Russian comedy began

long before Fonvizin,

but it started only with Fonvizin.

V. G. Belinsky

D.I. Fonvizin was the first Russian writer to raise his voice of protest against the savages of serfdom. He boldly denounced the autocratic serfdom of Catherine II. Fonvizin belonged to the progressive and educated circle of the noble intelligentsia. He was a supporter of moderate liberal reforms. Fonvizin did not raise the issue of abolishing serfdom and hoped to cope with the noble “evil morals” by establishing government control over the landowners. However, the comedy “The Minor” reflected more than what the author wanted to tell. Democratic-minded spectators and readers went further than D.I. Fonvizin. They saw that serfdom was hostile to everything truly human. The comedy was an exceptional success. One of his contemporaries recalls the first performance of “The Minor”: “The theater was incredibly crowded, and the audience applauded the play by throwing purses.”

Fonvizin subordinated the composition of the play to the rule of three unities, the basic rule of classicism. The events in the play take place over the course of one day and in one place - on the estate of the landowner Prostakova. All events are united around one main motive - the fight for Sophia. According to the rules of classicism, negative characters are opposed to positive characters. The author gives the characters names that indicate their main features: Skotinin, Vralman, Starodum, Pravdin, Tsifirkin.

Following the traditions of Russian classicism, Fonvizin develops the patriotic idea of ​​serving the motherland, promotes the high moral principles of civic duty and humane treatment of people, and creates images of positive heroes who cannot come to terms with social injustice. These are Starodum, Pravdin, Milon, Sophia. In the comedy, Starodum talks more than he acts. His character, views and activities are revealed in his speeches. He is a true patriot. His statements reflect the views of the most enlightened and progressive people of that time. The main thing for a nobleman is honest service to his homeland. A person can be assessed by his service to his fatherland: “I calculate the degree of nobility (that is, value) by the number of deeds that the great gentleman has done for the fatherland.” Starodum, in a conversation with Pravdin, sharply speaks out against the “court” - the highest dignitaries of the state and the queen herself. He demands legality, restrictions on the arbitrariness of the tsar and the serf-owning landowners. “It is unlawful to oppress one’s own kind through slavery,” he says. From his statements we learn about the morals of the court circle, where “almost no one drives on a straight road,” where “one overthrows the other,” where “there are very small souls.” Unfortunately, it is impossible to correct the morals of Catherine’s court, according to Starodum: “It is in vain to call a doctor to the sick without healing: here the doctor will not help, unless he himself becomes infected.” Starodum, an enlightened person whose soul is concerned about the fate of his homeland, naturally worries about who will come to replace them. Participating in Mitrofanushka’s exam, he speaks with pain about the principles of raising noble children: “What can come out of Mitrofanushka for the fatherland, for whom ignorant parents also pay money to ignorant teachers? Fifteen years later, instead of one slave, two come out: an old guy and young master." Fonvizin, through the mouth of Starodum, answers one of the most important questions of the era - the education of the younger generation. Only by cultivating good spiritual qualities can one grow a real person: “Having a heart, have a soul - and you will be a person at all times.” Pravdin, Milon and Sophia are depicted weaker; by their behavior, they seem to confirm the correctness of Starodum’s views. Milon picks up Starodum’s thought about the nobleman’s honest fulfillment of his duty to his homeland: “A truly undaunted military leader prefers his glory to life, but most of all, for the benefit of the fatherland, he is not afraid to forget his own glory.”

Sharply condemning the highest dignitaries of the state, the official Pravdin, on his own initiative, “out of his own feat of heart,” takes “under guardianship... the house and villages” of Prostakova. By Pravdin’s act, Fonvizin showed the government how to deal with cruel landowners. At the end of the play, as expected in classical comedies, evil is punished and virtue triumphs. Russian classicism is characterized by an interest in folk poetry and the folk language. The language of the comedy is so bright and apt that some expressions have turned into proverbs and sayings: “I don’t want to study, I want to get married,” “Wealth is no help to a stupid son,” “These are the worthy fruits of evil.”

But in the artistic style of comedy, the struggle between classicism and realism is noticeable. This is mainly manifested in the depiction of negative characters. These are living people, and not the personification of any one quality. The Prostakovs, Skotinin, Mitrofanushka are so vital and typical that their names have become household names.

Pravdin calls Prostakova a “despicable fury,” “an inhuman mistress, whose malice cannot be tolerated in a well-established state.” Prostakova is a product of the environment in which she grew up. Neither her father nor her mother gave her any education or instilled any moral rules. But the conditions of serfdom had an even stronger impact on her. She is not restrained by any moral principles. She feels her limitless power and impunity. Having robbed her serfs completely, she complains to her brother: “Since we took away everything the peasants had, we can’t rip off anything. It’s such a disaster!” She considers the only way to manage the house and the yard peasants to be swearing and beatings: “From morning to evening... I scold, then I fight; that’s how the house holds up!” In her house, Prostakova is a wild, powerful despot. Everything is in her unbridled power. She calls her timid, weak-willed husband a “weeper,” a “freak,” and pushes him around in every possible way. Teachers are not paid a salary for a year. Faithful to her and Mitrofan, Eremeevna receives “five rubles a year and five slaps a day.” She is ready to “grab” her brother Skotinin’s mug, “tear his snout head over heels.” She is hostile to enlightenment. “People live and have lived without science,” she says. But the wild and ignorant Prostakova realized that after Peter’s reforms it was impossible for a nobleman without education to enter the public service. That's why she hires teachers, forces them to study at least a little. But what kind of teachers are these! One is a former soldier, the second is a seminarian who left the seminary, “fearing the abyss of wisdom,” the third is a rogue, a former coachman. When drawing negative characters, Fonvizin avoids one-sidedness and schematism. Prostakova is not only an ignorant and mercilessly cruel landowner, but also a powerful wife and a loving mother.

The upbringing of the undergrown Mitrofan is an even more convincing example of the fact that the environment and living conditions determine a person in society and his outlook on life. In the image of Mitrofan, Fonvizin condemns the ugly education of noble undergrowth, the pernicious influence of the right of one person to oppress his own kind. Fonvizin convincingly shows the mental squalor and laziness of the undergrowth. Mitrofan has been studying the "backs" for three years. Cannot distinguish a noun from an adjective. According to Vralman, “his head is much weaker than his belly.” He is sixteen years old, but he is still considered a child who is looked after by his nanny Eremeevna and chases pigeons. His mother's example instills in him the makings of a rude despot, a serf owner. He doesn’t talk to teachers, but “barks,” and calls Eremeevna “an old bastard.” After the failure to kidnap Sophia, he shouts: “Take care of people!” Taking advantage of his position as a mama's boy, the spoiled young man threatens everyone by complaining to his mother.

The prevailing order in the house from childhood taught Mitrofan to subservience to influential people. The gentle son flatteringly says that he felt sorry for his mother, who was “so tired, beating the priest,” and when meeting Starodum, he calls himself “mother’s son.” Mitrofan is cowardly. This trait is revealed not only in his speech, but also in actions that are shameful for a person. He asks Eremeevna to shield him from his uncle. It costs him nothing to fall to his knees in front of Starodum after the failed abduction of Sophia: “It’s your fault, uncle!”

Showing how Mitrofan changes his attitude towards people depending on the position they occupy, D. I. Fonvizin reveals the callousness of his soul. The beloved son immediately lost interest in his mother as soon as power was taken away from her: “Let go, mother, you imposed yourself.” The name Mitrofan became a symbol of laziness, ignorance, and rudeness.

"Nedorosl" is the first Russian comedy with a pronounced socio-political content. This is the first comedy in which the positive features of Russian classicism are closely intertwined with a new literary direction - realism. Fonvizin was the predecessor of Griboyedov and Gogol. Analyzing "The Minor", "Woe from Wit" and "The Inspector General", Belinsky noted that these works "have become folk dramatic plays."

What is the role of positive characters in D. I. Fonvizin’s comedy “The Minor”?

2.5. Which stories from works of domestic and foreign literature are relevant to you and why? (Based on the analysis of one or two works.)

Explanation.

A typical technique for comedy of this time in the fight against evil was to contrast a negative phenomenon with a positive phenomenon, and in those cases where it did not exist in reality, it was depicted as supposedly really existing. In full accordance with these aesthetic requirements, Fonvizin contrasted the four negative characters of “The Minor” - Prostakova, Prostakov, Skotinin and Mitrofan - with the same number of positive characters - Starodum, Pravdin, Sophia and Milon.

The main positive character of the play, Starodum, is largely the spokesman for the author's opinions. Fonvizin would subsequently emphasize his like-mindedness with Starodum by naming a magazine after him, intended to serve as an organ of the same range of ideas that found vivid expression in Nedorosl.

One detail is noteworthy. Fonvizin did not say a word about whether the main positive hero of his comedy was a landowner. The author put a significant phrase into the mouth of Starodum: “it is unlawful to oppress one’s own kind through slavery.” Forming the center around which the positive characters of the play unite, Starodum appears on stage only in the third act. If the character of Starodum is distinguished by a certain static character, it still cannot be said that the main positive character of “The Minor” is an abstract scheme, “the container of all virtues,” as they said then. Talking about his past, Starodum does not hide the fact that he greatly regrets - the inappropriate ardor that prompted him to quit military service. He is not without a sense of humor and knows how to joke, as can be seen from his dialogue with Skotinin, who begins to understand that Mitrofan is not without reason interfering in his conversation with Starodum about marriage with Sophia.

Often, when talking about the positive characters of a comedy, critics put Starodum and Pravdin on the same level, considering them equally expressive of the author’s opinions. Meanwhile, Fonvizin himself, uniting Starodum and Pravdin on the basis of “honest people,” gives each of them an individual face. /.../

Starodum can be considered as a collective image, embodying not only the traits of Fonvizin himself, but also those of his contemporaries, for whom adherence to Peter’s “antiquity” was a unique form of rejection of Catherine’s “newness.” It was clear to the next generation that the image created by Fonvizin was rooted in Russian historical reality. Prototypes were found among the associates of Peter I and among Fonvizin’s inner circle.

I'M GOING TO CLASS

Lessons from Penza teachers

Methodological recommendations for conducting lessons on comedy by D.I. Fonvizin “Nedorosl” in 8th grade

From the compiler. This is a kind of continuation of the seminary “Lessons of Penza teachers”, published in No. 8 for 2003. Unfortunately, that selection did not include all the most interesting finds made by Penza wordsmiths. Today we offer our readers another material developed by a creative group of language teachers at school No. 51.
Let us note that teachers in this city work mainly according to the educational and methodological complex “In the World of Literature”, prepared by a team of authors edited by A.G. Kutuzova. Therefore, it is natural that all lessons are focused specifically on him.

Program (section “Russian literature of the 18th century and its traditions”). DI. Fonvizin. "Undergrown"

Main characters. Dramatic conflict. Features of the composition. Ways to create a comic effect. Reflection of the ideas of the 18th century in comedy. The importance of comedy for contemporaries and subsequent generations

Lesson 1. D.I. Fonvizin. “Nedorosl”: educational ideas and Russian literature. Commented reading of the playbill and the first act

Working with a textbook article

What is the role of the writer in the 18th century?

Why did Fonvizin know court life well?

What does an ideal state look like from the point of view of educators? (“We are obliged to obey and submit to every sovereign, without exception, since he has an indisputable right to this; but we must respect and love only his virtues” - Michel Montaigne.)

Why does Fonvizin choose drama?

Why is Fonvizin’s favorite genre comedy?

Individual message about the comedy “Brigadier”. What hero of the work we read can I compare Ivanushka with and why?

The pinnacle of the playwright’s creativity is “The Minor” (1782)

Working with an epigraph on the board

...There in the old days,
Satire is a brave ruler,
Fonvizin, friend of freedom, shone...
(A.S. Pushkin)

Teacher's opening speech

The connection between the playwright’s work and the historical situation, with social and artistic thought of the 70s and 80s.

Fonvizin was one of the first to touch upon the topic of serfdom - the basis of his contemporary social system. He considered the unlimited power of landowners over peasants to be a great social evil, which could lead the noble state “to the very brink of ultimate destruction and death.”

Remember the features of dramatic works

DRAMA (from Greek - action, action) is one of the main types of fiction (along with epic and lyric poetry). Written in a dialogical form and, as a rule, intended for production on stage; the basis of drama is action. Reproduces, first of all, the world external to the author. Dramatic works are characterized by acute conflict situations that powerfully induce characters to verbal and physical actions.

COMEDY is a dramatic genre that depicts life situations and characters that cause laughter.

Features of the composition of plays XVIII century- subordination of the composition of a stage work to the rule of three unities.

The events take place over the course of one day and in one place - a provincial manorial estate, in the house of the landowner Prostakova.

Independent vocabulary work

Card (8 groups). Explain the lexical meaning of the word. As a result of group work, a "Comedy Dictionary", the vocabulary of which is replenished throughout the work on the work.

Heartlessness - lack of gentleness, warmth; callousness, cruelty.

Voivode - in Ancient Rus' and in some Slavic states - the head of the army, district.

Garrison - belonging to a military unit located in a populated area, fortress or fortified area.

Dvorovy - belonging to the gentry. Yard people. Outbuilding for courtyards(noun).

Mongrel (collected) - under serfdom: domestic servants in a manor's house. Numerous d.

Noble - belonging to a nobleman.

Nobleman- a person belonging to the nobility.

Despotism - 1) autocratic rule. Monarchical village; 2) the behavior of a despot (in the second meaning). D. tyrant.

Careerism - pursuit of a career, desire for personal well-being, career advancement in personal interests.

Selfishness - desire for personal gain, profit, greed.

Serf - serf peasant.

Serf owner - owner of serfs, champion of serfdom.

Scammer - a person who engages in fraud, a rogue, a swindler. Small m.

Minor - in Russia in the 18th century: a young nobleman who had not reached the age of majority and had not yet entered the public service; trans.- a stupid, half-educated young man ( decomposition iron.).

Reproof - expose, reveal something unseemly, harmful, criminal, severely condemn. O. vices.

Guardianship - a form of protection of personal and property rights of incapacitated persons (children who have lost their parents, the mentally ill). Take custody. Establish guardianship.

Opposition - opposition, resistance ( book). About someone's politics. To be in opposition to someone or something(if you disagree with someone’s views and actions, oppose them).

Estate - land ownership of the landowner. Large, small p.

Dedicate (what, who-what) - to designate, to give. P. your life to work.

Privilege - preemptive right, preference. Privileges for war veterans.

Courtier - a person who is attached to the monarch (as well as a member of his family) and is part of his entourage.

Enlighten (who, what) - transfer knowledge to someone, spread knowledge, culture.

Devastation (who, what) - violation, destruction of someone’s material well-being, reduction to poverty. R. family.

Collusion - engagement, agreement between the parents of the bride and groom ( outdated).

Stinginess - great stinginess, greed.

Acquisitiveness - greed, desire for profit.

hard worker - a person who works; hardworking person. Village workers.

Petitioner - the one who submits the petition.

Petition - in Russia until the beginning of the 18th century: written petition, complaint. Submit a petition.

Favorite - a favorite of a high-ranking official, receiving benefits and benefits from his patronage.

Assignment for working with a dictionary: be able to explain the lexical meaning of words, create phrases and sentences with words, select words from the dictionary that may be needed in working on the characterization of the hero, interpreting the author’s position, and so on.

Who is the main character of the play for you?

Prostakova - a play about her fate. Sophia- the reason for the rivalry between Mitrofan, Skotinin, Milon. Starodum- everything depends on his opinion. Mitrofan- after all, the play is called “The Minor.”

Working with the title(teacher's comment)

According to the order established under Peter I and Empress Anna Ioannovna, every seven-year-old boy-nobleman was obliged to appear at the Heraldry School-Office of the Senate, say how old he was, what he studied, where his parents and ancestors served, how many serf souls his parents had. Then the “juniors,” as the boys were called then, were sent home. Five years later, at the “second examination,” the child should already be able to read and write. After that, he was sent to military or civilian service, allowed to stay at home only if the parents agreed to teach their son a foreign language, arithmetic, and the Law of God. At the age of fifteen, the young man appeared at a new review, and he was either assigned to an educational institution, or they took a subscription that he would learn geography, history and military engineering.

Working with a poster

Commented reading of the poster. Speaking names.

Development of dramatic conflict. What is the balance of power in the play?

The Prostakovs-Skotinins, ignorant backward landowners-serfs, are contrasted with the noble intellectuals Sophia, Starodum, Milon, Pravdin. ( Who is related to whom?)

What are the goals and aspirations of both groups?

Selfish money-grubbers are contrasted with those who desire justice, convinced opponents of “evil-minded ignoramuses,” educated and humane people.

Based on this, how do you imagine the conflict that arose between them?

Commented reading and analysis of the first act

Nothing tormented my heart more than innocence in the hands of deceit. I have never been so pleased with myself as when I happened to snatch the spoils of vice from my hands.(Starodum)

Reading the scenes and dialogues of the first act

How are the characters of the Prostakovs, Mitrofan, and Skotinin revealed in the first scenes? How do they behave, what is their speech?

Trying on a caftan (phenomena 1–3). Prostakova’s barbaric attitude towards serf servants, her lust for power and despotism.

The theme of lordly tyranny is the main one in the play. (The play begins with a scene with the tailor Trishka, who is being bullied by the “inhuman lady.”)

“Mitrofanushka... mother’s son, not father’s son”(phenomena 4). Mitrofanushka is a spoiled and unscrupulous “mama's boy”.

“The plans of Prostakova and Skotinin”(phenomena 5).

Skotinin is a stupid rude man, a cruel landowner, preoccupied with the upcoming “conspiracy” with Sophia.

The dialogue between Prostakova and Skotinin characterizes them as cruel serf owners. “Since we took away everything the peasants had, we can’t take anything back. Such a disaster!” (Prostakova complains to her brother.)

Self-interest, acquisitiveness, profit - the behavior of Prostakovs and Skotinin is subordinated to them.

Serfdom ,Fonvizin believes, not only does he reduce the peasants to the position of uncomplaining slaves, but he also stupefies the landowners.

Why does Skotinin want to get married? Do you like “Girl”? No, we need her “villages”, in which there are pigs: Skotinin “has a mortal desire” for them.

So, EXPOSITION of the play - acquaintance with the characters took place.

Why did Prostakova initially have nothing against her brother’s marriage to Sophia? ( I considered her a dowry.)

Prostakova changes her plans(phenomena 6)

Why does she change her plans? ( He finds out that she is the heiress of a rich uncle, Starodum.)

What is so funny about her behavior? (Inconsistency: he wants to consider his fiction as truth, but presents the truth as fiction.)

What interesting things will we learn about Prostakova? ( Can't read.)

It is from this event that the dramatic conflict begins to develop - this is the PRINCIPLE of the play. And it seems that nothing will help Sophia.

The balance of power is changing not in favor of Prostakov-Skotinin(Revelation 8).

What event changes the balance of power? (Soldiers came to the village to stay, led by officer Milon, Sophia’s fiancé. He is a friend and like-minded person of Pravdin, a staunch opponent of the “evil-minded ignoramuses.”)

Lesson 2. Commented reading of comedy: speech and actions as the main means of creation character in a dramatic work

Checking homework: discussion of the compiled text of the presentation, its comparison with the sample text.

Morning in Prostakova's house

Morning. The all-powerful lady examines the caftan made by the tailor Trishka. And although the caftan is sewn “pretty well,” it is difficult to please a capricious lady. “Thief”, “thief’s mug”, “blockhead”, “swindler” - these are the mildest epithets with which she rewards her servants.

A frequent guest at the Prostakov estate is her brother Skotinin, whose very name speaks volumes. Today he came to his sister to set the day for the “conspiracy.” The fact is that Prostakova, having robbed her distant relative Sophia “legally,” decided to marry her off to her brother. Of course, Sophia’s opinion is not asked.

And here is Prostakova’s son, Mitrofanushka, in whose character the features of the same serf owner as his mother and uncle are clearly visible. But in some respects he went even further than his mother. Prostakova loves her son in her own way, but the ignoramus is heartless and rude to her. However, he understands very well who is the real boss in the house, and therefore clumsily flatters his mother, telling his dream. Mitrofan “feels sorry for mother,” who is so tired, “beating father.”

Thus begins the action of this wonderful comedy by D.I. Fonvizin, and before us appears the life of a landowner’s estate of the 18th century.

Work on the topic of the lesson: what happens in the second act?

Positive characters meet, talk, find moral support and mutual understanding.

Phenomenon 1

Why does Pravdin come to the village? (He has a duty assignment to travel around the district; at the behest of his heart, noticing the use of power over people by landowners for evil, he strives to correct the situation.)

Phenomenon 2

What did Pravdin discover at the Prostakov estate? (“I found a landowner, a countless fool, and a wife, a despicable fury, whose hellish disposition brings misfortune to their entire house.”)

Phenomenon 3

What is Skotinin’s cherished dream? How is his last name reflected in his speech?

Phenomenon 4

How does Eremeevna’s character appear in this scene? What did we learn about Mitrofan’s character by reading about the clash between rivals?

Phenomenon 5

How does Prostakova manage her estate? (Find her self-characteristic.)

Important: the characters of the negative characters are clearly outlined.

Homework (optional)

1. Select aphorisms that speak about the life principles of Starodum (act III, phenomena 1 and 2; act V, phenomenon 1).

2. Complete a written presentation "Biography of Starodum".

Lesson 3. The concept of dramatic conflict and its development. Reading by role of individual comedy scenes

Analysis of the third act

The mind, if it is only the mind, is the most trifle. With runaway minds we see bad husbands, bad fathers, bad citizens. Good behavior gives him a direct price.(Starodum)

Phenomenon 1

Whose worldview does the conversation between Starodum and Pravdin introduce us to? (The dialogue introduces the worldview of advanced noble intellectuals who sharply criticize the “depraved age” of Catherine II, her idle and vicious nobles and ignorant serf-owners.)

The images of the bearers of virtue are Starodum and Pravdin. Positive images of lovers - Sophia and Milon. They are entrusted with the thoughts and feelings of the playwright himself and those close to him. They talk about what is dear to the author: the need to instill in a person from childhood a sense of duty and love for the Fatherland. Infallible honesty, truthfulness, self-esteem, respect for people, contempt for baseness, flattery, dishonesty. They put forward concepts about honor, nobility and wealth that are directly opposite to simpletons of all ranks.

Their speeches reveal the arbitrariness of the government, which creates in Russia people unworthy of being human, nobles unworthy of being nobles.

Checking homework

Reading written work "Biography of Starodum." Make sense of the “speaking surname”(what and who is the author’s ideal). Peter I and his era.

Working with cards “Life Principles of Starodum”(by rows). Determine what socio-political and moral issues it addresses. Formulate and write them down. If possible, supplement the cards with your own examples.

Card I

• In that century, under Peter I, the courtiers were warriors, but the warriors were not courtiers.
• In the great world there are small souls.
• Where the sovereign thinks, where he knows what his true glory is, there mankind cannot but return their rights.
• It is in vain to call a doctor to the sick without healing: the doctor will not help unless he himself becomes infected.

Card II

• It is unlawful to oppress your own kind through slavery.
• An ignoramus without a soul is a beast.

Card III

• The ranks begin - sincerity ceases.
• Ranks are often begged for, but true respect must be earned.
• A truly inquisitive person is jealous of deeds, and not of rank.

Card IV

• Cash is not cash worth.
• Riches are no help to a foolish son.
• The golden fool is still a fool.

Messages on the results of group work

1) The role of government is to know what its role is: to protect human rights. The Tsar and the great world are “incurably ill,” “small souls,” instead of serving the state, care about their careers.

Starodum does not hide his opposition to Catherine’s monarchy. In the army, noble idlers who have never been in a single battle enjoy themselves, while military officers are neglected. Flattery, rivalry, and mutual hatred soar at court. Anyone who does not want to lie, be hypocritical, or flatter in the fight for a warm place, resigns, as Starodum did. So, to be in favor at court, you must be dishonest. It is difficult to characterize the situation more sharply. And although Starodum does not say a word about the empress, it is clear that rewards for the dishonest can fall at the court of either a stupid or a dishonest monarch. Nobody thought Catherine II was stupid.

Fonvizin, as Panin’s secretary, lived at court until 1773 and saw with his own eyes the fierce struggle of court groups and individuals on the narrow road to the favor of the empress, “where two people, having met, cannot separate. One knocks the other down.”

The continuation of Starodum's conversation with Pravdin completes the gloomy picture. To Pravdin’s words that people like Starodum should be called to court for the same purpose for which a doctor is called to the sick, Starodum replies: "My friend! You're wrong. It is in vain to call a doctor to the sick without healing. The doctor won’t help here, unless he gets infected himself.”

Arbitrariness of the government as a result of the unlimited power of the empress and her favorites, arbitrariness of the bureaucracy, natural in a country where there is no firm legislation, arbitrariness in a serfdom, where the power of some people over others is not limited in any way and is not controlled by anyone, arbitrariness in the family, the pursuit of power everywhere , the insatiable power of wealth, the measure of which determines the strength of power - these are the links of a single chain that fosters servility, baseness of soul, meanness - anything but humanity.

2) Serfdom is illegal. If an uneducated person does not yet have a soul, he is a beast.

The “minor” only demanded a human attitude towards the serfs. “It is unlawful to oppress one’s own kind through slavery,” says Starodum. But Fonvizin realized that moral preaching did not reach the consciousness of the serf owners, that conviction alone could not influence tyrants corrupted by uncontrolled power. According to the writer, government intervention is necessary. And the law at that time forbade the landowner only to kill the peasant. Prostakova did not kill anyone, did not maim, did not burn her maids with tongs, like Countess Kozlovskaya, did not force footmen to tickle girls in her presence until they gave up the ghost, did not drive naked people out into the cold, did not sew the fingers of an inept seamstress to her body, even did not flog her to death, as many, many nobles did. Prostakova is not Saltychikha, who tortured 140 peasants. She is an ordinary ordinary landowner, and the fact that Fonvizin portrayed her exactly like this is the great strength of comedy, its deep truth of life. Saltychikha, Kozlovskaya and other monsters were spoken of as exceptions. The image of Prostakova, which absorbed the features of thousands of landowners, was, according to the author’s plan, to become a living reproach to the gentlemen in whose houses the same thing was happening. And not only gentlemen. Having forced Pravdin to take custody of Prostakova’s estate at the end of the comedy, Fonvizin tells the government a way out: all landowners who cruelly treat the peasants should be deprived of the right to own peasants. Everyone, not just rabid killers.

3) Service. The main thing is not rank, but deeds.

“It is much more honest to be treated without guilt than to be rewarded without merit.” “I will calculate the degree of nobility by the number of deeds that the great gentleman did for the fatherland...”

4) Wealth is not about money.

The enormous influence on human relations of another terrible force is the power of money. In “The Minor,” Fonvizin showed that “money is the first deity,” the sovereign masters over the serfs are themselves slaves of money. Mrs. Prostakova is rude to everyone who depends on her, and she fawns over Starodum after learning that he has ten thousand. She pushes Sophia around at the beginning of the play and ingratiates herself with her, a bride with wealth. She remembers with pride father, who knew how to make a fortune with bribes, and, without hesitation, teaches his son: “If you found the money, don’t share it with anyone.” Take everything for yourself, Mitrofanushka.” “A rich man... is one who takes away what he has in excess in order to help someone who does not have what he needs.”, says Starodum.

5) Wealth in spiritual qualities. The dignity of a person is his soul, his heart.

What can Fonvizin do against all this? Faith in the good principles of the human soul, capable, according to the enlighteners, of distinguishing bad from good; hope in the power of conscience - a faithful friend and strict judge of man; moral sermon: “Have a heart, have a soul and you will be a man at all times” and the like.

To Pravdin’s remark: “So, you left the courtyard with nothing?” - Starodum replies: “The price of a snuff box is 500 rubles. Two people came to the merchant. One paid the money and brought home a snuff box. Another came home without a snuff box. And you think that the other one came home with nothing? You're wrong. He brought home his 500 rubles intact. I left the court without villages, without a ribbon, without ranks, but I brought mine home intact, my soul, my honor, my rules.”

Starodum resigns, not wanting to oppress his own kind with slavery, he leaves for Siberia, acquires a small fortune there and, upon returning, preaches his views in a narrow circle of people close to him. Fonvizin acts more courageously: he writes “Minor.” And he understands the meaning of his act, through the lips of Milo, placing the fearlessness of a statesman who speaks the truth to the sovereign, at the risk of angering him, above the fearlessness of a soldier going into battle. Death in battle is honorable. Disgrace threatens with dishonor, slander, doom to inaction, and moral death.

Fonvizin is not afraid of disgrace. But, having pronounced a harsh sentence on Catherine's Peseta, what could he offer in return? What are those new, different from European, ways and forms of life about which he wrote to Bulgakov? The playwright did not rise above the idea of ​​​​replacing the tsar's bad advisers with Starodums, bad officials with Pravdins, military careerists with Milons, bad landowners with good ones.

Generalization.

What behest of his father does Starodum consider most important for himself? What aphorisms do you find interesting and important today?

Lesson 4. Workshop “Traditions and innovations of comedy by D.I. Fonvizin “Minor”

1. Traditions of classicism in comedy. Features of plays of the 18th century (individual message)

• Subordination of the composition of a stage work to the rule of three unities: place, time, action.

Are these three unities observed in Fonvizin’s comedy? The events take place over the course of one day and in one place (in a provincial manor’s estate, in the house of the landowner Prostakova).

• Satire should correct morals, teach. Does comedy correct morals, what does it teach?
• Vice And virtue must be presented clearly, and virtue must, of course, triumph.

The main characters of the comedy are sharply divided into two camps. In one - representatives of vice, “evil morality” - Prostakova, Skotinin, Mitrofan. In the other camp, the bearers of virtue are Starodum, Milon, Pravdin, Sophia.

Does virtue win? Virtue truly wins.

• According to the traditions of classicism, every hero should have some kind of one characteristic feature.

Determine what basic quality heroes, carriers of what vices or virtues they are.

Prostakova is “malevolent”, Prostakov is downtrodden, Skotinin is bestial, Mitrofan is ignorant, Starodum is straightforward, Pravdin is honest, Sophia is noble...

• In the plays of that time there is always a hero who directly expresses the author’s ideas, his most cherished and dear thoughts.

In “Nedorosl” this is Starodum. Its main task is to express what the author wants to inspire in the audience.

2. Innovation of Fonvizin the playwright

• The heroes of the comedy turned out to be much more complex than tradition required. They are not just walking masks of virtue or vice.

Are Kuteikin, Vralman, Tsyfirkin, Eremeevna bad or good? There is no definite answer.

Fonvizin follows the classical tradition in depicting positive heroes. By portraying negative heroes, he departs from this tradition.

Prove that Prostakova is not only malicious, find her positive qualities.

Prostakova cruel and rude, but she loves his son madly. At the end of the comedy before us suffering mother, losing her last consolation - the consolation of her son. It no longer evokes laughter, but sympathy.

Determine the qualities of Mitrofan’s character that go beyond the definition of an ignoramus and a “mama’s boy.”

Mitrofan not only an ignoramus and a “mama’s boy”. He cunning, knows how to flatter his mother (story about a dream). Smart(answer to Starodum’s question). Heartlessness- this is his most terrible feature. “An ignoramus without a soul is a beast,” says Fonvizin. Mitrofanushka the ignoramus is funny, but the one who repels his mother is terrible.

• Fonvizin's innovation lies in his ability to structure the speech of his characters in such a way that the reader imagines the characters of the characters.

Individual tasks for compiling speech characteristics

Prostakova's speech is illiterate, but very changeable. From timid, obsequious to domineering and rude. Support with examples.

Skotinin’s speech is not only rude, but also fully corresponds to his surname. He talks about himself and others as if they were animals. Support with examples.

The speech of Starodum is the speech of an educated, cultured person. She is aphoristic, sublime.

What is unique about the speech of Kuteikin, Vralman, Tsyfirkin?

• Everything in the play is national: theme, plot, social conflict and characters. And in the works of classicism, in the depiction of characters, they sought to reveal not the individual, but the general, eternal, inherent in people of all countries and times.
• Virtue wins.

But why do the positive heroes win?

They win accidentally. Not because there is a fair law. Pravdin turned out to be an honest man. The local governor is a good man. Uncle Starodum arrived on time. By chance, Milon led a detachment through the village. A coincidence of happy circumstances, and not the triumph of a just law.

The author's idea is innovative. The idea of ​​enlightenment is not new. Fonvizin argues that enlightenment alone is not enough. “Science in a depraved person is a fierce weapon to do evil,” says Starodum. “Enlightenment elevates one virtuous soul.” First you need to cultivate virtue, take care of the soul, and then the mind.

The playwright believes that such a law is needed so that virtue is beneficial, so that everyone understands that “without good morals no one can go out in public. Then everyone finds his advantage in being well-behaved and everyone becomes good.”

Thus, it turns out that the landowners are not to blame for their evil behavior, it is the officials and the sovereign who are to blame for not establishing a good law.

A truly statesman in comedy is Starodum (he thinks in terms of the era of Peter I). Unfortunately, in the modern era the author does not need either honesty, courage, or concern for the benefit of the state.

Starting with the comedy “The Minor,” Russian literature entered into a noble struggle with state power, a struggle for justice and for people.

4. Aphorism

A short expressive statement containing a generalizing conclusion.

Individual task: find and list Fonvizin’s expressions, which enriched Russian speech with catchphrases and became aphorisms.

Homework. Retelling an article from a textbook; prepare answers to questions (according to options).

Speech characteristics - great achievement of Fonvizin.

Prostakova is a powerful landowner, speaks abruptly, imperiously, often shouting, distorting words, using rude expressions and insulting others. Affectionately addresses only Mitrofan.

Starodum- an educated and humane person. His judgments are apt and witty (“There are small souls in the big world”, “Cash is not dignity”).

A vivid imagination and warm-hearted responsiveness showed up early in Fonvizin’s relationships with others. He was able to feel the condition of another person as his own and, in his words, “he was not afraid of anything more than to do someone injustice, and for this reason he was not so afraid of anyone as of those who depended on me and who had to answer.” I wasn’t able to.”

However, this did not mean that he was timid and compliant.

“My penchant for satire manifested itself very early. My sharp words rushed around Moscow. Just as they were sarcastic to many, the offended declared me to be an evil and dangerous boy. They soon began to fear me, then to hate me... My writings were sharp curses: there was a lot of satirical salt in them, but not a drop of reason, so to speak,” the writer admitted.

For example: “Oh, Klim, your deeds are great! But who praised you? Relatives and two stutterers.”

From his youth, Fonvizin mastered the art of “imitation”, acting impersonation. He was characterized by the ability to “take on the face” of a familiar person and speak “not only with his voice, but also with his mind.”

In all his first experiments, the gift of words is evident.

Working on the topic “Speech characteristics of heroes”

Target: show high dramatic skill in creating speech characteristics.

1. Individual tasks:

1) life of Kuteikin; biography of Tsyfirkin; Vralman's life;

2) vocabulary unique to Kuteikin; Tsyfirkin; Vralman.

2. Work with the class. What is unique about Kuteikin’s speech?

Speech half-educated seminarian. It is built on Church Slavonic vocabulary and phraseology, and is rich in forms of the Church Slavonic language: pitch darkness, the talk of the town; woe to me, a sinner; the local diocese, he was hungry, he was called and died; God willing, so that the Lord does not make me wise too and so on.

What is unique about Tsyfirkin’s speech?

The speech is based on the fact that he is in the past was a soldier and now teaches arithmetic. Hence, in his speech there are constant calculations, as well as military terms and phraseological turns. Give examples to prove this.

What is unique about Vralman’s speech?

Write a brief description of the speech. Give examples.

3. Tasks for working in groups:

Compile a speech characteristic of Skotinin(Only one group works in this lesson).

• speak, characterizing Skotinin.
• Prove with comedy materials that the entire lexical composition of Skotinin’s speech characterizes his bestial character. For evidence, use not only lexical material, but also syntactic structures.

Work on the comedy text(continuation)

Phenomenon 3

Reading by role(Prostakova, Milon, Skotinin, Starodum, remarks by the author)

How do the relationships between Starodum, Pravdin, Milon and Sophia differ from the relationships between Prostakovs and Skotinin? What is amazing about the relationship between brother and sister?

Lack of related feelings. (“Let me go! Let me go, father! Give me a face, a face...")

Phenomenon 7

Reading by role(Prostakova, Mitrofan, Tsyfirkin, Kuteikin, remarks by the author)

How does Mitrofanushka's training take place?

How does Prostakova explain the necessity of his teaching?

How is the teaching going?

Who are Mitrofanushka's teachers?

How does Mitrofan himself feel about teachers and teaching?

Important: The theme of the upbringing and education of young nobles runs through the entire comedy. “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"(appearance 1. d. 4).

The education that Prostakov gives to his son kills his soul. Mitrofan loves no one but himself, does not think about anything, treats teaching with disgust and is only waiting for the hour when he will become the owner of the estate and, like his mother, will push around his loved ones and uncontrollably control the destinies of the serfs.

Analysis of the fourth act. Reading on the roles of Starodum's advice (phenomenon 2).

Homework

Task for everyone: compare Prostakova in Mitrofon’s lesson and Starodum in a conversation with Sophia. What do they teach, what do they consider important - ideals of heroes in whom? What kind of people do they want their children to be?(It is advisable to do it in the form of a plan, a comparative table.)

Individual tasks:

• life of Kuteikin; biography of Tsyfirkin; Vralman's life;
• vocabulary inherent only to Kuteikin’s speech; Tsyfirkina; Vralman (prepare orally);
• prepare an analytical retelling of the fifth act;
• answer the questions:

What does Starodum say about education and enlightenment? What does he think is more important? What ways does Starodum see to make people kind?

What “deserved reward” does each of the comedy heroes receive? How did Prostakova’s malice turn against herself in the last act?

Lesson 5. Continuation of the practical lesson

Group work assignments(continuation):

Compose a speech characteristic of Prostakova.

• Analysis of the author's remarks. Choose synonyms for the verb speak, characterizing Prostakova.
• Analysis of appeals in Prostakova’s speech: how they change depending on the situation.
• Prove with comedy materials what reveals the character of a rude, unrestrained, tyrant person. For evidence, use not only lexical material, but also syntactic structures.

Compose a speech description of Starodum.

• Analysis of the author's remarks. Choose synonyms for the verb speak, characterizing Starodum.
• Prove with comedy materials that Starodum’s speech is full of bookish vocabulary and testifies to his education and high morality. For evidence, use not only lexical material, but also syntactic structures.

Checking group work.

Summarizing: With the help of speech features (characteristics), the author managed to create unforgettable images of comedy heroes. Let us remember that speech characterization is the main means of creating an image in a dramatic work.

Continuation of the analysis of the fourth action.

Prostakova adapts to Starodum's demands and changes her tactics. She pretends to be a hospitable hostess of the house, trying to please the honorable guest. He never misses an opportunity to praise himself and Mitrofan. Sharp transitions in behavior - from rudeness to exaggerated courtesy - reveal Prostakova’s deceit and hypocrisy.

Scene "Mitrofan's Exam" (phenomena 9), reading (possibly with elements of dramatization) and brief explanations.

What can be said about Mitrofan’s knowledge?

Does a nobleman need science? How do Prostakova and Skotinin answer the question? What was Prostakova up to when she learned about the upcoming departure of Sophia and Starodum?

Checking individual assignments.

Retelling and analysis of the fifth act of the comedy.

What does Starodum say about education and enlightenment? What does he think is more important? What ways does Starodum see to make people kind?

What “deserved reward” does each of the comedy heroes receive? How did Prostakova’s malice turn against herself in the last act?

Result: The goals of Prostakov and Skotinin are insignificant and base (enrichment at the expense of the suffering of other people). The positive characters of the play strive for the triumph of justice and truly human feelings.

Analysis of the final scene

What led Prostakova to disaster? Who is more right in explaining the cause of Prostakova’s misfortune: Pravdin (“mad love” for Mitrofan “brought her down the most”) or Starodum (“had the power to do bad things to others”)?

How does Prostakov see his son and what is he really like? Prostakova turns to her son for sympathy. But he rudely pushes her away: “Go away, mother! How I imposed myself...” To the sorrowful cry: “I don’t have a son!” - Starodum responds with words full of deep meaning: “These are the worthy fruits of evil!”

Homework

Choose a topic for your essay (the topics are suggested in the textbook) or come up with your own wording. Select material for it.

Lesson 6. Creative workshop: working on an essay on the comedy of D.I. Fonvizin "Minor"

Essay topics suggested for analysis:

• “Cheerful” family.
• Funny and sad in Mitrofan.
• Life of Starodum.
• Teacher Mitrofan.

Three main laws(Imagine that you have the opportunity to establish three laws. What laws will they be? How to formulate them? How to explain their meaning to people?)

• Education and upbringing.(What is the difference between education and upbringing? Are a well-mannered and an educated person the same thing? What, in your opinion, should be the main goal of upbringing? What is the goal of education?)

Essay preparation work

Independent selection of episodes of a literary work. Their analysis, determined by this topic. What is a characteristic?

Characteristic- this is a description of a living person and character, that is, stable characteristics of a person that depend on the lifestyle and are manifested in actions, deeds and statements.

How is an essay structured - characterization of a character?

1. Thesis - an idea is expressed.

2. Arguments - proven by examples from the text.

3. Conclusion - logical generalization.

Characteristics of Mitrofanushka

(Essay; main points)

What determines a person's character?

From the environment, life, conditions of formation of a young man as a person. This is exactly how D.I. solved this problem. Fonvizin in the comedy "Minor". Its importance is emphasized by the title itself.

General notes about the character

Mitrofanushka, the “minor,” is one of the main characters of the comedy. Mitrofan is a Greek name and translated into Russian means “resembling a mother.” This is a fifteen-year-old young man, the son of provincial landowners, despotic and ignorant serf-owning nobles.

Logical transition. New thought

“Resembling his mother”... This already says a lot. But no, in some respects he went further than his mother.

Generalization, transition and new thought

His mother loves him (albeit in her own way), but Mitrofan only pretends to be loving. In fact, he is heartless, extremely selfish and rude.

Proof

At the end of the comedy, when Prostakova seeks his sympathy, the “minor” rudely pushes her away: “Get off yourself, mother! How imposed.”

Intermediate thesis

His rudeness and cruelty are manifested in everything.

Proof

“Teachers” came to him - he grumbles: “Get them shot!” He calls Tsyfirkin, who really wants to teach him something, a “garrison rat.” The old serf nanny Eremeevna hears only abuse addressed to her for all her worries. And after failing to kidnap Sophia, he and his mother intend to “take on people,” that is, flog the servants.

Logical generalization

Thus, teachers are enemies for him, and servants... he doesn’t even consider servants to be people.

Transition to a new thought

But, speaking about Mitrofanushka’s character traits, one cannot fail to mention his extreme ignorance...

Work assignments:

Come up with your own introduction to the work.

Divide the text into paragraphs.

Styling tips:

There is no need to use many quotes, especially large ones.

Avoid repeating words, use synonyms.

Use only those words and expressions that you understand.

Make sure to use the correct word order in the sentence.

Do not write fragmentary, unfinished sentences, subordinate clauses without the main one.

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Mistakes that are often made:

• unclear or erroneous formulation of thoughts;
• lack of evidence or insufficient evidence;
• inconsistency of evidence of the expressed idea;
• lack of logical generalizations;
• lack of logical connection between individual parts of the essay.

Phenomenon I

Starodum and Pravdin

Phenomenon II

The same, Milon, Sofya, Eremeevna.

Starodum. My friend! What's happened? Pravdin. What an atrocity! Sophia. My heart is trembling! Eremeevna. My little head is missing!

(Together.)

Scene III

The same, Mrs. Prostakova, Prostakov, Mitrofan.

Prostakov. Am I to blame? Mitrofan. Take on people? Mrs. Prostakova. I don't want to be alive.

(Together.)

Mrs. Prostakova. To the groom! Prostakov. We are good! Mitrofan. To hell with everything!

(Together.)

Prostakov. Guilty without guilt! Mitrofan. It's your fault, uncle!

(Together, throwing themselves on their knees.)

Phenomenon IV

Same with Skotinin.

Everyone jumped up from their knees.