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

On November 10, 1759, the German poet, philosopher, art theorist and playwright Friedrich Schiller was born. The birthplace of the famous writer is the 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 his primary 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 the military academy and enrolled in the burgher department of the law faculty. However, the young man did not succeed in law, and in 1776 Schiller transferred to the Faculty of Medicine. 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" was completed, a new play "The Misanthrope" was begun, and "Philosophical Letters" was 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 at full capacity, but the illness did not prevent him from finishing his most significant philosophical work, “Letters on the Aesthetic Education of Man.” 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 talks about the death of everything beautiful in a 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 the last years of 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 various sources, the main one 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 the literature of the 18th century. Another important motif - the theme of the "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. The main character of the 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. 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 is 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 a 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 a 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. Using historical events as an example, 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 of folk legend, the shooter 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.

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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 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 to 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 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 important. 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 competition. 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 older 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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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.

"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, the minister Montmartin, depicted in the play under other names, retaining all their portrait resemblance, 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 social 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 in living and convincing 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.”

Engels called Schiller's play "...the first German politically tendentious drama."

Ministry of Science and Education of Ukraine

Dnepropetrovsk National University

in the discipline: “Foreign Literature”

on the topic: “The Sturmer period of F. Schiller’s work. Drama "Cunning and Love"

Is done by a student

correspondence department

English and

literature

Melnik R.P.

Checked by: Maksyutenko

Dnepropetrovsk

Plan

Introduction

I. Friedrich Schiller during the period of Sturm and Drang.

II. Rebellious character and genre innovation in F. Schiller’s early drama “Cunning and Love.”

Conclusion.

List of used literature.

Introduction

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, posing in their works the pressing issues of their time, advocating 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. Under the influence of European sentimentalism. 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 associated with the further development of realism in German literature, and the ideal of a strong man, an integral personality, and the richness of her spiritual world are determined by the desire to express the principles of freedom.

The process of development of the ideology and art of Sturm und Drang was intense and complex. In the Stürmer movement, two stages are clearly identified, associated with the beginning of social and literary activity of the older generation of poets led by Herder and Goethe (the first half of the 1770s) and the younger generation, among whom the leading role belonged to Schiller (late 70s - early 80s).

I. Friedrich Schiller during the period of Sturm und Drang

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. Naturally, the young poet, who conceived the tyrant-fighting drama “The Robbers” during his school years, had to hide his “dangerous” thoughts.

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. As in “The Robbers,” these tendencies appeared in Schiller’s youthful sentimental poetry, collected in the “Anthology for 1782,” where, in addition to Schiller, some poets of the “Swabian group” were presented. The “Anthology” included love poems, melancholic poems and poems filled with civic pathos, expressing solidarity with figures of social progress or exposing the vices of dignitaries and tyranny.

Schiller’s intensive work on the tragedy “The Robbers” began after he read in 1777 D. Schubart’s story “On the History of the Human Heart,” which described an episode typical of the feudal system. The story of two brothers, sons of the same nobleman, reflected a certain social conflict.

Schiller developed the theme of robbers in a completely original way, showing them as objectively outlawed. Psychological problems are resolved more deeply. Schiller's social characteristics and generalizations are also more complex.

As a typical sturmer, Schiller abandoned the poetic form of drama (mandatory among classicists); his heroes speak in simple colloquial language, with rich figurative shades of dialect speech. Often there are rude expressions in their speech. The location of "The Highwaymen" changes in almost every one of its fifteen scenes. The time span of the action is quite large - about two years of the turbulent era of the Seven Years' War. The main characters of the drama are representatives of declassed elements - robbers, the masses of the plebeians and burghers. In the spirit of the aesthetics of Sturm und Drang, the author highlights the image of an outstanding lone hero. Karl Moor is such a “stormy genius” in drama. The strength of "The Robbers" lay in its vivid exposure of the vices of the feudal system - debauchery, meanness, corruption. The most valuable thing in tragedy is the “depiction of human characters” from the world of cruelty and hypocrisy.

The theme of the spiritual failure of the lone rebel, the death of his cause as a result of the triumph of the egoistic principle in man, was developed by Schiller in his next “republican tragedy.” The historical concept of the “Fiesco Conspiracy” is in the spirit of educational teachings that the facts of reality are an illustration of the unreasonableness of feudal relations, that these facts prove the need for their destruction and the construction of a new “kingdom of reason.”

The plot for the drama was the events of Count Fiesco's political conspiracy in Genoa in 1547. Having overthrown the power of foreigners (the French), the Genoese restored the republican system, but did not gain freedom, since power in the country was actually seized by the Doge's nephew - the arrogant, arrogant and despotic Gianettino. The general discontent and conspiracy against him was led by the young ambitious nobleman Giovanni Luigi Fiesco. In the author's preface to the drama, Schiller talks about his attempts to “harmonize the actions of the heroes with nature,” to subordinate them to the laws of necessity. The playwright associated the main thing in this process in the character of the characters not with politics, but with feeling, since the “political hero” can, as it seemed to Schiller, completely renounce his “human traits,” while the playwright considered himself a “connoisseur of the heart.”

The tragedy “Cunning and Love” was the pinnacle of development of Schiller’s Sturmer dramaturgy. “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. Determining the place of this Schiller tragedy in the history of German literature, Engels emphasized that this was “the first German politically tendentious drama.”

The very principle of “mouthpiece of ideas” is now changing. Compared to "Robbers", the motivation system here is much more complex. With the 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 little things of real life, but in the realistic emphasizing of “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.

The aristocrats (President Walter, Marshal von Kalb) are shown in a state of acute contradictions with the burgher class (the family of the poor musician Miller). The tragedy arises from the fact that Miller’s daughter Louise loves the president’s son, Ferdinand, and is loved by him. Young people cross class boundaries, surrendering only to their natural feelings. Schiller points out the tragic discrepancy between the moral norm, the desired one, and existing in real conditions, with established prejudices.

The Sturmer element was reflected here in emphasizing the discrepancy between the hero’s position and his desires, in clarifying the obstacles that prevent the achievement of the goal. On Ferdinand's path, carriers of social evil appear - President Walter, the official Wurm, the "demonic woman" - Lady Milford. The president's son sharply confronts his father, whom he calls a villain. Ferdinand's romantic ideal is centered in his own heart and the girl he loves.

Louise is Schiller's most touching heroine. A girl from the people, she loves Ferdinand, sincerely and directly surrenders to her feelings. Louise refuses Ferdinand's proposal to escape, because she sees this as a violation of moral standards; She decides it is better to sacrifice her happiness for the peace of her parents. Her depressed state leads her to agree to write a letter under Wurm’s dictation (rejection of Ferdinand, false “confession” of infidelity to him). But, submitting to the insidious villainy that is insurmountable, in her opinion, Louise continues to love Ferdinand. She resolutely opposes Wurm's claims. Now the thought of suicide, as a way out of this situation, does not leave her. In a letter addressed to Ferdinand, which Louise gives to her father, she explains how they were deceived and separated. But the secret of the villains is discovered too late: in a state of jealousy, Ferdinand poisons Louise and himself. It seemed that deceit had triumphed. In reality, faith in moral principles, truth and justice wins.

The positive characters of the tragedy are representatives of the younger generation, romantically upbeat, direct successors to the traditions of Werther and Lotte, Julia and Saint-Preux. Sensitive and sublime, they dreamed of equality of people, of personal freedom, sympathized with the oppressed, often angrily protested against injustice, cruelty and tyranny, but, being sentimental heroes, Louise and Ferdinand believed first of all in the power of their feelings.

The family of musician Miller personifies the world of simple and honest people. It is drawn in contrast to the world of deceit, lies and hypocrisy. Among ordinary people, relationships are not based on intrigue, violence and deceit, but on mutual trust, purity of morals, love and sincerity.

The president is guided by other “principles.” The immoralism characteristic of him also penetrates into the area of ​​family relationships. President Walter wants to use his son as an obedient instrument of his will, to strengthen his power and influence at court. To this end, he decides to marry Ferdinand to Lady Milford, the Duke's retired mistress. Responding to his son’s stubbornness and wanting to get the Millers out of the way, the president resorts to his favorite means - violence, but is forced to retreat before Ferdinand’s threat to tell everyone about “how one becomes president,” that is, to expose his crimes.

The moral victory in Schiller's tragedy is won by the world of love. That is why the playwright makes the president fear the consequences of his actions and surrender himself to justice. The character of Lady Milford appears even more contradictory. She does not love the Duke, but she finds positive qualities in Ferdinand and is ready to flee with him outside the duchy. She finally sees what the ducal gifts are worth. The playwright puts into the mouth of the chamberlain the story that the Duke's gift - a box of diamonds - is worth the lives of seven thousand soldiers sold by the Duke to fight the war in America. And Lady Milford herself ultimately becomes a victim of the Duke's despotism.

The development of a theme associated with Schiller’s native element also had an impact on his artistic method, allowed him to depict the characters and environment in a deeply realistic manner, and helped eliminate that certain bookish style that appeared in “The Fiesco Conspiracy.” In contrast to the bourgeois drama itself, which, in his opinion, gravitated toward “naturalism,” Schiller would later put forward the “law of idealization,” directed not to the past, but to the present. Ordinary people, in his opinion, are worthy of depiction in a high lyrical tragedy.

II. Rebellious character and genre innovation in F. Schiller’s early drama “Cunning and Love.”

Perhaps none of Schiller's plays has such an individualized language for the characters: each character, each social group represented in this drama. Even the speeches of two lovers, Louise and Ferdinand, close to the high pathos of Schiller’s first dramas, speeches that largely serve as the “mouthpiece of the times,” more often sound quite natural: this is how “noble great thoughts” are pronounced by simple-minded young people who have just adopted new views to the surrounding reality. Ferdinand met them at the university, Louise adopted them from Ferdinand. It is noteworthy that the latter is directly emphasized in the scene of two rivals, Louisa and Lady Milford, where, in response to the sublime tirade of a girl from the people, the seasoned favorite passionately, but with undoubted insight, exclaims: “No, my dear, you can’t fool me!” This is not your innate greatness! And your father couldn’t instill it in you - he has too much youthful enthusiasm. Don't deny it! I hear the voice of another teacher.”

Thoughts and systems of views in “Cunning and Love” - unlike “Fiesco” and especially “Robbers” - do not play such a decisive role. The drama does not have those self-sufficient philosophical depths, and those “paper (mental) passions” that drive the actions of the heroes and bring them to the fatal line. 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 - if not now, then not in the distant future, if not in Germany, then in some other European noble monarchy.

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. To the first belongs by birth Ferdinand, the son of President von Walter (who owes his relatively high military rank and university education to this environment): to the second, to the world of the humiliated and insulted, is Ferdinand’s beloved, Louise.

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 them with fear,” throws out the insulter of his daughter, the president, out the door, these contradictory properties appear even simultaneously.

Wurm. What a complex, “underground” nature! A loyal bureaucrat, he grovels before his superiors and despises the common people from whom he came; but at the same time, he is by no means a “faithful slave” of those in power: he openly ridicules the empty noble marshal von Kalb, and secretly hates the president. In the last scene, Wurm experiences a kind of satisfaction, plunging the president (who first took away his honor and conscience, and then Louise) into that abyss of shame, which he cannot avoid either, but which, now that he has lost everything, no longer frightens him. “Is it all my fault? - he shouts in a frenzy to von Walter. “And you tell me this when the mere sight of this girl chills me to the bones... I’m mad, it’s true.” It's you who drove me crazy, so I'll act like crazy! Hand in hand with you to the scaffold! Hand in hand with you to hell! I am flattered that I will be condemned along with such a scoundrel like you!” In this explosion of despair and burning hatred there is a kind of glimpse of humanity, perverted by his entire slavish, base existence.

This complexity of mental life - breaking through the superficial bad feelings and thoughts of a person’s best, primordial nature - is deeply connected with Schiller’s Rousseauian belief in the good basis of man, crippled, but not killed by the existing social order.

And about one more feature of this drama. 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.

In direct connection with what has been said, it is most natural to recall the scene where Secretary Wurm extorts from Louise a “love note” composed by him to Marshal von Kalb - evidence that, as Wurm believes, should prompt Ferdinand von Walter to voluntarily abandon the girl, so obviously “unworthy” his high feeling. But this scene, with all its key significance for the course of action and its undeniable dramatic merits, still bears the stamp of bourgeois melodrama; Louise's tirades here are not free from conventional rhetoric, in which one hears not so much the cry of the heroine's wounded heart, but the political passion of the author behind her.

We see a new page in the history of German realism, a brilliantly deep recreation of the emotional anguish of a humiliated, tormented man, in the scene of the old man Miller’s explanation with Ferdinand. Miller returned from the arrest house thanks to Louise’s “love note”, prison and cruel reprisals no longer threaten him; Moreover, he managed to turn his daughter away from the terrible thought of suicide. He wants to escape from this city “further, further, as far as possible!” “Louise, my consolation! I am not an expert in matters of the heart, but how painful it is to tear love out of your heart - I already understand that!.. I will set the story of your misfortune to music, I will compose a song about a daughter who broke her heart out of love for her father. We will go from door to door with this ballad, and we will not be sad to accept alms from those from whom it will bring tears.” In such a state of tender delight, he meets young von Walter. Ferdinand gives him a large sum of money for the music lessons he took from him, so large that Miller at first does not dare to accept it, but Ferdinand reassures him with the words: “I am going on a trip, and in the country where I am going to settle there is money this coinage is not in circulation.” So, then, he and his beloved daughter will not have to play under the windows, begging for alms? In a fit of painful, blind egoism, he wants to bring Ferdinand, his supposedly deceived lover, into his and Louise’s happiness: “It’s just a pity that you’re leaving! They should see how important I will become, how I will turn up my nose!.. And my daughter, my daughter, sir!.. For a man, money - pah, money pah... But a girl needs all these benefits so much!.. She I’ll teach you how to speak French properly, how to dance a minuet, and how to sing, so much so that they’ll publish about her in the newspapers.” And all this he says to Ferdinand, who imagines himself deceived, who is already planning to poison Louise, his imaginary traitor! True, Miller remembers his grief, but he is glad to get rid of his nobleman son-in-law; and behind is prison, fear of execution or shameful punishment, and, on top of that, pride in the daughter’s generous deed! “Eh! If you were a simple, inconspicuous bourgeois, and if my girl didn’t love you, I would strangle her with my own hands!”

But let us turn to the disclosure of the conflict of the “philistine tragedy”.

Schiller successfully chose the profession of a musician for Louise’s father and just as successfully chose his home as the place where two social worlds collided. A native of the people, engaged in art, acquired more subtle feelings, a more sublime way of thinking; and a visit to his house by a noble student was in the order of things, and therefore the feeling that united Ferdinand and Louise could go unnoticed for a long time.

A young nobleman of new, “enlightened” views, Ferdinand fell in love with the daughter of a simple musician. He dreamed not of secret love meetings, but of how he would lead Louise to the altar and call him his in front of the whole world. In his eyes, she is not only equal to him, but also the only one desirable: “Think what is older: my letters of nobility or world harmony? What is more important: “my coat of arms or the destiny of heaven in the gaze of my Louise: “This woman is born for this man”?”

The love of Ferdinand and Louise has to overcome the enmity of the two irreconcilable classes to which they belong. And this enmity is so deep that to a certain extent it affects the hearts of both lovers, especially the heart of Louise, who experiences the grief of inequality more painfully. Until recently, she shared with her father his dislike of the upper classes. And suddenly she is overcome by love for a noble nobleman, for the son of an all-powerful president, for a young man who not only does not boast of his class, but with her dreams of a time when “only virtue and an immaculate heart will have value.” But, with all her love for Ferdinand, Louise cannot drown out the fear of a girl from the people before the “powers of this world,” before Ferdinand’s father, and therefore is not able to boldly rush into the fight against the existing order - into a fight that, perhaps, threatens death to her family.

Louise's premonitions were justified. Let the president's first attempt to forcibly separate the lovers and marry his son to the duke's favorite, Lady Milford, was parried by Ferdinand, who threatened his father with disastrous revelations. “It’s gone!” – the frightened President von Walter had to admit. But then Wurm, his secretary, who himself dreamed of marrying the musician’s daughter, put forward another, more complex plan of action: the father must, for appearance’s sake, agree to Ferdinand’s unequal marriage; Meanwhile, Louise's parents are taken into custody, Miller is threatened with the scaffold, his wife is threatened with a restraint house, and the only possible release is a “letter”, a note in which Louise makes an “another date” with Hall Marshal von Kalb and laughs at the blindness of young von Walter, who believes into her innocence. “Now let’s see how cleverly everything will work out for you and me. The girl will lose the major’s love, she will lose her good name. My parents, after such a shake-up... will still bow down at my feet if I marry their daughter and save her honor.” - “What about my son? – the president asks in bewilderment. - After all, he’ll find out about everything in an instant! After all, he will go berserk!” - “Rely on me, your grace! The parents will be released from prison but not before the whole family takes an oath to keep the incident in the strictest secrecy...” - “An oath? What is this oath worth, you fool!” - “For you and me, your grace, nothing. For people like them, the oath is everything.”

And Ferdinand falls into this “damn finely” woven network, becomes a victim of the insidious intrigue of the President and Wurm, built on a cynical account of the religious prejudices of the philistinism, for he turns out to be unable - despite the deceptive evidence - to believe “only his Louise and the voice of his own heart.” And the fact that he does not understand Louise, the psychological make-up of a simple burgher girl, is one of the sources of the tragic outcome of their love. Having never known the feeling of humiliation since infancy, Ferdinand sees in the cowardly hesitation of his beloved only the insufficient strength of her passion. Ferdinand's jealousy, which led him to the murder of the innocent Louise, and then to suicide, was born much earlier than Wurm composed Louise's letter to the insignificant court marshal. It only gave new food to his old suspicions.

Thus, the death of these lovers (unlike the death of Romeo and Juliet) is not the result of a collision between their beating hearts and the outside world. On the contrary, it is prepared from the inside, because Ferdinand and Louise, despite all their readiness to break with their environment, with class prejudices, are themselves affected by the corrupting influence of society: social barriers are not completely destroyed by them in their own souls. “Born for each other,” they still failed to overcome the unjust social order built on inequality, crippling people.

Conclusion

The most complete features of radical enlightenment and social protest were expressed in three youthful sentimental-romantic prose plays by Schiller - “The Robbers” (1780), “The Fiesco Conspiracy in Genoa” (1783) and “Cunning and Love” (1784).

The five-act tragedy “Cunning and Love” was the pinnacle of development of Schiller’s Stürmer dramaturgy. “The Burger Tragedy,” originally conceived as an everyday play in which a solution to a family problem should be found, in the process of work grew into acute socio-political interest.

With the 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.

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 during the Stürmer period, therefore, lay in the fact that German literature, having overcome the dry Gelerter pedantry, was approaching the depiction of the life of the people. Thus, already in the genre of “philistine drama,” Schiller 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.

List of used literature

Ginzburg L. Ya. Literature in search of reality // Questions of literature. 1986. No. 2.

Zhuchkov V. A. German philosophy of the early Enlightenment. M., 1989.

History of foreign literature of the 18th century / ed. V.P. Neustroeva, R.M. Samarina. – M.: Moscow State University Publishing House, 1974.

Lozinskaya L.Ya. F. Schiller. M., 1960

Lanstein P. Schiller's Life. M., 1984.

Libinzon Z. E. Friedrich Schiller. M., 1990.

Practical lessons in foreign literature / Ed. prof. A.N. Michalskaya. -M.: Education, 1981.

In the epic novel "War and Peace" the true bearer of goodness, beauty and truth in Tolstoy is the people, and therefore the people's commander Kutuzov. Kutuzov is great, for “there is no greatness where there is no simplicity, goodness and truth.”

Lyrics by Sergei Yesenin. The feeling of the Motherland is the main feeling in creativity. Sincere love for one’s native land, expressed in unique experiences and moods. Picture of an old village. Pictures of native nature. The power and charm of Yesenin's lyrics.

The bright and tragic fate of Marina Tsvetaeva, a major and significant poet of the first half of our century. Poems “The Last Meeting”, “December and January”, “Epilogue”, “Result of the Day”. The poem "Stairs" as one of the most acute, anti-bourgeois works...

The theme of the village has always been one of the central ones in Russian literature. Nekrasov and Bunin, Pushkin and Yesenin, Rasputin and Shukshin described peasant life differently. Each of them has wonderful, interesting works and their own view of this life.

Familiarization with the ideological considerations of the literary movement "Storm und Drang" (anti-feudal protest, creative freedom), most clearly expressed in Schiller's drama "The Robbers" by describing heroes with character who were not broken by the oppressive regime.

Only a few poets develop their own, completely personal relationship with Poetry. Johann Wolfgang Goethe belonged to such poets. The more you get to know him, the more you understand: he was not just involved in the world of poetry - the world of poetry was contained within him, and he was its ruler.

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July 09 2010

The action takes place in Germany in the 18th century, at the court of one of the German dukes. The son of President von Walter is in love with the daughter of a simple musician, Louise Miller. Her father is distrustful of this, since the marriage of an aristocrat with a mishmash is impossible. The president's secretary, Wurm, is also vying for Louise's hand; he has been visiting the Millers' house for a long time, but the girl does not have any feelings for him. The musician himself understands that Wurm is a more suitable match for Louise, although Miller does not like him, but the last word here belongs to the daughter herself, the father is not going to force her to marry anyone, Wurm informs the president about his son’s passion for the daughter of the tradesman Miller. Von Walter doesn't take it seriously. A fleeting feeling, perhaps even the birth of a healthy bastard grandson, is nothing new in the noble world. Mr. President had a different fate in store for his son. He wants to marry him to Lady Milford, the Duke's favorite, so that through her he can gain the Duke's trust. The secretary's news forces von Walter to speed up the course of events: his son must find out about his upcoming marriage immediately.

Ferdinand returns home. His father tries to talk to him about his future. Now he is twenty years old, and he is already at the rank of major. If he continues to obey his father, then he is destined for a place next to the throne. Now the son must marry Lady Milford, which will finally strengthen his position at court. Major von Walter refuses his father’s offer to take a “privileged charming lady” as his wife; he is disgusted by the president’s affairs and the way he “handles them” at the duke’s court. The place near the throne does not appeal to him. Then the president invites Ferdinand to marry Countess Ostheim, who is from their circle, but at the same time has not discredited herself with a bad reputation. The young man again disagrees; it turns out that he does not love the countess. Trying to break his son's stubbornness, von Walter orders him to visit Lady Milford, the news of his upcoming marriage with whom has already been spread throughout the city.

Ferdinand breaks into Lady Milford's house. He accuses her that she wants to dishonor him by marrying him. Then Emilia, who is secretly in love with the major, tells him the story of her life. Hereditary Duchess of Norfolk, she was forced to flee England, leaving all her fortune there. She has no relatives left. The Duke took advantage of her youth and inexperience and turned her into his expensive toy. Ferdinand repents of his rudeness, but tells her that he is unable to marry her, since he loves the daughter of a musician, Louise Miller. All Emilia's personal plans collapse. “You are ruining yourself, me and a third party,” she says to the major. Lady Milford cannot refuse to marry Ferdinand, since she “cannot wash away the shame” if the Duke’s subject rejects her, so the whole burden of the struggle falls on the Major’s shoulders.

President von Walter comes to the musician's house. He tries to humiliate Louise, calling her a corrupt girl who cleverly lured the son of a nobleman into her network. However, having coped with the first excitement, the musician and his daughter behave with dignity, they are not ashamed of their origin. Miller, in response to von Walter's intimidation, even shows him the door. Then the president wants to arrest Louise and her mother and chain them to the pillory, and throw the musician himself into prison. Ferdinand, who arrived in time with his sword, protects his beloved; he injures the police, but this does not help. He has no choice but to resort to the “devilish means”; he whispers in his father’s ear that he will tell the entire capital how he removed his predecessor. The President leaves Miller's house in horror.

The treacherous secretary Wurm tells him a way out of this situation. He offers to play on Ferdinand's feelings of jealousy by throwing him a note written by Louise to her imaginary lover. This should persuade his son to marry Lady Milford. The president persuaded Hall Marshal von Kalb to become Louise's fake lover, who together with him composed false letters and reports in order to remove his predecessor from his post.

Wurm goes to Louise. He tells her that her father is in prison and is facing a criminal trial, and her mother is in a workhouse. An obedient daughter can free them if she writes a letter under Wurm’s dictation and also takes an oath to recognize this letter as voluntary. Louise agrees. The letter, “lost” by von Kalb, falls into the hands of Ferdinand, who challenges the marshal to a duel. The cowardly von Kalb tries to explain everything to the major, but passion prevents him from hearing a frank confession.

Meanwhile, Lady Milford arranges a meeting with Louise at her house. She wanted to humiliate the girl by offering her a place as a maid. But the musician’s daughter shows such nobility towards her rival that the humiliated Emilia leaves the city. She flees to England, distributing all her property to her servants.

Louise, who has gone through so much in recent days, wants to end her life, but her old father returns home. With tears, he manages to dissuade his daughter from a terrible act, Ferdinand appears. He shows Louise the letter. Miller's daughter does not deny that it was written by her hand. The major is beside himself, he asks Louise to bring him lemonade, and he sends the musician to President von Walter with a request to deliver a letter from him and say that he will not come to dinner. Left alone with his beloved, Ferdinand quietly adds poison to the lemonade, drinks it himself and gives the terrible potion to Louise. The impending death removes the seal of the oath from Louise's lips, and she confesses that she wrote the note on the orders of the president in order to save her father from prison. Ferdinand is horrified; Louise dies. Von Walter and old Miller run into the room. Ferdinand blames his father for the death of an innocent girl, who points to Wurm. The police appear, Wurm is arrested, but he does not intend to take all the blame on himself. Ferdinand dies, before his death he forgives his father.