Summary of "Mozart and Salieri" Pushkin. Heroes and the main conflict
Anticipating the brief content of the play "Mozart and Salieri" (A. S. Pushkin), it should be said that it is rather small, and there are only two characters in it - the composers Mozart and Salieri.
The essence of the conflict
The basis of the conflict of the play is the internal conflict of Salieri, which can be reduced to an understanding of the essence of creativity in general. For him, music is work, craft and constant self-improvement. In other words, overcoming. For Mozart, writing music is inspiration and joy. He creates easily and freely.
Thus, in the short content of "Mozart and Salieri" by Pushkin, we note that the main question of the play, to which there is no answer and which Salieri is tormented by, is why some are endowed with genius unconditionally, while others are forced to prove their place among their colleagues in the workshop by tireless hard work?
He believes that heaven is unfair, having lit up the "madman's head" and "idle revealers." After all, Mozart is not worthy of his great gift, he burns his life without laboring, so he must die.Salieri sees his task to kill Mozart. This is a great task, he thinks.
And if there is a dramaturgic resolution of the conflict in Pushkin (Salieri kills Mozart in the final of the play) and it does, then it cannot lead to the answer to the main question - and essentially the final remains open.
In the summary of the content of "Mozart and Salieri" by Pushkin, we told about the main conflict of the play.
About the heroes of the play
The prototypes of the characters in the play are real personalities, but mixing them together, especially with such a finale, is most likely happening only thanks to the will of the author.
In the brief content of "Mozart and Salieri" by Pushkin, it is necessary to clarify that Antonio Salieri was at one time (late XVIII - early XIX century) considered a famous and recognized musician. This is an Italian composer, a follower of Gluck, the author of many vocal and vocal and musical works, the court conductor. He was a teacher, instilled the basics of mastery to such famous composers as Schubert, Liszt, Beethoven.
But, one might say, fate played a cruel joke with him - and with Pushkin’s light hand he remained in the story “the murderer of Mozart”. This "stigma" so stuck with him that much later, in Milan, in 1997, even a court was held, which fully acquitted the musician and confirmed his innocence in the death of Mozart.
In addition to Mozart, there is a third character in the play, whose presence can be called symbolic, offscreen. This is a man dressed in black, or, as Mozart calls him, “my black man” is a stranger who came to order a requiem for him and did not appear for an order. He became a kind of messenger of death, a messenger of otherworldly forces - as if Requiem Mozart wrote for himself. This gloomy image is quite common in world literature: Pushkin picked it up from Goethe (Faust), later it was borrowed for his works Leonid Andreyev and Sergey Yesenin.
Next, we present a summary of Pushkin’s “Mozart and Salieri” by scenes.
In the brief content of Pushkin’s play “Mozart and Salieri”, we note that at the beginning of the first scene, Salieri sits in his room and reflects on his own, filled with studies, works and deserved glory of life and how great his envy of Mozart is. Mozart himself comes to visit him and leads a street musician, a blind old man, "Skrykpach", whom he had just met in a tavern. He played the Skrypka aria of Cherubino from the Mozart opera Le nozze di Figaro and played so badly that the author amused himself.
When the old man starts playing again, Mozart laughs, and Salieri becomes indignant and drives the violinist away.
Then Mozart plays the piano "trifle", which was composed of him last sleepless night. His listener is already in awe and says that Mozart is "god" and he is "unworthy of himself." Mozart refers to these manifestations of delight with obvious irony, he jokingly replies that "my deity is hungry," and Salieri immediately invites him to dine in the tavern.
Mozart leaves to warn his wife, and the rest explains his task to himself and the audience: “I’m chosen to stop him,” otherwise we died. To kill the divine Mozart, in the opinion of Salieri, it is also necessary in order that they can create like-wingless children of dust. And he prepares poison.
This concludes the summary of the first scene of the tragedy of Pushkin "Mozart and Salieri".
Mozart tells how the "black man" came to him, as he ordered the Requiem and did not appear again. The interlocutor is trying to cheer him up, saying that for fun, on the advice of Beaumarchais, it is necessary to reread the Le nozze di Figaro and drink a glass of champagne. “Is it true,” Mozart wondered, “that someone was poisoned by Beaumarchais?”Salieri denies this, and Mozart adds that, of course, because "he was a genius, like you and me," and it is known that "genius and villainy are two incompatible things."
Salieri pours poison into his companion’s cup, and he drinks wine. Then Mozart, sitting down at the piano, plays his new composition - Requiem. His listener is touched: he is “both pained and pleased,” as if he had done a hard but necessary job.
Mozart feels unwell and goes home. But Salieri is left to ponder the question that torments him. He recalls the story of "Bonarotti" (in the summary of the tragedy of Pushkin's "Mozart and Salieri" it should be noted that this refers to the famous story in which the great Italian painter and sculptor Michelangelo Buonarroti poisoned his model in order to reliably convey the torments of the dying Christ).
Can an artist who committed a crime in the name of art be a genius? Or is this story a lie, a crowd?
On this issue of the musician to himself (or the viewer) the play is over.
We have summarized Pushkin’s Mozart and Salieri’s play.