Pushkin Little Tragedies. A.S

A special room in the tavern; piano.

Mozart and Salieri at the table.

Why are you cloudy today?

Are you sure, Mozart, upset about something?
Good dinner, good wine,
And you are silent and frowning.

Confess,
My Requiem worries me.

BUT!
Are you composing Requiem? How long ago?

Long time ago, three weeks. But a strange thing...
Didn't I tell you?

So listen.
Three weeks ago, I came late
Home. They told me that they came
Someone is behind me. Why, I don't know
All night I thought: who would it be?
And what does he have in me? Same day tomorrow
Came in and didn't find me again.
On the third day I played on the floor
With my boy. They called me;
I went out. Man dressed in black
Bowing politely, ordered
Me Requiem and disappeared. I sat down immediately
And he began to write - and from that time after me
My black man didn't come;
And I'm glad: I would be sorry to leave
With my work, though quite ready
Already Requiem. But in the meantime, I...

I'm ashamed to admit it...

Day and night does not give me rest
My black man. Follow me everywhere
Like a shadow he is chasing. Here and now
It seems to me that he is the third with us
Is sitting.

And, full! what kind of fear is childish?
Dispel the empty thought. Beaumarchais
He told me: "Listen, brother Salieri,
How black thoughts come to you
Uncork a bottle of champagne
Or re-read The Marriage of Figaro.

Yes! Beaumarchais was your friend;
You composed "Tarara" for him,
Glorious thing. There is one motive...
I keep saying it when I'm happy...
La la la la ... Oh, is it true, Salieri,
That Beaumarchais poisoned someone?

I don't think he was too funny
For such a craft.

He's a genius
Like you and me. And genius and villainy -
Two things are incompatible. Isn't it true?

You think?
(Throws poison into Mozart's glass.)
Well, drink it.

For your
Health, friend, for a sincere union,
Connecting Mozart and Salieri,
Two sons of harmony.
(Drinking.)

Wait a minute
Wait, wait!.. Have you drunk... without me?

Mozart
(throws napkin on the table)

Enough, I'm full.
(Goes to the piano.)
Listen, Salieri,
My Requiem.
(Plays.)
You cry?

These tears
For the first time I pour: both painful and pleasant,
As if I had done a heavy duty,
As if a healing knife cut me off
Suffered member! Friend Mozart, these tears...
Don't notice them. Go on, hurry up
Still fill my soul with sounds ...

When everyone felt so strong
Harmonies! But no, then I couldn't
And the world to exist; no one would
Take care of the needs of low life;
Everyone would indulge in free art.
There are few of us chosen, lucky idlers,
Neglecting contemptible benefits,
One beautiful priests.
Isn't it true? But now I'm not well
Something is hard for me; I'll go to sleep.
Farewell!

Goodbye.
(One.)

you will fall asleep
For a long time, Mozart! But is he right?
And I'm not a genius? Genius and villainy
Two things are incompatible. Not true:
And Bonarotti? Or is it a fairy tale
Dumb, senseless crowd - and was not
The murderer of the creator of the Vatican?

(Special room in the tavern; piano.)

Mozart and Salieri at the table.

Why are you cloudy today?

Are you, Mozart, upset about something?
Good dinner, good wine,
And you are silent and frowning.

So, from the very beginning of the scene, we see a sad, gloomy Mozart. Probably, the scene should begin with a pause: Mozart sits, thinking, and Salieri carefully watches his expression. They have already had lunch and drunk (“a good dinner, glorious wine”) ... What explains the silence, cloudiness and gloom of Mozart is quite clear from the previous one: he instinctively, with his subtle insight, feels the approach of mortal danger and the urgent need to understand it, bring it to consciousness , but cannot do this because of his gullibility and goodwill towards people.

But why is the gloomy Salieri, as we saw him in the first scene, dissatisfied or disturbed by Mozart's "cloudiness" and reticence? This is also quite understandable. Salieri, who firmly, without hesitation, decided to poison Mozart during dinner, nevertheless tries to preserve the ideological justification of his crime invented by him. He must kill "a madman, an idle reveler", a person who does not understand the value of music, who mocks even his brilliant works, a merry fellow, "unworthy of himself ...". Now, if Mozart were now laughing at the distortion of his aria or joking about his genius (“... my deity is hungry”), then Salieri would immediately throw poison into his glass, with the consciousness of being right, doing his duty ... But Mozart is cloudy, he is silent, frowning ... Now their dinner is over, and Salieri still could not find a psychologically suitable moment to “do his duty” - to kill Mozart ...

And here is the question: “Are you, right, Mozart, upset about something?” - Salieri receives his most unexpected and stunning answer:

Confess,
My Requiem 63 worries me.

BUT!
Are you composing Requiem? How long ago?

Only today he decided to poison Mozart - and he, it turns out, is already composing the Requiem, preparing a memorial service for himself! .. How could this happen? Salieri's utter astonishment, and perhaps even fear, can only be expressed here intonation with which the performer of the role of Salieri will utter these words. At silent reading in the book, the expressiveness and significance of this remark may go unnoticed... How much does the word "A!" tell the reader? What meaning, what feeling does Salieri put into this exclamation? Only with a live, theatrical performance can it sound the way Pushkin wanted it to.

Long time ago, three weeks.

That's how long the "musical soul" of Mozart, who figured out the tragic end of their friendship before Salieri himself, has been languishing with thoughts of imminent death! However, as we shall see later, this premonition of danger began to torment him even earlier.

Mozart continues:

Long time ago, three weeks. But a strange thing...
Didn't I tell you?

So listen
Three weeks ago, I came late
Home. They told me that they came
Someone is behind me. Why, I don't know
All night I thought: who would it be?
And what does he have in me? Same day tomorrow
Came in and didn't find me again.
On the third day I played on the floor
With my boy. They called me;
I went out. Man dressed in black
Bowing politely, ordered
Me Requiem and disappeared. I sat down immediately

And he began to write - and from that time after me
My black man didn't come;
And I'm glad: I would be sorry to leave
With my work, though quite ready
Already Requiem...

"Strange case" - the arrival of the mysterious "black man" to Mozart, as you know, was not invented by Pushkin. Igor Belza's book “Mozart and Salieri”... tells about this: “The mystery of the “black man” who ordered Mozart's “Requiem” has long been clarified. It was Leutgeb, manager of the eminent music lover, Count Franz von Walsegg zu Stuppach, who arranged theatrical performances and concerts on his estate, taking part in them as a cellist, flutist and conductor. But the count wanted at all costs to be known as a composer. To this end, he ordered various musical works (mainly quartets) from the greatest masters of his time, copied them with his own hands and then performed them, passing them off as his own compositions. In the summer of 1791, the count turned to Mozart, sending him a manager, who, as always, concealed both his name and the name of his master, furnished negotiations with the composer with the usual secrecy and invited him to write a funeral mass, and then several quartets. As for this mass, the count needed it in order to honor the memory of his wife, who died in February of the same year, 1791, by performing it.

Mozart's story about the "black man" makes it possible for us, as well as Salieri, who listens attentively to him, to learn something else about the disturbing state of Mozart's soul, anticipating his death. It turns out that this anxiety arose in Mozart’s soul not “three weeks” ago, when he began writing the Requiem, but already earlier ... In fact: having learned that in his absence someone had come to him, he somehow then he became very worried, without understanding why.

Why, I don't know
All night I thought: who would it be?
And what does he have in me? ..

So he already waiting for something, some kind of misfortune ... And when on the third day "a man dressed in black" ordered him a funeral mass, he immediately sat down and began to write. Usually, having accepted some order from the outside, the artist (especially the composer, musician) must for some time get used to this new task for him, enter into its content, become related to it, cause in his soul such a state that would receive the necessary expression in the music he created ... But here none of this was needed:

I sat down immediately
And I began to write...

The right mood, thoughts of death threatening death, apparently haunted Mozart for a long time, and the appearance of the “black man”, his mysterious behavior when ordering the Requiem 66 - all this completely coincided with his state of mind, which is why Mozart was inclined to accept this visitor for a messenger "from the other world" - and was able to immediately begin writing his "Requiem" ...

One can imagine with what feeling (and with what air) Salieri listens to this story! ..

After the words "... even though the Requiem is completely ready," Mozart continues:

But in the meantime, I ... - and falls silent.

I am ashamed to admit this ... - and again is silent.

And then Mozart frankly tells what is happening to him: his fear, the feeling of impending death, somehow subconsciously connected with the presence of Salieri - the reason for his "cloudy", "gloomy" at a friendly dinner...

Day and night does not give me rest
My black man. Follow me everywhere

Like a shadow he is chasing. Here and now
It seems to me that he is the third with us
Is sitting.

The horror with which Mozart pronounces these words, his tone, his expression should shock the viewer, who is already ready to believe in the reality of Mozart's hallucinations: at the table Mozart, Salieri - and between them the symbol of death - a black man!

Mozart almost guessed, almost already translated into the language of words what he internally knew for a long time and transmitted his knowledge in the language of music familiar to him - in the Requiem and in the new brilliant work just shown by Salieri ...

And what is Salieri to hear all this! After all, he understands what Mozart is trying to understand, no longer an “idle reveler”, not a “madman”, but a sensitive, insightful genius, whom his benevolence and gullibility prevent him from exposing the terrible plan of his “friend” ...

Only on stage, with the correct and highly artistic performance of the actors, their intonations, facial expressions, gestures, can the content of this unusually tense scene be brought to full clarity - this inner tormenting work of Mozart, who strongly feels the vital necessity realize the real meaning his intuitive experiences. received such an exact expression in his music, as well as the torment of Salieri, who hears from the lips of Mozart a terrible accusation that he himself did not fully realize!

With the correct performance of Pushkin's tragedy on stage, no "comments" will be needed, without which it is impossible to do when reading it in a book ...

No matter how painful Mozart's confessions are for Salieri himself, he does not show it, overcomes his feelings and tries to divert Mozart from his terrible thoughts. He must amuse Mozart, turn him back into an "idle reveler" - otherwise, as already mentioned, his murder will be unjustified.

And, full! what kind of fear is childish?
Dispel the empty thought. Beaumarchais
He told me: “Listen, brother Salieri,
How black thoughts come to you
Uncork a bottle of champagne
Or re-read The Marriage of Figaro.

He probably immediately pours wine into a glass of Mozart and his own.

It is not difficult to amuse Mozart: this is his usual state. And, apparently, he himself wants to escape from the vague premonitions and suspicions that torment him. He picks up Salieri's words:

Yes! Beaumarchais was your friend;
You composed "Tarara" for him.
Glorious thing. There is one motive...
I keep saying it when I'm happy...
La la la la...

Mozart sings a merry motive from Salieri's opera "Tarar"... But for a long time he does not succeed in discarding his oppressive anxiety, it again seizes him. The name of Beaumarchais evokes new, terrible associations in him, and he involuntarily takes one more step towards clarifying and clarifying his fears...

Oh, is it true, Salieri,
That Beaumarchais poisoned someone?

Mozart speaks of the death of the first and then the second wife of Beaumarchais, who is rumored to have poisoned them. "Beaumarchais publicly defended himself against these accusations..." 67

Mozart is gradually approaching the truth. He is already thinking not just about death, but - about poisoning... And Salieri should listen to all this ... And besides, he perceived the comparison of the poisoner Salieri with the alleged poisoner of Beaumarchais almost as an insult: Beaumarchais, due to his cunning, a number of not very clean money scams, was not respected by his contemporaries ... What could be What do he have in common with Salieri the Proud, who is preparing to poison a genius on principle, defending the fate of music, restoring justice violated by God (“there is no higher truth!”)? He contemptuously rejects as implausible the idea of Beaumarchais the poisoner:

I don't think he was too funny
For such a craft.

Mozart, who is getting closer and closer to understanding the situation, is not satisfied with such an explanation.

(after all, Salieri is not “ridiculous”!) - and he almost directly asks the question: is Salieri capable of such a crime:

He is a genius 68,
Like you and me. And genius and villainy -
Two things are incompatible. Isn't it true?

He needs Salieri to confirm this position and thereby remove from Mozart’s soul the tormenting “shameful” suspicion of his friend’s impending villainy ... I repeat once again that Mozart, with his ingenious observation, impressionability and iron logic of the mind, has long understood Salieri even expressed it in his usual language - music. But now this is not enough! In order to be saved from death, it is necessary to translate this musically expressed knowledge into the ordinary human language of words, concepts. He makes his way instinctively to such an understanding, struggling with his own gullibility, goodwill towards people, and the absence of cautious suspicion. Now he has almost brought his vague feelings to consciousness - and wants Salieri himself to refute his suspicions, agreeing that “genius (as he considers Salieri, as well as Beaumarchais and himself) and villainy - // Two things incompatible 69 . Isn't it true?" he asks and waits for an answer. For Salieri, this question and this thought of Mozart expressed with all persuasiveness is the last blow, which he can no longer endure. He is no longer able to wait for the cheerful mood of an “idle reveler” he needs to complete his “duty” ...

You think? 70
(Throws poison into Mozart's glass.)
Well, drink it.

After this culmination point, the dialogue, which was extremely tense on both sides, Mozart, as if “coming to his senses”, discards his subconscious suspicions, as if ashamed of them, and returns to his usual, friendly, bright mood. He never managed to bring to consciousness what he had long understood with his musical soul! ..

For your
Health, friend, for a sincere union,
Connecting Mozart and Salieri,
Two sons of harmony.

The strongest impression on the audience should be made by this picture: Mozart holds a glass of deadly drink in his hand - and at this time he utters a touching toast to the health of his killer. One or two seconds - and everything will be over for him ...

And here, for the first time, Salieri is horrified by what he has done and tries to stop Mozart:

Wait a minute
Stop, stop!..

But it's' too late. With despair and horror he exclaims:

Did you drink!..

Mozart, apparently, looks at Salieri with surprise, not understanding what caused this outbreak. And Salieri, coming to his senses, comes up with an explanation - and finishes:

Without me?

And he pours wine into an empty glass of Mozart.

Mozart (throws a napkin on the table).

Enough, I'm full.
(Goes to the piano.)
Listen, Salieri,
My Requiem.
(Plays.)

The terrible tension that accompanies the dialogue between Mozart and Salieri, painful for both sides - Mozart, struggling to understand the terrible truth, and Salieri, for whom every question of Mozart, each of his confessions was a strong blow - this tension has passed, ended. The murder has already been committed ... The speeches of the actors have ceased, their excited movements, too. And in silence and stillness, the amazing music of Mozart's "Requiem" begins to sound from the stage, before our eyes, the funeral of himself.

Rimsky-Korsakov introduced into his opera only the beginning of Mozart's Requiem, the first fourteen bars: a short introduction and the first phrase of the chorus "Requiem aeternam dona eis, Domine". This is absolutely correct: it is precisely this kind of music, the very beginning of the Requiem, with its extraordinary expressiveness, that should sound in this passage of Pushkin's tragedy. Rimsky-Korsakov also introduces here one obvious convention: although Mozart plays Pushkin's Requiem on the piano, Korsakov's music sounds in the orchestra and with the choir (offstage) - the way it was conceived by Mozart ... This is quite acceptable Conventionality can also be implemented in the performance of Pushkin's play... Or maybe Mozart himself sings the parts of the choir... However, this is all up to the director of this performance. We only need to clearly imagine what the beginning of the "Requiem" is, which is played before us by the already poisoned Mozart and listened to by his murderer - Salieri.

There is no sharp emotion in the music, no expression of despair, no torment at the thought of death. This is almost calm, but, moreover, deeply mournful music. It begins with slow and quiet beats in the accompaniment - as if some slow, important steps or quiet, restrained sighs ... Against the background of them, a slow, sad melody begins to sound, first in one instrument, then it is repeated from a higher note by another instrument , then enters in conjunction with it even higher third - and after a general rise, the melody again descends. Here the nature of the music changes dramatically: instead of a quiet, smooth sound, there are three loud beats, as if bursts of sorrowful feeling. Here the choir begins to sing to the accompaniment of the plaintive exclamations of the orchestra (or piano). The basses begin - "Reguiem aeternam". They continue on, joined by tenors repeating the same melody, but on a different, higher note. They are followed by an even higher alto note, with the same melody and the same words. Three voices are already singing. Finally, the fourth, highest voice, the soprano, comes in, and the whole choir sings a wonderful melody to the words of the prayer: “Give them eternal rest, Lord ...”

It is hard to imagine that the audience, having experienced all the tension of this scene and listening after it to the majestic sounds of Mozart's Requiem, could refrain from tears ... And Salieri can not stand it ...

You cry? asks Mozart, interrupting his music.

Here it would be natural to assume that Salieri's tears are tears of repentance, he is suffering from a crime he has committed, he feels sorry for Mozart sentenced to death ... So, probably, some other playwright would have built this place. But Pushkin was a realist, a cruel realist. He penetrates to the very depths of the psyche of his heroes and shows what is contained in them - sometimes the most unexpected.

Salieri's tears are almost a purely physiological resolution of the difficult condition in which he was before. How long had he suffered from a “deep, painful” envy and hatred for Mozart, which he had to hide, how incredibly difficult it was to carry out his decision to poison Mozart, what psychological agony he experienced during their last conversation! But that's all over. Mozart was poisoned, the torments of doubt that tormented Salieri ceased, as well as envy (is it possible to envy the "dead"?), "mental muscles", tense for so long, weakened. And at this time, Mozart's new brilliant music begins to sound, "fill his soul" ...

Salieri speaks frankly about this to everyone, answering Mozart’s question: “Are you crying?”

These tears
For the first time I pour: both painful and pleasant,
As if I had done a heavy duty...

Here he recalls the ideological justification he invented for his criminal envy... He continues:

As if a healing knife cut me off
Suffering Member!

Very accurate comparison! The murder of Mozart, like a surgeon's healing knife, after causing a brief pain, frees the patient from long-term suffering.

Friend Mozart, these tears...
Don't notice them. Go on, hurry up
Still fill my soul with sounds ...

“Friend Mozart” - this is said quite sincerely: after all, he no longer envy him! He knows that Mozart has only a matter of time left to live, and with his cruel egoism, he is afraid only that he will not have time to enjoy the new music of Mozart: «... hurry up still fill my soul with sounds.

Mozart, as usual, does not notice all this. He was struck by Salieri's tears, he understands them in a completely different way, as "aesthetic" tears, sometimes involuntarily appearing in people who are able to strongly perceive art - music, poetry ... He admires such sensitivity of Salieri, an experienced musician, a major composer - so deeply and strongly reacting to other people's music.

When everyone felt so strong
Harmonies! he says admiringly.

But no, then I couldn't
And the world to exist; no one would
Take care of the needs of low life;
All would indulge in free art,
There are few of us chosen, lucky idlers,
Neglecting contemptible benefits,
One beautiful priests.
Isn't it true?

Where is the "madman, idle reveler" here, a person who does not know how to appreciate art, who is able to profane it, to mock it? Everything he says expresses the deepest, cherished thoughts of Salieri himself: the creator of music is a priest (servant and admirer) of the beautiful, unlike ordinary people, the “chosen one”, who finds happiness only in art, neglecting worldly benefits in the name of art, “despicable benefit”, concerns “about the needs of low life”. "Lucky idle" Mozart calls them in this sense (they are not take care of the "needs of the low life"), and not in the one that Salieri attaches to these words, calling Mozart "an idle reveler", that is, not working on his works. Mozart worked very hard and hard - and Pushkin, of course, knew this ...

This short monologue of Mozart completely destroys the rationale invented by Salieri, the justification of his envy and the crime he committed... What kind of "duty" did he do by killing Mozart, who not only creates brilliant works, but also highly appreciates, idolizes music, puts it above all "needs of low life"? Where is the injustice here, the wrongness of God, who endowed him with a “sacred gift”, an “immortal genius”? Why is it that not only “there is no truth on earth, but there is no truth above”, and why Salieri is “chosen” to restore this truth? Nothing remains of Salieri's comforting concept...

Mozart continues:

But now I'm not well
I'm having a hard time...

The poison starts to work.

I'll go to sleep.
Farewell!

Goodbye.

Mozart leaves. It is impossible not to pay attention to this meaningful exchange of short remarks. Mozart, not doubting that he will meet his friend again in the near future, nevertheless tells him “goodbye!”, And Salieri, knowing that they will not see each other again, that Mozart is sentenced to death, answers him: “Goodbye” .

you will fall asleep
For a long time, Mozart!

Not a trace of remorse, pity for Mozart! He only thinks of himself.

But is he right?
And I'm not a genius? Genius and villainy
Two things are incompatible.

If Mozart is right, then Salieri is not a genius. And then what right does he have to decide the fate of Mozart, the future fate of art?

The whole concept of Salieri, all his lofty, principled self-justification, the idea of his “chosenness” (“I have been chosen to stop him ...”) to perform a “heavy duty” - all this collapses ... What remains is a pitiful “despicable envious” who destroyed out of envy of a genius.

Salieri tries to argue with this truth, already obvious to him:

Not true...

He clings to the legend of Michelangelo Buonarroti, who allegedly killed his sitter in the name of art.

And Bonarotti?

But he no longer believes in the veracity of this legend.

or is it a fairy tale
Dumb, senseless crowd - and was not
The murderer of the creator of the Vatican?

On these painful doubts of Salieri, the collapse of all his ideological self-justifications (we must see all this in the expression of his face on stage), Pushkin's play ends.

A crime, a naked crime has been committed - Salieri begins a long-term mental punishment ...

I was marvelously intoxicated with delight!
Now it's time! treasured gift of love,
Step into the bowl of friendship today.

SCENE II

A special room in the tavern; piano.

Mozart and Salieri at the table.

Salieri

Why are you cloudy today?

Mozart

Salieri

Are you sure, Mozart, upset about something?
Good dinner, good wine,
And you are silent and frowning.

Mozart

Confess,
My Requiem worries me.

Salieri

BUT!
Are you composing Requiem? How long ago?

Mozart

Long time ago, three weeks. But a strange thing...
Didn't I tell you?

Salieri

Mozart

So listen.
Three weeks ago, I came late
Home. They told me that they came
Someone is behind me. Why, I don't know
All night I thought: who would it be?
And what does he have in me? Same day tomorrow
Came in and didn't find me again.
On the third day I played on the floor
With my boy. They called me;
I went out. Man dressed in black
Bowing politely, ordered
Me Requiem and disappeared. I sat down immediately
And he began to write - and from that time after me
My black man did not come;
And I'm glad: I would be sorry to leave
With my work, though quite ready
Already Requiem. But in the meantime, I...

Salieri

Mozart

I'm ashamed to admit it...

Salieri

Mozart

Day and night does not give me rest
My black man. Follow me everywhere
Like a shadow he is chasing. Here and now
It seems to me that he is the third with us
Is sitting.

Salieri

And, full! what kind of fear is childish?
Dispel the empty thought. Beaumarchais
He told me: “Listen, brother Salieri,
How black thoughts come to you
Uncork a bottle of champagne
Or reread The Marriage of Figaro.

Mozart

Yes! Beaumarchais was your friend;
You composed "Tarara" for him,
Glorious thing. There is one motive...
I keep saying it when I'm happy...
La la la la ... Oh, is it true, Salieri,
That Beaumarchais poisoned someone?

Salieri

I don't think he was too funny
For such a craft.

Mozart

He's a genius
Like you and me. And genius and villainy -
Two things are incompatible. Isn't it true?

Salieri

(Throws poison into Mozart's glass.)

Mozart

For your
Health, friend, for a sincere union,
Connecting Mozart and Salieri,
Two sons of harmony.

Salieri

Wait a minute
Wait, wait!.. Have you drunk... without me?

Mozart

(throws napkin on the table)

Enough, I'm full.

(Goes to the piano.)

Listen, Salieri,
My Requiem.

Salieri

These tears
For the first time I pour: both painful and pleasant,
As if I had done a heavy duty,
As if a healing knife cut me off
Suffered member! Friend Mozart, these tears...
Don't notice them. Go on, hurry up
Still fill my soul with sounds ...

Mozart

When everyone felt so strong
Harmonies! But no, then I couldn't
And the world to exist; no one would
Take care of the needs of low life;
Everyone would indulge in free art.
There are few of us chosen, lucky idlers,
Neglecting contemptible benefits,
One beautiful priests.
Isn't it true? But now I'm not well
Something is hard for me; I'll go to sleep.
Farewell!

Salieri

you will fall asleep
For a long time, Mozart! But is he right?
And I'm not a genius? Genius and villainy
Two things are incompatible. Not true:
And Bonarotti? Or is it a fairy tale
Dumb, senseless crowd - and was not
The murderer of the creator of the Vatican?

stone guest

Leporello.

O statua gentilissima
Del gran "Commendatore! ..
...Ah, Padrone!

SCENE I

Don Juan and Leporello

Don Guan

Let's wait here for the night. Ah, finally
We have reached the gates of Madrid! soon
I'll fly through the streets familiar,
Mustache covered with a cloak, and eyebrows with a hat.
What do you think? can't you recognize me?

Leporello

Yes! Don Juan is hard to admit!
People like him are such an abyss!

Don Guan

Are you kidding?
But who knows me?

Leporello

The first watchman
Gitan or drunken musician
Or your brother is a cheeky cavalier,
With a sword under his arm and in a raincoat.

Don Guan

What's the trouble, even if they find out. Only b
I did not meet the king himself. And yet,
I'm not afraid of anyone in Madrid.

Leporello

And tomorrow it will reach the king,

Scene I

Room.

Salieri

Everyone says: there is no truth on earth.
But there is no truth - and above. For me
So it is clear, like a simple gamma.
I was born with love for art;
Being a child when high
The organ sounded in our old church,
I listened and listened - tears
Involuntary and sweet flowed.
I early rejected idle amusements;
Sciences alien to music were
Shame on me; stubbornly and haughtily
I renounced them and surrendered
One music. Difficult first step
And the first way is boring. overcame
I am early adversity. Craft
I set a footstool for art;
I have become a craftsman: fingers
Gave obedient, dry fluency
And fidelity to the ear. Dead sounds,
I tore apart the music like a corpse. believed
I algebra harmony. Then
Already dared, tempted in science,
Indulge in the bliss of a creative dream.
I began to create; but in silence, but in secret,
Not daring to think more about glory.
Often, after sitting in a silent cell
Two or three days, forgetting both sleep and food,
Having tasted delight and tears of inspiration,
I burned my work and looked coldly,
As my thought and sounds are born by me,
Burning, with a light smoke they disappeared.
What am I saying? When the great glitch
Appeared and revealed new secrets to us
(Deep, captivating secrets)
Have I abandoned everything I used to know
What I loved so much, what I believed so passionately,
And did not go cheerfully after him
Resignedly, like one who was mistaken
And sent to the opposite direction?
Strong, tense constancy
I'm finally in art limitless
Reached a high degree. Glory
smiled at me; I am in people's hearts
I found consonance with my creations.
I was happy: I enjoyed peacefully
With their work, success, glory; also
The labors and successes of friends,
My comrades in marvelous art.
Not! I never knew envy
Oh never! - lower when Piccini
The ears of wild Parisians could captivate,
Below when I heard it for the first time
I Iphigenia initial sounds.
Who will say that Salieri was proud
Ever envious despicable,
Snake, trampled by people, alive
Sand and dust gnawing powerlessly?
Nobody!
Envious. I envy; deep,
I'm painfully jealous. - O sky!
Where is the truth, when the sacred gift,
When an immortal genius is not a reward
Burning love, selflessness,
Works, zeal, prayers sent -
And illuminates the head of a madman,
Idle revelers?.. Oh Mozart, Mozart!

Mozart enters.

Mozart

Aha! you saw! but I wanted
To treat you with an unexpected joke.

Salieri

Are you here! - How long ago?

Mozart

Now. I walked towards you
I was carrying something to show you;
But, passing in front of the tavern, suddenly
I heard a violin... No, my friend, Salieri!
You are funnier than anything
Never heard of... A blind violinist in a tavern
Played Voi che sapete. Miracle!
I could not stand it, I brought a violinist,
To treat you to his art.
Come in!

A blind old man enters with a violin.

Something from Mozart to us!

The old man plays an aria from Don Juan; Mozart laughs.

Salieri

And can you laugh?

Mozart

Ah, Salieri!
Are you not laughing yourself?

Salieri

No.
I don't find it funny when the painter is useless
It stains Raphael's Madonna for me,
I don't find it funny when the buffoon is despicable
Parody dishonors Alighieri.
Go, old man.

Mozart

Wait, here's to you
Drink to my health.

The old man leaves.

You, Salieri,
Not in the mood today. I'll come to you
At another time.

Salieri

What did you bring me?

Mozart

No - so; trifle. The other night
My insomnia tormented me,
And two or three thoughts came to my mind.
Today I sketched them. wanted
Your opinion to me to hear; but now
You are not up to me.

Salieri

Ah, Mozart, Mozart!
When am I not up to you? Get in;
I'm listening to.

Mozart(at the piano)

Imagine... who?
Well, at least me - a little younger;
In love - not too much, but slightly, -
With a beauty, or with a friend - even with you, -
I am cheerful ... Suddenly: a vision of the grave,
Sudden darkness or something like that...
Well, listen.

(Plays.)

Salieri

You came to me with this
And could stop at the tavern
And listen to the blind fiddler? - God!
You, Mozart, are not worthy of yourself.

Mozart

Well, okay?

Salieri

What depth!
What courage and what grace!
You, Mozart, are a god, and you yourself do not know it;
I know I am.

Mozart

Bah, right? may be…
But my god is hungry.

Salieri

Listen: we'll dine together
At the Golden Lion Inn.

Mozart

Perhaps;
I am pleased to. But let me go home and say
Wife to have me for dinner
Didn't wait.

(Exits.)

Salieri

Waiting for you; look.

Not! I can't resist
My fate: I am chosen to have it
Stop, otherwise we all died,
We are all priests, ministers of music,
I'm not alone with my deaf glory ...
What's the use if Mozart is alive
And will it reach new heights?
Will he raise more art? Not;
It will fall as it disappears:
He will not leave us an heir.
What is the use in it? Like some kind of cherub
He brought us a few songs of paradise,
So that, revolting wingless desire
In us, children of dust, fly away after!
So fly away! the sooner the better.

Here is the poison, the last gift of my Isora.
Eighteen years I carry it with me -
And often life seemed to me since then
Unbearable wound, and I often sat
With a careless enemy at one meal,
And never to the whisper of temptation
I did not bow, although I am not a coward,
Though I feel deeply offended,
Even though I love life. I procrastinated.
How the thirst for death tormented me,
What to die? I imagined: maybe life
It will bring sudden gifts to me;
Perhaps delight will visit me
And a creative night, and inspiration;
Perhaps the new Hayden will create
Great - and enjoy it ...
How I feasted with a hated guest,
Perhaps, I imagined, the worst enemy
I will find; maybe the worst offense
Into me from an arrogant height will burst -
Then you will not be lost, Izora's gift.
And I was right! and finally found
I am my enemy and the new Gaiden
I was marvelously intoxicated with delight!
Now it's time! treasured gift of love,
Step into the bowl of friendship today.

Scene II

A special room in the tavern; piano.

Mozart and Salieri at the table.

Salieri

Why are you cloudy today?

Mozart

Salieri

Are you sure, Mozart, upset about something?
Good dinner, good wine,
And you are silent and frowning.

Mozart

Confess
My Requiem worries me.

Salieri

BUT!
Are you composing Requiem? How long ago?

Mozart

Long time ago, three weeks. But a strange thing...
Didn't I tell you?

Salieri

Mozart

So listen.
Three weeks ago, I came late
Home. They told me that they came
Someone is behind me. Why, I don't know
All night I thought: who would it be?
And what does he have in me? Same day tomorrow
Came in and didn't find me again.
On the third day I played on the floor
With my boy. They called me;
I went out. Man dressed in black
Bowing politely, ordered
Me Requiem and disappeared. I sat down immediately
And he began to write - and from that time after me
My black man did not come;
And I'm glad: I would be sorry to leave
With my work, though quite ready
Already Requiem. But in the meantime, I...

Salieri

Mozart

I am ashamed to admit it...

Salieri

Mozart

Day and night does not give me rest
My black man. Follow me everywhere
Like a shadow, he's chasing. Here and now
It seems to me that he himself is the third with us
Is sitting.

Salieri

Mozart

Yes! Beaumarchais was your friend;
You composed "Tarara" for him,
Glorious thing. There is one motive...
I keep saying it when I'm happy...
La la la la ... Ah, is it true, Salieri,
That Beaumarchais poisoned someone?

Salieri

I don't think he was too funny
For such a craft.

Mozart

He's a genius
Like you and me. And genius and villainy -
Two things are incompatible. Isn't it true?

Salieri

You think?

(Throws poison into Mozart's glass.)

Well, drink it.

Mozart

For your
Health, friend, for a sincere union,
Connecting Mozart and Salieri,
Two sons of harmony.

(Drinks.)

Salieri

Wait.
Wait, wait! .. You drank! .. without me?

Mozart(throws napkin on the table)

Enough, I'm full.

(Goes to the piano)

Listen, Salieri,
My Requiem.

(Plays.)

You cry?

Salieri

Mozart

Salieri

Goodbye.

(One.)

you will fall asleep
For a long time, Mozart! But is he right?
And I'm not a genius? Genius and villainy
Two things are incompatible. Not true:
And Bonarotti? or is it a fairy tale
Dumb, senseless crowd - and was not
The murderer of the creator of the Vatican?

Analysis of the tragedy "Mozart and Salieri" by Pushkin

"Mozart and Salieri" refers to one of Pushkin's "little tragedies", which he created in the "Boldino autumn" of 1830. The poet began working on it as early as 1826. Initially, he wanted to name the tragedy "Envy".

The work is based on the legendary story of the murder of the greatest composer. It has now been conclusively proven that Salieri was innocent, but some doubts still remain. Pushkin brilliantly used the legend to denounce one of the main human vices. In the image of Mozart, the features of the poet himself are visible: frivolity, cheerful character.

Salieri was a truly celebrated composer. His path to glory was long and hard. He is convinced that success in art can be achieved as a result of continuous work. Salieri devoted his entire life to music. You can call him a true professional in his field. He subjected art to mathematical analysis and thus turned it into an ordinary craft. Salieri is honest, he does not envy the rest of the representatives of the musical world. He is well aware that they all achieved fame in the same way. Salieri cannot blame anyone for laziness or dishonesty.

But acquaintance with Mozart produces a revolution in the soul of Salieri. He realizes that for the first time he has known black envy. Mozart is a genius. The divine gift was given to him from birth. He did not need many years of patient study of musical theory. Creativity for Mozart is life itself, he feels his organic connection with him. Salieri is outraged by this situation. He bows before the talent of his friend, but regrets that God has rewarded him with a priceless gift. Mozart is too frivolous about his greatness. Due to playing the violin of a beggar old man, he forgets why he went to a friend. The composer's new "trifle" strikes Salieri, in admiration he equates him with God. Salieri is sure that Mozart is not able to properly dispose of his talent. The divine gift was received by an empty and superficial person. His activities will only defame art.

The tragedy mentions an inexplicable fact that actually happened. Literally before his death, Mozart received an order to create the "Requiem" - a funeral mass in Catholicism. He foresaw that he was creating it for himself. This premonition came true. Pushkin's "Requiem" is the last work played by a brilliant composer in front of his murderer. Monstrous envy forced Salieri to poison Mozart. The genius was ruined by an ordinary artisan in art. Mozart's dying phrase plays a huge role: "Genius and villainy are two incompatible things." After the poisoning, Salieri painfully reflects on her and asks himself a rhetorical question. The answer to it reveals the essence of the criminal and his main motive.

Everyone says: there is no truth on earth.
But there is no truth - and above. For me
So it is clear, like a simple gamma.
I was born with love for art;
Being a child when high
The organ sounded in our old church,
I listened and listened - tears
Involuntary and sweet flowed.
I early rejected idle amusements;
Sciences alien to music were
Shame on me; stubbornly and haughtily
I renounced them and surrendered
One music. Difficult first step
And the first way is boring. overcame
I am early adversity. Craft
I set a footstool for art;
I have become a craftsman: fingers
Gave obedient, dry fluency
And fidelity to the ear. Dead sounds,
I tore apart the music like a corpse. believed
I algebra harmony. Then
Already dared, tempted in science,
Indulge in the bliss of a creative dream.
I began to create; but in silence, but in secret,
Not daring to think about glory.
Often, after sitting in a silent cell
Two or three days, forgetting both sleep and food,
Having tasted delight and tears of inspiration,
I burned my labor and looked coldly,
As my thought and sounds are born by me,
Blazing, with a light smoke they disappeared.
What am I saying? When the great glitch
Appeared and revealed new secrets to us
(Deep, captivating secrets)
Have I abandoned everything I used to know
What I loved so much, what I believed so passionately,
And did not go cheerfully after him
Resignedly, like one who was mistaken
And sent to the opposite direction?
Strong, tense constancy
I'm finally in art limitless
Reached a high degree. Glory
smiled at me; I am in people's hearts
I found harmony with my creations.
I was happy: I enjoyed peacefully
With their work, success, glory; also
The labors and successes of friends,
My comrades in marvelous art.
Not! I never knew envy
Oh never! - lower when Piccini
The ears of wild Parisians could captivate,
Below when I heard it for the first time
I Iphigenia initial sounds.
Who will say that Salieri was proud
Ever envious despicable,
A snake, trampled by people, alive
Sand and dust gnawing powerlessly?
Nobody!
Envious. I envy; deep,
I'm painfully jealous. - O sky!
Where is the truth, when the sacred gift,
When an immortal genius is not a reward
Burning love, selflessness,
Works, zeal, prayers sent -
And illuminates the head of a madman,
Idle revelers?.. Oh Mozart, Mozart!

Mozart enters.

Aha! you saw! but I wanted
To treat you with an unexpected joke.
Are you here! - How long ago?
Now. I walked towards you
I had something to show you;
But, passing in front of the tavern, suddenly
I heard a violin... No, my friend, Salieri!
You are funnier than anything
Never heard... A blind violinist in a tavern
Played voi che sapete. Miracle!
I could not stand it, I brought a violinist,
To treat you to his art.
Come in!

A blind old man enters with a violin.

Something from Mozart to us!

The old man plays an aria from Don Juan;
Mozart laughs.

And can you laugh?
Ah, Salieri!
Are you not laughing yourself?
No.
I don't find it funny when the painter is useless
It stains Raphael's Madonna for me,
I don't find it funny when the buffoon is despicable
Parody dishonors Alighieri.
Go, old man.
Wait, here's to you
Drink to my health.

The old man leaves.

You, Salieri,
Not in the mood today. I'll come to you
At another time.
What did you bring me?
No - so; trifle. The other night
My insomnia tormented me,
And two or three thoughts came to my mind.
Today I sketched them. wanted
I hear your opinion; but now
You are not up to me.
Ah, Mozart, Mozart!
When am I not up to you? Get in;
I'm listening to.

(at the piano)

Imagine... who would?
Well, at least me - a little younger;
In love - not too much, but slightly -
With a beauty, or with a friend - even with you,
I am cheerful ... Suddenly: a vision of the grave,
Sudden darkness or something like that...
Well, listen.
You came to me with this
And could stop at the tavern
And listen to the blind violinist! - God!
You, Mozart, are not worthy of yourself.
Well, okay?
What depth!
What courage and what grace!
You, Mozart, are a god, and you yourself do not know it;
I know I am.
Ba! right? may be...
But my god is hungry.
Listen: we'll dine together
At the Golden Lion Inn.
Perhaps;
I am pleased to. But let me go home and say
Wife to have me for dinner
Didn't wait.
Waiting for you; look.
Not! I can't resist
My fate: I am chosen to have it
Stop - otherwise we all died,
We are all priests, ministers of music,
I'm not alone with my deaf glory ....
What's the use if Mozart is alive
And will it reach new heights?
Will he raise art? Not;
It will fall again as it disappears:
He will not leave us an heir.
What's the use in it? Like some kind of cherub
He brought us a few songs of paradise,
So that, revolting wingless desire
In us, children of dust, fly away after!
So fly away! the sooner the better.
Here is the poison, the last gift of my Isora.
Eighteen years I carry it with me -
And often life seemed to me since then
Unbearable wound, and I often sat
With a careless enemy at one meal,
And never to the whisper of temptation
I did not bow down, although I am not a coward,
Though I feel deeply offended,
Even though I love life. I procrastinated.
How the thirst for death tormented me,
What to die? I imagined: maybe life
It will bring me sudden gifts;
Perhaps delight will visit me
And creative night and inspiration;
Perhaps the new Hayden will create
Great - and enjoy it ...
How I feasted with a hated guest,
Perhaps, I imagined, the worst enemy
I will find; maybe the worst offense
Into me from an arrogant height will burst -
Then you will not be lost, Izora's gift.
And I was right! and finally found
I am my enemy and the new Gaiden
I was marvelously intoxicated with delight!
Now it's time! treasured gift of love,
Step into the bowl of friendship today.

Scene II

A special room in the tavern; piano.

Mozart and Salieri at the table.

Why are you cloudy today?
I? Not!
Are you sure, Mozart, upset about something?
Good dinner, good wine,
And you are silent and frowning.
Confess,
My Requiem worries me.
BUT!
Are you composing Requiem? How long ago?
Long time ago, three weeks. But a strange thing...
Didn't I tell you?
No.
So listen.
Three weeks ago, I came late
Home. They told me that they came
Someone is behind me. Why, I don't know
All night I thought: who would it be?
And what does he have in me? Same day tomorrow
Came in and didn't find me again.
On the third day I played on the floor
With my boy. They called me;
I went out. Man dressed in black
Bowing politely, ordered
Me Requiem and disappeared. I sat down immediately
And he began to write - and from that time after me
My black man didn't come;
And I'm glad: I would be sorry to leave
With my work, though quite ready
Already Requiem. But in the meantime, I...
What?
I'm ashamed to admit it...
In what?
Day and night does not give me rest
My black man. Follow me everywhere
Like a shadow he is chasing. Here and now
It seems to me that he is the third with us
Is sitting.