What does the author of the undergrowth mean in the concept? Denis Ivanovich Fonvizin() “Minor

Text based on the comedy by D.I. Fonvizin "" Minor "

“Here are the fruits of evil.”

This phrase ends the comedy of the satirical writer D.I. Fonvizina. The comedy is written in the style of classicism in compliance with all the requirements of this direction. This is a pronounced morality, positive and negative heroes, adherence to three unities.

The official Pravdin, having arrived at the estate of the landowner Prostakova, investigates the facts of the atrocities that the inhuman serfdom committed against her “subjects”, serfs, “people”. Her cruelty and malice become known in the “government,” that is, in official circles.

Pravdin, Starodum, Sophia are witnesses to how this illiterate, ignorant, greedy woman holds all the power in the house in her hands, how those around her, members of her family, hate her; and the servants, being completely dependent on her, tremble at any manifestation of the mistress’s malice and tyranny.

The word “malice” has an ambiguous and broad meaning. Serfdom as part of the social structure of Russia leads to the most destructive and harmful consequences. The evil of serfdom destroys the souls and spoils the morals of the masters, the feudal landowners, and makes the life of the serfs dependent on them miserable.

The omnipotent and imperious Prostakova is confident in her impunity, so at any time she can arrange a “task” for the servants who are guilty before her, and she has “every guilt to blame”: the landowner will always find something to blame them for. When Sophia’s abduction did not take place, Prostakova angrily exclaims: “Take care of people!”, meaning her servants.

Prostakova, Skotinin, Mitrofan have no spiritual interests. They strive only to enrich themselves and satisfy their selfish interests.

“Evil morality” gives rise to narrowness of thinking in people, poverty of experiences, and reluctance to participate in public life.

Prostakova adores her lazy and narrow-minded Mitrofanushka and does not want to know that he is not only her son, but also a citizen of Russia, called upon to serve the interests of society and the state.

Prostakova hopelessly ruined her son’s character with her so-called “upbringing.”

He is rude, callous in soul and at the same time shows ingratitude towards his mother, who seeks support and support in him. When the official Pravdin, as a representative of the authorities, is ready to sternly confront Prostakova for her atrocities, and the estate is taken under the guardianship of the “government,” the landowner completely loses her head from grief and humiliation. Desperate, she asks Mitrofan for support, but the little one is indifferent to the requests of his parent. “Go away, mother! How intrusive!” - he exclaims. The behavior of the ungrateful son causes indignation even among strangers, Pravdin and Starodum. Starodum defines as an official person future fate young nobleman: he will have to “serve.” Mitrofan greets this decision with indifference: “For me, wherever they tell you to!”

The play ends with a depiction of the mother's grief and the son's unfortunate fate. “These are the fruits worthy of evil!”

The work “Undergrowth”, created by D.I. Fonvizin in 1782, is realistic in idea and instructive in meaning. The comedy met the basic requirements of classicism as a literary movement. It carried the idea of ​​moral strengthening of Russian society and contained criticism of serfdom as one of the main vices in the social structure of Russia.

To educate genuine citizens of their fatherland from undergrowth is the task of Fonvizin, a thinking, enlightened artist who “served Russia, its interests, and its people.”

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In “Nedorosl” D.I. Fonvizin reveals in a satirical form the typical atmosphere of everyday life landed nobility, while observing the system of images characteristic of literary classicism. The very name of the comedy speaks of false education, and the text uses “speaking” surnames.

The author classifies the Prostakov family as negative heroes, using the apt definition of “malicious ignoramuses” in relation to them. Already from the first pages of the play, the reader understands how poorly educated and cruel the Prostakov landowners are towards people of the lower class.

The mistress of the estate is very despotic by nature: she constantly scolds and beats the servants, demands submission from her husband, and is intolerant of disagreement with her own opinion. Pravdin aptly calls Prostakova a “despicable fury.” The landowner, who cannot read, is convinced that knowledge is useless.

Her brother is no different from Prostakova. Skotinin believes natural phenomenon oppression of servants, so his cattle live better than serfs. The hero's surname eloquently characterizes this hero. He grew up in the same environment as his sister,

therefore he also does not shine with intelligence. Fonvizin sarcastically portrays the limitations of Skotinin, whose main passion lies in his love for pigs. His dream is to take possession of Sophia’s inheritance in order to “buy back all the pigs in the world.”

But an example of rudeness, stupidity and ignorance is Mitrofan, who grew up in an atmosphere of permissiveness from childhood. This spoiled klutz inherited all the negative qualities of his mother, who was a clear example for him. He is lazy, greedy, rude to servants and hired teachers, and shows no interest in education. The saying of an ignoramus: “I don’t want to study, but I want to get married” has become truly immortal. The child managed to surpass his mother even in cruelty. As soon as Prostakova was convicted of selfish motives, the soulless son immediately abandoned her, depriving the landowner of her former power.

Thus, through satirical image despotic and cruel Russian serf-owners, mired in philistinism, Fonvizin reveals to the reader the meaning of the concept of “evil ignoramuses”.

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ACT FIVE

Phenomenon I

Starodum and Pravdin

Pravdin. This was the package that the local landlady herself notified me about yesterday in front of you.

Starodum. So, do you now have a way to stop the inhumanity of the evil landowner?

Pravdin. I have been instructed to take charge of the house and villages at the first rabies from which the people under her control could suffer.

Starodum. Thank God that humanity can find protection! Believe me, my friend, where the sovereign thinks, where he knows what his true glory is, there his rights cannot but return to humanity. There everyone will soon feel that everyone must seek their happiness and benefits in the one thing that is legal... and that it is unlawful to oppress their own kind with slavery.

Pravdin. I agree with you on this; Yes, how tricky it is to destroy inveterate prejudices in which low souls find their benefits!

Starodum. Listen, my friend! A great sovereign is a wise sovereign. His job is to show people their direct good. The glory of his wisdom is to rule over people, because there is no wisdom to rule over idols. The peasant, who is worse than everyone else in the village, usually chooses to shepherd the flock, because it takes a little intelligence to graze the cattle. A sovereign worthy of the throne strives to elevate the souls of his subjects. We see this with our own eyes.

Pravdin. The pleasure that princes enjoy in possessing free souls must be so great that I do not understand what motives could distract...

Starodum. A! How great a soul must be in a sovereign in order to take the path of truth and never stray from it! How many nets are laid to catch the soul of a person who has the fate of his own kind in his hands! And firstly, a crowd of stingy flatterers...

Pravdin. Without spiritual contempt it is impossible to imagine what a flatterer is.

Starodum. A flatterer is a creature who does not have a good opinion not only of others, but also of himself. All his desire is to first blind a person’s mind, and then make of him what he needs. He is a night thief who will first put out the candle and then begin to steal.

Pravdin. Human misfortunes, of course, are caused by their own corruption; but ways to make people kind...

Starodum. They are in the hands of the sovereign. How soon everyone sees that without good behavior no one can become a person; that no vile length of service and no amount of money can buy what merit is rewarded with; that people are chosen for places, and not places are stolen by people - then everyone finds his advantage in being well-behaved and everyone becomes good.

Pravdin. Fair. The great sovereign gives...

Starodum. Grace and friendship to those whom he pleases; places and ranks for those who are worthy.

Pravdin. So that there is no shortage of worthy people, special efforts are now being made to educate...

Starodum. It should be the key to the well-being of the state. We see all the unfortunate consequences of bad education. Well, what can come of Mitrofanushka for the fatherland, for whom ignorant parents also pay money to ignorant teachers? How many noble fathers who entrust the moral education of their son to their serf slave! Fifteen years later, instead of one slave, two come out, an old guy and a young master.

Pravdin. But persons of the highest status enlighten their children...

Starodum. So, my friend; Yes, I would like that in all sciences, the main goal of all human knowledge, good behavior, is not forgotten. Believe me, science in a depraved person is a fierce weapon to do evil. Enlightenment elevates one virtuous soul. I would like, for example, that when raising the son of a noble gentleman, his mentor would unfold History to him every day and show him two places in it: in one, how great people contributed to the good of their fatherland; in another, as an unworthy nobleman, who used his trust and power for evil, from the height of his magnificent nobility fell into the abyss of contempt and reproach.

(D.I. Fonvizin "Undergrown")

Denis Ivanovich Fonvizin () “Undergrowth”.

Denis Ivanovich Fonvizin entered the history of literature as an outstanding prose writer of Catherine’s era, as a playwright whose satirical comedies, which became classics, are included in the repertoire of modern theaters.

An accurate and laconic description of the remarkable Russian comedian was heard in Pushkin’s “Eugene Onegin”:

Magic land! There in the old days,

Fonvizin, friend of freedom, shone...

Fonvizin was known as one of the educated people of his time. He was brought up in the belief that the nobility, to which he belonged, should be educated, humane, constantly concerned about the interests of the fatherland, and that the royal power should promote worthy nobles to high positions for the common benefit. But among the nobles he saw cruel ignoramuses, and at the court - “nobles in the case” (to put it simply, the empress’s lovers), ruling the state at their whim.

Being the son of a poor Moscow nobleman, he nevertheless received a good home upbringing and education. Subsequently, he would write: “My inclination towards writing appeared in infancy, and I, practicing translations into Russian, reached adolescence.” Fonvizin studied at the gymnasium at Moscow University, and then at the university’s Faculty of Philosophy (during this period, the first translated works of the future writer were published in Moscow magazines).

Without graduating from university, Fonvizin decided to serve. His career developed in such a way that he personal experience could get a real idea of ​​the state of affairs in Russia. Fonvizin serves in St. Petersburg as a translator at the Collegium of Foreign Affairs, then as a secretary to the Cabinet Minister I. Elagin (he was in charge of analyzing petitions to the highest name, and later - the imperial theaters). The influence of a circle of young freethinking officers led Fonvizin to become interested in skepticism, fashionable at that time, the principles of which were embodied in the satirical work “Message to my servants Shumilov, Vanka and Petrushka...”. Later, Fonvizin, who had a strong religious background behind him, recalled this circle with horror, since “the best way to spend time was in blasphemy and blasphemy.”

Important for the formation of Fonvizin’s worldview was his work as secretary of the head of the College of Foreign Affairs - the educator of the heir to the throne. Panina turned out to be close to Fonvizin: both were critical of favoritism at the court of Catherine II and were convinced of the need for reforms and the adoption of “fundamental laws.”

In the first years of his life in St. Petersburg, the writer developed a keen interest in the theater. In his later years, in his memoirs, he would admit: “But nothing in St. Petersburg delighted me so much as the theater, which I saw for the first time as a child... The effect that the theater produced in me is almost impossible to describe: the comedy I saw was quite stupid, I considered the work of the greatest mind, and the actors - great people, whose acquaintance, I thought, would constitute my well-being...” Soon Fonvizin himself will become famous as the author of the original satirical comedy “The Brigadier”, the main advantages of which were appreciated by one of its first listeners: “...The foreman is your relative to everyone; no one can say that Akulina Timofeevna does not have the same grandmother, or aunt, or some kind of relative.”

After a trip to France and Germany, Fonvizin wrote “Notes of the First Traveler,” in which he expressed many apt critical judgments about European life.

The comedy “The Minor” was created during the darkest period of the reign of Catherine II. This is the first Russian social and political comedy in which the author portrayed masters who do not rule by right, nobles unworthy of being nobles, self-proclaimed teachers. The first performance of the play took place on September 24, 1782 and was a huge success: “the audience applauded the play by throwing purses.” And Prince Potemkin uttered the now famous phrase: “Die now, Denis, or at least don’t write anything else!” Your name will be immortal based on this one play.”

After Panin’s removal from business, Fonvizin left public service. He writes a number of satirical works, anonymously publishes “The Life of Count Nikita Ivanovich Panin” in French, painting the image of an ideal enlightened nobleman.

A ban was imposed on the publication of Fonvizin's works: the five-volume collection of his works was not published, the articles were distributed only in lists. Recent years In his life, Fonvizin is working on an autobiographical story “A sincere confession in my deeds and thoughts,” which is preceded by the epigraph “I have known my iniquities and have not hidden my sin.” The writer did not have time to complete his work: Fonvizin died in St. Petersburg and was buried in the Alexander Nevsky Lavra.

The comedy “The Minor” is rightfully considered the pinnacle work. Formally, the playwright adhered to the principles of classic drama, creating a sharply polarized system of characters, observing three unities: time, place, action. At the same time, the foundations of the realistic tradition are laid in “Nedorosl”.

The setting of the play is the village of the cruel landowners-serfs Prostakovs. The two groups of characters openly oppose each other and recognize themselves as opponents. According to the laws of classicism, this is a division into positive heroes and negative ones. Each of them can be judged by their names, by their telling surnames, which are unique capacious characteristics of the characters. On the one hand - a well-bred girl named Sophia, her fiancé Milon, Uncle Starodum, their friend, the honest official Pravdin - this is a circle of exemplary ones, ideal characters. On the other hand, these are “malicious ignoramuses” - the powerful, despotic landowner Prostakova (nee Skotinina), her husband, Mr. Prostakov, brother Taras Skotinin, son Mitrofan (from Greek “like a mother”). These are those about whom Starodum, expressing the thoughts of the author, says: “A nobleman, unworthy of being a nobleman! I don’t know anything more vile than him in the world.” In addition, the comedy features servants (tailor Trishka, nanny Eremeevna) and teachers: seminarian Kuteikin, retired sergeant Tsyfirkin, teacher (formerly a coachman) Vralman.

Virtuous characters talk to each other a lot and extremely judiciously; huge scenes are filled with conversations about morality, fearlessness, life at court, and the duty of a nobleman. At the opposite pole is Mrs. Prostakova. As soon as she hears a reasonable objection, she begins to swear. And yet she has her own strict logic, based on the unshakable confidence that the world was created for her sake and her interests. For example, having learned that Starodum, who was considered dead, is alive and “never died,” Prostakova soars: “He never died! But shouldn’t he die?” From her point of view, he had to die (because it benefits her). If he didn’t die, it means someone set it up for his own selfish purposes. She has many similar remarks. Some of them later became famous, for example: “A nobleman is not free to flog his servants when he wants; But why have we been given a decree on the freedom of the nobility?

Who is Mrs. Prostakova?

Age of the heroine: I would like to call her old, but Mitrofan is 16 years old, and, therefore, the “inhuman lady” is a little over 30 and hardly more than 40 years old (this is the era of early marriages). This age-related perception of the heroine is probably due to the fact that everyone is afraid of her and no one loves her. She grew up in an ignorant family and received neither upbringing nor education. He believes that education is unnecessary: ​​“People live and have lived without science.” Why did she hire teachers for her son? Firstly, “we are no worse than others,” and secondly, she is forced to follow the decree of Peter I on noble children. Children who had reached the age of 15 were then called “noviki”, and the younger ones were called underage children. But the law of 1736 extended the right to remain underage until 20 years of age, until they received an education.

Prostakova is merciless to those in her power, the serfs, who consider them their property, and has stripped them completely: “Since we took away everything that the peasants had, we can no longer rip off anything. Such a disaster! The main thing for her in life is personal gain. Her speech is rude, it contains many colloquial words and expressions, and she constantly curses. He calls Trishka a swindler, a thief, a beast, a thief, a fool. He says to his husband: “Why are you so spoiled today, my father?”, “All your life, sir, you’ve been walking around with your ears open.” And only to her son she is affectionate: “Mitrofanushka, my friend”; “my dear friend”; "son". He does not stand on ceremony with others. If she doesn't meet resistance, she becomes arrogant. But if she encounters force, she becomes cowardly and is even ready to humiliate herself in front of the strong. She is despotic towards her husband and pushes him around.

The autocratic, immoral, “despicable fury” loves only her son: she is tender and caring with him, even something human appears in communication. The meaning of her life is caring for his happiness and well-being. But blind mother's love does not ennoble, but disfigures Mitrofan.

What is Mitrofan like?

Spoiled son. His name means "mother-like." Indeed, he is a mirror of Prostakova with her rudeness, ignorance, and cruel attitude towards the people around him. Lazy (has an aversion to work and learning), capricious, accustomed to nourishing and plentiful food, spends his free time in the dovecote. He doesn’t know how to love - he doesn’t know love even for his loved ones. Despite his ignorance, it cannot be said that he is a fool, neither in his ability to sweeten up to his mother, nor in the fatal scene of Sophia’s kidnapping, nor in the exam scene. He knows how to cheat and dodge. His speech contains many colloquial words, and his tone is often capricious and rude. Prostakova doesn’t live a minute without swearing - her son follows her in shouting at the nurse (calling Eremeevna “old bastard”, threatening her with violence), and is rude to the teachers. Just like her mother, she recognizes only the rights of the strong. As long as she holds power in her hands, he is with her; but as soon as she loses this power, her son betrays her. Why does Mitrofan copy his mother? It’s convenient to be like her: in the world of the Skotinins and Prostakovs, you can only survive by adhering to the same style of behavior. The name Mitrofanushka became a household name. This is how young people who are ignorant and don’t want to know anything are often called in our time: “I don’t want to study, but I want to get married.”

Skotinin. Ignorant, rude, greedy. “Don’t be that Skotinin who wants to learn something.” A typical representative of small landed nobility. A ferocious serf. For the sake of the opportunity to marry profitably, he is ready to destroy his rival - Mitrofan’s own nephew. The author takes his image to the point of grotesquery: the main interest in Taras’s life is the barnyard, breeding pigs. Only pigs evoke warm feelings in him, only he shows concern for them. According to him, the Skotinin family is “older than Adam, created by the Creator along with cattle.”

Positive characters.

Starodum. Industrialist. A person who thinks “in the old way” (gives preference to the previous, Petrine era, preserves its traditions, because he was brought up in the spirit of Petrine times). An enlightened man, a patriot. Demands to limit the arbitrariness of the feudal landowners: “It is unlawful to oppress one’s own kind through slavery.” Morality is valued above enlightenment: “The mind, if it is just intelligence, is the most trifle... Good behavior gives the direct value to the mind. Without him smart man- a monster. Science in a depraved man is a fierce weapon to do evil.” Indicates main reason the appearance of people like the Prostakovs and Skotinins is the state. Thanks to the decrees of the Empress, which protected the rights of the nobility, “dislocated,” “mute,” “hunchbacked” souls flourish in the country, in which, according to Starodum, “nobility is buried with their ancestors.” This is the whole pathos of the accusatory comedy.

Educational and moral ideals Starodum was reflected in his aphorisms. Akin to folk sayings, they were easily remembered (and even lived an independent life), influencing the minds of readers. These aphorisms are still interesting and relevant today.

ü Enlightenment elevates one virtuous soul.

ü Hope without a soul is a beast.

ü The great sovereign is the wise sovereign.

ü Rank begins - sincerity ceases.

ü Have a heart, have a soul, and you will be a man at all times.

ü Conscience, like a friend, always warns before punishing like a judge.

ü For the whim of one person, the whole of Siberia is not enough.

ü It is in vain to call a doctor to the sick without healing. The doctor won’t help you here unless you get infected yourself.

ü Insolence in a woman is a sign of vicious behavior.

ü Cash is not cash denominations. The golden fool is still a fool.

ü Follow nature, you will never be poor.

Pravdin – an honest and impeccable official. He, as a member of the viceroyalty, was sent to the district to prevent the atrocities committed by the landowners against the peasants; He settles in the Prostakovs' house under the guise of a guest.

Cute n is an officer faithful to his duty, a patriot. He quarters his soldiers in the Prostakov village.

Sophia– an educated and modest girl, brought up in the spirit of respect and veneration for elders. Starodum's niece.

Positive characters, in contrast to negative ones, express their views on upbringing and education, which highlights the vices of the Prostakovs and Skotinins even more sharply.

Teacher Mitrofan. The mathematics teacher is Tsyfirkin, the Russian language teacher is Kuteikin, the history teacher is the German Vralman, they do not make any effort to learn Mitrofan - they often indulge his laziness. They deceive Prostakova, realizing that she cannot check the results of their work. The author treats only Tsyfirkin with obvious sympathy, endowing him with hard work. The rest of the teachers are themselves ignorant. Kuteikin is cunning and greedy. Vralman is a former coachman. According to Prostakova, he is better than other teachers (she understands little of the German’s words, and this inspires her respect, and, most importantly, he does not overwork Mitrofan).

Eremeevna, Trishka. The author needs them to further expose serfdom: they have no self-esteem, there is not only hatred, but even protest towards their oppressors. Eremeevna is selflessly devoted to her owners, slavishly attached to them. Without sparing himself, he protects Mitrofan (“I’ll die on the spot, but I won’t give up the child!”). She has served in the Prostakov-Skotinin house for more than 40 years, but has never received gratitude for her loyalty.

Comedy conflict is built on the confrontation between good and evil, meanness and nobility, greed and generosity, honor and dishonor, sincerity and falsehood, straightforwardness and hypocrisy, the animal nature in man and the true heights of spirituality.

Plot intrigue The comedy is built around Sophia, whom three heroes prophesy as their wife: Milon, who is sincerely in love with her, Skotinin, who dreams of taking over Sophia’s estate, and Mitrofan, who dreams of leaving his mother’s care and prefers marriage to study. Prostakova, having learned that Sophia is receiving a rich inheritance, tries by force and cunning to marry her son to the now rich Sophia. Skotinin, having learned about his rival, Mitrofan, forgets about kindred feelings and starts a brawl. A new twist in the action is the arrival of Starodum to the Prostakov estate. He dreams of marrying Sophia to a young man known to him, Milo, but the consent of Sophia herself is important to his uncle. It soon becomes clear that Milon and Sophia have loved each other for a long time. Starodum happily blesses Sophia and plans to leave with her for Moscow. Mrs. Prostakova cannot come to terms with Sophia’s refusal and tries to force her down the aisle, but Milon frees his bride. At the end of the comedy, Pravdin announces a decree that “for the inhumanity” of the Prostakovs, the government takes custody of their house and villages. Prostakova tries to find support in her son, exclaiming: “You are the only one left with me, my dear friend, Mitrofanushka!” But the ungrateful and tough Mitrofan makes his mother faint, pushing her away: “Get off, mother, how you imposed yourself...” They decide to assign Mitrofan to the service. Prostakova screams in despair: “I’m completely lost!” My power has been taken away! You can’t show your eyes anywhere out of shame! I don’t have a son!” The final line of the play, which belongs to Starodum, is openly didactic: “Here are the worthy fruits of evil!”

In "Nedorosl" they found a bright artistic embodiment educational views of the writer. On the one hand, the author denounces the social vices and low morals of the serf owners, the ugly manifestations of serfdom and extreme forms of ignorance. On the other hand, it offers an ideal of social behavior: active love for the Fatherland, readiness for hard, honest work, the ability to create a good family, etc. From the aphoristic remarks of the positive heroes of the play, a whole positive program is formed aimed at correcting morals, a kind of code of good morals: “Happy you, my friend, are able to alleviate the fate of the unfortunate” (Milon); “There is fashion for everything else: fashion for minds, fashion for knowledge, like fashion for buckles and buttons” (Father Starodum); “The direct dignity in a person is the soul” (Pravdin). Dialogues of ideal heroes enrich the play's problematics with ethical and philosophical questions. What determines the well-being of people and what is more important: an enlightened mind or a noble soul? How should one treat ranks and awards and what are the worthy ways to enrich oneself? Should we strive for wealth and should we leave a rich inheritance to our children? What is happiness and what does it depend on? What gives rise to envy and is it necessary to avoid making others feel bad about you? What protects a person from vice and what is a person’s duty? It is difficult to exhaust the list of questions that are posed and answered by the heroes-reasoners.

Thus, criticism of the dark sides of life was combined in the play with practical advice on changing society and people. Fonvizin is convinced of the natural equality of all people, of the need for everyone to observe reasonable laws, regardless of class and position in society, and is confident that the moral education of the younger generation can lead society to a harmonious structure in which every member will be a worthy citizen. Therefore, scenes related to Mitrofan’s training and examination play a special role in the ideological content of the play: it turns out that the mother teaches her son for appearances and only because it is now fashionable, trying to save money on teachers and protecting her son from “overwork.” These scenes allow the playwright to develop the most important theme for the play: upbringing and education.

Using the images of negative characters, the playwright shows that the more ignorant and lazy, selfish and selfish, envious and cruel, deceitful and indifferent a person is, the less human there is in him. It is no coincidence that the playwright actively uses the technique of zoologizing images ( speaking names, Skotinin and Mitrofan’s passion for pigs, comparison of Prostakova with a dog and her husband with a donkey, Mitrofan’s entry in a notebook under Kuteikin’s dictation: “I am cattle...”, etc.). The above does not negate the complexity of building characters, reflecting different facets of personality in them. For example, when analyzing the image of Mitrofan, one should see in him not only a stupid and ignorant, rude and greedy, ungrateful and cruel ignoramus, but also a cunning, evasive, hypocritical, flattering person, capable of blackmail and ready to betray loved ones. The means of creating bright characters becomes speech characteristic character, techniques of self-exposure, assessment of the hero by another character, backstory, author's remarks, etc.

Speaking about the genre features of the play, we should note the features of a socio-political comedy and a comedy of education. He gave an exact description of the comedy: “Fonvizin revealed “the wounds and illnesses of our society, severe internal abuses, which, by the merciless power of irony, are exposed in stunning evidence.”

IN artistic style The comedy shows a noticeable struggle between classicism and realism, i.e. the author strives for the most truthful depiction of life. Therefore, in comedy one can see the features of the realistic direction in literature, which are manifested in the following:

ü A combination of pictures of everyday life and revealing the views of the characters.

ü The characteristics of not only the main but also the secondary characters are carefully described.

ü Each image reveals a certain side of reality.

ü The author does not hide his disposition and antipathy towards the heroes (he mercilessly executes some with angry indignation and a sarcastic, killing laugh, treats others with cheerful mockery, and draws others with great sympathy).

ü The spiritual life of the characters, their attitude to life, to people and actions is skillfully revealed.

ü Each hero (especially the negative one) is a typical representative of his class.

ü Each hero is a living person, and not a scheme, not the personification of any one quality, as it was before.

ü In addition to the main action, the plot is supplemented with scenes that are only indirectly related.

ü Brightness and expressiveness of the language.

Compliance in the construction of comedy with the laws of classicism.

Rules of the “three unities”:

1. Unity of place - the Prostakov estate.

2. Unity of time - within one day.

3. Unity of action - the struggle of three contenders for the right to become Sophia's husband.

Dividing all heroes into positive and negative:

Positive - Starodum, Pravdin, Milon, Sophia.

Negative: Prostakov, Prostakova, Mitrofan, teachers.

“Talking” names: Skotinin, Prostakova, Mitrofan, Vralman, Kuteikin, Pravdin, Starodum, Sofia.

All of Fonvizin’s favorite (positive) heroes, in accordance with the rules of classicism, speak in “high calm,” the correct literary language, since they talk about the lofty concepts of public service and moral duty.

The main result of the comedy: vice is punished, and virtue triumphs.

Inconsistencies in the construction of comedy with the laws of classicism.

The characters of not only the main but also secondary characters are carefully described.

There are characters who cannot be clearly classified as either positive or negative heroes (Eremeevna, Trishka). The author needs them to expose serfdom.

Each character is a living image.

In addition to comic scenes, the play also contains pictures that reveal the difficult sides of serf life. And in the comedies of classicism, a mixture of the heroic and the comic was not allowed.

Fonvizin does not hide his attitude towards the characters: he expresses sympathy, indignation, ridicule, and sarcastically exposes someone.

The heroes of the comedy are people of low class who have base interests that are worthy of ridicule. The difference between positive and negative heroes so great that comedy became instructive and edifying for contemporaries.

Assignments in Unified State Exam format.

Act 2. Appearance 1. Pravdin and Milon.

Q1.Name the genre to which Fonvizin’s “Minor” belongs. ( comedy)

B2. Pravdin talks about “inhumanity” and “philanthropy.” What is it called sharp contrast phenomena in work of art? (antithesis or contrast)

B3. What is the name of the heroine who is discussed in this scene and who will become a participant in the conversation between Pravdin and Milon? (Sofia)

Q4. Pravdin’s speech contains figurative definitions: “malicious ignoramuses,” “hellish temperament.” Please provide the appropriate term. (epithet)

B6. Indicate the name of the landowner - the “despicable fury” that Pravdin mentions in the conversation. (Prostakova)

Q7. From Pravdin’s first remark, write down a word definition that reveals the inner essence of the local landowners and is repeated (in the form of a noun) in Starodum’s final remark.

(evil)

Act 2. Appearance 2. (Sofya, Pravdin, Milon)

B1. Indicate the type of literature to which Fonvizin’s play belongs. (drama)

B2. The principles of which literary movement that dominated the literature of the 18th century were embodied in the comedy “The Minor”? (classicism)

B3. Speaking about Milo’s “rival,” Sophia uses expressions containing hidden mockery (“If you saw him, your jealousy would drive you to the extreme!”). What is this stylistic device called? (irony)

Q4. The characters in the play have surnames that contain their characteristics. What are these surnames called? (speaking)

B5. Indicate the name of the younger Prostakov, whom his parents prophesy as Sophia’s suitor. (Mitrofan)

B6. The plans of Sophia's relatives conflict with the heroine's love choice. What is the name of the irreconcilable contradiction underlying dramatic action? (conflict)

Q7. Indicate the surname of the uncle mentioned in Sophia’s last comment. (Starodum)

Action 3. Phenomenon 3.

B1. The play "The Minor" meets the basic requirements of classicism. Specify literary direction, the features of which are present in the play and which is characterized by an objective depiction of reality. (realism)

B2. What is the name of the method of depiction in literature and art, which is based on ridicule of social vices and which underlies the action of “The Minor”? (satire)

B3. The above scene depicts an intense confrontation between two characters. What is the name of the irreconcilable contradiction that stimulates the development of action in a play? (conflict)

Q4. “Our guest is priceless! Oh, I’m an incredible fool!” Name artistic medium, which is used by the author of the play. (epithet)

B5. “...which we have alone, like gunpowder in the eye.” What is this technique called? (comparison)

B6. The characters of the play participate in the action, exchanging remarks. What term refers to this form of communication between characters? (dialogue)

Action 4. Phenomenon 2.

B1. Starodum's last remark is an expanded statement complete in meaning. What's it called? (monologue)

B2. In Starodum's reasoning there are short, apt sayings containing a complete thought. What are they called? (aphorisms or catchphrases)

B3. The surname of Sophia's uncle contains the original characteristics of this character. What's that last name? (speaking)

Q4. In Starodum’s conversation with Sophia, sharply polar concepts and categories appear: virtue - vice; high impulses - low thoughts, etc. Indicate a term denoting a sharp opposition of concepts and phenomena (antithesis or contrast)

Action 4. Phenomenon 8.

B1. “Pravdin. It couldn't be better. He's good at grammar." What is the name of hidden ridicule, which is a special type of comic? (irony)

B2. The text of the fragment consists of the statements of the characters - Starodum, Pravdin, Mitrofan, etc. What is the name of the character’s statement in dramatic work? (replica)

B3. The impromptu exam that Mitrofan passes is an important event in the play. What term refers to the course of events in a work of fiction? (plot)

Q4. Indicate the surname of the character who is called “German” and “Adam Adamych” in this scene. (Vralman)

Action 5. Phenomenon 1.

B1. What is the name of the means of artistic expression that Starodum resorts to in his last remark (“fell into the abyss of contempt and reproach”). (metaphor)

Action 5. Phenomenon 6.

Q1. Find and write down a word from Prostakova’s last remark that relates to the vernacular and characterizes the heroine in a certain way. (nowhere)

B2. The second part of the fragment is the finale of the play. What is the name of this element of her composition? (denouement)

Tasks with a detailed answer in the amount of 5-10 sentences.

1. How do the “talking” names of Fonvizin’s heroes relate to their views and actions?

2. Which heroes of Russian classics are the conductors of the author’s ideas and in what ways are they close to Pravdin and Milon?

3. What is Milo’s “rival”, whose “virtues” Sophia is ironizing about?

4. In what works of Russian classics were the heroines forced to defend their love choice and what brings these characters closer to Fonvizin’s Sophia?

5. In what works of Russian classics are the morals of landowners depicted and in what ways does their depiction resonate with the essence of Fonvizin’s characters?

6. What gives reason to call Starodum a hero-reasoner?

7. Which works of Russian writers present heroes who are internally close to Fonvizin’s Starodum?

8. In which works Russian classics the topic of education is raised and in what way can these works be compared with Fonvizin’s “Undergrowth”?

10. Which Russian writers tried to create the image of an ideal ruler on the pages of their works and how does it relate to the ideal of Starodum?

12. In which works of Russian classics are “the worthy fruits of evil” revealed and what brings their heroes closer to the characters of “The Minor”?

D.I. Fonvizin is the first Russian playwright and comedian who dared, during the times of cruel serfdom, to raise the question of its immorality, which corrupted both masters and peasant slaves. Using the example of the Prostakov-Skotinin families and their households, he revealed the destructive essence of autocracy and showed into what socio-economic and cultural abyss such “masters” of the country are pushing the state.

Name and rank

Among the portraits of all the heroes, the image of Mitrofanushka is of particular importance. In Fonvizin’s comedy “The Minor,” he represents the young generation of nobles, the future stronghold and strength of state power, the hope and support of the country. To what extent does the young man meet his high destiny? In characterizing a hero, two concepts are key: his name and the interpretation of his social status. Why did Fonvizin call him “minor Mitrofanushka”? The first word was quite common in everyday use of Russian speakers at that time. They were called young people of noble origin who had not yet reached 21 years of age, were not adults and did not serve, therefore, in the public service. They lived under the care of their parents, not bothering themselves with anything. If we remember " Captain's daughter"Pushkin, then there main character gets the same nickname. As for the name, deciphering its meaning is very important for understanding what the image of Mitrofanushka is. In Fonvizin’s comedy “The Minor,” a work in the spirit and traditions of classicism, the technique of speaking names and surnames is used. “Mitrofan” is a Greek word, translated as “showing his mother”, “resembling his mother”. Let's look at what this means below.

“My age is passing. I’m preparing him to become a people"

This is what Mrs. Prostakova says about her son. And, indeed, she literally bends over backwards to provide him with a comfortable and happy future. Happy, of course, from my point of view. How does this noble offspring grow under his mother’s wing and the reliable protection of “mother” Eremeevna? Let's face it: he is an impudent, rude, lazy egoist, spoiled, on the one hand, by the permissiveness of his origin and class privileges, and on the other, by the unreasonable, blind, animal love of “mama.” In this sense, the image of Mitrofanushka in Fonvizin’s comedy “The Minor” is very typical. A huge number of landed nobles, like him, spent idle time on their parents' estates, chasing pigeons, commanding serfs and enjoying the benefits that could be derived from their labor. The Fonvizin character embodies the most negative traits of his class. He is brave and arrogant with those who are defenseless and powerless. He insults Eremeevna, who raises him like her own. He mocks the teachers, not wanting to do anything, not interested in anything useful. He even despises his own father and is rude to him. But in front of those who are stronger, he is openly cowardly. When Skotinin wants to beat his nephew, he hides behind his old nanny. And she rushes like an eagle to protect her beloved pet! The character and image of Mitrofanushka in Fonvizin’s comedy “The Minor” speak for themselves. Son and mother complement each other perfectly. Mother is proud that her son cannot read or write. And he advises him: do not study the science of mathematics, do not share with anyone, take everything for yourself. And he doesn’t need geography either: cab drivers will take you there! The hero mastered the main science - to fleece his peasants like crazy, to “fight and bark” - perfectly. Like his mother, he rolls up his sleeves so that, just beyond him, he can deal with serfs and servants, who for him are not people, but things or draft animals.

“The fruits of evil are worthy”

We remember well what phrase the author (D. I. Fonvizin) ends with “The Minor.” in it at a glance. For the sake of a rich dowry, he participated in the kidnapping of Sophia initiated by his mother. And then, when Prostakova finds herself excommunicated from managing the estate, deprived of power and seeks sympathy from her son, he simply pushes her away.

He doesn't need a mother. No one is needed. This is an animal devoid of even instinctive attachments. In this regard, the hero even surpassed his mother. If at the end of the play she evokes pity and even some kind of sympathy, then he evokes only contempt and indignation.

Unfortunately, comedy is still relevant today. No wonder it never leaves the stage of capital and provincial theaters!