Traditions of classicism in Fonvizin's comedy “Undergrowth. Abstract: D

In the era of the reign of Peter the Great in Russia, the foundations of a new direction in literature began to be laid. Signs of classicism originated in Italy in the 16th century. Already a hundred years later, the direction reached its highest development in France during the reign of Louis 14, who claims

The origin of classicism and the general characteristics of the era

The ideological basis for the formation of a literary trend is the establishment of a strong state power. Classicism set the glorification of absolute monarchy as its main goal. Translated from Latin, the term classicus means "exemplary". The signs of classicism in literature draw their origins from antiquity, and the work of N. Boileau "Poetic Art" (1674) becomes the theoretical basis. It introduces the concept of three unities and speaks of a strict correspondence between content and form.

Philosophical basis of classicism

The metaphysics of the rationalist Rene Descartes influenced the formation of this literary movement. The main conflict among the classics is the confrontation between reason and passions. In accordance with the division of all genres into high, medium and low styles of the art system were created.

The main features of classicism imply the use of (time, place and action) and normative poetics, because of which the natural development began to slow down. The estate-feudal hierarchy is reflected in the aristocratic character of classicism. Heroes are mainly representatives of the nobility, who are the bearers of virtue. High civic pathos and a sense of patriotism subsequently become the basis for the formation of other literary movements.

Signs of classicism in literature. Features of Russian classicism

In Russia, this literary trend begins to take shape at the end of the 17th century. that the works of Russian classicists reveal a connection with N. Boileau, classicism in Russia is significantly different. It began its active development after the death of Peter the Great, when the clergy and nobles tried to return the state to pre-Petrine times. The following features of classicism are inherent exclusively in the Russian direction:

1. It is more humane, because it was formed under the influence of the ideas of the Enlightenment.
2. Affirmed the natural equality of all people.
3. The main conflict was between the aristocracy and the bourgeoisie.
4. Russia had its own antiquity - national history.

Odic poetry of classicism, the work of Lomonosov

Mikhail Vasilyevich was not only a naturalist, but also a writer. He strictly observed the signs of classicism, and his classical odes can be divided into several thematic groups:

1. Victoriously patriotic. "Ode on the Capture of Khotin" (1739) was attached to a letter on the rules of Russian poetry. Symbolism is widely used in the work and a collective image of a Russian soldier is introduced.
2. Odes associated with the accession to the throne of the monarch, in which the signs of classicism are especially clearly traced. Lomonosov wrote works addressed to Empress Anna, Elizabeth, Catherine II. A laudatory ode seemed to the writer of the most convenient formal conversation with the monarch.
3. Spiritual. In the 18th century, they called the transcription of biblical texts with lyrical content. Here the author spoke not only about personal experiences, but also about universal human issues.

Odes of Lomonosov

Mikhail Vasilyevich adhered to writing works of an exceptionally high genre, which were characterized by a solemn language, use and appeals - these are the main signs of classicism in the ode. Lomonosov turns to heroic-patriotic themes, glorifies the beauties of the motherland and encourages people to engage in science. He had a positive attitude towards the monarchy and in "Ode on the day of the accession to the throne of Elizabeth Petrovna" reflects this idea. Being Mikhail Vasilyevich, he directs his efforts to educate the entire part of the Russian population, therefore he gives his followers a rich literary heritage.

How to distinguish a classic piece? Signs of classicism in the comedy "Undergrowth"

The work consists of actions (usually there are 5 of them) and phenomena, and the subject of conversation in classical comedy is the state. The author observes these signs of classicism in "Undergrowth" and "Brigadier".

The innovative nature of Fonvizin's comedies

Denis Ivanovich began his literary activity with translations of European texts, and at the same time managed to play roles in the drama theater. In 1762, his comedy "The Brigadier" was presented, and then "Korion". The signs of classicism are best seen in "Undergrowth" - the author's most recognizable work. The peculiarity of his work lies in the fact that he opposes government policy and denies the existing forms of landlord domination. He sees the ideal monarchy, fenced by law, which allows the development of the bourgeois class and allows the value of a person outside of class. Similar views were reflected in his journalistic writings.

"Brigadier": idea and summary

Fonvizin manifests himself as a playwright when creating his comedies. The production of "The Brigadier" was a huge success with the audience due to the presentation of a collective image of the whole estate. The basis is the plot-love conflict. It is not easy to identify the main character, since each does not exist on its own, but complements the collective image of the Russian nobility. The love story, traditional for classical comedy, was used by the playwright for satirical purposes. All heroes are united by stupidity and stinginess, they are strictly divided into positive and negative - the main signs of classicism in comedy are clearly preserved. The playwright achieved the comic effect by the complete inconsistency of the behavior of the characters with common sense and moral standards. "Brigadier" for Russian literature was a new genre phenomenon - it is a comedy of manners. Fonvizin explains the actions of the characters by the everyday environment. His satire is not specific, since he does not designate individual carriers of social vices.

The head of the brigade and his wife decide to marry their son Ivanushka to the clever and beautiful Sophia, the adviser's daughter, who, observing the behavior of this family, does not want to become related to them. The groom himself also does not have feelings for the bride, and when he finds out that she is in love with Dobrolyubov, he convinces his mother of this undertaking. An intrigue arises in the house: the foreman falls in love with the adviser, and the adviser with the foreman's wife, but in the end everything falls into place and only Sofya and Dobrolyubov remain happy.

"Undergrowth": idea and summary

In the work, the socio-political conflict becomes the main one. "Undergrowth" is the most recognizable comedy of classicism, the signs of which are three unities, a strict division into positive and negative characters, speaking names - Fonvizin successfully observes. For the author, there are two categories of nobles: malevolent and progressive. The theme of the poverty of serfdom in Russia sounds openly. The playwright's innovation is manifested in the creation of positive images, which, according to the plan, were supposed to have an educational effect, but he continues to retain signs of classicism. In the comedy "Undergrowth" the character of Prostakova was a kind of discovery for Fonvizin. This heroine is an image of a Russian landowner - narrow-minded, greedy, rude, but loving her son. Despite all the typicality, it reveals individual character traits. A number of researchers saw features of enlightenment realism in comedy, while others drew attention to the normative poetics of classicism.

The Prostakov family plans to marry their mediocrity Mitrofanushka to the clever Sophia. Mother and father despise education and argue that knowledge of grammar and arithmetic is useless, however, they hire teachers for their son: Tsyfirkin, Vralman, Kuteikin. Mitrofan has a rival - Skotinin, Prostakova's brother, who wants to get married out of a desire to become the owner of villages with pigs. However, a worthy husband, Milon, is found for the girl; Sophia's uncle, Starodum, approves of their union.

Kartashova Vera Petrovna

8th grade

DI. Fonvizin and his time.

Lesson Objectives:

DI. Fonvizin "Undergrowth".

Equipment:

During the classes.

1. Introduction (slides 1-4)

Satyrs are a bold ruler,

… The satirist is excellent

video film).

2. Review(slides 5)

check of work with cards)

3. Explanation of the new.

slide 7 presentation)

(slide 8)

5. Conversation.

student statements)

between Prostakova and Trishka)

- (Starodum)

6. Work in groups.

1st group (strong students

2nd group (middle students

4th and 5th groups (

(slides 9-14)

(slide 15)

"Russian comedy started started

Features of classicism

• Appeal to samples and forms of antiquity as an ideal
• The principle of rationalism, the cult of reason
• Strict observance of the rules, the canon in the construction of a work of art
• Compliance with the unity of place, time and action in the drama
• The desire to capture the essential properties of life phenomena
• Appeal to public issues
• Adoption of the ideas of absolutism, patriotism, citizenship
• The straightness of the presentation of human characters
• Idealization of heroes

Exercise

Preview:

State educational institution of the Omsk region

"Secondary School No. 4 (part-time)"

Teacher of Russian language and literature

Kartashova Vera Petrovna

Literature Lesson Plan

8th grade

DI. Fonvizin and his time.

Traditional elements of classicism and innovation in the comedy "Undergrowth".

Lesson Objectives:

1. To acquaint students with the personality of D.I. Fonvizin.
2. Repeat the genres of literature and features of the drama.
3. To create conditions for the formation of the initial concept of various trends in literature.
4. Create conditions for detectiontraditional elements of classicism and innovation in comedy

DI. Fonvizin "Undergrowth".

5. To reveal the reader's perception of comedy by students.

Equipment: computer, multimedia projector, computer presentation for the lesson, task cards.

During the classes.

1. Introduction (slides 1-4)

Magic edge! There in the old days

Satyrs are a bold ruler,

Fonvizin shone, friend of freedom...

A.S. Pushkin. "Eugene Onegin"

… The satirist is excellent

Ignorance was executed in folk comedy.

A.S. Pushkin. "Message to the Censor"

What contributed to the fact that Pushkin praised the work of Fonvizin so highly, calling him an excellent satirist? Probably, first of all, Fonvizin was a master who, using traditions in his work, created an innovative work. What is the playwright's innovation and what traditions did he adhere to in his work, we have to find out today.

Acquaintance with the biography of D.I. Fonvizina ( video film).

Fonvizin's literary activity begins in the 60s of the 18th century. An inquisitive and witty man, he was created in order to become a satirist. And there were enough reasons for bitter laughter in the Russian reality of that time.

DI. Fonvizin is a representative of Russian classicism, one of the literary movements.

What is a literary movement? Attention to the screen.

What information did you get from this table?

What are the literary trends? (with the coincidence of creative settings, themes, genres and style in the work of the writer)

- List the named literary trends.

DI. Fonvizin is a representative of classicism. What is characteristic of this literary movement? Working with a spreadsheet.

Do you understand all the features of classicism? A printout of this table is on your desks. This is card #1. In the future, you can use it as a reference material. Mark on the card what you do not understand with a question mark.

Today, Veronica Kopina and Sveta Breeva prepared a leading individual task for the lesson. They will try to answer your questions. What features of classicism do you not understand?

2. Review(slides 5)

- Consider the genres of literature. What type of literature does the work of Fonvizin you read belong to?

What are the characteristics of a dramatic work? Each of you has card number 2, which indicates the features of the drama. But there are errors in the card. Fix them.

So what are the features of drama? (check of work with cards)

3. Explanation of the new.

Classical comedy was built according to certain canons (slide 7 presentation)

Today we have to find out if Fonvizin adheres to these rules in his comedy.

But first, let's explain the name of the comedy and get acquainted with the characters.

Who was called an undergrowth in the 18th century?

What features of the characters' names attract attention? Can surnames and names be called speaking? (Yes.) Mitrofan from Greek. “mother-like”, Sophia - “wisdom”, etc..)

4. Dramatization of comedy episodes(slide 8)

The heroes of comedy are visiting us today.

5. Conversation.

There is almost no commentary in the list of actors in the comedy. Did your initial idea of ​​the characters in the play match what you saw? What features of the comedy heroes did the actors of the drama circle try to embody? (student statements)

From the very first pages of the comedy, conflict flares up. What is conflict in a work? (collision underlying the development of action)

Between whom does the collision take place in the first phenomenon? (between Prostakova and Trishka)

What phrase does Prostakova think of driving Trishka into a dead end? And how does Trishka parry this remark?(“So is it really necessary to be a tailor in order to be able to sew a caftan well. What a bestial reasoning. “But the tailor studied, madam, but I didn’t”).

Does Prostakova understand the importance and necessity of education?

Why does she hire teachers?(firstly, she declares: “We are no worse than others”, and secondly, there is a decree of Peter 1 on the nobility, according to which each nobleman had to learn different sciences before entering the public service, since educated people can bring more benefit to the state

- What is the theme of Fonvizin's comedy?(the topic of education and upbringing)

- Who else from the heroes of the play opposes Prostakova?(Starodum) . Write down your homework. Write out quotes about education and enlightenment from the replicas of comedy heroes. Now let's work in groups and individually.

6. Work in groups.I remind you of the rules of working in groups. We are discussing in an undertone. We express all your opinions. The group commander sums up and answers, who has the right to entrust the answer to any of you.

1st group (strong students ) You will conduct research and answer the question: “Which of the rules and techniques of classical comedy, in your opinion, did D.I. Fonvizin, which ones did he violate? You have card number 3 - a table of canons for the construction of a classic comedy. + mark the traditions followed by Fonvizin. In the second column, enter the playwright's innovation.

2nd group (middle students ) will select quotes from the comedy to these illustrations.

The 3rd group (members of the drama circle) will remember the text and try to restore the aphorisms from the comedy, which, unfortunately, have crumbled.

4th and 5th groups ( other students, mixed groups). You have the most serious and responsible task. You work individually with a control test built according to the USE type. Answer options are marked in the boxes next to the question.

7. Summing up the results of the lesson (reports of groups on the work done, except for the 4th and 5th groups, which pass the completed tests to the teacher)(slides 9-14)

8. Final word of the teacher(slide 15)

Today we met D.I. Fonvizin, made the first attempt to penetrate the secrets of his immortal comedy "Undergrowth". We will continue talking about her heroes, about the problems raised by the author in the next lessons. For this work, highly appreciated by Russian critics, requires careful reading.

"Russian comedy began long before Fonvizin, but started only from Fonvizin. His "Undergrowth" and "The Brigadier" made a terrible noise when they appeared and will forever remain in the history of Russian literature, if not art, as one of the most remarkable phenomena. Indeed. These comedies are the work of a strong mind. A gifted person."

So highly appreciated the work of Fonvizin V.G. Belinsky in the article "Woe from Wit". Let's try to comprehend the secret of the immortal work of D.I. Fonvizin.

Features of classicism

• Appeal to samples and forms of antiquity as an ideal
• The principle of rationalism, the cult of reason
• Strict observance of the rules, the canon in the construction of a work of art
• Compliance with the unity of place, time and action in the drama
• The desire to capture the essential properties of life phenomena
• Appeal to public issues
• Adoption of the ideas of absolutism, patriotism, citizenship
• The straightness of the presentation of human characters
• Idealization of heroes

Exercise : find errors in the features of drama as a kind of literature.

• The basis of drama is the narration of events
• The portrait of the hero is the main means of creating an image
• The drama has a detailed narrative and descriptive image
• The role of landscape and artistic details is important
• The author's position is expressed through a lyrical digression

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 dramaturgy.

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 literature, 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, governed by incomprehensible and seemingly bad laws, opposing emu. 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 was initially achieved by 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 the same 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. Not only the lower strata of the population, unenlightened and unaffected by the activity of a powerful mind, began to be criticized, but also 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 Catherine's theatre, despite 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.

Yes, I don’t know who is funny in the Undergrowth. 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 ...)?

Teacher of the Russian language and literature Mukhitdinova Dilnoza Rustamovna.

Synopsis of a lesson in literature in grade 8 "D.I. Fonvizin. Comedy" Undergrowth ".

Lesson Objectives:

educational - Familiarity with the genre of comedy; identifying the conflict on which the action in the play is based, its causes, connection with the era; consideration of comedy from the standpoint of the canons of classicism and deviations from them.

Educational - creation of conditions for the formation of skills and abilities of an analytical nature; to express one's point of view in a monologic form, to solve a problem situation

Educational - the upbringing of the desire to be a truly moral, well-mannered, educated person who knows how to see and appreciate the personality in another person; formation of the need to live by the law.

Lesson type: Lesson in the formation of new knowledge.

Main method: analytical conversation with elements of problematic search

Forms : collective, individual.

Technology : cooperation "teacher-teacher".

Equipment: Portrait of D. I. Fonvizin, texts of the comedy “Undergrowth”, workbooks on literature,

Board layout: record of the topic of the lesson, epigraph:
Satire is "not the innocent scoffing of merry wits, but a thunderstorm of the spirit offended by the shame of society."
V. G. Belinsky.portrait of the writer, problems, dictionary to the topic, comedy conflicts.

During the classes

Organizing time.

Checking homework.

Reading the poem by G. R. Derzhavin "Monument" by heart.

3. Brief information about D.I. Fonvizine.

Student presentation (assigned in advance)

D. I. Fonvizin (1745-1792) was born into a wealthy noble family, received his education at Moscow University, studied at the university gymnasium, andin 1761-1762 - at the Faculty of Philosophy. At first he wrote satirical works, then he took up translations.

He became interested in theater early. I first got to the performance at the age of 14 and remembered it as a miracle: The actions produced in me by the theater are almost impossible to describe.

The future playwright early showed a lively imagination, a cordialresponsiveness, irony, humor: “My sharp words rushed around Moscow, as they were sarcastic for many, then the offended announced me as an evil and dangerous boy” ...

In 1762, Fonvizin moved to St. Petersburg and entered the College of Foreign Affairs as an interpreter. From 1763 to 1769, he served under the Cabinet Minister I.P. Elagin, who was responsible for handling complaints, which allowed him to get to know the court of Catherine II closely.

The first original work was the satirical fable "The Treasurer's Fox", then the first comedy, which was a resounding success.

The comedy "Undergrowth" was completed in 1782. "... the theater was filled, and the audience applauded the play by throwing purses."

Speech by the student (pre-issued task) - records in notebooks.

SATIRE - accusing, scourging irony

Drama- a kind of literary works built in the form of a dialogue without the author's speech and intended to be performed on stage8 works of this kind, serious, but not heroic content (unlike comedy and tragedy).

remark- an explanation of the author in the text of the play (usually in brackets), related to the setting of the action, the actions of the characters, intonation, facial expressions, etc.

undergrowth- young people, who did not receive sufficient education and could not be admitted (not grown up) to the service.

After the advent of comedy, they began to call negligent teenagers, young men.

Teacher's word:

In terms of plot and title, "Undergrowth" is a play about how badly and incorrectly a young nobleman was taught, raising him "undersized". The problem of education is central in the works of the Enlightenment. But Fonvizin greatly expanded the very formulation of this problem: we are talking about education in the broadest sense of the word. Mitrofan is the same undergrowth that the title of the play speaks of. The history of his upbringing explains where the terrible world of the Skotinins and Prostakovs comes from.

4. Work on the problems of the play.

What satirical techniques does Fonvizin use when portraying landowners? (Notes in notebooks)
1. "Speaking" surnames and names;
2. Deliberate exaggeration of negative traits. Dominant trait What is the name of this technique? /hyperbola/
3. Self-characteristics (self-revealing and accusatory);
4. "Zoologization";
5. Remarks
So what isthe main problem set already in 1 action?
1. Criticism of autocratic-serf reality.
2. The tragedy of the fate of an ordinary person.
Second problem.

The future of Russia is perishing - the younger generation, ugly educated mitrophans, who will become a brake on the spiritual and cultural development of Russia.
Third problem.
Fonvizin contrasts the images of advanced people with the conservatism of the old generation.

All comedy characters can be clearly divided into two camps: ideological heroes - positive heroes depicted schematically, traditionally, in accordance with the rules of classicism, and negative or minor everyday heroes, in the image of whichFonvizin's innovation .

From the comedy it is known what the origin and conditions of education of everyday heroes are: Prostakov talks about his family, we know why Skotinin remained unlearned, and Mitrofanushka’s “education” and education are directly depicted in the play. The upbringing of ideological heroes, however, remains unknown: we do not know in what environment Sophia was brought up, what made Milon an ideal officer, etc.

Everyday heroes in comedy are constantly on the move: fights of Mitrofan and Skotinin, Prostakova and Skotinin take place on the stage, Prostakova herself says: “I scold, then I fight” (II, 5), etc. Everyday heroes almost do not act, their actions are words.

1. Name the goodies. /Sofya, Milon, Pravdin, Starodum/. Pay attention to the "speaking" surnames and names.
2. What fresh spirit do these heroes bring to the dark, ignorant world of the Skotinins?
3. What dreams, unlike the Skotinins, do advanced people have?
Milon - "Reason, courtesy, enlightenment."
Starodum - "Soul and heart".
Pravdin - ‘’ Truth in everything’’.

Creating his comedy, Fonvizin hoped that the time would come when progressive youth would consider an inactive life a shame: “A nobleman would consider it a first dishonor not to do anything when he has so much to do, there are people who need help, there is a Fatherland that serve."
And as a result of this, Russia will become educated, spiritually rich, because the value of a nation should be determined by the deeds of its people.
Here is another problem - the desire to see Russia educated, spiritually rich, not bowing to other states.

5. Fixing the new material.

In what century was this comedy created? (In the 18th century )

What literary movement is it related to?classicism)

What are the features of classicism as a literary trend that are encountered in the play. (educational orientation of literature, the writer sought to influence the human mind in order to correct the vices of society, their clear division into positive and negative, the comedy is instructive, preaches civic duty, "speaking names" of heroes).

What type of literature does this work belong to? To what genre? In the hierarchy of genres, comedy belongs to the low ones, which were considered secondary. What was the purpose of low genres? (ridicule, denounce the vices of man and society as a whole).

What rules were observed when writing a play within the strict framework of classicism? Does Fonvizin follow them in the comedy "Undergrowth"? (Consists of 5 acts, events take place during the day, in one place, without being distracted by side storylines, the scene is the Prostakovs' estate, the action begins in the morning and ends the next morning, the action is subject to one main idea - the need to educate a worthy, honest, good-natured citizen).

So, we can conclude: Fonvizin follows the traditions of classicism, he wrote his immortal comedy in accordance with the basic rules of this literary trend

5. Lesson conclusion:

The speech characteristics that Fonvizin endows with his heroes are distinguished by their extraordinary accuracy, accuracy, conciseness, aphorism, individuality, and richness of language. The speech of the characters betrays their essence, their views, intentions, desires. All this speaks of the high skill of Fonvizin the playwright.

Following traditions does not negate the desire for something new. The skill and talent of the writer lies in the fact that he introduces something new into the established, traditional.

Basically observing the division of heroes into positive and negative, Fonvizin nevertheless portrays some of them ambiguously. If Starodum, Pravdin, Sofya, Milon are unconditionally positive, then Mitrofan's teachers can hardly be confidently attributed to positive or negative characters. And Eremeevna? A slave or a loving undergrowth nanny?

Fonvizin's innovation also manifested itself in the apt language of comedy, in brilliant speech characteristics. The idea of ​​organizing society according to the laws of goodness and justice was also progressive.

The lesson has come to an end. Thank you.

Guys, read the comedy to the end. In the next lesson, research work will be carried out in tables.

6. Homework: Reading the comedy to the end, characterization.

7. Summing up the lesson, assessment

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. ".