Article Fonvizin and classicism briefly. Abstract and presentation for a literature lesson

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

The origins of classicism and general characteristics of the era

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

Philosophical basis of classicism

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

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

Signs of classicism in literature. Features of Russian classicism

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

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

Odic poetry of classicism, the work of Lomonosov

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

1. Victorious and patriotic. “Ode to the Capture of Khotin” (1739) was attached to a letter about the rules of Russian poetry. The work makes extensive use of symbolism and introduces a collective image of a Russian soldier.
2. Odes associated with the accession to the throne of the monarch, in which the signs of classicism are especially clearly visible. Lomonosov wrote works addressed to Empress Anna, Elizabeth, and Catherine II. The laudatory ode seemed to the writer the most convenient form of conversation with the monarch.
3. Spiritual. In the 18th century they called the transcription of biblical texts with lyrical content. Here the author spoke not only about personal experiences, but also about universal issues.

Odes of Lomonosov

Mikhail Vasilyevich adhered to the writing of works of an exclusively high genre, which was characterized by solemn language, the use of appeals - these are the main signs of classicism in ode. Lomonosov turns to heroic and patriotic themes, glorifies the beauty of his homeland and calls on the people to engage in science. He had a positive attitude towards the monarchy and in “Ode on the Day of Elizabeth Petrovna’s Accession to the Throne” he reflects this idea. Being Mikhail Vasilyevich directs efforts to educate the entire population of Russia, therefore he gives his followers a rich literary heritage.

How to distinguish a classic work? Signs of classicism in the comedy "Minor"

The work consists of actions (usually 5 of them) and phenomena, and the subject of conversation in classical comedy is the state. The author also observes these signs of classicism in “The Minor” and “The Brigadier.”

The innovative nature of Fonvizin's comedies

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

"Brigadier": idea and summary

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

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

"Minor": idea and summary

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

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

There in the old days,
Satire is a brave ruler,
Fonvizin, friend of freedom, shone...
A. S. Pushkin

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

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

Classicism solved the problems of educating a citizen. The behavior of others has a decisive influence on the child's personality. Virtuous or vicious, it serves as an example, a role model. The ideal of the era is proclaimed to be a person capable of bringing public benefit, for whom the interests of the state are above personal interests. The comedy's attention was drawn to the negative phenomena of reality. The purpose of comedies, according to classicism, is to educate, ridicule shortcomings, and educate with laughter.

The most outstanding work of classicist drama in Russian literature of the 18th century is Fonvizin’s comedy “The Minor.” In constructing his play, Fonvizin strictly followed the rules of classicism. "Minor" consists of five canonical acts. Each follows the rule of the trinities - action, time and place. The events depicted by Fonvizin take place over the course of one day and in one place - in the house of the landowner Prostakova.

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

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

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

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

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

The problem of upbringing and education of young nobles deeply worried the playwright, who dreamed of a new generation of enlightened Russian people. According to Fonvizin, the only reliable source of salvation from the spiritual degradation of the nobility is rooted in proper education. Fonvizin raised the question of what a true nobleman should be and whether the Russian nobility meets its purpose. Starodum expressed the following thought about this: “A nobleman, for example, would consider it the first dishonor to do nothing when he has so much to do: there are people to help, there is a fatherland to serve!” Material from the site

Another problem of “Minor” is the problem of serfdom: the terrible situation of Russian serfs, given over to the full ownership of the landowners, the monstrous tyranny of the nobles. The writer, speaking out in favor of curbing the ignorant landowners who abused their power over the peasants, shows that faith in Catherine II is meaningless. In response to Pravdin’s words that with such rules, “as they are with Starodum, people should not be released from the court, but they must be called to the court... for what a doctor is called to the sick for,” Starodum replies with complete conviction: “My friend, you are mistaken. It is in vain to call a doctor to the sick without healing: here the doctor will not help unless he himself becomes infected.” The author puts another thought into Starodum’s mouth: “It is unlawful to oppress one’s own kind through slavery.”

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

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On this page there is material on the following topics:

• rules of classicism and comedy ignorant
• classicism in the comedy ignorant fonvizin
• classicism undergrowth
• traditions of classicism preserved in undergrowth
• undergrowth problem of slavery

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

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

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

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

Before the gaze of the classicists there was always the ideal of a beautiful and exalted life, transformed by the art of man, and the opposing chaos of wild natural life, ruled by incomprehensible and seemingly bad laws. Consequently, classicism tended to reflect life in ideal images, gravitating towards the universal “norm”, the image in which classical antiquity appears in classicism as an example of perfect and harmonious art.

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

The greatest flowering in the literature of classicism was initially achieved by drama as a kind of verbal and stage art.

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

Events are presented as a living action unfolding in the present time (before the viewer’s eyes!), shown through conflicts and in the form of dialogue. The playwright is excluded from the direct action and cannot speak on his own behalf, with the exception of remarks explaining the action or behavior of the characters (for example, when a particular character speaks a line in response to the words of another person, the playwright can mark - “to the side” i.e. . wanting to hide my opinion).

Classical drama has a number of features. In order for the action to maintain logical harmony, the classicists put forward the requirement of “three unities”: the unity of place, the unity of time and the unity of action.

The first two unities are very simple and were of a formal nature, which is why they were subsequently not retained in dramatic works.

Unity of place requires that the action take place in one room and not extend beyond it, for example in the same house, but in different rooms. Thus, the action of the comedy “Woe from Wit” takes place in Famusov’s house, but now in Famusov’s office, now in Sofia’s bedroom, now in the living room, now on the stairs, etc.

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

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

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

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

Classicism strictly adhered to the so-called hierarchy of genres. Tragedy, ode, and epic belonged to the “high genres.” Comedy, fable, satire- to “low”.

In the genre of tragedy, France produced two major playwrights - Pierre Corneille and Jean Racine. Their works are based on the clash of personal interests and civic duty. La Fontaine became famous in the fable genre, and Moliere in the comedy genre. They laughed at the vices of people, at unjust social and social conditions and relationships.

Over time, the contradictions between the individual and the state became increasingly aggravated. Not only the lower strata of the population, unenlightened and not affected by the activities of the powerful mind, began to be criticized, but also the nobility and clergy, standing at a high level of society. It's comedy time.

At the heart of comedy (and laughter) is the law of incongruity: the imaginary is the opposite of the true, the illusion is the opposite of reality, the expected is the opposite of the result. Inconsistency can be easily detected between words and deeds, as in fable x Krylova, between an unjustifiably understated or overly exaggerated event, a discrepancy between the character’s claims, as in the case of Mrs. Prostakova, and her actual essence. It is on the basis of inconsistency that such properties of comedy as hyperbole, pointedness, absurdity, grotesqueness and its “high” laughter, often mixed with tears of despair, grow. The more absurd the incongruity, the more fantastic it is, the more realistic and life-like the setting of the action should be. Only in this case will comedy, with its wise and uplifting laughter, be convincing and morally effective.

All these comments apply fully to Russia and to Russian classicism, which had a number of national characteristics.

In Russia, classicism arose in the 1730-1750s. For Russian classicism, national-patriotic themes and civic pathos, which were based on the growing power of the Russian state and were associated with the transformations of the Peter the Great era, are most important.

Questions in assignments

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

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

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

“In the comedy “The Minor,” the author already had a most important goal: the disastrous fruits of ignorance, bad upbringing and abuses of domestic power were exposed by him with a bold hand and painted with the most hateful colors. In "The Brigadier" the author fools the vicious and foolish, stings them with arrows of ridicule; in “The Minor” he no longer jokes, does not laugh, but is indignant at the vice and brands it without mercy... Ignorance... in which Mitrofanushka grew up) and home examples should have prepared a monster in him, like his mother, Prostakova " .

The roles of Milo and Sophia are pale... The official is truthful: he cuts with the sword of the law the web of action, which should be unleashed by the considerations of the author, and not by the police measures of the governor. Kuteikpn, Tsifirkin and Vralman are funny caricatures; the latter is too caricatured, although, unfortunately, it is not entirely a pipe dream that in the old days a German coachman became a teacher in the Prostakovs’ house...”

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

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

5. Comment on the opinion of the Russian historian V. O. Klyuchevsky from his reflection “Fonvizin’s Minor (An Experience in Historical Explanation of an Educational Play)”:
“We can say without risk that Nedorosl has not yet lost a significant share of his former artistic power over either the reader or the viewer, despite his naive dramatic construction, which at every step reveals the threads with which the play is sewn, neither in outdated language, nor in the dilapidated stage conventions of Catherine’s theater, despite the fragrant morality of the optimists of the last century poured into the play. ...one must carefully laugh at Mitrofan, because Mitrofan is not very funny and, moreover, is very vindictive, and they take revenge with uncontrollable reproduction and the elusive insight of their nature, akin to insects or microbes.

Yes, I don’t even know who’s funnyUnderage . Mr. Prostakov? He is just a stupid, completely helpless poor fellow, not without the conscientious sensitivity and directness of a holy fool, but without a drop of emotion and with a pathetic excess of cowardice that makes him be mean to even his son. Taras Skotnnin is also not very comical: in a man... for whom a pig barn replaces both the temple of science and the hearth - what is comical in this noble Russian nobleman, who, from educational competition with his beloved animals, has evolved to
all fours? Isn't the mistress of the house herself, Mrs. Prostakova, née Skotinina, comical? This is a face in a comedy, unusually well conceived psychologically and excellently sustained dramatically... she is stupid and cowardly, that is, pathetic - for her husband, like Prostakova, godless and inhuman, that is, disgusting - for her brother, like Skotinina. Minor is a comedy not of faces, but of situations. Her faces are comical, but not funny, comical as roles, and not at all funny as people. They can amuse when you see them on stage, but they are disturbing and upsetting when you meet them outside the theater, at home or in society. Fonvizin made sad, bad and stupid people play funny, cheerful and often smart roles.

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

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

6. By what signs can one determine that the comedy “The Minor” belongs to classic works (unity of time, place...)?

Literature, 8th grade. Textbook for general education institutions. At 2 o'clock/automatic state. V. Ya. Korovin, 8th ed. - M.: Education, 2009. - 399 p. + 399 pp.: ill.

Teacher of Russian language and literature Mukhitdinova Dilnoza Rustamovna.

Summary of a lesson on literature in the 8th grade "D.I. Fonvizin. Comedy" Minor ".

Lesson objectives:

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

Developmental - creating conditions for the formation of analytical skills; express your point of view in a monologue, solve a problem situation

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

Lesson type: Lesson in the formation of new knowledge.

Basic method: analytical conversation with elements of problem search

Forms : collective, individual.

Technologies : teacher-teacher cooperation.

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

Board design: recording of the lesson topic, epigraph:
Satire is “not the innocent mockery of cheerful wits, but a thunderstorm of a spirit offended by the shame of society.”
V. G. Belinsky.portrait of the writer, problems, vocabulary on the topic, conflicts of comedy.

During the classes

Organizing time.

Checking homework.

Reading the poem by G. R. Derzhavin “Monument” by heart.

3. Brief information about D.I. Fonvizin.

Student presentation (assignment given in advance)

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

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

The future playwright early showed a vivid imagination, heartfeltresponsiveness, irony, humor: “My sharp words rushed around Moscow, as they were caustic for many, the offended declared me to be an angry and dangerous boy”...

In 1762, Fonvizin moved to St. Petersburg and entered the College of Foreign Affairs as a translator. From 1763 to 1769, he served under the Cabinet Minister I.P. Elagin, who was responsible for working with complaints, which allowed him to become closely acquainted with the court of Catherine the Second.

The first original work was the satirical fable “The Fox the Executor,” then the first comedy, which enjoyed great success.

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

Student performance (assignment given in advance) - notes in notebooks.

SATIRE - accusatory, flagellating irony

Drama- a type of literary work constructed in the form of dialogue without authorial speech and intended for performance on stage8 of a work of this kind, serious, but not heroic in content (as opposed to comedy and tragedy).

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

Minor- young people, who did not receive sufficient education and could not be admitted (not mature enough) to serve.

After the advent of comedy, careless teenagers and young men began to be called.

Teacher's word:

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

4.Work on the problems of the play.

What satirical techniques does Fonvizin use when portraying landowners? (Notes in notebooks)
1. “Talking” surnames and names;
2. Deliberate exaggeration of negative traits. Dominant trait What is this technique called? /hyperbola/
3. Self-characteristics (self-exposure and incrimination);
4. “Zoologization”;
5. Remarks
So what is itthe main problem already staged in Act 1?
1. Criticism of autocratic serfdom.
2. The tragedy of the fate of a common man.
Second problem.

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

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

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

Everyday characters in comedy are constantly in motion: fights between Mitrofan and Skotinin, Prostakova and Skotinin take place on stage, Prostakova herself says: “I scold, then I fight” (II, 5), etc. Everyday heroes hardly commit actions; their actions are words.

1. Name the positive heroes. /Sofya, Milon, Pravdin, Starodum/. Pay attention to the “talking” surnames and names.
2. What fresh breath do these heroes bring into the dark, ignorant world of the Skotinins?
3. What dreams, unlike the Skotinins, do advanced people have?
Milo - "Reason, courtesy, enlightenment."
Starodum – “Soul and Heart”.
Pravdin - ‘’Truth in everything’’.

Creating his comedy, Fonvizin hoped that the time would come when progressive youth would consider an inactive life a disgrace: “A nobleman would consider it the first dishonor to do nothing when he has so much to do, there are people who need to be helped, there is a Fatherland that serve."
And as a result of this, Russia will become educated, spiritually rich, because the value of a nation should be determined by the deeds of its people.
Here is one more problem - the desire to see Russia educated, spiritually rich, and not bowing down to other states.

5. Consolidation of new material.

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

What literary movement is it directly related to?(classicism)

Name the features of classicism as a literary movement that were found in the play. (educational orientation of literature, the writer sought to influence the human mind in order to correct the vices of society, their clear division into positive and negative, comedy is instructive in nature, preaches civic duty, “speaking names” of the heroes).

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

What rules were followed when writing the play within the strict framework of classicism? Should they follow Fonvizin in the comedy “Minor”? (Consists of 5 acts, events take place during the day, in one place, without being distracted by side storylines, the scene of action is the Prostakov estate, the action begins in the morning and ends the morning of the next day, the action is subordinated to one main idea - the need to educate a worthy, honest, good-natured citizen).

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

5. Conclusion from the lesson:

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

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

Mainly observing the division of heroes into positive and negative, Fonvizin still ambiguously portrays some of them. If Starodum, Pravdin, Sophia, Milon are certainly positive, then Mitrofan’s teachers can hardly be confidently classified as positive or negative characters. And Eremeevna? A slave or a loving nanny?

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

The lesson has come to an end. Thank you.

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

6.Homework: Reading the comedy to the end, characterizing the characters.

7.Summarizing the lesson, assessment

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

The aesthetics of classicism is called normative:

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

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

Later, a circle of aspiring playwrights appeared, led by I. Elagin and theater theorist V. Lukin, who proposed a new literary idea - the so-called. theory of declinations. Its meaning is that you just need to clearly translate a Western comedy into Russian, replacing all the names there. Many similar plays appeared, but in general the idea was not very implemented. The main significance of Elagin’s circle was that it was there that D.I.’s dramatic talent first manifested itself. Fonvizin, who wrote the comedy Nedorosl as an example of Russian classicism.

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

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

A feature of Fonvizin’s work is the organic combination in most of his works of satirical wit with a socio-political orientation. Fonvizin's strength lies in his literary and civic honesty and directness. He courageously and directly spoke out against social injustice, ignorance and prejudices of his class and his era, exposed the landowners and autocratic bureaucratic tyranny.

The playwright managed to outline all the essential aspects of life and morals of the feudal-serf society of the second half of the 18th century. He created expressive portraits of representatives of the serf owners, contrasting them, on the one hand, with the progressive nobility, and on the other, with representatives of the people.

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

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

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

Russian classicism and creativity of M.V. Lomonosov

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

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

"Ode on the Day of Ascension..." is a typical work in the spirit of classicism. It was written on the occasion of the 5th anniversary of Elizabeth’s accession to the throne, as well as on another specific occasion: the Russian Academy of Sciences was granted a new charter. Lomonosov had great hopes for him in spreading education in Russia.

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

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

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

The high solemn style of the ode is created by the use of Old Slavonicisms, words with incomplete agreement (this, this, this), truncated forms of adjectives, and changing the order of words in a sentence.

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

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

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

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