Schiller's petty-bourgeois tragedy “Cunning and Love. An essay with elements of presentation of Schiller’s drama “Cunning and Love.” The originality of the genre features of Schiller’s tragedy “Cunning and Love”
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Ministry of Education and Science of the Russian Federation
Ivanovsky city State University
Test
on foreign literature
Topic: “Cunning and Love” by F. Schiller: features of the genre of bourgeois drama
Ivanovo 2011
Introduction
Conclusion
Bibliography
bourgeois drama schiller
Introduction
Philistine drama -- dramaturgical genre in European literature of the 18th century. Bourgeois drama is also called “sentimental comedy”, “bourgeois drama”, “bourgeois tragedy”, “serious (tearful) drama (comedy)”, etc. The birth of bourgeois drama is associated with the strengthening of the bourgeoisie in society, in literature - with the assertion feelings, therefore, in the center, as a rule, the conflict is social and sentimental in the essence of its expression, as is the sensitivity of the new hero from the bourgeois environment. The main attention was paid to virtue and the triumph of reason.
Johann Christoph Friedrich Schiller is one of the most fruitful creators of sublime ideals - political, moral, aesthetic. He was especially loved in Russia for his philosophical spirituality.
The work of the great German poet and thinker is as colorful as a rainbow: lyrics, ballads, tragedies, treatises on the philosophy of art. For two centuries such masterpieces as “The Robbers”, “Don Carlos”, “The Maid of Orleans”, “Mary Stuart”, “William Tell”, and individual parts of the “Wallenstein” trilogy have not left the stages of all theaters around the world. But the loudest fame in the history of world drama was acquired by the “philistine tragedy,” as the author himself titled it, under the intriguing title “Cunning and Love.” It contained the quintessence of the humanistic ideas of the Enlightenment. It is also called the first German tendentious political drama, a literary manifesto of the coming bourgeois revolutions.
Chapter 1. Period of writing the drama
Johann Christoph Friedrich Schiller was born into the family of a poor military paramedic in Marbach am Neckar, in Swabia.
The future writer spent his childhood and early teenage years in a bourgeois environment. Only classes at the Latin school gave satisfaction. The influence of Pastor Moser's mother and first teacher went in two directions: they taught the boy to love poetry, but also tried to instill in him religious views. In 1773, by ducal order, Schiller was assigned to the military so-called “Charles School”. Despotism and military drill dominated the school, class differences were maintained, espionage and sycophancy flourished.
Social and aesthetic principles in the spirit of the ideas of Sturmerism began to take shape in Schiller during his years at the Charles School. Their social basis was disagreement with the serfdom regime, sincere faith in the possibilities of a republican form of government.
The most complete features of radical enlightenment and social protest were expressed in three youthful sentimental and romantic prose plays by Schiller - “The Robbers” (1780), “The Fiesco Conspiracy in Genoa” (1783) and “Cunning and Love” (1784).
The tragedy “Cunning and Love” was the pinnacle of development of Schiller’s Stürmer drama. “The Burger Tragedy” was originally conceived as a domestic play in which a solution to a family problem should be found. However, in the process of work, the playwright 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 life and customs of modern Germany in Schiller's tragedy are depicted very accurately and vividly; the playwright studied them directly, communicating with people from different classes. The author of “Cunning and Love” was associated with Lessing’s dramaturgy by the sharp opposition of the burgher class to the aristocracy, criticism of the feudal-absolutist society. But in Schiller's tragedy the political moment is emphasized to a greater extent.
The very principle of “mouthpiece of ideas” is now changing. Compared to "Robbers", the motivation system here is much more complex. With exceptional severity and emphasized tendentiousness of the political contradictions reflected in the tragedy, “Cunning and Love” is distinguished by the depth of revelation of the psychology of the heroes, complicated detail, and 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 realistically emphasizing “typical circumstances” - the crimes of some and the tragic deaths of 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 fate of ordinary people, still downtrodden and powerless. This gave the play special significance in the conditions of that time, because it recreated vivid and authentic pictures of reality and made important generalizations of a socio-political nature.
Chapter 2. Character and genre innovation of drama
The entire conflict of the bourgeois tragedy is built on insurmountable class contradictions. Ferdinand and Louise fell deeply and selflessly in love with each other. But class prejudices weigh on their love like an evil fate. Ferdinand is a nobleman, the son of a high dignitary, the second most important person in the state-duchy of the then patchwork Germany. Sixteen-year-old Louise is the daughter of just a simple musician. In the 18th century, this was quite enough to lead to tragedy. When the lovers tried to rise above class restrictions, they immediately came across despotic lawlessness and the basest moral principles that guided representatives of the feudal-bureaucratic elite, using their unlimited right to decide the destinies of people at their own discretion and arbitrariness.
The situation is further complicated by the generational conflict. Ferdinand's father not only creates all sorts of obstacles for his son, forcing him to marry the Duke's mistress, but also humiliates Louise's family in every possible way, and in the eyes of others, he reduces her to the level of a street wench. The young man defends his beloved with a sword in his hand, and then uses his most reliable trump card: he threatens to expose his father and hand him over to justice, since he knows that twenty years ago Mr. President von Walter destroyed his predecessor in order to occupy him place. Then the forces of evil, dressed in noble camisoles embroidered with gold, use a roundabout maneuver and try to separate the lovers with the help of a sophisticated intrigue: to slander Louise in the eyes of Ferdinand with the help of a deceptive letter, threateningly demanded from the girl. The young man succumbs to provocation and, in a fit of insane jealousy, pours arsenic into a glass of lemonade for his beloved. The truth is revealed quickly, but too late: Louise dies, and Ferdinand, in complete despair, drinks the poison and also dies.
This is a generally ingenuous, albeit somewhat confusing, plot, behind which a serious political and moral background is hidden. The edge of Schiller's tragedy, as indeed of all his dramas, is directed against tyranny and despotism, no matter what clothes they wear. The great German humanist thinker is not afraid to expose and expose the bloody essence of the police-bureaucratic regime, which at the time the play was written was by no means abstract in nature.
Of course, “Cunning and Love” was written according to all the laws and canons of the theatrical genre. Heroes often express themselves in the language of the most sublime and inspired treatises.
This particle of time, tiny, like a drop of dew... yes, it will be greedily consumed by the very dream of Ferdinand.
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 before you.
All infinity and my heart cannot contain one single thought about him.
Ferdinand:
Let whole mountains grow between us - for me these are just steps along which I will fly to my Louise. The storms sent to us by hostile fate will further fan the flame of my feelings, dangers will give my Louise even greater charm... Cast away fear, my beloved!
Father! You are a malicious libel against the Divine, for it has created a bad minister from an excellent executioner.
Conscience taken by surprise, thank you! You made a monstrous confession, but it was quick and truthful—I have no need to resort to torture.1
Schiller's language cannot be confused with anything. From him many learned to think and speak differently. In the final scene, when Louise is already dead and the dying Ferdinand delivers his last monologue, the intensity of passions reaches its climax. And Schiller manages to achieve this through figurative means of language alone:
Ferdinand.
Just two words, father! They won’t cost me a lot... My life was stolen from me by theft, stolen by you. Now I tremble as if I were standing before the face of God - after all, I have never been a villain. Whatever lot I get in eternal life, you will get a different one. But I committed murder (raising my voice threateningly), murder, and you cannot demand from me that I alone go with this burden to an all-righteous judge. I solemnly entrust the largest and most terrible half of it to you. Whether you carry your burden or not is your business.
Look, monster! Enjoy the monstrous fruit of your cunning! Your name is written on this face distorted by agony, and the angels of vengeance will read it... Let her shadow pull back the curtain at that moment when you are enjoying sleep on your bed, and extend to you her hand, cold as ice! Let her shadow appear before the eyes of your soul when you are dying, and cut off your last prayer! Let her shadow stand at your grave at the hour of the resurrection of the dead - and before God himself, when you appear at his judgment!
For President von Walter, the reckoning came much earlier. Shocked by his son's suicide, he repents of his crime and surrenders to the guards.
In full accordance with the name of the tragedy - two centers of gravity, two incompatible poles - Cunning and Love. Cunning turns out to be more sophisticated and, it seemed, triumphed over Love. But Love still wins. She wins through Truth! Although at the cost of death. But in the name of that love that will never die.
Especially great is the significance of “Cunning and Love” (1784), the first, according to F. Engels’ definition, in German. political tendentious drama. It expresses the main social contradiction of the time - between the powerless people and the ruling aristocracy. Perhaps none of Schiller's plays has such an individualized language for the characters: each character, each social group represented in this drama.
In this drama, Schiller does not strive to establish the ideal type of revolutionary or the desired nature of revolutionary actions, as well as to resolve or pose general, abstract problems of the future transformation of humanity. The poet directs all his creative energy to another task: to depict the “incompatible with morality” contradictions between the lives of the oppressors and the oppressed, to show the concrete historical, social soil on which, with the inevitability of fate, the seed of revolution must arise. In “Cunning and Love” two social worlds collide in irreconcilable hostility: the feudal, courtly and noble world - and the philistinism, firmly welded by fate and tradition with the broad masses of the people.
Complexity of character is a distinctive feature of almost all the characters in this drama: and this, of course, reflects the increased realistic vigilance of Schiller, who understood with the heart of an artist and, partly, with the mind of a thinker, that the actions and consciousness of people are determined not only by “innate properties,” but also by their position in society. Hence the deep depravity and at the same time the generosity of Lady Milford (her break with the Duke and departure from his possessions).
Hence the lust for power and vanity of President von Walter, who is capable of sacrificing the happiness of his only son (marrying him to the all-powerful ducal favorite) just to retain his leading position in the country; but now - in the face of Ferdinand's suicide - his truly paternal feeling is revealed and forces him, an ambitious and careerist, to surrender himself to justice: the forgiveness begged from his dying son is now most important for him...
Hence the obstinacy, artistic pride, but also the cowardly groveling and humiliation of old Miller. In one of the scenes where the old musician, “either gritting his teeth with rage or chattering with fear”3, throws out the insulter of his daughter, the president, these contradictory properties appear even simultaneously. No one before Schiller had shown with such piercing power the trials that the human heart goes through, in particular the heart of a common man.
“Cunning and Love” is a drama of high tragic sound. The love and death of Ferdinand and Louise make us remember the fate of Shakespeare's heroes Romeo and Juliet. It is difficult to imagine, however, that anyone, even Juliet herself, could dissuade Romeo of her love for him. Shakespeare's heroes are spiritually whole people. In Schiller, even ideal heroes do not have such integrity.
In the finale of Shakespeare's tragedy, the love of Romeo and Juliet overcomes the family feud that cost them their lives. In the finale of Schiller's drama, the dying Ferdinand extends his hand to the repentant president. But this motive is not organic to drama; it only testifies to Schiller’s enlightenment illusions. The power of love between two, as shown by the entire course of the action, cannot change the state of society. Another thing is impressive: love prevails over deceit. The images of Ferdinand and Louise are ultimately perceived as a symbolic embodiment of the moral triumph of high love over the base forces of evil.
Conclusion
In “Cunning and Love” Schiller descended from the heroic-romantic heights of “The Robbers” and “Fiesco” and stood on the solid ground of real German reality. The life and customs of modern Germany in Schiller's tragedy are depicted very accurately and vividly; the playwright studied them directly, communicating with people from different classes. Realism and the deeply national flavor of the drama also affected its language.
The significance of Schiller's work also lay in the fact that German literature, having overcome the dry Gelerter pedantry, was approaching the depiction of the life of the people. Thus, Schiller, already in the genre of “philistine drama”, came close to the idea of heroic art, full of civic pathos. It can be said that Schiller’s work with the drama “Cunning and Love” worthily crowns the entire process of development of the literature of the European Enlightenment.
Bibliography
1. Schiller F. “Cunning and Love”
2. Zhuchkov V. A. German philosophy of the early Enlightenment. M., 1989.
3. History of world literature: in 9 volumes. M., 1988. T. 5.
4. History of foreign literature of the 18th century / ed. V.P. Neustroeva, R.M. Samarina. - M.: Moscow State University Publishing House, 1974.
5. Libinzon Z. E. Friedrich Schiller. M., 1990.
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It was a terrible picture - Germany in the 18th century. The Duchy of Württemburg was ruled by Charles, a pompous ruler who sought to turn his residence into a second Versailles. He presented himself as an enlightened monarch. On his initiative, a ducal school was created, which young Friedrich “had the honor” to attend. The educational system was aimed at educating dependent people who were deprived of their own thoughts. The school was nicknamed a “slave plantation.” And, in order not to drown out the wonderful impulses of the soul, the young man began to seek solace in literature. Lessing, Klinger, Wieland, Burger, Goethe, Schubert - these are the names thanks to which a new genius of German literature was born. The colorless world of a remote province, intrigue and crime, the treachery and immorality of the ducal court, the terrible poverty of the people - this is the setting in which the tragic love story of two noble hearts - Louise and Ferdinand - unfolds. Ferdinand's father dreams of strengthening his position by marrying his son to the prince's favorite, Lady Milord. A dirty tangle of intrigue is woven around the pure feeling of love. Love is the force that rules the world. How do you understand what love is? Or what does it mean to love a person? (Students' answers). The concept of true, holy love is what the Bible speaks about (the first letter of the Apostle Paul to the Romans is read: “... The greatest of virtues is love. Love endures for a long time, is merciful, does not envy, does not pout, does not behave discourteously, does not seek its own , does not rush to anger, does not think bad, does not rejoice from untruth, endures everything, believes in everything. Love never fails. Love overshadows the magnitude of sins and never suffers defeat..."). Love always strives to see the one it loves happy. Especially when it comes to a parent’s heart. Let us remember Miller’s remark: “a woman’s soul is very subtle even for a bandmaster.” Doesn't this sound paradoxical about Lady Milord? Today, everyone expresses their point of view, divides heroes into positive and negative. Among the negative ones is Lady Milord. And since Bona is condemned, I want to come to her defense. Louise has parents, she has always had a family, and the lady became an orphan when she was thirteen. The father was executed, and the little princess had to escape from England. Bona was left with nothing. Six years of wandering around Germany... Out of despair she wanted to throw herself into the waves of the Elbe - the prince stopped her. Is it her fault that she is accustomed to a rich life, which, like a valuable stone, strives for a worthy setting? Dignity and fate fought within her. The proud British woman resigned herself to fate. In moments of passion, the prince, in order to please her, signed amnesty decrees, stopped sacrifices, and abolished death sentences. Fate suddenly gave her a chance - to have the one her heart desired. And although the mind repeated: “stop!”, the heart did not listen. The conversation with Louise was torment for her, but the decision was clear: to rise above the dirt of the existing world. Lady Milord's life is not an example of nobility, but at the last moment it deserves respect. The heroes of the drama are models for perceiving the world and, in fact, for constructing behavior. The author calls his drama “a bold satire and mockery of the breed of jesters and scoundrels from the nobility.” The work presents two social groups - two worlds that are separated by an abyss. Some live in luxury, oppress others, they are cruel and soulless. Others are poor, but honest and noble. It was to such poor people that Ferdinand, the son of the president, a nobleman, came. And he didn’t come because he fell in love with Louise. He understood the baseness of the moral principles of his class - in the Miller family he found moral satisfaction and spirituality, which were not in his environment. Wurm, President von Walter, the prince, his favorite - this is the aristocratic web in whose network lovers are caught. The son challenges his father and the entire soulless world - “the bill, the sons’ obligation, is torn.” As a result of the intrigue, Louise and Ferdinand die, and Lady Milord breaks with her class. And the greatness of the play lies in its realistic depiction of life’s conflicts. We see before us the injustice that was happening in front of everyone, which we were afraid to talk about, and which appeared before the reader in vivid and convincing images. The problems that the playwright raises in his work are eternal problems that remain relevant for all times. “I have found a world where I feel happy - this is a world of beauty,” Schiller once said. Love, beauty and harmony will forever reign in the Universe.
(1759 – 1805) entered world literature as a participant in the Sturm and Drang movement. It was a protest of progressive burgher youth against the canons of classicism, a call for a vivid depiction of reality, a 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. His bourgeois tragedy brought particular fame to the author. "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 the humanistic ideas of the 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 the nature of 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 and action sequences 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 setting in which the love story of two young people unfolds. 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. It’s just that the artistic methods of 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 at the expense of Louise's poor family, 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 the powers that be. 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 heroes. 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.
The colorless world of a remote province, intrigue and crime, the treachery and immorality of the ducal court, the terrible poverty of the people - this is the setting in which the tragic love story of two noble hearts - Louise and Ferdinand - unfolds. Ferdinand's father dreams of strengthening his position by marrying his son to the prince's favorite, Lady Milord. A dirty tangle of intrigue is woven around the pure feeling of love.
Love always strives to see the one it loves happy. Especially when it comes to a parent’s heart. Let us remember Miller’s remark: “a woman’s soul is very subtle even for a bandmaster.” Doesn't this sound paradoxical about Lady Milord? Today, everyone expresses their point of view, divides heroes into positive and negative. Among the negative ones is Lady Milord. And since Bona is condemned, I want to stand up for her. Louise has parents, she has always had a family, and the lady became an orphan when she was thirteen. The father was executed, and the little princess had to escape from England. Bona was left with nothing. Six years of wandering around Germany... Out of despair she wanted to throw herself into the waves of the Elbe - the prince stopped her.
It was a terrible picture - Germany in the 18th century. The Duchy of Württemburg was ruled by Charles, a pompous ruler who sought to turn his residence into a second Versailles. He presented himself as an enlightened monarch. On his initiative, a ducal school was created, which young Friedrich “had the honor” to attend. The educational system was aimed at educating dependent people who were deprived of their own thoughts. The school was nicknamed a “slave plantation.” And, in order not to drown out the wonderful impulses of the soul, the young man began to seek solace in literature. Lessing, Klinger, Wieland, Bürger, Goethe, Schubert - these are the names thanks to which a new genius of German literature was born.
“I have found a world where I feel happy - this is a world of beauty,” Schiller once said. Love, beauty and harmony will forever reign in the Universe.
Love is the force that rules the world. How do you understand what love is? Or what does it mean to love a person? (Students' answers). The concept of true, holy love is what the Bible speaks about (the first letter of the Apostle Paul to the Romans is read: “... The greatest of virtues is love. Love endures for a long time, is merciful, does not envy, does not pout, does not behave discourteously, does not seek its own , does not rush to anger, does not think bad, does not rejoice from untruth, endures everything, believes in everything. Love never fails. Love overshadows the magnitude of sins and never suffers defeat...").
As a result of the intrigue, Louise and Ferdinand die, and Lady Milord breaks with her class. And the greatness of the play lies in its realistic depiction of life’s conflicts. We see before us the injustice that was happening in front of everyone, which we were afraid to talk about, and which appeared before the reader in vivid and convincing images. The problems that the playwright raises in his work are eternal problems that remain relevant for all times.
Fate suddenly gave her a chance - to have the one her heart desired. And although the mind repeated: “stop!”, the heart did not listen. The conversation with Louise was torment for her, but the decision was clear: to rise above the dirt of the existing world. Lady Milord's life is not an example of nobility, but at the last moment it deserves respect. The heroes of the drama are models for perceiving the world and, in fact, for constructing behavior. The author calls his drama “a bold satire and mockery of the breed of jesters and scoundrels from the nobility.” The work presents two social groups - two worlds that are separated by an abyss. Some live in luxury, oppress others, they are cruel and soulless. Others are poor, but honest and noble. It was to such poor people that Ferdinand, the son of the president, a nobleman, came. And he didn’t come because he fell in love with Louise. He understood the baseness of the moral foundations of his class - in the Miller family he found moral satisfaction and spirituality, which were not in his environment. Wurm, President von Walter, the prince, his favorite - this is the aristocratic web in whose network lovers are caught. The son challenges his father and the entire soulless world - “the bill, the sons’ obligation, is torn.”
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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 a 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’s 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 the works of 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 of development of the German ideology of their 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, Sturmerism, like European sentimentalism, was not a unified movement both in socio-political and theoretical principles, and in creative attitudes. 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 her spiritual world are 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 realistically emphasizing “typical circumstances” - the crimes of some and the tragic deaths of 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 fate 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 a fairly large number of 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: state educational standards are being improved as a socially necessary standard, criteria and indicators of quality at different levels of education are being developed, empirical experience is being accumulated in organizing pedagogical monitoring in educational institutions, 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 make timely and adequate management decisions based on the analysis of the 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 the teaching materials used in the learning process. 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 to take the Unified State Exam, the number of graduates of general education institutions who entered universities based on Unified State Exam results as a percentage of all applicants, etc. Monitoring students' knowledge is one of the main elements of assessing the quality of education. Teachers monitor students' learning activities on a daily basis through oral classroom surveys and assessment of written work. This informal assessment, which has a purely pedagogical purpose within the framework of the activities of the educational institution, belongs to the natural norms, given that the results of each student should 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, it is necessary to minimize negative impacts and 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 an 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 tools. Therefore, in older adolescence, interpersonal conflicts often arise, 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. The theoretical basis of the study was the concepts of the conflict behavior style of K. Thomas and the periodization of age development by D. B. Elkonin.
The experimental study was carried out on the basis of the Balashov Municipal Educational Institution Secondary School Gymnasium named after. Hero of the Soviet Union Yu. A. Garnaev. 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. An assumption was formed that with the transition from late adolescence, the individual becomes more flexible in his 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 of 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). The average age of spouses in families living in the city is 23-27 years; those living in rural areas - 18-22 years old; experience of living 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 the following results. 1. Disagreement in the understanding and acceptance of such values in rural areas
and urban families, how sexual relationships, views on raising children, and the everyday life of a young family are determined by the early age of 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 state of the subjects (BISGU students, N = 180 people), the corresponding results were obtained
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 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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Current problems of science and education
Collection of scientific articles
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1 Vozzhaeva S. F. Adaptation of disabled children to modern conditions // Social security. 2009. No. 5. P. 24-25.
