Equal characterization of Mozart and Salieri in the tables. Mozart - characterization of the hero (Mozart and Salieri Pushkin A.S.)
"Mozart and Salieri"
Salieri rіshuche shut up and Mozart's savagery for art. Vіn spriymaє music is more important than the sum of technical devices, with the help of which harmony is manifested. Having choked on Gluck, Pichchin, Haydn, and otrimuvav z їhnogo mystetstva direct melancholy: conquering new, vіdkritі them "taєmnitsi". In the music of Mozart, yoga adds “deep”, “string”, that is harmony. Ale, if you can learn "priyomiv", then harmony is not possible - it is not repeated. Otzhe,
І new height shy?
Chi pіdіyme vіn tim mystetstvom? Hi;
Spadkoєmtsya we can not deprive wine.
"Priyomi", "secrets" are only accessible to the consecrated, priests, "servants of music", then mysticism is recognized for them. Salieri does not let outsiders near the temple of mysticism. To such a caste - and in essence anti-democratic - the understanding of the mysticism is called alien Mozart, who is sorry for those who do not all recognize the "power of harmony", but I explain that I am not calm and needy in the city of mysticism, realists in life:
Todi would not be a moment
Dbati about the consumption of a low life;
Mustache was given to free art.
"borg". The urochistist "borg" sounded meant the power of the mind over addictions. Reasonable Salieri pragna perekonat yourself in the fact that you have found fault with your predilections and podkoriv їх reason. In truth, passions will guide him, and the mind, having become a hearing servant. So, in the rationalism of Salieri, Pushkin reveals a boundary, more powerful, and individualistic evidence, which would bring Salieri with the gloomy and happy heroes of the "zhorstok capital". As if I were not arrogant Salieri, I wanted to prove my villainy with some kind of evidence, I was powerless before the folding, the dialectic of the world, before the unity and integrity of nature. Pushkin successively took all the logic of Salieri's frills, sighed his self-discovery and revealed dribnu, the bottom of passion, like a ruined Salieri and like a wine can not repair the opera. Mozart becomes alive in the spirit of the "God-Ville" of nature, with a head shift to the path of Salieri's self-denial. The very basis of Mozart Salieri takes it as a sigh of praise to his life principles. Mozart's genius recounts the "genius" of Salieri, who loves Mozart, suffers from love, deeply enjoys himself, listening to his music, crying over it, but when you start remembering that secretly dark indulgence of self-love . Now Salieri knows that the creativity of the wines cannot bring its own prestige; now let the wine go to hell, as if it had saved a lot of fates, so that for the help of evil, it will go to the number of gains and gain glory. The composer, who subtly discerns harmony, discovers the genius of harmony!
“Vin is a genius, like you and I”, “For your health, friend, for a wide union that you get Mozart and Salieri”, “There are few of us ...”), reconciliations between the union of two blue harmony and in insanity genius and recklessness. Salieri Well, Navpaki, seeing Mozart in front of himself - “Shove, shave, shave! .. Have you drunk? ., without me?”
Share mine: I'm sorry, sob yogo
Zupiniti...
"And it hurts, and it's acceptable." The life of Mozart brought Salieri suffering. Rejecting Mozart, finding out the cause of suffering, and now it's "more painful, and more acceptable." Prote vikonannya "heavy ob'yazku" again turn Salieri at the moment. It seemed to me that nothing is worthy of you to respect yourself as a genius, ale Salieri in front of a new riddle. The words of Mozart and vin himself come to life in your mind:
Ale no less vin right,
Two speeches are inconsequential. Not true...
"forgiveness" of nature. Posilannya on Buonarroti less than acknowledges the undeniable fact that at the heart of Salieri's zadroschiv lies not only the world of music, but the frivolous and vain Marnoslavism. "Heavy borg" Salieri otrimu more precisely and directly recognized - recklessness.
This is how Pushkin recreates the objective sensation of Salieri's thorough processes: having started from a slanderous listing, the backdrop of a specific specificity. Usunennya Mozart again put before Salieri a serious problem, but turned already by another - moral - side. I Salieri again whispering the singing butt. Inflamed by a low-lying passion, ready to resurrect again the inexhaustible rozumovy lance of cold sophisms, like a skin person, like a man, like a martyr, in his own way, reshape the guise of the world and do not trust the reasonable and beautiful laws of life.
Vіdpovіd zalishala Guest
Mozart is the central character in A.S. Pushkin's tragedy "Mozart and Salieri" (1830). Pushkinsky M. pavement and a distant view of the real Wolfgang Amadeus Mozart (1756-1791), like the whole plot of the tragedy, foundations on legends (nine stories), nibi Mozart and Antonio Salieri, who spit up the hell out of zadrіst. Pushkin's commentary about the intrigue of the tragedy: "A cheer, for a moment to boo "Don Juan", a moment to blast his creator." Whom I have spoken keywordє hypothetical "moment", which indicates on artist's guess. It is similar to the vkazіvka to take revenge in Pushkin's “pardons” for Mozart's works that are conceived in tragedy (for example, after the words “a blind fiddler at the tavern playing a groove in voi che sapete” follows the remark “old grє ariary z Don Juana”; from "Vesilla Figaro"). Independently in the event of similar pardons (vipadkovі stinks or navmisnі) the effect of their creation, disavowing the documentary nature of the image. The image of M. representations in tragedy is twofold: without a middle in diї і in the monologues of Salieri, which only thinks about something, being left alone with oneself, which rises back to the “reveler of the empty”, radiant with immortal geniuses “not in the city” for work and diligence. M., yakim of the phenomena of the diї, close to a verbal portrait, folded by Salieri. Win and a reveler, and "divine", a musician, what to create spontaneously, without any rozum zusil. M. has no pride and no pride in his genius, no sense of high-handed manners, as if rewriting Salieri (“I vibrate ...”). The pathetic words of Salieri: "You, Mozart, God" - vin parries with an ironic replica that "my deity is hungry." M. nastіlki is generous to people who are ready to bachiti geniuses a little not in the skin: in Salieri, and in Beaumarches, but for the company and in himself. Navit a stupid street creaker in the eyes of M. marvelous: it’s marvelous for you in the sight of a gri, Salieri is a marvelous inspiration for M. with a ganebniy figlyar. M.'s generosity is similar to yoga's innocence and kindness to a child. A child in Pushkin M. does not have anything sleepy with mannered childishness of a fashionable hero in the 80s of P. Sheffer's song "Amadeus", in a yakіy M., he sees a whimsical and stupid child who bothers with rudeness and filthy manners. In Pushkin M., in a childlike manner, he is unobtrusive and unobtrusive. A noteworthy feature is that M. has daily replicas-apartments, which make “kill” and sound “rear thoughts”. Salieri doesn’t have such thoughts in M., and vin, it’s understood, I don’t suspect that the “cup of friendship” has been torn off by him. In M.'s image, he knows Pushkin's ideal of a "straight poet", which "souls the soul at Melpomeni's picnic games and laughs at the fun of the Maidan and the freeness of the lubok scene." The very “direct poet” in the person of M. was granted a great wisdom, that “... genius and recklessness - two words of nonsense” - the truth, even though Salieri did not understand.
WHAT PERSON BUV SALIERI?
How could the great Schubert write something like this about a filthy, evil, zazdrishna person?
Professor Boris Kushner argues that the question is as follows:
“What kind of person buv Salieri? I think that I understood the singing of the world already on the food chain. A filthy person cannot show such a sense of vdyachnosti, as if having shown Salier a hundred of his followers Gassman and Gluck. I, razumilo, a filthy person will not give costless lessons and engage in self-disciplined right-wing and dead musicians. This hostility is supplemented by the notes of Salieri himself, depriving him of Ignaz von Mosel, and the witnesses of his fellows. Salieri write about your life simply and navitt, yes, it’s really naive. Zvorushlivy descriptions of yoga heavy, which rushed early, to music and to bring past details, to the point of passion for malt. Heart sympathy is called out by the sides of the spogadіv, where to go about the first cohanna Salieri and about the yoga team” (209).
It’s a pity to report a wide-ranging statement about Salieri, like a person who is gloomy, rozumov, a stranger to the right joys of life and doesn’t know anything, krim music. Ale tse zovsіm negarazd. Help contemporary people and their biographical creations to characterize Salieri as a more positive and kind person. Axis, for example, what do you write in your "Spogada" in the presence of the tenor and composer Michael Kelly, a friend of Mozart and a participant in the premiere of "Vesilla Figaro":
“One evening Salieri asked me to accompany yoga to the Prater. Todі vіn folded his opera "Tarar" for the Grand Opera near Paris. We ruled on the birches of the Danube for a cabaret, de-drank cold drinks. Vіn vytiag z swarming little arії, folded on the wound and zgod became popular. Ah! Povero Calpigi. While singing to me the aria with majestic virtuosity and gesticulation, I marveled at the river, and then raptly remembered the great wild boar, which was chanting її, as if it was the white of that month, we were sitting. I'm on the vtіk, and the composer having seen my butt, leaving behind Povero Calpigi and, what is richer, a flask of miraculous Rhine wine. We then richly laughed at him, what happened, leaning on the posture of insecurity. Really, Salieri, it’s a moment of swearing about everything in the world, I’m like a receptionist, deeply shoved at Vidnia, and I respect the great fortunes of the fact that I’ve gained respect for me” (210).
The good knowledge Salieri Johann Friedrich Rohlitz gives us the following characterization: “Rainbowy and loving, kind-hearted, life-giving, kind-hearted, non-violent in jokes and quotations of thinning people, with fiery gleaming eyes, with zasmagliy, but it’s so easy to reconcile” .
Biographer Salieri Adolphe Julien writes:
“Be-yaky, cheerful, highly spiritual, sensitive. Salieri umіv pov'yazat yourself a wide friendship with rich artists and amateurs. Vіn buv small stature and zavzhd robes with deakoy vyshukanіstyu, the new boule has a swaggering skin, dark and blazing eyes, a staring glance and great frailty in gestures. No one knew such a large number of all the powerful piquant stories, and no one could tell them with such spirits in such a marvelous jargon, de italian, german and french movi buli zmishani in the same proportions. A great lover of malt, he could not go past the confectionery shop without going there and not smelling his guts with dragees and zukerkas. Vіn quickly came to anger, but easily calmed down, giving miraculous applications of great kindness of heart. An hour without weakening yoga for those who in their youth for the new Gassman, and taking care of the light of his daughters, even more so young after the death of their mother, taking care of all their needs and having made one of them, I see a letter of sleep: Gassman was a boor for the new one himself” (212).
“With marvelous practicality, the maestro of Legnago wrote from 1770 to 1804 rіk 42 operas and no less oratorios, cantatas, duets, trios, choirs and instrumental p'єs. In 1804, I was inspired by dramatic successes in order to dedicate more to the imperial choir. Idstavka, having asked for a vin from 1821 roci, bula was given to you more than 1824 roci. You can only recognize as fair the fact that the emperor will again save his yoma yogo payment after that, having left his post like a wine ... Vіn buv lyaznym і mav character, creations for suspіlstva; vin enchanting us company, de buve, with his piquant manner of telling jokes. Yogo mova, which was summishly Italian, French and German, adding yoga to hearing. Like wine and having shown yourself for an hour that you are safe with the wrapper yourself at the melancholy of friendly ties, like you have established guilt with people, then, from the other side, your life has a small amount of facts, if you look at the most privileged rank. It is not forgotten that Salieri, already perebuvayuchi have important vіtsi, forever remembering Gassman's kindness, as if he showed up to the new on the very cob yogo kar'eri. Vin robbed more, lower just remembering about tse: having paid for his obligations to the memory of his benefactor, like, dying, having left two girls, having relieved their support. The composer added about them and paid all the expenses for their illumination. Three daughters looked at their mother’s daughter, as if they looked down on him and felt him with respect, if they became old ”(213) .
Boris Kushner leads such a story, which shows how Salieri's inclinations were a little bit humorous:
“The composer is alive at the house, where he got to the recesses of his squad and his brother's father. The brother of the squad took care of the rights at home. Once the composer began to make visits like a lady, like she had an apartment in a booth and wanted to change the contract. Salieri's explanations, that I can't wait for a hundred years before anything, did not help. Then, with a black rose of wines, saying to the ladies that you can help me with more than one: let them write your own nonsense, and wines will help you to music. The woman retreated "(214).
And the axis, for example, is hot and hot at the same time, it’s a hell of a verse, written by Salieri himself:
Sono ormai sessanta e otto,
Sor Antonio, gli anni vostri,
E mi dite che vi bollica
Spesso amore ancora in petto.
Eppur tempo mi parrebbe,
Di dover finir, cospetto.
Che ne dice Ussignoria?
Risposta: La ragione, si (215) .
Їх can be translated into Russian approximately as follows:
You already, Signor Antonio,
Sixty eight. So boo…
Ale in the breasts, you see
Dosi kokhannya fell.
Oh, the time has come
Calm down the violent vdacha!
What do you say on tse?
Suggestion: It's important to talk, your truth.
In the drawing by L.V. Kirilin "Pasinok istoriy" it is read:
“From the last portraits of Antonio Salieri marvel at us as a disguise, we are not marked with a Cain signet. Appearance is more handsome and more important, moreover, not dignified and naphene and not coldly familiar, but rather smarter to himself, deshcho soft and sensitive. Zhodna s yogo rice does not show attached depravity, hypocrisy, cunning or ruthlessness. No matter what they say about the sumnіvnіst visnovkіv fіzіognomіki, all the same, looking like a person, especially in the summer season, let me guess about її life dosvid and you see a picture of a character, often - not the best. At the same time, we can talk less about the existence of traces of whether there are strong predilections or fatal vchinkivs. This is the face of a person who has lived a prosperous life and is not tormented by any furies, and besides, she has not become stagnant in a sieve of self-satisfaction "(216).
To show, as if looking at Salieri, to marvel more at the famous actor Oleg Tabakov in the play "Amadeus", as if from 1983 the rock was played on the stage of the Moscow Art Theater. A.P. Chekhov. Tyutyun wins this role invariably from the day of the premiere. The axis of the wines is a good-natured person with ruddy cheeks and beshketnym dimples on the cheeks. It dawned on me that Tabakov is a grave and gray image of the creations of Peter Sheffner, the aleta, who played yoga in his role, did not remember for a moment, how Oleg Pavlovich would leave the given image for an hour and slyly marvel at the hall, which vibrated with splashes. A great artist does not just play the role of a great composer who looks like a new one.
True, Salieri, sooner than small, lower than average growth. Golovnі risi yogo character resurrect everything: lively, loving, warm, with a rich vein, which saves oneself, modest, sentimental, etc.
To the thought of the literary scholar and writer L. P. Grossman, “Salieri is not self-satisfied with mediocrity, he is a miraculous thinker and theoretician, a prominent philosopher of mysticism, a non-committal swindler of perfect beauty” (217).
Undoubtedly, Salieri is a great musical talent. Adolphe Julien dances yoga with composer Antonio Sacchini (Sacchini) were born in 1730 near Florence and wrote 45 operas in their lifetime. I write: “Salier for life and after death having a share, I’m going to share Sakkina: being alive, I didn’t take a position, but I showed my genius, and after death I didn’t take high positions in the memory of riches. Youma was not spared, since the transitional era came, and although his musical knowledge allowed you to rise above Sakkini in the interpretation of the strongest and most noble feelings, he was overshadowed by the glory of Gluck. Offended stench created miracles for the French stage, once they were insured to masterpieces, insulting stench could be, if they occupy the first row, but the share prepared for them people at that very moment, if a genius good order trimav all musical world under their lawful panuvannya, slaying everything that was inherited, and fighting everything that threw viklik to you” (218).
Otzhe, Antonio Salieri was a composer, whose work is good for zarahuvannya to masterpieces. The operas “Danaidi” (a masterpiece of all the senses of the word) and “Tarar” (an opera, one day to occupy a new place in the musical history of the world) are worthy of us.
It's crazy, so, next to understand, that the aesthetics of that hour were strongly perturbed in the modern world. It’s not uncommon to say at once that Mozart’s music is “a symbol of undisguised genius”, that it “gives a unique message to a person”, “healing the bodies and souls of people” ... Mozart was spared by this sensei: his music passed through the century and continues to serve as a spectator for us the one in the XXI century. However, Mozart, standing in one row with the impersonal wonderful composers (Gluck, Haydn, Bockerini, Galuppi, Pasziello, Cimarosa and others), shared applause from the public. By right, Salieri will enter until the next day. But the rest of the future and the people organized and completely practical, as if they didn’t check the mood for months, like a rich colleague, like a mind, what are the terms, what, vtim, didn’t respect you, and save it like a vlasnoy. Music has become an ideal for him, but with him everyday life being a person without obvious vadas: faithful, daring, vdyachnoy, ready to come to the rescue of friends ...
And all the same - chi engaged in intrigues?
On the food chain, we give the miraculous advice of L. V. Kirillin:
“Not a bigger world, lower it was, unfortunately, left with the most important for a professional musician and an artistic medium. Being a lover of Emperor Josip II and making merry babbles at the court, vin a moment, yakby wanting to bring a lot of inaccuracies to his colleagues. Apply such behavior to history: thus, J. B. Lully, shriveled by the intercession of Louis XIV, ruthlessly cracking down on his competitors and becoming the musical “monarch” of France. Far from highest rank G. Reuter, Kapellmeister of St. Stephen's Cathedral, who did not give way to young musicians and threw young J. Haydn onto the street, if his voice was angry, was having a good time at the Vidni Hours of Mary Theresa. Salieri was not timid of anything similar, and his struggle for space under the sun did not in any way swell the nature of the war to the bottom. Those, Shaho Mozart, caught by the "pіdtupes" of Salєrі, Bulo Svidosh Dribnimi U_ntrigs Abo just disseminated, Viklikikani Zbigom Slab (before that Mozart himself z ya Yu Indyuyu I am Okuchu Sorenіlіstu at the Obenvnі z's composer colleagues '(219).
Mozart:
Strive: the axis of you,
Drink for my health.
Ale, my deity is hungry.
Vіn the same genius, Yak ti that I.
And genius and recklessness - Two speeches are insane.
Hello, friend.
For a wider union
Zv'azyuchy Mozart and Salieri,
Two blue harmonies.
If only we could see strength like that
Harmonies! Ale nі: then it would not be a moment
І svіt іsnuvati;
Nobody would become
Dbati about the consumption of a low life;
Mustache was given to free art.
There are few of us, happy empty ones,
Nehtuyut contemptuous sternness,
One beautiful victim.
Salieri:
Everything seems: there is no truth on earth. Ale, there is no truth - and more.
Having put I under mysticism;
I'm growing up a craftsman: fingers
Squeezing the ear dry dry
І virnіst Yushka. deadening sounds,
I rose to music like a corpse. And nі - I'll say it myself - I'm nі
Zadrisnik.
I'll be late; deep,
I'll be late. - About the sky!
De OK, if the sacred gift,
If the immortal genius is not in the city
Love burning, self-confidence,
Work, diligence, the blessing of messages - And brighten the head of madness,
Revelers of the empty?
Me roam the Madonna of Raphael;
I'm not funny if the buffoon is ganebny
Parody znevazha Alіg'єri.
Pishov, old. You, Mozart, God, and you don't know it yourself. I know I am.
I'm obreni, shob yogo
Zupiniti - not the same, we all perished,
All of you, priests, ministers of music.
Ale no less vin right,
Am I not a genius?
Genius and recklessness Two speeches are inconsequential. Not true:
And Bonarotti? or tse kazka
Stupid, headless natovpu - and not boo
I beat the creator of the Vatican?
In Pushkin's short song "Mozart and Salieri" he sings a historical myth about the supernativity of two great Austrian composers with philosophical understanding of passions, which they put on health and wellness.
In contact with
Historical figures in tragedy
Poetic tragedy Oleksandr Serhiyovich Pushkin writing in 1830 roci in the romantic period of the Boldin autumn. At the same hour the great Russian sings clave chotiri create literary cycle "Little tragedies", one of them was the song "Mozart and Salieri" with the primary name "Zazdrіst".
A classic Shakespearean drama, in which tragic human passions play out, it is rather short, concise, and consists of two non-trivial acts. Heroes of whom dramatic creation There are two real historical figures – these are two successful Austrian composers and musicians – Wolfgang Amadeus Mozart and Antonio Salieri.
History of creation The poetic creation is like this: the legendary myth about the zradnitske usunennya supernik through otruennya otrutoy was accepted by Pushkin as the basis of a dramatic plot.
The main character is the Austrian and Italian composer Salieri reciting:
“And nі - I’ll say it myself - I’m nі
Zadrisnik. I'll be late; deep,
I will be painfully late…”
The enlightened and active composer respects the young, talented and light-hearted Mozart with an empty lot, his worthless genius.
Respect! Salieri is true to his sinful vchinok tim, that genius Wolfgang Amadeus Marnius.
Antonio respects the everyday creative practice of making a musician smoky and respectful, obeying the laws of harmony:
Short biography of Salieri
Italian and Austrian composer, conductor and teacher, Antonio Salieri was one of the good luck and recognition musical authors in his time Vin was born in 1750 on the outskirts of Veroni in the same wealthy merchant. The gifted young man for an hour learned music near Venice, then in 1766 Anton Salieri (the German version of the sound of the name) moved to Vidnya - the capital of Austria.
After the publication of the opera "Armida" led by a composer, the author of rich vocal and instrumental works. During his creative period, he wrote over forty operas and had great success not only in Austria, but also in France.
Since 1774, the musician was appointed court composer, and from 1778 to 1824 he served as the royal bandmaster, with excellent diplomatic skills and musical talent.
Professional career the composer's bula was superbly successful - having embraced the most European settlement near the professional middle. The composer survived three emperors, constantly taking part in all the significant entries in the musical sphere of Europe. Be a safe people.
Pedagogical activity
The teachings of the great teacher-composer buli:
- Ludwig van Beethoven;
- Franz Peter Schubert;
- Ferenc Arkush;
- Karl Czerny;
- Jan Nepomuk Hummel;
- Luidzhi Kerubin.
Important! The musician died in 1825 at Vidnia, having built a miraculous career as a composer and conductor, and as a teacher and a huge playmaker. The maestro is more realized in the profession and more successful in the arts.
Divine gift and tradition
Short zmist P'esi include and zarozumile Salieri's appointment to "non-elite" musicians. Irrespective of the common people, the court bandmaster respects the art and musical talent of the share of many professionals, as if creating their masterpieces according to the strict rules of mathematical tradition.
Among other similar musicians, they feel sung and self-singed, shards vvazhayut thorny path we can only do it in the arts.
With the appearance young Mozart the professional middle composer Antonio Salieri is in awe of his genius and the “divine spark” that is hidden in his light and free music.
Unforgettable tragedy
The plot is based on conflicts, worshiping and zazdroshchiv to the talent of a young friend. Salieri vigukuє: "Ti, Mozart, unworthy of himself." At this viguk, one hour at a time, one can see both suffocation and shirking before genius, bezturbotnistyu and the life of a colleague, ale zadrіsnі a little shtovhayut maestro for evil. Zhorstok tragedy unfolds in the eyes of the reader. The emotional monologue of the dazed Antonio, who is true to himself, like a ryativnik of the composer's elite, is brightened by farbs and emotional experiences. The short language of Pushkin's Mozart in the text is nevpevnena and surrounded - you can speak in short phrases. Hero of destruction and oppression.
Super articulate characters
The plot is short and consists of two scenes. Theatrical diy take the fate of the main heroes:
- Mozart;
- Salieri;
- Stariy is a violinist (a street musician).
The legendary image of Wolfgang Amadeus Mozart of Pushkin's descriptions, like a bright genius, "who composes music, like birds sing". Young talent is gifted and without a turbot genius, like not knowing the pangs of creativity. Salieri calls this lower image sarcastically "Let's let a reveler", who does not recognize his divine gift and calls his musical idea a dribnitsa.
Talent conflict
The problematics of negative ideas is emboldened by Mozart's "everyday life", which makes the unsatisfactory street musician happy with his own author's melody. Yogo is pleased with the amateurish sound, more like a creak, lower than life-radius music.
Antonio is enthralled and dissatisfied with the fact that the blind violinist plays Mozart's melody, but not the author's tweet. Z cієї stupid scene i develops a tragic result p'esi - maestro virishu vryatuvati composer's shop ryatuvannyam in the form of a non-turbo "shepherd".
Justice and blackness
Vidpovidno to the artistic idea P'esi Pushkin, Maestro Antonio instilled in himself a rebellious spirit, which protested against the injustices of the earth and heaven. To torment sumnіvi and black zazdrіst in one who does not reward genius with wine - a humble hard worker, but a "reveler without a deed" - unworthy.
Ringing stosunki mizh zhittєradisnym and simple-hearted Wolfgang and two-singular Antonio look like friendly. For the idea of Pushkin - Mozart is trusting, simple-hearted and suspects through his lack of knowledge about the lack of safety, confirming the genre of nonsense.
Maestro reached his professional, suspіlny heights and recognition by way of a long-term self-appointed practice of a special discipline. Entering into conflict with the musician's supranatural talent, Salier descends to a tragic intrigue.
The scene is interrupted by a dialogue between the main characters, de Salieri tells Wolfgang Amadeus about those who — then bov otrueny yogo friend Beaumarchais. And at that moment, the genius Mozart uttered a phrase that became a "crylate": "Genius and daring are two words that are insane."
The achievements of the composer, who sounded the reach of the heights of the musical mysticism with creative praciality, having respected that the young, life-loving Mozart was like a heavenly cherub. An angelic musician illumined the sinful light with the lower sounds of his divine creations. To this, the approaching hero virishu “turn” that angel around his miraculous heavenly world.
Behind the plot of the poetic work of Oleksandr Pushkin Salieri otruїv Mozart, asking Yogo to eat at the Golden Lion tavern.
poignant musician pіdlivає disgust, scho zberigavsya in the new stretch of eighteen years, at the cup of friendship, approaching the tragic end.
Fatally transferring that danina to mysticism
At the philosophical point of view, Oleksandr Sergiyovich Pushkin considers deep human problems:
- vіdpovіdalnostі;
- morality of the human being of the art;
- serving mysticism.
Which is more moral - talent or art? The idea of total justice turns into a special arrogance and black recklessness.
Zlochin at the Golden Lion
At the other, that remaining scene is seen in the surrounding room of the Golden Lion tavern, where Salieri and Mozart are found. The young composer is rewarded on the piano with chants for his new creation. composer musical creativity for choir and orchestra at the funeral service). The young genius is resting at the downtrodden state and destruction.
Requiem zamoviv there is no man in black, having kindly paid the composer for this folding mourning twir Mozart, having started to vikonannya, but stretching out the remaining three of these tizhnіv yogo, he drags along the thought about those who are "black people" inaccessibly revisiting yogo. The musician sips another wine and lets go, seeing the approach of death.
Important! It looks like the figure of Pushkin’s genius, invisible to the black, behind the artistic idea, to the spirits of the fortune-telling world. Such a stingy association will inevitably be blamed for the protracted use of the final scene of the legendary tragic p'єsi.
Drama O.S. Pushkin "Mozart and Salieri": short analysis, zmist tragedy
Retelling Pushkin A. S. "Mozart and Salieri"
Visnovok
Compiling requisitions for the funeral service for the dead, Wolfgang Amadeus repents of the tragic frequency and subordination of the divine share. The total completion of the poetic work is accompanied by Antonio's falling tears - the tears of the wicked binding of that will.
