Thesis plan of the article Fonvizin and classicism. "Undergrowth": genre features, classicism and realism (detailed analysis)

1. The conflict of the comedy "Undergrowth".

2. Traditions of classicism and innovation D. I. Fonvizin.

3. "Undergrowth" is a realistic comedy.

The literature of the 18th century, during the general national upsurge, formed a civic consciousness in society. The classicists promoted the ideas of equality of people, humanism, the principle of common good, the responsibility of the authorities to the people. They considered it their duty to benefit the fatherland. The classicists strove for a truthful depiction of life, spoke about the current problems of society, they are characterized by civic pathos, patriotism. But the dramaturgy of that time was also enriched by works that went beyond the framework of classicism. Such is the comedy of D. I. Fonvizin "Undergrowth". The comedy was completed in 1781. Its pathos was determined by the political sharpness and commitment of Fonvizin to the ideals of human freedom.

The main theme of the comedy, its conflict is indicated by the author already at the very beginning, this is the arbitrariness of the landowners and the lack of rights of the serf. The struggle of the progressive nobility against the feudal lords is the dramatic conflict of the Undergrowth. On the side of the advanced nobility are Pravdin and Starodum, the feudal lords are the Prostakovs and Skotinins. Fonvizin convinces us that serfdom is destructive and must be fought against. It corrupts the feudal lords themselves, who lose their human qualities in dealing with the serfs, feel themselves omnipotent. The author wanted to show in his work the actions and morality of the serf-owners, born of serfdom. It is feudal arbitrariness, and not the struggle for Sophia's hand, that is the main theme of "Undergrowth". The depiction of contenders for her hand is another case of carefully considering representatives of the "noble class" depicted in a comic light. A love story, according to Fonvizin, cannot be the basis of a dramatic work. Its basis was the conflict of the era.

Literary critic G. P. Makogonenko believes that "Undergrowth" is a political comedy, since it was the author's political convictions that determined the innovative features in it. There is a plot that conveys a real historical conflict; positive heroes with traits of noble enlighteners.

The play continues the traditions of classicism. According to G. A. Gukovsky, Fonvizin's artistic thinking always "retained a clear imprint of this school." "Undergrowth" is a phenomenon of late Russian classicism, which was influenced by enlightenment ideology. This work combines touching and comic, destroys the usual genre forms. The characters of the heroes are complex, contradictory, there is no division only into positive and negative, as required by the principles of classicism. But the positive characters, following the canons of classicism, in "Undergrowth" have one characteristic feature. The power of the traditions of classicism was preserved in the speaking names of the characters, in maintaining symmetry in the distribution of negative and positive characters. The speech of the characters in the play conveys the characters of the characters, but the hero-reasoner, in classic works - the bearer of the author's opinion, is also present, this is the noble Starodum. The main idea of ​​classicism is the idea of ​​enlightenment. In The Undergrowth, however, it receives a different interpretation: education is important, but virtue is more important than intelligence. The trinity of time, place and action is broken: instead of one problem, the author touches on a number of equally important ones.

Fonvizinsky realism - truthfulness, historical concreteness of images, especially clearly showed itself in the creation of the characters of Eremeevna and Prostakova, showing the complexity of their nature. The images of Starodum and Pravdin are also living characters, readers even "recognized" their prototypes, noble educators. Realism helped Fonvizin to move away from literary clichés, the author was the first to take a step towards creating a leading figure hero. Starodum, Pravdin and Milon are written out in general terms, without details of the biography, of the inner world. But the image of Starodum is more significant in this regard.

Fonvizin created a new type of realistic comedy: he based it not on a ready-made plot, but on a real historical conflict that affects all the characters. Conflicts in the home, according to the author, are a reflection of conflicts in the country. The behavior of Prostakova, for example, comes from a decree on the freedom of the nobility. Her condemnation means that serfdom is condemned in her person. But high content does not mean for the author a rejection of the comic. But this comedy is accusatory, and sometimes with bitter irony. The Russian public comedy begins with "Undergrowth". Fonvizin gave the comedy social depth and a sharp satirical focus. The author denounces the vice - feudal practice, noble "evil temper" and seeks to show its causes: improper upbringing, ignorance of people.

According to G. A. Gukovsky, "Undergrowth" is "half a comedy, half a drama." The genre originality of the work is that the basis of the play is a classic comedy, updated with serious and touching scenes: Pravdin's conversation with Starodum, Starodum's conversations with Sophia and Milon. The finale combines moralizing and touching. Prostakov was punished, but she is sorry.

The traditions of Fonvizin were continued by his followers - A. S. Griboyedov with his "Woe from Wit" and N. V. Gogol with "The Government Inspector". Gogol called the comedies of Fonvizin and Griboyedov the most striking works: “They no longer lightly mock the ridiculous aspects of society, but the wounds and illnesses of our society ... Both comedies took two different eras. ".

Classicism (from lat. classicus - exemplary)
1) The literary and artistic direction (as well as the era and style) of the 17th-18th centuries, which was formed in France and took ancient art as a model with its inherent ideas of beauty and the principles of “imitation of nature”, observing a sense of proportion, striving for harmony. The literature of classicism developed a set of clear laws and rules that implied the separation of genres, themes and styles.

2) Artistic style and aesthetic direction in European literature and art of the 17th - early 18th centuries. The most important feature of it was the appeal to the samples of ancient literature and art as an ideal aesthetic standard. Writers focused on the writings of the Greek philosopher Aristotle and the Roman poet Horace. The aesthetics of classicism established a strict hierarchy of genres and styles.

High genres - tragedy, epic, ode.
Low genres - comedy, satire, fable.
Classicism as a cultural phenomenon originated in the 17th century in northern Italy, during the late Renaissance. In France, low genres prevailed, which reached such a high level that Molière's comedies were even called "high comedies". Classicism fell into decline after the French Revolution of 1789-1794.

Russian classicism is characterized by an appeal to national sources, and not to antiquity. It also developed mainly within the "low genres".

3) Literary direction, which originated in the XVII century. but France in the conditions of the formation of an absolutist state. Classical writers chose ancient art as a role model, but interpreted it in their own way. Classicism is based on the principle of rationalism (racio). Everything must obey reason both in the state and in private life, and egoistic feelings, passions, it is by reason that they must be introduced into the framework of civic and moral duty. The theoretician of classicism was the French poet Nicolas Boileau, who outlined the program of the direction in the book Poetic Art. In classicism, certain creative rules (norms) were established:

The main conflict of the works is the struggle between selfish feeling and civic duty, or between passion and reason. At the same time, duty and reason always win.
In accordance with their attitude to public duty, the actors were divided into positive and negative. Only one quality was imprinted in the characters, one dominant feature (cowardice or courage, deceit or nobility, etc.), i.e. characters were the same.

A strict hierarchy of genres was established in literature. All of them were divided into high (ode, heroic poem, tragedy) and low (fable, satire, comedy). Outstanding events were depicted in high genres, the heroes were monarchs, statesmen, generals. They glorified deeds for the benefit of the state and the monarchy. The language in the works of high genres had to be solemn, majestic.

In the low genres, the life of people of the middle classes was depicted, everyday phenomena and individual traits of a person were ridiculed. The language of fables, comedies was close to colloquial.
Dramatic works in the aesthetics of classicism were subject to the requirement of three unities: time, place and action. The unity of time and place meant that the action in the play should take no more than a day and take place in one place. The unity of action prescribed a plot line, not complicated by side episodes.

In France, the leading writers of classicism were the playwrights P. Corneille and J. Racine (in the genre of tragedy), Molière (comedy), J. La Fontaine (fable).

In Russia, classicism developed from the 18th century. Although Russian classicism had much in common with Western European, in particular with French, national specificity was clearly manifested in literature. If Western European classicism turned to ancient subjects, then Russian writers took material from national history. In Russian classicism, a critical note sounded distinctly, the denunciation of vices was sharper, the interest in the folk language and in general in folk art was more pronounced.
Representatives of classicism in Russian literature - A.D. Kantemir, M.V. Lomonosov, A.P. Sumarokov, D.I. Fonvizin.

There in the old days
Satyrs are a bold ruler,
Fonvizin shone, friend of freedom...
A. S. Pushkin

Classicism is a literary trend that existed in the 18th - early 19th centuries. It is characterized by high civic themes, which demanded that everything personal be sacrificed in the name of national tasks; strict adherence to certain rules and regulations. Classicist writers found examples of beauty in the monuments of ancient art, unchanged for all times.

In classicism, there was a clear division of genres of literature into "high" and "low". The subject of high genres (poems, odes, tragedies) could be the highest, spiritual life, the actors - only kings and aristocrats. The content of low genres (satire, comedy, fables) was reduced to depicting private, everyday life. The characters were representatives of the lower classes - the petty nobility, bureaucracy, serf servants. "High" and "low" have never been combined in one work. The character of the hero was dominated by a single trait - positive or negative. As a result, the characters were either completely vicious or completely noble.

Classicism solved the problems of educating a person-citizen. The behavior of others has a decisive influence on the personality of the child. Virtuous or vicious, it serves as an example, a role model. The ideal of the era is proclaimed a person who is able to bring public benefit, for whom the interests of the state are higher than personal interests. The attention of the comedy was drawn to the negative phenomena of reality. The goal of comedies, according to classicism, is to enlighten, ridiculing shortcomings, to educate with laughter.

The most outstanding work of classicist dramaturgy in Russian literature of the 18th century is Fonvizin's comedy "Undergrowth". In the construction of his play, Fonvizin strictly followed the rules of classicism. "Undergrowth" consists of five canonical acts. In each, the rule of triunities is observed - action, time and place. The events depicted by Fonvizin take place within one day and in one place - in the house of the landowner Prostakova.

According to the rules of classicism, the actors of the comedy are divided into vicious and virtuous, and in the finale of the play, the evil ones are punished, the good ones triumph. Comic heroes are put to shame. Prostakova was deprived of her rights over the peasants for the abuse of her power, her estate was taken under guardianship.

The clash of "evil" and "virtuous" heroes reflects the deep social conflict between the advanced noble intelligentsia and the reactionary feudal landowners. The playwright deliberately sharpens negative images, thereby achieving greater persuasiveness in exposing serfdom.

The images of positive comedy characters are sketchy in the spirit of classicism. Pravdin, Starodum, Milon, Sophia do not so much live and act as they talk extensively and importantly on moral and political topics, teach lessons of noble virtues.

Like these positive characters of the play, its negative characters are endowed with "talking" names by which one can immediately judge each of them: Prostakov, Vralman, Skotinin.

Three themes run through Fonvizin's dramatic work: the theme of education, serfdom and the state structure of Russia.

The problem of upbringing and education of young nobles deeply worried the playwright, who dreamed of a new generation of enlightened Russian people. According to Fonvizin, the only reliable source of salvation from the spiritual degradation of the nobility is rooted in proper education. Fonvizin raised the question of what a true nobleman should be like and whether the Russian nobility meets its purpose. Starodum expressed the following thought about this: “A nobleman, for example, would consider it a first dishonor not to do anything when he has so much to do: there are people to help, there is a fatherland to serve!” material from the site

Another problem of "Nedoroslya" is the problem of serfdom: the terrible condition of the Russian serfs, given into the full possession of the landowners, the monstrous arbitrariness of the nobles. The writer, speaking in favor of curbing the ignorant landowners who abused their power over the peasants, shows that faith in Catherine II is meaningless. In response to Pravdin’s words that with such rules, “as they are with Starodum, people should not be let go from the court, but they must be called to the court ... for what a doctor is called to the sick for,” Starodum answers with complete conviction: “My friend, you are wrong. It is in vain to call a doctor to the sick is incurable: here the doctor will not help, unless he himself becomes infected. The author puts another thought into the mouth of Starodum: “It is illegal to oppress your own kind by slavery.”

Thus, the comedy "Undergrowth" reflected the most important and acute problems of Russian life. Fonvizin believed that the main weapon of a comedian is laughter and vice can and should be portrayed as funny.

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and, including the famous comedy "Undergrowth", are closely connected with a special trend in literature and art (painting, architecture), which originated in a number of European countries at the time of the rise of absolutism (the personal power of monarchs who personified unity, integrity, sovereignty (independence ) states) at the beginning of the 17th century and called classicism (from lat. classcus - exemplary). The influence of classicism on the artistic life of Europe in the 17th-18th centuries. was broad, long-term and generally fruitful.

In literature, classicism was most fully manifested in lyrics and in drama.

Classicism believed that it was necessary to rely on the norms of beauty in ancient art, that is, in the art of Ancient Greece and Ancient Rome, which were set forth in the works of Aristotle, Horace and other thinkers and poets of antiquity, and strictly observe them, without deviating from creative rules. These norms and rules demanded from art, in particular from art, clarity of presentation, accuracy in expressing thoughts, and order in the construction of works.

Classicism gave preference to culture over savagery and insisted that nature and life, transformed by man, are higher than nature and natural life, not yet subject to the noble efforts of the human mind, feelings, will and hands.

Before the gaze of the classicists, there was always the ideal of a beautiful and exalted life, transformed by the art of man, and the chaos of wild natural life opposing it, controlled by incomprehensible and seemingly bad laws. Consequently, it was typical for classicism to reflect life in ideal images, gravitating towards the universal "norm", the image that classical antiquity serves as an example of perfect and harmonious art in classicism.

Since in real life there was a conflict between reason and feelings, classicism sought to resolve and overcome it through a harmonious and complete combination of a person’s personal interests with the dictates of reason and moral duty. At the same time, the interests of the state were considered the main and prevailing over the interests of the individual.

The greatest flourishing in the literature of classicism initially reached drama as a kind of verbal and stage art.

Drama (from Greek, drama - “action”), as you know, is one of the three types of literature, along with epic and lyrics. The basis of the drama, according to the original meaning of the word, is the action: In the drama, the phenomena that make up the external world unfold before the viewer or reader.

Events appear as a live action unfolding in the present (before the eyes of the viewer!) shown through conflicts and in the form of a dialogue. Playwrights are excluded from direct action and cannot speak on their own behalf, with the exception of remarks explaining the action or behavior of the characters (for example, when one or another character utters a line in response to the words of another person, the playwright can mark - “aside”, i.e. .wishing to hide his opinion).

Classical drama has a number of features. In order for the action to retain logical harmony, the classicists advanced the requirement of the "three unities" - the unity of place, the unity of time and the unity of action.

The first two unities are very simple and formal in nature, which is why they subsequently did not stay in dramatic works.

The unity of the place requires that the action takes place in the same room and does not go beyond it, for example, in the same house, but in different rooms. So, the action of the comedy "Woe from Wit" takes place in Famusov's house, but then in Famusov's office, then in Sophia's bedroom, then in the living room, then on the stairs, etc.

The unity of time suggests that the action must begin and end within one day. For example, the action begins with Chatsky's arrival at the Famusovs' house in the morning, and ends with his departure at night.

Unity of action is the most fundamental and profound requirement of the theory of classicism. The laws of drama require tension and concentration of the action, usually determined by the characters' characters, special strictness in plot management: the action in the drama and the behavior of the characters must be directed towards one goal, maintain connection and harmony of the composition in all scenes and details, and be united, conjugated with the main confrontation of the actors.

Such a rule for a dramatic plot is called "unity of action." “The action of the drama,” wrote V. G. Belinsky, “should be focused on one interest and be alien to side interests ...” This means that in the drama “everything should be directed towards one goal, one intention.”

Due to the unity of action in the drama, the three-term development of the plot is especially clearly and consistently traced: the plot - the development of the action (including the climax) - the denouement. The external expression of the sequence of the flow of dramatic action is the division of the drama into acts, each of which is a completed stage of the unfolding conflict.

Classicism strictly adhered to the so-called hierarchy of genres. Tragedy, ode, epic belonged to the "high genres". comedy, fable, satire- to "low".

In the genre of tragedy, France put forward two of the largest playwrights - Pierre Corneille and Jean Racine. Their works are based on the clash of personal interests and civic duty. In the genre of fable, Lafontaine became famous, and in the genre of comedy, Molière. They laughed at the vices of people, at unfair social and social conditions and relationships.

Over time, the contradictions between the individual and the state became more and more aggravated. Criticism began to be subjected not only to the lower strata of the population, unenlightened and unaffected by the activity of a mighty mind, but also to the nobility and clergy, who stood at a high level of society. It's comedy time.

The basis of the comic (and laughter) is the law of inconsistency: the imaginary is opposite to the true, the illusion is the opposite of reality, the expected is the result. A discrepancy can be easily found between words and deeds, as in fable x Krylova, between an unjustifiably underestimated or overly exaggerated event, a discrepancy between the claims of the character, as in the case of Mrs. Prostakova, and her actual essence. It is on the basis of inconsistency that comedy features such as hyperbole, sharpness, absurdity, grotesque and its “high”, often mixed with tears of despair, laughter grow. The more absurd the discrepancy, the more fantastic it is, the more realistic, vitally authentic the setting of the action should be. Only then will comedy, with its wise and uplifting laughter, be convincing and morally effective.

All these remarks apply in full measure both to Russia and to Russian classicism, which possessed a number of national features.

In Russia, classicism arose in the 1730s-1750s. For Russian classicism, the national-patriotic theme is natural, the civic pathos, which was based on the growing power of the Russian state and was associated with the transformations of the Petrine era.

Questions in assignments

1. What were the basic rules, the laws of classicism?

2. Can you determine which properties of classicism Fonvizin inherits and which he rejects or transforms?

3. Do you agree with the following statement by P. A. Vyazemsky:

“In the comedy The Undergrowth, the author already had a most important goal: the disastrous fruits of ignorance, poor education and abuses of domestic power are exposed to him with a bold hand and painted with the most hated colors. In "The Brigadier" the author fools the vicious and foolish, stinging them with arrows of mockery; in "Undergrowth" he no longer jokes, does not laugh, but is indignant at vice and stigmatizes him without mercy ... Ignorance ... in which Mitrofanushka grew up) and home examples should have prepared in him a monster, what is his mother, Prostakova " .

The roles of Milo and Sophia are pale... The official is true: he cuts with the sword of the law the tangle of action that should be unleashed by the author's considerations, and not by the police measures of the governor. Kuteikpn, Tsifirkin and Vralman are funny caricatures; the latter is too caricatured, although, unfortunately, it is not entirely unrealizable that in the old days a German coachman ended up as a teacher in the Prostakovs' house ... ".

The success of the comedy "Undergrowth" was decisive. Its moral action is undeniable. Some of the names of the characters have become common nouns and are still used in popular circulation. There is so much reality in this comedy that provincial traditions even now name several persons who allegedly served as originals for the author. I myself happened to meet in the provinces with two or three living specimens of Mitrofanushka, that is, as if they served as a model for Fonvizin ... If it is true that Prince Potemkin, after the first performance of The Undergrowth, said to the author: “Die, Denis, or don’t write anything else! ”, it is a pity that these words turned out to be prophetic and that Fonvizin no longer wrote for the theater ”(Vyazemsky P.A. Aesthetics and literary criticism. M., 1984. S. 197-198, 211-222).

4. Why, from the point of view of Vyazemsky, did Fonvizin turn out the positive characters less artistically convincing than the negative ones?

5. Comment on the opinion of the Russian historian V. O. Klyuchevsky from his reflection “Undergrowth of Fonvizin (Experience of historical explanation of the educational play)”:
“It can be safely said that the Undergrowth has not yet lost a significant share of his former artistic power over either the reader or the viewer, despite his naive dramatic construction, which at every step reveals the threads with which the play is sewn, neither into an outdated language, nor into the dilapidated stage conventions of the Catherine theatre, despite even the fragrant morality of the optimists of the last century poured into the play. ... one must carefully laugh at Mitrofan, because Mitrofan is not very funny and, moreover, is very vindictive, and they take revenge with the uncontrollable multiplication and elusive insight of their nature, akin to insects or microbes.

Yeah I don't know who's funny inUndergrowth . Mr. Prostakov? He is only an unintelligent, completely helpless poor fellow, not without the conscientious sensitivity and directness of a holy fool, but without a drop of waves and with an excess of cowardice pitiful to tears, forcing him to be submissive even before his son. Taras Skotnin is also not very comical: in a man ... for whom a pigsty replaces both the temple of science and the hearth - what is comical in this noble Russian nobleman, who, from an educational competition with his beloved animals, has become
fours? Isn't the mistress of the house herself, Mrs. Prostakova, nee Skotinina, comical? This face in a comedy, unusually successfully conceived psychologically and excellently sustained dramatically ... she is stupid and cowardly, that is, pathetic - according to her husband, like Prostakov, godless and inhuman, that is, disgusting - according to her brother, like Skotinina. Undergrowth is a comedy not of persons, but of positions. Her faces are comical, but not funny, comical as roles, and not at all funny as people. They can amuse when you see them on the stage, but disturb and upset when you meet them outside the theater, at home or in society. Fonvizin made sadly bad and stupid people play funny, funny and often smart roles.

The strength of the impression is that it is made up of two opposite elements: laughter in the theater is replaced by heavy reflection upon leaving it ”(Klyuchevsky V. O. Historical portraits: Figures of historical thought. - M., 1990. - P. 342-349) .

What is the difference between the judgments of Vyazemsky and Klyuchevsky and which of them, in your opinion, is more right? Or perhaps you have a different point of view?

6. By what signs can it be determined that the comedy "Undergrowth" refers to classic works (unity of time, place ...)?

Literature, 8th grade. Proc. for general education institutions. At 2 o'clock / auth. V. Ya. Korovin, 8th ed. - M.: Enlightenment, 2009. - 399 p. + 399 p.: ill.

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The ideology of enlightenment formed the basis of the main method of Russian literature of the 18th century (30-80 years) - classicism. As an artistic method, it originated in European art in the 17th century. From the point of view of the classicists, the task of art is to approach the ideal. The shape was determined by the samples, the norm.

The aesthetics of classicism is called normative:

Rule of three unities (time, place, action); the norm requiring the purity of the genre / the rule of the purity of the genre (which determined the problems, the type of hero, the plot and style); language norm (determined by Lomonosov's "Russian Grammar" in 1755); typical conflicts: between duty and feeling, reason and emotions, public and personal - public issues; the requirement for a straightforward depiction of characters.

A.P. brought the principles of classicism to Russia. Sumarokov. In 1747, he published two treatises - Epistol on poetry and Epistol on the Russian language, where he sets out his views on poetry. In fact, these epistles were translated from French, a paraphrase for Russia of Nicolas Boileau's treatise The Poetic Art. Sumarokov predetermines that the main theme of Russian classicism will be the social theme, dedicated to the interaction of people with society.

Later, a circle of novice playwrights appeared, headed by I. Elagin and the theater theorist V. Lukin, who proposed a new literary idea - the so-called. declination theory. Its meaning is that you only need to understandably translate Western comedy into Russian, replacing all the names there. Many similar plays appeared, but in general the idea was not very realized. The main significance of the Elagin circle was that it was there that D.I. Fonvizin, who wrote the comedy Undergrowth as an example of Russian classicism.

In this comedy, Fonvizin tries to implement the main idea of ​​classicism - to re-educate the world with a reasonable word. Positive characters talk a lot about morality, life at court, the duty of a nobleman. Negative characters become an illustration of inappropriate behavior. Behind the clash of personal interests, the social positions of the heroes are visible.

Denis Ivanovich Fonvizin was born in 1745 in Moscow. He came from an old noble family, studied at the university gymnasium, then at the philosophical faculty of the university. Having been among the “selected students” in St. Petersburg to the curator of the university, Count Shuvalov, Fonvizin met Lomonosov, prominent figures of the Russian theater F. G. Volkov and I. A. Dmitrievsky. Already in the early period of literary activity, while translating, Fonvizin acts as a progressive-minded person who was influenced by educational ideas. Along with translations, original works by Fonvizin appeared, painted in sharply satirical tones.

A feature of Fonvizin's work is the organic combination in most of his works of satirical witticism with a socio-political orientation. Fonvizin's strength lies in his literary and civic honesty and directness. He boldly and directly opposed the social injustice, ignorance and prejudices of his class and his era, exposed the landlord and autocratic-bureaucratic arbitrariness.

The playwright managed to describe all the essential aspects of the life and customs of the feudal-serf society of the second half of the 18th century. He created expressive portraits of representatives of the feudal lords, opposing them, on the one hand, to the progressive nobility, and on the other, to representatives of the people.

Trying to give brightness and credibility to the characters, Fonvizin endowed his characters, especially negative ones, with an individualized language.

Thus, the distinctive features of the comedy "Undergrowth" are the relevance of the topic, the denunciation of serfdom. The realism of the created picture of the life and customs of the depicted era and the lively spoken language. In terms of the sharpness of the satirical teaching of the serf system, this comedy is rightfully considered the most outstanding dramatic work of Russian literature of the second half of the 18th century.

The era of enlightenment ends with Fonvizin: disappointment in educational ideas.

Russian classicism and creativity of M.V. Lomonosov

The main slogan of classicism is the imitation of nature, where everything is clear, precise, subject to the rules. Heroes are clearly divided into positive and negative. Each hero is the bearer of some trait (virtue or vice), which is reflected in the speaking surnames. The principle of three unities: time, place and action. (within 1 day in the same place, the number of actors is limited). A clear division of genres into high (tragedy, epic, ode) and low (comedy, satire, fable).

M.V. Lomonosov wrote 20 solemn odes. They laid the foundation for the poetry of public service. The ideal of Lomonosov was an enlightened monarchy, and the ideal hero was Peter A.

"Ode on the day of the ascension ..." is a typical work in the spirit of classicism. It was written on the occasion of the 5th anniversary of the accession of Elizabeth, as well as on one more specific occasion: the RAS was granted a new charter. Lomonosov pinned great hopes on him in the spread of education in Russia.

The main theme for the ode was the theme of Russia, its prosperity. Peace is the main condition for the prosperity and enlightenment of the state. Peter 1 for Lomonosov is a national hero, famous for victories on land and sea, who was aware of the need to develop science and education. In Elizabeth Lomonosov wants to see the successor of his father's affairs. The great riches of Russia can be discovered and mastered with the help of science, to the study of which the Russian youth should turn. This is the key to the well-being of the Russian state.

The civic content of the ode corresponds to a majestic, monumental and at the same time simple and harmonious composition.

Traditional gratitude to the monarch for her deeds for the benefit of Russia.

The high solemn style of the ode is created by the use of Old Slavic words, words with dissonance (this, this, tokmo), truncated forms of adjectives, changing the order of words in a sentence.

In the text of the ode we find metaphors, archaic words and expressions, personifications, hyperbole, rhetorical questions and exclamations, characteristic of the classical ode style.

In Russia, classicism originated in the 18th century, after the transformations of Peter I. Lomonosov carried out a reform of Russian verse, developed the theory of the “three calms”¹, which was, in fact, an adaptation of the French classical rules to the Russian language. The images in classicism are devoid of individual features, as they are called upon, first of all, to capture stable generic features that do not pass over time, acting as the embodiment of any social or spiritual forces.

Classicism in Russia developed under the great influence of the Enlightenment - the ideas of equality and justice have always been the focus of attention of Russian classicist writers.

"The cycle of poems written by Lomonosov is interesting not only for the exemplary translations of Anacreon, but also for the fact that it reflects the poetic creed of Lomonosov himself. The Russian state, Russia, is declared the highest value. The poet sees the meaning of life in serving the public good. In poetry, he is inspired only heroic deeds. All this characterizes Lomonosov as a classicist poet. Moreover, "A Conversation with Anacreon" helps to clarify the place of Lomonosov in Russian classicism and, above all, to establish the difference between his civic position and the position of Sumarokov. In Sumarokov's understanding, serving the state was associated with preaching asceticism, with the rejection of personal well-being, carried a pronounced sacrificial beginning. These principles were especially clearly reflected in his tragedies. Lomonosov chose a different path. He is equally alien to both the stoicism of Seneca and the spectacular suicide of Cato. He believes in the blessed union of poetry, science and enlightened absolutism."