The tragedy “Mozart and Salieri” is among the chamber cycle of dramatic works by A. Pushkin, which the author himself called “Little Tragedies”. Written in 1830, they raised philosophical and moral problems that were important for the poet and his close associates: a challenge to fate, the opposition of feelings of love to the hypocritical morality of society in The Stone Guest; the destructive power of money in The Mean Knight; the human and divine nature of genius, his responsibility for his works and works in “Mozart and Salieri”; reluctance to curse before circumstances, a 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, is a philosophically deeply saturated work. The author considers in it such important questions for every truly talented artist as how a genius can do evil and after that he will remain a genius. What should art bring to people? Can a genius in art allow himself to be an ordinary, imperfect person in everyday life, and many others. Therefore, no matter how many times Mozart and Salieri re-read in the original, a brief summary of this dramatic work, for a thoughtful reader, there is always something to ponder.
The tragedy is based on rumors that the composer Antonio Salieri out of envy poisoned the brilliant Mozart. 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 focuses his and our attention on something else: why does Salieri decide to interrupt the life of his brilliant friend? Is it envy or something else? Is it possible to correlate genius and artisan? From the first reading of Mozart and Salieri, the summary of the tragedy, of course, does not give an answer. You need to think about Pushkin!
So, Salieri. We get to know him at the very beginning of the work. Already in years, caressed by fame, he recalls his first steps in music. In his youth, feeling talent in himself, he nevertheless does not dare to believe in himself, carefully studies the works of great musicians and imitates them, comprehends “harmony with algebra”, not creating inspirationally music, according to the flight of his soul and imagination, as he did it’s a genius, but “tearing it apart like a corpse” into its components, counting the notes and their variations in every chord and sound. And only by carefully studying the theory, the mechanisms of creating music, its rules, Salieri himself begins to compose, burning a lot, 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, for the hero knows: his contemporaries achieved fame in the musical field also thanks to hard, painstaking work. In this they are equal.
Another thing Mozart, "idle reveler." He composes brilliant things easily, joking and, as if laughing at the philosophy of creativity that Salieri has been creating and creating for himself for so long. Salierivian asceticism, the strictest self-discipline and fear of moving away from recognized canons in art, are alien to the young genius. Mozart does as he breathes: naturally, according to the nature of his talent. Perhaps this is the most indignant Salieri.
"Mozart and Salieri," a brief summary of it, boils down, in essence, to Salieri's internal dispute with himself. The hero solves the dilemma: does art need Mozart? Is it time now to perceive and understand his music? Is he too brilliant for his era? No wonder Antonio compares Mozart with an angel, a bright cherub, who, having flown to the ground, will serve people as a rebuke to their imperfections. Mozart, setting his work a certain aesthetic and ethical bar, on the one hand, raises the art and souls of people to new heights, on the other - shows what the current composers and their creations are worth. But are proud mediocrities ready, or are people simply not too talented to recognize the palm of someone for primacy? Unfortunately no! Pushkin himself found himself in a similar situation more than once, far ahead of his time. Therefore, even a brief summary of “Mozart and Salieri” helps to understand what the poet lived, what worried him during the creation of the tragedy.
Mozart comes to Salieri. He wants to show his friend a new “thing”, which he composed recently, and at the same time “treat” him with a joke: as he passed a tavern, Wolfgang heard a beggarly violinist play his melody, mercilessly fake. Such a performance seemed genius amusing, and he decided to cheer Salieri. However, he does not accept the joke and drives the performer away, scolding Mozart, reproaching that he does not value his talent and is not worthy of himself at all. Mozart performs a melody composed recently. And Salieri is in even greater bewilderment: how can you, having composed such a wonderful melody, pay attention to the fake passages of the homegrown violinist, find them funny and not offensive. Does he not 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 realize his divinity. At the end of the stage, the friends agree to have lunch together, and Mozart leaves.
When reading the Mozart and Salieri tragedy, the analysis of the next scene comes down to how, with what arguments, Salieri convinces himself of the need to interrupt the life of a genius comrade. He believes that without Mozart, art will only win, that composers will be able to write music by virtue of their modest talents and without regard to the great contemporary. That is, having killed Wolfgang, Salieri will render an invaluable service to art. For this, Antonio decides to use the poison received as a gift from his former lover.
The last scene is in the tavern. Mozart tells a friend about some strange visitor, a black man who has been haunting him lately. Then it comes to Beaumarchais, the same as Mozart, a brilliant man, a playwright with a bright, sparkling talent and complete freedom in creativity. There was a rumor that Beaumarchais had poisoned someone, but Mozart did not believe it. According to him, villainy and genius will not be able to 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 of them, brothers in the world - Salieri, Beaumarchais and him, Mozart. Those. Wolfgang considers Antonio his like-minded person. And Salieri throws poison into his glass of wine, Mozart drinks, sincerely believing that his heart is as sincere and big as his.
When Mozart plays “Requiem”, not even knowing that, in fact, this is a memorial mass for him, Salieri cries. But these are not tears of remorse and pain for a friend - this is the joy that the duty has been fulfilled.
Mozart is bad, he leaves. And Salieri reflects: if Mozart is right, then he is not a genius, because he committed villainy. But the famous Michelangelo, too, is said to have killed his model. However, the court of time recognized its genius. So he, Salieri, is still a genius? And what if all the fabrications of a stupid crowd about Buanarotti, if the sculptor did not kill anyone? Then Salieri is not a genius?
The finale of the tragedy is open, behind it, as is often the case with Pushkin, is the "abyss of space", and everyone must decide for himself, whose point of view, Salieri or Mozart, to recognize for the truth.