The writing

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

Mature drama - the central theme of freedom, the idea of ​​national liberation (Joan of Arc), the clash of two characters Mary Stuart - the character of the prudent Elizabeth and the spontaneous character of Mary Stuart. The drama for reading "Wallenstein" is connected with German history. The drama "Dmitry the Pretender" is connected with Russian history (only sketches of this work). Schiller's fame was enormous until the 1930s. 19th century. He is convinced and sought to convince the reader that the world has a very clearly drawn line between good and evil. Stylistics: big monologues of heroes, enthusiastic, created for recitation.

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

A political woman, endowed with a state mind, businesslike, prudent, prone to intrigues. She had no right to the throne. Her father Henry 8 sent her mother to the chopping block, after which Elizabeth was considered illegitimate. The field of Henry 8 sons did not remain and Mary the Bloody ascended the throne. She sends Elizabeth to prison, but after Mary's death, Elizabeth becomes queen. She understood that if she married, then everything would go to her husband and she would lose her independence, so she became a virgin queen. For Schiller, his drama is a clash of two approaches to life: a person’s natural desire for freedom and self-expression (Maria is unselfish, unambitious, a woman created for love, self-critical, open, her servants stay with her to the end, because they love her). For Mary, the most striking scene is the meeting with Elizabeth. Elizabeth is smart, she sees Mary as a threat to the welfare of the country. She remains a woman and realizes that she does not have what Mary has. She is jealous of her as a woman. There is a secret female rivalry in it.

The meeting of the two queens presents an introduction: Mary is allowed to go down to the garden, having spent years in captivity, she is glad as a child. The queen only dreams of Elizabeth letting her out, she needs freedom. And Elizabeth speaks down to her, she longs for Mary to obey her in everything, to recognize all priorities. Otherwise, Elizabeth is ready for anything. When Elizabeth goes beyond the ethics of conversation, Mary loses her temper. Elizabeth reproaches Mary for being a sinner, Mary becomes furious and exposes the queen's hypocrisy. Splash of truth, freedom is more important to her than the future. Already left alone, realizing that there will be no release, she is proud that she humiliated Elizabeth in such a way. Elizabeth decides that she will be safe only after Mary's death. She begins to prepare her lords to decide on Mary's execution. Farewell scene of Mary Stuart with those who accompany her. The queen is calm until the last moment and accepts death with great dignity.

The plot is based on a family tragedy. In the ancestral castle of the barons von Moor, the father, the youngest son, Franz, and the ward of the count, the bride of the eldest son, Amalia von Edelreich, live. The plot is a letter allegedly received by Franz, which tells about the dissolute life of Karl von Moor, the eldest son of the count, who is taking a course of science at the University of Leipzig. Saddened by the bad news, the old man von Moor, under pressure, allows Franz to write a letter to Karl and inform him that, enraged by the behavior of his eldest son, he, the count, deprives him of his inheritance and his parental blessing.

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

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

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

Now that Franz von Moor has managed to expel his older brother from his father's loving heart, he is trying to denigrate him in the eyes of his bride, Amalia. In particular, he informs her that the diamond ring, which she gave to Karl before parting as a pledge of fidelity, he gave to the harlot when he had nothing to pay for love pleasures. He draws in front of Amalia a portrait of a sick beggar in rags, from whose mouth it reeks of "deadly nausea" - such is her beloved Karl now.

But Amalia refuses to believe Franz and drives him away.

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

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

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

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

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

A Czech nobleman is asked to join von Moor's detachment, having lost all his fortune, as well as his beloved, whose name is Amalia. The story of the young man stirred up in the soul of Charles, old memories, and he decides to lead his gang to Franconia. Under a different name, he enters his ancestral castle. He meets his Amalia and becomes convinced that she is faithful to the "dead Karl".

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

Karl returns to his robbers, in the morning they will leave these places, but for now he wanders through the forest and in the darkness he suddenly hears a voice and sees a tower. It was Herman who came furtively to feed the prisoner locked up here. Karl breaks the locks from the tower and frees the old man, withered like a skeleton. This prisoner turns out to be old man von Moor, who, unfortunately, did not die then from the news brought by Hermann, but when he came to his senses in a coffin, his son Franz imprisoned him secretly from people in this tower, dooming him to cold, hunger and loneliness. Karl, after listening to his father's story, can no longer endure it and, despite the family ties that bind him to Franz, orders his robbers to break into the castle, grab his brother and deliver him alive.

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

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

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

I take two lessons to work on the play, the third is a generalizing lesson-thinking. At the first lessons, there is a detailed work on the text of the play, reading by roles.

In preparation for the final lesson, the children were divided into creative groups with tasks: the Actors group was preparing the third scene of the second act of Bohemian Forests for staging; a group of "Designers" prepared a playbill, portraits of the main characters - Franz Moor and Karl Moor; the "Researchers" group worked on A. S. Pushkin's novel "Dubrovsky"; the group "Art Critics" worked on the history of the creation of the 9th symphony by L. V. Beethoven.

Decor: Theatrical screen, portrait of the writer, playbill for the drama, illustrations for the work.

Musical accompaniment: L. V. Beethoven. 9th Symphony, Ode to Joy.

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

Introductory speech of the teacher

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

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

Conversation with the class

The play The Robbers is set in 18th century Germany. Its plot is built on the enmity of two brothers. What can you say about the main characters of the play?

Student responses

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

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

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

When characterizing characters, Schiller uses the technique Antitheses. The appearance of the brothers, their inner world, their actions are contrasting.

One hypocritically pretends to be a meek and loving son, although in fact he is ready for meanness in order to discredit Karl. The other is generous, capable of lofty feelings. In the characterization of the brothers, antonyms are used: vile - generous, shameless - honest, immoral - noble.

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

“Who now dares to come and pull me to an answer or say to my eyes: “You are a scoundrel!” Now down with the burdensome mask of meekness and virtue! Look at the real Franz and be horrified!.. Stroking and caressing is not my custom. The pallor of poverty and slavish fear is the color of my livery. I will dress you in this livery!” (Characterization of Franz; act 2, scene 2.)

“Amalia. Faded colors cannot repeat the lofty spirit that shone in his fiery eyes...

Old Moor. That friendly, affectionate look.” (Characterization of Karl; act 2, scene 2.)

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

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

Conversation with the class

Why is a priest brought into the camp of robbers?

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

What better helps us understand the character of the protagonist?

Answer. Schiller in The Robbers managed to show the innermost movements of the soul through the monologues and replicas of the hero. Karl Moor's monologues help us understand what an internally contradictory path from hatred and revenge to the realization of the horror of death and repentance the hero goes through. He takes upon himself the right to execute and pardon, but the atrocities and excesses of the robbers do not give him the opportunity to become the same. The hero's monologue shows how deeply he experiences discord with his conscience.

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

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

What can be said about the life goals of these heroes? What qualities of the characters seem similar to you?

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

Dubrovsky and Karl Moor are united by the similarity of destinies. Karl does not kill for robbery, but distributes his legal part of the booty to orphans. They both fit the characteristic - Noble. The actions of Vladimir Dubrovsky, his desire for revenge and the rejection of it coincide with the path of the hero Schiller, only he, unlike Vladimir, surrenders to justice, and does not hide abroad. Considering these images of world literature, we see similarities in the depiction of the rebel hero by Pushkin and Schiller. Nobility, honesty, generosity unites these heroes. Their inner world and character is incompatible with the environment (a gang of robbers) in which they both fall: “I am not a thief, tell them that my trade is retribution, my trade is revenge” (Karl Moor).

Teacher. For two hundred years, the finale of the play has been interpreted in different ways. Invariably, the main question of the finale also arises before us:

What did the protagonist condemn himself for? Why is he surrendering to justice?

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

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

Did the main character surprise you? How do you feel about his actions? (Student answers.)

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

The description of events in the novels and other works of the great German poet did not go unnoticed by the musicians.

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

Joy, unearthly flame,
Paradise spirit that flew to us,
Intoxicated by you
We entered your bright temple.
You pull together effortlessly
All divided by enmity,
Where you spread your wings
People are brothers among themselves.
Hug, millions!
Merge in the joy of one!

(Beethoven's 9th symphony, ode "To Joy" sounds.)

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

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

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

Literature History of German Literature: In 3 vols. M.: Raduga, 1985. Vol. 1. Libenzon Z. E. Friedrich Schiller. M .: Education, 1990. Materials of the lessons of I. Arkin: Literature at school, 1998.

8th grade

Elena KUDINOVA

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

Lesson-reflection on the drama of F. Schiller "Robbers"

I take two lessons to work on the play, the third is a generalizing lesson-thinking. At the first lessons, there is a detailed work on the text of the play, reading by roles.

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

Decor: theatrical screen, portrait of the writer, playbill for the drama, illustrations for the work.

Musical accompaniment: L.V. Beethoven. 9th Symphony, Ode to Joy.

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

Introductory speech of the teacher

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

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

Conversation with the class

The play The Robbers is set in 18th century Germany. Its plot is built on the enmity of two brothers. What can you say about the main characters of the play?

Student responses

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

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

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

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

One hypocritically pretends to be a meek and loving son, although in fact he is ready for meanness in order to discredit Karl. The other is generous, capable of lofty feelings. In the characterization of the brothers, antonyms are used: vile - generous, shameless - honest, immoral - noble.

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

“Who now dares to come and pull me to an answer or say to my eyes: “You are a scoundrel!” Now down with the burdensome mask of meekness and virtue! Look at the real Franz and be horrified!.. Stroking and caressing is not my custom. The pallor of poverty and slavish fear is the color of my livery. I will dress you in this livery!” (Characterization of Franz; act 2, scene 2.)

“Amalia. Faded colors cannot repeat the lofty spirit that shone in his fiery eyes...

Old Moor. That friendly, affectionate look.” (Characterization of Karl; act 2, scene 2.)

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

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

Conversation with the class

Why is a priest brought into the camp of robbers?

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

What better helps us understand the character of the protagonist?

Answer. Schiller in The Robbers managed to show the innermost movements of the soul through the monologues and replicas of the hero. Karl Moor's monologues help us understand what an internally contradictory path from hatred and revenge to the realization of the horror of death and repentance the hero goes through. He takes upon himself the right to execute and pardon, but the atrocities and excesses of the robbers do not give him the opportunity to become the same. The hero's monologue shows how deeply he experiences discord with his conscience.

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

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

What can be said about the life goals of these heroes? What qualities of the characters seem similar to you?

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

Dubrovsky and Karl Moor are united by the similarity of destinies. Karl does not kill for robbery, but distributes his legal part of the booty to orphans. They both fit the characteristic - noble. The actions of Vladimir Dubrovsky, his desire for revenge and the rejection of it coincide with the path of the hero Schiller, only he, unlike Vladimir, surrenders to justice, and does not hide abroad. Considering these images of world literature, we see similarities in the depiction of the rebel hero by Pushkin and Schiller. Nobility, honesty, generosity unites these heroes. Their inner world and character is incompatible with the environment (a gang of robbers) in which they both fall: “I am not a thief, tell them that my trade is retribution, my trade is revenge” (Karl Moor).

Teacher. For two hundred years, the finale of the play has been interpreted in different ways. Invariably, the main question of the finale also arises before us:

What did the protagonist condemn himself for? Why is he surrendering to justice?

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

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

Did the main character surprise you? How do you feel about his actions? (Student answers.)

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

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

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

Joy, unearthly flame,
Paradise spirit that flew to us,
Intoxicated by you
We entered your bright temple.
You pull together effortlessly
All divided by enmity,
Where you spread your wings
People are brothers among themselves.
Hug, millions!
Merge in the joy of one!

(Beethoven's 9th symphony, ode "To Joy" sounds.)

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

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

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

Literature

1. History of German Literature: In 3 vols. M.: Raduga, 1985. Vol. 1.
2. Libenzon Z.E. Friedrich Schiller. Moscow: Education, 1990.
3. Materials of the lessons of I. Arkin: Literature at school, 1998.

FRIEDRICH SCHILLER

The theme of moral obligation in dramaF. Schiller "; Robbers";

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

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

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

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

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

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

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

GEORGE GORDON BYRON

Features of the poetic world of Byron

(According to the works of George Gordon Byron "; Prometheus"; and "; Belshazzar's Vision";)

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

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

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

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

The darkness of alienation, disobedience,Trouble and evil confrontation,When, strong with oneself,He will give battle to all black forces.

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

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

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

Bora. By the way, the same theme sounds in the well-known Russian revolutionary song "Let the despot feast in a luxurious palace";.

A special, unlike any other genius - this can be said about Byron. This is a genius who never found a common language with society. When enlightened Europe read the poetry of the rebellious lord, the ashes of Byron, who died of illness in a foreign land, were buried in a small church near Newstead in his family estate. Byron took place as one of the leading figures in European literature, but in life he was lonely and not too happy.

AMADEUS HOFFMANN

Where Tsakhes are taken

(According to Hoffmann's fairy tale "Little Tsakhes";)

The most prominent representative of German romanticism is Ernst Theodor Amadeus Hoffmann. Peru of this writer owns many works that are included in the golden fund of world literature. One of the most interesting satirical works of Hoffmann is "Little Tsakhes".

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

le - a pathetic likeness of a person. Now those who obeyed the baby with pleasure are making fun of him. Fleeing from former fans, Tsakhes falls into a chamber pot and tragically dies.

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

Hoffmann also brings to the public arena the antipode of little Tsakhes - a student of Balthazar. This is a typical romantic hero. First of all, he is a creative nature, which opposes a rotten society. But the author is also ironic about this character: Baltaear quickly ceases to be interested in social problems, being content with the easy happiness of an inhabitant. He marries his beloved, the young family settles in a quiet village

SKOm house, and the souls of Baltaaar and the beautiful Candida fall asleep forever.

In this time, the fairy tale ";Little Tsakhes"; sounds very sharp and sharp. In real life, there are no sorcerers and wizards, but the Tsakhes occupy high positions, and it's time to smoke them out of there. It is the Tsakhes who marry beautiful candida, it is they who buy themselves ";small"; quiet houses on other continents for the people's money. But Baltazarov expects something completely different - contempt, shame, imprisonment, death.

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

VICTOR HUGO

Quasimodo how example of spiritual beauty

Humanity has long been solving the question of the compatibility of spiritual beauty and physical perfection. The ancient Greeks came closest to solving this problem. But later they somehow forgot about physical perfection - the Middle Ages were coming.

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

the bell ringer resembles one of the sculptural chimeras that still adorn the pediment of Notre Dame de Paris, with a huge head covered with red bristles, a hump between the shoulders and terribly crooked legs. Thanks to his ugliness, Quasimodo even became "the pope of jesters"; during public fun.

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

Quasimodo is not a model of sobriety and poise. He is tormented by various feelings, sometimes he is overcome by anger, which can be considered a consequence of the attitude of the people around him towards him. He could not resist the thirst for revenge on the priest Claude Frollo, whom he threw from the height of the Cathedral. After the death of Esmeralda and Frollo, Quasimodo said: "That's all I loved." He really loved the beautiful, embodied in Esmeralda, and God, who was personified by Frollo. It may seem that for Quasimodo there is nothing left in the whole world. But, in my opinion, the hunchback had something that he never understood: the Cathedral. He could become part of this majestic structure, which

swarm rushes the towers, like hands, to the empty sky. But this is only an assumption.

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

The image of the Cathedral

(According to the novel by V. Hugo "; Notre Dame Cathedral";)

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

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

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

First of all, the Cathedral is the center of the religious and popular life of the Parisians. Commoners gather around him, who are able to fight for the improvement of their future. Also, the Cathedral is a traditional refuge for the expelled: no one has the right to arrest a person while he is outside the walls of the Cathedral. At the same time, Notre Dame Cathedral becomes a symbol of oppression - religious and feudal. Quasimodo appears here as one who is oppressed by the infinite grandeur of the Cathedral, and as ";the soul of the Cathedral";. The bell ringer-hunchback can be considered an embodied image of the Middle Ages and, of course, the Cathedral. The beautiful Esmeralda, whom Quasimodo is in love with, on the contrary, is the embodiment of bright vitality. The dancer girl can be considered the embodiment of the Renaissance, replacing the Middle Ages. It should be said that these two cultural and historical eras have passed, but Notre Dame de Paris still towers under the Parisian sky.

The novel by Victor Hugo seems to flip the calendar sheet from the past to the present. From their positions

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

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

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

ESSAYS ON A FREE TOPIC

Only in labor is a man great

(composition-reasoning)

Not every person is given to feel the joy of work. Some people were simply born contemplatives, not doers, and work for them is a burden that takes away strength, time that eats up strength. Others were unlucky: the type of activity chosen by them does not correspond to their abilities, inclinations, character, psychological data. For them, labor is torment, slavery, hopeless captivity with no prospects for liberation! Such people pull the strap, some humbly, some embittered, just for the sake of a piece of bread.

There are people who are not adapted to systematic work. They are impetuous, they work on inspiration, periods of upsurge are interspersed with periods of apathy.

Will they all agree that the greatness of man is in work? Hardly. Even popular ideas about a happy life primarily involve idleness. Let's remember fairy tales - Russian, Ukrainian, German, French, Japanese. They often feature a self-made tablecloth or a pot-vari, milk rivers with jelly banks, a wonderful tree that bears fruit all year round - symbols of abundance without difficulty. Even the Bible speaks of labor as God's curse for the transgressions of Adam and Eve: "In the sweat of your face you will earn your bread." All legends mention the Golden Age, when people were carefree and happy, the land gave ten crops a year, the fish swam in the net.

All this suggests that labor is not an initially desirable share for humanity that is not aware of itself.

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

to develop a profession, to achieve mastery, to accumulate experience. In European countries, the master is a respected person, work is almost a religion.

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

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

Bless each work, good luck. To a fisherman - so that a seine with fish, To a plowman - so that his plow and nag Get bread for a year.

S. Yesenin

He who writes in sweat, plows in sweat, We know a different zeal:

Light fire, dancing over the curls, Breath - inspiration.

M. Tsvetaeva

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

Want, to understand me

(composition-reasoning)

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

On a semi-free topic. The theme of these essays... literary work. Creative essay. Compositions most of the time this kind...

F. M. is one of the most famous Russian thinkers and writers in the world. His outstanding works were loved not only by readers of the 19th century, they are no less loved and read in our time. His work has overcome many decades and remains interesting to the modern reader, and the problems that F. M. touched on are relevant even now, which causes even greater interest in this outstanding personality and his works.

No one will argue that the most famous work of F. M. Dostoevsky is the novel "Crime and Punishment". However, the novel "White Nights" is rightfully considered the most poetic. It describes in detail the relationship of a man who unrequitedly fell in love with the main character Nastenka, who, not counting on reciprocal feelings, helps the girl find her happiness with another person - with the one whom Nastenka sincerely loves.

This novel allows us to conclude that the feelings and thoughts of F. M. Dostoevsky, embodied in his works, including the novel "White Nights", are inimitable and unique. I am sure that the originality of the plots, the most diverse problems that the writer seeks solutions to in his works, his attitudes and thoughts to these problems will always remain interesting to readers.

Undoubtedly, everyone has their own opinion about certain problems, but each of us will be able to find something interesting in the works of F. M. Dostoevsky just for himself. It is known that the great Russian philosopher and writer considered Jesus Christ to be his ideal. And no one can condemn him in this, because this is his own decision and his choice, and the writer did not impose his worldview, his thoughts and feelings on anyone.

F. M. simply talks about the people who lived in his world. Therefore, everyone, both young and old, both believers and non-believers, is interested in reading his novels and recognizing their contemporaries in their heroes. In the darkest corners of St. Petersburg, one can always find a poor dreamer hiding from the sun and poverty, feeling guilty about everything, embarrassed, with stupid speech, with ridiculous manners, reaching the point of self-destruction. The author creates a generalized portrait of such a dreamer: "A crumpled, filthy kitten, which, snorting, with resentment and at the same time hostility, looks at nature and even at a sop from the master's dinner, brought by a compassionate housekeeper."

A great connoisseur of the human soul, F. M. describes the characters of the heroes of his works with great skill. For example, in the novel "White Nights" he managed to fully reveal the images of the main characters of the work through their monologues. Despite the fact that the author did not give specific characteristics, we got full portraits of the characters, putting them together from mosaic pieces, each of which is a masterfully polished detail of the novel, separated from everything superfluous.

For his works, F. M. chose wonderful plots that made his books unforgettable and unique. All the events taking place in them seem as real and reliable as possible, and the final of these works can never be predicted.

The mastery and psychologism of F. M. Dostoevsky, the diversity of characters and plots, individuality, unpredictability and reliability - all this makes the thoughts and feelings of the outstanding Russian writer, reflected in his works, interesting to modern readers.