Bourgeois drama - this is how F. Schiller's five-act play, written at the end of the 18th century, “Cunning and Love,” is characterized. A summary will be discussed below.
Act one
Morning in the house of musician Miller. He and his wife discuss their daughter’s infatuation with a noble young man and see nothing good that could come out of this feeling. Miller, with the common sense of the burghers, believes that his lovely and beloved daughter will only be disgraced.
This is how the play “Cunning and Love” begins, a brief summary of which we have begun to present. The wife objects and dreams that if they unite, it will be a happy marriage. Louise's father does not see the possibility of such an alliance. A middle-aged gentleman, Voors, comes to them, who has long asked for the hand of a young beauty. His father frankly doesn’t like him, and Herr Miller reports that he does not intend to force his daughter into marriage. It should be her free choice.
Voors is both internally (this will be shown by further developments) an “inky soul,” as Miller characterizes him, and externally scary: he has ugly red hair, mouse-like eyes darting around furtively, and his jawline bulges out ugly. meets when the impatient Ferdinand arrives for a visit in the morning.
From their dialogue it is clear that they love tenderly and purely, but Louise sees an obstacle to their union in the form of Ferdinand’s father, who occupies a very high position, while the young man himself is ready to move mountains and overcome everything that could separate him from Louise. He's leaving for home. Voors, Ferdinand's father's secretary, told his father about his son's tender feelings. The President mocked this and is ready to accept a bastard if his son frolics with a girl, but marriage is a completely different matter.
An unpleasant conversation takes place, during which the father announces that he has found a bride for his son. This has already been announced to the whole city, and the matter is decided. Ferdinand can only make a formal proposal. Who is this? This is the Duke's mistress - Lady Milford. He doesn’t want a mistress, here in front of him is another impeccable beautiful bride - Countess von Ostheim. So choose, obstinate son. There are no other options and there never will be.
Class prejudices stand between lovers in the play “Cunning and Love.” The summary of the first act immediately shows them to us. Ferdinand is going to go to my lady and tell her everything he thinks.
Act two
Lady Milford, young, beautiful, showered with benefits and gifts from the Duke, suffers greatly.
She, a duchess by birth, at the age of 14 fled with her nanny from England, where her father was executed. A rich and noble child was about to commit suicide. At that moment the Duke noticed her and took her to his place. Now Lady Milford has everything except love and self-respect. She has long loved Major Ferdinand, who enters her house and, having learned about her previous life, repents, stops insulting, but reports that he loves and is loved. This is a continuation of the dramatic story “Cunning and Love”. The summary now takes us to the house of the musician Miller.
Ferdinand's father bursts in there along with the police. He threatens to throw Miller himself in prison, and chain the mother and daughter to the pillory: that’s the place for a corrupt girl. This is how Schiller develops the action more and more intensely. “Cunning and Love,” the summary of the play that we present, puts father and son on opposite sides.
While in Miller's house, he threatened his father that he would tell everyone thanks to what shady dealings he got the position of president. Ferdinand leaves, the father, forgetting about the Millers, rushes after his son. But this is not the end, but only the middle of the play that Schiller created, “Cunning and Love.” The summary and action in the work itself is rapidly developing.
Act three
Ferdinand invites Louise to run away with him. The girl refuses, and the major reproaches her for not loving him enough. At this point they part. Ferdinand's father imprisons Louise's father and sends her mother to a workhouse. Only the girl can save them by writing a love note, from which it is clear that she does not love the major.
She agrees to everything in order to save her parents, and under Voors’ dictation she writes to her fake lover, Marshal von Kalb. Cunning dominates love, as Friedrich Schiller shows (Cunning and Love). The summary of the play we are considering shows us the nobility of some natures and the vileness of others.
Act four
Ferdinand was given a love note from Louise, and first he wants to kill the cowardly von Kalb in a duel. Meanwhile, Lady Milford invited Louise to her house. She insults the girl, expressing her desire to make her her maid. Louise nobly and restrainedly refuses and with bitter dignity explains to my lady that if the marriage takes place between her and the major, she will take her own life. With these words, Louise leaves the shocked Lady Milford.
Love is one of the main driving forces of the tragedy that Schiller created. “Cunning and Love,” the content of the play with which we continue to read, suggests that by giving away a beloved, true love rises above pride for the sake of the happiness of a dear person. After a conversation with Louise, the veil falls from Milady’s eyes, and she, having distributed her property, leaves for England to wash away the shame of being associated with the Duke in poverty.
Act five
Louise is driven to despair and wants to commit suicide. Ferdinand appears, tormented by jealousy.
He presents Louise with the ill-fated letter. She does not deny that it was written by her. Ferdinand pours lemonade into glasses, hesitates, adds poison, drinks it and gives it to Louise to drink. Now they are both doomed: Ferdinand does not hide from Louise that they will both die.
The girl admits that she wrote the letter under dictation, and everything in it is a lie. Ferdinand's father, his constant adviser Voors, arrives, and both see the work of their hands: the lifeless Louise and the dying Ferdinand, who forgives his father before his death. The play “Cunning and Love” ends with two deaths, a summary of the chapters of which we reviewed.
Brief Analysis of the Drama
Using the example of a small duchy, it was shown how much dirt, intrigue, immorality and crime exists in the world. Two noble souls - Ferdinand and Louise, who love each other despite all conventions and want to unite forever, are destroyed. Their pure love ascended to heaven with them. Death is the inevitable companion of love in all Western European literature.
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.
Composition
It was a terrible picture - Germany in the 18th century. The Duchy of Württemburg was ruled by Charles, a pompous ruler who sought to turn his residence into a second Versailles. He presented himself as an enlightened monarch. On his initiative, a ducal school was created, which young Friedrich “had the honor” to attend. The educational system was aimed at educating dependent people who were deprived of their own thoughts. The school was nicknamed a “slave plantation.” And, in order not to drown out the wonderful impulses of the soul, the young man began to seek solace in literature. Lessing, Klinger, Wieland, Burger, Goethe, Schubert - these are the names thanks to which a new genius of German literature was born.
The colorless world of a remote province, intrigue and crime, the treachery and immorality of the ducal court, the terrible poverty of the people - this is the setting in which the tragic love story of two noble hearts - Louise and Ferdinand - unfolds. Ferdinand's father dreams of strengthening his position by marrying his son to the prince's favorite, Lady Milord. A dirty tangle of intrigue is woven around the pure feeling of love.
Love is the force that rules the world. How do you understand what love is? Or what does it mean to love a person? (Students' answers). The concept of true, holy love is what the Bible speaks about (the first letter of the Apostle Paul to the Romans is read: “... The greatest of virtues is love. Love endures for a long time, is merciful, does not envy, does not pout, does not behave discourteously, does not seek its own , does not rush to anger, does not think bad, does not rejoice from untruth, endures everything, believes in everything. Love never fails to overshadow the magnitude of sins and never suffers defeat...”).
Love always strives to see the one it loves happy. Especially when it comes to a parent’s heart. Let us remember Miller’s remark: “a woman’s soul is very subtle even for a bandmaster.” Doesn't this sound paradoxical about Lady Milord? Today, everyone expresses their point of view, divides heroes into positive and negative. Among the negative ones is Lady Milord. And since Bona is condemned, I want to come to her defense. Louise has parents, she has always had a family, and the lady became an orphan when she was thirteen. The father was executed, and the little princess had to escape from England. Bona was left with nothing. Six years of wandering around Germany... Out of despair she wanted to throw herself into the waves of the Elbe - the prince stopped her.
Is it her fault that she is accustomed to a rich life, which, like a valuable stone, strives for a worthy setting? Dignity and fate fought within her. The proud British woman resigned herself to fate. In moments of passion, the prince, in order to please her, signed amnesty decrees, stopped sacrifices, and abolished death sentences.
Fate suddenly gave her a chance - to have the one her heart desired. And although the mind repeated: “Stop!”, the heart did not listen. The conversation with Louise was torment for her, but the decision was clear: to rise above the dirt of the existing world. Lady Milord's life is not an example of nobility, but at the last moment it deserves respect. The heroes of the drama are models for perceiving the world and, in fact, for constructing behavior. The author calls his drama “a bold satire and mockery of the breed of jesters and scoundrels from the nobility.” The work presents two social groups - two worlds that are separated by an abyss. Some live in luxury, oppress others, they are cruel and soulless. Others are poor, but honest and noble. It was to such poor people that Ferdinand, the son of the president, a nobleman, came. And he didn’t come because he fell in love with Louise. He understood the baseness of the moral principles of his class - in the Miller family he found moral satisfaction and spirituality, which were not in his environment. Wurm, President von Walter, the prince, his favorite - this is the aristocratic web in whose network lovers are caught. The son challenges his father and the entire soulless world - “the bill, the sons’ obligation, is torn.”
As a result of the intrigue, Louise and Ferdinand die, and Lady Milord breaks with her class. And the greatness of the play lies in its realistic depiction of life’s conflicts. We see before us the injustice that was happening in front of everyone, which we were afraid to talk about, and which appeared before the reader in vivid and convincing images. The problems that the playwright raises in his work are eternal problems that remain relevant for all times.
“I have found a world where I feel happy - this is a world of beauty,” Schiller once said. Love, beauty and harmony will forever reign in the Universe.
I.K. Schiller (1759-1805) entered literature at the end of the Sturm und Drang movement as its successor, who accepted and rejected much of what had accumulated in the 1770s. his work expressed the protest of progressive burgher youth against spiritual oppression and political tyranny.
The culmination of Schiller's early work is his third play, the "philistine tragedy" "Cunning and Love" (1783, first "Louise Miller")
Schiller again turned to modern issues, but now he avoided the conventions of depiction in The Robbers. The characters and episodes of the “philistine tragedy” are correlated with real facts and prototypes, which are presented not in portraits, but in a generalized form.
The political problem of despotism, the omnipotence of favorites, and the lack of rights of the burgher is intertwined with moral and social problems. We are talking about class barriers in society. Schiller's Rousseauian pathos is clear here. The love of the nobleman Ferdinand von Walter, the president's son, for the daughter of the simple musician Miller is not only unthinkable in terms of class, but also threatens the president's personal plans for his son's marriage to the Duke's mistress Lady Milford. The instrument of Secretary Wurm's intrigue was the unlimited lawlessness of power. Under the threat of her father's death, Louise writes, under Wurm's dictation, a love letter to the vulgar man, which is planted on Ferdinand to prove to him his beloved's infidelity. But the outcome of the intrigue is different than what the president thought - Ferdinand cannot survive the collapse of his faith in Louise’s purity, he chooses death both for her and for himself.
The action develops intensely; the artist's maturity is felt in the play. Schiller's mastery. Only one episode has its own significance - this is the valet's story about sending recruits to America: their lives were paid for Lady Milford's jewelry. This scene carries a double ideological load: the massacre of the brave protesters is impressively described. The emphasis of this story is given by the fact that German recruits are sent to the English troops to fight against the rebel colonies.
The development of characters also speaks of a more complex reflection of reality. The black and white colors of “Robbers” are replaced by a varied range. Old man Miller is portrayed especially truthfully: at the moment of insulting his daughter, a sense of his own dignity awakens in this humiliated musician - he sends the president out, although he speaks in respectful formulas. The concept of honor for Miller and Louise is full of moral thought, supported. Religious feeling. It is this consciousness that prevents Louise from breaking her oath of silence and justifying herself to Ferdinand.
The image of Lady Milford is also complex. Schiller ennobled the traditional figure of the “fallen woman” in bourgeois drama with the tragic circumstances of her youth and the idea of “a beneficial influence on the Duke,” in whom she believes until the valet reveals the truth to her. The image is dynamic and develops throughout the entire plot.
The success of "Cunning and Love" could compete with "Robbers". And this drama has firmly entered the theatrical repertoire. “The Robbers”, “The Fiesco Conspiracy” and “Cunning and Love”, despite all their differences, form an ideological and artistic unity. It was these three early plays that cemented Schiller's reputation as an ardent champion of freedom.
Home > ProgramS. 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 in Mannheim for the performance of “The Robbers.”
Provincial life and morals, intrigue and crime, luxury
and the debauchery of the ducal court and the appalling poverty of the people - this is the setting in which the tragic story of the sublime love of two noble creatures - Ferdinand and Louise - unfolds.
"Cunning and Love" is one of Schiller's early plays, one of the most important features of which was Shakespeare's mixing of the tragic with the comic. The author himself admits this in a letter dated March 27, 1783: “My “Louise Miller” has many inherent qualities that are not very suitable. For example, a gothic mixture of comic
and tragic, overly frank images... All-powerful tyrants and a variety of details...".
Although Schiller himself condemns this “mixture of the comic and the tragic,” in this case he simply adapted to the poetics of classicism, which is characteristic of the literature of that time.
German literature of the Enlightenment developed under extremely complex and difficult conditions. Germany, even in the 18th century, continued to remain a feudal country, economically and politically backward, fragmented. Only from the middle of the century, and more intensively from the 1770s, in connection with the economic and social upsurge and active political and cultural influence from the outside, coming, in particular, from France and England, did conditions arise for the “accelerated” development of literature. In the works of outstanding writers and thinkers - Winckelmann and Lessing, Herder, Goethe and Schiller, as well as their associates - the art and aesthetic theory of the Enlightenment flourished.
The great figures of the German Enlightenment were heralds of progressive ideas who raised pressing questions in their works
of their time, who advocated for the national unification of the country
and social renewal.
The strengthening of bourgeois relations causes a crisis in educational ideology, tangible signs of which have been visible since the beginning of the 1770s. Sentimentalism is established in the literary arena as a reaction to the abstractness and rationality of classicism and as an expression of keen interest in the needs and aspirations of the “third estate”, sympathy for ordinary people - not only for “servants”, but also for the oppressed in general.
The tendencies of sentimentalism permeated the literature of the Sturm and Drang movement, which flourished in the 1770s and early 1780s. Inheriting the best traditions of Lessing and the sentimental poetry of Klopstock, the writers of the Sturm und Drang movement were the most characteristic exponents of the opposition that corresponded to both the state and certain forms of development of the German ideology of their era.
German classical philosophy of these years had a huge impact on the development of literature. Idealist at its core, philosophy developed in extremely complex ways.
And yet, Sturmerism, like European sentimentalism, was not a unified movement both in socio-political and theoretical principles, and in creative attitudes. Herder, Goethe, Schiller and their comrades truly expressed the “spirit of protest.” Their criticism is related
with the further development of realism in German literature, and the ideal of a strong man, an integral personality, the richness of her spiritual world are determined by the desire to express the principles of freedom.
Later, during his period of classicism, Schiller abandoned humor in his plays, which can be regarded as a departure from the poetics of Shakespeare's tragedies, which did not benefit German drama as a whole. But he sharply strengthened the poetic component of his dramaturgy, switching to poetry (“Mary Stuart”, “The Maid of Orleans”, etc.). It should be noted that even during the period of Sturm and Drang, Schiller the playwright did not lose touch with poetry (for example, in The Robbers). This connection is all the more obvious since the writer creates lyrics simultaneously with plays.
But the main thing in this regard is the poetry of the dramatic prose itself in all three of Schiller’s youthful sentimental-romantic prose plays: “The Robbers” (1780), “The Fiesco Conspiracy in Genoa” (1783) and “Cunning and Love” (1784). This poetry is palpable in the colorful rhetoric, in the theatrical pathos of the monologues of Franz and Karl Morov, Ferdinand, Louise. But these characters are not the only ones who speak in poetic prose. The robbers from Mora's gang also fall into melodic declamation; Ferdinand’s father also knows how to speak beautifully when, for example, in a fit of irritation he scolds his son: “But what is this - gratitude?.. For my tireless worries? For eternal remorse?..” (act 1, scene 7).
The mixture of comic and tragic intonations, turning into melodrama, constitutes in the style of the play only one of the most important episodes of genre poetics. Thus, in “Cunning and Love,” Secretary Wurm and Marshal von Kalb are satirically depicted. The very anthroponymy of these characters is funny and derogatory. How differently they are depicted. Wurm is a cunning, dexterous intriguer, a scoundrel, groveling before his master, but ready to betray him in a moment of danger. Kalb - “calf” with the noble prefix “von” - is an empty nonentity, an idiot and a snob, groveling before his superiors.
“Cunning and Love” is distinguished by the depth of revelation of the psychology of the heroes, complicated detail, and the revelation of the dialectic of relations between the personal and the public. And yet, the power of the tragedy lay not so much in showing the trifles of real life, but in realistically emphasizing “typical circumstances” - the crimes of some and the tragic deaths of others. This entire complex conflict, which Schiller resolves in his tragedy, is essentially subordinated to clarifying the most important question about the rights of the people, about the fate of ordinary people, still downtrodden and powerless.
Schiller's work with the drama “Cunning and Love” fits worthily into the final stage of the development of the literature of the European Enlightenment.
Literature
1. Abusch A. Schiller: The greatness and tragedy of the German genius. M., 1964.
2. History of German literature. M., 1982. T. 1-2.
3. Libenzon Z. E. Friedrich Schiller. M., 1990. 175 p.
4. Neustroev V.P. German literature of the era. M., 1998.
5. Schiller F. Collected works: in 7 volumes. T. 7. M., 1957.
S. V. Shalyshkin
ifksirby@ ya. ru
Problems of monitoring the quality of education
in a modern school
The article provides a brief description of the problems associated with monitoring the quality of education in a modern school, and analyzes approaches to solving them.
At the present stage of development of school education, the issue of ensuring its quality is of no small importance. One of the tools for this is monitoring the quality of education that is adequate to the realities of today. Monitoring is one of the most important means through which
The information space itself is changing, as the efficiency, objectivity and accessibility of information increases. Therefore, the purpose of monitoring is to promptly and timely identify all changes occurring in the field of education. The quality of education is a balanced compliance of education (as a result, as a process, as an educational system) with diverse needs, goals, requirements, norms (standards). Timely and objective monitoring of the quality of education
at school today is difficult due to a fairly large number of problems that can be classified as follows: personnel; methodological. The following problems can be classified as personnel problems: lack of training of teaching staff for activities in the field of monitoring the quality of education in schools, which is primarily due to
with an outdated specialist training program; incorrect work of the management team, which is associated, first of all, with the lack of a modern education quality management system at the school. The role of psychological factors, general and special training of the teacher, and his personal qualities (principle, sense of responsibility) are also important. All this one way or another affects the result of testing and assessing knowledge. The personal qualities of a teacher are certainly manifested both in the nature of teaching and in the process of testing and assessing knowledge. The class of methodological problems includes the following: the need for tools for conducting monitoring studies - high-quality, easy to process, with a high degree of validity, covering all aspects of the learning process, corresponding to state educational standards. The first steps in solving this problem have already been taken: state educational standards are being improved as a socially necessary standard, criteria and indicators of quality at different levels of education are being developed, empirical experience is being accumulated in organizing pedagogical monitoring in educational institutions, etc. Modern pedagogical science and practice are tasked with
the need to transition from traditional methods of collecting information
about the school to pedagogical monitoring, which means targeted, specially organized, continuous monitoring of the functioning and development of the educational process and/or its individual elements in order to make timely and adequate management decisions based on the analysis of the collected information
and pedagogical forecast. One of the most discussed issues in the education system
over the past few years has been the introduction of the Unified State Exam. It has been repeatedly noted that the Unified State Exam imposes new requirements on learning outcomes, aims the educational process at achieving modern goals, makes it possible to objectify them, receive external assessment, ensures equality of approaches in assessing students, comparability of results, etc. Analysis of the results of the Unified State Exam allows for a comparison of the level the level of training of students of different classes in one subject, according to the profile of study, according to the number of hours allocated in the curriculum for studying the subject, according to the teaching materials used in the learning process. Using the results of the Unified State Exam, it is possible to trace the dynamics of changes in the level of students’ learning in a particular subject over a number of years. If information is available, an educational institution can compare its results with indicators for the district, city, region, region, etc. Another parameter for analyzing the quality of training is the correlation of the student’s annual grade in the subject given by the teacher,
with the assessment of independent experts who checked the Unified State Examination. Using USE results to monitor the quality of schoolchildren’s learning may include many other parameters. For example, it is possible to compare students’ choice of subjects to take the Unified State Exam, the number of graduates of general education institutions who entered universities based on Unified State Exam results as a percentage of all applicants, etc. Monitoring students' knowledge is one of the main elements of assessing the quality of education. Teachers monitor students' learning activities on a daily basis through oral classroom surveys and assessment of written work. This informal assessment, which has a purely pedagogical purpose within the framework of the activities of the educational institution, belongs to the natural norms, given that the results of each student should be at least average. In other words, the grade given by the teacher is almost always “ok,” which obviously limits its value. The subjectivity of knowledge assessment is associated, to a certain extent, with the insufficient development of methods for monitoring the knowledge system. When organizing a system of pedagogical monitoring, both objective and subjective difficulties and obstacles may arise. For example, when creating a system, it is necessary to take into account the quality of the methods used, the preparedness of specialists, and the possibility of improving their professional skills. These factors must not be forgotten; moreover, it is necessary to minimize negative impacts and take into account possible problems.
Literature
1. Grushnikova E. V. Monitoring the quality of education as a factor in the success of school development. URL: /component/option,com_mtree/task, viewlink/link_id,5678/Itemid,118/ 2. Petrukhin V.V. The problem of organizing and testing a pedagogical monitoring system in an educational institution. URL: /journal/2007/0115-7.htm. 3. Raspopina L.K. Using the Unified State Examination results to monitor the quality of education. URL: /page.php?article=407. 4. Terms and definitions in the field of quality of education. URL: http://quality. /quality/sk/525.4/
I. A. Shekhmatova
shehmatova @ mail . ru
Psychological study of the relationship
intragroup status of a teenager and his behavior style
in conflict situations
This article reflects a study of the relationship between a teenager’s intragroup status and his behavior in a conflict situation. Based on the data obtained, a program for optimizing the conflict behavior of adolescents was compiled.
The issue of communication is one of the most pressing areas in late adolescence. This is due to the fact that interpersonal contacts for adolescents are extremely significant and at the same time quite selective. Many teenagers do not know how to communicate correctly and have difficulty finding effective communication tools. Therefore, in older adolescence, interpersonal conflicts often arise, which lead to a number of related problems. We conducted an experimental study of the characteristics of conflict behavior of adolescents, the purpose of which was to identify the characteristics of conflict behavior of adolescents in a peer group. The subject of the study was the peculiarities of conflict behavior of high school students in such a group. The theoretical basis of the study was the concepts of the conflict behavior style of K. Thomas and the periodization of age development by D. B. Elkonin.
The experimental study was carried out on the basis of the Balashov Municipal Educational Institution Secondary School Gymnasium named after. Hero of the Soviet Union Yu. A. Garnaev. 9th grade students took part in it (21 people in the first stage and 27 people in the second). Two methods were used: diagnostics of interpersonal and intergroup relations by J. Moreno (“Sociometry”) and determination of tactics of behavior in a conflict situation by K. Thomas.
The results of the first stage of the study, conducted in the 2008/2009 academic year, showed that among the preferred and rejected
in the classroom (both boys and girls), the predominant tactic of behavior in conflict is rivalry. With this strategy, power, the force of law, connections, authority, etc. are actively used.
At the second stage of the study, which took place in the 2009/2010 academic year, the working hypothesis was clarified. An assumption was formed that with the transition from 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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Current problems of science and education
Collection of scientific articles
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1 Vozzhaeva S. F. Adaptation of disabled children to modern conditions // Social security. 2009. No. 5. P. 24-25.