What is the modernity of the play The Miserly Knight. Comparative analysis of the tragedy The Miserly Knight by A.S. Pushkin and Molière's comedy The Miserly

Tragedy Miserly knight” Pushkin was written in 1830, in the so-called “Boldino autumn” - the most productive creative period writer. Most likely, the idea of ​​the book was inspired by difficult relationship Alexander Sergeevich with a stingy father. One of Pushkin's "little tragedies" was first published in 1936 in Sovremennik under the title "Scene from Chenstone's tragicomedy".

For reader's diary and better preparation for a literature lesson, we recommend reading online summary"The Miserly Knight" chapter by chapter.

main characters

Baron- a mature man of the old school, in the past valiant knight. He sees the meaning of all life in the accumulation of wealth.

Albert- A twenty-year-old youth, a knight, forced to endure extreme poverty due to the excessive stinginess of his father, the baron.

Other characters

Jew Solomon is a pawnbroker who regularly lends money to Albert.

Ivan- A young servant of the knight Albert, who serves him faithfully.

duke- the main representative of the authorities, in whose subordination are not only ordinary residents, but also all the local nobility. Acts as a judge during the confrontation between Albert and the baron.

Scene I

Knight Albert shares his problems with his servant Ivan. Despite the noble origin and knighthood, the young man is in great need. At the last tournament, his helmet was pierced by the spear of Count Delorge. And, although the enemy was defeated, Albert is not too happy about his victory, for which he had to pay a price that was too high for him - damaged armor.

The horse Emir was also injured, which after a fierce battle began to limp. In addition, the young nobleman needs a new dress. During dinner party he was forced to sit in armor and make excuses to the ladies that "he got to the tournament by accident."

Albert confesses to the faithful Ivan that his brilliant victory over Count Delorge was not due to courage, but to the stinginess of his father. The young man is forced to make do with the crumbs that his father gives him. He has no choice but to sigh heavily: “O poverty, poverty! How it humiliates our hearts!”

To buy a new horse, Albert is forced once again to turn to the usurer Solomon. However, he refuses to give money without a mortgage. Solomon gently leads the young man to the idea that "what time is it for the baron to die", and offers the services of a pharmacist who makes an effective and fast-acting poison.

Enraged, Albert chases away the Jew who dared to suggest that he poison his own father. However, he is no longer able to drag out a miserable existence. The young knight decides to seek help from the duke so that he can influence the stingy father, and he will stop holding his own son, "like a mouse born underground".

Scene II

The baron descends into the basement to pour "a handful of accumulated gold" into the still incomplete sixth chest. He compares his savings to a hill that has grown thanks to small handfuls of earth brought by soldiers on the orders of the king. From the height of this hill, the ruler could admire his possessions.

So the baron, looking at his wealth, feels his power and superiority. He understands that, if desired, he can afford anything, any joy, any meanness. The feeling of one's own strength calms a man, and he is quite "enough of this consciousness."

The money that the baron brings to the cellar has a bad reputation. Looking at them, the hero remembers that he received the “old doubloon” from an inconsolable widow with three children, who sobbed in the rain for half a day. She was forced to give the last coin in payment of the debt of her dead husband, but the tears of the poor woman did not pity the insensitive baron.

The miser has no doubts about the origin of the other coin - of course, it was stolen by the rogue and rogue Thibaut, but this in no way worries the baron. The main thing is that the sixth chest of gold is slowly but surely replenished.

Every time he opens the chest, the old curmudgeon falls into "heat and trepidation." However, he is not afraid of the attack of the villain, no, he is tormented by a strange feeling, akin to the pleasure that an inveterate killer experiences, plunging a knife into the chest of his victim. The baron is “pleasant and scared together”, and in this he feels true bliss.

Admiring his wealth, the old man is truly happy, and only one thought gnaws at him. The Baron understands that his last hour is near, and after his death, all these treasures, acquired through years of hardship, will be in the hands of his son. Gold coins will flow like a river into "satiny pockets", and a careless young man will instantly spread his father's wealth around the world, squander it in the company of young charmers and cheerful friends.

The Baron dreams that even after death, in the form of a spirit, he will guard his chests with gold with a “guard shadow”. Possible separation from the acquired good dead burden falls on the soul of an old man, for whom the only joy of life is to increase their wealth.

Scene III

Albert complains to the duke that he has to experience "the shame of bitter poverty", and asks to reason with his overly greedy father. The duke agrees to help the young knight - he is remembered a good relationship native grandfather with the miser baron. In those days, he was still an honest, brave knight without fear and reproach.

Meanwhile, the duke notices in the window the baron, who is heading to his castle. He orders Albert to hide in the next room, and receives his father in his chambers. After an exchange of mutual pleasantries, the duke invites the baron to send his son to him - he is ready to offer the young knight a decent salary and service at court.

To which the old baron replies that this is impossible, because the son wanted to kill him and rob him. Unable to bear such impudent slander, Albert jumps out of the room and accuses his father of lying. The father tosses the glove to the son, who picks it up, indicating that he accepts the challenge.

Stunned by what he saw, the duke separates father and son, and in anger drives them out of the palace. Such a scene causes the death of the old baron, who in the last moments of his life thinks only about his wealth. The duke is in dismay: "A terrible age, terrible hearts!".

Conclusion

In the work "The Miserly Knight" under the close attention of Alexander Sergeevich is such a vice as greed. Under her influence, irreversible personality changes occur: the once fearless and noble knight becomes a slave to gold coins, he completely loses his dignity, and is even ready to harm his only son, so that he does not take possession of his wealth.

After reading the retelling of The Miserly Knight, we recommend that you familiarize yourself with full version Pushkin's plays.

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The action of the tragedy "The Miserly Knight" takes place in the era of late feudalism. The Middle Ages has been portrayed in various ways in literature. Writers often gave this era a harsh flavor of strict asceticism in gloomy religiosity. ( This material will help to write competently on the topic of Tragedy The Miserly Knight, the character and image of Albert. The summary does not make it clear the whole meaning of the work, so this material will be useful for a deep understanding of the work of writers and poets, as well as their novels, short stories, stories, plays, poems.) Such is medieval Spain in Pushkin's Stone Guest. According to other conventional literary ideas, the Middle Ages is the world of knightly tournaments, touching patriarchy, worship of the lady of the heart. The knights were endowed with feelings of honor, nobility, independence, they stood up for the weak and offended. Such an idea of ​​the knightly code of honor is a necessary condition for a correct understanding of the tragedy "The Miserly Knight".

In The Miserly Knight, he is depicted historic moment when the feudal order had already cracked and life entered new shores. In the very first scene, in Albert's monologue, an expressive picture is drawn. The palace of the Duke is full of courtiers - gentle ladies and gentlemen in luxurious clothes; heralds glorify the masterful blows of knights in tournament fights; vassals gather at the overlord's table. In the third scene, the Duke appears as the patron of his loyal nobles and acts as their judge. The baron, as his chivalrous duty to the sovereign tells him, is at the palace at the first request. He is ready to defend the interests of the Duke and, despite his advanced age, "groaning, climb back on the horse." However, offering his services in case of war, the Baron shied away from participation in court amusements and lives as a recluse in his castle. He speaks with contempt of the "crowd of petters, greedy courtiers."

The Baron's son, Albert, on the contrary, rushes to the palace with all his thoughts, with all his soul ("By all means, I will appear at the tournament").

Both the Baron and Albert are extremely ambitious, both strive for independence and value it above all else.

The right to freedom was provided to the knights by their noble origin, feudal privileges, power over lands, castles, peasants. Free was the one who had full power. Therefore, the limit of knightly hopes is absolute, unlimited power, thanks to which wealth was won and protected. But the world has already changed a lot. In order to maintain their freedom, the knights are forced to sell their possessions and maintain their dignity with the help of money. The pursuit of gold has become the essence of time. This rebuilt the whole world of knightly relations, the psychology of knights, inexorably invaded their intimate life.

Already in the first scene, the splendor and splendor of the ducal court is just the outward romance of chivalry. Previously, the tournament was a test of strength, dexterity, courage, will before a difficult campaign, and now it amuses the eyes of illustrious nobles. Albert is not very happy about his victory. Of course, he is pleased to defeat the count, but the thought of a pierced helmet weighs on a young man who has nothing to buy new armor.

O poverty, poverty!

How it humiliates our hearts! -

He complains bitterly. And admits:

What was the fault of heroism? - stinginess.

Albert obediently submits to the stream of life that carries him, like other nobles, to the Duke's palace. Thirsty for entertainment, the young man wants to take a worthy place among the overlord and stand on a par with the courtiers. Independence for him is the preservation of dignity among equals. He does not at all hope for the rights and privileges that the nobility gives him, and ironically speaks of "pigskin" - a parchment certifying belonging to a knighthood.

Money pursues Albert's imagination wherever he is - in the castle, at the tournament duel, at the Duke's feast.

Feverish search for money and formed the basis dramatic action"Stingy Knight". Albert's appeal to the usurer and then to the Duke are two acts that determine the course of the tragedy. And it is no coincidence, of course, that it is Albert, for whom money has become an idea-passion, that leads the tragedy.

Three possibilities open up before Albert: either to get money from the usurer on a mortgage, or to wait for the death of his father (or to hasten it by force) and inherit wealth, or to “force” the father to adequately support his son. Albert tries all the ways leading to money, but even with his extreme activity, they end in complete failure.

This is because Albert is not only in conflict with individuals, he is in conflict with the century. Knightly ideas of honor and nobility are still alive in him, but he already understands the relative value of noble rights and privileges. Naivety is combined in Albert with insight, chivalrous virtues with sober prudence, and this tangle of conflicting passions dooms Albert to defeat. All Albert's attempts to get money without sacrificing his knightly honor, all his calculations for independence are a fiction and a mirage.

Pushkin, however, makes us understand that Albert's dreams of independence would remain illusory even if Albert had succeeded his father. He invites us to look into the future. Through the lips of the Baron, the harsh truth about Albert is revealed. If “pigskin” does not save you from humiliation (Albert is right in this), then the inheritance will not save you from them, because you have to pay for luxury and entertainment not only with wealth, but also with noble rights and honor. Albert would have taken his place among the flatterers, the "greedy courtiers." Is there any independence in the "palace front"? Having not yet received the inheritance, he already agrees to go into bondage to the usurer. The baron does not doubt for a second (and he is right!) that his wealth will soon migrate into the pocket of the usurer. And in fact - the usurer is no longer even on the threshold, but in the castle.

Thus, all paths to gold, and through it to personal freedom, lead Albert to a dead end. Carried away by the flow of life, he, however, cannot reject chivalric traditions and thus opposes the new time. But this struggle turns out to be powerless and in vain: the passion for money is incompatible with honor and nobility. Before this fact, Albert is vulnerable and weak. Hence, hatred for the father is born, who could voluntarily, by family duty and knightly duty, save his son from poverty and humiliation. It develops into that frenzied despair, into that bestial rage ("tiger cub" - Herzog calls Albert), which turns the secret thought of the father's death into an open desire for his death.

If Albert, as we remember, preferred money to feudal privileges, then the Baron is obsessed with the idea of ​​power.

The Baron needs gold not to satisfy the vicious passion for money-grubbing and not to enjoy its chimerical splendor. Admiring his golden "hill", the Baron feels like a ruler:

I reign!.. What a magical brilliance!

Obedient to me, my power is strong;

Happiness is in it, my honor and glory are in it!

The Baron knows well that money without power does not bring independence. With a sharp stroke, Pushkin exposes this thought. Albert is delighted with the outfits of the knights, their "satin and velvet." The baron, in his monologue, will also remember the atlas and say that his treasures will "flow" into "satin pockets". From his point of view, wealth that is not based on the sword is “squandered” at a catastrophic rate.

Albert also acts for the Baron as such a “squanderer”, before which the building of chivalry that has been erected for centuries cannot resist, and the Baron has invested in it with his mind, will, and strength. It, as the Baron says, was "suffered" by him and embodied in his treasures. Therefore, a son who can only squander wealth is a living reproach to the Baron and a direct threat to the idea defended by the Baron. From this it is clear how great the Baron's hatred for the heir-squanderer, how great his suffering at the mere thought that Albert "takes power" over his "power".

However, the Baron also understands something else: power without money is also insignificant. The sword was laid at the feet of the Baron of possession, but did not satisfy his dreams of absolute freedom, which, according to knightly ideas, is achieved by unlimited power. What the sword did not complete, gold must do. Money thus becomes both a means of protecting independence and a path to unlimited power.

The idea of ​​unlimited power turned into a fanatical passion and gave the figure of the Baron power and greatness. The seclusion of the Baron, who retired from the court and deliberately locked himself in the castle, from this point of view can be understood as a kind of protection of his dignity, noble privileges, centuries-old life principles. But, clinging to the old foundations and trying to defend them, the Baron goes against the times. The feud with the age cannot but end in a crushing defeat for the Baron.

However, the causes of the Baron's tragedy also lie in the contradiction of his passions. Pushkin reminds us everywhere that the Baron is a knight. He remains a knight even when he is talking with the Duke, when he is ready to draw his sword for him, when he challenges his son to a duel and when he is alone. Knightly valor is dear to him, his sense of honor does not disappear. However, the Baron assumes undivided dominance, and the Baron knows no other freedom. The Baron's lust for power acts both as a noble property of nature (thirst for independence), and as a crushing passion for the people sacrificed to her. On the one hand, lust for power is the source of the will of the Baron, who curbed "desires" and now enjoys "happiness", "honor" and "glory". But, on the other hand, he dreams of everything obeying him:

What is not under my control? like some kind of demon

From now on I can rule the world;

If I only want, halls will be erected;

To my magnificent gardens

The nymphs will run in a frisky crowd;

And the muses will bring me their tribute,

And the free genius will enslave me,

And virtue and sleepless labor

They will humbly await my reward.

I whistle, and to me obediently, timidly

Bloodied villainy will creep in,

And he will lick my hand, and into my eyes

Look, they are a sign of my reading will.

Everything is obedient to me, but I am nothing ...

Obsessed with these dreams, the Baron cannot find freedom. This is the reason for his tragedy - seeking freedom, he tramples it. Moreover: love of power is reborn into another, no less powerful, but much more base passion for money. And this is not so much a tragic as a comic transformation.

The baron thinks that he is a king to whom everything is “obedient”, but unlimited power does not belong to him, the old man, but to the pile of gold that lies in front of him. His loneliness is not only a defense of independence, but also the result of a fruitless and crushing stinginess.

However, before his death, chivalrous feelings, withered, but not completely disappeared, stirred up in the Baron. And it sheds light on the whole tragedy. The Baron had long convinced himself that gold represented both his honor and his glory. However, in reality, the honor of the Baron is his personal property. This truth pierced the Baron at the moment when Albert offended him. Everything collapsed in the Baron's mind at once. All the sacrifices, all the accumulated treasures suddenly appeared meaningless. Why did he suppress desires, why did he deprive himself of the joys of life, why did he indulge in “bitter restraints”, “heavy thoughts”, “day cares” and “sleepless nights”, if before a short phrase- "Baron, you are lying" - is he defenseless, despite the huge wealth? The hour of impotence of gold has come, and a knight woke up in the Baron:

So rise, and judge us with a sword!

It turns out that the power of gold is relative, and there are such human values that are not sold or bought. This simple idea refutes life path and beliefs of the Baron.

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(!LANG: All Pushkin's works are filled with galleries of various images. Many conquer the reader with their nobility, self-esteem or courage. More than one generation has grown up on the wonderful work of Alexander Sergeevich. Reading his poems, poems and fairy tales, people of the different ages get great pleasure. The same can be said about the work "The Miserly Knight". His heroes and their actions make even the youngest lover of Alexander Sergeevich's creativity think.

Acquaintance with a brave but poor knight

In our article, only a brief summary will be presented. "The Miserly Knight", however, is worthy of familiarizing yourself with the tragedy in the original. So let's get started...

A young knight, whose name is Albert, is going to the next tournament. He asked Ivan's servant to bring his helmet. As it turned out, he was pierced through. The reason for this was the previous participation in the battle with the knight Delorge. Albert is upset. But Ivan tries to comfort his master, saying that one should not be sad because of the damaged helmet. After all, young Albert still repaid the offender. The enemy has not yet recovered from the terrible blow.

But the knight replies that it was the damaged helmet that gave him heroism. It was stinginess that became the reason to finally defeat the enemy. Albert complains about his poverty and modesty, which did not allow him to take off his helmet from Delorge. He tells the servant that during dinners at the duke's, all the knights sit at the table in chic outfits made from expensive fabrics, while Albert, due to lack of money to buy new clothes, has to be present in armor...

This is how the tragedy itself begins, and from this we began to present its summary.

"The Miserly Knight": the emergence of a new hero of the work

Young Albert, in his conversation with a servant, mentions his father, who is such a stingy old baron that he not only does not allocate money for clothes, but also regrets new weapons and a horse. There is also an old Jewish moneylender, whose name is Solomon. The young knight often used his services. But now this creditor refuses to give him a loan. Only with a deposit.

But what can a poor knight bail out but his uniform and good name! Albert even tried to persuade the usurer, saying that his father was already very old and would probably die soon, and, accordingly, all the huge fortune that he owns would go to Albert. Then he will definitely be able to pay off all his debts. But Solomon was not convinced by this argument either.

The meaning of money in a person's life, or his attitude towards them

Solomon himself mentioned by the knight appears. Albert, taking this opportunity, wants to beg him for another amount. But the usurer, though gently, but firmly refuses him. He explains to the young knight that his father is still quite healthy and will live even thirty years. Albert is crushed. After all, then he will be fifty years old and the money will no longer be needed.

To which the Jewish usurer reprimands the young man that he is wrong. At any age, a person needs money. Just in every period of life, people relate to wealth in different ways. The young are mostly too careless, and the elderly find true friends in them. But Albert argues with Solomon, describing his father's attitude towards wealth.

He denies himself everything, and puts the money in chests, which he then guards like a dog. And the only hope for young man- that the time will come when he will be able to use all this wealth. How do the events that our summary describes develop further? The Miserly Knight will tell the reader about the terrible advice that Solomon gives to the young Albert.

When Solomon sees the plight of the young knight, he advises him in hints to hasten his father's departure to the other world, giving him poison to drink. When the meaning of the usurer's hints reached Albert, he was even about to hang him, he was so indignant. The frightened Jew tries to offer him money to avoid punishment, but the knight kicks him out.

Frustrated, Albert asks the servant to bring some wine. But Ivan says that he is not left in the house at all. And then the young man decides to turn to the duke for help and tell him about his misfortunes, as well as about his stingy father. Albert cherishes the hope that he will at least be able to get his father to support him, as it should be.

The greedy baron, or a description of a new character

What happens next in the tragedy? Let's continue with the summary. The miserly knight finally appears to us in person: the author introduces the reader to the father of poor Albert. The old man went to the basement, where he hides all his gold, in order to carry another handful of coins. Having opened all the chests full of wealth, the baron lights a few candles and sits nearby to admire his fortune. All Pushkin's works very vividly convey the images of the characters, and this tragedy is no exception.

The Baron remembers how he got each of these coins. Many of them brought people many tears. Some even caused poverty and death. It even seems to him that if you collect all the tears shed because of this money together, then a flood will certainly happen. And then the thought comes to his mind that after his death, the heir, who did not deserve it at all, will begin to use all this wealth.

Leads to resentment. This is how Alexander Sergeevich describes Father Albert in his work The Miserly Knight. An analysis of the entire tragedy will help the reader figure out what the baron's attitude towards money and neglect of his own son led to.

The meeting of a greedy father and a poor son

In fashion, the knight at this time tells the duke about his misfortunes, about his greedy father and lack of maintenance. And he promises the young man to help convince the baron to be more generous. After some time, the father himself appeared in the palace. The duke ordered the young man to hide in the next room, and he himself began to inquire about the health of the baron, about why he appeared so rarely at court, and also about where his son was.

The old man suddenly begins to complain about the heir. Allegedly, young Albert wants to kill him and take possession of the wealth. The Duke promises to punish the young man. But he himself runs into the room and calls the baron a liar. Then the angry father throws the glove to his son, and the young man accepts it. The Duke is not only surprised, but outraged. He took away this symbol of the upcoming duel and drove both of them out of the palace. But the health of the old man could not withstand such shocks, and he died on the spot. Thus ends the last events of the work.

"The Miserly Knight" - which not only introduced the reader to all his characters, but also made him think about one of the human vices - greed. It is she who often destroys the relationship between close friends and relatives. Money sometimes makes people go to inhuman acts. Many of Pushkin's works are filled with deep meaning and point the reader to one or another shortcoming of a person.

In the "little tragedies" Pushkin confronts the mutually exclusive and at the same time inextricably linked points of view and the truth of his heroes in a kind of polyphonic counterpoint. This conjugation of opposite life principles is manifested not only in the figurative and semantic structure of tragedies, but also in their poetics. This is clearly manifested already in the title of the first tragedy - "The Miserly Knight".

The action takes place in France, in the late Middle Ages. In the face of Baron Philip, Pushkin captured a peculiar type of knight-usurer, generated by the era of transition from feudal relations to the bourgeois money. This is a special social “kind”, a kind of social centaur, whimsically combining the features of opposite eras and ways. In him, ideas about knightly honor, about his social privilege are still alive. At the same time, he is the bearer of other aspirations and ideals, generated by the growing power of money, on which, to a greater extent than on origin and titles, the position of a person in society depends. Money loosens, blurs the boundaries of class-caste groups, destroys the partitions between them. In this regard, the importance of the personal principle in a person, his freedom, but at the same time, responsibility - for himself and others - increases.

Baron Philip is a large, complex character, a man of great will. Its main goal is to accumulate gold as main value in the emerging new way of life. At first, this hoarding is not an end in itself for him, but only a means of gaining complete independence and freedom. And the Baron seems to achieve his goal, as evidenced by his monologue in the “cellars of the faithful”: “What is not subject to me? Like some kind of demon From here on I can rule the world ... ”, etc. (V, 342-343). However, this independence, power and strength are bought at too high a price - with tears, sweat and blood of the victims of baronial passion. But the matter is not limited to the transformation of other people into a means of realizing his goal. In the end, the baron turns himself into only a means of achieving this goal, for which he pays with the loss of his human feelings and qualities, even as natural as his father's, perceiving his own son as his mortal enemy. So money from a means of gaining independence and freedom imperceptibly for the hero turns into an end in itself, the appendage of which is the Baron. It is not for nothing that his son Albert speaks of money: “Oh, my father sees not servants and friends In them, but masters, and he himself serves them ... like an Algerian slave, - Like a chain dog” (V, 338). Pushkin, as it were, anew, but already realistically rethinks the problem posed in " Caucasian prisoner”: the inevitability of finding on the paths of individualistic flight from society instead of the desired freedom - slavery. Egoistic monopassion leads the Baron not only to his alienation, but also to self-alienation, that is, to alienation from his human essence, from humanity as its basis.

However, Baron Philip has his own truth, which explains and to some extent justifies his position in life. Thinking about his son - the heir to all his wealth, which he will get without any effort and worries, he sees this as a violation of justice, the destruction of the foundations of the world order he affirms, in which everything must be achieved and suffered by the person himself, and not be transferred as an undeserved gift of God (including the royal throne - here there is an interesting roll call with the problems of "Boris Godunov", but on a different basis of life). Enjoying the contemplation of his treasures, the Baron exclaims: “I reign!.. What a magical brilliance! Obedient to me, my power is strong; Happiness is in it, my honor and glory are in it! But after this, confusion and horror suddenly overwhelm him: “I reign ... but who, after me, Will take power over her? My heir! Fool, young squanderer. Debauched riotous interlocutor! The baron is horrified not by the inevitability of death, parting with life and treasures, but the violation of the highest justice, which gave his life meaning: “He will waste ... And by what right? Did I get all this for nothing... Who knows how many bitter abstinences, Bounded passions, heavy thoughts, Daily worries, sleepless nights All this cost me? that he acquired with blood” (V, 345-346).

It has its own logic, a harmonious philosophy of a strong and tragic personality, with its consistent truth, although it has not passed the test of humanity. Who is to blame for this? On the one hand, historical circumstances, the era of advancing commercialism, in which the unrestrained growth of material wealth leads to spiritual impoverishment and turns a person from an end in itself into just a means to achieve other ends. But Pushkin does not remove responsibility from the hero himself, who chose the path of achieving freedom and independence in individualistic isolation from people.

With a problem of choice life position the image of Albert is also connected. Simplified is his widespread interpretation as a crushed version of his father's personality, in which, over time, the traits of chivalry will be lost and the qualities of a usurer-accumulator will triumph. In principle, such a metamorphosis is possible. But it is not fatally inevitable, because it depends on Albert himself whether he retains his inherent openness to people, sociability, kindness, the ability to think not only about himself, but also about others (the episode with the sick blacksmith is indicative here), or lose these qualities, like his father. In this regard, the final remark of the Duke is significant: "A terrible age, terrible hearts." In it, guilt and responsibility are, as it were, evenly distributed - between the century and the “heart” of a person, his feeling, mind and will. At the time of the development of the action, Baron Philip and Albert, despite their blood relationship, act as bearers of two opposing, but in some ways mutually correcting truths. In both, there are elements of both absoluteness and relativity, tested and developed in each era by each person in his own way.

In "The Miserly Knight", as in all other "little tragedies", Pushkin's realistic skill reaches its peak - in terms of depth of penetration into the socio-historical and moral-psychological essence of the characters depicted, in the ability to consider in the temporal and particular - the enduring and universal. In them reaches its full development and such a feature of poetics Pushkin's works, as their "dizzying brevity" (A. Akhmatova), containing the "abyss of space" (N. Gogol). From tragedy to tragedy, the scale and content capacity of the depicted images-characters increases, the depth, including moral and philosophical, of the displayed conflicts and problems of human existence - in its special national modifications and deep universal "invariants".

Lesson in the 9th grade on the topic "Boldino Autumn 1830. The cycle "Little Tragedies" Analysis of the tragedies "The Miserly Knight", "Mozart and Salieri" (2 hours)

The lesson was designed to familiarize students with the Boldin period of A.S. Pushkin;

with the aim of analyzing tragedies and clarifying the themes and ideological sound, determining the artistic perfection of tragedies.

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Grade 9

Literature

Topic: Boldino autumn. 1830. Cycle "Little Tragedies"

Ideological sound, themes and artistic perfection of the tragedies "The Miserly Knight", "Mozart and Salieri". (2 hours)

Targets and goals:

1. Educational aspect:

a) familiarization of students with the Boldin period of A.S. Pushkin;

b) consolidation of knowledge about drama as a kind of literature;

recall the concept of the genre of tragedy;

to give the concept of realism as a literary movement.

c) analysis of the tragedies "The Miserly Knight" and "Mozart and Salieri" in order to clarify the themes and ideological sound; definition of the artistic perfection of tragedies.

2. Developmental aspect:

a) development of basic over-subject skills: analysis, generalization;

b) development of the ability to conduct a compositional and ideological analysis of works;

c) development of skills based on the text to prove their assumptions.

3.Educational aspect:

a) evoke in students an emotional response to the problems raised in the tragedies of A.S. Pushkin;

b) awaken interest in the work of A.S. Pushkin and to the analysis of a literary work.

Key words: genre composition, conflict; objective meaning world order, subjective meaning, self-consciousness, requiem.

Methodological techniques: student messages, teacher's word, conversation, commented reading, analysis of the episode.

Vocabulary work:

Requiem - a musical orchestral-choral work of a mourning nature.

Realism - the image of typical characters in typical circumstances.

Tragedy - one of the types of drama, which is based on a particularly tense, irreconcilable conflict, most often ending in the death of the hero.

Conflict - clash, struggle, on which the development of the plot in work of art. Special meaning conflict has in dramaturgy, where it is main force, a spring that drives the development of dramatic action and the main means of revealing characters.

Drama - one of the main types of literature (along with the epic and lyrics). Figurative genre of literature. The specificity of drama as a kind of literature lies in the fact that, as a rule, it is intended to be staged.

Oxymoron – stylistic device comparison of seemingly incomparable, mutually exclusive concepts in order to create a certain artistic effect, for example: "Living Corpse"

During the classes.

Today we are going to dive into interesting world heroes of "Little Tragedies" written by A.S. Pushkin in 1830 in Boldin.

Student message"1830. Boldin Autumn "(individual task) - Lebedev's textbook, grade 10. p.152

Teacher's note:But it is not the number of works created in the Boldino autumn that is important, but their very nature: they deepen Pushkin's realism . Particularly indicative in this regard are the "Small tragedy "- the final chord of this autumn. (dictionary work)

Student message: "A brief description of small tragedies." (individual task).

Teacher Assistant:And so, drawing other people's national characteristics and the life of past centuries, Pushkin, brilliantly capturing them characteristics, showed a remarkable ability to lay great content in a very condensed form. In its form, in the depth of the image mental life heroes and the skill of the verse "Little Tragedies" belong to the greatest works world literature.

Artworks of the Boldinskaya autumn are created with a brush brilliant artist, but at the same time the pen of a merciless analyst. The desire to understand the meaning of life, to find and explain its patterns is so characteristic of all public life post-December era. And it is no coincidence that small tragedies, which seemed infinitely far from Russian reality by the very material on which they were based, were perceived by many sensitive readers as direct thoughts of the poet about modernity.

Didn't Alexander Sergeevich's personal, intimate experiences form the basis for creating tragedies?

Student messageabout the most common point of view about the main motive for creating small tragedies (individual task).

Teacher: In Boldin, Pushkin wrote another cycle: Belkin's Tales.

Are there any connections between these cycles?

Student's answer (individual task)

Teacher: Once again, we list the tragedies included in the collection:

"Stingy Knight"

"Mozart and Salieri"

"Stone Guest"

“A feast during the plague” and turn to the epigraph:

The truth of passions, the plausibility of feelings in the supposed circumstances - this is what our mind requires from a dramatic writer. (A.S. Pushkin)

To which literary direction do these works belong?

(Discussing the epigraph, we determine that tragedies belong to realism (dictionary work)

What is the essence of small tragedies?

(Accurate, merciless analysis of the motives of the behavior of the characters, and primarily the behavior of the public (for for Pushkin, the “supposed circumstances” were dictated primarily by society and the time in which the hero lives) -that is the essence of his little tragedies.

What is the plan of small tragedies?

(The hero of each of them idealizes his world and himself, he is imbued with faith in his heroic destiny. And this faith enters into a great conflict with the real world with real relations in it (dictionary work). It turns out to be that “tragic delusion” that leads the hero to inevitable death.)

What is the objective and subjective meaning of tragedies?

(The objective meaning of tragedies lies in the world order hostile to the hero, the subjective meaning lies in the character and self-consciousness of the hero.

THEN. in small tragedies, in fact, one great problem: in the end, we are talking about the ultimate possibilities of the individual, about the price of a person in human society.

What problems are posed in small tragedies?

(stinginess and chivalry, straightforwardness and deceit, immobility, "stonyness" and lightness, carelessness, feasting and death. Internal drama permeates the whole atmosphere of small tragedies: the father challenges his son and he accepts him, a friend kills a friend, a terrible internal struggle tears apart the souls of heroes ).

Tragedy analysis.

- In the lesson we will analyze two tragedies:The Miserly Knight and Mozart and Salieri.

So, "The Miserly Knight".

What is the meaning of the word "knight"?

(noble, honest, performing feats for the sake of ladies, respecting parents, loving fatherland)

Is the word "stingy" comparable to the word "knight"?

What language means of expression used by the author? (oxymoron)

We have already spoken about Pushkin's ability to put a lot of content into a very concise form.

How many verses does the tragedy "The Miserly Knight" contain? ( 380)

How many actors?(5: Albert, Ivan, Jew, baron, duke)

Only 5 heroes, but we are faced with an accurate and expressive picture of France during the late Middle Ages.

Confirm it artistic details from the text (swords, helmets, armor, the baron's castle with towers and gloomy dungeons, the duke's brilliant court with feasting ladies and gentlemen, a noisy tournament where heralds praise the masterful blows of the brave)

What helps to better imagine the scene? (author's remarks: "Tower", "Basement", "Palace" - these remarks provide rich food for the imagination)

Scene 1

- We are in the tower of a medieval castle. What's going on here? (a conversation between a knight and a squire. We are talking about a tournament, about a helmet and armor, about winning a fight and a lame horse.)

Albert's first words accurately, sparingly, and at the same time somehow swiftly introduce us into the situation of action. What is the name of this composition element?

(About a third of the first scene before the moneylender arrives - exposure, painting a picture of the humiliating poverty in which the young knight lives (not a word has yet been said about the rich father).

Albert won the jousting tournament. Is this tournament a test before a difficult campaign, revealing the strongest or entertainment, entertainment, albeit dangerous?

Let's listen to Albert's story about the tournament.(reading Albert's monologue)

How mercilessly does the romantic flair come off all knightly accessories in this story?

Why did Albert turn white?

Why is it impossible to wear a pierced helmet to a tournament?

Why did Albert not remove his helmet from the defeated enemy? (The helmet and armor cease to play the main protective role and become decoration first of all. A pierced helmet cannot be put on, not because it will not protect in battle, but because it is a shame in front of other knights and ladies. And it is just as shameful to remove it from a defeated enemy a helmet, for this will be perceived not as a sign of victory, but as a robbery by the right of the strong.

We are talking about the capacity of Pushkin's little dramas. On the very first replicas, you can see how this capacity is achieved.

Is it only about the tournament? What other topic comes up?(money theme)

(The conversation is about a tournament - a holiday, but this is also a conversation about money - harsh prose, and in a conversation about money and the troubles associated with it, both the usurer and the countless father's treasures inevitably pop up. In remarks related to a specific occasion, all the time as if the entire space of the play opens up.Behind the petty, momentary concerns of Albert, the whole life of the young knight rises, and not just his current position.

What is Albert's reaction to Solomon's proposal to poison his father? (read text)

Why does he refuse to take the Jew's gold pieces? (read text)

Why does he go to the duke to solve his problems?

(As Solomon suggested using poison, a knight wakes up in Albert, yes, he is waiting for his father’s death, but to poison him? No, for this he is a knight, he was shocked that they dared to offer dishonor to him, a knight, and who dared!

The decision to go to the Duke is deeply traditional. After all, the principle of personality was a privilege in the Middle Ages. On the protection of personal dignity in a knightly society was a knightly honor. However, this honor could gain real power by relying on material possession.

So, two themes determine the dramatic knot of the first scene of the tragedy - the theme of knightly honor and the theme of gold, pushing a person to the basest deeds, to crimes.

And at the intersection of these two themes, for the first time, the ominous figure of the Miserly Knight appears, who serves gold.

How does it serve?

What characterization does Albert give to his father? (read text)

In addition to this characteristic, do we know anything about the Baron: about the past, about the reasons that led to the dominance of gold over man?

Let's go down to the basement, where the baron says his monologue (read out)

What topic is starting to sound in full force?(the theme of gold).

(Before us - a poet of gold, a poet of power, which gives a person wealth.

What does gold mean to a baron? (power, power, enjoyment of life)

Prove that gold governs the actions of people who bring debt to the baron.

And again in the scene of the "feast" we have before us a formidable feudal lord:

But the ecstasy of power ends with the horror of the future. (read text confirming this)

Baron

GOLD

Pawnbroker Widow with three children

Albert

thibault

Threads stretch from gold to all the characters in the play. It determines all their thoughts and actions.

Pushkin shows here not only the role and significance of gold, but also with great power reveals the influence of gold on spiritual world and the psyche of people.

Prove it with text.

(It makes the son want his father dead, it allows the pawnbroker to offer poison to Albert to poison the Baron. It causes the son to throw down the gauntlet to the father, who accepts the son's challenge. It kills the Baron.

Is Albert's behavior heroic in the scene of the challenge to a duel? (dreams of getting into the tournament, but ends up going to a duel with his old father)

Who opposed Albert? An all-powerful servant and lord of gold or a decrepit old man? (the author denies the Baron the right to be called a man) - Why?

Gold corroded the soul of the Miserly Knight. The shock he experienced was moral and only moral.

What is the last line of the Baron? (-Keys, my keys...)

Thus ends the tragedy of the omnipotence of Gold, which brought nothing to a person who imagined himself to be its owner.

Does the death of the Miserly Knight resolve the main conflict of the tragedy? (No. Behind the end of the Baron, one can easily guess the end of Albert, and the end of the Duke, powerless with his feudal power to change anything in the world of profit.

Terrible age, terrible hearts!

Pushkin sensitively grasped what moral content the transitional era of the Middle Ages brings to mankind: the change from the feudal formation to the bourgeois one. Terrible hearts- the product of a terrible age.

"Mozart and Salieri" -this is how Pushkin titled the second of the little tragedies.

Tell us about the history of the name (individual task).

What technique did Pushkin use in the title? (antithesis)

Teacher's word: The Duke's exclamation of a terrible age in which all established legal order is violated is immediately taken up by the opening phrase of the following little tragedy:

Everyone says: there is no truth on earth.

Reading a monologue by the teacher.

- Does Salieri remind you of anyone?

(Yes, he is the closest descendant of the Miserly Knight. The character of this hero, like the character of the Baron, is revealed primarily through a monologue. True, the Baron’s monologue is a lyrical outpouring without any external address. We, as it were, eavesdrop on his most secret thoughts and revelations .

And Salieri's thoughts are also secret. But he is a musician, a priest of art, that is, a man who cannot do without listeners. Salieri's monologues are thoughts addressed to himself, but addressed to the whole world!)

What feelings do Salieri have?

How did he get to fame? (from a monologue) (At first it seems that the path is truly heroic)

The first disharmonious note breaks into the monologue. Which? Say it. (“I killed the sounds, I disassembled the music like a corpse”)

What second note brings disharmony? (achieves power over harmony, which he continuously checks with algebra)

Has he gained power over music, like a miserly knight over gold? (No. Power is illusory, he, like the Miserly Knight, is not a ruler, but a servant of music, an obedient executor of someone else's will in art).

Prove it with text. (When the great Glitch...)

Yes, he turned out to be only the first student, an excellent student, and in this he found his happiness.

What is he comparing himself to now?

What is the reason for the suffering of Salieri?

(The inner strength of Salieri (like the Baron) is in a fanatical faith in the inviolability of the foundations of his world, his system. Art, according to its faithful priest, should be subject only to those who mastered it at the cost of self-denial, the price of deprivation, up to the abandonment of their “I.” Art did not glorify, but depersonalized Salieri, it turned him into a slave of the system.

And suddenly this system begins to collapse right before our eyes! The laws of harmony suddenly, inconsistently with anything, obey the "idle reveler."

Why is he jealous of Mozart?

What decision did Salieri make, why is it important for him to prove to himself: “I am chosen to stop him”?

What is the theme here? (the theme of superhumanity)

What drives Salieri? Usual low envy?

Follow his attitude to Mozart - words of amazement and delight ... and suddenly - a terrible denouement!

How is Mozart depicted in the tragedy? (wife, son, dinner, beauty, blind violinist)

Prove that he is "an idle reveler."

In this episode there is a collision, and the collision, despite the outward lightness, is very serious.

What is it about? (about the main thing in music - its final destination)

In what did Salieri see his happiness? (see the first monologue: "in the hearts of people I found harmony with my creatures")

Why does he refuse to understand the joy of Mozart, who heard the consonance of his creations in the heart of a street musician?

(The play of the street violinist is elevated by Salieri to a principle, to a shock to the foundations of art!)

What did Mozart's music awaken in a poor violinist? (good feelings) - remember Pushkin's "Monument"

Salieri (musician) drives away the blind man (musician) with a rude cry: “Go, old man!”

Yes, Mozart is interested in the blind violinist, whom he will pick up from the tavern (in the thick of life!), He himself can spend time in the tavern, but the main thing for the artist, for the creator is open to him - “and creative nights and inspiration” and come to his head not just sounds, but thoughts.

- What makes us understand this episode? Contrasting. And in what?

Between Salieri and Mozart the abyss opens! Salieri had enough of his judgment, enough analysis, he created for himself, for music, but what is music without listeners? Mozart brings what he created to people. It is so important for him to hear their opinion.

For Mozart, both the parody of the “despicable buffoon” and his brilliant “trifle” are equally interesting. Mozart plays Salieri a work composed at night.

Who does Salieri compare Mozart to after listening? (with God) - genius theme

- What does Mozart say about himself? (...but my god is hungry)

With what mood does he leave Salieri? (I am happy that I found understanding of my consonances)

And with what mood does Salieri remain?

What did Salieri's Mozart music give rise to? (thought of poison)

What evidence does Salieri base his decision on? (See 1st monologue, end, dialogue... It all comes down to one thing. - What? What is the theme here? (theme of choice

Teacher: Salieri claims to be chosen, but what a strange choice it is: a musician destroys a musician in the name of music!

In the first scene, he drove away the blind violinist, artlessly performing the melody of Mozart, in the second scene, he destroys the creator of the melody.

Does his position remind you of anyone from the previous tragedy we examined?

(Albera from The Miserly Knight)

Yes, his position surprisingly merges with Albert's position in relation to the Miserly Knight.

Albert is humiliated by poverty and sees worst enemy in the father, the owner of untold wealth.

And Salieri? (He is humiliated by art, his enemy is the owner of innumerable spiritual wealth.

But is it possible to write about a poet, artist, composer, bypassing his works?

What have we missed when talking about Mozart and Salieri? (The only creation genius Mozart- "Requiem".

What image in Mozart's monologue is inseparable from the "Requiem"?

Mozart brilliantly anticipates his end, cannot, unable to understand where his blow is coming from.

Genius and villainy! Violation ethical standards, simple human morality, let it be in the name of a lofty idea, the greatest goal - is it justified or not?

And Mozart? (A lofty thought, said in passing, immediately reconciles him to the world. He drinks the "cup of friendship."

Sounds like Requiem

Why is Salieri crying? Does he repent? (No, he is shocked, first of all, by his suffering)

What words in Pushkin's tragedy become like an epigraph to it?

Why do these words "genius and villainy" sound twice: in the mouth of Mozart and in the final monologue of Salieri?

What will be the consequences of Salieri's terrible act: will he be freed from torment or will more terrible torment haunt him all his life?

Is Mozart right that "genius and villainy are two incompatible things"?

Teacher: To summarize, we conclude:

What unites the two analyzed tragedies?

The superhuman, and, consequently, deeply immoral began to break chivalry, cut family bonds. Now a creative union (the most holy kind of friendship for Pushkin) cannot withstand his blows, and a genius is sacrificed to him. But Salieri, this new demon of the "terrible age", turned out to be smaller than the Miserly Knight.

The baron, in a moment of despair, grabbed the "honest damask steel", he is horrified that he has ceased to be a knight, and, consequently, a man. Salieri, as if following the advice of the “despicable usurer”, prudently put poison into action and was not horrified, but only thought: is he really not a genius?

Which artistic technique underlies the plot of the tragedy "Mozart and Salieri"? (ANTITHESIS of two types of artists)

What is the driving force behind the tragic conflict? (envy)

Final word:In this tragedy, in an extremely generalized form, the characteristic features of Pushkin's personal fate and his relationship with society at the turn of the 1930s were reflected.

Both in The Miserly Knight and in Mozart and Salieri, the tragic finale does not remove the main tragic collision, plunging readers and viewers into thoughts about the meaning of life, about true and imaginary harmony, about meanness and nobility, about friendship, about envy, about creativity.

D/Z. Written assignment. Answer the following questions in detail (optional):

1. Who is the "central person" of the tragedy of A.S. Pushkin "Mozart and Salieri"

2. Whose fate is more tragic: Mozart or Salieri?

3. Why is the requiem ordered by the composer not in demand?

Oral assignment.

Prepare a message - presentation " Last years life of A.S. Pushkin.

Poems "Message to the Censor", "Prophet", "Arion", "Poet", "I erected a monument to myself ..". Think about the theme that unites these poems.