Page viewers: n / a ... Geniuses and villainy - Two things are incompatible. A. Pushkin. Mozart and Salieri Pushkin's "little tragedy" about Mozart and Salieri is based on the famous legend about the death of the famous composer at the hands of a musician friend who envies his fame and talent. We are faced with two people whose life is closely connected with music, but the goals and motives of creativity are different. From childhood, Salieri was carried away by music and set himself the goal of comprehending the secret of wonderful sounds that make people cry and laugh. But, persistently studying, striving to give his fingers "obedient, dry fluency and fidelity to the ear," he chose the path of the craft: ... Having killed the sounds, I shattered the Music like a corpse. I believed in harmony with algebra. Only having achieved the intended results, the musician "dared ... to indulge in the bliss of a creative dream." Having endured many hardships and hardships during his studies, Salieri treats writing works as hard painstaking work, the deserved reward for which is success and fame. By intense, intense constancy, I finally, in boundless art, Attained a high degree. Glory smiled at Me ... That is why he does not accept Mozart's "frivolous" attitude to his great talent. But for Mozart, music is always the joy of creativity, inner freedom. He is independent of the opinions of others. Easily, without coercion, the magic art is given to him, causing the envy and irritation of Salieri: Where is righteousness, when a sacred gift, When an immortal genius is not sent as a reward of burning Love, selflessness, Labor, diligence, prayers - Does it light up the head of a madman, idle Reveler? .. For the proud and proud Salieri, it is incomprehensible that a composer endowed with a divine gift can stop to listen to the artless playing of a blind street musician and still find pleasure in it. Salieri is discouraged and annoyed by Mozart's proposal to share his joy: It’s not funny for me when an unfit painter stains Raphael’s Madonna, It’s not funny for me when a contemptuous buffoon dishonor Alighieri with Parody. To the immediate and cheerful perception of Mozart's life, Pushkin opposes Salieri's moral limitations, which leads him to the idea of ​​poisoning the great composer. Salieri justifies his envy and jealousy by false concern about the fate of art, which, being raised by Mozart to an unattainable height, will be doomed to fall again after his death: ... I was chosen to Stop him - otherwise we all died, We are all priests , ministers of music, I am not alone with my dull glory. .. Salieri's position is contrasted with Mozart's conviction that "genius and villainy are two things incompatible." Mozart is alien to self-admiration and pride, he does not elevate, but equates himself with everyone who knows how to feel the "power of harmony": We are few chosen ones, happy idle ones, Neglecting despicable benefits, One beautiful priests. I think that it is true talent and inner freedom that put Mozart above Salieri, who will forever be a loser after the death of his wonderful friend, because with a bad conscience you will never touch the secrets of the superhuman ...

MOZART is the central character of Alexander Pushkin's tragedy "Mozart and Salieri" (1830). Pushkin M. is as far from the real Wolfgang Amadeus Mozart (1756-1791) as the whole plot of the tragedy, based on the legend (now refuted) that Mozart was poisoned by Antonio Salieri, who harbored a burning envy of him. There is a well-known commentary by Pushkin concerning the intrigue of the tragedy: "An envious person who could boo" Don Juan "could have poisoned its creator." In this statement, the key word is a hypothetical "might", indicating fictional fiction. A similar indication is contained in Pushkin's “mistakes” regarding Mozart's works mentioned in the tragedy (for example, after the words “the blind fiddler played voi che sapete in a tavern”, there follows the remark “the old man plays an aria from Don Juan”; in fact, this is a line from Cherubino's aria from "The Wedding of Figaro").

Regardless of the origin of such errors (whether they are accidental or deliberate), the effect they create disavows the documentary depicted. The image of M. is presented in the tragedy in two ways: directly in action and in the monologues of Salieri, who only thinks about him, being alone with himself, corroded by envy of the "idle reveler", illuminated by the immortal genius "not as a reward" for work and diligence. M., as he is shown in action, is close to the verbal portrait compiled by Salieri. He is both a reveler and a "madman", a musician who creates spontaneously, without any mental effort. M. has not even a shadow of pride regarding his genius, there is no sense of his own chosenness, which overwhelms Salieri ("I am chosen ..."). Salieri's pathetic words: "You, Mozart, god" - he counters with an ironic remark that "my deity is hungry." M. is so generous to people that he is ready to see geniuses in almost everyone: in Salieri and in Beaumarchais, but for the company and in himself. Even an absurd street violinist is a miracle in M.'s eyes: he is wonderful from this game, Salieri is wonderfully inspired by M. as a contemptible buffoon. M.'s generosity is akin to his innocence and childlike gullibility. Childhood in Pushkin M. has nothing to do with the mannered childishness of the hero of P. Schaeffer's play Amadeus, fashionable in the 80s, in which M. was brought out as a capricious and absurd child, annoying with rudeness and bad manners. In Pushkin M. is childishly open and artless. A noteworthy feature is that M. does not have an apartte cue, pronounced "to the side" and usually expressing "back thoughts." M. does not have such thoughts in relation to Salieri, and he, of course, does not suspect that the "cup of friendship" presented by that has been poisoned. In the image of M. found expression Pushkin's ideal of the "direct poet" who "complains with his soul at the magnificent plays of Melpomene and smiles at the amusement of the marketplace and the liberty of the popular print scene." It was the "direct poet" in the person of M. who was bestowed with the highest wisdom that "... genius and villainy are two incompatible things" - a truth that Salieri never understood.

In Pushkin's short play Mozart and Salieri, the poet combines the historical myth of the rivalry between the two great Austrian composers with a philosophical understanding of burning passions that push for betrayal and murder.

In contact with

Historical figures in tragedy

Poetic tragedy Alexander Sergeevich Pushkin wrote in 1830 during the romantic period of the Boldinskaya autumn. At this time, the great Russian poet composed four literary works of the cycle "Little Tragedies", one of which was the play "Mozart and Salieri" with the original telling title "Envy".

The classic Shakespearean drama, in which tragic human passions rage, is very short, laconic, and consists of two short acts. The heroes of this dramatic work are real historical figures - these are two famous and successful Austrian composers and musicians - Wolfgang Amadeus Mozart and Antonio Salieri.

History of creation the poetic work is as follows: the legendary myth of the treacherous elimination of an opponent through poisoning with poison was adopted by Pushkin as the basis for a dramatic plot.

The main character Austrian and Italian composer Salieri recites:

“And now — I’ll say it myself — now I

Envious. I envy; deep,

I am painfully jealous ... "

An experienced and active composer considers the young, talented and frivolous Mozart to be a darling of fate, unworthy of his own genius.

Attention! Salieri justifies his sinful act by the fact that the genius of Wolfgang Amadeus is useless.

Antonio considers the everyday composing work of a creative musician to be painstaking and calculating, subject to the laws of harmony: “I have put the craft at the foot of the art.”

Brief biography of Salieri

Italian and Austrian composer, conductor and teacher, Antonio Salieri was one of the most successful and recognized musical authors of their time. He was born in 1750 in the vicinity of Verona in the family of a wealthy merchant. The gifted young man studied music for some time in Venice, then in 1766 Anton Salieri (the German version of the name) moved to Vienna, the capital of Austria.

After the publication of the opera, "Armida" became a fairly well-known composer, author of many vocal and instrumental works. During his creative period he wrote more than forty operas and was a great success not only in Austria, but also in France.

In 1774, the musician was appointed court composer, and from 1778 to 1824 he served as the royal bandmaster, possessing excellent diplomatic qualities and musical talent.

Professional career the composer was extremely successful - he held the highest European post in the professional environment. The composer outlived three emperors, invariably participating in all significant events in the public and musical sphere of Europe. He was a wealthy person.

Pedagogical activities

The students of the great teacher-composer were:

• Ludwig van Beethoven;
• Franz Peter Schubert;
• Franz Liszt;
• Karl Cerny;
• Jan Nepomuk Hummel;
• Luigi Cherubini.

Important! The musician died in 1825 in Vienna, having made an excellent career not only as a composer and conductor, but also as a teacher and public figure. The maestro fully realized himself in the profession and was successful in art.

Divine gift and traditions

Summary the play also includes Salieri's arrogant attitude towards “non-elite” musicians. Despising the common people, the court bandmaster considers art and musical talent to be the lot of selected professionals who create their masterpieces according to the strict rules of the mathematical tradition.

Among his own kind, the musician feels confident and arrogant, since he considers this thorny path to be the only possible one in art.

With the emergence of young Mozart in the professional composer environment, Antonio Salieri admires his genius and “divine spark” hidden in his light and free music.

Inevitable tragedy

The plot of the play is based on the conflict of worship and envy for the talent of a young friend. Salieri exclaims: "You, Mozart, are unworthy of yourself." This exclamation simultaneously expresses both delight and admiration for the genius, carelessness and love of life of a colleague, but envious feelings push the maestro to a crime. A cruel tragedy unfolds before the eyes of the reader. The emotional monologue of the indignant Antonio, who justifies himself as the savior of the composer's elite, is replete with colors and emotional experiences. The short speech of Pushkin's Mozart in the text of the play is uncertain and limited - he speaks in fragments of phrases. The hero is confused and depressed.

Contradictory characters

The play is rather short and consists of two scenes. The main characters take part in the theatrical action:

• Mozart;
• Salieri;
• The old man is a violinist (street musician).

The legendary image of Wolfgang Amadeus Mozart is described by Pushkin as a bright genius, “composing music like birds sing”. Young talent is presented as a gifted and serene genius who does not know the torment of creativity. Salieri, however, sarcastically calls this gentle image “an idle reveler,” who does not realize his divine gift and calls his own musical ideas a trifle.

Talent conflict

The problem of negative relations is intensified by the “omnivorousness” of Mozart, who is pleased with the performance of his author's melody by an inept street musician. He is amused by an amateurish sound, more like a creak than a cheerful music.

Antonio, on the other hand, is outraged and unhappy that the blind violinist is playing a Mozart melody, and not his author's work. From this ridiculous scene and a tragic outcome develops plays - the maestro decides to save the composer's shop by getting rid of the careless "shepherd".

Justice and black envy

According to the artistic intent plays by Pushkin, Maestro Antonio embodies a rebellious spirit protesting against the injustice of earthly and heavenly. He is tormented by doubts and black envy that genius is not awarded to him - the humble laborer, but the "idle reveler" - unworthy.

Outwardly, the relationship between the cheerful and simple-minded Wolfgang and the two-faced Antonio looks like friendly. According to Pushkin's idea, Mozart is trusting, innocent and unaware of the danger due to his inexperience, confirming the genre of the play.

The maestro has reached his professional, social heights and recognition through long dedication and personal discipline. Coming into conflict with a musician of supernatural talent, Salieri descends to a tragic intrigue.

The scene of the poisoning is accompanied by the dialogue of the main characters, where Salieri tells Wolfgang Amadeus that who — it was poisoned by his friend Beaumarchais. And at this moment the genius Mozart utters a phrase that has become "winged": "Genius and villainy are two things incompatible."

An experienced sophisticated composer, accustomed to reaching the heights of musical art through creative diligence, imagined that the young, life-loving Mozart is like a heavenly cherub. The angelic musician illuminated the sinful world with the gentle sounds of his divine works. Therefore, the insidious hero decides to “return” this angel to his wonderful paradise world.

Based on the plot of a poetic work by Alexander Pushkin Salieri poisoned Mozart inviting him to dine at the Golden Lion tavern.

The calculating musician adds poison kept with him for eighteen years, in the cup of friendship, bringing the tragic end.

Fatal foresight and a tribute to art

In a philosophical understanding, Alexander Sergeevich Pushkin examines deep-seated universal human problems:

• responsibility;
• the morality of a person of art;
• service to art.

Which is more moral - talent or art? The idea of ​​universal justice turns into personal envy and black villainy.

The Golden Lion Crime

In the second and last scene of the play, the action takes place in a separate room of the Golden Lion tavern, where Salieri and Mozart are. The young composer plays on the piano some excerpts from his new work. Constantly in need of funds, the composer accepted an order to compose a requiem (a major piece of music for choir and orchestra at the funeral service). The young genius is depressed and confused.

Requiem ordered unknown man in black, who paid the composer well for this complex funeral composition. Mozart has begun performing, but for the past three weeks he has been gnawing at the thought that the "black man" is relentlessly pursuing him. The musician drinks the wine poisoned by his friend and leaves, feeling the approach of death.

Important! It seems that the figure of the unknown in black, according to the artistic design of Pushkin's genius, is the embodiment of a hostile world. Such a terrifying association inevitably arises throughout the final scene of this legendary tragic play.

Drama A.S. Pushkin's "Mozart and Salieri": a brief analysis, the content of the tragedy

Retelling Pushkin A.S. "Mozart and Salieri"

Conclusion

Composing a requiem for the funeral service for the deceased, Wolfgang Amadeus resigns himself to the tragic fate and obeys divine fate. The sad end of the poetic work is accompanied by Antonio's insidious tears - tears of fulfilled duty and liberation.

Mozart:

Wait: here's to you,

Drink to my health.

But my deity is hungry.

He's a genius, Like you and me.

And genius and villainy are two incompatible things.

Health, friend.

For a sincere union,

Binder Mozart and Salieri,

Two sons of harmony.

Whenever everyone felt so powerful

Harmony! But no: then I could not

And the world exists;

Nobody would become

To take care of the needs of the low life;

Everyone would indulge in free art.

We are few chosen ones, happy idle ones,

Those who neglect despicable benefits,

One beautiful priests.

Salieri:

Everyone says: there is no truth on earth, but there is no truth - and higher.

I put art at the foot of it;

I have become a craftsman: fingers

Gave obedient dry fluency

And loyalty to the ear. Having killed the sounds,

I shattered the music like a corpse. And now - I will say it myself - now I

Envious.

I envy; deep,

I am painfully jealous. - Oh, heaven!

Where is righteousness, when a sacred gift,

When an immortal genius is not a reward

Burning love, selflessness,

Labor, diligence, prayers sent -A illuminates the head of the madman,

Revelers idle? .. I'm not funny when the painter is useless

The Madonna of Raphael stains me;

It’s not funny to me when a contemptible buffoon

He dishonors Alighieri with a parody.

Come on, old man. You, Mozart, are god, and you don't know it yourself; I know, I am.

I am chosen to

Stop is not that, we all died,

We are all priests, ministers of music ...

But is he really right

And I'm not a genius?

Genius and villainy Two things are incompatible. Not true:

And Bonarotti? or is it a fairy tale

Dumb, mindless crowd - and was not

The killer of the Vatican's creator?

Writing a valuable, interesting essay, keeping within the framework of a certain topic, is as difficult as digging a deep but narrow hole. The proposed themes of the essays were rather narrow for me: they fettered my thought, did not allow it to develop freely, and therefore I chose a free one. I would call it like this: "The theme of freedom in" Mozart and Salieri "Pushkin".

The theme of freedom in "Mozart and Salieri" by Pushkin

This topic is interesting to me because it raises questions, the answers to which are ambiguous.

For Pushkin, a man who can be called supremely free, this topic is very important and is raised in many of his works.

"Mozart and Salieri" is a work in which two personalities collide, two perceptions of the world, and, accordingly, two different attitudes towards freedom. Consider what it means to be free for Salieri. It is no coincidence that this hero appears first in the work, and the first thing we hear is a conversation about himself:

It's as clear to me as a simple scale

I was born with a love for art

I listened and listened - tears

Involuntary and sweet flowed

overcame

I am early adversity, craft

I have set the foot of the art,

I have become a craftsman

One might argue that this is typical for drama, where the hero must imagine himself, tell about himself. Mozart also often pronounces "I". But in Salieri, this personal pronoun sounds like a spell, rushing from all the cracks, especially in the line:

I know I!

It is just as important that in the opening lines of the play Salieri is not only focused on his self, but also immediately opposes it to “everyone,” the opinion of the crowd:

Everyone says: there is no truth on earth,

But For me

It is also important that Salieri's personal opinion is opposed not only to human opinion, but also to higher powers: "but there is no truth even higher."

It turns out that Salieri puts himself as a judge over the whole world: both human and divine. In his remarks, he unconsciously emphasizes that his beliefs are not just opinions, but knowledge that does not allow for doubt. Lines such as:

But there is no truth above

The first step is difficult

And the first way is boring

Salieri understands freedom as complete independence from everyone and everything. Moreover, as independence, which does not allow a different point of view. Salieri has already decided everything, and judges everyone with confidence, swinging even at higher powers:

Where is the rightness

The question arises: on what does he build his worldview? Salieri himself talks about this in the play:

I have set the foot of the art

Gave an obedient, dry fluency

I shattered the music like a corpse. Believed

I algebra harmony….

From these lines it is clear that Salieri in relation to music acts as an owner. As a master owns an instrument, so Salieri wants to master the element of music. He figured out her device, mastered the technique. He got the feeling that he owns the element of music completely, he can take, transmit, develop music, like a thing made by a master. He believes that there is nothing in the element of music that is beyond his control. And in this Salieri sees and asserts his freedom.

It is interesting that, considering himself to have mastered music, Salieri seeks to subjugate life itself, the fate of people, to direct the development of art. Pushkin sees here a connection, transitions from one idea to another. Having placed himself above the world, above the element of music, Salieri puts himself above human life. Having made the truth relative (there is no truth on earth ...), he begins to actively assert his truth. Freedom Salieri denies freedom to Mozart.

We can observe a completely different freedom in Mozart. We meet Mozart in a wide variety of connections with the world, in relation to which he feels like a part of it, although this does not prevent him from feeling lonely.

Mozart's speech is very different from Salieri's. The feeling immediately arises that it is not Mozart who owns the music, but the music owns him. It is no coincidence that Pushkin chooses such expressions for Mozart:

The other night

Insomnia tormented me ...

two or three thoughts came to my mind

wanted

I hear your opinion ...

So, we hear continuous passive constructions in Mozart's speech. And even:

My requiem worries me.

Music owns Mozart, and it decides his fate, because even the Requiem came for him ...

We can say to this: where is freedom here?

A.S. Pushkin added his favorite words and themes to Mozart:

There are few of us idle lucky ones,

Those who neglect despicable benefits,

One beautiful priests ...

The word "idle" in a certain sense is a synonym for "free". “Idle” is empty, freed from something. What is Mozart free from, unlike Salieri? From everything that governs Salieri: from the narrowness of the lonely, limited I, from the power of reason, logic, "algebra" that governs Salieri. From the desire to be the best ("like you and me"). Mozart is connected with the whole world, it is no coincidence that both his wife, a boy and a blind old man sounded in a short play. Mozart constantly refers to the point of view of Salieri, he is in dialogue with him, and with the whole world. Such connections in themselves can keep a person from any "villainy".

Summing up, I will say the following: freedom can be directed towards oneself and from oneself - towards the world. The first - enslaves a person to himself, and does not make a person whole. And it easily turns into a crime. The second freedom is not so noticeable from the outside. Dialogue with the world, openness to another person, consciousness, point of view - fills a person with vitality, love, arouses the desire to do good.

Art is created by more than one person. A person who is closed on himself will never create a great work. It's like “shavings wrapped around their own emptiness”. It is no coincidence that Salieri achieved fame, but nowhere in Pushkin is it said about the impact his art had on people. Mozart's music brings tears. It was created by a person who is free from himself, and therefore this music itself can change a person, liberate, captivate him. There is a hint of this at the end of the play, where Salieri, listening to the Requiem, does not just cry. For the first time, under the influence of this music, he began to doubt himself, his own righteousness. For the first time, he turns to himself with a question about his own righteousness.