The rule of three unities in comedy is an undergrowth. Fonvizin D.I.

1. Conflict of the comedy "Minor".

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

3. "The Minor" is a realistic comedy.

Literature of the 18th century, during the general national upsurge, formed civic consciousness in society. The classicists propagated the ideas of equality of people, humanism, the principle of common benefit, and the responsibility of authorities to the people. They considered it their duty to benefit their fatherland. The classicists strived for true portrayal life, talked about current problems society, they are characterized by civic pathos and patriotism. But the dramaturgy of that time was also enriched with works that went beyond classicism. This is the comedy by D. I. Fonvizin “The Minor”. The comedy was completed in 1781. Pathos defined her political urgency and Fonvizin’s commitment to the ideals of human freedom.

main topic comedy, its conflict is indicated by the author 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 serfs is the dramatic conflict of the "Minor". On the side of the progressive nobility are Pravdin and Starodum, the serf owners - the Prostakovs and Skotinins. Fonvizin convinces us that serfdom is destructive and must be fought against. It corrupts the serf owners themselves, who lose their human qualities in dealing with serfs, they feel omnipotent. The author wanted to show in his work the actions and morals of serf owners, born of serfdom. It is serfdom's tyranny, and not the struggle for Sophia's hand, that is the main theme of "Undergrowth." The depiction of the contenders for her hand is another opportunity to carefully examine the representatives of the “noble class” depicted in a comic light. A love plot, according to Fonvizin, cannot be the basis of a dramatic work. It was based on the conflict of the era.

Literary critic G. P. Makogonenko believes that “Undergrowth” is a political comedy, since it was precisely political beliefs author. There is a plot here that conveys a real historical conflict; positive heroes with the features of noble enlighteners.

The play continues the traditions of classicism. According to G. A. Gukovsky, artistic thinking Fonvizin 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, they are not divided only into positive and negative, as required by the principles of classicism. But the positive heroes, following the canons of classicism, in "The Minor" have one characteristic feature. The power of the traditions of classicism was preserved in the speaking surnames of the heroes, 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. main idea classicism - the idea of ​​enlightenment. In "The Minor" it receives a different interpretation: enlightenment is important, but virtue is more important than intelligence. The trinity of time, place and action is broken: instead of one problem, the author addresses whole line equally important.

Fonvizinsky realism - truthfulness, historical concreteness of images, especially clearly manifested 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 enlighteners. Realism helped Fonvizin move away from literary stamps, the author was the first to take the step towards creating a hero-advanced figure. Starodum, Pravdin and Milon were discharged to general outline, without biographical details, inner world. But the image of Starodum is more significant in this regard.

Fonvizin created new type realistic comedy: based it not on a ready-made plot, but on a real one historical conflict, which affects all heroes. Conflicts in the house, according to the author, are a reflection of conflicts in the country. Prostakova’s behavior, for example, comes from the decree on the liberties of the nobility. Condemning her means that serfdom is condemned in her person. But high content does not mean for the author a rejection of the comic. But this is an accusatory comedy, and sometimes with bitter irony. Russian begins with "Nedoroslya" social comedy. Fonvizin gave the comedy social depth and a sharp satirical orientation. The author denounces the vice - serfdom, noble "evil morality" and seeks to show its causes: miseducation, ignorance of people.

According to G. A. Gukovsky, “The Minor” is “half comedy, half drama.” Genre originality work is that the basis of the play is classic comedy, updated with serious and touching scenes: Pravdin’s conversation with Starodum, Starodum’s conversations with Sophia and Milon. The ending combines moralizing and touching. Prostakova suffered punishment, but I feel sorry for her.

Fonvizin’s traditions were continued by his followers - A. S. Griboyedov with his “Woe from Wit” and N. V. Gogol with “The Inspector General”. Gogol called the comedies of Fonvizin and Griboyedov the most striking works: “They no longer contain light ridicule of the funny sides of society, but the wounds and illnesses of our society... Both comedies took two different eras. One was struck by illnesses from lack of enlightenment, the other from ill-understood enlightenment.”

The success of the comedy “Nedorosl” was predetermined by the ideological atmosphere of the era itself, the need for a high-quality domestic repertoire in the development of Russian theater. But what allows him to go beyond just his time and be relevant now? Does this mean that, like talented artist, Fonvizin went beyond literary tradition of his time and took the next step in the depiction of man, who is the main subject of literature?
The author strictly follows the rule of dramatic trinity in his comedy. His characters match literary types classicism: they are clearly divided into positive and negative, and the latter become the living embodiment of one of human vices. We hear the moralizing intonations of the author in the words of the reasoner Starodum. All these points are obvious. Therefore, we will be interested in what in this work does not correspond to the tradition of classicism.
Comedy plot abounds unexpected turns and interesting in itself. That is, you can watch a comedy not only for the sake of education, but also simply for entertainment. Let us also pay attention to how great the role of chance is in the fate of the heroes.
The comedy language is lively, figurative, aphoristic. The author is distinguished by knowledge colloquial speech, shades and meanings of words, the writer-playwright does not have the opportunity to describe his characters - he must be presented through actions and verbal remarks. That is why, already at the beginning of the work, we form a specific idea about each of the characters: from character traits to the position in the Prostakovs’ house.

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One of important issues Fonvizin's comedy "The Minor" is the problem of education. This always worried Fonvizin. He tirelessly advocated for the flourishing of education in Russia and believed that nobles brought up in strict civil rules would be worthy leaders of the country.

Everyone talks about education in the play - starting with Mrs. Prostakova and ending with Pravdin and Starodum. Fonvizin shows the clash of two views on upbringing and education: patriarchal (Prostakova, Skotinin, Mitrofan) and advanced, educational (Starodum, Pravdin, Milon, Sophia).

Prostakova and Skotinin take conservative positions. Prostakova declares that she does not know how to read, and in general, has it ever been heard that “girls can read and write!” Skotinin, who also “hasn’t read anything since birth,” adheres to the same view.

But both Skotinin and Prostakova are beginning to understand that times are changing, and one cannot do without education. Certainly, noble title will allow you to get some rank, but get into high society only possible if you have a good education. Therefore, they force Mitrofan to study and hire teachers for him. But even here they try in every possible way to protect Mitrofanushka from teachers and the damned teaching.

As a result, Mitrofan grows up not just as an ignoramus, knowing absolutely nothing and not wanting to learn anything. He is also an evil, rude, cruel and heartless person. He grew up to be a soulless egoist with absolutely no respect even for his mother. Starodum is absolutely right when he says that this is evil worthy fruits».

In contrast to Mitrofanushka, Fonvizin creates positive image young man, honest, noble, educated. This is the young officer Milon. The playwright puts a certain idea into this image, because he sincerely believes that it is precisely such people who can truly serve their homeland.

Fonvizin put his ideas regarding education into the mouth of the hero Starodum younger generation Significant phenomenon 2 fourth act plays where Starodum educates Sophia, expressing to her his thoughts, his life observations. From the conversation of the heroes, we learn that Sophia wants to earn a good opinion of herself from worthy people. She wants to live in such a way that, if possible, she will never offend anyone. Starodum instructs the girl on the “true path”, and she absorbs everything life truths his uncle. We can say that Starodum’s instructions fell on fertile soil. They will undoubtedly bear positive fruit.

The problem of education is also manifested in the images of Mitrofan’s teachers. By creating them, Fonvizin most likely sought to show that it is unlikely that teachers like Kuteikin, who himself did not graduate from the seminary, or Vralman, a former coachman, would be able to teach a young man anything intelligent. Of these, only Tsyfirkin evokes sympathy with his honesty, directness and conscientiousness. He refuses to take money that he doesn’t deserve, because he couldn’t teach the club-headed Mitrofan anything.

The playwright believes that she has an important national significance, for only in correct education is there a source of salvation from the evil that threatens society. The story of Mitrofanushka’s upbringing explains where the Skotinins come from and what should be changed so that they no longer appear: to destroy slavery and overcome moral education vices of human nature.

The artistic originality of "The Minor" is determined by the fact that the play combines the features of classicism and realism. Formally, Fonvizin remained within the framework of classicism: adherence to the unity of place, time and action, the conventional division of characters into positive and negative, schematism in the depiction of positive ones, “ speaking names", features of reasoning in the image of Starodum, and so on. But, at the same time, he took a certain step towards realism. This is manifested in the accuracy of the reproduction of the provincial noble type, social relations in a fortress village, faithful recreation of typical features negative characters, life-like authenticity of images. For the first time in the history of Russian drama love affair was relegated to the background and acquired secondary importance.

Thus, Fonvizin’s comedy is a new phenomenon, because it is written on the material of Russian reality. It combines the features of realism and classicism. Moreover, the author innovatively approached the problem of the character of the hero; he was the first of the Russian playwrights to strive for his psychologization, to individualize the speech of the characters. In his work, Fonvizin introduces biographies of heroes, takes a comprehensive approach to solving the problem of education, denoting the trinity of this problem: family, teachers, environment, that is, the problem of education is posed here as social problem. All this allows us to conclude that “The Minor” is a work of educational realism.

I. Fonvizin “Undergrowth”. Study of comedy. Lesson system.
Lesson 1. “The Minor” as a classic comedy.
1. Fonvizin and his comedy
Implementation of homework
What main stages of Fonvizin’s life did you note when doing your homework? (Born in Moscow into a family of Russified Germans, he studied excellently at the gymnasium at Moscow University, moved to St. Petersburg, knew Lomonosov, became interested in theater. He began his literary activity from translations of fables and plays. Then he worked as a translator at the College of Foreign Affairs. Fonvizin's first play "Brigadier". He was close to Panin, whom Catherine II hated. “The Minor” was first staged on September 24, 1782. But Fonvizin had to resign after that. He wrote the satire “General Court Grammar”, after which it was banned from publication. Then he became seriously ill and died at the age of 47.)
Let's watch the videos and answer questions (slides 2-4)
Slide 2. Pedigree. Childhood
What is the origin of the Fonvizin family? ( German origin).
When did they appear in Russia? (Fonvizin’s ancestors ended up in Russia during the reign of Ivan the Terrible, during Livonian War)
Where was Fonvizin born? (in Moscow)
Who is it named after? (in honor of his ancestor Denis)
Where and how did he study? (I studied well at the gymnasium at Moscow University)
Slide 3. Comedy “Minor”
What shortcomings does Fonvizin expose? (flattery, sycophancy, savagery and cruelty of serfdom)
Into whose mouth did he put his innermost thoughts? (In the mouth of Pravdin and Starodum)
Slide 4. Staging a comedy
Where was the comedy first staged? (In the old theater on Tsaritsyn Meadow)
What did Prince Potemkin say to Fonvizin after the release of the comedy? (“Die, Denis, you can’t write better!”)
What did the writer condemn in the comedy? (“evil worthy fruits”)
What did the word “minor” used to mean? (this was the name given to nobles who had not reached the age of majority)
2. Announcing the topic of the lesson, goals, problems.
“More than two hundred years have passed since the first performance of “The Minor,” but Fonvizin’s comedy is successfully performed on stage modern theater, which means that the “river of times in its rush” did not swallow up the eighteenth-century play. And we explain this phenomenon by the fact that the play, created in the era of classicism, incorporating its features, thanks to the talent of the author, went beyond the scope of classicism, occupying a very special place in Russian drama. Today we will identify the features of classicism in it, and also find those features that distinguish comedy from classicist works.
Slide 15.
But first you need to get acquainted with classicism as a direction of literature.
In literature and art there are the following directions:
1. Classicism
2. Sentimentalism
3. Romanticism
4. Realism
5. Modernism
Slide 16.
Classicism is art system, which has developed not only in literature, but also in painting, sculpture, architecture, landscape art, and music. This is what we will talk about today. The very name classicism (from the Latin Сlassicus - exemplary) emphasized the fact that the artists of this movement inherited the ancient “classics”. But the classicists did not take everything from the Greeks and Romans, but only what they considered the embodiment of order, logic, and harmony. As is known, basically ancient architecture lies the principle of straight lines or perfect circle. Classicists perceived it as an expression of the priority of reason and logic over feelings. Antique art The classicists were also impressed by the fact that patriotic and civic themes were widely represented in it.
Slide 17. (* task statement: fill the table with answers)
Slide 18. Classicism developed in the 17th century in France, reflecting the rise of absolutism, or absolute monarchy.
Slide 19. Principles of classicism
1. The basis of everything is reason. Only what is reasonable is beautiful.
2. The main task is to strengthen the absolute monarchy, the monarch is the embodiment of reason.
3. The main theme is the conflict of personal and civil interests, feelings and duty
4. The highest dignity of a person is fulfillment of duty, service to the state idea
5. Inheritance of antiquity as a model
(Oral explanation: the action was transferred to another time not only for the purpose of imitation antique samples, but also so that familiar life does not interfere with the viewer or reader’s perception of ideas)
6. Imitation of “decorated” nature
7. Main category- beauty
Slide 24. Theorist French classicism Nicola Boileau-Depreo in his work “ Poetic art” outlined the principles of classicism in literature.
Basic requirements of classicism in literature
1. Heroes are “images without faces.” They do not change, being exponents of general truths.
2. The use of common language was excluded
3. Requirement of compositional rigor
4. Observance of three unities in the work: time, place and action.
5. Strict division into genres.
6. Role system
Slide 26.
But Moliere’s opinion: “The task of comedy is to castigate vices.”
Slide 27.
3. Work on the cluster: Features of classicism in Fonvizin’s comedy
 Students work on passages, answer questions on the slide
 Cluster protection
 A conclusion is drawn, the teacher supplements with facts about the deviation of the work from classicism
Slide 28.
Let us now turn to the issue of creating a comic
Question. In what ways does the author reveal the character of those who are the subject of “his merciless irony,” whose shortcomings, in the words of N. Gogol, “are exposed in merciless evidence”?
Answer. Fonvizin uses “talking” names and self-exposing phrases.
Speech negative heroes sets off individual characteristics heroes, we have already noted this in the example speech characteristics Prostakova.
“ Of course, the comedy “Nedorosl” is a work of Russian classicism. But it is located at the origins of Russian realistic literature. In Fonvizin’s play everything is Russian, national: theme, plot, conflict, characters. Great merit Fonvizin is that he, being within the framework of classicist rules and conventions, managed to destroy many of them, creating a work that was deeply innovative both in content and in artistic form.
 Concluding our conversation, let’s try to answer a few more questions: “Do you think that for our time, which is very difficult, imbued with a thirst for money and power, are the ideas so dear to Fonvizin viable?
 Are the ideas of citizenship and service to the Fatherland, so beloved by classicists, outdated today?
Sinkwine. The guys make up a syncwine for the word classicism to generalize their understanding this concept
Reflection: Fill out the sheets by answering the questions shown on the slide.
Assessment. Summarizing.
Homework:
1. Find definitions of concepts
2. Individual tasks by hero

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