What features of Sophia are revealed in these phenomena. The image of Sophia in the comedy Woe from Wit. A new genre of comedy, its features

Famusova Sofya Pavlovna - the main character of the comedy "Woe from Wit" (1824) by A. Griboyedov. Sophia is a young girl of seventeen, the daughter of Famusov. This is a complex and sophisticated nature, endowed with a sharp mind and excellent ingenuity. After the death of her mother, Sophia was brought up by the old Frenchwoman Rosier, and Chatsky was her best childhood friend. In relation to him, Sophia also experienced a feeling of first love, but during the absence of Chatsky (3 years), the girl changed a lot, and her feelings also became different.

The formation of Sophia's character was influenced by Moscow mores and habits, as well as the books of sentimentalist writers, in particular, the works of Karamzin.

As a result, the girl imagined herself as the main character of a "sensitive" novel and began to act according to her chosen role. She rejects the bold and caustic Chatsky, the stupid and rich Skalozub, and defines Molchalin as her platonic admirer.

In her father's house, Sophia does not have the opportunity to develop spiritually. She played too much, imagining herself the heroine of a novel. The girl began to invent dreams reminiscent of Zhukovsky's ballads, to imitate fainting spells, etc. She came up with the image of a romantic lover, faithful, timid, but poor man, and endowed these features with Molchalin, without noticing how cruelly deceived she was. Chatsky, in her own way, is also interesting to Sophia, she is haunted by the memories of the touching childhood feeling that she felt towards him, but now she has become different, and she is annoyed by his sarcasm and acrimony. In addition, the girl is afraid of exposing her romantic "ideal" in the image of Molchalin, so Chatsky's stay in the Famusovs' house becomes extremely undesirable for her. At this moment, the "Moscow" upbringing of Sophia is manifested and the true nature of the secular young lady is revealed. It is Sophia who spreads the rumor about Chatsky's madness during the ball. In the finale of the comedy, the girl is severely punished for her libel: she learns about the betrayal of Molchalin, who blatantly flirts with Lisa and at the same time openly says that Sophia is only interested in him for selfish reasons. Having learned about Sophia's romance with her secretary, Famusov sends his daughter "to the village", "into the wilderness," namely, to her aunt in Saratov.

In the image of Sophia, such different properties as femininity and imperiousness, stubbornness and emotionality, vulnerability and vitality are surprisingly combined. Her feelings for Molchalin were truly sincere, she defended and guarded her ideal from exposure with all her might. Therefore, at the end of the work, she, like Chatsky, tragically experienced the drama of deception, betrayal and disappointment.

Municipal budgetary educational institution "MBOU SOSH № 34" Comedy A.S. Griboyedov "Woe from Wit" Developed by Ermolaeva Inna Leonidovna, Teacher of Russian language and literature of the first qualification category Recommended: Grade 9 2016

History of creation The idea of ​​the comedy arose in 1820 (according to some sources already in 1816), but active work on the text begins in Tiflis after Griboyedov's return from Persia.

History of creation By the beginning of 1822, the first two acts were written, and in the spring and summer of 1823 the first version of the play was completed in Moscow. It was here that the writer could supplement his observations of the life and customs of the Moscow nobility, "breathe in the air" of secular drawing rooms. But even then the work did not stop: in 1824 a new version appeared, which had the name "Woe from Wit" (originally - "Woe to Wit").

Widespread popularity of the work In 1825, excerpts from acts I and III of the comedy were published with large censorship cuts. "Woe from Wit" was on the list. Pushkin's friend, the Decembrist I.I. Pushchin brought Griboyedov's comedy to the poet in Mikhailovskoye. She was received enthusiastically, especially by the Decembrists. For the first time the comedy "Woe from Wit" with significant reductions was published after the death of the author in 1833, and it was fully published only in 1862. I.I. Pushchin

Genre In the comedy "Woe from Wit" there are two storylines: love and socio-political. The central character of both is Chatsky. Griboyedov created a comedy that touches on not only pressing social problems, but also moral issues. It was important for Griboyedov that his characters first of all evoke laughter - the laughter of the audience at those shortcomings and vices that are inherent in themselves.

Composition 2 action development of action 3 action culmination 1 action set 4 action denouement There are 4 acts in the play:

Plot The plot basis of the work is a dramatic conflict, a violent clash of an intelligent, noble and freedom-loving hero with the noble environment surrounding him. As a result, "grief from his own mind" was drunk in full measure by the hero himself.

Act One Who, according to Lisa, suits Sophia in the role of the groom? How does Sophia Skalozub characterize? About whom does Lisa speak with admiration? How many years has Chatsky been absent? What connects Sophia with Chatsky? Reread the scene of Sophia's meeting with Chatsky.

Act One How does Famusov feel about Chatsky's unexpected arrival? What worries Famusov? How does Chatsky characterize Moscow society?

Act Two Read Famusov's monologue expressively. "Petrushka ..." What can you say about Famusov's lifestyle on the basis of this monologue? How did Famusov react to Chatsky's words "Let me devote myself, what would you tell me"? Which century does Famusov adore? An expressive reading of Famusov's monologue "This is that, you are all proud! ..." On what basis did Famusov conclude that Chatsky is a dangerous person?

Act II How does Famusov behave when Skalozub appears? Prove by the content of the text that Skalozub is a limited person? Expressive reading of Chatsky's monologue "Who are the judges?" Whom does Chatsky denounce in this monologue? What trait of Molchalin's character is revealed in his behavior with Sophia after he fell from his horse?

Act II Expressive reading by roles 12 phenomena 2 acts. How is Molchalin's character revealed in this phenomenon?

Act Three What qualities does Sophia value in Molchalin? Why does Chatsky conclude: "Naughty, she doesn't love him." Expressive reading by roles 3 phenomena 3 actions. How is the character of Molchalin and Chatsky revealed in this phenomenon?

Act III Among the guests of Famusov, Chatsky meets his old acquaintance Platon Mikhailovich. How does Platon Mikhailovich assess his lifestyle? For what purpose do the prince and princess Tugoukhovsky come to the ball?

Act III With whom does Khlestova come to Famusov's house? How does she feel about her servants? How does he behave in Famus society? What can you say about Molchalin's behavior towards Khlestova?

Act Three What new character trait of Molchalin is noted by Chatsky? (yavl. 13) How did it happen that Chatsky was declared insane? What does the Famus society see as the reason for this? Prove with the content of the comedy text. Expressive reading of Chatsky's monologue "In that room an insignificant meeting ..." How does this monologue characterize Chatsky?

Act 4 How does Chatsky perceive Repetilov? What role does Zagoretsky play in comedy? Does Famusian society believe in Chatsky's madness? Prove with examples from the text. How does Chatsky himself react to the gossip of Famus society? How does Chatsky become a witness to an unexpected scene?

Act 4 Expressive reading by roles 12 phenomena 4 actions. Give an assessment of the behavior of each character in this phenomenon. Describe Famusov on the basis of the content of the 13th phenomenon.

Act Four An expressive reading of Chatsky's monologue "I will not come to my senses ... I am to blame ..." Why is Chatsky fleeing Moscow?

A detailed answer to the question What do you think will happen in Famusov's house after the revealing scene? (written answer)

Independent work Task: Find A.S. Griboyedov "Woe from Wit" aphorisms and write them out.

Independent work Assignment: continue the aphorism, remember from whose mouth it sounds. 1. Happy hours ... 2. Sin does not matter, ... 3. Just think. ... 4. And grief ... 5. I don't care ... 6. - Where is it better? ... 7. And suddenly it burst out ... 8. Sleep ... 9. I would be glad to serve ... 10. Fresh tradition, ...

Aphorisms 11. Who serves the cause ... 12. Ah! Tell the end of love, ... 13. The houses are new, ... 14., he is small ... 15. Ah! Evil tongues ... 16. But in order to have children, ... 17. Who is poor, ... 18. But by the way, he will reach the degrees of the known, ... 19. Couldn't it be for walks ... 20. And surely, he started ...

Aphorisms 21. What a commission, creator, ... 22. And a golden bag, ... 23. Pass us more than all sorrows ... 24. Signed ... 25. A little light is on my feet! ... 26. And the smoke of the Fatherland ... 27. That's it, you are all proud! … 28. What he says! ... 29. Who are the judges? ... 30. And who is in love - ...

Denis Ivanovich Fonvizin wrote back in 1782. However, in our time it remains relevant. The problems of upbringing touched upon in the play have their manifestations even 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 Starodum's niece. He also becomes her guardian when Sofia loses her parents. At the time of departure from the city of Starodum, the girl is "taken under their wing" by the Prostakovs. However, they do this not out of good intentions, but with the aim of robbing Sophia. But their plans, though 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 seized with an obsession to marry the girl off to her son, an ignoramus. The main character respects her 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 he does not want to marry either Mitrofan or Skotinin, who also dreams of taking possession of her estate.

Sofia is in love with Milo, whom she considers a worthy man. When he stops in 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 taunts him.

When she returns, Sofia finds herself in a quandary again. After all, he dreams of marrying her off to some worthy person in his opinion. The girl is gaining courage and honestly admits that she has long been in love with Milona. The uncle finally approves of his niece's choice.

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

The main character is an idealized positive character in a comedy with 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 reasonably, to fight for her happiness and freedom.

Comedy "The Minor" is a "human" comedy, created from a gallery of vivid images that represent different sectors of society. The problem of upbringing is central in the work, and other problems are already emanating from it.

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

(Material on questions from the FIPI website)

Traits of the moral ideal in the image of Sophia. (Based on Dmitry Fonvizin's comedy "The Minor")

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

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

What is the significance of the latter phenomenon in the comedy of D.I. Fonvizin "Minor"?

The comic of "The Minor" is not only in the fact that Prostakova scolds like a street vendor, is touched by the gluttony of her son. There is a deeper meaning in comedy. She sarcastically ridicules rudeness, which wants to look amiable, greed, hiding behind generosity, ignorance, pretending to be educated. According to the playwright, serfdom is destructive not only for the peasants, since it makes them obedient, wordless slaves, but also for the landowners, turning them into tyrants, tyrants and ignoramuses. Cruelty and violence are becoming the most convenient and familiar weapon for the feudal landlords. Therefore, the first impulse of Skotinin, and then of Prostakova, was to force Sophia to marry. And only realizing that Sophia has strong defenders, 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 the usual action - violence.

In the finale of the comedy, we are not only funny, but also scared. A mixture of insolence and servility, rudeness and confusion makes Prostakova so pathetic that Sophia and Starodum are ready to forgive her. Impunity and permissiveness taught Prostakov to the idea that there are no insurmountable obstacles in front of her. She becomes a plaything of her own passions. And thoughtless motherly love turns against herself. Mitrofan refuses his mother at the most difficult moment of her life. He does not need a mother who has lost money and power. He will be looking for new influential patrons. His phrase: "Yes, get off, mother, how imposed ..." became winged. But this did not change its ominous meaning, but rather intensified.

Fonvizin's crushing, angry satirical laughter, directed at the most disgusting aspects of the autocratic serf system, played a great creative role in the further destinies of Russian literature.

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

Typical for the comedy of this time, the method of combating evil was the opposition to the negative phenomenon of the positive phenomenon, and in those cases when it did not exist in reality, it was portrayed as if it really existed. In full accordance with these aesthetic requirements, the four negative characters of "The Minor" - 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 the exponent of the author's opinions. Fonvizin would later emphasize his unanimity with Starodum by calling his name a journal intended to serve as an organ of the same circle of ideas that found a vivid expression in Nedoroslya.

One detail is noteworthy. Fonvizin did not say a word about whether the main positive hero of his comedy was a landowner. The author has put into the mouth of Starodum a significant phrase: "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 one cannot nevertheless say that the main positive character of "The Little Growth" is an abstract scheme, "the repository of all virtues," as they said then. Talking about his past, Starodum does not hide the fact that he very much regrets - the inappropriate fervor 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 his marriage to Sophia.

Often, when speaking about the positive characters of the comedy, critics put Starodum and Pravdin on the same level, considering them to be equally the spokesmen of the author's opinions. Meanwhile, Fonvizin himself, uniting Starodum and Pravdin on the basis of "honest people", gives each of them an individual face. /.../

Starodum can be viewed as a collective image, embodying not only the features of Fonvizin himself, but also those of his contemporaries, for whom adherence to Peter's "antiquity" was a peculiar form of rejection of Catherine's "novelty". It was already clear to the next generation that the image created by Fonvizin is rooted in Russian historical reality. Prototypes were sought for him both among the associates of Peter I, and among the closest circle of Fonvizin.

The play's positive characters are few: Pravdin, Starodum, Sophia

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

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

Pravdin is an honest, impeccable official. An auditor empowered to confiscate estates from cruel landowners. 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 elders.

The purpose of these heroes in the comedy, on the one hand, is to prove the correctness of Starodum's views, and on the other hand, to highlight the malice and ignorance of such landowners as the Prostakov-Skotinins.

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

The dictionary gives two definitions of the word "Minor". The first is "this is a young nobleman who has not reached the age of majority and has not entered the civil service." The second is "a stupid young man - a dropout." I think that the second meaning of this word appeared thanks to the image of an ignoramus - Mitrofanushka, which was created by Fonvizin. After all, it is Mitrofan who personifies the denunciation of the growing serfs, who are mired in stupidity and ignorance.

The mother, who indulged all the desires of her child, brought up a real egoist and despot from Mitrofan, unable to even be responsible for herself and her actions. Already in childhood, Mitrofan "showed himself" as best he could. He did not speak, 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 "an old hrychovka", although she always protects him from dangers, cleans up after him, feeds him. Mitrofan no longer notices this. For him, everything is as it should be.

In words, he is bold. To offend someone is a piece of cake for him. But in fact, he shows himself from a completely different side. Mitrofan is terribly cowardly and not self-sufficient. Although why should he be independent? After all, there is always a mother, nanny or teacher at hand.

Mitrofan is very selfish and selfish. Depending on the change in the position occupied by people, the attitude of Mitrofan to them also changes. He lives only by this principle. Even his mother does not regret he and loses interest in her, as soon as power is taken away from her: "Yes, get off, mother, how imposed!" With these words, the beloved son refuses his mother at a difficult moment for her. Of course, I feel sorry for the heroine Prostakova, but she herself developed and brought up Mitrofane 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 "Little Growth" that the name of Mitrofan became a household name. Now we can safely call a stupid, rude and lazy person "mitrophanes", and there are, unfortunately, a lot of such people in our time. It is thanks to such "mitrofans" "The" Minor "remains so popular and relevant in our time. This work can make us think and draw conclusions. But am I not such a person? ...

How in "Ode on the day of her Majesty's accession to the All-Russian throne of Her Majesty Empress Elizabeth Petrovna, 1747" is embodied the presentation of M.V. Lomonosov about an ideal historical figure?

Lomonosov, as a true humanist, devoted his literary activity to the civic education of society, and the artistic principles of classicism were fully consistent with his goal. He believed that poetry should bring people lofty ideals, 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's symbol - the greatness of the country. Therefore, in this ode, in the person of the daughter of Peter 1, Russian statehood is glorified. Inspirational lines of the ode are dedicated to the endless expanses of Russia, its natural resources, the talented Russian people are praised, it is argued that the country's future 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:

Dare now emboldened

Show with your hands

What can own Platons

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 enlightenment, about improving economic and spiritual development ._

What "eternal" questions are raised by 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 his works. In his work, Derzhavin pays great attention to the theme of poet and poetry. Speaking about poetry, he emphasizes its true purpose:

This gift of the gods is only to honor

And to the teaching of their ways

Should be turned, not to flattery

And the dark praise of the people.

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

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

Show me this new world

In the face of a young summer day:

Like groves, hills, towers, rooftops,

From the hearth golden fire,

They rise from the darkness, shine

And they look in a mirror of waters;

All new feelings are received,

And all mortal kind moves.

These lines could serve as an epigraph to all Derzhavin's poetry. The mood of the morning reigns in it. A person refreshed with 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 brilliance of nature, the theme of death persistently accompanies Derzhavin's poetry. In old age, at rest, painting the Zvan beauties and table "still lifes" crowned with a blue pike feather, the poet seems to see again: "Where the table was of food, there is a coffin" - and bitterly prophesies: "This house will collapse, the forest and the garden will dry up. ... "In the most different years, in the most different poems of the poet, who knows how to sing so vividly the joy of life, now almost resonantly, now lyrically-passionately, the eternal" remember death "erupts.

That allows us to attribute the story of 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 increased interest som to the human feeling, emotional perception of the surrounding world. At the same time, it is essential that the sentimentalism put forward a simple, ignorant man as a hero.

In the spirit of sentimentality, the book was written by N. M. Karamzin "Poor Liza". A typical manifestation of sentimentality in responsibility is the reflection of the position of an enlightened nobleman, sympathy More to the sorrows of a simple person: from this point of view, the words of the author, sounding in the story, are quite democratical for their time: “and Steyans know how to love. " The page in the production of sentimentalists will receive an emotional character - it is not just a background on which to unfold events, but a living participant in the story. For Ka-ramzin, the cult of nature is also characteristic: nature empathizes with Lisa, vividly reacts to what is happening. The above ¬ numbered signs allow us to consider Karamzin's poem "Poor Liza" as a sentimental work.

What is common and different in the characters of Mrs. Prostakova and Mitrofan? (Based on Dmitry Fonvizin's comedy "The Minor")

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 woman, she is stingy, hypocritical and at the same time cowardly. Unrelated feelings forced Prostakova to take Sophia into the house after the death of her mother. Lack of solicitude causes her desire to marry Sophia to Skotinin. 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 concedes in everything and obeys her. No one in the house can say a word or step without her consent. She has an imperious, unceremonious and despotic attitude towards the teachers of Mitrofanushka, and towards Sophia (before she becomes a rich heiress), and towards Starodum (before she finds out who he is). Especially disgusting is Prostakova as a serf-landowner, rude, cruel and ignorant. The situation of the servants (serfs) in her house is terrible. For every reason and without reason, out of tyranny, she mercilessly punishes them. This is "a despicable fury, whom the hellish character makes the misfortune of the whole house."

Prostakov justifies her cruelty, arbitrariness and violence by 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 without sciences”? The landowner herself is an extremely ignorant, illiterate woman.

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

The main character of the story is the narrator, who, with sadness and sympathy, tells about the fate of the poor girl. The image of the sentimental narrator became a revelation 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 Liza directly from Erast and himself often comes to be sad at Liza's grave. The narrator of Poor Lisa is emotionally involved in the relations of the heroes. Already the title of the story is built on the combination of the heroine's own name with an epithet characterizing the sympathetic attitude of the narrator towards her.

The author-narrator is the only intermediary between the reader and the life of the heroes, 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 must know ...", "the reader can easily imagine ...". These formulas of address, which emphasize the intimacy of emotional contact between the author, the heroes and the reader, are very reminiscent of the methods of organizing the narrative in the epic genres of Russian poetry. Karamzin, transferring these formulas into narrative prose, achieved that the prose acquired a heartfelt lyrical sound and began to be perceived as emotionally as poetry. The story "Poor Lisa" is characterized by short or extended lyrical digressions, at each dramatic plot twist we hear the author's voice: "my heart is pouring blood ...", "a tear is rolling 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 for Russian literature, implemented the sentimentalist concept of a personality, valuable for its extra-word moral merits, 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 disguises 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 dumb Mitrofanushka, has become a household name for a young lazy person.

However, the main thing in the play is the exposure of the tyranny of the landowners - serf-owners. 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. Heroes split in two

camps on an ideological basis. The Prostakovs and Skotinin are the main representatives of the enemy camp. The camp of goodies is headed by Starodum and Pravdin. Starodum acts as a mouthpiece for progressive authorial 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 human meaning. Still

issues related to upbringing and education remain important

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

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

But, of course, not only socio-political problems worried the poet. Indeed, life itself in all its diversity and richness is included in the artistic world of Derzhavin.

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

When the heavenly is proud

In drink the fire, it will sing;

When the burden of deeds happens

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 cry out with the lyre.

The poet, in Derzhavin's view, is an exponent 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 high and the 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 my Plaine,

And in the secular life of a rotary

I have sincere friends

I live with my neighbor in the world:

I can sing, play the lyre:

Who's happier than me?

However, “domestic”, “everyday” could not completely oust 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.

The heroic-patriotic theme occupies a significant place in Derzhavin's work. 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 Izmail" (1790), (1807) , "Zdravny Eagle" (1791 - 1801), the inscription "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,

Eating Ochakov walls

Before them ross is invincible

And in a filth of green laurels reaps;

He despises gray storms,

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

In the waters and in the flame he thinks

Or will die, or will win

The story "Poor Liza" by NM Karamzin became a typical example of sentimentalism in Russian literature. 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 Liza. She fell in love with a young man named Erast, who belongs 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 befits a sentimental story. Karamzin notes the kindness, politeness of Erast, his desire to help poor people. He does not at all emphasize to Lisa and her mother that he is 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 chose 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 Lisa. Karamzin condemns Erast for the fact that he could not overcome class prejudices, could not rise above everyday troubles in order to save and preserve his love and bring happiness to his beloved.

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

The work of N.M. Karamzin "Poor Liza" was written in the spirit of sentimentalism. A typical manifestation of sentimentalism in the story is the reflection of the position of an enlightened nobleman who sympathizes with the sorrows of an ordinary person: from this point of view, the words of the author, which sound in the story, are quite democratic for their time: "peasant women know how to love." Liza in Karamzin's story plays the role of the highest moral ideal. Liza is kind, honest, open, able to love selflessly, surrendering to feeling without a trace, she loves with all her being, dissolving in this love.

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

It was the woman who 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 will be educators of feelings.

As in the comedy D.I. Fonvizin "The Minor" reveals the topic of upbringing?

Mitrofan, who is soon 16, is studying at his parents' home. The main educator of Mitrofanushka is his own mother. The "Nedorosl" shows a well-to-do noble family of Catherine's time in an absolutely chaotic state. All concepts are turned upside down here; all feelings are turned inside out; in everything oppression and arbitrariness, lies and deceit, and a circular universal misunderstanding. Who is stronger, oppresses; who is weaker, lies and deceives. The owner of the house is Prostakova - a mixture of arrogance and meanness, cowardice and anger, inhumanity towards everyone and tenderness towards 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 the tailor never really learned tailoring from her. The self-confidence of Prostakova is so great that she believes: it is enough 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 home examples raised in him a monster and a home teacher just like his own mother. At the end of the comedy, Mitrofan easily abandons his own mother. His upbringing disfigured his essentially harmless character. According to P. A. Vyazemsky, represented by Prostakova, Fonvizin ridicules "the disastrous fruits of ignorance, poor upbringing and abuse of domestic power"

The opponent of Prostakova in the comedy is Starodum, in whose person Fonvizin tried to represent the enlightened power of the noble society. Starodum was the hero and ideal of Fonvizin. Of course, the goodies of the play are not so much the characters of 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 one who counts out money in order to hide it in the chest, but the one who counts out what is too much from himself, to help who doesn’t need it ... A nobleman would consider it a first dishonor not to do anything: there are people who help, there is a fatherland to serve ”,“ a great sovereign, there is a wise sovereign ”,“ conscience is always, as a friend warns, before the judge punishes ”. Starodum's words are Fonvizin's call to the moral purity of the moral foundations of his contemporary society. At one time he even published a magazine with a symbolic name - "Friend of honest people or Starodum"

In comedy, two worlds collide with different needs, lifestyles and manners of speech, with different ideals. Starodum and Prostakova most openly express the positions of essentially irreconcilable camps. The ideals of the heroes are clearly visible in how they want to see their children.

Problems of enlightenment and education were very acute in the time of Fonvizin. But in our days, in the age of universal literacy, are there such problems? How much is it permissible these days to buy yourself a university diploma, having unlimited income in the family? To what extent has the educational level of children who have completely lost interest in reading declined, and can our flawed television with its serials and "action films" 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 "Weak Link". And this at a time when we are surrounded by the most sophisticated equipment and technology that require deep systematized knowledge. Textbooks are getting easier, learning is getting easier. This is the problem of modern education.

DI. Fonvizina tirelessly fought for the flourishing of enlightenment in Russia and believed that 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: the patriarchal one is Prostakova, Skotinin and, as a result of their activities, Mitrofan; and advanced, educational, whose representatives are Starodum, Pravdin, whose ideas are expressed by Milon and Sophia.

Prostakova proudly says that she is "not brought up that way," that is, she believes that a woman should not be able to read or write. The same view is shared by both Prostakov, her husband, and Skotinin, who also "never read anything by birth." But even they are beginning to understand that times are changing, and education can no longer be dispensed with. Of course, the title of nobility will allow you to get some rank, but even he will hardly help to 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, knowing absolutely nothing and not wanting to learn anything, he is also an evil, rude, cruel and heartless person. This hero grew up as a soulless egoist, completely disrespecting neither his mother, nor, even more so, his father. And Starodum is absolutely right, saying that this is "evil worthy fruits". Only such people can turn out with such a system of upbringing.

In contrast to Mitrofanushka, Fonvizin creates a positive image of a young man, brought up in the literal sense of the word, honest, noble, educated. This is the 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.

It was for such a system of upbringing that Fonvizin advocated; he spoke about it through the mouth of Starodum. And the result should have been the emergence of progressive, educated young people capable of making Russia the most advanced state.

What are the views of G.R. Derzhavin on the essence of poetry?

According to Derzhavin, the purpose of art and literature is to promote the spread of enlightenment, 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 his 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 “uncountable peoples” inhabiting the space “from White to Black waters”. The poet connects his immortality with the "kind of Slavs", that is, with the Russian people:

... And my glory will grow without fading,

Until the Slavs, the universe will honor the race.

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

... the first one I dared in a funny Russian syllable

To proclaim the virtues of Felitsa,

Conversation of God in the Simplicity of the Heart

And tell the truth to the kings with a smile.

In the poem "Monument"

Derzhavin argues that the power of poetry is even more powerful than 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 minister and champion of truth; he credits himself with sincerity, sincerity: the "heartfelt simplicity" of his poems and his civic courage; "Funny Russian syllable", a new language style that allows you to expand the scope of the poetry of that time, saturate it with Russian speech

What "lessons" are given to the rulers in their poems by 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: judges are God's messengers, they are equal to ordinary people and are also subject to judgment. He believes that the duty of the rulers is to judge and defend fairly, to fulfill their duties in good faith. Calls on 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, as 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 the words of the flesh,

Hear the peoples with trepidation:

The Lord speaks to you in a dream

By his holy spirit in the prophets;

Take every mind and listen to it ...

Taking on the guise of a prophet — this was demanded by the interests of the idea of ​​the world, for which, sparing no strength, Lomonosov fought — he conveys the commandments of God: to keep righteous merit, to have mercy on widows and orphans, to be a friend to dishonest hearts, to cover the poor, to open the door to those who ask

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

Your duty is to save the innocent from troubles,

Unlucky ones to lay cover;

Protect the powerless from the strong,

To lift the poor out of their shackles.

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

Do not heed! - they see and do not know!

As in the story of N.M. Karamzin "Poor Liza" reveals the topic of social inequality?

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

For the sentimentalist writer, it was extremely important to turn to social issues. Karamzin was almost 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 has long become a winged in Russian culture. The writer does not denounce Erast for the death of Liza: the young nobleman is just as unhappy as the peasant girl. He is looking for the reason for the tragic denouement of the story in the personal characteristics of the characters of Liza and Erast. Meanwhile, the reason must be sought in the social inequality that existed in Russia at that time, in the fact that Erast was a nobleman, and Liza was a peasant.

This is where another tradition of Russian literature begins: sympathy for the "little man", for his joys to troubles, for the protection of the weak, dull and dumb. Humane feelings, the ability to sympathize "and to be sensitive turned out to be very consonant with the trends of the time, when literature from civil themes, a characteristic day of the Enlightenment, moved to the theme of personal, private life of a person and the external world of an individual became the main object of its attention.

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

Poetry of 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, the heroism of Russian soldiers is glorified.

Indeed, life itself in all its diversity and richness is included in the artistic world of Derzhavin. Especially in later work, he increasingly thinks about the deep foundations of being.

The philosophical ode "God" defines the foundations of the poet's world outlook, 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:

Spirits cannot be enlightened,

Born of your light

Investigate your destinies:

Only the thought to ascend to you dares

Disappears in your greatness

As in eternity the past moment.

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

But you shine in me

By the majesty of your kindnesses;

You portray yourself in me

Like the sun in a small drop of water

In this ode, man turns out to be contradictory by nature: he not only "commands the thunder 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 secret of such a combination - he discovers it through experience and imagination, realizes in thought and feels with his heart. That is why he does not just pour out religious delight in verse, not just philosophize, but "talks about God in his heart's simplicity."

The image of Sophia in the comedy "Woe from Wit" is the most dramatic. Griboyedov, portraying the heroine, completely departs from satirical devices. 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, lifting Sophia above others, still made her unhappy.

Characteristics of Sophia ("Woe from Wit"). Critics' opinions

Sophia is very close in character and spiritual strength to Chatsky. Griboyedov made a lot of efforts to create this female image, but critics of that time had a different opinion. So, P. Vyazemsky called her "a chalda that has no female charm", in addition, the publicist was 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: "Sophia 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 "vaguely drawn."

The role of Sophia in the comedy "Woe from Wit" has long been underestimated. It was only in 1871 that Goncharov, in his article "Million of Torments", wrote about the heroine's merits and her enormous role in the play. The critic even compared her to Tatyana Larina Pushkina. 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 of a social comedy, but the heroine of a everyday drama. Griboyedov ("Woe from Wit") was called an innovative playwright for his play for a reason. He was one of the first to cross between 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 his passion.

The wretchedness of Molchalin does not make the girl's love funny, on the contrary, this situation only adds drama to her appearance. The characterization of Sophia ("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 it.

Sophia 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. She divides the world into two parts: Molchalin and others. Sophia constantly thinks about her beloved, apparently that is why she does not notice what kind of people are around her.

The girl is at the mercy of an incredibly strong first love. However, her feelings are not free and joyless. She understands well that her chosen one will never like her father. These thoughts seriously darken the girl's life, but internally 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 thoughtless 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 treats Molchalin very critically and sensibly: “There is no such mind in him ...”, but she immediately says that it is not necessary to have a special mind for family happiness. In her view, the beloved is quiet, soft and uncomplaining. Sophia does not see that he is a scoundrel, this truth will be revealed to her only in the finale. The girl will witness how her beloved looks after Lisa. This discovery literally destroys her. The episode is rightfully considered the most dramatic moment of the play.

Sentimental romance and female education

The image of Sophia in the comedy "Woe from Wit" is not only dramatic, but also in some way collectible. Using her example, Griboyedov 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! It’s as if we’re preparing buffoons to be wives. ”

That is, it says 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.

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 sighing was largely due to the sentimental novels, which described the love of a noble girl and a poor young man (or vice versa). Sophia admired the masculinity and devotion of the novel's heroes. And she believed Molchalin to be 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 society 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 princesses of the Tugoukhovsky. Then we see Natalya Dmitrievna Gorich, a newly married young lady. She learns to push her husband around, to direct and direct his actions. Here are the ladies who form secular opinion - Khlestakova, Marya Aleksevna, Princess Tugoukhovskaya, Tatyana Yurievna. At the end of their lives, a little comic image of the countess grandmother awaits them all.

Sophia's monologue ("Woe from Wit"), in which she extols the dignity of her beloved and says that he is excellent for the role of a spouse, is indicative in this respect. Molchalin is indeed the ideal candidate to make the life of the lady of the world a 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 are not observed";
• “What is the rumor to me? Whoever wants to judge, ”;
• “You can share laughter with everyone”;
• "Not a man, a snake!";
• "The hero ... not of my novel."

Let's summarize

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 modern world for the author. Sophia is an intelligent, outstanding and passionate person who could make a worthy couple for Chatsky. But the upbringing and environment distorted these noble traits, in a sense, disfigured the heroine and led to a dramatic ending. The role of Sophia in the comedy "Woe from Wit" is thus key and plot-forming.