Composition “Enlightenment ideals in comedy. Enlightenment ideals in the comedy "Undergrowth"

Late XVIII century was characterized in Russia by the beginning of the "revolution in art". At this time, new genres, new styles, new bright names appeared in literature. One of these names was the name of Denis Ivanovich Fonvizin, the author famous comedy"Undergrowth", which still does not leave the scene famous theaters. The writer created his great work in the period of the highest political maturity, in the period of a clear opposition to the Catherine's autocracy, which could not but find expression in comedy. His negative characters are typical representatives of the class of landowners and nobles, carriers of their lowest and rudest traits.

The positive heroes, on the contrary, are the exact opposite of the landowner environment and expose the autocratic system with all their actions and words. At the court of the empress high road almost no one drives, and everyone goes around by a detour, hoping to get there as soon as possible, ”says Starodum. Here "one knocks down the other, and the one who is on his feet never lifts the one who is on the ground." Naturally, the mores of the court in an even more perverted and exaggerated form are present among the landlords.

N.V. Gogol noted that in his work Fonvizin revealed "the wounds and diseases of our society, severe internal abuses, which are exposed by the merciless power of irony in stunning evidence." The comedy "Undergrowth" is really distinguished by great social depth and a sharp satirical orientation.

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

The theme comes first in comedy landlord arbitrariness. We are confronted with the lawlessness and cruelty of the landowners from the very first pages of the work: craftsman the serf Trishka, who never studied tailoring anywhere, “quite a bit” sewed the caftan of the “child” of “delicate build” to Mitrofan, but this does not save him either from the scolding of the landowner Prostakova, or from unfair flogging. Mrs. Prostakova generally feels like a sovereign mistress in the estate, therefore she rules arrogantly, arbitrarily, in full confidence in her own impunity.

She cynically uses the orphan Sophia exclusively for her own purposes: she wants to marry the girl to her brother in order to take possession of her estate. This “despicable fury” looks at the peasants not as people, but as beings of an inferior breed. She communicates with peasants and servants only with the help of rude swear words, calling them nothing more than “cattle”, “canal”, “old witch”. She rips off the already poor serfs and at the same time complains to Skotinin: “Since we took away everything that the peasants had, we can’t tear anything off.”

Prostakova “does not intend to indulge the serfs”, all day long she “puts things in order” in the house with the help of swearing and beatings: “From morning to evening,” the landowner complains, “I’m hanging by the tongue, I don’t lay my hands: I scold, then I fight.” Faithful, infinitely devoted to the owners, the maid and nanny Mitrofana Yeremeevna receives in payment for her hard work "five rubles a year and five slaps in the face a day." “Bestia”, “scoundrel”, “dog's daughter”, “old grunt”, “I'll finish them off” - these are the words that the maid hears from the hostess in gratitude for her devoted service. And if one of the servants dares to get sick, then there will be no limit to Prostakova's indignation. "Oh, she's a beast! Lies. As if noble! - the landowner is indignant when she learns about the illness of the yard girl Palashka.

Speaking with the denunciation of serfdom, Fonvizin also shows its corrupting influence on the serfs. So, the maid Eremeevna, slavishly devoted to her masters, completely loses human dignity and, not thinking about the danger threatening her, protects Mitrofan from Skotinin.

Comedy is meant to be funny. But in relation to the Undergrowth, this is laughter through tears, bitter laughter. It is no coincidence that P. A. Vyazemsky noted that the image of Prostakova "stands on the boundary between tragedy and comedy." This ignorant, greedy and ruthless feudal woman, terrifying in a fit of rage, is child-loving in her own way. But her love for Mitrofanushka is also perverted, like all the feelings of the landowner. That is why he grows up as despotic, cruel, arrogant, like his mother, to whom he is completely indifferent, not feeling the slightest gratitude.

Not much different from the Prostakovs and the Skotinin family, where the owner unusually "masterfully" collects dues and rips off all his losses from his neighbors from his own peasants. “If it wasn’t for me Taras Skotinin,” he boasts, “if I don’t have any fault to blame.”

Landlords like the Prostakovs and Skotinins boldly commit lawlessness, because they know that they are protected by the state itself. They don't count at all rough treatment with serf crime. Yes, this is not surprising - after all, they are accustomed to interpreting all decrees in their own way. For example, the Decree on the Liberty of the Nobility. Prostakova perceives as "the legal consecration of unlimited power ... over the personality and property of the peasant." That is why her law, which forbids flogging peasants, is so indignant. “A nobleman,” the landowner exclaims indignantly, “when he wants, and the servants are not free to flog! But why have we been given a decree on the freedom of the nobility?

Showing the inhuman, bestial nature of the landowners, Fonvizin widely introduces zoologisms into his work: Prostakova's brother bears the surname Skotinin; Kuteikin forces Mitrofan to announce to the whole audience that he is "not a man" and even "not a worm", but "cattle"; It seems to Vralman that he lived on the Prostakov estate "fse with horses", etc.

However, in the comedy "Undergrowth" the author speaks not only with the denunciation of landlord arrogance and arbitrariness. He shows the low, insignificant, cowardly nature of these people. When they are alone with a strong opponent, they immediately change their tone and behavior. So, Prostakova humiliatedly wallows at the feet of Pravdin, begging not to put her on trial for her inhuman treatment of the peasants.

When she was forgiven, she again takes out all her anger for the forced humiliation on the serfs: “Well! Now I will let the canals open to my people. Now I'll take them all one by one."

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

The comedy "Undergrowth" was a huge success, which contributed to an unprecedented surge of creative forces in Fonvizin. In 1783, he wrote and published several satirical articles in the journal Interlocutor of Lovers of the Russian Word.

In addition, he sent anonymous questions about the internal political situation in Russia to the magazine. “If they are printed, then the continuation will follow henceforth and immediately,” the author wrote in a letter to the publishers of the magazine, among whom was Catherine II herself. “The public will then rightly conclude that if one can ask frankly, one can answer frankly.” The reaction of the empress was sharp and critical.

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

Composition on the topic: THE THEME OF LANDSCAPE ARBITRACY IN THE COMEDY OF D. I. FONVIZIN

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I bring to your attention fragments of a documentary film about Fonvizin, a presentation for the system of lessons on the comedy "Undergrowth", audio files.

Lesson 1. "Undergrowth" as a satirical comedy. The plot and conflict of comedy.

1. Fonvizin and his comedy

Implementation of homework

What main stages of Fonvizin's life did you note when doing your homework? (Born in Moscow in a family of Russified Germans, studied well at the gymnasium at Moscow University, moved to St. Petersburg, knew Lomonosov, became interested in theater. He began his literary activity from translations of fables and plays. Then he worked as a translator at the Collegium of Foreign Affairs. Fonvizin's first play "The Brigadier". He was Panin's close associate, whom Catherine II hated. "Undergrowth" was first staged on September 24, 1782. But Fonvizin then had to retire. He wrote the satire "The General Court Grammar", after which he was banned from publication. Then he fell seriously ill and died at the age of 47.)

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

Slide 2. Pedigree. Childhood (watch video)

What is the origin of the surname Fonvizins? (of German origin).

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

Where was Fonvizin born? (in Moscow)

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

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

Slide 3. Comedy "Undergrowth"

What shortcomings does Fonvizin denounce? (flattery, servility, savagery and cruelty of serfdom)

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

Slide 4

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

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

What did the writer condemn in comedy? ("evil-mindedness is a worthy fruit")

What used to mean the word "undergrowth"? (the so-called nobles who did not reach the age of majority)

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

The subject of our today's conversation will be a comedy by D.I. Fonvizin "Undergrowth",

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

3. Quiz on the knowledge of comedy.

Where does the comedy take place? (on the estate of Prostakova)

Ø Who by social background Prostakov? (noblewoman, landowner)

Ø Who is Prostakova Skotinin? (brother)

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

Ø Who is Sophia Starodum? (uncle)

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

Ø Who is Eremeevna? (nanny Mitrofan)

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

Ø Who is Pravdin? (representative of the law, who came to clean up the estate of Prostakova)

Ø What favourite hobby Mitrofan? (chasing pigeons on a dovecote)

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

Whose words belong to:

o "And you, cattle, come closer." (Prostakova)

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

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

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

o “An ignoramus without a soul is a beast. The smallest feat leads him to every crime. (Starodum)

4. Comedy analysis.

Slide 5. Let's remember the theory!

What is satire?

This is one of the types of comic, ridiculing and denouncing public vices

What is comedy?

This is a genre of drama that ridicules human or moral vices.

What are the problems of Fonvizin's comedy?

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

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

3. Lawlessness of the peasants and the arbitrariness of the landowners.

DW: There are two storylines in comedy. One allows love conflict, the other is social, moral. Let's draw the events of these two conflicts.

T.P. Makogonenko: “The artistic innovation of Fonvizin manifested itself in “The Undergrowth” ... in a plot that reveals the main historical conflict…”

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

The resolution of the love conflict occurs, as it were, from the outside, by Starodum: it connects Sophia and Milon. The virtuous hero wins.

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

· Between whom there are serious disagreements? Which?

Between feudal lords and enlightened nobles (the world of evil - reason, malevolence - virtue, arbitrariness - law). To trace the development of this conflict, one must again turn to the plot, which Fonvizin builds masterfully. It turns out to be multi-level, multi-structural, hence several storylines:

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

Checking individual homework

1. The story of Tsifirkin

2. The story of Kuteikin

3. The story of Vralman

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

Ø It is said about Mitrofan's "examination" that in this scene there is a clash of true enlightenment and militant ignorance. Do you agree with this? Why?

Ø Who can be brought up by such ignorant teachers? May they bring up a true citizen, a good nobleman, educated person?

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

Ø Is she educated herself or not?

Ø Why does a true nobleman need to be educated?

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

Ø What do we learn about life in the Prostakovs' house when we carefully read the 1st act?

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

Ø What is the relationship between family members? (from a position of strength).

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

Ø What is the purpose of negative characters? Show what and how should not be.

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

Checking individual homework:

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

Homework:

1. Fill in the table speech characteristics Prostakova. (*Slide 12) ( Individual task: dramatization of 1-4 events 1 action)

2. Learn the definitions of satire and comedy

Lesson 2

1. Checking homework

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

Ø What words prevail in Mrs. Prostakova's speech?

Does she speak the same way to everyone? With whom and how?

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

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

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

Ø And what conclusion about Fonvizin as a playwright can we draw?

2. The word of the teacher. Lecture recording.

“More than two hundred years have passed since the first performance of “Undergrowth”, however, Fonvizin’s comedy is successfully going on stage contemporary theater, which means that the "river of time in its striving" did not swallow the play of the eighteenth century. And we explain this phenomenon by the fact that the play created in the era of classicism, which absorbed its features, thanks to the talent of the author, went beyond the framework of classicism, taking a very special place in Russian dramaturgy. Today we will reveal the features of classicism in it, and also find those features that distinguish comedy from classic works.

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

In literature and art, there are such directions:

1. Classicism

3. Romanticism

4. Realism

5. Modernism

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

(* problem statement: fill in the table with answers)

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

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

The principles of classicism

The basis of everything is the mind. Only that which is reasonable is beautiful.

The main task is to strengthen the absolute monarchy, the monarch is the embodiment of the reasonable.

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

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

Inheritance of antiquity as a model

(Oral explanation: the action was transferred to another time, not only in order to imitate antique samples, but also so that familiar life does not interfere with the viewer, reader to perceive ideas)

Imitation of "decorated" nature

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

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

Before you is the largest Peterhof fountain "Samson tearing the mouth of a lion", created by sculptor Mikhail Kozlovsky.

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

The painters of classicism were no less than the architects, true to the principles of this trend.

Ø Find here the features of classicism

Theorist French classicism Nicolas Boileau-Despreo in his work “ poetic art” outlined the principles of classicism in literature.

Basic requirements of classicism in literature

1. Heroes - “images without faces”. They do not change, being the spokesmen for common truths.

2. The use of the common language was excluded

3. Requirement of compositional rigor

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

5. Strict division into genres.

6. Role system

"High": tragedy, epic poems, odes, hymns

"Low": comedies, satires, fables

Mixing genres was considered unacceptable!

But the opinion of Moliere: "The task of comedy is to castigate vices."

3. Analytical work

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

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

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

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

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

Ø What ideas do they profess?

Ø Is there a unity of time in comedy?

Ø Is there unity of place?

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

Ø Is there a division into positive and negative characters?

Ø What does Fonvizin believe in as a writer of the Enlightenment? (The belief in reason that law and education can correct the mores of society is a direct expression of the author's ideal.)

Ø And what canons of classicism does the writer depart from?

Ø 1. A hero-scheme, a carrier of the same quality (for Fonvizin - personality traits, types). Examples? (U goodies Fonvizin creates a biography, as, for example, Starodum)

Ø 2. External comedy built on farcical scenes - comic scene woven into the action, forming its basis, laughter has the power of negation. Examples?

Ø 3. Cleanliness genre - mixing genres (satire and humor). Examples?

Ø 4. Images of goodies are features of really new people. Examples?

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

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

Let us now turn to the question of creating a comic

Answer. Fonvizin uses “talking” surnames, self-exposing phrases.

Question. These are traditional techniques for the comedy of classicism. Pay attention to the appearance of off-plot scenes, i.e. scenes not related to the plot, which was completely new in Russian dramaturgy. Name these scenes. What do you think it gave the author?

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

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

This happened for a number of reasons: the playwright tried to explain the characters' characters by the conditions of their life, upbringing.

Ø Prove this with examples from comedy.

The speech of negative characters sets off individual characteristics heroes, we have already noted this on the example of Prostakova's speech characteristics.

Ø Define another feature of the comedy "Undergrowth", starting from the words of Vyazemsky about Prostakova: "Her image stands on the boundary between tragedy and comedy."

Question. What the most important feature noted P. Vyazemsky?

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

Ø “What did you see the features of the comedy finale in?” (vice is punished, virtue triumphs. In fact, this did not happen, because the heroes did not embark on the path of virtue, which would be contrary to their moral essence.)

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

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

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

Homework:

1. Learn a lecture

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1. Reflection of the problems of serfdom in the comedy "Undergrowth".
2. The author's ideal is enlightenment, fighting tyranny.
3. Fonvizin's nobility is the main driving force of Russia.
Denis Ivanovich Fonvizin - one of the most prominent figures literature XVIII century. Fonvizin is rightfully considered the creator of Russian social and political comedy. His famous play "Undergrowth" had an explosive effect in the society of that time.
"Undergrowth" is a multifaceted work. Here questions are raised about the steady performance of the "position" by each citizen, about the nature family relations in contemporary Russian author, about the system of upbringing and education. But the main, undoubtedly, are the problems of serfdom and state power.
Throughout the comedy, Fonvizin emphasizes the "bestial" essence of small-scale noblemen and serf-owners. Unfortunately, the formation of a new generation took place under the all-encompassing influence of the mores of a conservative society. A huge influence on the formation of young people has, according to the author, not only the general situation in noble estates but also the accepted system of education and upbringing.
At the same time, the author says that his contemporaries have hope for the revival of freedom and justice. The personification of such hope in "Undergrowth" are the characters of the play close to the author. The group of positive characters in the play is represented by the images of Pravdin, Starodum, Milon and Sophia. For the writer of the Classical era, it was extremely important not only to show social vices, but also to identify the ideal to which one should strive. It is these characters that are the bright ideal of the author himself. On the one hand, Fonvizin denounces state orders, on the other hand, the author gives a kind of instruction on how the ruler and society should be. Starodum expounds the patriotic views of the best part of the nobility, expresses topical political
thoughts.
By introducing into the play the scene of the deprivation of Prostakova's master's rights, Fonvizin suggests to the audience and the government one of the possible ways to suppress the arbitrariness of the landowners. The writer gives apt descriptions of court morals, reveals the vices of the representatives of the upper class. Fonvizin emphasizes that these features are characteristic monarchical rule generally.
In parallel with the satirical description of the vices of his contemporaries, the author pays special attention to the enlightened people of that time. Quite clearly and unequivocally, Fonvizin writes that it is these bright personalities that are the support and driving force of society, without them Russia will inevitably begin to plunge into the abyss of obscurantism and despotism.
The author admits that there are still enlightened and worthy people not only among young people, but also among the older generation. Yes, sometimes they cannot show their worthy qualities in an aggressive social environment, they are not always able to defend the ideals of the author, but at the same time they know how to remain worthy people. First of all all positive characters The play is distinguished by an unusual conscientiousness and a sense of inner justice.
You can blame the author for creating people who are too ideal, far from the real appearance, but the fact is that in the book they serve as a kind of counterweight, opposition to ideally negative characters. Fonvizin tried, as it were, to concentrate all the negative and positive characteristics in his characters. Sometimes the opposition of white and black in the play looks grotesque, but it is precisely due to its convexity that it produces such a strong
the effect.
positive and bad guys"Undergrowth" act as a kind of mirror, which, as it were, urges the reader to peer, see and learn (and the features and appearance of many contemporaries. It is not for nothing that one of the characteristics of this work is the enduring topicality, the cause of which is the "polarity" of the characters.
It is no coincidence that the main characters books, both positive and negative, belong to the nobility. One of the themes of the play is the fate of the nobles, their future. Fonvizin considers the advanced nobles to be the driving force that can lead Russia out of the darkness of ignorance and make it a civilized country. On behalf of his characters, the author speaks with longing about the past heyday of the nobility, together with his heroes, he hopes for the future revival of this estate. There are still those who remember what the true aristocrats of the spirit should be, and there is still hope that they will have time to pass this knowledge on to the next generation. That's where Starodum, Sofya and Pravdin came from, they contain the author's desire to show the continuity of noble thoughts and deeds.
The high society of that time did not forgive blows to its vices, and soon Fonvizin's works ceased to appear in print. But Ros-(ich knew them, since the book was repeatedly rewritten by hand. And the satirist entered the consciousness of his generation as a bold exposer of the vices of society. No wonder Herzen put the comedy "Undergrowth" on a par with " Dead souls»

In the Enlightenment, the value of art was reduced to its educational and moral role. Artists of that time undertook the hard work of awakening in a person the desire for the development and self-improvement of the individual. Classicism is one of the currents in which they worked. The purpose of literature, according to the classicists, is to influence the human mind to correct vices and cultivate virtue. The conflict between feeling and reason, the duty to the state, was always resolved in favor of the latter. Thus, the image of a person doing good was created - an ideal that everyone living in this world should strive for.

Russian figures of the Enlightenment have always actively participated in the political life of the country. Writers, said Fonvizin, “... have ... a duty to raise their loud voice against abuses and prejudices that harm the fatherland, so that a person with talent can in his room, with a pen in his hands, be a useful adviser to the sovereign, and sometimes the savior of his fellow citizens and the fatherland ".

The main problem that Fonvizin raises in the comedy "Undergrowth" is the problem of educating enlightened advanced people. A nobleman, a future citizen of the country, who must do deeds for the good of the fatherland, is brought up from birth in an atmosphere of immorality, complacency and self-sufficiency. Such a life and upbringing immediately took away from him the purpose and meaning of life. And the teachers will not be able to help (this is just a tribute to fashion on the part of Mrs. Prostakova); Mitrofan had no other desires than to eat, run around in the dovecote, and get married.

The same thing happens in the court. It's a big barnyard where everyone wants to grab a better piece and wallow in the golden mud. “Loving yourself perfectly here; I care about myself alone; fussing about one real hour.” The nobles forgot what duty and useful good deeds are. They "... do not leave the court ... the court is useful to them", "... ranks are often asked for." They have forgotten what the soul, honor, and morality are.

But the author does not leave hope that something can change. Pravdin takes care of Prostakova's household, forbids her to rule in her estate. “It is in vain to call a physician to the sick. Here the doctor will not help, unless he gets infected himself ”- this is the conclusion Starodum makes about life at court. Behind all this, radical measures are visible that Fonvizin proposes to take: to limit the power of the Prostakovs and Skotinins over the peasants, and the tsar and courtiers over all Russian life.

But the life formulated by the playwright "... the rules that must be followed ..." real nobles:

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

2. “Everyone will find enough strength in himself to be virtuous. You have to want it resolutely, and there it will be easier not to do what your conscience

nibbled."

3. “The direct price to him (mind) gives good manners. Without him smart man- monster. It is immeasurably higher than all the fluency of the mind.”

4. "... A pious person is jealous of deeds, not ranks."

5. “One respect should be flattering to a person - sincere; and spiritual respect is worthy only of those who are in ranks not according to money, but in nobility not according to ranks.

6. “I calculate the degrees of nobility by the number of deeds that the great gentleman did for the fatherland, and not by the number of deeds that he took on himself out of arrogance ... According to my calculation, not the rich one who counts money to hide them in a chest, but the one who counts off the excess in himself in order to help those who do not have what they need.

7. “…What is a position. This is the sacred vow that we all owe to those with whom we live and on whom we depend... A nobleman, for example, would consider it a first dishonor not to do anything when he has so much to do: there are people to help, there is a fatherland to serve. Then there would be no such nobles, whose nobility ... was buried with their ancestors. A nobleman, unworthy of being a nobleman! I don’t know anything more vile than him.”

All these postulates correspond to the ideas of the Enlightenment, of which Fonvizin was an ardent champion.

Denis Ivanovich Fonvizin is one of the most prominent literary figures of the 18th century. His love for the theater was born in his youth, and the talent of the future playwright was noticed by his gymnasium teachers. Over time, Fonvizin's enlightening views deepened, his desire to intervene with his works in the thick of Russian events grew stronger. public life. Fonvizin is rightfully considered the creator of Russian social and political comedy. His famous play "" turned the Prostakovs' estate into the center of vices, "malice of worthy fruits", which the playwright denounces with his usual slander, sarcasm, irony.

"Undergrowth" is a multi-dark work.

Here questions are raised about the steady performance of the "position" by each citizen, about the nature of family relations in contemporary Russia, about the system of upbringing and education. But the main ones, undoubtedly, are the problems of serfdom and state power.

In the very first act, we find ourselves in an atmosphere of landlord arbitrariness. Trishka sewed Mitrofan's caftan "quite a bit", but this does not save him from scolding and flogging. The old nanny Mitrofana Yeremeevna is immensely devoted to her masters, but receives from them "five rubles a year and five slaps a day." Prostakov is outraged that the serf girl Palashka, having fallen ill, lies, "as if noble." The arbitrariness of the landowners led to the complete impoverishment of the peasants. “Since we took away everything that the peasants had, we can’t tear anything off. Such a disaster! - Prostakova complains. But the landowners are firmly aware that they are protected by the entire system of state power. It was the social structure of Russia that allowed the Prostakovs and Skotinins to dispose of their estates in their own way.

Throughout the comedy, Fonvizin emphasizes the "bestial" essence of Prostakova and her brother. It even seems to Vralman that, living with the Prostakovs, he is a "fairy with horses." Mitrofan will not be any better either. The author does not just make a mockery of his "knowledge" in the sciences, unwillingness to learn. Fonvizin sees that the same cruel serf-owner lives in him.

A huge influence on the formation of people like Mitrofan, according to the author, is exerted not only by the general situation in the noble estates, but also by the adopted system of education and upbringing. The upbringing of young nobles was carried out by ignorant foreigners. What could Mitrofan learn from the coachman Vralman? Could such nobles become the backbone of the state?

The group of positive characters in the play is represented by the images of Pravdin, Starodum, Milon and Sophia. For the writer of the Classical era, it was extremely important not only to show social vices, but also to identify the ideal to which one should strive. On the one hand, Fonvizin denounces the state order, on the other hand, the author gives a kind of instruction on how the ruler and society should be. Starodum expounds the patriotic views of the best part of the nobility, expresses topical political thoughts. By introducing into the play the scene of the deprivation of Prostakova's master's rights, Fonvizin suggests to the audience and the government one of the possible ways to suppress the arbitrariness of the landowners. Note that this step of the writer was disapprovingly met by Catherine II, who directly let the writer feel it.

The Empress could not help but see in the comedy "Undergrowth" a sharp satire on the most terrible vices empire.

Fonvizin's sarcasm was also reflected in a work entitled "The General Court Grammar", compiled in the form of a textbook. The writer gives apt descriptions of court morals, reveals the vices of the representatives of the upper class. Calling his grammar "universal", Fonvizin emphasized that these features are characteristic of monarchical rule in general. He calls the courtiers flatterers, sycophants, scoundrels. The satirist divides the people living at the court into “vowels”, “vowelless” and “semivowels”, and considers the verb “to be due” to be the most common, although debts are not paid at court.

Catherine never saw humility from Fonvizin, and therefore soon his works ceased to appear in print. But Russia knew them because they were on the lists. And the satirist entered the consciousness of his generation as a bold exposer of the vices of society. Not without reason Pushkin called him "a friend of freedom", and Herzen put the comedy "Undergrowth" on a par with Gogol's "Dead Souls".

The satirical and dramatic successes of Fonvizin are closely related to his social and political activity“Life teaches only those who study it,” wrote V Klyuchevsky, and he was absolutely right. First life teaches us, then we teach others

The real recognition of dramatic talent came to Fonvizin with the creation of the comedy "The Brigadier" in 1768-1769. It was the result of those searches for a Russian original comedy that members of the Elagin circle lived, and at the same time carried new, deeply innovative principles of dramatic art in general . Proclaimed in France, in the theoretical treatises of D. Diderot, these principles contributed to the convergence of the theater with reality.

Already from the lifting of the curtain, the viewer found himself immersed in an atmosphere that struck with the reality of life. In a peaceful picture of home comfort, everything is significant and at the same time everything is natural - the rustic decoration of the room, and the clothes of the characters, and their activities, and even individual touches of behavior. All this corresponded to the stage innovations of the Diderot Theater .

But there was one significant one that shared the creative positions of the two playwrights. Diderot's theater theory, born on the eve of the French bourgeois revolution, reflected the tastes and demands of the third-class spectator, asserting in its own way the significance of the average person, those moral ideals, which were generated by the modest way of life of a simple worker. This was an innovative step, entailing a revision of many traditional, previously recognized as unshakable, ideas about the function of the theater and the boundaries of artistry.

Fonvizin could not, of course, mechanically follow the program of Diderot's plays for the reason that the moral collisions of Diderot's dramaturgy were not reinforced. real conditions Russian social life He took from Diderot the requirement of fidelity to nature, but subordinated this artistic principle other tasks Center of gravity ideological issues in Fonvizin's comedy, he moved to a satirical and accusatory plane.

A retired Brigadier arrives at the Counselor's house with his wife and son Ivan, whom his parents marry the owner's daughter Sofya. She herself loves the poor nobleman Dobrolyubov, but no one considers her feelings. "So if God bless, then the twenty-sixth will be the wedding" - these words of the father. Sophia begins the play

All the characters in "The Brigadier" are Russian nobles In the modest, everyday atmosphere of average Moscow life, the personality of each character appears as if gradually in conversations. Gradually, from action to action, the spiritual interests of the characters are revealed from various sides, and the originality is exposed step by step. artistic solutions found by Fonvizin in his innovative play.

The conflict traditional for the comedy genre between a virtuous, intelligent girl and a stupid groom is complicated by one circumstance.

He recently visited Paris and is full of contempt for everything that surrounds him at home, including his parents. because he has already become more French than Russian. Ivan's speech is replete with French words pronounced by the way and inappropriately. The only person with whom he finds a common language is the Counselor, who grew up reading romance novels and is crazy about everything French.

The absurd behavior of the newly-minted "Parisian" and the Counselor, who is delighted with him, suggests that the basis of the ideological concept in the comedy is the denunciation of gallomania. life experience Ivan's parents and the Counsellor. However, the fight against gallomania is only part of the accusatory program that feeds the satirical pathos of "The Brigadier" Ivan's affinity to all other characters is revealed by the playwright in the first act, where they speak out about the dangers of grammar, each of them considers the study of grammar an unnecessary thing, it is nothing to the ability to achieve ranks and wealth does not add

This new chain of revelations, exposing the intellectual outlook of the main characters of the comedy, brings us to an understanding of the main idea of ​​the play In an environment where mental apathy and lack of spirituality reign, familiarization with European culture turns out to be an evil caricature of enlightenment The moral wretchedness of Ivan, who prides himself on his contempt for his compatriots, matches the spiritual deformity of the rest, for their morals and way of thinking, in essence, are just as base

And what is important, in comedy this idea is revealed not declaratively, but by means of psychological self-disclosure of characters. If earlier the tasks of comedic satire were thought mainly in terms of bringing a personified vice onto the stage, for example, "stinginess", "evil-tonguing", "bragging", now under the pen Fonvizin, the content of vices is socially concretized The satirical pamphletiness of Sumarokov's "comedy of characters" gives way to a comically pointed study of the mores of society. And this is the main significance of Fonvizin's "Brigadier"

The success of "The Brigadier" put forward Fonvizin among the most famous writers of his time The head of the educational camp of Russian literature of the 1760s, N. I. Novikov, praised the new comedy of the young author in his satirical journal Truten. In collaboration with Novikov, Fonvizin finally determines his place in literature as a satirist and publicist. It is no coincidence that in his other journal , "Painter" for 1772, Novikov will place Fonvizin's sharpest satirical "Letters to Falals", as well as "The word for the recovery of his imp. highness the sovereign Tsarevich and Grand Duke Pavel Petrovich in 1771" - an essay in which, within the genre of official panegyric, addressed to the heir to the throne, the practice of favoritism and self-aggrandizement adopted by Catherine II was denounced. These writings already show the outlines of the ideological program and creative guidelines that later determined artistic originality"Undergrowth" For example, in the "Word for Recovery" the prerequisites for that political program, which later Fonvizin will develop in the famous "Discourse on the indispensable state laws"" The love of the people is the true glory of the sovereigns Be the master of their passions and almost that he cannot control others with glory, who cannot control himself." embodied in the named works

Fonvizin's interest in political journalism was not accidental. In December 1769, while remaining an official of the Collegium of Foreign Affairs, Fonvizin, at the suggestion of Count N. I. Panin, joined his service, becoming Chancellor I.'s secretary for almost 13 years, until his retirement in 1782 , Fonvizin remained Panin's closest assistant, using his unlimited confidence

The autumn of 1772 was approaching, but the transfer of the throne to her son was not part of the empress’s plans. Postponing the celebration of Paul’s coming of age for a year under the pretext of his upcoming marriage, Catherine managed to get out of a difficult situation. In September 1773, a wedding took place. The campaign of political intrigues, which Fonvizin had to observe on the eve of the Tsarevich's marriage, again forced him to face the mores of court life. which are happening all the time in our yard"