Mozart? How does Salieri speak of Mozart as a man and composer? How does Mozart relate to his work, what does he say about the servants of art? How does Mozart answer the question: can a genius commit villainy? (Image analysis)
"Genius and villainy" two things incompatible? (Based on A.S. Pushkin’s tragedy “Mozart and Salieri”) Lesson plan Alexander Sergeevich Pushkin Artist V.A. Tropinin 1. From the history of the creation of “Little Tragedies” 2. Theme of the tragedy “Mozart and Salieri” 3. Legend and facts of Mozart's life and Salieri 4. Analysis of images 5. The ideological content of the tragedy "Mozart and Salieri" From the history of the creation of "Little Tragedies" In 1830, Pushkin wrote four plays in Boldino: "The Miserly Knight", "Mozart and Salieri", "The Stone Guest", " Feast in Time of Plague". In a letter to P.A. Pletnev, Pushkin reported that he had brought "several dramatic scenes, or small tragedies." (Teacher's lecture) Little Tragedies The Miserly Knight Mozart and Salieri The Stone Guest Feast During the Plague In Little Tragedies A.S. Pushkin showed passions and vices that engulf the human soul. Which? In the "Little Tragedies" all-consuming passions or vices are shown: pride, despising all; greed, which does not give a person even a minute to think about the spiritual; envy, leading to atrocity; gluttony, not knowing any fasts, combined with a passionate attachment to various amusements; anger that causes terrible destructive actions. The Miserly Knight reflects the Middle Ages of Western Europe, the life and customs of a knight's castle, and shows the power of gold over a person's soul. In The Stone Guest, the old Spanish legend about Don Juan, who lives only for himself and does not take into account moral standards, is developed in a new way; courage, dexterity, wit - all these qualities he directed to the satisfaction of his desires in the pursuit of pleasure. "A Feast in the Time of Plague" is a philosophical reflection on a person's behavior in the face of the danger of death. What is the theme of the tragedy "Mozart and Salieri"? Artistic creativity and envy as a passion that consumes the soul of a person, leading him to villainy. The legend and facts of the life of Mozart and Salieri Wolfgang Amadeus Mozart Antonio Salieri (Messages from students) Analysis of images Mozart (tasks for group 1) How does Mozart relate to life, to the world order? What testifies to the glory of Mozart? How does Salieri speak of Mozart - a man and a composer? How does Mozart relate to his work, what does he say about the servants of art? How does Mozart answer the question: can a genius commit villainy? (Image analysis) Analysis of Salieri's images (tasks for group 2) How does Salieri relate to life and the world order? What does Salieri say about his work, what is his path to fame? How does Salieri evaluate his fame? (Image analysis) Analysis of Salieri's images (tasks for group 3) Why does Salieri envy Mozart? How does Salieri try to "justify" his crime, why can't his arguments be accepted? What did Salieri prove by villainy, what conclusion does he come to? (Image analysis) A.Borisov. Illustration for the tragedy "Mozart and Salieri" M.A. Vrubel. Illustration for the tragedy “Mozart and Salieri. I. Final testing on the topic of the lesson (Test) TEST YOURSELF I option 1. B 2. B 3. A 4. B II option 1. C 2. A 3. B 4. C "Genius and villainy are two things incompatible" Dictionary Requiem - mourning vocal or vocal-instrumental piece of music.
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Slides captions:
"Genius and villainy" - two things incompatible? (based on the tragedy by A.S. Pushkin “Mozart and Salieri”).
A powerless enemy is our best friend, an envious friend is our worst enemy. Chaadaev. There are three invincible things: genius, prowess, birth. Chaadaev. The most important thing is the path. Hegel.
Alexander Sergeyevich Pushkin 1799-1837
1830 The first Boldino autumn.
From the history of the creation of "Little Tragedies" In 1830, Pushkin wrote four plays in Boldino: "The Miserly Knight", "Mozart and Salieri", "The Stone Guest", "Feast during the Plague". In a letter to P.A. Pletnev, Pushkin reported that he had brought "several dramatic scenes, or small tragedies."
Tragedy is a dramatic genre, which is based on conflict - a clash, confrontation of various forces. Conflict is accompanied by suffering, often death. At the end of the tragedy, either the heroes die or important life values collapse.
The Miserly Knight reflects the Middle Ages of Western Europe, the life and customs of a knight's castle, and shows the power of gold over a person's soul. In The Stone Guest, the old Spanish legend about Don Juan, who lives only for himself and does not take into account moral standards, is developed in a new way; courage, dexterity, wit - all these qualities he directed to the satisfaction of his desires in the pursuit of pleasure. "A Feast in the Time of Plague" is a philosophical reflection on a person's behavior in the face of the danger of death.
Christoph Willibald Gluck An Austrian classical composer who reformed Italian opera and French lyric tragedy in the second half of the 18th century. Niccolo Piccinni (January 16, 1728, Bari - May 7, 1800, Passy, near Paris) was an Italian composer.
Michelangelo Buonarroti Italian sculptor, painter, Renaissance poet Pierre-Augustin Caron de Beaumarchais 1732 - 1799, famous French playwright and essayist.
Wolfgang Amadeus Mozart 1756 -1791 Antonio Salieri 1750 - 1825
Mozart (tasks for group 1) How does Mozart relate to life, to the world order? What testifies to the glory of Mozart? How does Salieri speak of Mozart - a man and a composer? How does Mozart relate to his work, what does he say about the servants of art? How does Mozart answer the question: can a genius commit villainy? Salieri (tasks for group 2) How does Salieri feel about life and the world order? What does Salieri say about his work, what is his path to fame? How does Salieri evaluate his fame? Why is Salieri jealous of Mozart? How does Salieri try to "justify" his crime, why can't his arguments be accepted? What did Salieri prove by villainy, what conclusion does he come to?
Scene with a blind musician
about himself about Mozart Craftsman Envious Priest Servant of art Not a genius Madman Reveler idle (behind the eyes) God (in the face) Some cherub (one of the highest angels) Enemy New Hayden Salieri
about myself about Salieri … a genius, like you and me. ... Mozart and Salieri, Two sons of harmony. ... There are few of us chosen, happy idle, Neglecting contemptible benefits, The only beautiful priests. Mozart
priest craftsman Servant of art Envious genius I have been chosen to stop him Salieri is not a genius
The Chosen One. A single beautiful priest Genius A certain cherub Madman. Reveler idle God Mozart
Genius and villainy - two things incompatible?
