could not notice the vices of this society. Money for people became main value in life, the measure of life, envy could easily raise its hand to friendship, the world was ruled by deceit, betrayal and lust for power. modern age reminds Pushkin of a demonic dance, demonic whirling. His soul is restless: the poet is deprived of creative independence, he is greatly burdened and oppressed by the insulting inattention of readers, the indifference of the public. From all this, Pushkin's lyrics begin to fill with tragic motives, and his heroes become inherent in individualistic consciousness and " terrible hearts". So a cycle of tragic works called "Little Tragedies" arose.
The heated drama of the disturbing experiences of the heroes - lust for power and stinginess, ambition and envy - predetermine the central theme of "Little Tragedies": tragic fate personality, thirsting for self-affirmation at any cost. The indomitable desire for happiness, for the conquest of one's place under the sun, the assertion of one's superiority and exclusivity, the erection of one's personal desires into a cult, into the only and enduring value - this is what constitutes dramatic basis small but extremely meaningful works. The heroes of these tragedies idealize their world and themselves, they are convinced of their heroic destiny. But this belief in one's own uniqueness comes into conflict with the real world, imbued with the same individualistic moods, which inevitably leads the heroes to death. Only a few of them reject the selfish life principles, but their ruthless "terrible age" involves them in a cycle of danger, anxiety, and death.
The objective conflict, which is hostile to the individualistic consciousness of the heroes of the world order, is aggravated by the subjective - internal contradictions, mental breakdown, the struggle of the idea-passion with traditional moral prohibitions. The tension and inner drama of tragedies determine the decisive actions of the heroes, the borderline state of mind characters when the issue is resolved
life and death. Internal drama permeates the whole atmosphere of "Little Tragedies", where the incomparable collides directly: avarice and chivalry, straightforwardness and deceit. The father challenges his son, and he accepts him with joy, like a tiger cub an easy prey. A friend kills a friend, succumbing to the urge of wounded vanity. A terrible internal struggle tears apart the souls of the heroes. Pushkin explores the state of mind of the heroes at the moment they choose their path, all the characters in tragedies stand on the verge of life and death. The circumstances in which characters, heated to the limit.
Every image, every detail, every replica is clear and definite, and they all contrast sharply with each other. This is what Albert says in The Miserly Knight to the usurer;
Ah, buddy!
Cursed Jew, venerable Solomon,
Maybe here...
In these words - and an acute need for money, and contempt for a person of low birth. In Mozart and Salieri, the blind violinist, not knowing who is standing in front of him, plays an aria from Don Giovanni out of tune, evoking Mozart's sincere amusement and Salieri's equally sincere indignation.
Entire episodes contrast sharply with each other. In the dialogue of the usurer with Albert, the Jew cunningly and persistently leads the conversation to the main topic - the poisoning of his father, and in the dialogue between the baron and the duke, the father just as cunningly and persistently seeks to get away from the oppressive theme - the need to financially support his son.
The action of these two tragedies takes place in completely different times, the main characters belong to completely different social strata. But the characters and the fate of the characters are largely similar. The selfish desire of the characters to assert their truth by ruthlessly suppressing the will of others brings the works closer together.
The noble duke's exclamation of a terrible age is immediately taken up by the opening phrase of the following tragedy:
Everyone says: there is no truth on earth.
But there is no truth - and above. For me
All this is clear, like a simple gamma.
However, the person who uttered these words turns out, upon closer acquaintance with him, to be a direct descendant of the Miserly Knight. ■
Having exchanged knightly privileges for the possession of treasures, for the sake of which he had to suppress everything in himself human weaknesses, the baron thinks with horror and indignation about his son, who will get all the wealth, for free:
A madman, a young squanderer... He will break the sacred vessels, He will water the dirt with royal oil - He will squander... And by what right? Just as sincerely indignant is the priest of art Salieri, who devoted his whole life without a trace to the service of music, he cannot reconcile himself with the injustice that illuminated with genius not him, but the frivolous, careless Mozart:
Where is the rightness, when a sacred gift, When an immortal genius - not as a reward of burning love, selflessness, Works, zeal, prayers sent - But illuminates the head of a madman, Idle revelers? ..
With all their being, with all the strength of offended pride, the heroes protest against the encroachment on the foundations of their ideas about "higher justice, which leads one of them to an inglorious death, and the other to a vile crime and an inglorious continuation of life.
The baron, mired in greed, petty prudence, however, in a moment of despair remembered his knightly dignity and grabbed his sword as an instrument for an honest resolution of the dispute. Salieri, who “understood harmony with algebra,” turned out to be more petty and meaner: he used poison and was not horrified, but only thought about the words of the magnanimous Mozart: But is he right, And I'm not a genius? Genius and villainy Two things are incompatible. in different ways the heroes of "Little Tragedies" strive to achieve the satisfaction of their passions, but they all inevitably fail: the cruel age takes revenge on everyone for selfishness, cruelty, arrogance. AND goodies unable to bring the natural law and order into the age of alienation, the destruction of normal human
relationship and turn out to be either innocent victims or powerless witnesses of base passions.
Living in a society built on the exploitation of man by man, Pushkin could not fail to notice the vices of this society. Money for people became the main value in life, the measure of life, envy could easily raise a hand for friendship, the world was ruled by deceit, betrayal and lust for power. The modern age reminds Pushkin of a demonic dance, demonic whirling. His soul is restless: the poet is deprived of creative independence, he is greatly burdened and oppressed by the insulting inattention of readers, the indifference of the public. From all this, Pushkin's lyrics begin to fill with tragic motives, and his heroes become characterized by individualistic consciousness and "terrible hearts." This is how a cycle of tragic works called “Little Tragedies” arose.
The incandescent drama of the characters' anxious experiences - lust for power and stinginess, ambition and envy - predetermine the central theme of "Little Tragedies": the tragic fate of a person who yearns for self-affirmation at any cost. The indomitable striving for happiness, for winning one's place under the sun, asserting one's superiority and exclusivity, erecting one's personal desires into a cult, into the only and enduring value - this is what constitutes the dramatic basis of small, but exceptionally meaningful works. The heroes of these tragedies idealize their world and themselves, they are convinced of their heroic destiny. But this belief in one's own exclusivity comes into conflict with the real world, imbued with the same individualistic moods, which inevitably leads the heroes to death. Only a few of them reject selfish life principles, but even their ruthless “terrible age” draws them into the cycle of danger, anxiety, and death.
The objective conflict, which is hostile to the individualistic consciousness of the heroes of the world order, is exacerbated by the subjective one - internal contradictions, mental breakdown, the struggle of ideas-passions with traditional moral prohibitions. The tension and inner drama of tragedies determine the decisive actions of the heroes, the borderline state of mind of the characters when the issue of life and death is being decided. Internal drama permeates the whole atmosphere of "Little Tragedies", where the incomparable collides directly: avarice and chivalry, straightforwardness and deceit. The father challenges his son, and he accepts him with joy, like a tiger cub an easy prey. A friend kills a friend, succumbing to the urge of wounded vanity. A terrible internal struggle tears apart the souls of the heroes. Pushkin explores the state of mind of the heroes at the moment they choose their path, all the characters in tragedies stand on the verge of life and death. The circumstances in which the actors are placed are tense to the limit.
Every image, every detail, every replica is clear and definite, and they all contrast sharply with each other. Here is what Albert says in The Miserly Knight, referring to the usurer:
Ah, buddy!
Cursed Jew, venerable Solomon,
Maybe here...
In these words - and an acute need for money, and contempt for a person of low birth. In Mozart and Salieri, the blind violinist, not knowing who is standing in front of him, plays an aria from Don Giovanni out of tune, evoking Mozart's sincere amusement and Salieri's equally sincere indignation.
Entire episodes contrast sharply with each other. In the dialogue between the usurer and Albert, the Jew cunningly and insistently leads the conversation to main topic- the poisoning of the father, and in the dialogue between the baron and the duke, the father just as cunningly and persistently seeks to get away from the theme that oppresses him - the need to financially support his son.
The action of these two tragedies takes place in a completely different times, the main characters belong to completely different social strata. But the characters and the fate of the characters are largely similar. The selfish desire of the characters to assert their truth by ruthlessly suppressing the will of others brings the works closer together.
The noble duke's exclamation of a terrible age is immediately taken up by the opening phrase of the following tragedy:
Everyone says: there is no truth on earth.
But there is no truth - and above. For me
All this is clear, like a simple gamma.
However, the person who uttered these words turns out, upon closer acquaintance with him, to be a direct descendant of the Miserly Knight.
Having exchanged knightly privileges for the possession of treasures, for the sake of which he had to suppress all human weaknesses in himself, the baron thinks with horror and indignation about his son, who will get all the wealth for nothing:
Fool, young squanderer...
He will break the sacred vessels,
He will water the dirt with royal oil -
He will squander... And by what right?
Just as sincerely indignant is the priest of art Salieri, who devoted his whole life without a trace to the service of music, he cannot reconcile himself with the injustice that illuminated with genius not him, but the frivolous, careless Mozart:
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? ..
With all their being, with all the strength of offended pride, the heroes protest against the encroachment on the foundations of their ideas about supreme justice, which leads one of them to an inglorious death, and the other to a vile crime and an inglorious continuation of life.
The baron, mired in greed, petty prudence, however, in a moment of despair remembered his knightly dignity and grabbed his sword as an instrument for an honest resolution of the dispute. Salieri, on the other hand, “who comprehended harmony by algebra”, turned out to be more petty and vile: he used poison and was not horrified, but only thought about the words of the magnanimous Mozart:
But is he right, And I'm not a genius?
Genius and villainy
Two things are incompatible.
In different ways, the heroes of the Little Tragedies strive to achieve the satisfaction of their passions, but they all inevitably fail: the cruel age takes revenge on everyone for selfishness, cruelty, arrogance. And the positive heroes are not able to bring the natural law and order into the age of alienation, the destruction of normal human relations, and turn out to be either innocent victims or powerless witnesses of base passions.
Essay text:
Living in a society built on the exploitation of man by man, Pushkin could not fail to notice the vices of this society. Money for people became the main value in life, the measure of life, envy could easily raise a hand for friendship, the world was ruled by deceit, betrayal and lust for power. The modern age reminds Pushkin of a demonic dance, demonic whirling. His soul is restless: I deprive the poet of artistic independence, he is strongly oppressed and oppressed by the insulting inattention of readers, the indifference of the public. Oҭ all this, Pushkin's lyrics begin to fill with tragic motives, and his heroes become inherent in individualistic consciousness and terrible hearts. Thus arose a cycle of tragic works called Little Tragedies. The heated drama of the disturbing experiences of the heroes of lust for power and stinginess, ambition and envy predetermine the central theme of the Little Tragedies: the tragic fate of a person who yearns for self-affirmation at any cost. The indomitable striving for happiness, for winning one's place under the sun, asserting one's superiority and exclusivity, erecting one's personal desires into a cult, into the only and enduring value - this is what constitutes the dramatic basis of small, but exceptionally meaningful works. The heroes of these tragedies idealize their world and themselves, they are convinced of their heroic destiny. But this belief in one's own exclusivity comes into conflict with the real world, imbued with the same individualistic moods, which inevitably leads the heroes to death. Only a few of them reject selfish life principles, but even their ruthless, terrible age draws them into a cycle of danger, anxiety, and death. The objective conflict, which is hostile to the individualistic consciousness of the heroes of the world order, is aggravated by subjective internal contradictions, mental breakdown, the struggle of ideas-passions with traditional moral prohibitions. The tension and inner drama of tragedies determine the decisive actions of the heroes, the borderline state of mind of the characters when the issue of life and death is being decided. Internal drama permeates the whole atmosphere of Little Tragedies, where the incomparable collides directly: avarice and chivalry, straightforwardness and deceit. The father challenges his son, and he accepts him with joy, like a cub an easy prey. A friend kills a friend, succumbing to the urge of wounded vanity. A terrible internal struggle tears apart the souls of the heroes. Pushkin explores the state of mind of the heroes at the moment of their choice of path, all the characters of tragedies stand on the verge of life and death. The circumstances in which the actors are placed are tense to the limit. Every image, every detail, every replica is clear and definite, and they all contrast sharply with each other. This is how Albert says in The Miserly Knight, referring to the usurer: Ah, buddy! Cursed Jew, venerable Solomon, Come here... In these words, there is an acute need for money, and contempt for a person of low birth. In Mozart and Salieri, the blind violinist, not knowing who is standing in front of him, plays an aria from Don Giovanni out of tune, evoking Mozart's sincere amusement and Salieri's equally sincere indignation. Entire episodes sharply contrast with each other. In the dialogue between the usurer and Albert, the Jew cunningly and persistently leads the conversation to the main theme of the poisoning of his father, and in the dialogue between the baron and the duke, the father just as cunningly and persistently seeks to get away from the oppressive theme of the need to support his son financially. The action of these two tragedies takes place in completely different times, the main characters belong to completely different social strata. But the characters and the fate of the characters are largely similar. The selfish desire of the heroes to assert their truth by ruthlessly suppressing the will of others brings the works closer together. The exclamation of the noble duke about the terrible age kuzh is taken up by the opening phrase of the following tragedy: Everyone says: there is no truth on earth. But there is no higher truth. For me All this is clear, like a simple gamut. However, the person who uttered these words turns out to be a direct descendant of the Miserly Knight upon closer acquaintance with him. Having exchanged knightly privileges for the possession of treasures, for the sake of which he had to suppress all human weaknesses in himself, the baron thinks with horror and indignation about his son, who will get all the wealth for nothing: A madman, a young squanderer... He will break the sacred vessels, He will drink the dirt with royal oil. He is a squanderer... And by what right? Just as sincerely indignant is the priest of art Salieri, who devoted his whole life without a trace to the service of music, he cannot reconcile himself with the injustice that illuminated with genius not him, but the frivolous, careless Mozart: Where is the rightness, when a sacred gift, When the immortal genius is not sent as a reward of burning love, selflessness, Labor, zeal, prayers And illuminates the head of a madman, Revelers of the idle? .. With all my being, with all the strength of offended pride, the heroes protest against the encroachment on the foundations of their ideas about supreme justice, which leads one of them to an inglorious death, and the other to a vile crime and an inglorious continuation of life. The baron, mired in greed and petty prudence, however, in a moment of despair remembered his knightly dignity and grabbed his sword as an instrument for an honest resolution of the dispute. Salieri, who comprehended harmony by algebra, turned out to be more petty and vile: he used poison and was not horrified, but only thought about the words of the magnanimous Mozart: But is he right, And am I not a genius? Genius and villainy Two things are incompatible. In different ways, the heroes of the Little Tragedies strive to achieve the satisfaction of their passions, but they all inevitably fail: the cruel age avenges everyone for selfishness, cruelty, and arrogance. And positive heroes are not able to bring natural law and order into the age of alienation, the destruction of normal human relations and turn out to be either innocent victims or powerless witnesses of base passions.
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Living in a society built on the exploitation of man by man, Pushkin could not fail to notice the vices of this society. Money for people became the main value in life, the measure of life, envy could easily raise a hand for friendship, the world was ruled by deceit, betrayal and lust for power. The modern age reminds Pushkin of a demonic dance, demonic whirling. His soul is restless: the poet is deprived of creative independence, he is greatly burdened and oppressed by the insulting inattention of readers, the indifference of the public. From all this, Pushkin's lyrics begin to fill with tragic motives, and his heroes become characterized by individualistic consciousness and "terrible hearts." This is how a cycle of tragic works called “Little Tragedies” arose.
The incandescent dramatism of the characters' anxious experiences - lust for power and stinginess, ambition and envy - predetermine the central theme of "Little Tragedies": the tragic fate of a person who yearns for self-affirmation at any cost. The indomitable striving for happiness, for winning one's place under the sun, asserting one's superiority and exclusivity, raising one's personal desires into a cult, into the only and enduring value - this is what forms the dramatic basis of small, but extremely meaningful works. The heroes of these tragedies idealize their world and themselves, they are convinced of their heroic destiny. But this belief in one's own exclusivity comes into conflict with the real world, imbued with the same individualistic moods, which inevitably leads the heroes to death. Only a few of them reject selfish life principles, but even their ruthless “terrible age” draws them into the cycle of danger, anxiety, and death.
The objective conflict, which is hostile to the individualistic consciousness of the heroes of the world order, is exacerbated by the subjective - internal contradictions, mental breakdown, struggle - ideas-passions with traditional moral prohibitions. The tension and inner drama of tragedies determine the decisive actions of the heroes, the borderline state of mind of the characters when the issue of life and death is being decided. Internal drama permeates the whole atmosphere of "Little Tragedies", where the incomparable collides directly: avarice and chivalry, straightforwardness and deceit. The father challenges his son, and he accepts him with joy, like a tiger cub an easy prey. A friend kills a friend, succumbing to the urge of wounded vanity. A terrible internal struggle tears apart the souls of the heroes. Pushkin explores the state of mind of the heroes at the moment they choose their path, all the characters in tragedies stand on the verge of life and death. The circumstances in which the actors are placed are tense to the limit.
Every image, every detail, every replica is clear and definite, and they all contrast sharply with each other. Here is what Albert says in The Miserly Knight, referring to the usurer:
Ah, buddy!
Cursed Jew, venerable Solomon,
Maybe here...
In these words there is an acute need for money, and contempt for a person of low birth. In Mozart and Salieri, the blind violinist, not knowing who is standing in front of him, plays an aria from Don Giovanni out of tune, evoking Mozart's sincere amusement and Salieri's equally sincere indignation.
Entire episodes contrast sharply with each other. In the dialogue between the usurer and Albert, the Jew cunningly and persistently leads the conversation to the main topic - the poisoning of his father, and in the dialogue between the baron and the duke, the father, just as cunningly and persistently, seeks to get away from the theme that oppresses him - the need to financially support his son.
The action of these two tragedies takes place in completely different times, the main characters belong to completely different social strata. But the characters and the fate of the characters are largely similar. The selfish desire of the characters to assert their truth by ruthlessly suppressing the will of others brings the works closer together.
The noble duke's exclamation of a terrible age is immediately taken up by the opening phrase of the following tragedy:
Everyone says: there is no truth on earth.
But there is no truth - and above. For me
All this is clear, like a simple gamma.
However, the person who uttered these words turns out, upon closer acquaintance with him, to be a direct descendant of the Miserly Knight.
Having exchanged knightly privileges for the possession of treasures, for the sake of which he had to suppress all human weaknesses in himself, the baron thinks with horror and indignation about his son, who will get all the wealth for nothing:
Fool, young squanderer...
He will break the sacred vessels,
He will water the dirt with royal oil -
He will squander... And by what right?
Just as sincerely indignant is the priest of art Salieri, who devoted his whole life without a trace to the service of music, he cannot reconcile himself with the injustice that illuminated with genius not him, but the frivolous, careless Mozart:
Where is the truth, when the sacred gift,
When immortal genius is not a reward
Burning love, selflessness,
Works, zeal, prayers sent -
And illuminates the head of a madman, Revelers of the idle? ..
With all their being, with all the strength of offended pride, the heroes protest against the encroachment on the foundations of their ideas about the higher. justice, which leads one of them to an inglorious death, and the other to a vile crime and an inglorious continuation of life.
The baron, mired in greed, petty prudence, however, in a moment of despair remembered his knightly dignity and grabbed his sword as an instrument for an honest resolution of the dispute. Salieri, on the other hand, “who comprehended harmony by algebra”, turned out to be more petty and vile: he used poison and was not horrified, but only thought about the words of the magnanimous Mozart:
But is he right, And am I not a genius?
Genius and villainy
Two things are incompatible.
In different ways, the heroes of the Little Tragedies strive to achieve the satisfaction of their passions, but they all inevitably fail: the cruel age takes revenge on everyone for selfishness, cruelty, arrogance. And the positive heroes are not able to bring the natural law and order into the age of alienation, the destruction of normal human relations, and turn out to be either innocent victims or powerless witnesses of base passions.
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In 1830, A. S. Pushkin went to Boldino to take possession of the estate. But due to cholera, he is forced to stay there for three months. This period in the work of the great prose writer and poet is called the Boldin autumn. He writes a lot: poems, articles, Belkin's Tales and Little Tragedies. The writer chooses different genres to express your thoughts on philosophical problems. And some of them have gloomy tones, such as the poem "Demons". The poet begins to comprehend the complexity and inconsistency of life.
Before him, as if new paths are opening in a familiar forest, full of surprises. This is how Pushkin's poetic and prosaic canvases are invaded by psychological traits allowing you to get closer to understanding the world that surrounds him. “Terrible age. Terrible hearts!” - this is a comprehensive characteristic of not only the time of chivalry and admiration for beautiful lady. This is also a description of the world, the society of the Pushkin period. Such a definition can be fully correlated with our time, in which there are many cases that adversely affect the lives of many people.
The peculiarity of Pushkin's "Little Tragedies" is that they are a cycle in which each work most clearly reflects one of the most important life problems. The poet himself pointed out that all this is a reworking of other works. But The Miserly Knight remains the most enigmatic text. According to some researchers, he has no prototype. And the scene from Cheston's tragicomedy, which the author spoke about, also does not exist. All this gives Pushkin's work a mystical halo. But it is in this work that the poet raises important issues: about the present century and about the callousness of hearts, which, with their indifference, can cause irreparable damage not only to themselves, but also to those around them. The main vice in the work “The Miserly Knight” is power. It is she who pushes the Baron to save money and gold. After all, it is only on such a solid, but unspiritual basis that power is maintained. But it has a negative impact not only on society as a whole, but also on each individual person.
The poet shows us that money is deprived of the most important thing - the spiritual component. It is not in the process of acquiring money. The baron profits from humiliation human dignity. But the power of profit has so overshadowed his mind that he tells sad story one widow as a funny case from life. . ..Today the Widow gave it to me, but before With three children half a day in front of the window She was on her knees howling. It rained and stopped, and went again, The Pretender did not move. And such humiliation was worth only an old doubloon. How depreciated life and sympathy in a world in which nobility should reign! Ladies were worshiped during the days of chivalry. There were, of course, then poor women who were not honored with such an honor. But the Baron in the work is called a knight, albeit a stingy one. So he had to at least just take a debt and not humiliate a mother with three children like that. At the same time, the money is not used for the benefit of even the owner himself: he simply puts it in the chest. But it is precisely such an object that brings him power.
And this for the Baron is the most important thing in the world. I reign!.. What a magical brilliance! Obedient to me, my power is strong; Happiness is in it, my honor and glory are in it! In these few lines, the Baron told us the meaning of his life. It has a desire only for hoarding, glory. It is from such cubes that his happiness is made up. But even this understanding of the joys of life is based on the troubles of other people. This whole chest is full of more than just gold coins. It contains a piece of human pain and suffering. If you collect all the humiliations and insults that people experienced in order to fill such a container with gold, then they will never fit in the Baron's chest. And he himself speaks of this, boasting of the way in which he was able to achieve such wealth. And we understand that none of the people can touch his soul, especially when some old doubloon is at stake. Yes! If all the tears, blood and sweat, Shed for everything that is stored here, From the depths of the earth all suddenly came out, That would be another flood - I would choke in my cellars of the faithful. The baron revels in his power, he does not see living people behind it. Only a chest can cause heart trembling in it. And he does not even remember his son, a brave knight.
The only thing he thinks about mean knight”, so it's about your money again. He is afraid that his son will squander all his inheritance in an instant. So the writer shows us that money and wealth never bring anything good. They destroy their owner. And he, in turn, is able to exterminate everyone who can only be suspected of intending to encroach on such a treasure. All his life the Baron lived in a small cramped room called a chest. His soul belongs only to this golden "vessel". Only to him can he tell about his secrets and hopes. Every time I want to open My chest, I fall into heat and trembling. Perhaps this approach to life has a right to exist. Therefore, the poet so colorfully and in detail describes the world in which the Baron lives. This does not mean that Pushkin supports him, but he is trying to show us that such are the laws of time. And if we do not accept them, then we must fight them. So does the son of the Baron - Albert. He understands that between him and his father there is a big barrier - a chest of gold. And he can not destroy this blank wall. Then he turns to the Duke for help. However, in the final scene in the palace, we understand that one who possesses countless treasures will never give up even a small part of them. Truly "terrible age, terrible hearts." The baron, in order to save his money from any encroachment, is ready to slander his own son.
The writer hides young man in the next room. He gets a chance to hear what, perhaps, he guessed, but did not want to believe. His own father accuses him of violence and low vices. So money and power destroy not only normal relations between people, but also family bonds which should be the strongest. Golden doubloons intervene in this union of father and son, which can disappear as quickly as they appear. Pushkin shows us that the Baron is making the wrong choice. Instead of own son he chooses a chest of gold. And the most dangerous thing is that the "stingy knight" not only does not realize, but does not even understand that there should be one wealth in life - the family.
The young man also becomes the successor of his father's tradition. He does not save money, but accepts the Baron's challenge to a duel. And only the Duke is outraged by this state of affairs. This episode shows the aftermath of the Baron's upbringing. Firstly, the young man is ready to cross any frontier in order to achieve his goals (the Baron was and remains not the same). Secondly, Albert is not aware of his actions. He does not give himself an account of his own actions. The callousness of hearts in this family will be passed on from generation to generation. They will not be able to raise their children in such a way that they can see the full horror of what is happening. It's a vicious circle. No wonder the Duke says that this age is terrible. He makes a kind of generalization: from such human vice won't get rid of it soon.
This is once again confirmed at the time of the Baron's death. He does not think about the fact that his son was able to answer his challenge. He does not think that a young man, completely unadapted to life, will be left alone. Only one thought sounds in his head: I can't stand. my knees are getting weak. stuffy!., stuffy!.. Where are the keys? Keys, my keys! Pushkin presents us in a small tragedy with different shades and consequences of the manifestation of the unlimited power of money. He shows that they never, neither in the days of chivalry, nor in our age, bring anything positive. They give power, but it has no spiritual basis. Therefore, power is also quickly crumbling, as it was built. Therefore, our life should be based on family ties and a respectful attitude towards a person who, perhaps someday, will lend a helping hand to you. And such wealth should not be built on self-interest. This simple truth, except for the Duke, no one understood, so the author puts the phrase into his mouth: “A terrible age, terrible hearts!” But we can still try to change not so much others as ourselves, so that next to us is not a lifeless chest of gold, but a simple person who can soften the soul with a word and dispel all doubts.
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