Dramatic works of Pushkin: "Mozart and Salieri", a summary

The tragedy "Mozart and Salieri" is included in the number of the chamber cycle of the dramatic works of Alexander Pushkin, which the author himself called "Little Tragedies." Written in 1830, they raised philosophical and moral problems that were important to the poet and his inner circle: the challenge to fate, the opposition of the feelings of love of the sanctimonious morality of society in the "Stone Guest"; Destroying the power of money in the "Mean Knight"; The human and divine nature of genius, his responsibility for his deeds and works in Mozart and Salieri; Unwillingness to die before circumstances, protest against fatalism in life in "Feast during the plague."

Mozart and Salieri

The tragedy "Mozart and Salieri", the brief content of which can be reduced to a small retelling - a philosophically deeply saturated work. The author considers in him such important questions for every truly talented artist as whether a genius can do evil and whether he will remain after that a genius. What should art bring to people? Can a genius in art afford to be an ordinary, imperfect person in everyday life, and many others. Therefore, no matter how many times Mozart and Salieri are re-read in the original, the short content of this dramatic work, there is always for the thoughtful reader to ponder on.

The tragedy is based on rumors that the composer Antonio Salieri out of envy poisoned Mozart's genius. There is no direct evidence, of course, of this crime. But this is not important to Pushkin. Taking such a controversial detective story, the poet sharpens his and our attention on another: why does Salieri decide to interrupt the life of his brilliant friend? Envy this or something else? Is it possible to relate a genius and an artisan? From the first reading "Mozart and Salieri", the summary of the tragedy of the answer, of course, does not give. In Pushkin need to think!

So, Salieri. We get acquainted with him at the very beginning of the work. Already in years, glorified by fame, he remembers his first steps in music. In his youth, feeling in himself a talent, he nevertheless does not dare to believe in himself, carefully studies the work of great musicians and imitates them, comprehends "harmony with algebra", not creating inspirational music, according to the flight of his soul and imagination, as he did Would be a genius, and "separating it like a corpse," into components, counting notes and their variations in each chord and sound. And only after carefully studying the theory, the mechanisms of creating music, its rules, Salieri himself begins to compose, much burning, something, after picky criticism, leaving. Gradually, he becomes known, recognized. But the composer "suffered" his fame: writing for him is hard work. He himself understands that not the Master is an apprentice in the Great Art. But he has no envy for those who are more famous and talented, because the hero knows: his contemporaries have achieved fame in the musical field, too, thanks to hard, painstaking work. In this they are equal.

Another thing Mozart, "idler idle." He composes ingenious things easily, joking and, as if laughing at the philosophy of creativity that so long nurtured and created for himself by Salieri. The young genius is alien to Salieri asceticism, strict self-discipline and a fear to depart from the recognized canons in art. Mozart creates, as breathes: naturally, according to the nature of his talent. Perhaps this is the most angry Salieri.

"Mozart and Salieri," a summary of it, boil down, in fact, to Salieri's inner dispute with himself. The hero decides the dilemma: Do Mozart need art? Is time now ready to perceive and understand his music? Is not that a genius for his time? It's not for nothing that Antonio compares Mozart to an angel, a bright cherub who, after flying to the ground, will serve to people as a reproach in their imperfections. Mozart, having set with his work a certain aesthetic and ethical level, on the one hand, raises the art and souls of people to new heights, on the other - shows what are the current composers and their creations. But are the self-mediocre mediocrities ready or are just people not too talented to recognize someone as the palm tree? Unfortunately no! Pushkin himself found himself in a similar situation more than once, much ahead of his time. Because even a brief summary of Mozart and Salieri helps to understand what the poet lived, what worried him during the creation of the tragedy.

Salieri comes to Mozart. He wants to show his friend a new "thing" that he composed recently, and at the same time "treat" him with a joke: passing by the tavern, Wolfgang heard a penniless violinist playing his melody, mercilessly faking it. Such a performance seemed genius funny, and he decided to cheer Salieri. However, that joke does not accept and drives the performer, scolds Mozart, reproaching that he does not appreciate his talent and is generally unworthy of himself. Mozart performs a melody composed recently. And Salieri is even more puzzled: how can you, after composing such a wonderful melody, pay attention to the false passages of a home-grown violinist, find them funny, and not offensive. Does not he value himself, his genius? And again the theme of the sublime nature of true art arises: Salieri compares a friend with God, who does not know about his divinity. At the end of the stage, the friends agree to have lunch together, and Mozart leaves.

When reading the tragedy "Mozart and Salieri", the analysis of the next scene boils down to how, by what arguments Salieri convinces himself of the need to cut short the life of a brilliant comrade. He believes that without Mozart art will only benefit that composers will have the opportunity to write music by virtue of their modest talents and without regard for the great contemporary. Ie, by ruining Wolfgang, Salieri will render an invaluable service to art. To this end, Antonio decides to use the poison received as a gift from a former lover.

The last scene is in the tavern. Mozart tells a friend about some strange visitor, the black man who has been following him recently. Then it comes to Beaumarchais, the same as Mozart, a brilliant man, a dramatist with a bright, sparkling talent and complete freedom in his work. There was a rumor that Beaumarchais had poisoned someone, but Mozart does not believe in it. According to him, villainy and genius can not coexist in one person. Genius can only be the embodiment of Good and Light, Joy, and therefore can not carry Evil into the world. He offers to drink three for them, brothers in the Light - Salieri, Beaumarchais and his, Mozart. Those. Wolfgang considers Antonio his adherent. And Salieri throws him a glass of wine with wine, Mozart drinks, sincerely believing that next to him the heart is as sincere and great as his.

When Mozart plays "Requiem", not even knowing that, in fact, this is a memorial mass for him himself, Salieri cries. But these are not tears of repentance and pain for a friend - it's a joy that the debt is fulfilled.

Mozart is bad, he is leaving. And Salieri reflects: if Mozart is right, then he is not a genius, because he committed a crime. But the famous Michelangelo, too, is said to have killed his model. However, the court of time recognized his genius. So he, Salieri, is still a genius? And if about Buanarotti all the fictions of a stupid crowd, if the sculptor did not kill anyone? Then Salieri - not a genius?

The ending of the tragedy is open, after him, as is often the case with Pushkin, "the abyss of space", and everyone must decide for himself, whose point of view, Salieri or Mozart, to recognize for the truth.