Cunning and love are the main characters. Characteristics of the heroes based on Schiller’s work “Cunning and Love”

S. Yu. Khromova

SvetlanaKhromova@ yandex. ru

The originality of the genre features of Schiller's tragedy
"Cunning and Love"

The article analyzes the artistic features
Schiller's tragedy "Cunning and Love".

For Schiller, the tragedy “Cunning and Love” was the pinnacle of the development of Stürmer drama. Let us define tragedy as a play in which spiritually strong personality fights against a stronger opponent, such as fate or circumstances, and suffers physical defeat, but wins a moral victory, showing the reader an example of the triumph of the individual spirit over negative factors.

"Burger Tragedy" was originally conceived as a domestic play in which family problems should be addressed. But in the process of work, the author discovered that the question of the position of the burghers and class relations, which he considered in terms of family and everyday life, were in fact of acute socio-political interest. The problem was important and relevant for Germany at the end of the 18th century.

The life and customs of modern Germany in Schiller's tragedy are presented very accurately and vividly. The history of the writing of the work itself is interesting: the idea to create a play “Cunning and Love” about modern German reality first arose from Schiller in the guardhouse, where he was imprisoned by the Duke of Württemberg for his unauthorized absence in Mannheim for the performance of “The Robbers.”

Provincial life and morals, intrigue and crime, luxury
and the debauchery of the ducal court and the appalling poverty of the people - this is the setting in which the tragic story of the sublime love of two noble creatures - Ferdinand and Louise - unfolds.

"Cunning and Love" is one of Schiller's early plays, one of the most important features of which was Shakespeare's mixing of the tragic with the comic. The author himself admits this in a letter dated March 27, 1783: “My “Louise Miller” has many inherent qualities that are not very suitable. For example, a gothic mixture of comic
and tragic, overly frank images... All-powerful tyrants and a variety of details...".

Although Schiller himself condemns this “mixture of the comic and the tragic,” in this case he simply adapted to the poetics of classicism, which is characteristic of the literature of that time.

German literature of the Enlightenment developed under extremely complex and difficult conditions. Germany, even in the 18th century, continued to remain a feudal country, economically and politically backward, fragmented. Only from the middle of the century, and more intensively from the 1770s, in connection with the economic and social upsurge and active political and cultural influence from the outside, coming, in particular, from France and England, did conditions arise for the “accelerated” development of literature. In creativity outstanding writers and thinkers - Winckelmann and Lessing, Herder, Goethe and Schiller, as well as their associates - the art and aesthetic theory of the Enlightenment flourished.

The great figures of the German Enlightenment were heralds of progressive ideas who raised pressing questions in their works
of their time, who advocated for the national unification of the country
and social renewal.

The strengthening of bourgeois relations causes a crisis in educational ideology, tangible signs of which have been visible since the beginning of the 1770s. Sentimentalism is established in the literary arena as a reaction to the abstractness and rationality of classicism and as an expression of keen interest in the needs and aspirations of the “third estate”, sympathy for ordinary people - not only for “servants”, but also for the oppressed in general.

The tendencies of sentimentalism permeated the literature of the Sturm and Drang movement, which flourished in the 1770s and early 1780s. Inheriting the best traditions of Lessing and the sentimental poetry of Klopstock, the writers of the Sturm und Drang movement were the most characteristic exponents of the opposition that corresponded to both the state and certain forms development of German ideology of his era.

German classical philosophy of these years had a huge impact on the development of literature. Idealist at its core, philosophy developed in extremely complex ways.

And yet the sturmanship, like European sentimentalism, was not a unified movement either in terms of socio-political and theoretical principles, or in terms of creative principles. Herder, Goethe, Schiller and their comrades truly expressed the “spirit of protest.” Their criticism is related
with the further development of realism in German literature, and the ideal of a strong man, an integral personality, the richness of it spiritual world determined by the desire to express the principles of freedom.

Later, during his period of classicism, Schiller abandoned humor in his plays, which can be regarded as a departure from the poetics of Shakespeare's tragedies, which did not benefit German drama as a whole. But he sharply strengthened the poetic component of his dramaturgy, switching to poetry (“Mary Stuart”, “The Maid of Orleans”, etc.). It should be noted that even during the period of Sturm and Drang, Schiller the playwright did not lose touch with poetry (for example, in The Robbers). This connection is all the more obvious since the writer creates lyrics simultaneously with plays.

But the main thing in this regard is the poetry of the dramatic prose itself in all three of Schiller’s youthful sentimental-romantic prose plays: “The Robbers” (1780), “The Fiesco Conspiracy in Genoa” (1783) and “Cunning and Love” (1784). This poetry is palpable in the colorful rhetoric, in the theatrical pathos of the monologues of Franz and Karl Morov, Ferdinand, Louise. But these characters are not the only ones who speak in poetic prose. The robbers from Mora's gang also fall into melodic declamation; Ferdinand’s father also knows how to speak beautifully when, for example, in a fit of irritation he scolds his son: “But what is this - gratitude?.. For my tireless worries? For eternal remorse?..” (act 1, scene 7).

The mixture of comic and tragic intonations, turning into melodrama, constitutes in the style of the play only one of the most important episodes of genre poetics. Thus, in “Cunning and Love,” Secretary Wurm and Marshal von Kalb are satirically depicted. The very anthroponymy of these characters is funny and derogatory. How differently they are depicted. Wurm is a cunning, dexterous intriguer, a scoundrel, groveling before his master, but ready to betray him in a moment of danger. Kalb - “calf” with the noble prefix “von” - is an empty nonentity, an idiot and a snob, groveling before his superiors.

“Cunning and Love” is distinguished by the depth of revelation of the psychology of the heroes, complicated detail, and the revelation of the dialectic of relations between the personal and the public. And yet, the power of the tragedy lay not so much in showing the trifles of real life, but in the realistic emphasizing of “typical circumstances” - crimes alone and tragic death others. This entire complex conflict, which Schiller resolves in his tragedy, is essentially subordinated to clarifying the most important question about the rights of the people, about the destinies of ordinary people, still downtrodden and powerless.

Schiller's work with the drama “Cunning and Love” fits worthily into the final stage of the development of the literature of the European Enlightenment.

Literature

1. Abusch A. Schiller: The greatness and tragedy of the German genius. M., 1964.

2. History of German literature. M., 1982. T. 1-2.

3. Libenzon Z. E. Friedrich Schiller. M., 1990. 175 p.

4. Neustroev V.P. German literature of the era. M., 1998.

5. Schiller F. Collected works: in 7 volumes. T. 7. M., 1957.

S. V. Shalyshkin

ifksirby@ ya. ru

Problems of monitoring the quality of education
in a modern school

The article provides a brief description of the problems associated with monitoring the quality of education in a modern school, and analyzes approaches to solving them.

At the present stage of development of school education, the issue of ensuring its quality is of no small importance. One of the tools for this is monitoring the quality of education that is adequate to the realities of today. Monitoring is one of the most important means through which
The information space itself is changing, as the efficiency, objectivity and accessibility of information increases. Therefore, the purpose of monitoring is to promptly and timely identify all changes occurring in the field of education. The quality of education is a balanced compliance of education (as a result, as a process, as an educational system) with diverse needs, goals, requirements, norms (standards). Timely and objective monitoring of the quality of education
at school today is difficult due to quite large quantity problems that can be classified as follows: personnel; methodological. The following problems can be classified as personnel problems: lack of training of teaching staff for activities in the field of monitoring the quality of education in schools, which is primarily due to
with an outdated specialist training program; incorrect work of the management team, which is associated, first of all, with the lack of a modern education quality management system at the school. The role of psychological factors, general and special training of the teacher, and his personal qualities (principle, sense of responsibility) are also important. All this one way or another affects the result of testing and assessing knowledge. The personal qualities of a teacher are certainly manifested both in the nature of teaching and in the process of testing and assessing knowledge. The class of methodological problems includes the following: the need for tools for conducting monitoring studies - high-quality, easy to process, with a high degree of validity, covering all aspects of the learning process, corresponding to state educational standards. The first steps in solving this problem have already been taken: government educational standards as a socially necessary standard, criteria and quality indicators are developed different levels education, empirical experience in organizing pedagogical monitoring in educational institutions is accumulated, etc. Modern pedagogical science and practice are tasked with
the need to transition from traditional methods of collecting information
about the school to pedagogical monitoring, which means targeted, specially organized, continuous monitoring of the functioning and development of the educational process and/or its individual elements in order to timely take adequate management decisions based on analysis of collected information
and pedagogical forecast. One of the most discussed issues in the education system
over the past few years has been the introduction of the Unified State Exam. It has been repeatedly noted that the Unified State Exam imposes new requirements on learning outcomes, aims the educational process at achieving modern goals, makes it possible to objectify them, receive external assessment, ensures equality of approaches in assessing students, comparability of results, etc. Analysis of the results of the Unified State Exam allows for a comparison of the level the level of training of students of different classes in one subject, according to the profile of study, according to the number of hours allocated in the curriculum for studying the subject, according to those used in the process teaching teaching materials. Using the results of the Unified State Exam, it is possible to trace the dynamics of changes in the level of students’ learning in a particular subject over a number of years. If information is available, an educational institution can compare its results with indicators for the district, city, region, region, etc. Another parameter for analyzing the quality of training is the correlation of the student’s annual grade in the subject given by the teacher,
with the assessment of independent experts who checked the Unified State Examination. Using USE results to monitor the quality of schoolchildren’s learning may include many other parameters. For example, it is possible to compare students' choice of subjects for passing the Unified State Exam, the number of graduates of general education institutions who entered universities based on the results of the Unified State Exam as a percentage of all applicants, etc. Monitoring students' knowledge is one of the main elements of assessing the quality of education. Teachers supervise daily educational activities students through oral quizzes in class and assessment of written work. This is an informal assessment that has a purely pedagogical purpose within the activity educational institution, refers to natural norms, given that the results of each student must be at least average. In other words, the grade given by the teacher is almost always “ok,” which obviously limits its value. The subjectivity of knowledge assessment is associated, to a certain extent, with the insufficient development of methods for monitoring the knowledge system. When organizing a system of pedagogical monitoring, both objective and subjective difficulties and obstacles may arise. For example, when creating a system, it is necessary to take into account the quality of the methods used, the preparedness of specialists, and the possibility of improving their professional skills. These factors must not be forgotten; moreover, they must be minimized negative impacts, take into account possible problems.

Literature

1. Grushnikova E. V. Monitoring the quality of education as a factor in the success of school development. URL: /component/option,com_mtree/ task, viewlink/link_id,5678/Itemid,118/ 2. Petrukhin V.V. The problem of organizing and testing a pedagogical monitoring system in educational institution. URL: /journal/2007/0115-7.htm. 3. Raspopina L.K. Using the Unified State Examination results to monitor the quality of education. URL: /page.php?article=407. 4. Terms and definitions in the field of quality of education. URL: http://quality. /quality/sk/525.4/

I. A. Shekhmatova

shehmatova @ mail . ru

Psychological study of the relationship
intragroup status of a teenager and his behavior style
in conflict situations

This article reflects a study of the relationship between a teenager’s intragroup status and his behavior in a conflict situation. Based on the data obtained, a program for optimizing the conflict behavior of adolescents was compiled.

The issue of communication is one of the most pressing areas in late adolescence. This is due to the fact that interpersonal contacts for adolescents are extremely significant and at the same time quite selective. Many teenagers do not know how to communicate correctly and have difficulty finding effective communication means. Therefore, in older adolescence, interpersonal conflicts, which lead to a number of related problems. We conducted an experimental study of the characteristics of conflict behavior of adolescents, the purpose of which was to identify the characteristics of conflict behavior of adolescents in a peer group. The subject of the study was the peculiarities of conflict behavior of high school students in such a group. Theoretical basis The research included the concepts of the conflict behavior style of K. Thomas and the periodization of age development of D. B. Elkonin.

The experimental study was carried out on the basis of the Balashov Municipal Educational Institution Secondary School Gymnasium named after. Hero Soviet Union Yu. A. Garnaeva. 9th grade students took part in it (21 people in the first stage and 27 people in the second). Two methods were used: diagnostics of interpersonal and intergroup relations by J. Moreno (“Sociometry”) and determination of tactics of behavior in a conflict situation by K. Thomas.

The results of the first stage of the study, conducted in the 2008/2009 academic year, showed that among the preferred and rejected
in the classroom (both boys and girls), the predominant tactic of behavior in conflict is rivalry. With this strategy, power, the force of law, connections, authority, etc. are actively used.

At the second stage of the study, which took place in the 2009/2010 academic year, the working hypothesis was clarified. The assumption was formed that with the transition from senior adolescence the personality becomes more flexible in its conflict behavior
in the use of tactics. Using the same methods as at the first stage of the experiment in the class we selected, but expanding the sample to 27 people, data was obtained that complements the overall picture of the study. Thus, mathematical processing of data allowed us to find out that in addition to competition, high school students prefer such tactics of behavior in conflict as cooperation and compromise. They were added with the transition of teenagers to high school. Thus, our hypothesis is that
with the transition from older adolescence, the personality becomes
in her conflict behavior, she was more flexible in the use of tactics, confirmed.

Based on our research, we have developed a program of group classes aimed at optimizing the conflict behavior of high school students, which will be conducted in an experimental class in the 2010/2011 academic year. The goal of the program is to train participants in effective strategies for behavior in conflict situations and conflict prevention.

Literature

Grishina N.V. Psychology of conflict. St. Petersburg: Peter, 2002. 464 p.

Istratova O. N., Exacousto T. V. Big book of a teenage psychologist. Ed. 2nd. Rostov n/d.: Phoenix, 2008. 636 p.

Shapovalenko I.V. Developmental psychology: textbook. manual for university students. M.: Gardariki, 2007. 349 p.

Yu. A. Shishkova

Adaptation of young spouses to the conditions of family life

The article examines the specifics of adaptation of young spouses to the conditions family life. The characteristic features of adaptation of spouses living in rural and urban areas are highlighted.

The modern family and its problems serve as the object of research in a number of sciences. These studies are aimed at studying such aspects of family life as the formation of a married couple, periods of crisis
in married life and many others. There are a number of works devoted to the study of the adaptation of young spouses to the conditions of family life 1 . Our research is aimed at studying the issue related to the specifics of marital adaptation of young spouses living in urban and rural areas. The hypothesis of our work is the assumption that there are characteristic differences in the psychological adaptation to family life of such spouses. The empirical study was conducted in 2010. in the city of Balashov, Saratov region (11 families) and in the river. village of Rudnya, Volgograd region (11 families). Average age spouses in families living in the city are 23-27 years old; those living in rural areas - 18-22 years old; experience life together- 2-5 years; in rural areas - 2-3 years; 4 families of both groups have children. To determine the specific features and characteristic differences in family adaptation of young families
The methodology “Role expectations and aspirations in marriage” was used
(L. N. Volkova), a method for determining the characteristics of the distribution of roles in the family (Yu. E. Aleshina, L. Ya. Gozman, E. M. Dubovskaya), the “SZhO” technique (D. A. Leontyeva). The empirical study revealed following results. 1. Disagreement in the understanding and acceptance of such values ​​in rural areas
and urban families like sexual relations, views on raising children, the everyday life of a young family are determined by early age marriage in rural families and later in families living in urban areas. Personal identification with a spouse in rural families has contradictions, explained by the characteristics and specifics of families living in rural areas, the way of life of villagers, the more rhythmic specifics of city life and the more measured pace of life in rural areas. 2. The distribution of roles in the family is an important condition for the development of family stability. Husbands living in rural areas take on the financial support of the family, while urban husbands prefer to share this role equally with their wives. Husbands living in cities easily give up the right to be the mistress of the house to their spouses. Rural husbands fulfill this role together with their wives. Women living in cities, the role of entertainment organizer
in family life they take on themselves. This may indicate a difficult economic situation in the country, a mixing of roles in the family of men and women against this background. 3. The indicator of meaningfulness in life for all the studied couples is quite high - ranging from 35 to 40. Young people do not yet consider themselves strong enough and independent individuals with freedom of choice to build their lives in accordance with their goals, which may be due to early age of marriage, dependence on parents and their help. Young spouses believe that a person is able to control his life and make decisions freely. This contradiction can be explained by the fact that marriage and family adaptation is not complete. We can say that young people, during the period of their primary adaptation, positively assess their relationships as a couple, strive to find compromises in certain situations, and try to avoid conflicts.

V. I. Shchedrov

Study of the dominant mental state
representatives of a harmonious style of state regulation

The article examines the characteristics of subjects with a harmonious style of self-regulation, the determinants that determine the specifics of the dominant mental state.

Over the course of many years, we have studied the individual style of self-regulation of state (ISSS), its main characteristics
and regulatory mechanisms. We identified “natural” types of regulation styles: harmonious, economical and accumulative, costly. According to many indicators and mechanisms for regulating the harmonious states of the subjects, they were “the best.” We decided to identify, using factor analysis, the determinants that determine the specificity of the dominant mental state of representatives of this style, using regression analysis to determine the factors that most influence the regulation of the state, using the S-Jonkeer criterion to determine the subgroup
with better indicators of state regulation. Using the method of Shiposh, Eysenck and Mikshik, the ISSS was determined, and using the Prokhorov method, the dominant mental condition subjects (BISGU students, N = 180 people), received the corresponding results
and gave their comparative assessment. Let us dwell on the analysis of the harmonious style of regulation (N = 104 people), using the indicated methods of mathematical statistics. At the beginning, factor analysis was carried out to study the structure of self-regulation of the state. As a result, three significant factors were identified that absorbed 60% of the total variance. Let us analyze the factor matrix obtained after rotation. According to the highest factor weight, the first factor can be called the Sp factor (calmness/anxiety). This factor with significant weights included all indicators of the dominant state except Bo (cheerfulness/dejection), namely: Sp (0.84), Ra - relaxedness/tension (0.8), Vc - stability/instability of the emotional background (0.84), 71), Ud - satisfaction/dissatisfaction with life (0.76), Po - positive/negative self-image (0.69), To - tone (0.59), Ak - activity/passivity (0.58). Thus, the first factor included the following qualities: calmness, relaxedness, life satisfaction, stability
emotional tone, positive self-image, sufficient activity, readiness to overcome difficulties. The second factor can be called N - (neuroticism “minus”) (–0.51). The opposite pole indicates denial of emotional excitement and instability of state. The third factor can be called Bo - cheerfulness/dejection (0.69). This factor also included the CV indicator (vegetative coefficient). This indicates that the subjects have a high, cheerful mood and are full of energy. A hypothesis arose that “good” characteristics of a state are determined by the style of state regulation. Therefore, we analyzed one regression equation in which the variable RE (regulating variability) was selected as the dependent variable Y(RE) = 2.49 + 0.74KB + 0.21KO + 0.17MH –
– 0.31KA + 0.33EA. According to the obtained regression equation, the regulation of the state is largely determined by the vegetative coefficient (0.74KB) (energy), then by emotionally formed variability, i.e. optimism (0.33EA), conscious denial of high ambition (–0.31KA ) and in to a lesser extent cognitive variability (0.21Ko) and motor flexibility (0.17MH). Then the group was divided into “excited”, “worried”, “balanced” and “reactive” (Mikshin) and a trend in the change in the RE indicator was identified when moving from subgroup to subgroup using the S-Jonkier criterion. As a result, we obtained an increasing tendency for state regulation in the subgroups: “excited”, “reactive”, “worried” and “balanced”, Sam = 58 (p ≤ 0.05). Thus, it is the “balanced” subjects in the harmonious regulation style who have the most optimal level of regulation, high energy, and are emotionally stable.

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Actual problems science and education

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1 Courant R., Variable methods for the solution of problems of equilibrium and vibration. Bull. Amer Math. Soc. Vol. 49. No. 1. 1943.

1 Vozzhaeva S. F. Adaptation of disabled children to modern conditions// Social Security. 2009. No. 5. P. 24-25.

Deceit and love:

5 Famous Dramas by Friedrich Schiller

Friedrich Schiller went down in the history of world literature as an ardent defender of the human personality

IVAN YURCHENKO

Born November 10, 1759 German poet, philosopher, art theorist and playwright Friedrich Schiller. Place of Birth famous writer- city of Marabach am Neckar. Schiller's father was a regimental paramedic, and when Friedrich was 5 years old, he was appointed recruiter. The family moved to Lorch, where Schiller received elementary education from a local pastor. The future writer studied for three years, mastering reading and writing in German and Latin. In 1766 the family moved again, this time to Ludwigsburg. In this city, Schiller went to a Latin school. The young man studied Latin five days a week, and in high school, while studying the works of Ovid, Horace and Virgil, Schiller’s interest in his studies grew significantly.

Upon completion of his studies, Friedrich was sent to military academy and enrolled in the burgher department of the Faculty of Law. However, with jurisprudence young man things didn’t work out, and in 1776 Schiller transferred to the medical faculty. During this period, he listens to a course of lectures on philosophy by the famous professor Abel and decides to devote himself to poetry.

Schiller became interested in the work of Friedrich Klopstock, as well as the poets of the Sturm und Drang movement, and began writing poetry himself. In 1780, Schiller completed the academy course and received a position as a regimental doctor in Stuttgart without being awarded an officer rank. A year later, he finished work on the drama "The Robbers", which he had to publish at his own expense - not a single Stuttgart publisher wanted to print the play. Simultaneously with The Robbers, Friedrich Schiller prepared for publication a collection of poems, An Anthology for 1782. For his unauthorized absence to Mannheim (where the premiere of The Robbers took place), Schiller was put in a guardhouse and forbidden to write anything other than medical essays.

After this, the aspiring writer fled from Stuttgart: under an assumed name, he was forced to settle in a village near Mannheim, where in the fall of 1782 he made the first draft of the tragedy “Cunning and Love.” The play was completed in February 1783. Having barely finished one work, Schiller took up another and sketched the historical drama Don Carlos. A year later, the already recognized playwright joined the Elder Palatinate German Society, which gave him the rights of a Palatinate subject and legalized his stay in Mannheim.

In the spring of 1785, Schiller moved to Leipzig, and from there to a village near Dresden. Here Don Carlos is finished, begun new play"Misanthrope", "Philosophical Letters" completed. On August 21, 1787, Schiller’s landmark visit to Weimar took place: in this city, the center of German literature, the author of “The Robbers” met Wieland, Herder and Goethe. Around this period, the first volume of “The History of the Fall of the Netherlands” was published, which brought the author fame as an outstanding historian. In 1789 Schiller moved to Jena to teach at the university. The inaugural lecture “What is world history and for what purpose is it studied” was a huge success, the students gave a standing ovation.

Subsequently, the writer also gave a course of lectures on tragic poetry and world history. In the winter of 1791, Schiller fell ill with tuberculosis: now he could no longer always work in full force, however, illness did not prevent him from finishing his most significant philosophical work- "Letters about aesthetic education person." Soon Schiller invited prominent German writers and thinkers to collaborate in the new magazine "Ory". He had far-reaching plans - to unite the best writers in Germany into a literary society. In 1795, Schiller wrote a cycle of poems on philosophical themes: “The Poetry of Life”, “Dance”, “Division of the Earth”, “Genius”, “Hope”.

The poet speaks of the death of all that is beautiful in the dirty, prosaic world. In 1799, the poet and playwright returned to Weimar, where, together with Goethe, he founded the Weimar Theater. At this time, he finally wrote “Mary Stuart,” the plot of which he had been thinking about for almost 20 years. IN last years Throughout his life, Schiller was ill for a long time; in addition to tuberculosis, he suffered from chronic pneumonia.

5 famous dramatic works of Friedrich Schiller.

1. "The Robbers" (written in 1781)

This is Schiller's first drama. The play was published anonymously, and was soon staged in Mannheim, one of the best theater troupes. Schiller himself was present at the triumphant premiere. By that time, the name of the author of the work was already on the poster and was no secret to anyone. The play is preceded by the Latin epigraph “Against Tyrants,” and this immediately makes it clear to the reader that the pathos of “The Robbers” is directed against tyranny in any form. The plot was borrowed by Schiller from different sources, the main of which was Schubart’s story “On the History of the Human Heart”. In general, the opposition of two brothers - outwardly respectable, in fact hypocritical and vile, is often found in XVIII literature century. Another important motive is the theme " noble robber" - refers to the famous ballads about Robin Hood. In addition, this motive also has a real background: in Germany at that time, gangs of robbers spontaneously arose. Main character drama, Karl Moor, opposes himself to a society that he does not accept because of falsehood, hypocrisy, selfishness and self-interest, at first it is only declarative in nature. After a letter from his brother Franz, which informs him of his father’s curse, Karl becomes the chieftain of the robbers, who are young people who have lost hope of finding a place for themselves in a thoroughly rotten society. The story of the nobleman Kossinsky is especially characteristic. He was thrown into prison so that a certain prince could take possession of his bride. Karl himself distributes the loot to the poor. At the same time, the robber is merciless to those who sow arbitrariness: to the prince’s favorite, to the priest mourning the decline of the Inquisition, to the adviser selling positions. At the end of the play, Karl Moor is convinced that violence cannot be defeated by violence, and his comrades have shed a lot of innocent blood, and surrenders to the authorities. The complete opposite of Karl - his younger brother Franz. He is consumed by envy of Karl, his father’s favorite and heir to the count’s title. Having removed Karl from the road, Franz hastens the death of his old father. The entire play is built on antithesis. For example, two priests are opposed to each other: a treacherous Catholic priest and a noble Protestant pastor. Schiller's language is also contrasting: thus, the lyrical and passionate monologues of Karl More alternate with the rude speech of the robbers.

2. "Cunning and Love" (written in 1783)

In the "philistine tragedy" Schiller again turned to topical themes. The problem of despotism, the omnipotence of favorites and the lack of rights of the ordinary person is closely intertwined with moral problem. In this case, we are talking about the barriers that class division erects between lovers. The love of the nobleman Ferdinand von Walter for Louise, the daughter of the tradesman Miller, is unthinkable from the point of view of class division, in addition, it interferes with the plans of Ferdinand’s father, the president, a powerful dignitary. He wants to marry his son to the Duke's mistress Lady Milford. The president's secretary Wurm (his last name is translated from German as "worm") is weaving intrigues. Faced with a choice - death or life imprisonment for her father - Louise writes love letter to the insignificant marshal. This fake love letter is planted on Ferdinand to prove to him that Louise is unfaithful. But the outcome turns out to be tragic, not what the president wanted: Ferdinand and Louise die. The townspeople in the play are bearers of honor and morality, which are alien to the president, the marshal and other dignitaries. Actually, high morality does not allow Louise to break her oath to Wurm and tell the truth to Ferdinand.

3. "Don Carlos" (written in 1787)

Don Carlos was Schiller's first drama written in verse. The play tells about the struggle of the people of the Netherlands against the Spanish yoke, Protestants against Catholic oppressors. For example historical events Schiller raises the problem of freedom of thought. The very concept of freedom undergoes a transformation and appears on a certain “ideal” plane. The revolution itself is not shown in the drama; the action takes place at the Spanish court, and the reader learns about the events in the Netherlands from the stories of the main character, the Marquis of Posa. The main weapon in the struggle for the ideals of freedom is the word: the Marquis of Posa tries to soften the fanatical King Philip II, convinces the cruel monarch to give freedom to the Netherlands. However, all Posa’s efforts are frustrated by the machinations of the Duke of Alba and the royal confessor, the Jesuit Domingo. Schiller masterfully creates the image of a tyrant king, lonely and surrounded by flatterers and intriguers. They extinguish the glimmer of trust that flared up in Philip in Pose, who goes to his death to save the king’s son Don Carlos. Marquis Pose is one of Schiller's most ideal heroes. This is a selfless friend, a brave fighter for the ideals of freedom, who nevertheless admits that his century “is not ripe for ideals.”

4. "Mary Stuart" (written in 1801)

This play by Schiller is notable for the fact that it was most often performed in theaters. Mary and Elizabeth of England are depicted not as bearers of political and religious ideas (Catholic reaction and advanced Protestantism), but as moral antipodes. Elizabeth is a wise but immoral ruler who cares about the good of the state, but is obsessed with envy and a thirst for power. Maria is passionate and sinful, sincere in her impulses, criminal and carrying out judgment on herself. She is ready to resign herself to the inevitable execution, but does not tolerate the humiliation of her human dignity. Thus, Mary is purified through suffering and rises above the triumphant Elizabeth. Mary's fate is clear from the very beginning of the tragedy, and the ongoing action cannot change her fate.

5. "William Tell" (written in 1804)

In this drama, Schiller adapted the plot of a Swiss chronicle about the hero folk legend, arrow Tell. In the Swiss uprising against Austrian oppression, the struggle for freedom is shown as a national cause. Each participant in the oath at Rütli (the place where three Swiss communes swore an oath of mutual aid and support) is both an exponent of popular protest and an individual. William Tell, who at the beginning of the play appears calm and restrained, then grows into a people's fighter and avenger of the harsh governor from Austria. Tell’s mental turning point occurs under the influence of the governor’s terrifying demand to shoot the apple on his son’s head.

"Cunning and Love"

The idea of ​​creating a play about modern German reality first arose from Schiller in the guardhouse, where he was imprisoned by the Duke of Württemberg for his unauthorized absence in Mannheim for the performance of The Robbers. After escaping from Stuttgart, Schiller, wandering around Germany, worked on a play. The poet called it “a bold satire and mockery of the breed of jesters and scoundrels from the nobility” (letter to Dahlberg dated April 3, 1783). The little Duchy of Württemberg, the despotic, depraved Karl Eugene, his favorite Countess von Hohenheim, Minister Montmartin, depicted in the play under other names, retaining all their portrait likeness, turned into grandiose generalized images, types of feudal Germany. The musty little world of a remote province, intrigue and crime, the luxury and debauchery of the ducal court and the appalling poverty of the people - this is the setting in which the tragic story of the sublime love of two noble creatures unfolds - Ferdinand and Louise.

Two community groups are contrasted in the play: on the one hand, the Duke (invisible to the viewer, but constantly invisibly present on the stage, connecting the tragic chain of events with his name); his minister von Walter, a cold, calculating careerist who killed his predecessor, capable of any crime in the name of his career; the Duke's mistress Lady Milford, a proud social beauty; the sneaky and sneaky Wurm, the president's secretary; the pompous dandy, stupid and cowardly Marshal von Kalb. On the other hand, the honest family of the musician Miller, his simple-minded wife, his sweet, intelligent, sensitive daughter Louise. To this group belongs Lady Milford's old valet, who contemptuously rejects the purse of money offered to him by his mistress.

Before us are two worlds, separated by a deep chasm. Some live in luxury, oppress others, are vicious, greedy, selfish; others are poor, persecuted, oppressed, but honest and noble. To them, to these destitute people, came Ferdinand, the son of the ducal minister, a major at twenty years old, a nobleman with a five-hundred-year-old pedigree.

He came to them not only because he was captivated by the beauty of Louise; he understood the depravity of the moral principles of his class. The university, with its new educational ideas, inspired in him faith in the strength of the people, communication with which enlightens and, as it were, elevates a person (Schiller strongly emphasizes this). Ferdinand in the Miller family found that moral harmony, that spiritual clarity that he could not find in his own environment. There are two women in front of Ferdinand. They both love him. One is a brilliant secular beauty, the second is an unassuming city dweller, beautiful in her simplicity and spontaneity. And Ferdinand can only love this girl from the people, only with her is he able to find moral satisfaction and peace of mind.

Schiller's play was staged for the first time on May 9, 1784 at the Mannheim Theater. Her success was extraordinary. The audience saw modern Germany in front of them. Those glaring injustices that were happening before everyone’s eyes, but which they were afraid to talk about, now appeared vividly and convincingly stage images. The revolutionary, rebellious thought of the poet sounded from the stage of the theater in the exciting speeches of his heroes. “My ideas about greatness and happiness are markedly different from yours,” Ferdinand says to his father in the play. The actor’s speech was addressed to the chairs where representatives of the nobility of the then Germany sat: “You achieve prosperity almost always at the cost of the death of another. Envy, fear, hatred - these are the dark mirrors in which the greatness of the ruler is put to shame... Tears, curses, despair - this is the monstrous meal with which these illustrious lucky ones delight themselves.”

The central positive characters of the drama are Ferdinand and Louise. Both of them belong to that generation of people of the 18th century that was brought up on the literature of sentimentalism, Rousseau’s “New Heloise,” Richardson’s “Pamela” and “Clarissa,” and Goethe’s “The Sorrows of Young Werther.” This should not be forgotten when assessing the characters and access of the good heroes of the young Schiller. Their actions are often guided not so much by reason as by heart, not by calculation, but strong feeling. Ferdinand and Louise rebel against class barriers in the name of freedom of feelings, in the name of the inalienable rights of the human person.

Louise loves Ferdinand with all her heart, but cannot overcome a secret premonition of what awaits her tragic fate that the class barriers standing in her way to happiness may turn out to be stronger than love her and Ferdinand? This ominous premonition will soon come true. The arrest of her parents plunges her into painful doubts: does she have the right to expose her father and mother to constant danger because of her desire for happiness? In this mood, Ferdinand finds her, who invites her to escape with him at night from the duchy. Louise at this moment decides to sacrifice personal happiness for the sake of her parents and therefore asks Ferdinand to forget her: she cannot run away with him, and in general he must abandon her, because her dreams of love and happiness were allegedly criminal, they would destroy the “eternal world order” . To the words of Ferdinand: “I am leaving my homeland, Louise!” - She replies that her duty is to stay.

Ferdinand does not understand the girl's mood. He even admits the idea that a lover might be involved. Thus, the ground is psychologically prepared for Ferdinand’s unfounded suspicions, which ultimately lead him to such a paroxysm of jealousy that he is ready to believe in the possibility love affair Louise with Marshal von Kalb.

When the scoundrel Wurm offers her his hand in the hope that, finding herself in a hopeless situation, the defenseless girl will be glad to become his wife, she answers him with angry words: “I would strangle you in the first place.” wedding night" With great dignity, she defends her right to love Ferdinand during a conversation with Lady Milford; Louise contrasts the aristocratic swagger of the court lady with her moral purity. With contempt she refuses the favors of the Duke’s former mistress, and when Lady Milford threatens to separate her from Ferdinand, the girl responds with vehemence: “You... have destroyed the paradise of two lovers... But remember that as soon as you and he close your lips in a kiss under the aisle, The ghost of a suicide will instantly rise between you...”

Louise decided to take her own life. In the last act of the drama, the girl gives her father a letter to Ferdinand, in which she explains how they were separated through insidious deception. Her father begs her to leave the thought of death, she tears up the letter as a sign that everything is over between her and Ferdinand, and invites her father to leave the city. But then Ferdinand appears. When Louise learns that death awaits her, she tells him that she wrote a letter to the marshal under duress from the president.

Schiller's democracy was manifested with particular force in the sympathy with which he depicted the character of the heroine, Scars. It should not be forgotten that, in essence, it was Louise who was the first heroine from the people in German drama. Schiller showed Louise's moral superiority over women of the aristocratic environment. She is not only pure and innocent, but also endowed with a high sense of duty. She is alien to any kind of egoism. Even her proud aristocratic rival, Lady Milford, is forced to recognize the spiritual greatness of this girl of “low” origin. Louise has a truly heroic sublimity of feelings and aspirations. She is the character in the tragedy who is endowed with the highest spiritual qualities. However, although capable of feats of self-sacrifice and self-denial, Louise is not an active person. She is able to maintain her honor and dignity, but cannot fight for her love.

Passivity - characteristic German burghers of that era, and Louise is the flesh of her environment and her time.

Ferdinand, on the contrary, is an exceptional image for high society. But at the same time, it is typical of that era. Ferdinand absorbed the ideas of the Enlightenment and became imbued with hatred of everything that is contrary to nature. In this respect, he is a true son of his century, an adherent of its progressive ideals: The cult of nature and the cult of feeling characteristic of Ferdinand are an expression of a worldview typical of sentimentalists. In this sense, his words addressed to Louise are characteristic when he invites her to flee the duchy: “You, Louise, me and our love! Is not the whole sky contained in this circle? Or are you still missing something fourth?.. You and I don’t need anything from the world, so why beg for its blessing?.. Will your eyes stop gently shining only because their rays are reflected not in the waves of the Rhine, but in the waves of the Elbe or the Baltic Sea?.. What do we need all the splendor of cities? Wherever you and I are, Louise, the sun rises and sets everywhere, and this is such a wondrous sight, before which the wildest imagination of an artist pales. May we be deprived of the opportunity to pray in churches.

Their sublime feelings, freedom-loving aspirations, noble ideals of equality and brotherhood, greatness of soul, defense of the rights of the heart and freedom of love, their angry protest against everything that fetters a person were a reflection of the advanced aspirations of the pre-revolutionary era. Unlike Louise, who passively sacrifices herself and her happiness, Ferdinand actively fights against the court world that he hates. He refuses to be a plaything in his father's hands; believing the deception, thinking that Louise is unfaithful to him, he, as it were, carries out a trial on her and sentences her to death for treason. If fervor is reflected in Ferdinand’s actions, then it is always inseparable from the truly noble aspirations inherent in his nature. His suicide is an act of protest against a society that has polluted his most sacred feeling. And even at the last hour, having already taken poison, he draws his sword to punish the main culprit of his misfortune - his father. Ferdinand and Louise die, but moral victory is on their side. Love has triumphed over the world of deceit, although this moral victory is bought at a high price, at the cost of the death of two beautiful young creatures.

(1759 – 1805) entered world literature as a participant in the Sturm and Drang movement. It was a protest of advanced burgher youth against the canons of classicism, a call for bright image reality, manifestation of passions.

Schiller is rightfully considered one of the most consistent supporters of lofty ideals: spiritual, moral, political and aesthetic. His tragedies, ballads, poems, and philosophical treatises are very diverse, and therefore always relevant. To this day, Schiller's plays have not left the stage of theaters all over the world. The author brought special fame to his bourgeois tragedy "Cunning and Love". It was painted in 1783 and was originally titled "Louise Miller".

This play became the culmination of Schiller's early work and the quintessence of humanistic ideas era of Enlightenment. Many critics consider it a literary revolutionary manifesto for future generations, Schiller's artistic rebellion against the order of Germany in the second half of the 18th century.

Bourgeois drama is also called “bourgeois tragedy” or “sentimental play.” The birth of this genre is associated with social changes, the pressure of capital on social foundations, and in literature - with an increased interest in nature human feelings. As a rule, at the center of the work are social and sentimental conflicts. In the foreground are virtue and the triumph of reason.

The plot of the play “Cunning and Love” turned out to be typical and simple-minded, although somewhat confusing. But it concentrates the main everyday problems of that era, which Schiller outlined in an extremely emotional and tragic way. The humanist writer exposed and exposed the vices of German society with his characteristic openness and sharpness. He already touched on these problems in “The Robbers,” but now he correlated the characters of the heroes and the episodes of action with real facts and prototypes.

Provincial life, treacherous intrigues and terrible crimes, luxury and debauchery of the ducal environment, as well as the hopeless poverty of the commoner - this is the situation in which love story two young people. The nobleman Ferdinand von Walter and the daughter of a simple musician, Louise Miller, represent different classes. The theme is as old as time, but is presented in a new way, with Schiller’s inherent ability to combine the comic and tragic, although the playwright himself treated this technique with a degree of irony. Just artistic methods classicism were still popular at that time.

The ardent feelings of the son of President Ferdinand for the bourgeois Louise, unfortunately, cannot be developed. They threaten to destroy all the plans of the eminent father, who intends to marry Ferdinand to the Duke's favorite Lady Milford. Therefore, the most sophisticated intrigues are used. Louise has been slandered for treason, and she must confess this to her lover. The President's plan was that Ferdinand would reject the dishonest bride. But the young man chose a different path; he could not survive the collapse of his faith in Louise’s purity and chose death for both.

Complexity of character is inherent in almost all the characters in the drama. In those years, Schiller already clearly understood that people’s actions are determined not only by their personal characteristics, but also by their place in society. Hence the noticeable inconsistency of the characters: the immoral behavior and generosity of Lady Milford, the love of power and glory of President von Walter does not prevent him from showing nobility in a moment of grief, the cowardly and humiliated old man Muller finds the strength to resist the insult of his daughter. Before Schiller, no one had demonstrated with such piercing power the trials that the human heart goes through.

The situation is further complicated by the conflict of classes. Ferdinand's father not only creates obstacles for his son in love, he also wants to assert himself through poor family Louise, humiliating the girl and the old musician in every possible way. The behavior of the nobleman clearly proves the fact of the disdainful attitude of the upper class towards commoners.

Critics call “Cunning and Love” the pinnacle of Schiller’s Stürmer drama. In this play, the lover Ferdinand rebels against his fate and insurmountable circumstances. He suffers defeat, but only physically, not morally. The young man triumphs over his opponent, demonstrating fortitude. This image and the struggle for human rights are very characteristic of Germany in the 18th century. The situation of the burghers, class relations, family and everyday troubles were socially and politically interesting, so the play immediately grew from an everyday play into a bourgeois tragedy.

In the drama “Cunning and Love,” Schiller managed to quite deeply reveal the psychology of the characters, their complex relationships with each other and their place in society. But the main thing here is not the little details of real life using the example of specific characters, but a realistic depiction of “typical” circumstances: the treachery of the strong and the lack of rights of the weak. But the strong and the weak are not in spirit, but because of the social structure of Germany at that time.

It is very important for the author to find out the rights of the people and their ability to resist strong of the world this. The action of the play develops intensely; in this work the maturity of Schiller's artistic skill is already noticeable. The characters are described quite vividly and succinctly, in them you can easily read the author’s attitude towards his characters. In moments of special spiritual struggle and moral tension, Schiller chooses the most complex speech patterns. The characters in the play are often expressed in the language of the most sublime and inspired treatises.