D.I

Late XVIII century was characterized in Russia by the beginning of a “revolution in art.” At this time, new genres, new styles, new bright names. One of these names was the name of Denis Ivanovich Fonvizin, the author of the famous comedy “Minor”, ​​which still does not leave the stages famous theaters. The writer created his great work during the period of his greatest political maturity, during a period of clear opposition to Catherine’s autocracy, which could not but find expression in comedy. His negative heroes are typical representatives of the class of landowners and nobles, bearers of their lowest and rudest traits.

Positive heroes, on the contrary, act as the complete opposite of the landowner environment and with all their actions and words expose the autocratic system. At the court of the Empress, “almost no one travels along the high road, and everyone takes a detour, hoping to get there as quickly as possible,” says Starodum. Here “one knocks down the other, and the one who is on his feet never again raises the one who is on the ground.” Naturally, the morals of the court are present in an even more perverted and exaggerated form among the landowners.

N.V. Gogol noted that in his work Fonvizin revealed “the wounds and illnesses of our society, serious internal abuses, which, by the merciless power of irony, are exposed in stunning evidence.” The comedy “The Minor” is truly distinguished by its great social depth and sharp satirical orientation.

But if from the title we can conclude that the main problem raised by the author is the problem of true and false education, then after a careful acquaintance with the work it becomes definitely clear that the meaning inherent in it is much deeper and more serious. Fonvizin reflected the consequences of the main conflict of the era: the struggle of the peasantry against the oppressive landowners. The writer showed all sides of the corrupting influence of serfdom on both the people and the nobility.

The theme of landowner tyranny is given first place in the comedy. We are faced with the lawlessness and cruelty of the landowners from the very first pages of the work: the folk craftsman serf Trishka, who had never studied the art of tailoring anywhere, “fairly” sewed a caftan for the “child” of “delicate build” Mitrofan, but this does not save him either from the abuse of the landowner Prostakova, or from unfair flogging. Mrs. Prostakova generally feels like the sovereign mistress of the estate, and therefore she rules brazenly, despotically, in full confidence in her own impunity.

She cynically uses the orphan Sophia exclusively for her own purposes: she wants to marry the girl to her brother in order to take possession of her estate. This “despicable fury” looks at the peasants not as people, but as creatures of a lower breed. She communicates with peasants and servants only with the help of rude swear words, calling them nothing more than “cattle”, “canals”, “old witch”. She rips off the already poor serfs and at the same time complains to Skotinin: “Since we took away everything that the peasants had, we can no longer rip off anything.”

Prostakova “doesn’t intend to indulge the slaves,” she spends her days “putting things in order” in the house with the help of abuse and beatings: “From morning to evening,” the landowner complains, “it’s like being hung by the tongue, I don’t lay down my hands: I scold, then I fight.” The faithful, infinitely devoted servant and nanny Mitrofana Eremeevna receives “five rubles a year and five slaps a day” in payment for her hard work. “Bestia”, “rascal”, “dog’s daughter”, “old bastard”, “I’ll get rid of them” - these are the words that the maid hears from her mistress in gratitude for her devoted service. And if one of the servants dares to get sick, then Prostakova’s indignation will know no bounds. “Oh, she’s a beast! Lying down. As if noble!” - the landowner is indignant when she learns about the illness of the yard girl Palashka.

Speaking denouncing serfdom, Fonvizin also shows its corrupting influence on the serfs. Thus, the servant Eremeevna, slavishly devoted to her masters, completely loses her human dignity and, not thinking about the danger that threatens her, protects Mitrofan from Skotinin.

Comedy is meant to cause laughter. But in relation to “The Minor” it is laughter through tears, bitter laughter. It is no coincidence that P. A. Vyazemsky noted that the image of Prostakova “stands on the line between tragedy and comedy.” This ignorant, selfish and ruthless serf woman, terrible in a fit of rage, is child-loving in her own way. But her love for Mitrofanushka is also perverted, like all the feelings of the landowner. That is why he grows up to be as despotic, cruel, and arrogant as his mother, to whom he treats completely indifferently, without feeling the slightest gratitude.

The Skotinin family is not much different from the Prostakovs, where the owner is unusually “masterful” in collecting rent and ripping off all his losses from his neighbors from his own peasants. “If I weren’t Taras Skotinin,” he boasts, “if I’m not guilty of every fault.”

Landowners like the Prostakovs and Skotinins boldly commit lawlessness because they know that they are protected by the state itself. They do not at all consider rough treatment of serfs a crime. This is not surprising - after all, they are accustomed to interpreting all decrees in their own way. For example, the Decree on the freedom of the nobility. Prostakova perceives it as “the legal consecration of unlimited power... over the person and property of the peasant.” That is why she is so outraged by the law prohibiting the flogging of peasants. “A nobleman,” the landowner exclaims indignantly, “is not free to whip his servants whenever he wants!” But why have we been given a decree on the freedom of the nobility?”

Showing the inhuman, bestial essence of the landowners, Fonvizin widely introduces zoologisms into his work: Prostakova’s brother bears the surname Skotinin; Kuteikin forces Mitrofan to announce to the whole hall that he is “not a man” and even “not a worm”, but “cattle”; It seems to Vralman that on the Prostakovs’ estate he lived “with the little horses,” etc.

However, in the comedy “The Minor” the author not only denounces the landowner’s arrogance and tyranny. He shows the low, insignificant, cowardly essence of these people. When they find themselves alone with a strong opponent, they immediately change their tone and behavior. So, Prostakova lies humiliatingly at Pravdin’s feet, begging not to put her on trial for her inhumane treatment of the peasants.

When she was forgiven, she again took out all her anger for the forced humiliation on the serfs: “Well! Now I will give the dawn to my people. Now I’ll take them all one by one.”

However, her plans are not destined to come true - the estate has already been taken into custody. The writer confidently exposes the despotism and arbitrariness of the landowners, leading his “anti-heroes” to a logical conclusion: having lost unlimited power over the serfs, having been rejected by her own son, Prostakova looks pitiful and humiliated. And she has no one to expect sympathy from, since in her life she herself did not feel sorry for anyone, did not sympathize with anyone.

The comedy “The Minor” was a huge success, which contributed to an unprecedented surge of creative energy in Fonvizin. In 1783, he wrote and published several satirical articles in the magazine “Interlocutor of Lovers of the Russian Word.”

In addition, he sent anonymous questions to the magazine about the internal political situation in Russia. “If these are published, they will be continued immediately,” the author wrote in a letter to the publishers of the magazine, among whom was Catherine II herself. “The public will then rightly conclude that if you can ask questions frankly, then you can answer them sincerely.” The empress's reaction was sharp and critical.

Fonvizin's attempts were put to an end. But they have already lit a spark of protest in the minds advanced people that time. And all that remained was to wait for these sparks to grow into a bright revolutionary fire.

Essay on the topic: THE THEME OF LAND LANDSCAPE IN THE COMEDY OF D. I. FONVIZIN

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In the Age of Enlightenment, the value of art was reduced to its educational and moral role. Artists
took over this time hard labour awaken in a person the desire for development and self-improvement
personality. Classicism is one of the movements within which they worked. The purpose of literature, according to the classicists,
is the influence on the human mind to correct vices and cultivate virtue. Conflict between
feeling and reason, duty to the state was always resolved in favor of the latter. Thus, it was created
the image of a person doing good is an ideal to which everyone living in this world should strive.
Russian figures of the Enlightenment have always actively participated in political life countries. Writers, spoke
Fonvizin, “...have... a duty to raise their loud voice against abuses and prejudices that harm
fatherland, so that a person with talent can be a useful adviser in his room, with a pen in his hands
sovereign, and sometimes the savior of his fellow citizens and the fatherland.”
The main problem that Fonvizin raises in the comedy “Minor” is the problem of education
enlightened progressive people. A nobleman, a future citizen of the country who must do things for the good
fatherland, from birth is brought up in an atmosphere of immorality, complacency and self-sufficiency.
Such a life and upbringing immediately took away his purpose and meaning in life. And teachers will not be able to help (this is just a tribute
fashion from Mrs. Prostakova); Mitrofan had no other desires than to eat, run on
dovecote and get married.
The same thing happens at court. It's a big barnyard where everyone wants to grab the best piece and
roll around in the golden mud. “Here I love myself perfectly; I worry about myself alone; fussing about one real hour.”
The nobles forgot what duty and useful good deeds are. They “...do not leave the yard... the yard is useful to them,” “...ranks
often begged for.” They have forgotten what soul, honor, and good behavior are.
But the author does not give up hope that something can change. Pravdin takes custody of the farm
Prostakova, forbids her to rule over her estate. “It is in vain to call a doctor to the sick without healing. There is no doctor here
will help, unless he himself becomes infected” - this is the conclusion Starodum makes about life at court. Behind all this they are watching
radical measures that Fonvizin proposes to take: limit the power of the Prostakovs and Skotinins over
peasants, and the tsar and courtiers - over all Russian life.
But the life “...rules that must be followed...” formulated by the playwright are real.
nobles:
1. “...Have a heart, have a soul, and you will be a man at all times.”
2. “Everyone will find enough strength in himself to be virtuous. You have to want it decisively, but that’s all
it will be easier not to do something for which your conscience would prick you.”
3. “Good behavior gives direct value to it (the mind). Without him clever man- a monster. It is immeasurably higher than all
mental fluency."
4. “...A pious man is jealous of deeds, not of rank.”
5. “Respect alone should be flattering to a person - spiritual; and only those who are worthy of spiritual respect
ranks not according to money, and in the nobility not according to ranks.”
6. “I calculate the degree of nobility by the number of deeds that the great gentleman did for the fatherland, and not by
the number of tasks that he took upon himself out of arrogance... According to my calculation, he is not the rich one who counts
money to hide it in a chest, and the one who counts out the excess from himself in order to help those who do not have
needed.”
7. “...What is a position. This is the sacred vow that we all owe to those with whom we live and from whom
dependent... A nobleman, for example, would consider it the first dishonor to do nothing when he has so much to do:
there are people to help, there is a fatherland to serve. Then there would be no such nobles as
nobility... buried with their ancestors. A nobleman unworthy of being a nobleman! There's nothing meaner than him
I don’t know in the world.”
All these postulates correspond to the ideas of the Enlightenment, of which Fonvizin was an ardent champion.

The comedy by D. N. Fonvizin “The Minor” is the pinnacle of Russian dramaturgy XVIII century. The work was created according to the strict rules of classicism: the unity of time (day), place (the Prostakovs' house) and action (the rivalry of Sophia's suitors) is observed; heroes share...

The comedy “Minor” absorbed all the experience accumulated by Fonvizin, and in depth ideological issues, in terms of the courage and originality of the artistic solutions found, remains an unsurpassed masterpiece of Russian drama of the 18th century. Accusatory pathos...

If you conduct a survey among those who have read Fonvizin’s comedies, you will probably find that the first thing people pay attention to is modern reader comedy "Minor" - these are the names characters. "Speaking" names immediately set the scene...

D.I. Fonvizin was destined to live in the rather dark era of the reign of Catherine II, when inhumane forms of exploitation of serfs reached the limit that could only be followed by a peasant revolt. This frightened the Russian autocrat...

I present to your attention fragments documentary film about Fonvizin, a presentation for the lesson system on the comedy "The Minor", audio files.

Lesson 1. “Undergrown” as a satirical comedy. The plot and conflict of the comedy.

1. Fonvizin and his comedy

Implementation homework

· What main stages of Fonvizin’s life did you note when doing your homework? (Born in Moscow into a family of Russified Germans, he studied excellently at the gymnasium at Moscow University, moved to St. Petersburg, knew Lomonosov, became interested in theater. He began his literary activity from translations of fables and plays. Then he worked as a translator at the College of Foreign Affairs. Fonvizin's first play "Brigadier". He was close to Panin, whom Catherine II hated. “The Minor” was first staged on September 24, 1782. But Fonvizin had to resign after that.

He wrote the satire “General Court Grammar”, after which it was banned from publication. Then he became seriously ill and died at the age of 47.)

· Let's watch videos and answer questions (slides 2-4)

Slide 2. Pedigree. Childhood (watching a video)

What is the origin of the Fonvizin family? (German origin).

When did they appear in Russia? (Fonvizin’s ancestors ended up in Russia during the reign of Ivan the Terrible, during the Livonian War)

Where was Fonvizin born? (in Moscow)

Who is it named after? (in honor of his ancestor Denis)

Where and how did he study? (I studied well at the gymnasium at Moscow University)

Slide 3. Comedy “Minor”

What shortcomings does Fonvizin expose? (flattery, sycophancy, savagery and cruelty of serfdom)

Into whose mouth did he put his innermost thoughts? (In the mouth of Pravdin and Starodum)

Slide 4. Staging a comedy

Where was the comedy first staged? (In the old theater on Tsaritsyn Meadow)

What did Prince Potemkin say to Fonvizin after the release of the comedy? (“Die, Denis, you can’t write better!”)

What did the writer condemn in the comedy? (“evil worthy fruits”)

What did the word “minor” used to mean? (this was the name given to nobles who had not reached the age of majority)

2. Announcing the topic of the lesson, goals, problems.

The subject of our conversation today will be the comedy by D.I. Fonvizin “Minor”,

And the goal is to resolve the problem “What a true nobleman should be and whether the Russian nobility corresponds to its purpose.”

3. Quiz on knowledge of comedy.

Ø Where does the comedy take place? (on Prostakova’s estate) Ø Who social background

Prostakova? (noblewoman, landowner)

Ø How is Prostakova related to Skotinin? (brother)

Ø Who is Prostakova related to Sophia? (pupil, distant relative)

Ø Who is Sophia related to Starodum? (uncle)

Ø What are the names of Mitrofan’s teachers? (Tsifirkin, Vralman, Kuteikin)

Ø Who is Eremeevna? (Mitrofan's nanny)

Ø What is the name of Sophia's fiance? (Milon)

Ø Who is Pravdin? (a representative of the law who came to restore order at Prostakova’s estate)

Ø What is Mitrofan’s favorite pastime? (chase pigeons in the dovecote)

Ø How many suitors does Sophia have and who are they? (Milon, Skotinin, Mitrofan)

Ø Who owns these words:

o “At night I kept asking for a drink. I deigned to eat a whole jug of kvass.” (Eremeevna)

o “I love pigs..., and in our neighborhood there are such large pigs that there is not a single one of them that, standing on its hind legs, would not be a whole head taller than each of us.” (Skotinin)

o “Read it for yourself! ... I can receive letters, but I always tell someone else to read them.” (Prostakova)

o “An ignoramus without a soul is a beast. The smallest deed leads him into every crime.” (Starodum)

4. Analysis of comedy.

Slide 5. Let's remember the theory!

What is satire?

This is a type of comic that ridicules and exposes social vices.

What is comedy?

This is a genre of drama in which human or moral vices are satirized

What are the problems of Fonvizin’s comedy?

1. What should a true nobleman be like - and does the Russian nobility meet its purpose?

2. The need for enlightenment, education - their absence..

3. The lack of rights of peasants and the arbitrariness of landowners.

U.: There are two storylines in the comedy. One resolves a love conflict, the other resolves a social and moral conflict. Let's draw the events of these two conflicts.

T.P. Makogonenko: “Fonvizin’s artistic innovation manifested itself in “Minor”... in a plot that reveals the main historical conflict…”

· Is there a love affair in the play? (Yes. And outwardly the action is based on a love conflict.)

The resolution of the love conflict occurs as if from the outside, by Starodum: he unites Sophia and Milon. The virtuous hero wins.

But for Fonvizin, love conflict is not the main one. The story of Sophia's misadventures is only the background against which main conflict plays - socio-political.

· Between whom are there serious disagreements? Which?

Between serf owners and enlightened nobles (the world of evil - reason, evil - virtue, arbitrariness - law). To trace the development of this conflict, we need to turn again to the plot, which Fonvizin masterfully builds. It turns out to be multi-level, multi-structured, hence several storylines:

So, one of the problems raised by Fonvizin was the problem of how to educate a real citizen. Fonvizin shows us Mitrofan's teachers. Tell us about them.

Checking individual homework

1. The story about Tsifirkin

2. The story about Kuteikin

3. The story of Vralman

Ø One of the ways to create a comic was to use “talking” surnames. What do the teachers' names say? (Tsifirkin - this surname hints at the specialty of a mathematics teacher. Kuteikin - from outdated word“Kutia” is a church dish, a hint that Kuteikin comes from a background of church ministers. Vralman - sharply negative characteristic, hinting that the bearer of such a surname is a liar)

Ø It is said about Mitrofan’s “exam” that in this scene there is a clash of true enlightenment and militant ignorance. Do you agree with this? Why?

Ø Who can educate such ignorant teachers? Can they raise a true citizen, a good nobleman, educated person?

Ø How does Prostakova feel about the education and upbringing of her son? (Madly loving her son, she tries to protect him from studying so that Mitrofanushka does not overwork. In an effort to make a favorable impression on Starodum, she says to her child: “At least for the sake of appearance, study, so that it reaches his ears how you work, Mitrofanushka...” Mathematics for her is “emptiness”, “stupid science”; geography is also not needed - “the coachman will take you where you need to go anyway...” She is sincerely convinced that sciences are not needed, since “people live and have lived without sciences...”)

Ø Is she educated or not?

Ø Why should a true nobleman be educated?

Ø Why do you think the comedy begins with a scene with the tailor Trishka?

Ø What do we learn about life in the Prostakovs’ house by carefully reading Act 1?

Ø What do we learn from Prostakova and Skotinin about their relatives?

Ø What are the relationships between family members? (from a position of strength).

Ø What is the relationship between nobles and serfs? (d.5 yavl.4,5; d.1 yavl.4), interests of landowners?

Ø What is the purpose negative heroes? Show what and how it shouldn't be.

The problem of a true nobleman is also demonstrated in Starodum’s monologues. Starodum is a character who expresses author's position. Such a character was called a reasoner.

Checking individual homework:

Ø Tell us what Starodum is talking about, what vices he exposes in his monologues?

Homework:

1. Fill out the table speech characteristics Prostakova. (*Slide 12) ( Individual task: dramatization of 1-4 phenomena of 1 act)

2. Learn the definitions of satire and comedy

Lesson 2. “The Minor” as a comedy of classicism

1. Checking homework

Ø Speech characterization is the main means of creating an image in dramatic work. Why?

Ø What words predominate in Mrs. Prostakova’s speech?

Ø Does she talk to everyone the same? With whom and how?

Ø Read out what words predominate in her conversation with different people

Ø Depending on the situation, she can speak differently to one person. Prove it

Ø What conclusion can we draw from Prostakova’s speech characteristics about the qualities of her character?

Ø What conclusion can we draw about Fonvizin as a playwright?

2. The teacher's word. Recording of the lecture.

“More than two hundred years have passed since the first performance of “The Minor,” but Fonvizin’s comedy is successfully performed on stage modern theater, which means that the “river of times in its rush” did not swallow up the eighteenth-century play. And we explain this phenomenon by the fact that the play, created in the era of classicism, incorporating its features, thanks to the talent of the author, went beyond the scope of classicism, occupying a very special place in Russian drama. Today we will identify the features of classicism in it, and also find those features that distinguish comedy from classicist works.

But first you need to get acquainted with classicism as a direction of literature.

In literature and art there are the following directions:

1. Classicism

3. Romanticism

4. Realism

5. Modernism

Classicism is art system, which has developed not only in literature, but also in painting, sculpture, architecture, landscape art, and music. This is what we will talk about today.

(* task statement: fill the table with answers)

Classicism developed in 17th century France, reflecting the rise of absolutism, or absolute monarchy.

The very name classicism (from the Latin Сlassicus - exemplary) emphasized the fact that the artists of this movement inherited the ancient “classics”. But the classicists did not take everything from the Greeks and Romans, but only what they considered the embodiment of order, logic, and harmony. As you know, ancient architecture is based on the principle of straight lines or a perfect circle. Classicists perceived it as an expression of the priority of reason and logic over feelings. Antique art The classicists were also impressed by the fact that patriotic and civic themes were widely represented in it.

Principles of classicism

The basis of everything is the mind. Only what is reasonable is beautiful.

The main task is to strengthen the absolute monarchy; the monarch is the embodiment of reason.

The main theme is the conflict of personal and civil interests, feelings and duty

The highest dignity of a person is fulfillment of duty, service to the state idea

Inheritance of antiquity as a model

(Oral explanation: the action was transferred to another time not only for the purpose of imitating ancient models, but also so that familiar life would not interfere with the viewer or reader’s perception of ideas)

Imitation of “decorated” nature

Versailles, the residence of the French kings, was proud of its park, designed by Andre Le Nôtre. Nature took on rational, sometimes strictly geometric forms in him, prescribed to her by the human mind. The park was distinguished by the clear symmetry of alleys and ponds, strictly calibrated rows of trimmed trees and flower beds, and the solemn dignity of the statues located in it.

The Russian Petrodvorets is also a wonderful example of landscape gardening art. Although it was created almost a century later, it, like Versailles, embodied many strengths classicism. The concept and execution of the project belongs to Andreas Schlüter and Bartholomew Rastrelli. First of all, this is the strict internal proportionality of the grandiose ensemble as a whole, which combines architectural structures, huge fountain cascades, sculptural groups and a strict layout of the park, striking in its spaciousness and purity of proportions.

Before you is the largest Peterhof fountain, “Samson Tearing the Lion’s Jaw,” created by sculptor Mikhail Kozlovsky.

Ø Why do you think this is a classic work? (Ancient hero, his beauty, patriotic themes, glorification of the monarch)

The painters of classicism were no less faithful to the principles of this movement than the architects.

Ø Find here the features of classicism

The theorist of French classicism, Nicolas Boileau-Depreo, in his work “Poetic Art” outlined the principles of classicism in literature.

Basic requirements of classicism in literature

1. Heroes are “images without faces.” They do not change, being exponents of general truths.

2. The use of common language was excluded

3. Requirement of compositional rigor

4. Observance of three unities in the work: time, place and action.

5. Strict division into genres.

6. Role system

“High”: tragedies, epic poems, odes, hymns

“Low”: comedies, satires, fables

Mixing genres was considered unacceptable!

But Moliere’s opinion: “The task of comedy is to castigate vices.”

3. Analytical work

Ø Let's remember what genre the classicists considered comedy? (Low.)

Ø Why? (Low heroes, living life(“low”), everyday, low passions.)

Ø Is Fonvizin’s work really a comedy? What is she making fun of?

Ø - What is the ideal person for classicists? (A virtuous, law-abiding, enlightened, educated, well-mannered citizen serving for the good of the Motherland.)

Ø Is there such a hero in Fonvizin’s comedy? (Yes, this is Starodum, Pravdin)

Ø What ideas do they profess?

Ø Is there a unity of time in comedy?

Ø Is the unity of the place maintained?

Ø Is unity of action maintained? (No, there are two conflicts here, two storylines)

Ø Is there a division into positive and negative heroes?

Ø What does Fonvizin believe in as a writer of the era of enlightenment? (Belief in reason, that law and education can correct the morals of society, is a direct expression of the author’s ideal.)

Ø Which canons of classicism does the writer depart from?

Ø 1. Hero-scheme, bearer of one quality (for Fonvizin - personality traits, types). Examples? (For positive heroes, Fonvizin creates a biography, like, for example, Starodum)

Ø 2. External comedy, built on farcical scenes - comic scenes intertwined with the action, constituting its basis, laughter has the power of negation. Examples?

Ø 3. Purity of the genre - mixing of genres (satire and humor). Examples?

Ø 4. Positive images hero traits really new people. Examples?

Ø 5. Conventional location of action, fictional pictures of life - a specific place of action, true pictures of everyday life. Examples?

Ø 6. More conditional characters - the conditioning of characters by environment, upbringing. Examples?

Let us now turn to the issue of creating a comic

Answer. Fonvizin uses “talking” names and self-exposing phrases.

Question. These are traditional techniques for the comedy of classicism. Pay attention to the appearance of extra-plot scenes, i.e. scenes not related to the plot, which was completely new in Russian drama.

Name such scenes. What do you think this gave the author?

Answer. Extra-plot scenes are, for example, the scene with trying on a caftan, Prostakova’s conversation with her brother, with Eremeevna. They allowed the author to deepen his understanding of the uncultured landowner family, the baseness of its demands and aspirations, the absence of high ideals, and the unreasonableness of such an intra-family structure. All this convinced the viewer of the verisimilitude and vitality of what was happening on stage.

Ø “Why are these scenes viewed with genuine interest?” (the characters of the negative heroes turned out to be more vital, deeper, more interesting.)

This happened for a number of reasons: the playwright tried to explain the characters’ characters by their living conditions and upbringing.

Ø Prove this with examples from comedy.

The speech of negative heroes highlights the individual characteristics of the heroes, we have already noted this in the example of Prostakova’s speech characteristics.

Ø Identify another feature of the comedy “The Minor”, ​​starting from Vyazemsky’s words about Prostakova: “Her image stands on the line between tragedy and comedy.”

Answer. The comedy combines the sad and funny, the sublime and the ordinary. And this was new for classicism.

Ø “What did you see as the peculiarities of the comedy’s ending?” (vice is punished, virtue triumphs. In fact, this did not happen, because the heroes did not take the path of virtue, which would contradict their moral essence.)

“ Of course, the comedy “Nedorosl” is a work of Russian classicism. But it is at the origins of Russian realistic literature. In Fonvizin’s play everything is Russian, national: theme, plot, conflict, characters. Fonvizin's great merit is that, being within the framework of classicist rules and conventions, he managed to destroy many of them, creating a work that was deeply innovative both in content and in artistic form.

Ø Concluding our conversation, let’s try to answer a few more questions: “Do you think that for our time, which is very difficult, imbued with a thirst for money and power, are the ideas so dear to Fonvizin viable?

Ø Are the ideas of citizenship and service to the Fatherland, so beloved by classicists, outdated today?

Homework:

1. Learn the lecture

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Why are the heroes of D. I. Fonvizin’s comedy “The Minor” close to the author?

Denis Ivanovich Fonvizin came from a Russified German family, original surname which was von Wiesen. The modern spelling Fonvizin was proposed by A.S. Pushkin much later.

At first, Fonvizin studied with private teachers, then he entered the gymnasium at Moscow State University, where he later studied. But he didn’t finish the University; he dropped out to start his military service. While still at the gymnasium, he made his debut as a writer and translator from German: when Fonvizin was a first-year university student, a translator was needed at court, and he was accepted into the service of the College of Foreign Affairs, where he worked all his life. In 1763, Fonvizin moved to St. Petersburg, where he met writers, incl. with Elagin: he joins his circle and becomes a fan of the theory of declinations.

Fonvizin as a playwright

1764 - Fonvizin’s debut as a playwright: he publishes the play Corion. It is poorly written, but in full accordance with the theory of declensions - it is a reworking of the French comedy.

After this failure, Fonvizin did not write for a long time; only in 1769 did he create a comedy Brigadier. From this play it is clear that Fonvizin understood: it is not enough just to give the characters Russian names, it is also necessary to introduce Russian problems into the play. In Brigadier this problem is gallomania- imitation of everything French, this was relevant in Russia mid-18th century century; another, no less current problem, - education of young nobles. But the influence of the theory of declinations is also felt in The Brigadier, because the plot device there is borrowed from French drama - this is the so-called. symmetry in red tape(situation when two married couples husbands simultaneously court other people's wives). But since the Brigadier was nevertheless sensibly adapted for Russia, it is considered the first Russian play.

At first, the production of The Brigadier in the theater was prohibited, because Elagin and Lukin were afraid that Fonvizin would take away their dramatic fame. And, in order to bring the play to the public, Fonvizin began to organize public readings. At one of them he met Count Nikita Panin, the teacher of the heir to the throne, Paul. Communicating with him, Fonvizin began to become more interested in politics and became bolder.

Fonvizin's ideals in the comedy Nedorosl

Fonvizin knew how to distinguish and describe any problems of Russian society, had a good sense of humor, and could think like a state. All this was manifested in his main work - comedy Minor, written in 1781. However, the comedy was first published only in 1830, after the death of Fonvizin.

The main problem that is raised in this comedy- education of a young Russian nobleman, ideas of enlightenment. This was very relevant in the 1780s, when even Empress Catherine herself thought a lot about education and was opposed to home education with tutors.

In the 18th century, there were several philosophical theories about education. According to one of them, initially a child is not a full-fledged person; he only copies the behavior of adults. Since Catherine shared this theory, she recommended separating children from their parents and placing them in educational establishments. Fonvizin, who was also a supporter of this theory, shows in the comedy Nedorosl the harmfulness of home education.

Fonvizin strives to prove that education is synonymous with happiness.

Comedy protagonist- a young nobleman Mitrofan, who has many negative role models before his eyes. Firstly, his mother, Mrs. Prostakova, is a cruel and willful landowner who does not see the point in education at all. Secondly, his nurse Eremeevna is a slave in spirit, from whom Mitrofan adopts the psychology of admiration for the strong (as well as from his father). Thirdly, his uncle, Taras Skotinin, is a nobleman who does not want to serve his fatherland; most of all, he loves his pigs. It is emphasized that Mitrofanushka learns something from all of them.

Despite the satire, the play was not originally intended to be funny. Contemporaries, reading it, were horrified.

Minor as a work of classicism

The comedy is undoubtedly a work of the era of classicism, but with some deviations from the canonical rules. For example, here only one rule from the trinity- unity of place, because All the action takes place on the Prostakov estate.

Present masked heroes: Sophia is the mistress, Starodum is the father (although he is not stupid!), he is also the hero-reasoner, Milon is the hero-lover, Mitrofan and Skotinin are negative suitors, Pravdin is god ex machina. There is no role of soubrette here.

In the play, as expected, five actions: exposition, plot, development of conflict, climax and denouement (which includes an unjustified denouement and catharsis when we feel sorry for Prostakov).

Classic conflict feelings and duty is expressed in the fact that goodies in this play they live, submitting to reason, the state and the will of their elders. Negative ones become slaves to their feelings, often evil and selfish. Of course, in the end, the positive characters are rewarded with happiness, while the negative ones end up losing.

Comedy contains many speaking names : Skotinin, Tsifirkin, Milon, etc.

The play is written in a low calm, easy spoken language, in prose.

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