Fiction serves the author to reveal the lack of spirituality of the world (the shadow and everything connected with it) and to introduce new topic- natural sciences (seven-league boots). The fairy tale here is combined with the story of life. ordinary people. A fantastic story becomes a reflection of social relations, while the author tries to assure readers that the hero is a true person. The image of the shadow is symbolic, but the author does not seek to reveal its meaning - the possibility various interpretations. The hero and society ambiguously perceive the role of the shadow. All this creates an ominous flavor of the era, where the shadow means integrity, although its owner may be deprived of a sense of honor. Shlemiel gets surrounded by the rich, realizes his insignificance, this prepares him for the "deal with Fortunat's purse." But the ecstasy passes quickly, and Schlemil begins to understand that no amount of wealth can buy respect and happiness.
The author makes it clear: although gold is valued more than merit and honor and virtue, the shadow is respected even more than gold. The first stage of knowledge is connected with the understanding that society judges a person by external signs, and well-being is not only in wealth. This is the realization of the material essence of the act.
The second step is the result of spiritual enlightenment, this is already self-condemnation, he parted with his shadow for the sake of gold, "was sacrificing his conscience for the sake of wealth." But! Is the shadow equivalent to conscience? Dishonest people also have a shadow - therefore, the shadow is not the equivalent of morality, but only its external sign. However, his shadow becomes for Schlemil a source of genuine spiritual suffering, which means that even an unconscious offense entails punishment, contracts with conscience are not necessary for this.
Leaving the question of the "shadow" debatable, the author delves into a purely romantic plane: Schlemil becomes a wanderer. The theme of wandering arose at the first stage of romanticism and was associated with spiritual perfection. Now the hero-wanderer has become a natural scientist. Science was alien to the "dreams" of the first wave. However, here science is directly related to nature, and the theme of nature and man's connection with it has always been in the field of view of romantics. Consequently, Chamisso, while departing from the romantic canon, at the same time remains within its framework.
Romantics combine the theme of loneliness with the theme of wandering. Schlemiel cannot become what custom dictates.
Germany, early 19th century After a long voyage, Peter Schlemiel arrives in Hamburg with letter of recommendation to Mr Thomas John. Among the guests, he sees an amazing man in a gray tailcoat. Surprising because this man, one by one, takes out of his pocket objects that, it would seem, cannot fit in there - a telescope, a Turkish carpet, a tent, and even three riding horses. There is something inexplicably eerie about the pale face of the man in gray. Schlemil wants to hide unnoticed, but he catches up with him and makes a strange offer: he asks Schlemil to give up his shadow in exchange for any of the fabulous treasures - mandrake root, shifter pfennigs, self-collected tablecloth, Fortunato's magic purse. No matter how great Shlemil's fear, at the thought of wealth, he forgets about everything and chooses a magic wallet.
So Schlemil loses his shadow and immediately begins to regret his deed. It turns out that without a shadow it is impossible to appear on the street, because "although gold is valued on earth much more than merit and virtue, the shadow is respected even more than gold."
The wedding has been played. Minna became Rascal's wife. Leaving his faithful servant, Schlemil mounted a horse and, under cover of night, moved away from the place where he "buried his life." Soon a stranger joins him on foot, who distracts him from his sad thoughts by talking about metaphysics. In the light of the coming morning, Schlemil sees with horror that his companion is a man in gray. He laughingly offers Shlemil to lend him his shadow for the journey, and Shlemil has to accept the offer, because people are coming towards him. Taking advantage of the fact that he is riding while the man in gray is walking, he tries to escape with the shadow, but she slips off the horse and returns to her rightful owner. The man in gray mockingly declares that now Shlemiel cannot get rid of him, because "such a rich man needs a shadow."
AT deep cave in the mountains between them, a decisive explanation takes place. The Evil One again draws tempting pictures of the life that a rich man can lead, of course, with a shadow, and Shlemiel is torn "between temptation and a strong will." He again refuses to sell his soul, drives away the man in gray. He replies that he is leaving, but if Shlemil needs to see him, then let him just shake his magic wallet. The man in gray is associated with the rich in close relationships, he provides them with services, but Schlemiel can return his shadow only by pawning his soul. Schlemiel remembers Thomas John and asks where he is now. The man in gray pulls Thomas John himself out of his pocket, pale and haggard. His blue lips whisper: "I was judged by the righteous judgment of God, I was condemned by the righteous judgment of God." Then Shlemil with a decisive movement throws the purse into the abyss and says: “I conjure you in the name of the Lord God, perish, evil spirit, and never again appear before my eyes.” At the same instant, the man in gray gets up and disappears behind the rocks.
So Schlemil remains without a shadow and without money, but the burden falls from his soul. Wealth no longer attracts him. Avoiding people, he moves to the mountain mines to get a job underground. Boots wear out on the road, he has to buy new ones at the fair, and when, having put them on, he sets off again, he suddenly finds himself on the ocean, among the ice. He runs and after a few minutes he feels a terrible heat, sees rice fields, hears Chinese speech. Another step - he is in the depths of the forest, where he is surprised to find out that it becomes a concern to return the shadow. He sends Bendel's faithful servant to search for the culprit of his misfortune, and he returns saddened - no one can remember the man in the gray tailcoat with Mr. John. True, some stranger asks me to tell Mr. Schlemil that he is leaving and will see him exactly in a year and one day. Of course, this stranger is the man in gray. Shlemil is afraid of people and curses his wealth. The only one who knows about the cause of his grief is Bendel, who helps the owner as best he can, covering him with his shadow. In the end, Schlemil has to flee from Hamburg. He stops in a secluded town, where he is mistaken for a king traveling incognito, and where he meets the beautiful Minna, the daughter of a forester. He shows the greatest caution, never appears in the sun and leaves the house only for the sake of Minna, and she responds to his feelings "with all the ardor of an inexperienced young heart." But what can the love of a man without a shadow promise a good girl? Shlemil spends terrible hours in thought and tears, but he does not dare either to leave or to reveal his terrible secret to his beloved. There is a month left until the deadline set by the man in gray. Hope glimmers in Shlemil's soul, and he informs Minna's parents of his intention to ask for her hand in a month. But the fateful day comes, the hours of painful expectation drag on, midnight approaches, and no one appears. Shlemil falls asleep in tears, having lost his last hope.
The next day, his second servant Rascal takes the calculation, stating that "a decent person does not want to serve a master who has no shadow", the forester throws the same accusation in his face, and Minna confesses to her parents that she has long suspected this, and sobs at mother's breasts. Shlemil wanders through the forest in despair. Suddenly, someone grabs his sleeve. It's the man in gray. Shlemil miscalculated for one day. The Man in Gray reveals that Rascal betrayed Schlemil in order to marry Minna himself, and offers a new deal: in order to get the shadow back, Schlemil must give him his soul. He is already holding a piece of parchment at the ready and dipping his pen into the blood that has come out on Schlemil's palm. Schlemiel refuses, more out of personal disgust than morality, and the man in gray pulls his shadow out of his pocket, throws it at his feet, and it obediently, like his own, repeats his movements. To complete the temptation, the man in gray reminds that it is not too late to wrest Minna from the hands of the villain, one stroke of the pen is enough. He relentlessly pursues Schlemil, and finally the fateful moment arrives. Schlemiel no longer thinks of himself. Save your beloved at the cost of your own soul! But when his hand is already reaching for the parchment, he suddenly falls into oblivion, and when he wakes up, he realizes that it is already too late. The wedding has been played. Minna became Rascal's wife. Leaving his faithful servant, Schlemil mounted a horse and, under cover of night, moved away from the place where he "buried his life." Soon a stranger joins him on foot, who distracts him from his sad thoughts by talking about metaphysics. In the light of the coming morning, Schlemil sees with horror that his companion is a man in gray. He laughingly offers Shlemil to lend him his shadow for the journey, and Shlemil has to accept the offer, because people are coming towards him. Taking advantage of the fact that he is riding while the man in gray is walking, he tries to escape with the shadow, but she slips off the horse and returns to her rightful owner. The man in gray mockingly declares that now Shlemiel cannot get rid of him, because "such a rich man needs a shadow."
Shlemiel continues on his way. Everywhere honor and respect await him - after all, he is a rich man, and his shadow is beautiful. The man in gray is sure that sooner or later he will achieve his goal, but Schlemiel knows that now that he has lost Minna forever, he will not sell his soul to "this trash."
In a deep cave in the mountains, a decisive explanation takes place between them. The Evil One again draws tempting pictures of the life that a rich man can lead, of course, with a shadow, and Shlemiel is torn "between temptation and a strong will." He again refuses to sell his soul, drives away the man in gray. He replies that he is leaving, but if Shlemil needs to see him, then let him just shake his magic wallet. The man in gray is associated with the rich in close relationships, he provides them with services, but Schlemiel can return his shadow only by pawning his soul. Schlemiel remembers Thomas John and asks where he is now. The man in gray pulls Thomas John himself out of his pocket, pale and haggard. His blue lips whisper: "I was judged by the righteous judgment of God, I was condemned by the righteous judgment of God." Then Shlemil with a decisive movement throws the purse into the abyss and says: "I conjure you in the name of the Lord God, perish, evil spirit, and never again appear before my eyes." At the same instant, the man in gray gets up and disappears behind the rocks.
So Schlemil remains without a shadow and without money, but the burden falls from his soul. Wealth no longer attracts him. Avoiding people, he moves to the mountain mines to get a job underground. Boots wear out on the road, he has to buy new ones at the fair, and when, having put them on, he sets off again, he suddenly finds himself on the ocean, among the ice. He runs and after a few minutes he feels a terrible heat, sees rice fields, hears Chinese speech. Another step - he is in the depths of the forest, where he is surprised to recognize plants that are found only in Southeast Asia. Finally Schlemil understands: he bought seven-league boots. A person who is inaccessible to the company of people is granted nature by the grace of heaven. From now on, the goal of Shlemil's life is the knowledge of its secrets. He chooses a cave in the Thebaid as a refuge, where the faithful poodle Figaro is always waiting for him, travels all over the earth, writes scientific works in geography and botany, and his seven-league boots never wear out. Describing his adventures in a message to a friend, he conjures him to always remember that "first of all, the shadow, and only then the money."
Composition
PETER SHLEMIHL (German Peter Schlemihl) - the hero of A. Shamisso's story " Amazing story Peter Schlemil" (1813). First name Schlemil Jewish origin, literally " loving god»; to early XIX centuries, the word acquired a slang coloring and began to mean something like the Russian "poor fellow". P.Sh. - a poor young man, "a lanky fellow who was known as a bum because he was clumsy, and lazy because he was slow" - this is how the "publisher" who publishes his notes characterizes the hero. Wishing to improve his affairs, P.Sh., meeting during a party with a certain man in gray, the devil himself, as it turned out later, agrees to sell him his shadow in exchange for a magic wallet that is filled with money by itself. Having received the coveted wallet, P.Sh. settles in an expensive hotel, acquires a servant, faithful Bendel, unaware of the misfortunes awaiting him. As soon as P.Sh. goes outside and finds himself on the sunny side, the absence of a shadow is noticed by everyone and showered with ridicule on the poor fellow; he feels like an outcast, cries like a child, wants to find the gray devil, but all attempts are unsuccessful. Together with the servant P.Sh. travels, meets the forester's daughter Minna, falls in love with her. Minna reciprocates, but the parents do not want to give their daughter to a strange person. Unfortunate P.Sh. concludes a new pact with the devil and receives a cap of invisibility, but too late - Minna became the wife of another. P.Sh. can't get his shadow back; in the end, having abandoned the magic wallet, throwing it into the abyss with jingling money, he gets rid of the devil. But life among people is impossible for P.Sh., a man without a shadow. Having become the owner of walking boots, he walks with leaps and bounds around the world, alone, no one needs, no one loves, a restless tramp. The image of P.Sh. became popular in European literature. As a comrade in misfortune, P.Sh. is present in Hoffmann's short story "Adventure on New Year's Eve", the hero of which lost his reflection in the mirror. The character Chamisso is mentioned as one of the most famous to French readers in Balzac's novel Lost Illusions. Separate motives of the story were used by E.L. Schwartz in the play "Shadow" (1940).
rental block
"The Wonderful Story of Peter Schlemihl". literary heritage Shamisso is small. The best of it is "The Wonderful Story of Peter Schlemil" and poems.
In his fairy tale story, Chamisso tells the story of a man who sold his shadow for a wallet in which money never runs out. The absence of a shadow, which is immediately noticed by everyone around, excludes Peter Schlemil from the society of other people; all his desperate attempts to achieve a position in this society and personal happiness fail, and Shlemiel finds some satisfaction only in communion with nature - in the natural sciences.
In this story, therefore, there is an ordinary romantic situation: a person who does not find a place for himself in society, unlike those around him, that is, the situation of Byron's Childe Harold and Rene Chateaubriand, Sternbald Tieck and Johann Kreisler Hoffmann. But at the same time, the situation of Chamisso's story differs from all other versions in its irony over the hero's romantic loneliness, over romantic asociality.
Shlemil, having lost his shadow, is in a tragicomic position: after all, he has lost something that would seem to have no meaning, no value.
The "value" of the shadow lies only in the fact that it makes its owner look like all other people, and the question arises whether it is such a great honor to be like the fraudster Rascal and the smug rich John.
Schlemiel suffers from the mysterious absurdity of his loss, suffers from people who cannot imagine a person without a shadow and treat poor Schlemiel with horror or contempt, not devoid of a fair amount of comedy.
In his misfortune, Schlemil is comical, and at the same time, the consequences of this misfortune are tragic enough for him.
Ironically over the romantic "exclusivity" of his hero, Chamisso is at the same time full of sad sympathy for him. For Chamisso, asociality is neither the norm, as it was for Friedrich Schlegel in the 90s, nor an absolute tragedy of being, as for Hoffmann. Still remaining within the limits of romantic ideas, that is, not knowing either a way out for his hero from romantic loneliness, or a socio-historical explanation for this loneliness, Chamisso, however, with his sympathetic and ironic attitude towards him, outlines the path to overcome romanticism, leading the writer to poems late 20-30s, in which his departure from romanticism is clearly revealed.
Fiction serves the author to reveal the lack of spirituality of the world (the shadow and everything connected with it) and to introduce a new topic - the science of nature (seven-league boots). The fairy tale here is combined with the story of the life of ordinary people. fantasy story becomes a reflection social relations, while the author tries to assure readers that the hero is the true face. The image of the shadow is symbolic, but the author does not seek to reveal its meaning - the possibility of various interpretations. The hero and society ambiguously perceive the role of the shadow. All this creates an ominous flavor of the era, where the shadow means integrity, although its owner may be deprived of a sense of honor. Shlemiel gets surrounded by the rich, realizes his insignificance, this prepares him for the "deal with Fortunat's purse." But the ecstasy passes quickly, and Schlemil begins to understand that no amount of wealth can buy respect and happiness.
The author makes it clear: although gold is valued more than merit and honor and virtue, the shadow is respected even more than gold. The first stage of knowledge is connected with the understanding that society judges a person by external signs, and well-being is not only in wealth. This is the realization of the material essence of the act.
The second step is the result of spiritual enlightenment, this is already self-condemnation, he parted with his shadow for the sake of gold, "was sacrificing his conscience for the sake of wealth." But! Is the shadow equivalent to conscience? Dishonest people also have a shadow - therefore, the shadow is not the equivalent of morality, but only its outward sign. However, his shadow becomes for Schlemil a source of genuine spiritual suffering, which means that even an unconscious offense entails punishment, contracts with conscience are not necessary for this.
Leaving the question of the "shadow" debatable, the author delves into a purely romantic plane: Schlemil becomes a wanderer. The theme of wandering arose at the first stage of romanticism and was associated with spiritual perfection. Now the hero-wanderer has become a natural scientist. Science was alien to the "dreams" of the first wave. However, here science is directly related to nature, and the theme of nature and man's connection with it has always been in the field of view of romantics. Consequently, Chamisso, while departing from the romantic canon, at the same time remains within its framework.
Romantics combine the theme of loneliness with the theme of wandering. Schlemiel cannot become what custom dictates.
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Foreign literature
Answers by foreign literature 18 - 19 centuries. Western European, German, English, french romanticism. Romantic art concepts. realistic schools.
This material includes sections:
General characteristics of Western European romanticism
General characteristics of German romanticism
Tale of L. Tick "Blond Ekbert" and its meaning. The originality of fiction in the work
The Place of the Brothers Grimm in German Romanticism
The story of A. von Chamisso "The Amazing Story of Peter Schlemil". Schlemiel's image. The originality of fantasy in the story
Hoffmann's fairy tale "The Golden Pot". The motif of duality in a fairy tale. Anselm's image
Hoffmann's fairy tale "Little Tsakhes". Images of Balthazar and Tsakhes. The peculiarity of Hoffmann's irony and grotesque
General characteristics of English romanticism. Preface to "Lyrical Ballads" by W. Wordsworth as a Manifesto of the "Lake School"
The concept of nature in Wordsworth's poetry. The image of a child in Wordsworth's poetry
Poem by S.T. Coleridge "Poems about the Old Sailor"
Byron's life and work
Genre originality of M. Shelley's novel "Frankenstein, or Modern Prometheus". The theme of scientist's responsibility in the novel
Development of the right hemisphere
Merily Zdenek Only about 10 percent of people on earth use both hemispheres of their brain in a balanced way. The rest develop only the left hemisphere and ignore creative potential right. This book will help develop and learn to use the capabilities of the right hemisphere of the brain.
"Calculation of economic indicators when creating a private enterprise based on the property of an individual" (NPs)
METHODOLOGICAL RECOMMENDATIONS On the implementation of the economic part of the graduation project on the topic: “Calculation economic indicators when creating a private enterprise based on ownership individual» (NPs) Determine indicators of the effectiveness of the use of key production factors
Creating a simple design based on a linear algorithm
Laboratory work The purpose of the work: To study the main elements of the starting form, the properties of the elements.
In 1813, Adelbert von Chamisso fell into the hands of a notebook - the diary of his friend, Peter Schlemel. Brought it early in the morning a strange man with a long gray beard, dressed in a worn black Hungarian. Here is its content.
After a long voyage, I arrived in Hamburg with a letter for Mr. Thomas John from his brother. Mr. John's guests, among whom was the beautiful Fani, did not notice me. In the same way, they did not notice a long, bony man in years, dressed in a gray silk coat, who was also among the guests. To serve the masters, this man, one by one, took out from his pocket objects that could not fit in there - a telescope, a Turkish carpet, a tent, and even three riding horses. The guests did not seem to find anything miraculous in this. There was something so terrible in the pale face of this man that I could not stand it and decided to quietly leave.
How scared I was when I saw that the man in gray had caught up with me. He spoke to me courteously and offered to exchange any of his fabulous treasures - mandrake root, shifter pfennigs, homemade tablecloth, Fortunatto's magic purse - for my own shadow. No matter how great my fear was, at the thought of wealth, I forgot about everything and chose a magic wallet. The stranger carefully rolled up my shadow, hid it in his bottomless pocket, and quickly departed.
I soon began to regret what I had done. It turned out that it was impossible to appear on the street without a shadow - everyone noticed its absence. I began to awaken the consciousness that, although gold is valued on earth much more than merit and virtue, the shadow is respected even more than gold. I took a north-facing room in the most expensive hotel. I hired a man named Bendel to take care of my special one. After that, I decided to check again public opinion and went outside on a moonlit night. Due to the lack of a shadow, the men looked at me with contempt, and the women looked at me with pity. Many passers-by simply turn away from me.
In the morning I decided to find the man in gray at all costs. I accurately described him to Bendel and pointed out the place where I met him. But in the house of Mr. John, no one remembered him and did not know him. On the same day, Bendel met him at the door of the hotel, but did not recognize him. The man in gray asked me to tell you that now he is going overseas. Exactly one year later, he will find me, and then we can make a better deal. I tried to intercept him in the harbor, but gray man disappeared like a shadow.
I confessed to the servant that I lost my shadow and that people despise me. Bendel blamed himself for my misfortune, because he missed the man in gray. He swore he would never leave me. I was convinced that it was not greed that guided him. Since then, I again decided to visit people and began to play known role in the light. Bendel managed to hide the absence of a shadow with amazing dexterity. As a very rich man, I could afford all sorts of eccentricities and whims. I was already calmly waiting for the visit promised by the mysterious stranger in a year.
Soon the beautiful Fani drew attention to me. This flattered my vanity, and I followed her, hiding from the light. I loved only with the mind and could not love with the heart. This trivial romance ended unexpectedly. One moonlit night Fani saw that I had no shadow and lost her senses. I hastily left the city, taking with me two servants: the faithful Bendel and the rogue named Rascal, who suspected nothing. We crossed the border and the mountains non-stop. Having crossed to the other side of the ridge, I agreed to stop to rest on the waters, in a secluded place.
I sent Bendel ahead, instructing him to find a suitable house. Approximately an hour from our destination, a festively dressed crowd blocked our way - this locals gave me a formal reception. Then for the first time I saw a girl, beautiful as an angel. Later I learned that I had been mistaken for the King of Prussia, traveling around the country under the name of a count. Since then I have become Count Peter. In the evening, with the help of servants, I held a magnificent feast, where I saw her again. She turned out to be the daughter of the chief forester named Minna.
By my truly royal extravagance and luxury, I subjugated everything to myself, but at home I lived very modestly and alone. No one, except Bendel, dared to enter my chambers during the day. I received guests only in the evenings. The most treasured thing in my life was my love. Minna was a kind, meek girl, worthy of love. I took over all her thoughts. She also selflessly loved me, but we could not be together because of my curse. I calculated the day of the meeting with the man in gray and waited for him with impatience and fear.
I confessed to Minna that I was not a count, but simply a rich and unfortunate man, but I never told the whole truth. I announced to the forester that I intended to ask for the hand of his daughter on the first day of next month, because from day to day I was expecting a visit from a man in gray. Finally, the fateful day arrived, but the stranger in gray never showed up.
The next day, Rascal came to me, declared that he could not serve a man without a shadow, and demanded a calculation. Rumors spread around town that I didn't have a shadow. I decided to return the floor to Minna. It turned out that the girl had already figured out my secret a long time ago, and the chief forester knew my real name. He gave me three days to get a shadow, otherwise Minna will become the wife of another.
I wandered off. After a while, I found myself in a sun-drenched clearing and felt someone grab my sleeve. Turning around, I saw a man in gray. He said that Rascal betrayed me, and now he is wooing Minna, in which he is helped by the gold stolen from me. The stranger promised to return the shadow to me, deal with Rascal, and even leave me a magic wallet. In return, he demanded my soul after death.
I flatly refused. Then he took out my poor shadow and laid it out in front of him. At that moment, Bendel appeared in the clearing. He decided to take away my shadow from the stranger by force, and began to beat him mercilessly with a club. The stranger silently turned and walked away, quickening his pace, taking my shadow and my faithful servant with him. I was left alone with my grief again. I did not want to return to the people, and lived for three days in the forest, like a shy animal.
On the morning of the fourth day, I saw a shadow without a master. Thinking that she had run away from her master, I decided to catch her and take her for myself. I caught up with the shadow and found that it still had an owner. This man carried an invisibility nest, and therefore only his shadow was visible. I took the invisible nest from him. It gave me the opportunity to appear among the people.
Unseen, I went to Minna's house. In the garden near her house, I found that a man in gray, wearing an invisibility cap, had been following me all this time. He began to tempt me again, fiddling with the parchment with the contract. Minna came out into the garden in tears. Her father began to persuade her to marry Rascal - a very rich man with an impeccable shadow. “I will do as you please, father,” Minna said softly. At this time, Rascal appeared, and the girl lost her senses. The man in gray quickly scratched my palm, and thrust a pen into my hand. From mental stress and anguish physical strength I fell into deep oblivion, never signing the contract.
I woke up late in the evening. The garden was full of guests. From their conversations, I learned that this morning the wedding of Rascal and Minna took place. I hastened away from the garden, and my tormentor was not far behind me. He kept repeating that my shadow would drag him everywhere with me. We will be inseparable until I sign the treaty.
I secretly made my way to my house and found it devastated by the mob that Rascal had incited. There I met the faithful Bendel. He said that the local police forbade me as a person of unreliable stay in the city and ordered me to leave its limits in twenty-four hours. Bendel wanted to go with me, but I did not want to subject him to such a test and remained deaf to his persuasion and entreaties. I said goodbye to him, jumped into the saddle and left the place where I had buried my life.
On the way, I was joined by a pedestrian, whom I soon recognized with horror as a man in gray. He offered to lend me my shadow while we traveled together, and I reluctantly agreed. Comfort and luxury were at my service again - after all, I was a rich man with a shadow. The man in gray pretended to be my valet and never left my side. He was convinced that sooner or later I would sign the contract. I firmly decided not to do this.
One day I decided to part with a stranger once and for all. He rolled up my shadow and put it back in his pocket, and then said that I could always call him by jingling gold in a magic purse. I asked if Mr. John had given him a receipt. The man in gray chuckled and pulled Mr. John out of his pocket. I was horrified and threw my wallet into the abyss. The stranger got up gloomily and disappeared.
I was left without a shadow and without money, but a heavy burden fell from my soul. I would be happy if I did not lose love through my own fault. With sadness in my heart, I continued on my way. I lost the desire to meet people and went deeper into the thicket of the forest, leaving it only to spend the night in some village. I was on my way to the mountain mines, where I expected to be hired to work underground.
My boots were worn out, and I had to buy used ones - there was no money for new ones. I soon lost my way. A minute ago I was walking through the forest, and suddenly I found myself among the wild cold rocks. The fierce frost forced me to quicken my pace, and soon I found myself on the icy shore of some ocean. I ran for a few minutes and stopped among rice fields and mulberry trees. Now I walked measuredly, and forests, steppes, mountains and deserts flashed before my eyes. There could be no doubt: I had seven-league boots on my feet.
Science is now the purpose of my life. Since then, I have worked with inextinguishable zeal, trying to convey to others what I saw with my inner eye. The earth was my garden. For housing, I chose the most hidden cave for myself, and continued my wanderings around the world, diligently exploring it.
During my wanderings, I became very ill. The fever burned me, I lost consciousness and woke up in a spacious and beautiful room. On the wall, at the foot of the bed, on a black marble board, my name was written in large gold letters: Peter Schlemil. I listened to someone reading something loudly, as my name was mentioned, but I could not catch the meaning. A friendly gentleman approached my bed with a very beautiful lady in a black dress. Their appearance was familiar to me, but I could not remember who they were.
Some time has passed. The place where I lay was called the Shlemium. What was read was a reminder to pray for Peter Schlemil as the founder of this institution. The friendly gentleman turned out to be Bendel, and the beautiful lady turned out to be Minna. because of long beard I was taken for a Jew. I got better, no one recognized. Subsequently, I found out that I was in the hometown of Bendel, who founded this clinic with the rest of my damn money. Minna is a widow. Her parents were no longer alive. She led the life of a God-fearing widow and did charity work.
I left there without revealing myself to my friends and returned to my previous activities. My strength is waning, but I console myself with the fact that I spent it not in vain and for a certain purpose. To you, dear Chamisso, I bequeath the amazing story of my life, so that it can serve as a useful lesson to people.
The main ideas of the book by V.Wackenroder and L.Thick "Heart outpourings of an art-loving monk." Romantic musical short story, its specificity. "Sightseeing music life composer Josef Berglinger" as the first exemplary short story about art and the artist.
In 1797, Ludwig Tieck anonymously published a book of short stories about artistic era A revival of his friend Wackenroder's "The hearty outpourings of an art-loving monk". The book has become a symbol of faith in the divine essence of art. The title already set the stage for the perception of art as a religion, and the occupation art - service God.
God told people to partake of the mysteries of life.
The short story "The noteworthy musical life of the composer Josef Berglinger" completes the cycle of fantasy about art, it forms the defining life motives of the composer-musician:
1. Between the desire for spiritual ascent and earthly concerns.
2. Bitter confrontation between natural enthusiasm and the inevitable participation in life
3. Confrontation between the ideal nature of the idea and the perception of music and its strict proportion.
4. Composer and listener, composer and performer
These motifs are sometimes partially found in any musical novel.
Authors of musical short stories: Heinrich Heine, Hoffmann, Wagner.
Musical romantic novel deeply immersed in the world of music and specific forms her expressions.
In the structure of musical short stories, the creative individuality of the author is important.
Musical novels are created by people close to the world of music.
- Lyrics of the era of Jena romanticism. Novalis and F. Hölderlin.
Favorite themes of romantics are night, sleep, death. In Novalis, the image of the night has a positive, light color. For Novalis, night is the realm of the infinite, a time of sweet dreams and deep yearning. Only the night resurrects for Novalis the image of his beloved. His fiancee, Sophia Kühn, died very young. From that moment on, the deeply religious Novalis began to dream of meeting his beloved in another world. The poet, in accordance with Christian ideas about the afterlife, affirms faith in spiritual existence human "I" in a different reality.
Sleep and Fantasy lead the poet into the world of Night. It is there that Sophia, the poet's bride, is located, there a mystical connection with her is possible. Night appears as a symbol and image of death. The last, sixth, anthem is even entitled "Death Yearning."
"Hymns to the Night" is written with inspiration. Novalis manages to express abstract concepts through visual images that sink into the soul. The tone skillfully varies: from impetuous exclamations, questions, the poet skillfully moves to a calm narrative.
Original form. All hymns except the sixth are written in rhythmic prose close to free verse. The broken, as if stumbling, rhythm of free verse is perceived as evidence of awkward sincerity.
The image of the night will be significant for German romantics. Especially the antithesis of day and night. It becomes the embodiment of the principle of romantic duality (for example, in Brentano, Hoffmann). The nocturne genre appears in music (Chopin, Schumann, Liszt). The nocturne expresses elegiac reverie, melancholy, contemplative peace of nature.
In "Spiritual Songs (Hymns)" the main themes are love and nature. They are developed in a religious aspect. In the center of the religious picture of the world is the image of the Holy Virgin. Researchers believe that Sophia Kühn is the prototype of the Holy Virgin. Novalis's ideas are connected with Schelling's natural philosophy. Novalis and Schelling, like the Jena romantics, viewed God as a kind of principle that spiritualizes the world and nature. In "Spiritual Songs" Novalis sought to rethink traditional Christian ideas, to return them to their original meaning: to give consolation, encourage those in need...
Friedrich Hölderlin (1770-1843)
Great German poet, his fate was tragic: he was not understood and recognized by his contemporaries, did not find happiness in his personal life. He actually spent thirty-seven years of his life in complete isolation due to mental illness. But on turn of XIX-XX centuries he began to be regarded as a brilliant poet, as a forerunner of the literature of the early 20th century.
By the time that his work falls on, he belongs to the early romantics. In ideological terms, his lyrics were opposed to the Jena romantics, since in his work the attraction to antiquity (and not to the Middle Ages) was combined with civil ideals. It was in his work that the French Revolution left a noticeable mark. The leitmotif of his work is tragic confrontation romantic ideal and reality - also distinguished him from the Jenese with their faith in the power of art and the pathos of universality.
Hölderlin's lyrics are connected with philosophical problems.
He believed that people in the pre-antique era lived in unity with nature, then this connection was lost. People began to dictate their laws to nature. In poetry and in Hölderlin's world outlook, the role of antiquity is great.
Following the model of ancient poets, he wrote in the genre of odes, dithyrambs, messages, idylls; turned to complex ancient strophic constructions.
He sang Suzette Gontar under the name of Diotima (= "honored by the gods"), taken from Plato. It is said of Suzette that she is an "Athenian", and of those around her that they are "barbarians
Hölderlin's love is liberal. It is the love of the free and equal. The image of Diotima is given artistic independence. We perceive this image by itself, regardless of the emotions of the poet in love. In the poem "Diotima" Hölderlin captures the ancient meaning in the nature of the heroine:
In Hölderlin's poems, there is nothing higher than love: you can offend a friend, you don't understand a lofty thought - God will forgive, but it is a great crime to invade the world of those who love (the poem "Unforgivable"):
One of the most significant philosophical problems is the concept of nature and man's place in it. The poem "To Nature" is built on the correspondence of the human world and the natural world. Nature is spiritualized. Man is part of nature. When a person is happy, he dissolves in nature:
Everything changes when dreams die: the "spirit of Nature" is covered with darkness.
In the poem "Remembrance" the poet reflects on the freedom of the individual, on man in the system of the world and the universe. He describes the "north-east", "the most beloved wind", noble oak, "silver poplar", "wide-topped elms". The images used by the poet convey his dream of the natural freedom of the individual:
- Heidelberg romanticism: names, program. Short story by C. Brentano "The Story of the Honest Kasperl and the Handsome Annerl", its features.
The concept of Heidelberg romanticism in the history of literature is used heterogeneously. Its most common narrow meaning is the activity of Arnim and Brentano in the field of collecting and processing folk poetry(publication of "The Magic Horn of a Boy" in 1806-1808, in three volumes). There is, however, a broader understanding of Heidelberg romanticism as the main center of its new stage, which replaced the Jena circle, as younger generation romantics, as the heyday of romanticism.
The emergence and development of Heidelberg romanticism is largely associated with the academic movement at the University of Heidelberg, which experienced a spiritual revival since 1803, primarily with the activities of F. Kreuzer and J. Görres. The central role in the formation of the Heidelberg circle as a cultural and aesthetic unity belongs to K. Brentano. on early stage(1804-1808) the main activity of the representatives of the romantic school in Heidelberg is connected with the ideas of the revival of national antiquity (Arnim and Brentano, J. Görres, Savigny, Jacob and Wilhelm Grimm),
The Heidelberg circle was the foundation on which the theories of Görres and Kreuzer are built, and the soil from which artistic creations Arnim, Brentano and Eichendorff. Early and mature periods Heidelberg romanticism are closely intertwined. Despite the fact that at the stage of 1808-1812. local unity - concentrating around the city of Heidelberg and the University of Heidelberg - is practically lost, as the aesthetic unity of Heidelberg romanticism expresses itself most fully in these years.
The story of Krasperl and Annerl, the memories of an 88-year-old peasant woman are transferred to the elements of the life of the people with their deep faith in omens, with their songs and prayers. the same undulating movement is felt in the plot, which is inherent in poetry: the events-relationships of Grossinger are doubled and Annerl is repeated in the relationship of the Duke and Grossinger's sister. Grossinger's suicide follows Kasperl's suicide. However, each time a new one is introduced into the repetition. the assumption that he is dishonored by the crime of his father and brother, and Grossinger sentences himself to death because he really committed a crime, abandoning Annerl and pushing her to kill the child.
A peasant woman, having met by chance with the narrator, informs him about her grandson Kasperl, who valued honor above all else.
10. The concept of the world of the Heidelberg romantics. Features of the picture of the world in the story of A. von Arnim "Isabella of Egypt".
The action of the story "Isabella of Egypt" (1812) is dated to the 16th century; the subtitle tells about one of the main characters and main topic: "The first love of Emperor Charles V." The author is most important moral idea: who betrayed his love for the sake of fame and money cannot be a worthy ruler of the state. In the work, two types of perception of life are revealed in parallel: the future emperor Charles and the young gypsy Isabella. The composition of the story is focused on this, as if “pulling” all events to two poles, on one of which is the pursuit of success and pleasure, on the other - sacrificial self-giving in love. The composition of the story is focused on showing the essence of Charles's character, the reasons for his unsuccessful reign and opposing all events with a high moral ideal. Most of the work is dedicated to the first love of the future emperor, and only the finale concisely conveys the end of his life, in which there were no lofty goals and great achievements, because he renounced lofty moral values. Parallel to the life of Karl, the life of a young half-Gypsy, half-German Isabella is depicted, naive girl, with which the gypsies, who wish to return to their homeland, pin their hopes for the salvation of their people. Bella is spiritually noble, disinterested, lives with love for Karl and concern for the salvation of her people. The end of her life is symbolically opposed to the end of Karl's life: she brought her people to the land of their fathers, removed the curse from them. The accomplishment of a high mission made her departure from life quiet and beautiful. Arnim uses biblical associations: Bella was to become the mother of a son from a great ruler, her son was destined to free his people. The main milestones of the plot are often connected by fantastic events or characters. Fantasy is used by Arnim to embody the negative properties of modernity. This rejection is concentrated in the image-symbol of Alraun - a hanging man. To some he looks like a dachshund dressed in a dress, others liken him to too dried and overbaked bread. It is almost omnipotent, like gold and the jewels that people find with its help, and at the same time, it is just as disgusting as the omnipotence of gold. The author ironically over this likeness of a man who wants to be made a field marshal and named after a Roman historian. But it is not romantic irony: Arnim uses the discrepancy between form and content, the discrepancy between the fact and its perception. The meaning of the image passes from the realm of the comic into the realm of the philosophical and into the realm of the moral. The comic beginning turns into the tragic: the ability of Alraun to find treasures becomes the reason for Bella’s humiliating marriage with him, at the court of King Charles he is called the “State Alraun”, which emphasizes the role of gold in modern Arnimu society.This symbolic image created according to the laws of the romantic grotesque: it combines, creating unity, opposites. However, the objective world of the story is interesting. Things in Arnim acquire a connection with the character, who is now presented as completely real person, living not only in a dream or in dreamy visions, as in the Jena stage. In the spirit of the trends of the Heidelberg stage, the author draws attention to folk customs. The fair in Bake is especially revealing. Arnim writes about stale dresses pulled out of chests on this occasion, about huge crowds of people who are walking through the fields towards the city, bypassing the road, so as not to choke in the dust. The author does not forget about the theater, where the story of a man turned into a dog by his wife is played out. The ways of conveying spiritual movements are changing, but this only applies to main character. Life away from people has taught Bella to listen to her spiritual movements: she is not used to sharing her feelings with others. During her insulting wedding with Alraun, she explains her tears by the fact that she remembered the kitten that died through her fault. The writer leaves the reader to understand true reason her grief.
11. Lyrics of the Heidelberg Romantics. K.M. Brentano and J. Eichendorff.
The son of an Italian merchant and a German woman, Maximilian von Laroche. Like Novalis, he studied mining, but became interested in literature. He was familiar with Goethe, Wieland, Herder, the Schlegel brothers, L. Tiek, and was friends with Arnim. Brentano's wife is the poetess Sophie Mero
Having assimilated the traditions of German folk poetry, Brentano creates his works close in style and subject matter to samples of folklore literature. His poems are distinguished by lyrical sincerity, simplicity, understandable form. by the most famous work of this type was Brentan's "Lorelei" - "A fairy lived on the Rhine." Lur- ancient name elves, Leia - rock. Therefore, one of the translation options is “rock of the elves”. It rises above the Rhine near the city of Bacharach. According to Minnesinger Marner, this is where the treasure of the Nibelungs is hidden. Another translation is "slate cliff". It was rethought and perceived as a "guard cliff", and then a "rock of deceit".
Brentano's poem is in the style of a folk ballad. Lorelei is endowed with charm. But the girl herself is not happy with her victories, she suffers from magical powers that are enclosed in her, in her charm and beauty. She is not an "evil sorceress", as the bishop believes, but only an unwitting bearer of witchcraft spells that are destructive to others.
Brentanovskaya Lorelei, who inspires passionate feelings in others, is herself unhappy in love: her lover cheated on her. Lorelei agrees to be tonsured as a nun, but dreams of death. The waters of the Rhine irresistibly draw her towards them. On the way to the monastery, she is pursued with love by three accompanying knights. She chooses the only way out for herself - she throws herself from a cliff into the river. Compared to folk legend Brentano complicated the plot. He introduced the motif of unhappy love, which brings Lorelei to the grave.
One of the features of the poetics of the ballad is the stinginess in conveying the feelings of the heroine. It goes back to The Boy's Magic Horn, published by Brentano and Arnim. Brentano reconstructed the verse folk song, observed the syntactical-intonational integrity of couplets and their parallelism in the stanza. All this allowed Schubert and other romantic composers (Weber, Schumann) to set the verses to music in the spirit of the folk song tradition and build a melodic phrase based on the couplet.
brentano attaches special meaning image of the Rhine. He is mentioned five times in the ballad. The heroine is inextricably linked with the Rhine as a symbol of love for native land
Ballad of the Lorelei, included in historical novel"Godvi" (1802), became a model romantic lyrics beginning of the nineteenth century. Eichendorff (1815), Heine (1824), J. de Nerval (1852), Apollinaire (1904) and others addressed the image of the Rhine beauty.
The lyrics of Brentano in the heyday of his work (before the religious crisis of 1815-1835) were mainly love. In the spirit of the German folk-poetic tradition, Brentano represented love as a great feeling, implying a selfless, passionate attachment to the homeland. love lyrics Brentano was patriotic poetry about spiritual beauty german women about beauty home country, Reina.
the most interesting in Brentano are those built on a folk-poetic basis. These are the verses of the Rhine cycle and
Joseph Eichendorff (1788 - 1857)
One of the talented followers of the Heidelbergers. Born and raised in noble family. Studied in Halle and Heidelberg. Here in Heidelberg he received the poetic name "Florence" - "Blossoming". He held various posts in the civil service, participated in the Prussian noble militia, with whom he entered Paris in 1815. creative path lasted almost 50 years.
He is the author of novels, short stories, dramatic works, books of memoirs "Experienced" and historical and literary works. Distinctive feature his poems are musical. Eichendorff was close to the composer Mendelssohn-Bartholdy, who set many of his songs to music. Musicality, folk melody, which are combined with the transfer of the subjective feeling of nature - distinctive features his lyrics. He knew how to see many beautiful and joyful things in life.
In the youthful cycle "The Life of a Singer", Eichendorff reveals his view of creativity as the path by which an inspired artist leads humanity to a "wonderland" - a land of dreams, contemplation and aesthetic pleasure.
Most of Eichendorff's poems have a light color and tell about romantic wanderings among the picturesque mountains and forests. The poet creates a wandering romantic idyll; his travelers travel through fairy lands:
For Eichendorff, the forest is a homeland, a refuge for a person who, in the world of cities, suffers from all the contradictions of time. In an inaccessible distance and height, the Virgin Mary lives, protecting people:
The Mother of God personifies tenderness and love for people.
However, the forest is not always close to man. In the poem "Forest Conversation" (Waldgespräch), more commonly translated "Lorelei", Eichendorff follows Brentano and describes the forest as a haven for forces hostile to man. Lorelei is no longer a sorceress, but a witch (Hexe):
Eichendorff's lyrical talent was reflected in his novel "Dream and Reality" (1813), in the short stories " marble statue"and" From the life of one loafer. He introduces mainly descriptions of nature, conveying the charm of the landscape. The feelings of Eichendorff's heroes are closely connected with poetic landscapes. The writer includes songs and poems in the novel and short stories that give the story musical sound characteristic of the prose of the Romantics.
The landscape in the lyrical works of Eichendorff is unique. Reproducing them, the poet uses special symbols, comparisons, color epithets, verbs of movement. main feature- pictures of nature can not only be seen, but also heard. A special sound background is created in the poem: the noise of the forest, the murmur of a stream, the singing of birds, the echo, the sound of a forest horn.
One of the most significant poems is "The Blue Flower":
Here the romantic motif of the search for an ideal is revealed through the themes of travel, music, and nature. Therefore, the Novalis symbol is included in the title. But if during the period of Jena romanticism the truth seemed achievable, then at the second stage the hope disappeared. Lyrical hero wanders with his harp, but the search is fruitless. At the same time, there is no tragedy in the poem: Eichendorff's worldview is bright. This distinguishes him from most romantics of the later period.
The wonderful story of Peter Schlemil ”A. von Chamisso as a late romantic fairy tale. Traditional motifs and images of German literature, their transformation
Louis Charles Adelaide de Chamisso, a French nobleman, was born in the family castle of Boncourt in Champagne (France). During the years of the French Revolution (1789-1794), the Chamisso family emigrated and settled in Berlin; here the future poet becomes the page of the Prussian queen. In 1798 he entered the Prussian army.
Chamisso's first literary experiments were poems written in French. He began writing in German in 1801. Participation in the "Green Almanac" introduced Chamisso into the circle of German writers. In 1814 Chamisso's story "The Wonderful Story of Peter Schlemil" was published.
The wonderful story of Peter Schlemiel. Chamisso's literary heritage is small. The best of it is "The Wonderful Story of Peter Schlemil" and poems. AT early work(before the trip) Chamisso adjoins romanticism.
In his fairy tale story, Chamisso tells the story of a man who sold his shadow for a wallet in which money never runs out. The absence of a shadow, which is immediately noticed by everyone around, excludes Peter Schlemil from the society of other people; all his desperate attempts to achieve a position in this society and personal happiness fail, and Shlemiel finds some satisfaction only in communion with nature - in the natural sciences.
In this story, therefore, there is an ordinary romantic situation: a person who does not find a place for himself in society, unlike those around him, that is, the situation of Byron's Childe Harold and Rene Chateaubriand, Sternbald Tieck and Johann Kreisler Hoffmann. But at the same time, the situation of Chamisso's story differs from all other versions in its irony over the hero's romantic loneliness, over romantic asociality.
Shlemil, having lost his shadow, is in a tragicomic position: after all, he has lost something that would seem to have no meaning, no value.
The "value" of the shadow lies only in the fact that it makes its owner look like all other people, and the question arises whether it is such a great honor to be like the fraudster Rascal and the smug rich John.
Schlemiel suffers from the mysterious absurdity of his loss, suffers from people who cannot imagine a person without a shadow and treat poor Schlemiel with horror or contempt, not devoid of a fair amount of comedy.
In his misfortune, Schlemil is comical, and at the same time, the consequences of this misfortune are tragic enough for him.
Ironically over the romantic "exclusivity" of his hero, Chamisso is at the same time full of sad sympathy for him.
For Chamisso, asociality is neither the norm, as it was for Friedrich Schlegel in the 90s, nor an absolute tragedy of being, as for Hoffmann. Still remaining within the limits of romantic ideas, that is, not knowing either a way out for his hero from romantic loneliness, or a socio-historical explanation for this loneliness, Chamisso, however, with his sympathetic and ironic attitude towards him, outlines the path to overcome romanticism, leading the writer to poems late 20-30s, in which his departure from romanticism is clearly revealed.
The combination of great life concreteness and fantasy in Shamisso's story recalls creative manner Hoffmann. But if in Hoffmann this combination was ultimately intended to demonstrate the eternal separation of the real world and the ideal world, then in Chamisso the fantastic is only a symbolic expression of some aspects of reality itself.
