Literature lesson (8th grade)
DI. Fonvizin and his time. Traditional elements of classicism and innovation in the comedy “Minor.”
Lesson objectives:
Introduce students to the personality of D.I. Fonvizina.
Review the types of literature and features of drama.
Create conditions for the formation of an initial concept of various trends in literature.
Create conditions for identifying traditional elements of classicism and innovation in comedy
DI. Fonvizin "Undergrowth".
5. To identify students’ reading perception of comedy.
Equipment: computer, multimedia projector, computer presentation for the lesson, task cards.
During the classes.
1. Introduction (slides 1-4)
Magic land! There in the old days,
Satire is a brave ruler,
Fonvizin, friend of freedom, shone...
A.S. Pushkin. "Eugene Onegin"
...Excellent satirist
Ignorance was executed in folk comedy.
A.S. Pushkin. "Message to the Censor"
What contributed to Pushkin appreciating Fonvizin’s work so highly, calling him an excellent satirist? Probably, first of all, Fonvizin was a master who, using traditions in his creativity, created an innovative work. What is innovative about the playwright and what traditions he adhered to in his work, we have to find out today.
Getting to know the biography of D.I. Fonvizina (video film).
Fonvizin's literary activity began in the 60s of the 18th century. An inquisitive and witty person, he was created to become a satirist. And there were enough reasons for bitter laughter in the Russian reality of that time.
DI. Fonvizin is a representative of Russian classicism, one of the literary movements.
What is a literary movement? Attention to the screen.
What information did you get from this table?
In connection with what are literary trends distinguished? (if there is a coincidence of creative attitudes, themes, genres and style in the writer’s work)
List the named literary trends.
DI. Fonvizin is a representative of classicism. What is characteristic of this literary movement? Working with a spreadsheet.
Do you understand all the features of classicism? Print this table on your desk. This is card number 1. In the future, you can use it as reference material. Mark on the card what you don’t understand with a question mark.
Today Veronika Kopina and Sveta Breeva prepared an advanced individual task for the lesson. They will try to answer your questions. What features of classicism do you not understand?
^ 2. Repetition of what has been covered (slides 5)
Let us remember the types of literature. What type of literature does the work of Fonvizin you read belong to?
What are the features of a dramatic work? Each of you has card number 2, which indicates the features of the drama. But there are errors in the card. Correct them.
So what are the features of drama? (checking work with cards)
^ 3. Explanation of what is new.
Classic comedy was built according to certain canons (slide 7 of the presentation)
Today we have to find out whether Fonvizin adheres to these rules in his comedy.
But first, let’s explain the name of the comedy and get acquainted with the characters.
Who was called an undergrowth in the 18th century?
What features of character names attract attention? Can surnames and names be called speaking? (^ Yes.) Mitrofan from Greek. “mother-like”, Sophia – “wisdom”, etc.)
4. Staging comedy episodes (slide 8)
Comedy heroes are visiting us today.
5. Conversation.
There is almost no commentary on the list of characters in the comedy. Did your initial idea of the characters in the play match what you saw? What features of the comedy heroes did the drama club actors try to embody? (statements from students)
Already from the first pages of the comedy, a conflict flares up. What is conflict in a work? (the collision underlying the development of action)
Between whom does the clash occur in the first appearance? (between Prostakova and Trishka)
What phrase does Prostakova use to drive Trishka into a dead end? And how does Trishka counter this remark? (“So is it really necessary to be a tailor in order to be able to sew a caftan well. Such bestial reasoning. - But a tailor studied, madam, but I didn’t.”)
Does Prostakova understand the importance and necessity of education?
Why does she hire teachers? (firstly, she declares: “We are no worse than others,” secondly, there is a decree of Peter 1 on the nobility, according to which every nobleman had to learn various sciences before entering the public service, since educated people can bring more benefit to the state)
What is the theme of Fonvizin’s comedy? (theme of education and upbringing)
Which other character in the play opposes Prostakova? (Starodum). Write down your homework. Copy quotes about education and education from the comedy heroes' remarks. Now let’s work in groups and individually.
^ 6. Work in groups. I remind you of the rules for working in groups. We conduct the discussion in a low voice. We express all your opinions. The group commander, who has the right to entrust the answer to any of you, sums up and answers.
1st group (strong students) You will conduct research and answer the question: “Which of the rules and techniques of classical comedy, in your opinion, were preserved by D.I. Fonvizin, which ones did he violate?” You have card No. 3 - a table of the canons of constructing a classic comedy. + note the traditions that Fonvizin follows. In the second column, enter the playwright's innovation.
Group 2 (middle students) will match quotes from the comedy to these illustrations.
The 3rd group (drama club participants) will remember the text and try to restore aphorisms from the comedy, which, unfortunately, fell apart.
4th and 5th groups (other students, mixed groups). You have the most serious and responsible task. You work individually with a control test designed like the Unified State Exam. Please mark the answer options in the boxes next to the question.
^ 7. Summing up the lesson (group reports on the work done, except for the 4th and 5th groups, which submit completed tests to the teacher) (slides 9-14)
8. Teacher’s final words (slide 15)
Today we met D.I. Fonvizin, made the first attempt to penetrate the secrets of his immortal comedy “Minor.” We will continue the conversation about its heroes, about the problems raised by the author in the following lessons. For this work, highly appreciated by Russian criticism, requires careful reading.
“Russian comedy began long before Fonvizin, but it began only with Fonvizin. His “Minor” and “Brigadier” made a terrible noise when they appeared and will forever remain in the history of Russian literature, if not art, as one of the most remarkable phenomena. Indeed. These comedies are the products of a strong mind. A gifted person."
So highly appreciated the work of Fonvizin V.G. Belinsky in the article “Woe from Wit”. Let's try to comprehend the secret of the immortal work of D.I. Fonvizina.
Features of classicism
Idealization of heroes
Features of classicism
Appeal to the samples and forms of antiquity as an ideal
The principle of rationalism, the cult of reason
Strict adherence to the rules, the canon in the construction of a work of art
Observance of the unity of place, time and action in drama
The desire to capture the essential properties of life phenomena
Addressing public issues
Approval of the ideas of absolutism, patriotism, citizenship
Straightforward presentation of human characters
Idealization of heroes
Classicism as a literary movement
Classicism arose in the first half of the 18th century. During this period, the autocratic system strengthened in Russia. The main support of the autocracy was the nobility. The literature of classicism served the needs of the absolute state. She preached the ideas of citizenship associated with this form of social structure, the idea of an enlightened monarchy.
Translated from Latin, “classicism” means “exemplary”, “first-class”. In the 17th and 18th centuries, works of ancient Greco-Roman art were considered exemplary and worthy of imitation.
The study of works of ancient art allowed the theorists of classicism to derive canons that writers had to follow in their artistic creativity.
Classical writers believed that human feelings are deceptive, that only with the help of reason can one understand life and harmoniously reflect it in literature.
The rules of classicism provided for the division of literature into strictly defined genres: high (ode, poem, tragedy) and low (comedy, satire, fable).
Human characters were depicted one-sidedly; the characters were usually the bearers of one particular trait. The characters were clearly divided into bearers of good or evil.
Dramatic works were subject to the rules of three unities. The events took place over the course of one day, in one place, the plot was not complicated by side episodes.
^ CARD No. 3
Canons of classical comedy
Fonvizin's innovation
Depiction of everyday life, human vices
Heroes are people of low class, with base interests worthy of ridicule;
Each of the heroes is a bearer of one trait, one vice.
A clear division into positive and negative characters
Speaking surnames
One idea
Unity of action (the comedy should be based on one conflict)
Unity of place and time (the action takes place in one place during the day)
The heroic and tragic are not allowed (comedy should execute vices with laughter)
Setting to spoken language
A happy ending
^ CARD No. 2
Assignment: find errors in the features of drama as a type of literature.
The basis of drama is the narration of events
A portrait of a hero is the main means of creating an image
The drama contains a detailed narrative-descriptive image
The role of landscape and artistic details is important
^ CARD No. 1
Features of classicism
Appeal to the samples and forms of antiquity as an ideal
The principle of rationalism, the cult of reason
Strict adherence to the rules, the canon in the construction of a work of art
Observance of the unity of place, time and action in drama
The desire to capture the essential properties of life phenomena
Addressing public issues
Approval of the ideas of absolutism, patriotism, citizenship
Straightforward presentation of human characters
Idealization of heroes
According to genre criteria, “The Minor” is a comedy. The theory of classicism argued that comedy should not have any serious or sad content: it should only be funny and “intricate,” for which Boileau demanded: “Let the actor always joke nobly in it.” Already in his “Brigadier” Fonvizin does not fully comply with these rules. Thus, in the conversation between the Brigadier and Dobrolyubov and Sophia, the difficult and gloomy story of Captain Gvozdilova is conveyed.
The comedy “The Minor” is even more serious, although everyone in it tries to be funny, even the good characters.
Laughter in "Nedorosl"
Firstly, Fonvizin departs from classicism in that the negative faces of comedy, according to Klyuchevsky, “are comical, but not funny - comical as roles, and not at all funny as people.” Fonvizin’s laughter in “The Minor” is varied in shades. The play contains scenes of the simplest, purely external comedy, which is used by farces. These are, for example, the places where Vralman appears with his broken tongue. Quite often, the laughter in “The Minor” has the character of humor, when the funny is combined with sadness or pity. So, in the “trying on a caftan” scene, the tailor Trishka gives Prostakova a smart answer; however, for the lady, this capable guy is a slave and therefore only a “blockhead.” In relation to Prostakova, Skotinin, Mitrofan, Fonvizin’s laughter sounds accusatory, satirical, evoking a burning feeling of indignation against these stupid and ignorant, vile and inhumanly cruel gentlemen of the life of that time. Thus, the impact of “The Minor” on the audience “is made up of two opposing elements: laughter in the theater is replaced by heavy reflection upon leaving it.”
The presence of goodies
Secondly, Fonvizin introduced positive characters into the comedy. In "The Minor" not only vices are exposed, but virtue is also praised. Moreover, its bearers (Starodum and others) are just as ordinary people as Prostakova, only good people. At the same time, the scenes of Starodum’s meetings with Sophia and Milon are also designed to create a touching impression. In all this, Fonvizin departs from the examples of classic comedy.
Using "low and dirty words"
Thirdly, the “noble tone” of jokes and witticisms, which is obligatory for the comedies of classicism, is not observed in “The Minor” (as before in Sumarokov’s comedies). Fonvizin is not afraid of “low and dirty words”, rude and even vulgar scenes. Prostakova’s comparison of her love for her son with the affection of a “bitch” for “puppies” or the scene of an altercation and fight between teachers would have horrified Boileau. But the rude words and scenes in “The Minor” are a realistic reflection of the rudeness and ignorance of the depicted environment, and this alone justifies their presence. In addition, they bring Fonvizin’s comedy closer to the “area” ones, i.e. folk, performances and take her out of the circle of the noble-class theater.
Character Revealing
Fonvizin the satirist and Fonvizin the moralist in “The Minor” are united by Fonvizin the artist, which is especially clear in the way character is revealed in his comedy. Techniques for revealing character in “The Minor” formally come from classicism. The division of heroes into positive and negative is schematic. The one-sidedness of the characters is emphasized by “meaningful” names. The names of the nobles indicate their moral qualities: Prostakovs, Skotinins, Starodum, Pravdin, Milon, Sophia (in Greek - wisdom); the surnames of the remaining persons, not nobles, hint at their social status or profession: Kuteikin, Tsyfirkin. Characters are unchanged: a negative face cannot become positive and vice versa, which gives the comedy faces a certain “mask-like” quality.
However, Fonvizin is not limited to such a conditionally generalized image of people. He strives to show them as living, “acting”, and not just speaking persons. The playwright achieves this: 1) by depicting everyday life, 2) by deepening psychology and 3) by natural speech.
Depiction of everyday life in "Nedorosl"
1) The depiction of everyday life begins with the first scene of “The Minor” (trying on a caftan), and throughout the play unfolds as a true everyday picture of a landowner’s family: Mitrofan’s lesson, family scandal, etc. This picture does not include only positive faces, but they are placed next to it and, as it were, explain it. A wide everyday background gives the author the opportunity to show people in various relationships, from different sides, at different moments in life. People are revealed along with the social environment that gave birth to them. In Prostakova’s memories of “father” and “uncle,” even the past of this environment is outlined - a realistic technique later developed by Pushkin, who showed Onegin’s father, Tatyana’s parents, etc.
Deepening Psychology
2) The deepening of psychology in Fonvizin is expressed, first of all, in the development of details that emphasize the main feature of a particular person, i.e. along the lines of the principles of classicism. For example, at the end of the play, Prostakova begged for forgiveness on her knees, but, true to her “evil nature,” she herself cannot forgive the servants for the failure of Sophia’s abduction: “I forgave! Ah, father!.. Well! now I’ll give the dawn to my people.” But besides this, the image of Prostakova, as we have seen, is psychologically complicated by a new feature: love for her son. In the finale, she is a suffering mother (and not just an “inhuman madam”), she even evokes sympathy, i.e. ceases to be only a negative character in the eyes of the viewer.
The schematic division of characters into “positive” and “negative” did not extend to the image of Eremeevna; It is no coincidence that her common Russian name does not have a “meaningful” meaning in itself.
Using stage directions
One of the means of psychological characterization is Fonvizin's remarks. Typically, in classicist plays, stage directions only indicated the arrival or departure of a character. The stage directions in “Nedorosl” mark the psychological state of the person at the moment. For example, the pale image of Sophia is somewhat enlivened by the explanations “holding a letter in her hand and looking cheerful,” “throwing herself into his arms,” “quietly to Starodum and in great timidity,” etc. The remarks relating to Prostakova are extremely varied.
Speech of the characters
3) The speech of characters in a dramatic work, as is known, is one of the most important means of characterization. The naturalness of the speech of the characters in “The Minor” (its correspondence with the social status of the speakers, their characters and experiences) has long been rightly recognized as amazing. In connection with the basic “classical” division of persons into negative and positive, in the language of “Nedoroslya” two speech streams are clearly distinguished: colloquial and bookish.
The colloquial speech of the Prostakovs, Skotinins and other “comical persons” is sharply individualized. Almost every phrase emphasizes the main features of the speaker. For example, Skotinin explains to his sister the need for his marriage: “I want to have my own piglets.” Kuteikin’s speech, sprinkled with Slavicisms and quotations from the Bible, reveals at every step that this is a former seminarian: “You have been put to shame, you damned one.” Tsyfirkin is a retired soldier, and speaks like a soldier: “The gentlemen here are good commanders.” Vralman's language is an example of an even more specific speech mask. Such direct correspondence of speech to the character or social status of the character did not in itself contradict the rational principles of classicism. But since the consequence of this was the dismemberment and individualization of the characters, this technique contained the possibilities of realistic display, and Fonvizin masterfully used these opportunities.
The tone of the speakers depends on the psychological circumstances of the speech. Prostakova's tone is especially varied. She speaks rudely to everyone at home, but gently to Mitrofan, ingratiatingly to Starodum, etc. This is how, for example, Prostakova addresses Sophia before the news of wealth: “No, madam, these are your inventions.” After Sophia became a rich bride, Prostakova talks to her differently: “Congratulations, Sophia, congratulations, my soul.”
The vitality of the language of the negative persons of “Undergrowth” appears in the abundance of proverbs and sayings, etc.: “mama’s boy,” “the dog barks, the wind blows.” In more cases, Fonvizin even conveys the phonetic features of colloquial speech: “looking for” instead of “more”, “those” instead of “you”, etc.
The bookish language spoken by the positive faces of the Minor is less individualized. However, here too the author’s desire to bring cultural speech closer to a conversational tone is noticeable. Starodum, for example, speaks completely differently from Prostakova and Skotinin, but in accordance with his character: abruptly and harshly, interrupting his interlocutors, using conversational intonations (appeals, interjections, etc.).
In constructing a comedy, Fonvizin discovered the high skill of a playwright. Descriptive scenes do not prevent the audience from following with intense attention the struggle of the characters, worrying about Sophia’s fate and looking forward to the denouement. Interest in the play is maintained by the fact that the outcome of the struggle between “negative” and “positive” persons is determined only at the very end of the play: the penultimate, fourth, act ends with the words of Prostakova: “and we will take what is ours.”
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
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, pitiful - 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.
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."