Follow how the conflict develops between positive and negative characters in the comedy "Undergrowth". How is the idea of ​​comedy revealed in this conflict (“It is illegal to oppress your own kind by slavery”)? Thank you.

Answers and solutions.

The idea of ​​comedy: the condemnation of ignorant and cruel landowners who consider themselves full masters of life, do not comply with the laws of state and morality, the affirmation of the ideals of humanity and education.
Defending her cruelty, crimes and tyranny, Prostakova says: "Am I not powerful in my people?" The noble but naive Pravdin objects to her: “No, madam, no one is free to tyrannize.” And then she suddenly refers to the law: “Not free! The nobleman, when he wants, and the servants are not free to flog; but why have we been given a decree on the freedom of the nobility? The astonished Starodum and, together with him, the author exclaim only: “The master of interpreting decrees!”
The conflict of the comedy lies in the clash of two opposing views on the role of the nobility in the public life of the country. Mrs. Prostakova declares that the decree “on the freedom of the nobility” (which freed the nobleman from the compulsory service to the state established by Peter I) made him “free”, primarily in relation to the serfs, freeing him from all burdensome human and moral duties to society. Fonvizin puts a different look at the role and duties of a nobleman into the mouth of Starodum, the person closest to the author. According to political and moral ideals, Starodum is a man of the Petrine era, which is contrasted in the comedy with the era of Catherine.
The conflict between positive and negative characters reaches its climax in the scene of Sophia's theft. The outcome of the conflict is the order received by Pravdin. On the basis of this order, Mrs. Prostakova is deprived of the right to manage her estate, because impunity made her a despot who is capable of bringing great harm to society by raising a son like himself. And she loses her power precisely because she treated the serfs cruelly.

The ideological content of comedy.

The main themes of the comedy "Undergrowth" are the following four: the theme of serfdom and its corrupting influence on the landlords and courtyards, the theme of the fatherland and service to him, the theme of education and the theme of the morals of the court nobility.

All these topics were very topical in the 1970s and 1980s. Satirical magazines and fiction have paid much attention to these issues, resolve them differently in accordance with the views of the authors.

Fonvizin puts and resolves them in the socio-political context, as a progressive figure.

The theme of serfdom acquired paramount importance after the Pugachev uprising.

Fonvizin reveals this topic not only from the everyday side, showing how Prostakova and Skotinin manage their estates. He speaks of the destructive effect of serfdom on the landowner and the serf. Fonvizin also points out that "it is illegal to oppress your own kind with slavery."

The theme of the fatherland and honest service to him sounds in the speeches of Starodum and Milon. From the moment he appears on the stage to the end, Starodum tirelessly talks about the need to serve the fatherland, about the honest fulfillment by the nobleman of his duty to the motherland, about promoting its good. He is also supported by Milo, who declares that "a truly fearless military leader" "prefers his glory to life, but most of all, he is not afraid to forget his own glory for the good of the fatherland."

How advanced such views were can be judged by the fact that not only in the first two thirds of the 18th century, but also in the era of Fonvizin, noble writers believed that "the sovereign and the fatherland are one essence." Fonvizin, on the other hand, speaks only of service to the fatherland, but not to the sovereign.

Revealing the topic of education, Fonvizin speaks through the mouth of Starodum: “It (education) should be the key to the well-being of the state. We see all the unfortunate consequences of bad education. What can come out of Mitrofanushka for the fatherland, for whom ignorant parents also pay money to ignorant teachers? How many noble fathers entrust the moral upbringing of their son to their serf-slave? Fifteen years later, instead of one slave, two come out: an old uncle and a young master. Fonvizin poses the topic of education as an important social and political issue: it is necessary to educate the nobles as citizens, as progressive and enlightened figures of the country.

The fourth theme, posed in the comedy, concerns the manners of the court and capital nobility. It is revealed in the speeches of Starodum, especially in his conversation with Pravdin. Starodum sharply and angrily denounces the depraved court nobility. From his stories we learn about the manners of the court circle, where “almost no one travels along a straight road”, where “one dumps another”, where “there are very small souls”. It is impossible to correct the manners of Catherine's court, according to Starodum. “It is in vain to call a doctor to the sick is incurable: here the doctor will not help, unless he himself becomes infected.”

Comedy images.

The ideological plan determined the composition of the characters of the "Undergrowth". The comedy depicts typical feudal landlords (Prostakovs, Skotinin), their serf servants (Eremeevna and Trishka), teachers (Tsyfirkin, Kuteikin and Vralman) and contrasts them with such advanced nobles as, according to Fonvizin, all Russian nobility should be: in the public service (Pravdin), in the field of economic activity (Starodum), in military service (Milon). The image of Sophia, an intelligent and enlightened girl, contributes to a more complete disclosure of Prostakova's willfulness and ignorance; Sophia is connected with all the “struggle” that takes place in the comedy.

1. Why do you think the comedy begins with the scene with the tailor Trishka? What do we learn about life in the Prostakovs' house when we carefully read the first act?
The scene with the tailor Trishka shows what order has been established in the house of the landowners Prostakovs. The reader from the first lines sees that Prostakova is an evil, ignorant woman who does not love or respect anyone, does not consider anyone's opinion. She treats ordinary peasants, her serfs, like cattle. She has one measure of influence on others - insults, assault. Moreover, she behaves the same way with her loved ones, except for her son Mirofan. He loves Prostakov's son. For him, she is ready for anything. From the first act it becomes clear that in the house of the Prostakovs everything is controlled by the hostess herself. Everyone is afraid of her and never contradicts her.

2. What is the relationship between people in this house? How are the characters of the comedy characterized in Scene VIII of the fourth act? What means (humor, irony, sarcasm, etc.) does the author use to characterize this? About Mitrofan's "exam" it is said that in this scene there is a clash of true enlightenment and militant ignorance. Do you agree with this? Why?
Everyone in the house is afraid of Mrs. Prostakova, they try to please her in everything. Otherwise, they will face inevitable punishment in the form of beatings. Mr. Prostakov will never contradict her, he is afraid to express his opinion, relying on his wife in everything. Only Mitrofan is not afraid of his mother. He flatters her, realizing that she is the main one in the house and his well-being depends on her, or rather the fulfillment of all his whims. All people in the house of the Prostakovs are characterized by deep ignorance. It was especially clearly manifested in the scene of Mitrofan's exam (VIII scene of the fourth act). At the same time, Mrs. Prostakova believes that she herself and her son are very smart, they will be able to adapt in this life. And they do not need literacy, the main thing is more money. She admires her son, pleased with his answers. I agree with the opinion that true enlightenment and militant ignorance clashed in this scene. After all, Prostakova is sure that a person of her circle does not need education at all. The coachman will take you where ordered. There is nothing special to stand out in society, etc. According to Prostakova, this is how it should be in the world, and whoever thinks otherwise is a fool who is not worthy of her attention.
To characterize the heroes, Fonvizin uses satire. He ridicules the ignorance of the feudal landlords and shows the ugliness of serfdom.

3. The poster with the list of characters indicated: Prostakova, his wife (Mr. Prostakova). Meanwhile, in the comedy, her characters characterize themselves differently: "It's me, my sister's brother", "I'm my wife's husband", "And I'm my mother's son." How do you explain it? Why do you think the full owner of the estate at Fonvizin is not the landowner, but the landowner? Is this related to the time when the comedy "Undergrowth" was created?
Since Prostakova is the main one in the house, everyone recognizes themselves as subordinates to her. After all, absolutely everything depends on her decision: the fate of the serfs, son, husband, brother, Sophia, etc. I think that it was not without reason that Fonvizin made the landowner the mistress of the estate. This is directly related to the time the comedy was created. Then Catherine the Great ruled in Russia. The comedy "Undergrowth", in my opinion, is a direct appeal to her. Fonvizin believed that it was possible to bring order to the country, to bring to justice ignorant landlords, dishonest officials, by the power of the empress. Starodum discusses this. This is evidenced by the fact that Prostakov's power was deprived by order of higher authorities.

4. Watch how the conflict develops between the positive and negative characters of the comedy. How the idea of ​​comedy is revealed in this conflict (“It is illegal to oppress your own kind by slavery”)
The conflict between positive and negative characters reaches its climax in the scene of Sophia's theft. The outcome of the conflict is the order received by Pravdin. On the basis of this order, Mrs. Prostakova is deprived of the right to manage her estate, because impunity made her a despot who is capable of bringing great harm to society by raising a son like himself. And she loses her power precisely because she treated the serfs cruelly.

5. Which of the characters in the comedy, in your opinion, was Fonvizin more successful than others? Why?
In my opinion, D.I. Fonvizin negative characters, especially Mrs. Prostakova. Her image is depicted so clearly and vividly that it is impossible not to admire the skill of the author of the comedy. But positive images are not so expressive. They are more spokesmen for Fonvizin's thoughts.

6. What are the difficulties in reading this old comedy? What is of interest to us today "Undergrowth"?
The language of comedy is not entirely clear to the modern reader. It is difficult to understand some of the arguments of Starodum and Pravdin, since they are directly related to the time the work was created, to the problems that existed in society during the time of Fonvizin. The comedy is relevant to the problems of education and upbringing, which Fonvizin raises in comedy. And today you can meet Mitrofanushki who “do not want to study, but want to get married”, and marry profitably, who are looking for profit in absolutely everything and achieve their goal at any cost; gentlemen Prostakov, for whom money is the most important thing in life, and they are ready for anything for the sake of profit.

­ It is illegal to oppress your own kind with slavery

It is known that it was not by chance that Fonvizin chose names and surnames for his heroes, but with the intent to show their essence. Skotinin, for example, loved his pigs more than anything. In contrast to people like him, heroes with euphonious names are shown: Starodum, Sophia, Milon, Pravdin. A special role is assigned to Starodum, a sixty-year-old retired man who, with his speeches, opens the eyes of others to the evil customs of the Prostakov family.

This man served at the imperial court and adheres to the old foundations. He believes that everyone needs to receive a public education, and most importantly, to maintain goodness in their souls. Because even the smartest person without a kind soul can turn into a monster. The phrase “It is illegal to oppress your own kind by slavery” was introduced by Fonvizin and put into the mouth of Starodum. The hero was in every possible way against the bullying of the fortress layer.

In contrast, Mrs. Prostakova is shown, easily humiliating, insulting and punishing her peasants. She pays them negligibly little, only the charlatan Vralman, who was once a coachman, manages to receive high salaries from her, like a great scientist. She considers it normal to treat the elderly Eremeevna rudely, who gave forty years of her life in the service of their family. The tailor treats Trishka like cattle.

In a word, Prostakova was accustomed to humiliating the peasants, raising herself against their background, her clumsy son and weak-willed husband. However, everything is decided by the insight of Starodum and the awareness of the state official Pravdin. For fraud and mistreatment of the peasants, he deprives the evil landowner of the village and the entire economy. At the end of the work, Prostakova is left with nothing and even her son turns away from her.

... To oppress your own kind with slavery is lawlessness.
D. I. Fonvizin

“Everything turned pale before two bright works: before the comedy “Undergrowth” by Fonvizin and “Woe from Wit” by Griboyedov. They do not ridicule one person, but the wounds and diseases of the whole society, put on display.

These words were said about Fonvizin by the great Russian writer N.V. Gogol. What caused Fonvizin's caustic mockery, what fed his evil jokes? ..

The decree of Catherine II of 1762 "On the Liberty of the Nobility" gave almost unlimited rights to the nobility. And the age of Catherine became a time of external prosperity and internal decline of the country, in all respects, from enlightenment to the development of serfdom. In the Catherine era, the situation of the peasants was especially difficult, because the power of the landowners over the serfs was not limited. The progressive people of their time raised the question of any restrictions on the arbitrariness of the landlords. One of the first Russian comedians, Denis Ivanovich Fonvizin, also belonged to them.

Fonvizin in his comedy portrayed in the images of Prostakova, Skotinin not the shortcomings of individuals, but brightly, colorfully and, most importantly, very accurately described all the feudal landlords with their rudeness, cruelty, ruthless attitude towards the peasants subject to them. These landlords are haunted by a thirst for hoarding, greed, a passion for profit: they sacrifice everything social to their own, personal. At the same time, their attitude - in particular, Mrs. Prostakova and her son - to education is also characteristic. Not considering it necessary, they thus further emphasize their moral failure. Their arbitrariness makes the life of serfs hard, full of suffering, deprivation and pain. No one has a life from such landlords: neither yard, nor quitrents. Both those and others feel the imperious and ruthless hand of the master. Fonvizin in his comedy, revealing the image of Mitrofan, makes it clear that even with the new, young generation, the situation of the peasants will not improve, but, most likely, will become even more difficult, since “what can come of such a Mitrofan, for whom ignoramuses - parents pay even more and money to the ignorant teachers."

On the images of feudal landlords and their peasants, Fonvizin showed how the corruption of the human personality takes place under the influence of serfdom. The ideology of these people coincides entirely with their social position. If Eremeevna is a slave in her soul, then Prostakova is a true slave owner. The whole comedy "Undergrowth" fully reflects reality. Belinsky said that "together with Derzhavin, Fonvizin is the full expression of the Catherine's age." Fonvizin himself is a nobleman-serf. He cannot speak of the complete abolition of serfdom; he speaks only of softening it. But the main ideological hero of the "Undergrowth" Starodum is against the oppression of the human person. “It is illegal to oppress your own kind with slavery,” he says.

A talented writer, a well-educated person, a prominent political figure, Fonvizin in his works not only acted as an exponent of the advanced ideas of the socio-political life of Russia at that time, but also made an invaluable contribution to the treasury of Russian literature.

Fonvizin was the first Russian writer and playwright to denounce serfdom. In his immortal comedy "Undergrowth" he very expressively depicted the unlimited arbitrariness of the landowners' power, which took ugly forms during the strengthening of the autocratic serf system under Catherine II.

According to the rules of classicism, the events in the comedy take place within one day in one place - the estate of the landowner Prostakova. The names of the heroes are extremely eloquent, they can tell a lot about their carriers: Pravdin, Starodum, Vralman, Skotinin.

The unlimited arbitrariness of the landowners' power in the comedy "Undergrowth" is depicted vividly and expressively. K. V. Pigarev wrote that “Fonvizin correctly guessed and embodied in the negative images of his comedy the essence of the social power of serfdom, showed the typical features of Russian serf-owners in general, regardless of their social position.” Authority, cruelty, ignorance, limited landlords Fonvizin most clearly revealed in the negative images of the comedy:

Pravdin calls the serf-owner Prostakova Pravdin “an inhuman mistress, whom evil-mindedness in a well-established state cannot be tolerated”, “a despicable fury”. What is this person? All Prostakova's behavior is antisocial, she is a terrible egoist, used to worrying only about her own benefit. Many times throughout the comedy, Prostakova demonstrates her inhuman attitude towards serfs, whom she doesn’t even consider to be people, because she treats them like animals: “And you, cattle, come closer”, “Are you a girl, dog are you a daughter? Are there no maids in my house besides your nasty hari?” The landowner is confident in her own impunity, for the slightest offense she is ready to “beat to death” her servants. In his house, Prostakov is a powerful and cruel despot, and not only for serfs. Masterfully pushing around her weak-willed husband, Prostakova calls him either “dead”, or “ugly house”. She was used to his uncomplaining submission. Prostakova's passionate love for her only son, sixteen-year-old Mitrofanushka, takes on ugly forms. Persistently and systematically, she conveys to him her main commandments of life: “I found the money, do not share it with anyone. Take it all for yourself”, “Don’t study this stupid science”. She herself is so ignorant and illiterate that she cannot read letters, Prostakova understands that her son, without education, is closed to public service. She hires teachers, asks Mitrofan to learn a little, but he takes over her hostile attitude towards education and enlightenment. “Without science, people live and lived,” the Prostakovs are sure.

Prostakova's brother Taras Skotinin is not only no less wild, limited and immoral than his sister, but also cruel and despotic with the serfs, over whom he not only mocks, but also "masterfully rips off." The most valuable and dear thing in Skotinin's life is pigs. This animal lives with the landowner much better than people.

The vices of the serf landlords, their ignorance, greed, greed, selfishness, narcissism are clearly visible, since these people themselves do not consider it necessary to hide them. They believe that their power is unlimited and indisputable. However, Fonvizin in his comedy expressively showed that serfdom not only turns peasants into uncomplaining slaves, but also stupefies and stupefies the landowners themselves.

The positive images of representatives of the advanced nobility (Starodum, Pravdin, Sophia, Milon) are contrasted in the comedy with feudal tyrants. They are educated, smart, charming, humane. material from the site

Starodum is a true patriot, for whom the main thing is serving the fatherland. He is honest and smart, does not tolerate hypocrisy, is ready to fight injustice. The Starodum demands that the arbitrariness of the tsar and the landowners be limited, sharply speaking out against the “court”, where “almost no one travels along a straight road” and where “small souls are found”. Starodum's attitude to serfdom is expressed in the words: "It is illegal to oppress your own kind with slavery." He is also worried about the problems of raising noble children: “What can come out of Mitrofanushka for the fatherland, for which ignorant parents also pay money to ignorant teachers? Fifteen years later, and instead of one slave, two come out: an old uncle and a young master.

Pravdin in comedy is Starodum's like-minded person, he supports his advanced views in everything. It is with the help of this image that Fonvizin suggests one of the possible ways to limit the arbitrariness of the petty-bourgeois power. Pravdin is a government official. Convinced of Prostakova's inability to humanly manage the estate, he takes him under guardianship.

Thus, we see that Fonvizin in his comedy, with the help of satire, denounced the arbitrariness and despotism of Russian serfdom. He managed to create expressive portraits of feudal landlords, opposing them both to the advanced progressive nobility and representatives of the people.

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• to oppress their own kind by slavery unlawfully

In the very year when the fate of Panin's party was decided, when Panin himself lost strength, Fonvizin opened the battle in literature and fought to the end. The central moment of this battle was "Undergrowth", written a little earlier, around 1781, but staged in 1782. Government bodies did not let the comedy on the stage for a long time, and only the efforts of N.I. Panin, through Pavel Petrovich, was led to its production. The comedy was a resounding success.
In The Undergrowth, Fonvizin, giving a sharp social satire on Russian landowners, also spoke out against the policy of the landlord government of his time. The "mass" of the nobility, the landlords of the middle class and smaller, the illiterate noble province, constituted the strength of the government. The struggle for influence over her was a struggle for power. Fonvizin paid great attention to her in The Undergrowth. It is brought to the stage live, shown in its entirety. About the "court", i.e. about the government itself, only the heroes of The Undergrowth speak. Fonvizin, of course, did not have the opportunity to show the public from the stage of the nobles.

But still, The Undergrowth talks about the court, about the government. Here Fonvizin instructed Starodum to present his point of view; that is why Starodum is the ideological hero of the comedy; and that is why Fonvizin subsequently wrote that he owes the success of the Undergrowth to Starodum. In lengthy conversations with Pravdin, Milon and Sophia, Starodum expresses thoughts that are clearly related to the system of views of Fonvizin and Panin. The Starodum lashes out indignantly at the depraved court of the modern despot, i.e. on a government led not by the best people, but by "favorites", favorites, upstarts.

In the first apparition of Act III, Starodum gives a murderous description of the court of Catherine II. And Pravdin draws a natural conclusion from this conversation: "With your rules, people should not be released from the court, but they must be called to the court." - "Summon? What for?" asks Starodum. - "Then, why do they call a doctor to the sick." But Fonvizin recognizes the Russian government in its current composition as incurable; Starodum replies: “My friend, you are mistaken. It is in vain to call a physician to the sick. Here the doctor will not help, unless he becomes infected.

In the last act, Fonvizin expresses his cherished thoughts through the mouth of Starodum. First of all, he speaks out against the unlimited slavery of the peasants. "To oppress your own kind by slavery is unlawful." He demands from the monarch, as well as from the nobility, legality and freedom (at least not for everyone).

The question of the orientation of the government towards the wild reactionary mass of landowners was resolved by Fonvizin with the whole picture of the Prostakov-Skotinin family.

Fonvizin with the greatest determination raises the question of whether it is possible to rely on the Skotinins and Mitrofanovs in the conduct of the country? No. To make them by force in the state is criminal; meanwhile, this is what the government of Catherine and Potemkin is doing. The dominance of the Mitrofans must lead the country to ruin; and why do Mitrofans get the right to be masters of the state? They are not nobles in their life, in their culture, in their actions. They do not want to study or serve the state, they just want to greedily tear bigger pieces for themselves. They should be deprived of the rights of the nobles to participate in the government of the country, as well as the right to govern the peasants. This is what Fonvizin does at the end of the comedy - he deprives Prostakov of power over the serfs. Thus, willy-nilly, he takes a position of equality, enters into a struggle with the very foundation of feudalism.

Raising in his comedy questions of the policy of the noble state, Fonvizin could not but touch upon the question of the peasantry and serfdom in it. Ultimately, it was serfdom and the attitude towards it that solved all the questions of landlord life and landowner ideology. Fonvizin introduced this characteristic and extremely important feature into the characterization of the Prostakovs and Skotinins. They are landlord fiends. The Prostakovs and Skotinins do not govern the peasants, but shamelessly torture them and rob them, trying to squeeze more income out of them. They bring serf exploitation to the extreme limit, they ruin the peasants. And here again comes the policy of the government of Catherine and Potemkin; you can’t give much power to the Prostakovs,” Fonvizin insists, “you can’t allow them to manage uncontrollably even on their estates; otherwise they will ruin the country, exhaust it, undermine the basis of its well-being. The torment in relation to the serfs, the savage reprisals against them by the Prostakovs, their unlimited exploitation were a dangerous matter in another direction. Fonvizin could not but remember the Pugachev uprising; they didn't talk about him; the government hardly allowed any mention of it. But there was a peasant war. The pictures of landowner tyranny, shown by Fonvizin in The Undergrowth, of course, brought to mind all the nobles who gathered in the theater to stage a new comedy, this most terrible danger, the danger of peasant revenge. They could sound like a warning not to exacerbate popular hatred.

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Lessons from Penza teachers

Methodological recommendations for conducting lessons on comedy D.I. Fonvizin "Undergrowth" in the 8th grade

From the compiler. This is a kind of continuation of the seminary "Lessons of Penza Teachers", published in No. 8, 2003. Unfortunately, this selection does not include all the most interesting finds made by the Penza wordsmiths. Today we offer readers another material developed by the creative group of language teachers of school No. 51.
It should be noted that the teachers of this city work mainly according to the educational and methodological complex "In the World of Literature", prepared by a team of authors edited by A.G. Kutuzov. Therefore, it is natural that all the lessons are focused on him.

Program (section "Russian literature of the 18th century and its traditions"). DI. Fonvizin. "Undergrowth"

Main characters. dramatic conflict. composition features. Ways to create a comic effect. Reflection in the comedy of the ideas of the XVIII century. The value of comedy for contemporaries and subsequent generations

lesson number	Lesson topic	Information on the history of literature	Formation of aesthetic and theoretical-literary concepts	Types of student activities for the development of analytical, interpretive and creative skills
1	DI. Fonvizin "Undergrowth"	Enlightenment ideas and Russian literature	comedy	Commented reading of the poster and the first act. Vocabulary work.
2			speech characteristic	Annotated reading of individual comedy scenes. Speech and deeds as the main means of creating character in a dramatic work. Compilation of the speech characteristics of the characters.
3			Dramatic conflict and its development	Reading by roles with elements of dramatization.
4	Workshop "Traditions and innovation of the comedy by D.I. Fonvizin "Undergrowth""		Traditions of classicism in comedy. Enlightenment ideas of the author. Innovation of Fonvizin the playwright. Aphorism. Composition.
5	Continuation of the lesson
6	Creative workshop			Comedy essay

Lesson 1 Fonvizin. "Undergrowth": Enlightenment Ideas and Russian Literature. Commented reading of the poster and the first act

Working with a textbook article

What is the role of the writer in the 18th century?

Why did Fonvizin know court life well?

What does an ideal state look like, from the point of view of enlighteners? (“We are obliged to obey and obey any, without exception, sovereign, since he has an indisputable right to do so; but we must respect and love only his virtues” - Michel Montaigne.)

Why does Fonvizin choose dramaturgy?

Why is Fonvizin's favorite genre a comedy?

An individual message about the comedy "The Brigadier". With the hero of what work we read can Ivanushka be compared and why?

The pinnacle of the playwright's work is "Undergrowth" (1782)

Work with an epigraph on the board

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

Introductory speech of the teacher

The connection of the playwright's work with the historical situation, with the social and artistic thought of the 70-80s.

One of the first Fonvizin touched on the topic of serfdom - the basis of the contemporary social system. He considered the unlimited power of the landlords over the peasants a great social evil, which could lead the noble state "to the very brink of final destruction and death."

Recall the features of dramatic works

DRAMA (from the Greek - action, action) is one of the main genres of fiction (along with the epic and lyrics). It is written in a dialogical form and, as a rule, is intended for staging on stage; The basis of drama is action. It reproduces, first of all, the external world in relation to the author. Dramatic works are characterized by acute conflict situations, imperiously inducing characters to verbal and physical actions.

COMEDY is a dramatic genre depicting situations and characters in life that cause laughter.

Features of the composition of plays XVIII century- subordination of the composition of the stage work to the rule of three unities.

Events take place within one day and in one place - a provincial manor, in the house of the landowner Prostakova.

Independent vocabulary work

Card (8 groups). Explain the lexical meaning of the word. As a result of group work, "Comedy Dictionary", the vocabulary of which is replenished during the entire work on the work.

Heartlessness - lack of softness, cordiality; callousness, cruelty.

Governor - in Ancient Russia and in some Slavic states - the head of the army, district.

Garrison - belonging to a military unit located in a settlement, fortress or fortified area.

Yard - belonging to the household. Yard people. Outbuilding for courtyards(noun).

Dvornya (collected) - under serfdom: domestic servants in a landowner's house. Numerous d.

noble - owned by a nobleman.

Nobleman- a person belonging to the nobility.

Despotism - 1) autocratic rule. Monarchic d.; 2) the behavior of a despot (in the second sense). D. petty tyrant.

careerism - the pursuit of a career, the desire for personal well-being, promotion in personal interests.

greed - desire for personal gain, profit, greed.

Serf - a serf.

serf-owner - the owner of serfs, a champion of serfdom.

Scammer - a person who is engaged in fraud, a rogue, a swindler. small m.

undergrowth - in Russia in the 18th century: a young nobleman who had not reached the age of majority and had not yet entered the public service; trans.- stupid young man-half-educated ( unfold iron.).

denunciation - expose, revealing something unseemly, harmful, criminal, severely condemn. O. vices.

guardianship - a form of protection of personal and property rights of incapacitated persons (children who have lost their parents, the mentally ill). Take custody. Establish guardianship.

Opposition - opposition, resistance book.). About someone's politics. To be in opposition to something(being disagreeing with someone's views and actions, oppose them).

Estate - landowner's land. Large, small p.

Dedicate (what, to whom) - predestinate, give. P. your life work.

Privilege - preferential right, privilege. Privileges for War Veterans.

courtier - a person who is with the monarch (as well as with a member of his family), included in his environment.

Enlighten (whom, what) - to transfer knowledge to someone, to disseminate knowledge, culture.

Devastation (whom, what) - violation, destruction of someone's material well-being, bringing to poverty. R. family.

Collusion - engagement, an agreement between the parents of the bride and groom ( obsolete).

stinginess - great avarice, greed.

money-grubbing - greed, the desire for profit.

hard worker - a person who works; hardworking person. Village workers.

petitioner - one who submits a petition.

petition - in Russia until the beginning of the 18th century: a written petition, a complaint. Submit a petition.

Favorite - a favorite of a high-ranking person, receiving benefits and advantages from his patronage.

Vocabulary task: be able to explain the lexical meaning of words, compose phrases and sentences with words, choose words from the dictionary that may be needed in working on the characterization of the hero, interpreting the author's position, and so on.

Who is the main character of the play for you?

Prostakov - a play about her fate. Sofia- the reason for the rivalry of Mitrofan, Skotinin, Milon. Starodum Everything depends on his opinion. Mitrofan- after all, the play is called "Undergrowth."

Working with the title(teacher's comment)

According to the order established under Peter I and Empress Anna Ioannovna, every seven-year-old noble boy was obliged to appear at the Senate School of Arms, to say how old he was, what he studied, where his parents served, ancestors, how many serf souls his parents had. Then the "undergrowth", as the boys were then called, were allowed to go home. Five years later, at the “second review”, the child should already be able to read and write. After that, he was sent to the military or civil service, allowing him to stay at home only if the parents undertook to teach their son a foreign language, arithmetic, the Law of God. At the age of fifteen, the young man appeared at a new review, and he was either assigned to an educational institution, or they took a subscription that he would learn geography, history and military engineering.

Working with a poster

Commented reading of the poster. Speaking names.

development of dramatic conflict. What is the balance of power in the play?

Prostakov-Skotinin, ignorant backward landlords-serfs, are opposed by noble intellectuals Sophia, Starodum, Milon, Pravdin. ( Who belongs to whom?)

What are the goals and aspirations of both groups?

Self-serving money-grubbers are opposed to those who want justice, staunch opponents of the “evil-minded ignoramuses”, educated and humane people.

How, proceeding from this, do you imagine the conflict that has arisen between them?

Commented reading and analysis of the first act

Nothing so tormented my heart as innocence in the hands of deceit. I have never been so pleased with myself as if I happened to snatch prey from vice from my hands.(Starodum)

Reading scenes and dialogues of the first act

How are the characters of the Prostakovs, Mitrofan, Skotinin revealed in the first scenes? How do they behave, what is their speech?

Trying on a caftan (app. 1-3). Prostakova's barbaric attitude towards serf servants, her lust for power and despotism.

The theme of lordly arbitrariness is the main one in the play. (The play begins with a scene with the tailor Trishka, who is bullied by the “inhuman mistress”.)

"Mitrofanushka ... mother's son, not father"(Javl. 4). Mitrofanushka is a spoiled and shameless "sissy".

“The Ideas of Prostakova and Skotinin”(Javl. 5).

Skotinin is a stupid, rude, cruel landowner, preoccupied with the upcoming "conspiracy" with Sophia.

The dialogue between Prostakova and Skotinin characterizes them as cruel feudal lords. “Since we took away everything that the peasants had, we can’t tear anything off. Such a disaster!” (Prostakova complains to her brother.)

Greed, acquisitiveness, gain - the behavior of the Prostakovs and Skotinin is subordinate to them.

Serfdom ,Fonvizin believes, not only does he reduce the peasants to the position of uncomplaining slaves, but he also stupefies the landowners.

Why does Skotinin want to marry? "Girl" do you like it? No, we need her "villages" in which pigs are found: Skotinin has a "mortal hunt" before them.

So, the EXPOSITION of the play - acquaintance with the characters took place.

Why did Prostakova at first have nothing against her brother's marriage to Sophia? ( She considered her a dowry.)

Prostakova changes her plans(app. 6)

Why is she changing her plans? ( He learns that that heiress of a rich uncle, Starodum.)

What is the humor of her behavior? (Inconsistency: he wants to consider his fiction to be true, the truth is fiction.)

What interesting things do we learn about Prostakova? ( Can't read.)

It is from this event that the dramatic conflict begins to develop - this is the START of the play. And it seems that nothing will help Sophia.

The balance of power is changing not in favor of the Prostakovs-Skotinin(Javl. 8).

What event changes the balance of power? (Soldiers came to the village to wait, led by officer Milon, Sophia's fiancé. He is a friend and like-minded person of Pravdin, a staunch opponent of the "evil-minded ignoramuses".)

Lesson 2 character in a drama

Checking homework: discussion of the compiled text of the presentation, its comparison with the sample text.

Morning in Prostakova's house

Morning. The all-powerful mistress examines the caftan, sewn by the tailor Trishka. And although the caftan is sewn “quite a bit”, it is difficult to please a capricious lady. “Thief”, “thieves' mug”, “blockhead”, “swindler” - these are the softest epithets with which she rewards her yard.

A frequent visitor to the Prostakovs' estate is her brother Skotinin, whose very name speaks volumes. Today he came to his sister to set the date for the “conspiracy”. The fact is that Prostakova, having robbed a distant relative Sophia “legally”, decided to pass her off as her own brother. At the same time, of course, they don’t ask Sophia’s opinions.

And here is the son of Prostakova - Mitrofanushka, in whose character the features of the same serf-owner as his mother and uncle are clearly visible. But in some respects he went even further than his mother. Prostakova loves her son in her own way, and the undergrowth is heartless and rude to her. However, he perfectly understands who is the real master in the house, and therefore clumsily flatters his mother, telling his dream, Mitrofan “pities mother”, who is so tired, “beating the father”.

Thus begins the action of this wonderful comedy by D.I. Fonvizin, and before us appears the life of the landowner's estate of the XVIII century.

Work on the topic of the lesson: what happens in the second act?

Positive characters meet, talk, find moral support and mutual understanding.

Phenomenon 1

Why does Pravdin come to the village? (He has a duty to go around the district, at the behest of his heart, noticing the use of power by the landlords over people for evil, seeks to correct the situation.)

Phenomenon 2

What did Pravdin discover on the Prostakov estate? (“I found a landowner, an innumerable fool, and a vile fury wife, to whom the infernal temper makes misfortune of their whole house.”)

Phenomenon 3

What is Skotinin's cherished dream? How does his name appear in speech?

Phenomenon 4

What is the character of Eremeevna in this scene? What did we learn about the character of Mitrofan by reading about the clash of rivals?

Phenomenon 5

How does Prostakov manage his estate? (Find her self-characterization.)

Important: the characters of negative actors are clearly outlined.

Homework (optional)

1. Choose aphorisms that speak about the life principles of Starodum (act III, phenomena 1 and 2; act V, phenomenon 1).

2. Complete a written presentation "Biography of Starodum".

Lesson 3 development. Reading by roles of individual comedy scenes

Analysis of the third act

The mind, if it is just the mind, is the most trifle. With fugitive minds we see bad husbands, bad fathers, bad citizens. Good manners gives him a direct price.(Starodum)

Phenomenon 1

Whose worldview does the conversation between Starodum and Pravdin introduce us to? (The dialogue introduces the worldview of advanced noble intellectuals, who sharply criticize the “corrupt age” of Catherine II, her idle and vicious nobles and ignorant feudal landowners.)

The images of the bearers of virtue are Starodum and Pravdin. Positive images of lovers - Sophia and Milo. They are entrusted with the thoughts and feelings of the playwright himself and those close to him. They talk about what is dear to the author: about the need to instill in a person from childhood a sense of duty, love for the Fatherland. Infallible honesty, truthfulness, self-respect, respect for people, contempt for baseness, flattery, dishonesty. They put forward concepts of honor, nobility and wealth that are directly opposite to simpletons of all ranks.

In their speeches, the arbitrariness of the government is revealed, giving rise in Russia to people who are unworthy to be people, nobles who are unworthy to be nobles.

Checking homework

Reading a written work "Biography of Starodum". Understand the “speaking surname”(what and who is the ideal of the author). Peter I and his era.

Working with cards "Life principles of Starodum"(in rows). Determine what socio-political and moral issues it touches on. Formulate and write them down. If possible, complete the cards with your own examples.

Card I

• During the then century under Peter I, the courtiers were warriors, but the soldiers were not courtiers.
• Small souls are found in the great world.
• Where the sovereign thinks, where he knows what his true glory lies in, there mankind cannot but return their rights.
• It is in vain to call a doctor to the sick is incurable: here the doctor will not help, unless he himself becomes infected.

Card II

• It is illegal to oppress your own kind with slavery.
• An ignoramus without a soul is a beast.

Card III

• The ranks begin - sincerity ceases.
• Ranks are often begged for, and true respect must be earned.
• A downright pious person is jealous of deeds, not ranks.

Card IV

• Cash is not cash worth.
• Wealth does not help a foolish son.
• A golden blockhead is all a blockhead.

Messages on the results of work in the group

1) The role of state power is to know what its role is: to protect human rights. The tsar and the great world are “sick incurably”, “small souls”, instead of serving the state, take care of their careers.

Starodum does not hide his opposition to the Catherine's monarchy. In the army, noble idlers who have not been in a single battle enjoy themselves, and military officers are neglected. Flattery, rivalry, mutual hatred soar at court. Anyone who does not want to lie, be hypocritical, flatter in the struggle for a warm place, retires, as Starodum did. So, to be in favor at court, one must be dishonorable. It is difficult to characterize the situation more sharply. And although Starodum does not say a word about the empress, it is clear that rewards for the dishonest can be poured in at the court of either a stupid or dishonest monarch. No one considered Stupid Catherine II.

Fonvizin, as Panin's secretary, lived at court until 1773 and saw with his own eyes the fierce struggle of court groups and individuals on the narrow road to the favors of the empress, “Where two, having met, cannot disperse. One knocks the other down."

The continuation of the conversation between Starodum and Pravdin completes the gloomy picture. To Pravdin’s words that people like Starodum should be called to the court for the purpose for which a doctor is called to the sick, Starodum answers: "My friend! You're wrong. It is in vain to call a physician to the sick. Here the doctor will not help, unless he himself becomes infected.

Arbitrariness of the government as a result of the unlimited power of the empress and her favorites, arbitrariness of officials, natural in a country where there is no firm legislation, arbitrariness in a serf estate, where the power of some people over others is not limited by anything and is not controlled by anyone, arbitrariness in the family, everywhere the pursuit of power , the insatiable power of wealth, the measure of which determines the strength of power - these are the links of a single chain that brings up servility, baseness of the soul, meanness - anything but humanity.

2) Serfdom is lawless. If an uneducated person does not yet have a soul, he is a beast.

"Undergrowth" only demanded a human attitude towards the serfs. “It is illegal to oppress your own kind with slavery,” says Starodum. But Fonvizin realized that moral preaching did not reach the consciousness of the feudal lords, that conviction alone could not influence petty fools corrupted by uncontrolled power. According to the writer, government intervention is necessary. And the law at that time forbade the landowner only to kill the peasant. Prostakova didn’t kill anyone, she didn’t maim, she didn’t burn her maids with tongs, like Countess Kozlovskaya, she didn’t force the lackeys to tickle the girls in her presence until they breathed out, she didn’t drive the naked ones out into the cold, she didn’t sew the fingers of an inept seamstress to her body, even did not pinpoint to death, as did many, many nobles. Prostakova is not Saltychikha, who tortured 140 peasants. She is an ordinary ordinary landowner, and the fact that Fonvizin portrayed her just like that is the great power of comedy, her deep life truth. Saltychikha, Kozlovskaya and other fiends were spoken of as exceptions. The image of Prostakova, which absorbed the features of thousands of landowners, was, according to the author's intention, to become a living reproach to the gentlemen in whose houses the same thing was happening. And not only gentlemen. Having forced Pravdin to take custody of Prostakova's estate at the end of the comedy, Fonvizin suggests to the government a way out: all landlords who treat peasants cruelly should be deprived of the right to own peasants. Everyone, not just rabid killers.

3) Service. The main thing is not ranks, but deeds.

“It is much more honest to be bypassed without guilt than to be granted without merit.” “I will calculate the degrees of nobility according to the number of deeds that the great master did for the fatherland ...”

4) Wealth is not in money.

A huge impact on human relations is another terrible force - the power of money. In "Undergrowth" Fonvizin showed that "money is the first deity", sovereign masters over serfs are themselves slaves of money. Mrs. Prostakova is rude to everyone who depends on her, and she fawns over Starodum when she learns that he has ten thousand. She pushes Sophia around at the beginning of the play and fawns over her - a bride with wealth. She remembers with pride father, who knew how to make a fortune with bribes, and, without hesitation, teaches his son: “I found the money, don’t share it with anyone. Take everything for yourself, Mitrofanushka.” “The rich man... the one who counts off the excess in himself to help the one who does not have what he needs”, - says Starodum.

5) Wealth in spiritual qualities. The dignity of a person is his soul, heart.

What can Fonvizin oppose to all this? Faith in the good beginnings of the human soul, capable, according to the enlighteners, to distinguish the bad from the good; hope for the power of conscience - a true friend and strict judge of man; moral preaching: “Have a heart, have a soul, and you will be a man at all times” and the like.

To Pravdin’s remark - “So, you left the court with nothing?” - Starodum answers: “The price of a snuffbox is 500 rubles. Two people came to the merchant. One paid money, brought home a snuffbox. Another came home without a snuffbox. And you think the other one came home with nothing? You're wrong. He brought home his 500 whole rubles. I left the court without villages, without a ribbon, without ranks, but brought mine home intact, my soul, my honor, my rules.

Starodum resigns, not wanting to oppress his own kind with slavery, he leaves for Siberia, acquires a small fortune there and, returning, preaches his views in a narrow circle of people close to him. Fonvizin acts more courageously: he writes "Undergrowth". And he understands the significance of his act, through the mouth of Milo putting the fearlessness of a statesman who tells the truth to the sovereign, risking his anger, higher than the fearlessness of a soldier going into battle. Death in battle is honorable. Opala threatens dishonor, slander, doom to inaction, moral death.

Fonvizin is not afraid of disgrace. But, having pronounced the harsh sentence of Catherine's Peseta, what could he offer in return? What are the new ways and forms of life, not similar to European ones, about which he wrote to Bulgakov? The playwright did not rise above the idea of ​​replacing bad advisers to the tsar with Starodums, bad officials with Pravdins, military careerists with Milons, bad landowners with good ones.

Generalization.

What testament of his father does Starodum consider the main thing for himself? What aphorisms seem interesting and important to you even today?

Lesson 4 Fonvizin "Undergrowth""

1. Traditions of classicism in comedy. Peculiarities of 18th century plays (individual communication)

• Subordination of the composition of a stage work to the rule of three unities: place, time, action.

Are these three unities observed in Fonvizin's comedy? Events take place within one day and in one place (in a provincial manor estate, in the house of the landowner Prostakova).

• satire must correct morals, teach. Does comedy correct morals, what does it teach?
• Vice and virtue must be presented visually, and virtue must, of course, triumph.

The main characters of the comedy are sharply divided into two camps. In one - representatives of vice, "malice" - Prostakova, Skotinin, Mitrofan. In another camp, the bearers of virtue are Starodum, Milon, Pravdin, Sophia.

Does virtue win? Virtue really wins.

• According to the traditions of classicism, each hero must have some one characteristic.

Determine what are main quality heroes, carriers of what vices or virtues they are.

Prostakova is “evil”, Prostakov is downtrodden, Skotinin is bestial, Mitrofan is ignorant, Starodum is direct, Pravdin is honest, Sophia is noble ...

• In the plays of that time there is always a hero who directly expresses the ideas of the author, his most cherished and dear thoughts.

In Undergrowth, this is Starodum. Its main task is to express what the author wants to inspire the audience.

2. Innovation of Fonvizin the playwright

• The heroes of the comedy turned out to be much more difficult than the tradition required. They are not only walking masks of the bearers of virtue or vice.

Are Kuteikin, Vralman, Tsyfirkin, Eremeevna bad or good? Definitely don't answer.

Fonvizin follows the classical tradition in portraying goodies. Depicting negative characters, departs from this tradition.

Prove that Prostakova is not only malicious, find her positive qualities.

Prostakov cruel and rude, but madly in love with his son. In the finale of the comedy before us suffering mother losing the last consolation - the consolation of her son. She no longer evokes laughter, but sympathy.

Determine the qualities of Mitrofan's character that go beyond the definition of an ignoramus and a "sissy".

Mitrofan not only an ignoramus and a "mama's boy". He cunning, knows how to flatter his mother (story about a dream). quick-witted(answer to Starodum's question). Heartlessness- that's his worst feature. “An ignoramus without a soul is a beast,” says Fonvizin. Mitrofanushka the ignorant is ridiculous, but the one who repels his mother is terrible.

• Fonvizin's innovation lies in the ability to build the speech of his characters in such a way that the reader imagines the characters of the characters.

Individual tasks for compiling speech characteristics

Prostakova's speech is illiterate, but very changeable. From timid, obsequious to domineering and rude. Verify with examples.

Skotinin's speech is not only rude, but also fully corresponds to the surname. He talks about himself and others as if they were animals. Verify with examples.

Starodum's speech is the speech of an educated, cultured person. She is aphoristic, sublime.

What is the originality of the speech of Kuteikin, Vralman, Tsyfirkin?

• In the play, everything is national: the theme, the plot, the social conflict and the characters of the characters. And in the works of classicism in the depiction of characters, they sought to reveal not the individual, but the general, eternal, inherent in people of all countries and times.
• Virtue wins.

But why do the good guys win?

They win by chance. Not because there is a fair law. Pravdin turned out to be an honest man. A good man is the governor here. Uncle Starodum arrived just in time. Accidentally guided a detachment of Milon through the village. A combination of happy circumstances, not the triumph of a just law.

Innovation is the idea of ​​the author. The idea of ​​enlightenment is not new. Fonvizin argues that enlightenment alone is not enough. “Science in a depraved person is a fierce weapon to do evil,” says Starodum. “Enlightenment elevates one virtuous soul.” First you need to cultivate virtue, take care of the soul, and then - about the mind.

The playwright believes that such a law is needed so that virtue is beneficial, so that everyone understands that “no one can become a people without good morals. Then everyone finds his own advantage in being well-behaved, and everyone becomes good.”

Thus, it turns out that the landlords are not to blame for their evil temper, the officials and the sovereign are to blame, who do not establish a good law.

A truly statesman in comedy is Starodum (thinks in terms of the era of Peter I). Unfortunately, in the modern era, the author needs neither honesty, nor courage, nor concern for the benefit of the state.

Beginning with the comedy "Undergrowth", Russian literature entered into a noble struggle with state power, a struggle for justice and for man.

4. Aphorism

A short expressive saying containing a generalizing conclusion.

Individual task: to find and list the expressions of Fonvizin, which enriched Russian speech with popular expressions, became aphorisms.

Homework. Retelling of an article from a textbook; prepare answers to questions (by options).

Speech characteristics - Fonvizin's great achievement.

Prostakova - imperious landowner, speaks abruptly, commandingly, often turning to shouting, distorting words, using rude expressions and insulting others. Affectionately refers only to Mitrofan.

Starodum- an educated and humane person. His judgments are sharp and witty (“In the big world there are small souls”, “Cash is not the presence of dignity”).

Lively imagination and cordial responsiveness showed up early in Fonvizin's relationship to others. He was able to feel the state of another person as his own and, in his words, “I was not so afraid of anything as to do someone an injustice, and for that I was not so afraid of anyone as before those who depended on me and who answered I was unable to."

However, this did not mean that he was timid and compliant.

“Very early manifested my penchant for satire. My sharp words were carried around Moscow. As they were caustic to many, those offended announced me as an evil and dangerous boy. They soon began to fear me, then to hate me ... My writings were sharp curses: there was a lot of satirical salt in them, but not a drop of reason, so to speak, ”the writer admitted.

For example: “Oh, Klim, your deeds are great! But who praised you? Relatives and two stutterers.

From his youth, Fonvizin mastered the art of “mocking”, acting reincarnation. He was characterized by the ability to "take on the face" of a familiar person and speak "not only with his voice, but also with his mind."

In all his first experiments, the gift of the word is evident.

Development of the topic "Speech characteristics of heroes"

Target: show high dramatic skill in creating speech characteristics.

1. Individual tasks:

1) the life of Kuteikin; biography of Tsyfirkin; the life of Vralman;

2) vocabulary that is unique to Kuteikin; Tsyfirkin; Vralman.

2. Work with the class. What is the originality of Kuteikin's speech?

Speech undergraduate seminarian. Built on Church Slavonic vocabulary and phraseology, saturated with forms of the Church Slavonic language: pitch darkness, the talk of the town; woe to me, a sinner; the local diocese, hungry, called by and died; God willing, if the lord did not make me and so on.

What is the originality of Tsyfirkin's speech?

The speech is based on the fact that he is in the past was a soldier and now teaches arithmetic. Hence, in his speech, constant calculations, as well as military terms and phraseological turns. Give examples to prove this.

What is the originality of Vralman's speech?

Write a short description of the speech. Give examples.

3. Tasks for work in groups:

Compose a speech characteristic of Skotinin(only one group works in this lesson).

• talk, characterizing Skotinin.
• Prove with comedy materials that the entire lexical composition of Skotinin's speech characterizes his bestial character. For evidence, use not only lexical material, but also syntactic constructions.

Comedy text work(continuation)

Phenomenon 3

Role Reading(Prostakova, Milon, Skotinin, Starodum, notes of the author)

What is the difference between the relationship of Starodum, Pravdin, Milon and Sophia from the relationship of Prostakov, Skotinin? What is striking about the relationship between brother and sister?

Lack of related feelings. (“Let me go! Let me go, father! Give me until the face, before the face ...”)

Phenomenon 7

Role Reading(Prostakova, Mitrofan, Tsyfirkin, Kuteikin, notes of the author)

How is Mitrofanushka trained?

How does Prostakov explain the necessity of his teaching?

How is the teaching going?

Who are Mitrofanushka's teachers?

How does Mitrofan himself feel about teachers and teaching?

Important: The theme of the upbringing and education of young nobles also runs through the entire comedy. “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”(Javl. 1. d. 4).

The upbringing that Prostakov gives to his son kills his soul. Mitrofan does not love anyone but himself, does not think about anything, treats teaching with disgust and waits only for the hour when he becomes the owner of the estate and, like his mother, pushes around his loved ones and uncontrollably disposes of the fate of the serfs.

Fourth step analysis. Reading according to the roles of the advice of Starodum (phenomenon 2).

Homework

Task for everyone: compare Prostakova in the lesson of Mitrofon and Starodum in a conversation with Sophia. What do they teach, what do they consider the main thing - ideals of heroes in whom? How do they want their children to be?(It is desirable to perform in the form of a plan, a comparative table.)

Individual tasks:

• the life of Kuteikin; biography of Tsyfirkin; the life of Vralman;
• vocabulary inherent only in Kuteikin's speech; Tsyfirkin; Vralman (prepare orally);
• prepare an analytical retelling of the fifth act;
• answer the questions:

What does Starodum say about education and enlightenment? What do you think is more important? What ways does Starodum see to make people kind?

What “merits award” does each of the comedy characters receive? How did Prostakova's malevolence turn against herself in the last act?

Lesson 5

Tasks for work in groups(continuation):

Compose a speech description of Prostakova.

• Analysis of the author's remarks. Choose synonyms for the verb talk, characterizing Prostakova.
• Analysis of references in Prostakova's speech: how they change depending on the situation.
• Prove with comedy materials that reveals the character of a rude, unrestrained, tyrant. For evidence, use not only lexical material, but also syntactic constructions.

Make a speech description of Starodum.

• Analysis of the author's remarks. Choose synonyms for the verb talk, characterizing Starodum.
• Prove with the materials of the comedy that Starodum's speech is saturated with book vocabulary, testifies to his education and high morality. For evidence, use not only lexical material, but also syntactic constructions.

Checking group work.

Summarizing: with the help of speech features (characteristics), the author managed to create unforgettable images of comedy heroes. Recall that speech characteristics are the main means of creating an image in a dramatic work.

Continuation of the analysis of the fourth act.

Prostakova adapts to the requirements of Starodum and changes her tactics. She pretends to be a hospitable mistress of the house, trying to please the honored guest. He does not miss an opportunity to praise himself and Mitrofan. Sharp transitions in behavior - from rudeness to exaggerated courtesy - reveal the deceit and hypocrisy of Prostakova.

Scene "Mitrofan's Exam" (Javl. 9), reading (possibly with elements of staging) and brief explanations.

What can be said about Mitrofan's knowledge?

Does a nobleman need science? How do Prostakov and Skotinin answer the question? What did Prostakova think when she learned about the upcoming departure of Sophia and Starodum?

Checking individual assignments.

Retelling-analysis of the fifth act of the comedy.

What does Starodum say about education and enlightenment? What do you think is more important? What ways does Starodum see to make people kind?

What “merits award” does each of the comedy characters receive? How did Prostakova's malevolence turn against herself in the last act?

Outcome: The goals of Prostakovs and Skotinin are insignificant and base (enrichment at the expense of the suffering of other people). The positive characters of the play strive for the triumph of justice and truly human feelings.

Analysis of the final scene

What led Prostakova to disaster? Who is more right in explaining the cause of Prostakova’s misfortune: Pravdin (“crazy love” for Mitrofan “brought her the most”) or Starodum (“had the power to do bad things to others”)?

How does he see Prostakov's son and what is he really like? Prostakova turns to her son for sympathy. But he rudely pushes her away: “Get off, mother! How I imposed myself ... ”To the sorrowful cry:“ I don’t have a son! ” - Starodum answers with words full of deep meaning: “Here are worthy fruits of malevolence!”

Homework

Choose the topic of the essay (the topics are suggested in the textbook) or come up with your own wording. Get material for it.

Lesson 6 Fonvizin "Undergrowth"

Essay topics proposed for analysis:

• "Happy" family.
• Funny and sad in Mitrofan.
• Life of the Starodum.
• Mitrofan's teacher.

Three main laws(Imagine that you have the opportunity to establish three laws. What kind of laws will they be? How to formulate them? How to explain their meaning to people?)

• Education and upbringing.(What is the difference between education and upbringing? Are a well-bred and educated person one and the same? What, in your opinion, should be the main goal of upbringing? And what is the goal of education?)

Essay preparation work

Independent selection of episodes of a literary work. Their analysis, determined by this topic. What is a feature?

Characteristic- this is a description of a living face and character, that is, stable features of a person that depend on the way of life and are manifested in actions, deeds and statements.

How is an essay constructed - a characterization of a character?

1. Thesis - an idea is expressed.

2. Arguments - proved by examples from the text.

3. Conclusion - a logical generalization.

Characteristics of Mitrofanushka

(Composition; main theses)

What determines a person's character?

From the environment, life, conditions for the formation of a young person as a person. This is how D.I. solved this problem. Fonvizin in the comedy "Undergrowth". Its importance is emphasized by the title itself.

General remarks about the character

Mitrofanushka, “undergrowth”, is one of the main characters of the comedy. Mitrofan is a Greek name and translated into Russian means “resembling a mother”. This is a fifteen-year-old young man, the son of provincial landowners, despotic and ignorant feudal noblemen.

logical transition. new thought

“Like a mother”... This already says a lot. But no, in some respects he went further than his mother.

Generalization, transition and new thought

His mother loves him (albeit in her own way), but Mitrofan only pretends to love him. In fact, he is heartless, extremely selfish and rude.

Proof

At the end of the comedy, when Prostakova seeks sympathy from him, the “underage” roughly pushes her away: “Get off you, mother! How imposed."

Intermediate thesis

His rudeness and cruelty are manifested in everything.

Proof of

“Teachers” came to him - he grumbles: “Take them shot!” Tsyfirkin, who really wants to teach him something, he calls "garrison rat". The old serf nanny Eremeevna hears only abuse for all her worries. And after he failed to kidnap Sophia, he and his mother intend to “take on people”, that is, flog the servants.

Logical generalization

Thus, teachers are enemies for him, and servants ... he does not even consider servants to be people.

Transition to a new thought

But, speaking of Mitrofanushka's character traits, one cannot fail to mention his extreme ignorance ...

Job assignments:

Come up with your own introduction.

Divide the text into paragraphs.

Styling Tips:

No need to use many quotes, especially large ones.

Avoid repetition of words, use synonyms.

Use only those words and expressions that you understand.

Pay attention to the correct word order in the sentence.

Do not write fragmentary, unfinished sentences, subordinate clauses without a main one.

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Mistakes that are often made:

• unclear or erroneous formulation of thought;
• lack of evidence or their insufficiency;
• inconsistency of evidence of the expressed thought;
• lack of logical generalizations;
• lack of logical connection between the individual parts of the essay.

1. Why do you think the comedy begins with the scene with the tailor Trishka? What do we learn about life in the Prostakovs' house when we carefully read the first act?
The scene with the tailor Trishka shows what order has been established in the house of the landowners Prostakovs. The reader from the first lines sees that Prostakova is an evil, ignorant woman who does not love or respect anyone, does not consider anyone's opinion. She treats ordinary peasants, her serfs, like cattle. She has one measure of influence on others - insults, assault. Moreover, she behaves the same way with her loved ones, except for her son Mirofan. He loves Prostakov's son. For him, she is ready for anything. From the first act it becomes clear that in the house of the Prostakovs everything is controlled by the hostess herself. Everyone is afraid of her and never contradicts her.

2. What is the relationship between people in this house? How are the characters of the comedy characterized in Scene VIII of the fourth act? What means (humor, irony, sarcasm, etc.) does the author use to characterize this? About Mitrofan's "exam" it is said that in this scene there is a clash of true enlightenment and militant ignorance. Do you agree with this? Why?
Everyone in the house is afraid of Mrs. Prostakova, they try to please her in everything. Otherwise, they will face inevitable punishment in the form of beatings. Mr. Prostakov will never contradict her, he is afraid to express his opinion, relying on his wife in everything. Only Mitrofan is not afraid of his mother. He flatters her, realizing that she is the main one in the house and his well-being depends on her, or rather the fulfillment of all his whims. All people in the house of the Prostakovs are characterized by deep ignorance. It was especially clearly manifested in the scene of Mitrofan's exam (VIII scene of the fourth act). At the same time, Mrs. Prostakova believes that she herself and her son are very smart, they will be able to adapt in this life. And they do not need literacy, the main thing is more money. She admires her son, pleased with his answers. I agree with the opinion that true enlightenment and militant ignorance clashed in this scene. After all, Prostakova is sure that a person of her circle does not need education at all. The coachman will take you where ordered. There is nothing special to stand out in society, etc. According to Prostakova, this is how it should be in the world, and whoever thinks otherwise is a fool who is not worthy of her attention.
To characterize the heroes, Fonvizin uses satire. He ridicules the ignorance of the feudal landlords and shows the ugliness of serfdom.

3. The poster with the list of characters indicated: Prostakova, his wife (Mr. Prostakova). Meanwhile, in the comedy, her characters characterize themselves differently: "It's me, my sister's brother", "I'm my wife's husband", "And I'm my mother's son." How do you explain it? Why do you think the full owner of the estate at Fonvizin is not the landowner, but the landowner? Is this related to the time when the comedy "Undergrowth" was created?
Since Prostakova is the main one in the house, everyone recognizes themselves as subordinates to her. After all, absolutely everything depends on her decision: the fate of the serfs, son, husband, brother, Sophia, etc. I think that it was not without reason that Fonvizin made the landowner the mistress of the estate. This is directly related to the time the comedy was created. Then Catherine the Great ruled in Russia. The comedy "Undergrowth", in my opinion, is a direct appeal to her. Fonvizin believed that it was possible to bring order to the country, to bring to justice ignorant landlords, dishonest officials, by the power of the empress. Starodum discusses this. This is evidenced by the fact that Prostakov's power was deprived by order of higher authorities.

4. Watch how the conflict develops between the positive and negative characters of the comedy. How the idea of ​​comedy is revealed in this conflict (“It is illegal to oppress your own kind by slavery”)
The conflict between positive and negative characters reaches its climax in the scene of Sophia's theft. The outcome of the conflict is the order received by Pravdin. On the basis of this order, Mrs. Prostakova is deprived of the right to manage her estate, because impunity made her a despot who is capable of bringing great harm to society by raising a son like himself. And she loses her power precisely because she treated the serfs cruelly.

5. Which of the characters in the comedy, in your opinion, was Fonvizin more successful than others? Why?
In my opinion, D.I. Fonvizin negative characters, especially Mrs. Prostakova. Her image is depicted so clearly and vividly that it is impossible not to admire the skill of the author of the comedy. But positive images are not so expressive. They are more spokesmen for Fonvizin's thoughts.

6. What are the difficulties in reading this old comedy? What is of interest to us today "Undergrowth"?
The language of comedy is not entirely clear to the modern reader. It is difficult to understand some of the arguments of Starodum and Pravdin, since they are directly related to the time the work was created, to the problems that existed in society during the time of Fonvizin. The comedy is relevant to the problems of education and upbringing, which Fonvizin raises in comedy. And today you can meet Mitrofanushki who “do not want to study, but want to get married”, and marry profitably, who are looking for profit in absolutely everything and achieve their goal at any cost; gentlemen Prostakov, for whom money is the most important thing in life, and they are ready for anything for the sake of profit.