What features of Sophia are revealed in these phenomena. Fonvizin, "Undergrowth": analysis of the work, characterization of the characters. The moral values ​​of the heroine

The image of Sophia in the comedy "Woe from Wit" is the most dramatic. Griboyedov, portraying the heroine, completely departs from satirical techniques. For him, a girl is a living person, and not a stereotyped image, like her father and other representatives of the world. Let's try to figure out why the writer, raising Sophia above the others, nevertheless made her unhappy.

Characteristics of Sophia ("Woe from Wit"). Opinions of critics

Sophia in her character and spiritual strength is very close to Chatsky. Griboyedov put a lot of effort into creating this female image, but the critics of that time had a different opinion. So, P. Vyazemsky called her “a khalda who does not have female charms”, in addition, the publicist was also embarrassed by the morality of a girl who secretly meets a young man and even receives him in her bedroom. N. Nadezhdin agreed with the last statement: “Sofya is the ideal of a Moscow young lady ... with low feelings, but strong desires,” which “were barely restrained by secular decency.” Even Pushkin called Sophia Griboyedov's failure, the poet believed that she was "indistinctly drawn."

The role of Sophia in the comedy "Woe from Wit" has long been underestimated. Only in 1871, Goncharov, in his article "A Million of Torments", wrote about the virtues of the heroine and her huge role in the play. The critic even compared her with Pushkin's Tatyana Larina. But the most valuable thing is that he was able to notice and appreciate the realism of Sophia's character. Even her negative traits became in some way virtues, as they made the girl more alive.

Drama heroine

Sophia is not a character in a social comedy, but the heroine of an everyday drama. Griboedov ("Woe from Wit") for his play was not just called an innovative playwright. He was one of the first to cross comedy and drama, and Sophia is a direct proof of this. She is a very passionate person who lives only with strong feelings. This is her similarity with Chatsky, who is also unable to restrain passion.

The wretchedness of Molchalin does not make the girl's love funny, on the contrary, this situation only adds drama to her appearance. Sophia's characterization ("Woe from Wit") is based precisely on her affection. Only the viewer sees the true face of Molchalin, for the heroine he is the ideal. She appears as a girl capable of real feelings, who cannot pretend and does not want to.

Sofia and Molchalin - grief from love

We decided that the image of Sophia in the comedy "Woe from Wit" is inextricably linked with Molchalin. Love for him determines all the actions of the heroine. It divides the world into two parts: Molchalin and others. Sophia constantly thinks about her lover, apparently, therefore, she does not notice what kind of people surround her.

The girl is in the grip of an incredibly strong first love. However, her feelings are not free and joyless. She is well aware that her chosen one will never please her father. These thoughts seriously overshadow the girl's life, but inwardly she is ready to fight for her love to the last.

Sophia's monologue ("Woe from Wit"), in which she confesses her feelings to Lisa, says that she is overwhelmed with them. What else could have pushed her to this rash step? Even frankness with Chatsky is due precisely to the fact that Sophia's mind was clouded with love. She loses all her common sense and loses her ability to reason. However, she herself believes that she is very critical and sensible about Molchalin: “He doesn’t have this mind ...”, but she immediately says that it is not necessary to have a special mind for family happiness. In her mind, her lover is quiet, gentle, and uncomplaining. Sophia does not see that he is a scoundrel, this truth will be revealed to her only in the final. The girl will witness how her beloved takes care of Lisa. This discovery literally destroys her. The episode is rightfully considered the most dramatic moment of the play.

Sentimental novels and women's education

The image of Sophia in the comedy "Woe from Wit" is not only dramatic, but also somewhat collective. Using her example, Griboedov shows the tragedy of girls from secular society. After all, what is the reason that she not only fell in love with a scoundrel, but also slandered Chatsky, who loves her? The author gives a direct answer to this question: “to teach our daughters everything… and dances, and sighs, and singing! As if we are preparing them for wives for buffoons.

That is, it says here that the girls, although they knew a lot, and studied, prepared for only one thing - a successful marriage. And Sophia, like many, builds her life according to the generally accepted model.

And on the other hand, she was also brought up by books - French novels that do not give her sleep. The characterization of Sophia ("Woe from Wit") gives us the opportunity to assume that Griboyedov tried to raise the problem of enlightenment and women's education in Russia of his time.

Even the choice of Molchalin as an object of sigh is largely due to sentimental novels that describe the love of a noble girl and a poor young man (or vice versa). Sophia admired the masculinity and devotion of the novel characters. And she considered Molchalin the same book character.

The girl cannot separate reality from fiction, which is why her love ends so sadly.

Sophia and other female images

It is possible to consider the image of Sophia in the comedy "Woe from Wit" in the context of other secular girls and ladies. Using the example of other heroines, Griboyedov shows the path of a secular lady, which Sophia seeks to go through. It begins with the young ladies of marriageable age - the Tugoukhovsky princesses. Then we see Natalya Dmitrievna Gorich, a newly married young lady. She learns to push her husband around, direct his actions and direct. Here are the ladies who form secular opinion - Khlestakova, Marya Aleksevna, Princess Tugoukhovskaya, Tatyana Yurievna. At the end of their lives, a slightly comical image of the countess grandmother awaits them all.

Sophia's monologue ("Woe from Wit"), in which she extols the virtues of her lover and says that he is perfect for the role of a spouse, is indicative in this respect. Molchalin is indeed an ideal candidate to translate the life path of the lady of light into reality. While Chatsky is not at all suitable for this role.

Sophia's quotes from the comedy "Woe from Wit"

The most famous statements of the heroine:

• "Happy hours do not watch";
• “What is the rumor to me? Whoever wants, so judges”;
• “You can share laughter with everyone”;
• "Not a man, a snake!";
• "The hero ... not of my novel."

Summing up

The characterization of Sophia shows us the drama of the heroine. "Woe from Wit" denounces and reveals the essence of many social phenomena, including the position of women in the contemporary world of the author. Sophia is a smart, outstanding and passionate person who could make a worthy couple for Chatsky. But the upbringing and environment distorted these noble features, in a sense disfigured the heroine and led to a dramatic finale. The role of Sophia in the comedy "Woe from Wit", thus, is a key and plot-forming one.

Denis Ivanovich Fonvizin wrote back in 1782. However, it remains relevant even today. The problems of upbringing touched upon in the play still have their manifestations today. The writer uses vivid techniques of satire. So, for example, the heroes have names and surnames that correspond to their real essence: Skotinin, Pravdin, Starodum and others.

The main female image is Sophia, whose name means "wisdom". The girl is the niece of Starodum. He also becomes her guardian when Sophia loses her parents. At the time of departure from the city of Starodum, the Prostakovs “take the girl under their wing”. However, they do this not out of good intentions, but in order to rob Sophia. But their plans, although criminal, are too obvious and simple. The girl looks at this family with irony. After all, she, unlike the Prostakovs, has a good education. Sophia is smart, mocking, but at the same time kind and honest. Her wisdom is not only in the mind, but also in the soul.

After some time, Sophia receives a letter from Starodum, who says that he makes her his heiress. Prostakova is now obsessed with the idea of ​​marrying a girl to her son, an undergrowth. The main character respects the elders, believes that they should be treated with humility. But when it comes to her feelings, here Sofia is sure that she has the right to defend her right to love and friendship. And therefore does not want to marry either Mitrofan or Skotinin, who also dreams of taking over her estate.

Sofia is in love with Milon, whom she considers a worthy man. When he stops at their settlement, the girl talks about Prostakova's attempts to marry her off to another. The young man is jealous, but when he sees what Mitrofan is, he mocks him.

When she returns, Sophia finds herself in a predicament again. After all, he dreams of marrying her to some worthy person in his opinion. The girl gains courage and honestly admits that she has long been in love with Milon. The uncle, in the end, approves of the niece's choice.

He just doesn’t give up and tries to interfere with Sophia’s happiness and still marry her to her son. Her plan fails, the lovers join forces and win the battle for love. Prostakova may be punished for malice, but Sofia forgives her because she is happy.

The main character is an idealized positive character in a comedy, where there are too many ironically written characters. She is a bright soul who attracts other positive characters, such as Starodum. The girl believes that people should receive honor and fortune for their merits, and not with the help of deceit. The heroine is the image of a woman who is endowed not only with sensuality, but also with the ability to think rationally, to fight for her happiness and freedom.

Comedy "Undergrowth" is a "human" comedy, created from a gallery of vivid images that represent different sections of society. The problem of education is central in the work, and other problems come from it.

Material for preparing for the OGE in literature. OGE. 18th century literature

(Material on questions from the FIPI website)

Features of the moral ideal in the image of Sophia. (According to D.I. Fonvizin's comedy "Undergrowth")

Sophia is the niece of Starodum. Sophia - in Greek means "wisdom". However, the name of the heroine receives a special connotation in the comedy: the wisdom of S. is not rational, not the wisdom of the mind, but the wisdom of the soul, heart, and virtue.

Throughout the comedy, the character of S. remains unchanged: she is faithful to Milon, has sincere reverence for Starodum and respects Pravdin. S. is smart, she immediately notices that Prostakova “has become affectionate to the very meanness” and that she “reads” her “and the bride to her son”, mocking (she teases at Skotinin and Mitrofan Milon, who is jealous of her), sensitive and kind (in the moment of happiness forgives Prostakov for the harm done and pities the "evil fury"). Her simple feelings are humane: honor and wealth, she believes, should be gained by labor, meekness and obedience to elders are decent for a girl, but she can and should defend her love. Sofya is sure that a person does not live alone, that everyone owes each other, that it is the soul, the "intelligent heart", that makes an honest person "completely honest."

What is the significance of the last phenomenon in D.I. Fonvizin "Undergrowth"?

The comedy of "Undergrowth" is not only in the fact that Prostakova scolds, like a street vendor, touched by her son's gluttony. There is a deeper meaning in comedy. She sarcastically ridicules rudeness that wants to appear amiable, greed that masquerades as generosity, ignorance that pretends to be educated. According to the playwright, serfdom is destructive not only for the peasants, since it makes them obedient, dumb slaves, but also for the landowners, turning them into tyrants, tyrants and ignoramuses. Cruelty and violence become the most convenient and habitual weapon for the feudal lords. Therefore, Skotinin's first impulse, and then Prostakova's, was to force Sophia into marriage. And only realizing that Sophia has strong intercessors, Prostakova begins to fawn and tries to imitate the tone of noble people. But is Prostakova capable of wearing a mask of nobility for a long time? Seeing that Sophia is slipping out of her hands, the landowner resorts to her usual action - violence.

At the end of the comedy, we are not only funny, but also scared. A mixture of arrogance and subservience, rudeness and confusion makes Prostakov so miserable that Sophia and Starodum are ready to forgive her. Impunity and permissiveness taught Prostakova to think that there are no insurmountable obstacles in front of her. She becomes the plaything of her own passions. And thoughtless motherly love turns against her. Mitrofan abandons his mother at the most difficult moment of her life. He does not need a mother who has lost money and power. He will look for new influential patrons. His phrase: “Yes, get rid of it, mother, as it was imposed ...” became winged. But from this its sinister meaning has not changed, but rather intensified.

The crushing, angry satirical laughter of Fonvizin, directed at the most disgusting aspects of the autocratic-serf way of life, played a great creative role in the future fate of Russian literature.

What is the role of positive characters in D.I. Fonvizin "Undergrowth"?

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

The main positive character of the play, Starodum, is to a large extent a spokesman for the author's opinions. Fonvizin will later emphasize his unanimity with Starodum by naming a journal after him, intended to serve as an organ of the same circle of ideas that found vivid expression in The Undergrowth.

One detail is noteworthy. Fonvizin did not say a word about whether the main positive character of his comedy was a landowner. A significant phrase was put into the mouth of Starodum by the author: "It is illegal to oppress your own kind with slavery." Forming the center around which the positive characters of the play unite, Starodum appears on the stage only in the third act. If the character of Starodum is distinguished by a certain static character, then it cannot be said that the main positive character of The Undergrowth is an abstract scheme, "the receptacle of all virtues," as they said then. Talking about his past, Starodum does not hide the fact that he regrets very much - the inappropriate vehemence that prompted him to quit military service. He is not devoid of a sense of humor and knows how to joke, as can be seen from his dialogue with Skotinin, who is beginning 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 the comedy, critics put Starodum and Pravdin on the same level, considering them equally as spokesmen for 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 regarded as a collective image, embodying not only the features of Fonvizin himself, but also those of his contemporaries for whom adherence to Peter's "old times" was a kind of rejection of Catherine's "novelty". It was already clear to the next generation that the image created by Fonvizin was rooted in Russian historical reality. Prototypes were found for him among the associates of Peter I, and among Fonvizin's inner circle.

The positive characters of the play are not numerous: Pravdin, Starodum, Sofya

They are spelled pale, they are very bookish and correct.

STARODUM is the central character in D.I. Fonvizin's comedy "Undergrowth". By role, this is a character-reasoner, significant not so much by actions as by speeches and instructions. He personifies the author's plot line of "Undergrowth": a kind of confession, turning into a moral commandment. Father S., who served Peter the Great, inspired his growing son with the rule: “have a heart, have a soul, and you will be a man at all times.” This is a patriot: for him, an honest and useful service to the Fatherland is the first and sacred duty of a nobleman. Demands to limit the arbitrariness of the feudal landowners: "It is illegal to oppress your own kind by slavery." S. convinced that true education is the education of the soul. An ardent defender of humanity and enlightenment. S. achieved an independent position in society, while remaining a private individual.

Pravdin is an honest, impeccable official. The auditor, endowed with the right to take custody of the cruel landowners of the estate. Milon is an officer faithful to his duty, the groom of Sophia, an educated, modest, prudent girl, brought up in the spirit of respect and reverence for her elders.

The purpose of these heroes in the comedy, on the one hand, is to prove the correctness of the views of Starodum, and on the other hand, to set off the malevolence and lack of education of such landowners as the Prostakovs-Skotinins.

What is the meaning of the name of the comedy D.I. Fonvizin "Undergrowth"?

The dictionary gives two definitions for the word "Undergrowth". The first is "this is a young nobleman who has not reached the age of majority and has not entered the public service." The second - "stupid young man - half-educated." I think that the second meaning of this word appeared due to the image of the undergrowth - Mitrofanushka, which was created by Fonvizin. After all, it is Mitrofan who personifies the denunciation of the half-growing feudal lords, who are mired in stupidity and ignorance.

The mother, who indulged all the desires of her child, raised Mitrofan as a real egoist and despot, unable to answer even for himself and his actions. Already in childhood, Mitrofan "showed himself" as best he could. He didn't talk, he barked. He allowed himself to speak rudely not only with the servants, but also with his own mother. This man, if you can call him that, has a real rat character. He calls his old nanny Eremeevna "the old bastard", although she always protects him from danger, cleans up after him, feeds him. Mitrofan no longer notices this. For him, everything is as it should be.

In words, he is brave. Offend someone for him - just spit. In fact, he shows himself from a completely different side. Mitrofan is terribly cowardly and dependent. But why should he be independent? After all, "at hand" there is always a mother, a nanny or teachers.

Mitrofan is very selfish and selfish. Depending on the change in the position occupied by people, Mitrofan's attitude towards them also changes. He lives only by this principle. He does not even feel sorry for his mother and loses interest in her, as soon as power is taken away from her: "Yes, get rid of it, mother, how it was imposed!" With these words, the beloved son abandons his mother at a difficult moment for her. Of course, I feel sorry for the heroine Prostakova, but she herself developed and brought up Mitrofan such an attitude towards people and towards herself, in the end, she got what she deserved.

I think that it was after the release of the comedy "Undergrowth into the world" that the name Mitrofan became a household name. Now we can safely call a stupid, rude and lazy person "mitrofans", and, unfortunately, there are also many such people in our time. It is thanks to such "mitrofans ""Undergrowth" remains so popular and relevant in our time. This work can make us think and draw conclusions. But am I not such a person? ...

As in the "Ode on the day of the accession to the All-Russian throne of Her Majesty the Empress Empress Elisaveta Petrovna, 1747", the representation of M.V. Lomonosov about an ideal historical figure?

Lomonosov, as a true humanist, devoted his literary activity to the civil education of society, and the artistic principles of classicism fully corresponded to his goal. He believed that poetry should bring lofty ideals to people, so a solemn ode became his main genre. In the odes created by the poet, the image of an ideal monarch arises, who works for the good of Russia and can be an example for all citizens. The greatness of the monarch is for M.V. Lomonosov as a symbol - the greatness of the country. Therefore, in this ode, Russian statehood is glorified in the person of the daughter of Peter 1. The inspirational lines of the ode are dedicated to the boundless expanses of Russia, its natural wealth, the talented Russian people are praised, it is argued that the future of the country lies in the development of science and education.

The abundance of natural resources is the key to the successful development of the Russian people. The central themes of the ode are the theme of labor and the theme of science. The poet appeals to the younger generation to devote themselves to the service of science:

Be emboldened now

Show with your care

What can own Platos

And quick-witted Newtons

Russian land to give birth.

Lomonosov writes about the benefits of science for all ages. The ode creates an ideal image of a ruler who cares about the people, about the spread of education, about improving economic and spiritual development._

What “eternal” questions does G.R. Derzhavin in his poems?

The organizing center of Derzhavin's poetry is the image of the author, which is the same in all works. In his work, Derzhavin pays great attention to the theme of the poet and poetry. Speaking of poetry, he emphasizes its true purpose:

This gift of the gods is only to honor

And to learn their ways

Should be turned, not to flattery

And the dark praise of people.

Two Derzhavin imitations of the Roman poet Quintus Horace Flaccus, The Swan and The Monument, are devoted entirely to the theme of poetic immortality.

In one ode, Derzhavin demands from the painter to present him a picture of the morning - and immediately, competing with painting in visualization, hurries to give this picture himself.

Show me this new world

In the face of a young summer day:

Like groves, hills, towers, shelters,

From the mountain, glowing with fire,

From the darkness rise, shine

And look into the mirror of the waters;

All new feelings get

And moves all mortal kind.

These lines could serve as an epigraph to all of Derzhavin's poetry. It has the mood of the morning. A person, refreshed by a healthy sleep, with "new feelings" looks at the world as if he had never seen it, and the world is being created anew before his eyes.

In contrast to the splendor of nature, the theme of death relentlessly accompanies Derzhavin's poetry. In old age, at rest, painting Zvan beauty and table "still lifes" crowned with a blue pike feather, the poet seems to see again: "Where the table was food, there is a coffin" - and bitterly prophesies: "This house will collapse, the forest and garden will dry up ... "In the most different years, in the most different poems, the poet, who knows how to sing the joy of life so vividly, now almost resonantly, now lyrically passionately, breaks through the eternal "remember death."

Which allows us to attribute the story to N.M. Karamzin "Poor Liza" to such a direction as sentimentalism?

Sentimentalism is a direction in literature and art of the second half of the 18th century, marked by an increased interest in catfish to a human feeling, emotional perception of the surrounding world. It is essential at the same time that sentimentalism put forward a simple, humble person as a hero.

In the spirit of sentimentalism, N. M. Karamzin’s story “Poor Lisa” was written. A typical manifestation of sentimentality in life is a reflection of the position of an enlightened nobleman, sympathizing to the sorrows of a simple person: from this point of view, the words of the author, sounding in the story, are quite demo-cratic for their time: “and Styanki know how to love. The landscape in the works of sentimentalists acquires an emotional characterization - this is not just a background on which they unfold events, but a living participant in the story. For Karamzin, the cult of nature is also characteristic: nature empathizes with Lisa, vividly reacts to what is happening. The following features make it possible to consider Karamzin's story "Poor Lisa" a sentimental work.

What is common and different in the characters of Ms. Prostakova and Mitrofan? (According to D.I. Fonvizin's comedy "Undergrowth")

The character of this woman is drawn vividly, with realistic versatility and breadth. She is not only a despot in the family and a merciless serf, she is stingy, hypocritical and at the same time cowardly. Not kindred feelings forced Prostakova to take Sophia into the house after the death of her mother. Not caring causes her desire to marry Sophia to Skotin-on. Greed and greed determine her actions when she deceives her brother, deciding to betray.

Prostakova is the sovereign mistress of the estate. Her weak-willed and timid husband yields and obeys her in everything. No one in the house can say a word or take a step without her consent. Domineeringly, unceremoniously and arbitrarily, she treats the teachers of Mitrofanushka, and Sophia (before she becomes a rich heiress), and Starodum (before she finds out who he is). Prostakova is especially disgusting as a landowner-serf, rude, cruel and ignorant. The position of the courtyards (serf servants) in her house is terrible. For every reason and without reason, out of tyranny, she mercilessly punishes them. This is "a wicked fury, to whom the infernal character makes the misfortune of the whole house."

Prostakova justifies her cruelty, arbitrariness and violence with existing laws, the rights of the noble class. She is convinced that the title of nobility gives her the right not to consider serfs as people. Why does Prostakova need education and enlightenment, if “people live and lived even without science”? The landowner herself is an extremely ignorant, illiterate woman.

How does the narrator appear in N.M. Karamzin "Poor Lisa"

The main character of the story is the narrator, who tells with sadness and sympathy about the fate of the poor girl. The image of a sentimental narrator became a discovery in Russian literature, since before the narrator remained "behind the scenes" and was neutral in relation to the events described. The narrator learns the story of poor Lisa directly from Erast, and he himself often comes to be sad at Liza's Grave. The narrator of "Poor Liza" is mentally involved in the relationship of the characters. Already the title of the story is built on the combination of the heroine's own name with an epithet that characterizes the narrator's sympathetic attitude towards her.

The author-narrator is the only mediator between the reader and the life of the characters, embodied by his word. The narration is conducted in the first person, the constant presence of the author reminds of himself by his periodic appeals to the reader: "Now the reader should know...", "The reader can easily imagine...". These address formulas, emphasizing the intimacy of the emotional contact between the author, the characters and the reader, are very reminiscent of the methods of organizing narrative in the epic genres of Russian poetry. Karamzin, transferring these formulas to narrative prose, ensured that prose acquired a penetrating lyrical sound and began to be perceived as emotionally as poetry. The story "Poor Liza" is characterized by short or extended lyrical digressions, at each dramatic turn of the plot we hear the author's voice: "my heart bleeds ...", "a tear rolls down my face".

In their aesthetic unity, the three central images of the story - the author-narrator, poor Liza and Erast - with a completeness unprecedented in Russian literature, realized the sentimentalist concept of a personality, valuable for its extra-ordinary moral virtues, sensitive and complex.

Adhering to the framework of classicism, Fonvizin creates a satirical comedy in which he displays recognizable modern types and raises topical social problems. The name of the comedy somewhat masks its main political meaning. You might think that the play is devoted primarily to the problems of education

youth. Indeed, a lot is said about upbringing in comedy, and the name of its hero, the undersized Mitrofanushka, has become a household name for a young lazy person.

However, the main thing in the play is the denunciation of the arbitrariness of the landlords - feudal lords. Fonvizin, hiding behind the theme of education, swung at the foundations of the state

devices. In the mouth of Starodum, the author put his bold ideas about the injustice of the existing system and the need to change it. The heroes of the comedy collide primarily in an ideological conflict, not a love conflict. The intrigue associated with the struggle for a rich bride is secondary. The heroes split into two

ideological camps. The Prostakovs and Skotinin are the main representatives of the camp of opponents. The camp of goodies is led by Starodum and Pravdin. Starodum acts as a mouthpiece of progressive author's ideas, and Pravdin personifies the current just government. Starodum preaches the truths of the Enlightenment and tries to follow them in practice.

And today, comedy retains its universal meaning. still

important issues related to upbringing and education

youth. The monarchy is gone, but the lust for power has not disappeared, forcing people to sacrifice their best qualities in order to achieve the goal. Fonvizin's comedy remains a living reminder through the centuries of eternal human values.

What problems does the poetry of G.R. Derzhavin? (On the example of at least two poems of your choice)

But, of course, not only socio-political problems worried the poet. Truly, life itself, in all its diversity and richness, enters Derzhavin's artistic world.

In the odes addressed to the kings, he appears to us not only as a poet, a singer of greatness and beauty, but also as a person, a service official, a family man, a victim of persecution by ill-wishers-nobles, a fighter for the truth.

When the heavenly rises

Drink fire, it will sing;

When the burden of deeds will happen

And I have a free hour,

I will leave the bonds of idleness,

Games, conversations, fuss;

Then the muses will come to me,

And you will shout with a lyre.

The poet, in Derzhavin's view, is the spokesman of the living feeling of the nation, he speaks not only on behalf of the people, but also on his own.

The world of the lofty and great has made room and made room in Derzhavin's work for the poet's private life, his personal and official relations.

And if sweet and pleasant

We love the Pleinira, I'm mine,

And in the secular life of the rotten

I have sincere friends

Living with my neighbor in the world:

I can sing, play the lyre:

Who is happier than me?

However, “domestic”, “worldly” could not completely displace the high, civil-political, state themes from the poetry of Gavrila Romanovich; both developed in his work in parallel. Derzhavin constantly responded to the political and military events of our time.

A significant place in the work of Derzhavin is occupied by the heroic-patriotic theme. The poet glorified the military exploits of the Russian people, starting from the 80s, when the Russian-Turkish war was going on, and ending with victories over Napoleon ("Autumn during the siege of Ochakov" (1788), "On the capture of Ishmael" (1790), (1807) , "Zazdravny eagle" (1791 - 1801), the inscription "To Field Marshal Count Alexander Vasilyevich Suvorov" (1795), etc. The main character of this cycle is "ross" - a generalized image of the Russian army:

Fire, unquenchable in the waves,

Ochakovo walls eats,

Ross is invincible before them

And reaps green laurels in scum;

Grey-haired storms despises,

On the ice, on the ditches, on the thunder flies,

In the waters and in the flames he thinks

Either die or win

A typical example of sentimentalism in Russian literature was the story of N. M. Karamzin "Poor Lisa". In the perception of today's reader, its plot may seem hackneyed and melodramatic. In the center of the story is the fate of the poor peasant girl Lisa. She fell in love with a young man named Erast, belonging to the nobility. The author's sympathy is entirely on the side of the unfortunate girl.

The attitude towards Erast is ambiguous. The young man is also depicted by the author with undoubted sympathy, as it should be in a sentimental story. Karamzin notes the kindness, politeness of Erast, his desire to help poor people. He does not emphasize in the least to Lisa and her mother that he stands on a higher rung of the social ladder. Finally, we believe the author and that Erast sincerely fell in love with Lisa. But all these good qualities are manifested in a young man only until he is faced with a serious life problem, for the solution of which he preferred to sacrifice the love and happiness of his beloved girl. She could not survive the betrayal of a loved one and committed suicide. Thus, Erast became the unwitting culprit in the death of Liza. Karamzin condemns Erast for the fact that he could not overcome class prejudices, could not rise above worldly troubles in order to save and preserve his love and bring happiness to a loved one.

What moral problems does N.M. Karamzin in the story "Poor Lisa"?

In the spirit of sentimentalism, the work of N.M. Karamzin “Poor Lisa” was written. A typical manifestation of sentimentalism in the story is the reflection of the position of an enlightened nobleman who sympathizes with the sorrows of a common man: from this point of view, the author’s words in the story are quite democratic for their time: “peasant women know how to love”. Liza in Karamzin's story acts as the highest moral ideal. Liza is kind, honest, open, capable of loving selflessly, surrendering to feelings without a trace, she loves with all her being, having dissolved in this love.

In the character of Erast, Karamzin anticipates the type of disappointed person common in new Russian literature. By nature, Erast is kind, but weak and windy. He is tired of public life and secular pleasures, he is bored and complains about his fate. Disappointed in the world, in the people of his circle, Erast is looking for new impressions that he finds in relations with Liza. But he is not capable of deep feelings, therefore, no matter how painful it is for him to understand his "crime" in relation to Liza, he leaves her.

It was to the woman that Karamzin intended to introduce into Russian literature such an important and defining theme as the elevation of the human spirit through suffering. And, finally, it was Karamzin who determined that female images in Russian literature would be educators of feelings.

Like in a comedy D.I. Fonvizin "Undergrowth" reveals the theme of education?

Mitrofan, who is about 16 years old, studies at his parents' house. Mitrofanushka's main tutor is his own mother. In "Undergrowth" a wealthy noble family of Catherine's time is shown in an absolutely chaotic state. All concepts here are turned upside down; all feelings are turned inside out; in everything there is oppression and arbitrariness, lies and deceit, and a general general misunderstanding. Who is stronger, oppresses; who is weaker, lies and deceives. The mistress of Prostakov's house is a mixture of arrogance and meanness, cowardice and malice, inhumanity towards everyone and tenderness for her son. With all this, she is absolutely ignorant and uneducated, so the teachers chosen for her son are, in fact, a half-educated seminarian, a retired soldier and just a coachman. What can they teach Mitrofan? However, for Prostakova, this does not matter. Even her tailor didn't actually learn tailoring anywhere. Prostakova's self-confidence is so great that she believes that it is enough just to order, and her tailor will learn the skill himself. The tyranny of Prostakova makes her loved ones lie and dodge, so the result of upbringing in this family is natural. The ignorance in which Mitrofanushka grew up and domestic examples raised in him a monster and a home teacher just like his own mother. At the end of the comedy, Mitrofan with great ease abandons his own mother. His upbringing disfigured his essentially harmless character. According to P. A. Vyazemsky, in the person of Prostakova, Fonvizin ridicules “the disastrous fruits of ignorance, poor education and abuse of domestic power”

The opponent of Prostakova in the comedy is Starodum, in whose person Fonvizin tried to present the enlightened power of the noble society. Starodum was the hero and ideal of Fonvizin. Of course, the positive characters of the play are not so much the characters in the drama as its moral setting. Starodum is not so much a living person as a moral mannequin, an ideal enlightener of Catherine's time. It is not for nothing that he claims that “not the rich one who counts money to hide it in a chest, but the one who counts the excess in himself to help someone who does not need it ... A nobleman would consider it a first dishonor not to do anything: there are people who to help, there is a fatherland to serve "," a great sovereign, there is a wise sovereign "," conscience always, as a friend warns, before the judge punishes ". Starodum's words are Fonvizin's call for the moral purity of the moral foundations of contemporary society. At one time, he even published a magazine with a symbolic title - "A friend of honest people or Starodum"

In comedy, two worlds collide with different needs, styles of life and speech patterns, with different ideals. Starodum and Prostakova most frankly express the positions of the essentially irreconcilable camps. The ideals of the heroes are clearly visible in the way they want to see their children.

The problems of enlightenment and education were very acute in the time of Fonvizin. Well, in our days, in the age of universal literacy, do such problems exist? To what extent is it permissible these days to buy a university degree for yourself, having unlimited wealth in the family? How much has the educational level of children who have absolutely lost interest in reading decreased, and can our flawed television with its serials and action movies replace a full-fledged education? Isn't it a problem that children get their basic knowledge from television games: "Who Wants to Be a Millionaire" and "The Weakest Link". And this is at a time when we are surrounded by the most complex equipment and machinery that require deep systematized knowledge. Textbooks are getting simpler, learning is getting easier. This is the problem of modern education.

DI. Fonvizina tirelessly stood up for the flourishing of education in Russia and believed that the nobles brought up in strict civil rules would be worthy leaders of the country. In his comedy, he shows the clash of two views on upbringing and education: patriarchal - this is Prostakova, Skotinin and, as a result of their activities, Mitrofan; and advanced, educational, represented by Starodum, Pravdin, whose ideas are expressed by Milon and Sophia.

Prostakova proudly says that she is "not brought up like that," that is, she believes that a woman should not be able to read or write. The same view is held by Prostakov, her husband, and Skotinin, who also "has never read anything from his birth." But even they are beginning to understand that times are changing, and it is no longer possible to do without education. Of course, a title of nobility will allow you to get some kind of rank, but even he is unlikely to help break into high society, so they force Mitrofan to study, hire teachers for him. But the heroes do this in their own way, that is, formally. Mitrofan is not just an ignoramus, who knows absolutely nothing and does not want to learn anything, he is also an evil, rude, cruel and heartless person. This hero grew up as a soulless egoist, who has absolutely no respect for either his mother or, especially, his father. And Starodum is absolutely right when he says that these are "evil morals worthy fruits." Only such people can be obtained with such a system of education.

In contrast to Mitrofanushka, Fonvizin creates a positive image of a young man, brought up in the truest sense of the word, honest, noble, educated. This is a young officer Milon. Fonvizin puts a certain idea into this image, because he sincerely believes that such people can truly serve their homeland. And in this he is absolutely right.

Fonvizin advocated for such a system of education, spoke about it through the mouth of Starodum. And the result was to be the emergence of progressive, educated young people capable of making Russia the most advanced state._

What are the views of G.R. Derzhavin about the essence of poetic creativity?

According to Derzhavin, the purpose of art and literature is to promote the spread of education, correct vicious morals, and preach truth and justice. It is from these positions that he approaches the assessment of his work in the poem “Monument”. He likens creativity to a “wonderful, eternal” monument. The author reflects on the impact of poetry on contemporaries and descendants, on the poet's right to respect and love of fellow citizens. He expresses confidence that his name will live in the hearts and memory of the “countless peoples” inhabiting the space “from the White Waters to the Black Waters”. The poet connects his immortality with the “family of the Slavs”, that is, with the Russian people:

... And my glory will grow without fading,

How long will the universe honor the Slavs?

In the "Monument" Derzhavin explains what his services to the "family of the Slavs" and Russian literature are:

... the first I dared in a funny Russian style

Proclaim the virtues of Felitsa,

In the simplicity of the heart to talk about God

And tell the truth to kings with a smile.

In the poem "Monument"

Derzhavin claims that the power of poetry is more powerful than even the laws of nature, and he sees his merit as a poet in the preservation of life, in the poetry of human dignity and justice. He looks at the poet as a servant and champion of truth; he credits his sincerity, sincerity: the "cordial simplicity" of his poems and his civic courage; "funny Russian style", a new language style that allows you to expand the scope of the then poetry, saturate it with Russian speech

What “lessons” do rulers give in their poems M.V. Lomonosov

and G.R. Derzhavin? (On the example of one of the poems of each poet)

The main idea in Derzhavin's ode is: judges are messengers of God, they are equal to ordinary people and are also subject to judgment. He believes that the duty of rulers is to judge and protect fairly, to fulfill their duties conscientiously. Urges Catherine to pay attention to order in the state. Lomonosov praises the Empress, wishes her to preserve and exaggerate the country's wealth, to continue his father's reform activities, how he glorifies science, to be a peacemaker for the country and a patroness for every Russian

Elizabeth on behalf of God:

Rulers, judges, inspire,

Hear all verbal flesh,

Hear the nations with trepidation:

The Lord speaks to you in a dream

His holy spirit in the prophets;

Keep every mind and listen with your ears...

Taking on the guise of a prophet—this was demanded by the interests of the idea of ​​peace, for which Lomonosov fought unsparingly—he conveys the commandments of God: keep righteous merits, have mercy on widows and orphans, be a friend to undeceitful hearts, cover the poor, open the door to those who ask.

Derzhavin's ode to "Rulers and Judges" is an arrangement of the psalm. The transcription of the sacred text shows the accusatory pathos of the society in which Derzhavin lived. He witnessed the peasant war led by Emelyan Pugachev and, of course, understood that the uprising was caused by exorbitant feudal oppression and the abuses of officials who robbed the people. Service at the court of Catherine II convinced Derzhavin that flagrant injustice prevailed in the ruling circles. Derzhavin, like many educated people of that time, naively believed that strict observance of the laws established in an autocratic-feudal state could bring peace and tranquility to a country engulfed in popular unrest. In the ode to “Lords and Judges”, the poet angrily reproaches the rulers precisely because they violate the laws, forgetting about their sacred civic duty to the state and society:

Your duty is to save the innocent from troubles,

Cover the unfortunate;

From the strong to protect the powerless,

Break the poor out of their fetters.

But, according to the poet, "rulers and judges":

Do not heed! - see and do not know!

As in the story of N.M. Karamzin "Poor Lisa" reveals the theme of social inequality?

The story of N. M. Karamzin "Poor Lisa" was one of the first sentimental works of Russian literature of the 18th century. The main character of the story is the narrator, who tells about the fate of the poor girl with sadness and sympathy.

The appeal to social problems was extremely important for the sentimentalist writer. Karamzin was perhaps the first in Russian literature to discover a "living soul" in a "little man", in a representative of the lower class. "And peasant women know how to love," - this phrase from the story became winged in Russian culture for a long time. The writer does not denounce Erast for the death of Lisa: the young nobleman is as unhappy as a peasant girl. He is looking for the reason for the tragic denouement of the story in the personal properties of the characters of Lisa and Erast. Meanwhile, the reason must be sought in the social inequality then existing in Russia, in the fact that Erast was a nobleman, and Liza was a peasant woman.

From here begins another tradition of Russian literature: sympathy for the "little man", his joys to troubles, protection of the weak, downtrodden and voiceless. Humane feelings, the ability to sympathize” and to be sensitive turned out to be very in tune with the trends of the time, when literature moved from the civil theme, a characteristic day of the Enlightenment, to the theme of a person’s personal, private life and the external world of an individual became the main object of its attention.

What philosophical questions does the poetry of G.R. Derzhavin? (On the example of at least two poems of your choice)

Poetry G.R. Derzhavin is one of the most significant phenomena in Russian literature of the 18th century. Derzhavin's poetic range is unusually wide. In his work, the image of a worthy citizen and an enlightened ruler is created, high-ranking officials are satirically denounced, the ideals of patriotism and service to the fatherland are affirmed, and the heroism of Russian soldiers is glorified.

Truly, life itself, in all its diversity and richness, enters Derzhavin's artistic world. Especially in his later work, he increasingly thinks about the deep foundations of being.

The philosophical ode "God" defines the foundations of the poet's worldview, his ideas about the universe and man as an integral part of it.

In Derzhavin's ode, we also hear praise for the greatness of God's creation:

Enlightened spirits cannot

Born from your light

Explore your destinies:

Only the thought to ascend to you dares,

In your greatness disappears

Like a passing moment in eternity.

Thought, feeling, imagination of the poet are turned not only to God's world, but also deep into the soul:

But you shine in me

By the majesty of your kindness;

You portray yourself in me

Like the sun in a small drop of water

In this ode, a person turns out to be contradictory in nature: he not only “commands the thunders with his mind”, but also “decays in the dust with his body”; he is not only "king" and "God" but also "worm" and "slave."

Derzhavin does not solve the mystery of such a connection - he discovers it by experience and imagination, realizes it with thought and feels it with his heart. That is why he not only pours out religious enthusiasm with verses, not just philosophizes, but “in heartfelt simplicity he talks about God.”

In comedy A.S. Griboyedov "Woe from Wit" presents the customs of the Moscow nobles of the early 19th century. The author shows the clash between the conservative views of the feudal landlords and the progressive views of the younger generation of nobles who began to appear in society. This clash is presented in the form of a struggle between two camps: the “past century”, protecting their mercantile interests and personal comfort, and the “present century”, striving to improve the structure of society through the manifestation of true citizenship. However, there are characters in the play who cannot be unambiguously attributed to any of the opposing sides. This is the image of Sophia in the comedy "Woe from Wit".

Sophia's opposition to the Famus society

Sofya Famusova is one of the most complex characters in the work of A.S. Griboyedov. The characterization of Sophia in the comedy "Woe from Wit" is contradictory, because on the one hand, she is the only person close in spirit to Chatsky, the main character of the comedy. On the other hand, it is Sophia who turns out to be the cause of Chatsky's suffering and his expulsion from Famus society.

The protagonist of the comedy is not without reason in love with this girl. Now let Sophia call their youthful love childish, nevertheless, she once attracted Chatsky with her natural mind, strong character, and independence from other people's opinions. And he was nice to her for the same reasons.

From the first pages of the comedy, we learn that Sophia received a good education, loves to spend time reading books, which causes the anger of her father. After all, he believes that “in reading, the use is not great,” and “learning is the plague.” And this is the first discrepancy in the comedy "Woe from Wit" of the image of Sophia with the images of the nobles of the "past century".
Sophia's passion for Molchalin is also natural. She, as a fan of French novels, saw in the modesty and laconicism of this man the features of a romantic hero. Sophia does not suspect that she has become a victim of deceit by a two-faced person who is next to her only for personal gain.

In her relationship with Molchalin, Sofya Famusova shows such character traits that none of the representatives of the "past century", including her father, would ever dare to show. If Molchalin is mortally afraid to make public this connection to society, since “evil tongues are worse than a gun,” then Sophia is not afraid of the opinion of the world. She follows the dictates of her heart: “What is the rumor to me? Whoever wants, so judges. This position makes her related to Chatsky.

Features that bring Sophia closer to the Famus society

However, Sophia is the daughter of her father. She was brought up in a society where only rank and money are valued. The atmosphere in which she grew up certainly had an impact on her.
Sophia in the comedy "Woe from Wit" chose Molchalin not only because she saw positive qualities in him. The fact is that in the Famus society, women rule not only in society, but also in the family. It is worth remembering a couple of Goriches at a ball in Famusov's house. Platon Mikhailovich, whom Chatsky knew as an active, active military man, under the influence of his wife, turned into a weak-willed creature. Natalya Dmitrievna decides everything for him, gives answers for him, disposing of him like a thing.

It is obvious that Sophia, wanting to dominate her husband, chose Molchalin as her future husband. This hero corresponds to the ideal of a husband in the society of the Moscow nobles: "A husband-boy, a husband-servant, from the wife's pages - the high ideal of all Moscow men."

The tragedy of Sofia Famusova

In the comedy Woe from Wit, Sophia is the most tragic character. More suffering falls to her lot than even Chatsky's.

Firstly, Sophia, possessing by nature determination, courage, intelligence, is forced to be a hostage to the society in which she was born. The heroine cannot afford to surrender to feelings, regardless of the opinions of others. She was brought up among the conservative nobility and will live according to the laws dictated by them.

Secondly, the appearance of Chatsky threatens her personal happiness with Molchalin. After the arrival of Chatsky, the heroine is in constant tension and is forced to defend her lover from the caustic attacks of the protagonist. It is the desire to save your love, to protect Molchalin from ridicule, that pushes Sophia to spread gossip about Chatsky's madness: “Ah, Chatsky! Do you like to dress everyone up as jesters, would you like to try on yourself? However, Sophia turned out to be capable of such an act only because of the strong influence of the society in which she lives and with which she gradually merges.

Thirdly, in the comedy there is a cruel destruction of the image of Molchalin that has developed in Sophia's head when she hears his conversation with the maid Liza. Her main tragedy lies in the fact that she fell in love with a scoundrel who played the role of her lover only because it could be beneficial for him to receive another rank or award. In addition, the exposure of Molchalin takes place in the presence of Chatsky, which hurts Sophia as a woman even more.

conclusions

Thus, the characterization of Sophia in the comedy "Woe from Wit" shows that this girl is in many ways opposed to her father and the entire noble society. She is not afraid to stand against the light, protecting her love.

However, this same love makes Sophia defend herself from Chatsky, with whom she is so close in spirit. It is with the words of Sophia that Chatsky is blackened in society and expelled from it.

If all the other heroes of the play, with the exception of Chatsky, participate only in social conflict, protect their comfort and their usual way of life, then Sophia is forced to fight for her feelings. “She, of course, is harder than everyone else, even harder than Chatsky, and she gets her “million torments”,” wrote I.A. Goncharov about Sophia. Unfortunately, in the finale it turns out that the heroine's struggle for the right to love was in vain, because Molchalin turns out to be an unworthy person.

But even with someone like Chatsky, Sophia would not have found happiness. Most likely, she will choose as her husband a man who corresponds to the ideals of the Moscow nobility. The strong character of Sophia needs realization, which will become possible with her husband, who allows him to command and lead himself.

Sofya Famusova is the most complex and controversial character in Griboyedov's comedy Woe from Wit. The characteristics of Sophia, the disclosure of her image and the description of the role in the comedy will be useful to grade 9 when preparing materials for an essay on the theme of the image of Sophia in the comedy "Woe from Wit"

Artwork test

Consider the features of the comedy created by Fonvizin ("Undergrowth"). The analysis of this work is the topic of this article. This play is a masterpiece of Russian literature of the 18th century. This work is included today in the fund of Russian classical literature. It touches upon a number of "eternal problems". And the beauty of a high style still attracts many readers today. The name of this play is connected with the decree issued by Peter I, according to which "undergrowths" (young nobles) are forbidden to enter the service and marry without education.

The history of the creation of the play

Back in 1778, the idea of ​​this comedy arose from its author, who is Fonvizin. "Undergrowth", the analysis of which we are interested in, was written in 1782 and presented to the public in the same year. It should briefly highlight the time of creation of the play that interests us.

During the reign of Catherine II, Fonvizin wrote "Undergrowth". The analysis of the heroes presented below proves that they were the heroes of their time. The period in the development of our country is associated with the dominance of ideas. They were borrowed by the Russians from the French enlighteners. The spread of these ideas, their great popularity among the educated philistinism and the nobility was largely facilitated by the empress herself. She, as you know, corresponded with Diderot, Voltaire, d'Alembert. In addition, Catherine II opened libraries and schools, supported the development of art and culture in Russia by various means.

Continuing to describe the comedy created by D. I. Fonvizin ("Undergrowth"), analyzing its features, it should be noted that, as a representative of his era, the author, of course, shared the ideas that dominated at that time in the noble society. He tried to reflect them in his work, revealing not only positive aspects to readers and viewers, but also pointing out misconceptions and shortcomings.

"Undergrowth" - an example of classicism

Analysis of the comedy "Undergrowth" by Fonvizin requires considering this play as part of a cultural era and literary tradition. This work is considered one of the best examples of classicism. In the play, there is a unity of action (there are no secondary plot lines in it, only the struggle for Sophia's hand and her property is described), places (the characters do not move long distances, all events take place either near the Prostakovs' house or inside it), and time ( all events take no more than a day). In addition, he used "talking" surnames, which are traditional for the classic play, Fonvizin ("Undergrowth"). Analysis shows that, following tradition, he divided his characters into positive and negative ones. Positive ones are Pravdin, Starodum, Milon, Sophia. They are opposed to Prostakov, Mitrofan, Skotinin by D. I. Fonvizin (the play "Undergrowth"). An analysis of their names shows that they let the reader understand which features in the image of this or that character are prevalent. For example, the personification of morality and truth in the work is Pravdin.

A new genre of comedy, its features

"Undergrowth" at the time of its creation was an important step forward in the development of literature in our country, in particular, drama. Denis Ivanovich Fonvizin created a new socio-political. It harmoniously combines a number of realistic scenes depicted with sarcasm, irony, laughter from the lives of some ordinary representatives of high society (the nobility) with sermons about morality, virtue, the need to educate human qualities that were characteristic of enlighteners. At the same time, instructive monologues do not burden the perception of the play. They complement this work, as a result of which it becomes deeper.

First action

The play is divided into 5 acts, the author of which is Fonvizin ("Undergrowth"). Analysis of the work involves a description of the organization of the text. In the first act we get acquainted with the Prostakovs, Pravdin, Sofya, Mitrofan, Skotinin. The characters' characters emerge immediately, and the reader understands that the Skotinin and Prostakovs - and Sophia and Pravdin - are positive. In the first act, the exposition and the plot of this work take place. In the exposition, we get to know the characters, we learn that Sofya lives in the care of the Prostakovs, who is going to be married off as Skotinin. Reading a letter from Starodum is the beginning of the play. Sophia now turns out to be a rich heiress. From day to day, her uncle returns to take the girl to him.

The development of events in the play created by Fonvizin ("Undergrowth")

We continue the analysis of the work with a description of how events unfolded. 2nd, 3rd and 4th actions are their development. We get acquainted with Starodum and Milon. Prostakova and Skotinin are trying to please Starodum, but their flattery, falsity, lack of education and a huge thirst for profit only repels. They look stupid and funny. The most ridiculous scene of this work is Mitrofan's interrogation, during which the stupidity of not only this young man, but also his mother is exposed.

Climax and denouement

5th act - climax and denouement. It should be noted that the opinions of researchers about what moment should be considered the culmination differ. There are 3 most popular versions. According to the first, this is the abduction of Prostakova Sofya, according to the second, Pravdin’s reading of a letter stating that Prostakova’s estate is being transferred under his care, and, finally, the third version is Prostakova’s rage after she understands her own impotence and tries to “recoup "on his servants. Each of these versions is true, since it considers the work of interest to us from different points of view. The first, for example, highlights the storyline dedicated to Sophia's marriage. An analysis of the episode of Fonvizin's comedy "Undergrowth" associated with marriage, indeed, allows us to consider it the key in the work. The second version examines the play from a socio-political point of view, highlighting the moment when justice triumphs on the estate. The third focuses on the historical one, according to which Prostakova is the personification of the weakened principles and ideals of the old nobility that have gone into the past, which, however, do not yet believe in their own defeat. This nobility, according to the author, is based on ignorance, lack of education, as well as low moral standards. During the denouement, everyone leaves Prostakova. She has nothing left. Pointing to her, Starodum says that these are "worthy fruits" of "malice".

Negative characters

As we have already noted, the main characters are clearly divided into negative and positive. Mitrofan, Skotinin and Prostakov are negative characters. Prostakova is a woman seeking profit, uneducated, rude, domineering. She knows how to flatter for profit. However, Prostakova loves her son. Prostakov appears as the "shadow" of his wife. This is an inactive character. His word means little. Skotinin is the brother of Mrs. Prostakova. This is an equally uneducated and stupid person, rather cruel, like his sister, greedy for money. For him, a walk to the pigs in the barnyard is the best thing to do. Mitrofan is a typical son of his mother. This is a spoiled young man of 16 years old, who inherited from his uncle a love for pigs.

Issues and heredity

In the play, it should be noted, an important place is given to the issue of family ties and heredity Fonvizin ("Undergrowth"). Analyzing this issue, let's say, for example, that Prostakova is only married to her husband (a "simple" person who does not want much). However, she is actually Skotinina, akin to her brother. Her son absorbed the qualities of both his parents - "animal" qualities and stupidity from his mother and lack of will from his father.

Similar family ties can be traced between Sophia and Starodum. Both of them are honest, virtuous, educated. The girl listens to her uncle attentively, respects him, "absorbs" science. Pairs of opposites create negative and positive characters. Children - spoiled stupid Mitrofan and meek smart Sophia. Parents love children, but they approach their upbringing differently - Starodub talks on the topics of truth, honor, morality, and Prostakova only pampers Mitrofan and says that education is not useful to him. A couple of grooms - Milon, who sees the ideal and his friend in Sophia, who loves her, and Skotinin, who calculates the fortune that he will receive after marrying this girl. At the same time, Sophia as a person is not interesting to him. Skotinin does not even try to equip his bride with comfortable housing. Prostakov and Pravdin are in reality the "voice of truth", a kind of "auditors". But in the person of an official, we find active strength, help and real action, while Prostakov is a passive character. The only thing that this hero could say was to reproach Mitrofan at the end of the play.

Issues raised by the author

Analyzing, it becomes clear that each of the above-described pairs of characters reflects a separate problem that is revealed in the work. This is a problem of education (which is supplemented by the example of half-educated teachers like Kuteikin, as well as impostors like Vralman), upbringing, fathers and children, family life, relationships between spouses, the attitude of nobles to servants. Each of these problems is considered through the prism of enlightenment ideas. Fonvizin, sharpening his attention on the shortcomings of the era through the use of comic techniques, emphasizes the need to change outdated, traditional, irrelevant foundations. They drag foolishness, malevolence into the swamp, liken people to animals.

As our analysis of Fonvizin's play "Undergrowth" showed, the main idea and theme of the work is the need to educate the nobility in accordance with educational ideals, the foundations of which are still relevant today.