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To complete the task of part 2, select only ONE of the proposed essay topics (2.1−2.4). In the answer sheet, indicate the number of the topic you have chosen, and then write an essay of at least 200 words (if the essay is less than 150 words, then it is rated 0 points).

Rely on the text of literary works, take into account the position of the author, involve the necessary theoretical and literary concepts, reveal your own vision of the problem. In an essay on lyrics, it is necessary to analyze at least two poems.

2.2. How would you comment on the words of the researcher about the play by N.V. Gogol: “The Inspector General is a whole sea of ​​fear”?

2.3. Why is Lermontov's lyrics called romantic (on the example of two or three poems)?

Explanation.

Comments on essays

2.1. What can Fonvizin the playwright teach viewers (readers)?

In the image of Mitrofan, Fonvizin showed how the vices inherent in the entire serf society cripple the souls of people from childhood. Condemning these vices, the playwright exposes their carriers to universal ridicule. This is the ideological and artistic value of the comedy "Undergrowth", created in the eighteenth century, but has retained its relevance to this day.

The hero of Fonvizin is a teenager, almost a youth, whose character is stricken with a disease of dishonesty that spreads to every thought and every feeling inherent in him. He is unscrupulous in his attitude towards his mother, by whose efforts he exists in comfort and idleness, and whom he leaves at the moment when she needs his consolation.

Mitrofanushka's "knowledge" in grammar, his desire not to study, but to get married are ridiculous. But his attitude towards Yeremeevna, his readiness to “take for people”, his mother’s betrayal no longer cause laughter: a despot, an ignorant and cruel serf-owner is growing before us.

Mitrofan is selfish and selfish. Depending on the change in the position occupied by people, Mitrofanushka's attitude towards them also changes. He lives only by this principle. Even in his own mother, he loses interest, as soon as she is deprived of power.

Thanks to the hero Fonvizin, the word "undergrowth" has become a household name for a loafer, lazybones and lazybones. There are many such mitrofanushki today, which is why comedy lives on, makes you think about issues that were relevant in the 18th century and remain topical now.

2.2. How would you comment on the words of the researcher about the play by N.V. Gogol: “The Inspector General is a whole sea of ​​fear”?

“In comedy, I decided to collect everything bad in Russia and laugh at everyone at once,” wrote N.V. Gogol about "The Government Inspector". Indeed, the plot of the comedy reflects all of Russia at the beginning of the 19th century. From the very first words of the heroes, the whole chaos of city life is described: lawlessness, dirt, lies. Each phenomenon reveals to us the atmosphere of those times. The object of satire in N. V. Gogol herself becomes modern life in its comically ugly ways. Moreover, the characters themselves tell about themselves all the most impartial, comical, ugly.

Take, for example, the scene of Khlestakov's boasting to the ladies. His speech completely lacks sideways remarks, which are full of other heroes of the play. The false auditor lies and lies in such a way that he chokes on his own lies, swallowing and not finishing the ends of phrases and sentences. From an employee who "only rewrites", in a few minutes he grows almost to the "commander in chief", who "rides to the palace every day." The homeric scope stuns those present “thirty-five thousand couriers” rush at full speed to find the hero, without him there is no one to manage the department. The lies in the scene are so brazen and open that it is simply impossible not to see it. If the officials and the mayor were not so frightened, Khlestakov could hardly be mistaken for an inspector. If the city officials hadn’t been so “stung in the gun”, the scene would hardly have ended with impunity for Khlestakov.

This is the very "sea of ​​fear" and makes possible the very story that took place in the county town.

2.3. Why is Lermontov's lyrics called romantic (on the example of two or three poems)?

To prove that Lermontov can be called a romantic poet, one must remember the definition of romanticism. Romanticism - artistic method, formed in early XIX century. Romanticism is characterized special interest to the character's personality. Hero romantic work- a person with special strong feelings, he is taller than others, but, as a rule, lonely. Romantics are concerned about the nature of the relationship of the individual to surrounding reality and opposition real world ideal. originality artistic manner Lermontov lies in the fact that at all stages of his work the poet acted both as a romantic and as a realist, with a predominance in early period romanticism, and in mature - realism. As a romantic poet, Lermontov was a representative of progressive romanticism, expressing a resolute rejection of contemporary reality (“Demon”) and affirming the positive beginning of life - a heroic personality who understands life as a struggle, as an active action (“Mtsyri”).

An example for analysis can be Lermontov’s poems “Sail”, “I go out alone on the road”, etc.

2.4. How is the theme “Man and War” revealed in the work (the work is chosen by the student)?

The topic can be revealed on the example of works about the Great Patriotic War: “The Fate of a Man” by M. Sholokhov, “The Dawns Here Are Quiet…” by B. Vasilyev and others. Boris Vasilyev himself fought, defending his homeland during the Great Patriotic War. He witnessed all her horrors, and was able to faithfully and in detail recreate the terrible moments of that time in his books. One of them is a brilliant work "The dawns here are quiet ...". The story tells about the feat Soviet women during the war years. Each of the girls - the heroines of the story "The Dawns Here Are Quiet ..." - has its own pre-war fate, its own joys and tragedies. And even though “war is not a woman’s business,” they bravely fight for their Motherland in the name of the future. All the girls tragically die at the hands of treacherous invaders - fascists. Boris Vasiliev in his story created the image of real heroes of that terrible and cruel time.

Choose only ONE of the tasks below (2.1−2.4). In the answer sheet, write down the number of the task you have chosen, and then give a full detailed answer to the problematic question (in the amount of at least 150 words), attracting the necessary theoretical and literary knowledge, relying on literary works, the position of the author and, if possible, revealing your own vision of the problem. When answering a question related to lyrics, you must analyze at least 2 poems (their number can be increased at your discretion).

Explanation.

Comments on essays

2.1. What is the role of Tatiana's dream in A. S. Pushkin's novel "Eugene Onegin"?

The hero's dream, introduced into the narrative, is A. S. Pushkin's favorite compositional device. Grinev sees a significant, “prophetic” dream in “ Captain's daughter". A dream that anticipates future events also visits Tatyana Larina in the novel "Eugene Onegin". This dream is very significant. It is worth noting that it evokes various literary associations in us. The very plot of it - a journey into the forest, secret peeping in a small hut, murder - reminds us of Pushkin's fairy tale "The Bridegroom", in which the heroine passes off the events that happened to her as her dream. Separate scenes of Tatyana's dream also echo the fairy tale. In the fairy tale "The Bridegroom" the heroine hears "a scream, laughter, songs, noise and ringing" in a forest hut, sees "a rampant hangover." Tatyana also hears "barking, laughter, singing, whistling and clapping, People's talk and horse top." However, the similarity here, perhaps, ends there.

Tatyana's dream also reminds us of another "magic" dream - Sophia's dream in Griboyedov's comedy "Woe from Wit":

Here with a thunder the doors were flung open

Some not people and not animals

We were separated - and they tortured the one who sat with me.

He seems to be dearer to me than all treasures,

I want to go to him - you drag with you:

We are escorted by groans, roars, laughter, whistles of monsters!

However, Griboedov's Sofya invents this dream, it was not in reality.

It is worth noting that the plots of both dreams - real and fictional - refer us to Zhukovsky's ballad "Svetlana".

Tatyana's dream is "prophetic". He portends her future marriage (to see a bear in a dream, according to folk beliefs portends marriage or marriage). In addition, the bear in the dream of the heroine is Onegin's godfather, and her husband, the general, really is Onegin's distant relative.

Thus, Tatyana's dream acts as a means of characterizing her, as a compositional insert, as a "prophecy", as a reflection of the heroine's hidden desires and her streams. mental life as a reflection of her views on the world.

2.2. Who plays the most active role in D. I. Fonvizin's play? Why is it called "Undergrowth"?

The dictionary gives two definitions for the word "Undergrowth". The first is “this is a young nobleman who has not reached the age of majority and has not entered the public service". The second is "stupid young man - half-educated". Both definitions fit the description of the main character Mitrofanushka. However, he is not the main character of the comedy. The conflict in the play arises as a result of a collision between two groups of nobles: Starodum, Pravdin, Milon, on the one hand, and Prostakovs, Skotinin, on the other. Each of these groups expresses different interests and goals: the first group is represented by progressive, honest and enlightened people, the second - by ignorant tyrants and despots. Thus, the conflict of the comedy "Undergrowth" is formulated as a clash between the advanced, educated nobility and the inert world of petty feudal tyrants.

2.3. Why, in violation of the chronology, the events that begin and end the novel by M. Yu. Lermontov "A Hero of Our Time" take place in the fortress?

The composition of the novel, as well as the plot, is unusual. The general plot of the novel has no exposition and tie, and the denouement is in the middle of the text. The whole novel is built on a circular composition: it starts with "Bela" and ends with "The Fatalist", that is, the time of both stories refers to the period of the protagonist's service in a distant mountain fortress, at the beginning and at the end there are two heroes - Maxim Maksimovich and Pechorin.

In addition, the five stories that make up the entire work are located in a strange way, out of time sequence. According to the hints scattered in the novel, taking into account the logic of the development of the action, it can be argued that the stories should be arranged as follows: "Princess Mary", "Bela", at the same time as "The Fatalist", then "Maxim Maksimovich". Literary critics argue about the place in this series of the story "Taman". According to one version, "Taman" opens the adventures of Pechorin in the Caucasus, according to another, this story can be placed anywhere in the chronological chain, because "Taman" does not contain any information or allusions to events in other stories. Of these points of view, the second seems more convincing.

Why does Lermontov choose such a construction? Because for the writer it is important, first of all, not the temporal sequence, but the most complete disclosure of the character of the protagonist. The sequence of stories chosen by the writer best of all serves the task. Such a construction is subject to the gradual disclosure of the character of the protagonist - from a heartless egoist and cynic at the beginning of the novel to a very attractive person capable of noble deeds, at the end. In other words, the sequence of stories in A Hero of Our Time is motivated not only by the change of narrators (Maxim Maksimovich, author, Pechorin), but also by the reader's gradual acquaintance with the main character.

2.4. Is there a mood of hopelessness, tragedy in the image of the people in the poem by N. A. Nekrasov " Railway"? Justify your point of view using the text of the poem.

In 1864, Nikolai Alekseevich Nekrasov wrote the poem "Railway" - one of his most dramatic works. In terms of the scale of events, in its spirit, this is a relatively small poem - a real poem about the people.

But if in previous works the poet sacredly believed in the coming of a "bright future", now he bitterly says:

Will endure everything - and wide, clear

He will pave the way for himself with his chest.

The only pity is to live in this beautiful time

You won't have to, neither me nor you.

Why is the poet so pessimistic? In the work, the people are depicted in two guises: a great worker, deserving of universal respect and admiration for his deeds, and a patient slave, who can only be pitied without offending this pity. It is this slavish obedience that makes Nekrasov doubt the imminent change folk life for the better. The narrative opens with a picture of nature, written juicy, plastic and visible. The beauty and harmony of nature turn out to be an occasion to talk about the world of people.

Glorious autumn! frosty nights,

Clear, quiet days...

There is no ugliness in nature!

Unlike nature, human society is full of contradictions, dramatic clashes. In order to talk about the severity and feat people's labor, the poet turns to a technique that is quite well known in Russian literature - the description of the dream of one of the participants in the story. Wani's dream is not only a conditional device, but the real state of a boy, in whose disturbed imagination the story of the suffering of the road builders gives rise to fantastic pictures with the living under moonlight the dead.

Censorship understood explosive force"Railway", and the history of its publication and the distortions to which it has undergone, only emphasizes the democratism of the work and the correctness of the line chosen by the author. The poem "Railway" remains to this day the most relevant and most cited work of Nekrasov, who predicted a long road to people's happiness.

1.2.2. Why does the poem end so vaguely: “I don’t know”, “it seems”?

PHENOMENON VII

Mitrofan. Well! And then what?

Tsyfirkin is sharpening the lead.

Ms. Prostakova (working)

Mitrofan (writes). Three.

Mitrofan (writes). Three hundred.

Tsyfirkin. It came to division. Come on, why on your brother?

Mitrofan (calculating, whispering)

Ms. Prostakova. He's lying, my dear friend. Found money, don't share it with anyone. Take everything for yourself, Mitrofanushka. Don't study this stupid science.

D. I. Fonvizin "Undergrowth"

A. K. Tolstoy

Explanation.

1.1.2. Mitrofan is lazy, unable to learn, even the simplest task cannot be solved by him. The selfishness and lust for power of Mitrofanushka, brought up in him by his mother, are clearly manifested: “The hour of my will has come. I don't want to study, I want to get married." Mitrofan is rude to everyone around him: “Well! Get the plank, garrison rat! Ask what to write, ”he turns to Tsyfirkin. “You tricked me, blame yourself,” he warns his mother. Mitrofan is a typical representative of the miserable, primitive world of the Prostakovs and Skotinins.

1.2.2. The Russian poet and writer Alexei Tolstoy was not a rake and womanizer, but at the age of 33 he nevertheless compromised himself with an affair with married Sofya Alekseevna Miller. The fact that Sophia Miller is a married lady is a serious obstacle to the novel. Therefore, Alexei Tolstoy trusts his secret thoughts and desires only to verses: “I don’t know if I love you, but it seems to me that I love you!”. Hence the sadness and uncertainty.

1.2.2. How is the perception of the surrounding world connected with the emotional state of the lyrical hero and how is this expressed in the epithets used by the author?

Read the fragment of the work below and complete tasks 1.1.1-1.1.2.

Starodum. Oh, ma'am! It has already reached my ears that he now only deigned to unlearn. I found out who his teachers were. I see in advance what kind of literacy he needs to be when studying with Kuteikin, and what kind of mathematician when studying with Tsyfirkin. (To Pravdin.) I would be curious to hear what the German taught him.

Ms. Prostakova. All sciences, father.

Prostakov. Everything, my father.

Mitrofan. Everything you want.

Pravdin (to Mitrofan). Why, for example?

Mitrofan (gives him a book). Here, grammar.

Pravdin (taking a book). I see. This is grammar. What do you know about it?

Mitrofan. A lot of. Noun and adjective...

Pravdin. Door, for example, what name: noun or adjective?

Mitrofan. Door? Which door?

Pravdin. Which door! This one.

Mitrofan. This? Adjective.

Pravdin. Why?

Mitrofan. Because it is attached to its place. Over there, by the closet, the door has not yet been hung for six weeks: so that one is still a noun.

Starodum. So that's why you have the word fool as an adjective, because it is attached to a stupid person?

Mitrofan. And we know.

Ms. Prostakova. What is it, my father?

Prostakov. What is it, my father?

Pravdin. It can't be better. He is strong in grammar.

Milon. I think no less in history.

Ms. Prostakova. Then, my father, he is still a hunter of stories.

Skotinin. Mitrofan for me. I myself will not take my eyes off that the elected one does not tell me stories. Master, son of a dog, where does everything come from!

Ms. Prostakova. However, it still won't come against Adam Adamych.

Pravdin (to Mitrofan). How far are you in history?

Mitrofan. Is it far? What's the story. In another you will fly to distant lands, to thirty kingdoms.

Pravdin. A! so Vralman teaches you this story?

Starodum. Vralman! The name is familiar.

Mitrofan. No. Our Adam Adamych does not tell stories; he, what am I, himself a hunter to listen.

Ms. Prostakova. Both of them force themselves to tell stories to the cowgirl Khavronya.

Pravdin. Didn't they both study geography with her?

Ms. Prostakova (son). Do you hear, my dear friend? What is this science?

Mitrofan (quiet mother). And how much do I know.

D. I. Fonvizin "Undergrowth"

Read the work below and complete tasks 1.2.1-1.2.2.

A. S. Pushkin, 1829

Explanation.

1.1.2. Irony - mockery, the use of words in a meaning directly opposite to them direct meaning. Irony is based on the contrast of internal meaning and external form. We can observe this in the words of Starodum, when he, seeing the level of “education” of Mitrofanushka, continues to “examine” him: “I see in advance what kind of literacy he needs to be when studying with Kuteikin, and what kind of mathematics when studying with Tsyfirkin.” Irony sounds even in the speaking names of teachers. Mitrofanushki.

1.2.2. Epithets enhance the emotional-figurative expressiveness of artistic speech. In the poem, Pushkin gives an accurate and colorful picture of Russian winter nature, winter landscape. The beauty of the landscape is created with the help of epithets.

Under blue skies

splendid carpets,

Shining in the sun, the snow lies;

The transparent forest alone turns black,

And the spruce turns green through the frost,

And the river under the ice glitters.

How can one not love all this, not admire, not feed on forces from such pictures!

1.2.2. How does the composition of the poem help convey the author's intention?

Read the fragment of the work below and complete tasks 1.1.1-1.1.2. PHENOMENON VII The same, Ms. Prostakova and Mitrofan

Ms. Prostakova. While he is resting, my friend, at least for the sake of appearance, study, so that it comes to his ears how you work, Mitrofanushka.

Mitrofan. Well! And then what?

Ms. Prostakova. And then you get married.

Mitrofan. Listen, mother, I will amuse you. I will learn; just to be last time and to be in agreement today.

Ms. Prostakova. The hour of the will of God will come!

Mitrofan. The hour of my will has come. I don't want to study, I want to get married. You tricked me, blame yourself. Here I sat down. Tsyfirkin is sharpening the lead.

Ms. Prostakova. And I will swear right away. I'll knit a wallet for you, my friend! Sofyushkina's money would have been used where to put it.

Mitrofan. Well! Get the plank, garrison rat! Set what to write.

Tsyfirkin. Your honor, always bark around idle.

Ms. Prostakova (working). Ah, my God! Don't you dare even choose Pafnutich, baby! Already angry!

Tsyfirkin. Why be angry, your honor? We have a Russian proverb: the dog barks, the wind carries.

Mitrofan. Set your butts, turn around.

Tsyfirkin. All backs, your honor. After all, you will remain with tasks a century ago.

Ms. Prostakova. None of your business, Pafnutich. I am very pleased that Mitrofanushka does not like to step forward. With his mind, fly far, and God forbid!

Tsyfirkin. Task. You deigned, on the butt, to go along the road with me. Well, at least we'll take Sidorych with us. We found three...

Mitrofan (writes). Three.

Tsyfirkin. On the road, on the butt, three hundred rubles.

Mitrofan (writes). Three hundred.

Tsyfirkin. It came to division. Smekni-tko, why on a brother?

Mitrofan (calculating, whispering). Once three - three. Once zero is zero. Once zero is zero.

Ms. Prostakova. What, what, before the division?

Mitrofan. Look, the three hundred rubles that they found, to divide the three.

Ms. Prostakova. He's lying, my dear friend. Na-shed money, do not share with anyone. Take everything for yourself, Mitrofanushka. Don't study this stupid science.

D. I. Fonvizin "Undergrowth"

Read the work below and complete task 1.2.1.-1.2.2.

Mikhail Isakovsky. 1942

Explanation.

1.1.2. Mitrofan is lazy, unable to learn, even the simplest task cannot be solved by him. The selfishness and lust for power of Mitrofanushka, brought up in him by his mother, are clearly manifested. In the above passage, the main mother's commandment sounds: “When you find money, do not share it with anyone. Take everything for yourself, Mitrofanushka. No less wild is the second admonition: "Don't learn this stupid science." What can a mother herself gain from such an upbringing? The result was not slow to tell. “You tricked me, blame yourself,” warns mother Mitrofan. It can be seen that Prostakova still has to cry more than once from her beloved child - mother's lessons were not in vain for Mitrofanushka, he learned them well.

1.2.2. Compositionally, the poem consists of two parts. In the first part, the author tells how the fighters, in rare moments of silence between battles, hear a familiar waltz that reminds them of such a desired and almost forgotten peaceful life:

And everyone listened and was silent

Something precious...

In the second part of the poem, an appeal sounds - you need to defend the world, defend the right to life for your children, for your homeland:

The time has come, the time has come,

Let's go, friends, let's go!

For everything we lived yesterday

For all that we are waiting for tomorrow!

Such a construction of the poem makes it possible to embody the author's intention: a simple Russian soldier, in which memories of the most precious: home, family, children - strengthen the spirit, give strength and courage in order to go into battle.

1.2.1. What feelings are imbued with the description of a thunderstorm in the cited poem?

Read the fragment of the work below and complete tasks 1.1.1-1.1.2. PHENOMENON III

The same, Ms. Prostakova, Skotinin, Milon

(Milon separates Mrs. Prostakova from Skotinin.)

Ms Prostakova. Let it go! Let go, father! Give me a face, a face...

M i l o n . I won't, sir. Don't get angry!

Skotinin ( in a temper, straightening a wig). Get off, sister! It will come to breaking, I will bend, so you will crack.

Milon ( Ms. Prostakova). And you forgot that he is your brother!

Ms. Prostakova. Ah, father! Heart took, let me fight!

Milon ( Skotinin). Isn't she your sister?

Skotinin. What a sin to hide, one litter; yes, you see how she squealed.

Starodum ( could not help laughing, to Pravdin). I was afraid to get angry. Now the laughter takes me.

Ms. Prostakova. Someone, over someone? What is this newest*?

Starodum. Don't be angry, ma'am. I have never seen anything funnier in my life.

Skotinin ( holding on to the neck). Who laughs, but I don’t even have half a laugh.

Milon. Didn't she hurt you?

Skotinin. He shielded the front with both, so clung to the neck ...

Pravdin. And does it hurt?

Skotinin. The nape of the neck was slightly pierced. Into the next speech Ms. Prostakova Sofia tells Milon with his eyes that Starodum is in front of him. Milon understands her.

Ms. Prostakova. She blew it! .. No, brother ... you must exchange the image of the officer; and if not for him, then you would not shield yourself from me. I will stand up for my son. I will not let my father down. ( Starodum.) That, sir, is nothing funny. Don't get angry. I have a mother's heart. Have you heard of a bitch giving out her puppies? Deigned to welcome no one knows to whom, no one knows who.

Starodum ( pointing at Sophia). Came to her, her uncle Starodum.

Ms. Prostakova ( shaking and shaking). How! it's you! you, father! Our invaluable guest! Oh, I'm stupid! Yes, would it be so necessary to meet a father, on whom all hope, who we have one, like gunpowder ** in the eye. Father! I'm sorry. I'm a fool. I can't figure it out.

Where is the husband! where is the son? How to come to an empty house! God's punishment! Everyone went crazy. Wench! Wench! Palashka! Wench!

Skotinin ( to the side) That one! he! uncle something!

*Newcomer

D. I. Fonvizin "Undergrowth"

Read the work below and complete tasks 1.2.1-1.2.2.

N. M. Rubtsov, 1966

Explanation.

1.1.1. Starodum is opposed to the world of Prostakov-Skotinins. He sees how primitive this world is, which is more like the world of animals than people. Prostakova and Skotinin appear before Starodum in their undisguised nakedness, nakedness of thoughts, habits. This is what makes Starodum laugh.

1.2.1. In N. Rubtsov's poem, the storm appears before the reader in all its demonic power. It is no coincidence that the poet calls it "an ominous holiday of being." The storm frightens with its unknown and incomprehensible, and at the same time it is perceived as inevitable, therefore its lyrical hero contemplates with a “habitual look”.

Ms. Prostakova. What? What's happened?

Mitrofan. Yes! that and look what is from uncle's task; and there from his fists and for the Book of Hours. No, so I thank you, one end with me!

Ms. Prostakova ( frightened). What, what do you want to do? Remember, sweetie!

Mitrofan. After all, the river is close here. Dive, so remember what your name was.

Ms. Prostakova ( beside myself). Dead! Dead! God be with you!

Eremeevna. Uncle scared everything. Almost grabbed his hair. And for nothing, for nothing...

Ms. Prostakova ( in anger). Well...

Eremeevna. I stuck to him, do you want to marry? ..

Ms. Prostakova. Well...

Eremeevna. The child did not hide: for a long time, de, uncle, the hunt takes. How he will freak out, my mother! how it pops up...

Ms. Prostakova ( shivering). Well... and you, the beast, were dumbfounded, and you didn't bite into your brother's mug, and you didn't pull his snout up to his ears...

Eremeevna. Accepted, it was! Oh yes, I did...

Ms. Prostakova. Yes ... yes ... not your child, you beast! For you robenka even kill to death.

Eremeevna. Oh, creator, save and have mercy! Yes, if my brother didn’t deign to leave at that very moment, then I would have broken with him. Whatever God put in. These would be blunted ( pointing at the nails), I would not save fangs.

Ms. Prostakova. All you beasts are zealous in words alone, and not in deeds...

Eremeevna ( crying). I'm not zealous for you, mother! You don’t know how to serve more, you don’t know ... I would be glad not only that ... you don’t regret your stomach * ... but you don’t want to.

Kuteikin. Will you order us back?

Tsyfirkin. Where are we going, your honor?

Ms. Prostakova. You are still old witch, and burst into tears. Go, feed them with you, and after dinner immediately come back here. ( To Mitrofan) Come with me, Mitrofanushka. I won't let you out of my eyes now. As I tell you neshichko, so live in the world will fall in love. Not a century for you, my friend, not a century for you to learn. You, thanks to God, already understand so much that you yourself will cock the children. ( To Eremeevna) With my brother, I'm not going to talk your way. Let everything good people they will see that mother is *** and that mother is dear. (Leaves with Mitrofan.)

Kuteikin. Your life, Eremeevna, is like total darkness.

* Life (Slavonic).

** Something, a secret.

*** Here: babysitter.

D. I. Fonvizin "Undergrowth"

Read the poem below and complete task 1.2.1.-1.2.2.

N. M. Rubtsov, 1964

Explanation.

1.1.1. The life of a serf Eremeevna compares Kuteikin with "outer darkness." There is no joy in this life, no gratitude for devotion and selfless service to the masters. The world of Prostakova is a world of hypocrisy and tyranny, therefore the “lady” is not able to appreciate the loyalty of Eremeevna, she is not even able to think about gratitude to someone other than herself. For all the good that Yeremeevna gave to her masters, she receives only reproaches and insults in return.

1.2.1. In the poem "The Star of the Fields", Nikolai Rubtsov sees his homeland in the center of the world. The “Star of the Fields” burns “for all the anxious inhabitants of the earth”, but only in the Motherland is it “brighter and fuller”. For a poet to know this is happiness, he loves his homeland and therefore it is more beautiful for him than the whole world, this makes him happy.

Innovation of the dramaturgy of Fonvizin. "Undergrowth"!!! Necessarily!!! Why did Starodum leave military service? (“If my service does not bring any benefit, then why serve?”)

Fonvizin Denis Ivanovich (1744 or 1745, Moscow - 1792, St. Petersburg) - writer. Genus. in a wealthy noble family. In 1760 he graduated from the gymnasium at Moscow. un-those and briefly studied at the philosophical f-those of the same university. From 1762 he became a translator of the Collegium of Foreign Affairs in St. Petersburg and published in the journal. their lit. translations. In 1763 - 1769 he served as secretary of the Cabinet Minister I.P. Yelagin, who was in charge of the analysis of petitions and imp. theaters. In 1769 - 1782 he became the personal secretary of N.I. Panin, sharing his oppositional views in relation to Catherine II, and on his behalf developed draft constitutional reforms in Russia, which were supposed to abolish serfdom, rid the country of the power of temporary workers, and provide watered rights to all estates. Fonvizin gained fame as a playwright, publicist, educator, creator of Russian. social comedies "Brigadier", "Undergrowth" and other works. N.I. Novikov noted: "Many of the works written by this author are worn in many hands, read with great pleasure and boast as much for the clarity and purity of the style, so much for the sharpness and liveliness of thoughts." In 1782, after the removal of N.I. Panin from the affairs of Fonvizin resigned and completely surrendered to lit. classes, working hard and successfully, despite the hostility of Catherine II and serious illness chained him to the bed.
Artistic F.'s innovation manifested itself in a pronounced realistic trend, in the creation of typified images, socially conditioned, in speech characteristics as a means of revealing characters, in their individuality. In a number of characters, he departs from the one-line. their images, introduces life to the scene. It is this vitality comedy brought F. success.

The real recognition of dramatic talent came to Fonvizin with the creation in 1768-1769 of the comedy "The Brigadier" It was the result of those searches for a Russian original comedy that members of the Elagin circle lived, and at the same time carried new, deeply innovative principles of dramatic art generally. Proclaimed in France, in the theoretical treatises of D. Diderot, these principles contributed to the convergence of the theater with reality.
"The Brigadier" is the first Russian household comedy, in which life situations, everyday life are brought to the stage. Home life is shown (Counselor's house!), here they drink tea, play cards, etc. (Brigadier - military rank above colonel and below
general, which existed in the Russian army of the XVIII century).
Already from the curtain up, the viewer found himself immersed in an atmosphere that struck with life's reality. In a peaceful picture of home comfort, everything is significant and at the same time everything is natural - the rustic decoration of the room, the clothes of the characters, their activities, and even individual touches of behavior. All this corresponded to the stage innovations of the Diderot Theater .
But there was one significant moment that separated the creative positions of the two playwrights. Diderot's theater theory, born on the eve of the French bourgeois revolution, reflected the tastes and demands of the third-class spectator, asserting in its own way the significance of the average person, those moral ideals that were generated by the modest way of life of a simple worker. an innovative step that entailed a revision of many traditional, previously recognized as unshakable, ideas about the function of the theater and the boundaries of artistry.
Fonvizin could not, of course, mechanically follow the program of Diderot's plays for the reason that the moral collisions of Diderot's dramaturgy were not supported by the real conditions of Russian social life. He took from Diderot the requirement of fidelity to nature, but subordinated this artistic principle to other tasks. into a satirical and accusatory plane.
A retired Brigadier arrives at the Councilor's house with his wife and son Ivan, whom his parents marry the owner's daughter Sofya Sophia herself loves the poor nobleman Dobrolyubov, but no one takes into account her feelings. \"So if God bless, then the twenty-sixth will be a wedding \" - these words of the father. Sophia begins the play
All the characters in \"The Brigadier\" are Russian nobles In the modest, everyday atmosphere of the average Moscow life, the personality of each character appears as if gradually in conversations. Gradually, from action to action, the spiritual interests of the characters are revealed from different sides, and the originality is exposed step by step. artistic solutions found by Fonvizin in his innovative play.
The conflict traditional for the comedy genre between a virtuous, intelligent girl and a stupid groom is complicated by one circumstance. He recently visited Paris and is full of contempt for everything that surrounds him at home, including his parents "Anyone who has been to Paris," confesses

Comedy Fonvizin "Undergrowth" - the pinnacle of ideological and artistic. tv-va writer-satirist; 1st socio-political. a comedy imbued with anti-serf pathos; comedy, in which realistic wins. the principle of vision and reflection of character, although in this comedy F-nu did not succeed in completely overcoming the traditions of classicism.
In "N." the isolation of the comedy genre is broken: next to comic scenes- serious, instructive conversations, sometimes dramatic situations, har-ry in comedy are socially determined. All this contributed to the destruction of classicism, the strengthening of realistic tendencies in the dramaturgy of F. At the same time, in "N." preserved rationalistic. the structure of the comedy, the unity of place, time and outwardly unity of action is observed, but it is violated by the introduction of a number of everyday scenes that are not mandatory for development. main plot, but allowing to reproduce life in all its versatility. The observance of the unity of place and the unity of time led to conventions and a number of inconsistencies in the development of the action, to chance encounters and unforeseen circumstances. From classicism, both the poetics of names-characteristics and the didactic predetermination of comedy are preserved. However, F.'s innovation is reflected in the creation of the socio-political. comedy, saturated with real, vital material, typical characters in their individ. manifestation (especially negative characters), in showing the influence of env. environment, education on the formation of the character of a person. The characters of the comedy are given in complex relationships, in a variety of ways. situations. The language of the characters is individualized.

Excerpt:
Starodum. What are you. I speak without ranks. The ranks begin, - ceases
sincerity.
Pravdin. Your circumstance. ..
Starodum. Many people laugh at him. I know it. Be so. My father raised
me in the way of that time, but I did not find the need to re-educate myself. served
he is Peter the Great. Then one person was called you, not you. Then don't
they also knew how to infect so many people that everyone considered himself to be many.
But today many are not worth one. My father is at the court of Peter the Great...
Pravdin. I heard he was in the military...
Starodum. In that century, the courtiers were warriors, but the soldiers were not
courtiers. The education given to me by my father was the best in that age.
At that time, there were few ways to learn, and they still didn’t know how to use someone else’s mind
fill an empty head.
Pravdin. The upbringing of that time really consisted of several
rules...
Starodum. In one. My father constantly told me the same thing: have
heart, have a soul, and you will be a man at all times. For everything else
fashion: fashion for minds, fashion for knowledge, like buckles, buttons.
Pravdin. You are speaking the truth. There is a direct dignity in a person
soul...
Starodum. Without her, the most enlightened smart girl is a miserable creature. (With feeling.)
An ignoramus without a soul is a beast. The smallest feat introduces him into every
crime. Between what he does and what he does for
he doesn't have any weights. From such and such animals I came to free...
Pravdin. Your niece. I know it. She is here. Let's go to...
Starodum. Wait. My heart is still boiling with indignation at the unworthy
act of the hosts. Let's stay here for a few minutes. I have
rule: in the first movement, do not start anything.
Pravdin. They know how to observe your rare rule.
Starodum. The experiences of my life have taught me that. Oh, if only I had
knew how to control himself, I would have had the pleasure of serving the fatherland longer.
Pravdin. In what way? Incidents with a person of your qualities
no one can be indifferent. You will greatly favor me if
tell me...
Starodum. I do not hide them from anyone so that others in a similar
position found me smarter. Logged in military service, I met
a young earl whose name I don't even want to remember. He was on duty
younger than me, the son of an accidental father *, brought up in a big society and had
a special opportunity to learn what our upbringing has not yet
included. I used all my strength to gain his friendship, so that he would always
to reward the shortcomings of my upbringing with it. At the very
the time when our mutual friendship was affirmed, we accidentally heard,
that war has been declared. I rushed to hug him with joy. "Kind
graph! Here is an opportunity for us to distinguish ourselves. Let's go to the army at once and make ourselves
worthy of the title of nobleman that the breed has given us. "My friend Count
frowned heavily and, embracing me, dryly: "Happy journey to you," he said
me: - and I caress that the father does not want to part with me.
nothing compares to the contempt I felt for him at that very moment.
Then I saw that between random people and respectable people there are
sometimes there is an immeasurable difference that there are small souls in the big world
and that with great enlightenment one can be a great stinger**.
* "Random people" in the XVIII century called people who used
special favors of kings and queens.
** Scared - miser, miser. Here is a swear word.
Pravdin. Sheer truth.
Starodum. Leaving him, I immediately went to where my position called me.
Many occasions had I distinguished myself. My wounds prove that I am not them.
missed. The good opinion of the chiefs and troops about me was flattering
the reward of my service, when suddenly I received the news that the count, the former
my acquaintance, whom I abhorred to remember, was promoted to rank, and
I was bypassed, I, then lying from wounds in a serious illness. Such
injustice tore my heart to pieces, and I immediately resigned.
Pravdin. What else should have been done?
Starodum. It had to come to its senses. I did not know how to beware of the first
movements of my irritated piety. Hotness kept me out
then judge that a straightforwardly pious person is zealous for deeds, and
not to the ranks; that ranks are often begged for, and true respect
must be deserved; that it is much more honest to be bypassed without guilt,
than without merit complained.
Pravdin. But isn't a nobleman allowed to take resignations in any
already the case?
Starodum. In one only: when it is internally verified that the service
does not bring direct benefit to his fatherland. A! then go.
Pravdin. You give to feel the true essence of the office** of a nobleman.

5.1.Dramaturgy Fonvizin

Denis Ivanovich Fonvizin (1744-1792), entered the history of national literature as the author of the famous comedy "Undergrowth". But he was also a talented prose writer. The gift of a satirist was combined in him with the temperament of a born publicist. The unsurpassed artistic skill of Fonvizin was noted at the time by Pushkin.

F. began his journey as a writer with translations. IN 1761 The printing house of Moscow University published a book entitled "Fables moralizing with the explanations of Mr. Baron Golberg, translated by Denis Fonvizin." The translation of the book to the young man was ordered by the bookseller of the university bookstore. The works of Ludwig Golberg, the greatest Danish writer of the 18th century, were widely popular in Europe, especially his comedies and satirical pamphlets. The influence of one of Golberg's comedies, "Jean the Frenchman", which ridiculed gallomania, will be reflected in its own way on the plan of Fonvizin's comedy "The Brigadier", which he will write in 1768-1769. The translation of Golberg's book of fables was the first school of educational humanism for the young Fonvizin, instilling in the soul of the future writer an interest in social satire.

1762 - a turning point in the fate of Fonvizin. In the spring, he was enrolled as a student, but he did not have to study at the university. In September, the empress arrived in Moscow for the coronation along with the whole court and ministers. Just at that moment, young translators were required for a foreign collegium. Seventeen-year-old Fonvizin receives a flattering offer from Vice-Chancellor Prince A. M. Golitsyn to enter the service and then, in October 1762, submits a petition addressed to Catherine II.

The Petersburg period of Fonvizin's life began. Fulfillment of assignments for translations, maintenance of official correspondence alternate with obligatory attendance at official receptions at the court (kurtags), masquerades, theaters. Despite the workload in the service, Fonvizin is keenly interested in modern. liter swarm. He often visits the well-known literary salon of the Myatlev spouses in St. Petersburg, where he meets with A. P. Sumarokov, M. M. Kheraskov, V. I. Maikov, I. F. Bogdanovich, I. S. Barkov and others. Even earlier, Fonvizin met the founder of the Russian theater F. Volkov. Communication with the theatrical circles of the capital contributes to the rapprochement of Fonvizin with the first actor of the court theater I. A. Dmitrevsky, friendship with whom he did not interrupt until the end of his life. It was Dmitrevsky who was the first performer of the role of Starodum in the production of "Undergrowth" in 1782.

1st major lit. Fonvizin's success was brought by his comedy "The Brigadier". Fonvizin's appeal to dramaturgy was facilitated not only by a passionate love for the theater, but also by some circumstances of a service nature. Back in 1763, he was assigned to serve as secretary to the state adviser I. P. Elagine. This nobleman, who was in the palace office "at the reception of petitions", was at the same time the manager of the "court music and theater". In the literary circles of St. Petersburg, he was known as a poet and translator. By the mid-1760s, a circle of young theater lovers rallied around Yelagin, which included Fonvizin. Members of the circle are seriously thinking about updating the national comedy repertoire. Before that, Russian comedies were written by one Sumarokov, but they were also imitative. In his plays, the characters had foreign names, the intrigue was led by the ubiquitous servants who ridiculed the masters and arranged their personal happiness. Life on the stage proceeded according to some incomprehensible canons alien to Russian people. All this, according to young authors, limited the educational functions of the theater, which they put at the forefront of theatrical art. As the theorist of the Elagin circle V. I. Lukin wrote, “many viewers do not receive any correction from comedies in other people's manners. They think that it is not them, but strangers who are ridiculed.” In an effort to bring the theater as close as possible to the needs of Russian social life, Lukin proposed a compromise path. The essence of his reform was to incline foreign comedies in every possible way to our customs. Such a "declination" of other people's plays meant replacing the foreign names of the characters with Russian names, transferring the action to an environment corresponding to national mores and customs, and finally, bringing the speech of the characters closer to the norms of the spoken Russian language. Lukin actively put all this into practice in his comedies.

Paid tribute to the method of "declination" Western Europe. plays on Russian manners and Fonvizin. In 1763 he wrote the verse comedy Corion, reworking the drama of the French author L. Gresse "Sydney". Full rapprochement with Russian customs in the play, however, did not work. Although the action in Fonvizin's comedy takes place in a village near Moscow, the sentimental story of Korion and Xenovia separated by misunderstanding and united in the finale could not become the basis of a truly national comedy. Its plot was marked by a strong touch of melodramatic conventionality, characteristic of the traditions of the French. petty-bourgeois "tearful" drama. The real recognition of dramatic talent came to Fonvizin with the creation in 1768-1769 comedy "The Brigadier". It was the result of those searches for Russian original comedy that the members of the Elagin circle lived, and at the same time I carried in myself new, deeply innovative principles of dramatic art as a whole.

The center of gravity of the ideological problems in Fonvizin's comedy moved to the satirical-denunciatory plane.

A retired Brigadier arrives at the Counselor's house with his wife and son Ivan, whom his parents marry the owner's daughter Sophia. Sophia herself loves the poor nobleman Dobrolyubov, but no one takes into account her feelings. “So if God bless, then the twenty-sixth will be a wedding” - with these words of Sophia's father, the play begins.

All the characters in "The Brigadier" are Russian nobles. In the modest, everyday atmosphere of middle-class life, the personality of each character appears as if gradually in conversations. Gradually, from action to action, the spiritual interests of the characters are revealed from various sides, and step by step the originality of the artistic solutions found by Fonvizin in his innovative play is revealed.

The conflict, traditional for the comedy genre, between a virtuous, intelligent girl and a stupid fiancé imposed on her is complicated by one circumstance. Ivan recently visited Paris and is full of contempt for everything that surrounds him at home, including his parents. “Everyone who has been in Paris,” he frankly, “has the right, speaking of Russians, not to include himself among those, because he has already become more French than Russian.” Ivan's speech is replete with French words pronounced by the way and inopportunely. Only person with which he finds mutual language, is the Counselor who grew up reading romance novels and crazy about everything French.

The absurd behavior of the newly-minted "Parisian" and the Adviser, who is delighted with him, suggests that the basis of the ideological concept in the comedy is the denunciation of gallomania. With their empty talk and newfangled mannerisms, they seem to oppose Ivan's parents and the Counselor, wise by life experience. However, the fight against gallomania is only part of the accusatory program that feeds the satirical pathos of The Brigadier. Ivan's relationship to all the other characters is revealed by the playwright already in the first act, where they speak out about the dangers of grammar: each of them considers the study of grammar an unnecessary thing, it does not add anything to the ability to achieve rank and wealth.

This new chain of revelations, exposing the intellectual horizons of the main characters of the comedy, brings us to an understanding of the main idea of ​​the play. In an environment where mental apathy and lack of spirituality reign, familiarization with European culture turns out to be an evil caricature of enlightenment. The moral wretchedness of Ivan, proud of his contempt for his compatriots, is a match for spiritual deformity; the rest, because their manners and way of thinking are, in essence, just as base.

And what is important, in comedy this idea is revealed not declaratively, but by means of psychological self-disclosure of the characters. If earlier the tasks of comedic satire were conceived mainly in terms of bringing out a personified vice on the stage, for example, “stinginess”, “evil-tonguing”, “bragging”, now, under the pen of Fonvizin, the content of vices is socially concretized. The satirical pamphletery of Sumarokov's "comedy of characters" gives way to a comically pointed study of the mores of society. And this is the main significance of Fonvizin's Brigadier.

Fonvizin found an interesting way to enhance the satirical and accusatory pathos of comedy. In The Brigadier, the everyday authenticity of the portrait characteristics of the characters grew into a comically caricatured grotesque. The comedy of the action grows from scene to scene thanks to a dynamic kaleidoscope of intertwining love scenes. The vulgar flirtation in the secular manner of the gallomaniacs Ivan and the Counselor is replaced by the hypocritical courtship of the Counselor for the Brigadier who does not understand anything, and then, with soldierly straightforwardness, the Brigadier himself storms the Counselor's heart. The rivalry between father and son threatens with a brawl, and only a general exposure calms all the unlucky "lovers".

The success of Brigadier made Fonvizin one of the most famous writers of his time. The head of the educational camp of Russian literature of the 1760s, N. I. Novikov, praised the new comedy of the young author in his satirical magazine Truten. In collaboration with Novikov, Fonvizin finally determines his place in literature as a satirist and publicist. It is no accident that in another of his journals, The Painter, for 1772, Novikov placed Fonvizin's sharpest satirical essay Letters to Falaley, in which the outlines of the ideological program and creative guidelines that determined the later artistic originality of The Undergrowth are already visible.

Work on "Undergrowth" took, apparently, several years after returning from France. By the end 1781. the play was completed. This comedy absorbed all the experience accumulated by the playwright earlier, and in terms of the depth of ideological issues, the courage and originality of the artistic solutions found, remains an unsurpassed masterpiece of Russian dramaturgy of the 18th century. The accusatory pathos of the content of The Undergrowth is fed by two powerful sources: satire and journalism. Destroying and merciless satire fills all the scenes depicting the lifestyle of the Prostakova family. In the scenes of Mitrofan's teachings, in the revelations of his uncle about his love for pigs, in the greed and arbitrariness of the mistress of the house, the world of the Prostakovs and Skotinins is revealed in all the ugliness of its spiritual poverty.

But no less annihilating sentence to this world is pronounced by the group of positive noblemen present right there on the train, contrasted in their views on life with the bestial existence of Mitrofan's parents. The dialogues between Starodum and Pravdin, which touch upon deep, sometimes state problems, are passionate publicistic speeches containing the author's position. The pathos of the speeches of Starodum and Pravdin also performs a denunciatory function, but here the denunciation merges with the affirmation of the author's positive ideals.

Two problems that particularly worried Fonvizin lie at the heart of The Undergrowth. This is, first of all, the problem of the moral decay of the nobility. In scientific literature, a direct connection has been repeatedly noted between the statements of Starodum and Pravdin and the key provisions of Fonvizin’s essay “Discourse on the indispensable state laws”, which was written simultaneously with “Undergrowth” (in the treatise - reasoning about the good manners of the sovereign as the basis of the good morals of the people, in the play - concludes . Starodum’s remark: “Here are the evil spirits worthy fruits!" and other correspondences).

Another problem of "Undergrowth" is the problem of education. In Fonvizin's ideas, the problem of education acquired state significance, because in the right education, the only reliable, in his opinion, source of salvation from the evil threatening society - the spiritual degradation of the nobility - was rooted.

Substantial part dramatic action in "Undergrowth" is to some extent projected onto the solution of the problem of education. Both the scenes of Mitrofan's teachings and the vast majority of Starodum's moralizing are subordinate to her. The culminating point in the development of this theme, no doubt, is the scene of Mitrofan's exam in the 4th act of the comedy. This satirical picture, deadly in terms of the strength of the accusatory sarcasm contained in it, serves as a verdict on the education system of the Prostakovs and Skotinins. The pronouncement of this sentence is ensured not only from within, due to the self-disclosure of Mitrofan's ignorance, but also thanks to the demonstration right there on the stage of examples of a different upbringing. We mean the scenes in which Starodum talks with Sophia and Milon.

With the production of "Undergrowth" Fonvizin had to experience a lot of grief. The performance scheduled for the spring of 1782 in the capital was cancelled. And only in the autumn, on September 24 of the same year, thanks to the assistance of the all-powerful G. A. Potemkin, the comedy was played in a wooden theater on Tsaritsyn Meadow by the actors of the court theater. Fonvizin himself took part in learning the roles of the actors, he entered into all the details of the production. The performance was a complete success. According to a contemporary, "the audience applauded the play by throwing purses." The audience was especially sensitive to the political hints hidden in Starodum's speeches.

The last major plan of Fonvizin in the field of satirical prose, which, unfortunately, did not materialize, was the magazine "Friend of honest people, or Starodum." Fonvizin planned to publish it in 1788. It was planned to release 12 issues during the year. In a warning to readers, the author informed that his journal would be published “under the supervision of the writer of the comedy “Undergrowth”, which, as it were, indicated the ideological continuity of his new idea.

The magazine opened with a letter to Starodum from “the author of The Undergrowth,” in which the publisher turned to a “friend of honest people” with a request to help him by sending materials and thoughts, “which, with their importance and moralizing, no doubt, Russian readers will like.” In his response Starodum not only approves the author's decision, but also immediately informs him of sending him letters received from "acquaintances", promising to continue to supply him with the necessary materials. Sophia's letter to Starodum, his answer, as well as "Taras Skotinin's letter to his own sister Mrs. Prostakova” and were supposed to be, apparently, the first issue of the magazine.

Skotinin's letter is especially impressive in its accusatory pathos. Uncle Mitrofan, already familiar to the writer's contemporaries, tells his sister about the irretrievable loss he has suffered: his beloved motley pig Aksinya has died. In the mouth of Skotinin, the death of a pig appears as an event filled with deep tragedy. The misfortune so shocked Skotinin that now, he confesses to his sister, “I want to stick to moralizing, that is, to correct the morals of my serfs and peasants.<...>birch.<...>And I want all those who depend on me to feel the effect of such a great loss on me.

No less sharp were the subsequent materials, also "transferred" to the publisher of the magazine Starodum. First of all, this is the "General Court Grammar" - a brilliant example of political satire that denounced court mores.

The magazine conceived by Fonvizin was supposed to continue the best traditions of magazine Russian satire of the late 1760s. But it was useless to count on the consent of Catherine's censorship in issuing such a publication. By decision of the council of the deanery, it was forbidden to print the magazine. Some of its parts were distributed in handwritten lists.

Fonvizin did not leave his pen until the very last days of his life. He also wrote a three-act comedy "Governor's Choice". About the reading of this comedy in Derzhavin's house on November 30, 1792, the day before the death of the great satirist, news was preserved in the memoirs of I. I. Dmitriev.

Comedy "Undergrowth" taught me positive human qualities. Gave me an idea of ​​the ideal citizen.
In this comedy, the ideal citizen is Starodum. This is a merciful, virtuous, honest, sympathetic person. There is not a single moment in the work when Starodum deceives, steals, speaks obscene words. He is always calm and balanced. Starodum never talks in vain, always gives advice, reasons, but in addition, he also jokes and laughs.
Some other comedy characters also have similar qualities: Pravdin is a member of the governorship; Milon - military commander, Sofyushka's fiance; Sofyushka is the niece of Starodum. They are an example of an ideal citizen.
The opposition to the ideal citizen is the Prostakov family of estate nobles. Mrs. Prostakova is a greedy, impolite, heartless, cruel woman. The author even calls her the name of the ancient Roman avenging goddess Furia. The only person she loves very much is Mitrofanushka, her son. Lazy by nature, "learning" from hired teachers, he is as uneducated and impolite as his mother. Speaking of Prostakov, we can say that he feels good when he does not have a conflict with his wife, when she does not yell at him. When reading a comedy, it is clear that he constantly pleases her, is afraid of her. Skotinin is Mrs. Prostakova's brother, a man who respects and appreciates pigs more than people. He wants to marry Sophia only because he knows that she has a lot of pigs in her village.
The main characters of the comedy "Undergrowth" can be divided into two parts - good and evil. Evil, dishonor, ignorance are represented by the Prostakovs and Skotinin. Goodness, nobility is represented by Starodum, Milon, Pravdin, Sophia, i.e. people who can be called ideal citizens.

Fonvizin Denis Ivanovich (the surname F. was written in two words in the 18th century - Fon Vizin. The same spelling was preserved until half of XIX century; Tikhonravov finally established the spelling in one word, although Pushkin already found this inscription correct, as giving a more Russian character to the name of the writer, who was, in Pushkin's words, "from the Russian Russian") - famous writer Catherine's era; was born in Moscow on April 3, 1745; came from a Livonian knightly family, who left for Moscow in the 16th century and became completely Russified. F. received his initial education under the guidance of his father, Ivan Andreevich, who, as F. recalls in " sincere confession", "was a man of great common sense, but did not have the opportunity, according to the then way of education, to enlighten himself with teaching," however, he was quite well-read, mainly in moralistic writings. "The current circulation of the world", F. makes it possible to indicate the prototype for the Starodum he created: those maxims of personal and public morality that he puts into the mouth of Starodum were, perhaps, already in the instructions of his father, who aroused in F. love for the old Russian life Despite "immeasurable care", the volume of home education was not particularly large, since the funds did not allow Father F. "to hire teachers foreign languages": at home he learned the elements of Russian literacy, and reading church books, being one of the important means of religious education, at the same time gave F. an acquaintance with the Slavic language," without which Russian language and it is impossible to know. "In 1755, F. entered the newly opened gymnasium at Moscow University; in 1760 he was "promoted to students", but stayed at the university for only 2 years. Although the shortcomings of these young educational institutions were very felt, although the teaching was very weak, although the teachers were distinguished by "drunkenness and negligence", nevertheless, F. learned a lot from the years of his teaching, not to mention the knowledge of French and German, which opened him direct access to European literatures, the school gave F. a well-known mental discipline, thanks to which he stands out from the environment of modern writers not only with talent, but also with the systematic education. On school bench, under the influence of some professors, begin and literary pursuits F .: in 1761, he placed in Kheraskov's journal "Useful Amusement", a translated article "Justice Jupiter" and separately printed a translation of Golberg's fables. The following year, he published a translation of Terrason's moralizing work: "The Heroic Virtue, or the Life of Seth, King of Egypt, from the Mysterious Testimonies ancient egypt taken" and published several translations in Professor Reichel's edition "Collection the best essays to the dissemination of knowledge and to the production of pleasures "The original works of F., which have not come down to us, belong to the same time, in which his desire for satire was expressed. "My sharp words, recalls F., rushed around Moscow; and as they were caustic to many, those offended announced me as an evil and dangerous boy; nevertheless, those whom my sharp words only amused, glorified me as kind and pleasant in society. "Despite this success, F. speaks of his first works very strictly, saying that they" were satirical salt, but reason, so to speak Not a drop. The years of study also include the emergence of love for the theater in F.: during the trip of high school students to St. Petersburg to present to the curator Shuvalov, F. was at one performance, and made a strong impression. “The actions produced in me by the theater - he says, - it is almost impossible to describe: the comedy that I saw, rather stupid, I considered the work of the greatest mind, and the actors - great people whom I thought would make my well-being. "In 1762, F.'s teaching at the university ceases ; he is determined by the sergeant of the guard, although this service does not interest him at all and he evades it as far as possible. At this time, the court arrives in Moscow, and the vice-chancellor appoints F. to the collegium of foreign affairs "translator of the captain-lieutenant rank", and next year, F. was appointed "to be for some cases" under the cabinet minister at the adoption of a petition, I.P. Elagin, who, since 1766, has been in charge of theaters. The appointment of this F., perhaps, was due to the "sin of youth" - the translation of Voltaire's "Alzira", which he started while still at the university. Elagin was very disposed to his young subordinate, but the service was difficult for F. due to trouble with Elagin's secretary, the playwright Lukin, who tried to arm the Cabinet Minister against F. During his first stay in St. Petersburg, F. became close to Prince Kozlovsky and some other young writers. He later could not “remember this circle without horror”, since “the best pastime consisted in blasphemy and blasphemy”. This direction did not pass without a trace for F.: he became interested in skepticism, which was generally fashionable at that time, an echo of which is the "Message to my servants Shumilov, Vanka and Petrushka", published for the first time in the monthly publication "Pustomel", in 1770. However, the passion The ideas of Prince Kozlovsky's circle could not have been particularly long for F., since the religious basis of home education was strong in him and he "shuddered when he heard the curse of the atheists." Some of his poems and new translations belong to this period of F.'s life, of which the translations of Bitobe's poem "Joseph" and Bartel's story "The Love of Carita and Polydor" (1763) were especially successful. At the same time, F.'s first experience in the field of drama appeared: in 1764, his comedy Corion, presented from the French comedy Gresse Sydney, was presented. This work is important not only for the development of F.'s talent, as a transition from translations to "The Brigadier" and "Undergrowth", but in it one can also see the progress of Russian literature in general. "The application of foreign comedies to our customs," says N.S. Tikhonravov, "was already a step forward from simple translations to more original works." True, the originality of the play was expressed only in a few external features, since the plot, the structure, and the main types of comedy are entirely borrowed. However, "Korion", judging by contemporary evidence, appealed to the public. The success encouraged the author, and probably already in 1768 the Brigadier was written, which represents a significant progress in the application of other people's works to Russian life. Despite the borrowing of the main character, the famous Ivanushka, from the Danish writer Golberg's comedy "Jean de France", despite some other imitations, "The Brigadier" is one of the most important phenomena in our literature. If in "Korion" the features of Russian life were barely outlined, then in "The Brigadier" they were brought to the fore, so that the borrowing could almost completely go unnoticed. The types of petimeter and the dandy, exhibited in the person of Ivanushka and the adviser, were already sufficiently familiar from Russian reality, especially from observations of metropolitan life, in which the articles of satirical magazines of that time can serve as the best confirmation for us. Even more original, grown on Russian soil, are the types of adviser, foreman and foreman. It is not surprising, therefore, that "The Brigadier" made a strong impression on the then public: N.I. Panin spoke of it as "the first comedy in our manners"; F. was compared with Moliere, his comedy did not leave the stage. In 1769, as a result of new clashes with Lukin, F. was forced to leave the service under Elagin and decide again to the collegium of foreign affairs, to Count N.I. Panin. As Panin's secretary, he was positively overwhelmed with work: he was entrusted with the most extensive correspondence with our diplomats under European courtyards; under the guidance of his boss, he draws up an extremely curious project of state reforms, according to which it was supposed to give legislative power to the supreme senate, to ensure "two main points of the good of the state and peoples: liberty and property", for which it is necessary to free the peasants. In this project, attention is drawn to the characteristic of the domination of temporary workers: "yesterday's corporal, who knows who, and it's a shame to say for what, today becomes a commander and takes command of a well-deserved and wounded officer"; "No one intends to deserve, everyone seeks to serve." The denunciation of serfdom is also remarkable. "Imagine a state, says F., where people are the property of people, where a person of one state has the right to be both a plaintiff and a judge over a person of another state, where everyone can consequently be either a tyrant or a victim." Mentions F. and the need to destroy the ignorance on which slavery relies. Along with official assignments, F. has to work hard on various private matters of Count Panin. Service under Panin continued until 1783, when F. retired with the rank of state councilor and with a pension of 300 rubles. Literary activity F. during this period of his life could not be especially great, since there was not enough leisure for her; nevertheless, it was precisely at this time, perhaps as a result of the constant impressions that were experienced at the center of the public and political interests of the era, that the most important literary and public relations works by F. These were articles in the "Interlocutor of lovers of the Russian word": "The experience of the Russian classmate", "Questions to the author of Byley and Fables", "Petition to the Russian Minerva from Russian writers", "Instruction spoken on Spirits Day by Priest Vasily", and a comedy "Undergrowth", presented for the first time in 1782. "Petition to the Russian Minerva" is significant as a defense of the rights of literature against its various enemies, denying the suitability of writers "for business", and the famous "Questions" touch on some of the sick sides of Russian reality. Courage, "free speech" of these "Questions" caused displeasure against F. Empress Catherine II. "Undergrowth", like "The Brigadier", occupies the first place in the satirical literature of the Catherine's time, which fought for enlightenment. In its originality, it is much higher than the “Brigadier”: borrowings appear in some minor details, for example, in the famous phrase of Mrs. Prostakova that geography is not needed, since there are cabbies, etc. The types of families of the Prostakovs and Skotinins are undoubtedly Russian, inherited from of the old time and preserving intact their original features of ignorance and rudeness. It is true that in some of these types there are traces of caricature, but in general they are extremely vital, and this explains both the success of the comedy in its time, and the interest that it arouses to a certain extent now. For the era of F. and personally for the author, speeches of reasoners, boring for us, were of great importance, especially Starodum, into whose mouth F. put the expression of his ideal of humanity and enlightenment. During his service under Count Panin, F. made the first trip abroad with his sick wife (born Rogovikova) (1777 - 1778), visiting Germany and France. The second trip was made to Germany and Italy (they spent 8 months in the last F.) in 1784; two years later, F. himself had to go to Vienna and Karlsbad to be treated for the effects of paralysis. The last years of his life generally passed for F. in a difficult situation: his health was completely upset, and at the same time his material well-being was shaken as a result of various litigations with tenants. F.'s literary activity almost completely ceases, except for literary work his letters from abroad and his travel journals. They were not intended for publication and were published already in the 19th century, but they are of outstanding interest as the judgment of an intelligent observer of contemporary European life. F.'s comments about Europeans are far from always fair and often extremely harsh (as, for example, the famous phrase: "the Frenchman has no reason and would consider it his greatest misfortune"), but this addiction, due in part to personal motives, illness, travel troubles, does not destroy the significance of some of F.'s notes: they show an independent, critically thinking person, and in this they are much higher than Karamzin's Letters from a Russian Traveler. In 1792, Mr.. F. died and was buried in the Alexander Nevsky Lavra. In his literary and social activities, F. acts as an honest, convinced progressive, as a fan of enlightenment and a better social order, who does not completely change those liberating views that dominated at the beginning of Catherine's reign, despite the fact that these views in later times are no longer enjoy the patronage and sympathy of the ruling spheres: he is alien to the opportunism that distinguished many of the then writers, who looked very lightly at their profession, while he sees it as a service to society. How educated person and an independent mind, he is critical of the observed phenomena, seeing ahead of the ideal of a better life. See "Works, letters and selected translations of F." (St. Petersburg, 1866, edited by P.A. Efremov, with a biography compiled by A.P. Pyatkovsky); "The first complete works of F." (Moscow, 1888); Prince P.A. Vyazemsky "Fonvizin" (St. Petersburg, 1848, "Complete Collected Works of Prince Vyazemsky", Volume V); Tikhonravov "Materials for complete collection F.'s works, edited by L.N. Maykov" (St. Petersburg, 1894); Nezelenov "Literary Trends in the Catherine's Era" (St. Petersburg, 1889); S.A. Vengerov "Russian Poetry" (Volume I; here is printed the comic poem "The Devil on droshki"; this poem is also placed in the "Materials" of Tikhonravov, who, however, doubts the reliability of his belonging to F.); I.N. Zhdanov "Fonvizin" (in the "Russian Biographical Dictionary"; full biography).

Topics of messages and essays

1. What is the meaning of the name of the comedy D.I. Fonvizin "Undergrowth"?

2. What are the features of the comedy genre (on the example of D.I. Fonvizin's comedy "Undergrowth")?

3. Like in a comedy D.I. Fonvizin "Undergrowth" reveals the theme of education?

Many people are concerned about education. What does this concept mean? What should be done with children? Why do some parents refuse moral standards raising a child? D.I. helped me find answers to such difficult questions. Fonvizin, author of the comedy "Undergrowth".

In his work, Fonvizin talks about the fact that Mrs. Prostakova poorly raised her son. She advised him to drop out of school and start saving money. main character comedy believed that the accumulation of material wealth is the meaning of life. She did not develop kindness and intelligence in her son, which means that she raised him poorly. DI. Fonvizin notes that empty place necessarily grow "malice worthy fruits."

Yes, for some, the essence of raising a child is to indulge his every desire. Prostakova did not refuse anything to her son, and this could not but affect the character of Mitrofan. The young man is unrestrained, ungrateful, accustomed to the fact that relatives and servants carried out all his orders without question. So, Eremeevna gave Mitrofan five rolls, but when she did not allow him to eat the sixth, she was punished by Prostakova, for whom the desire of her son is the law. Unfortunately, not everyone understands the importance of education.

How, in the author's opinion, should adults not raise children? DI. Fonvizin believes that parents are obliged to instill in the child all the best. Prostakova gave the wrong advice, she argued that science is not important and knowledge is not the main thing. Mitrofan's mother considered studying a waste of time. In my opinion, the author is right, such education can only bring bad results.

A person who has received a wrong idea about life cannot but grow up an unenlightened person. Mitrofan obeyed his mother's will and did not study properly, and therefore became uneducated, did not surpass his parents. He, like his mother, who did not recognize the importance of science, could not answer even the simplest questions. From the action of the third phenomenon of the seventh, we learn that Prostakova taught her son to deceive, asked him to learn for the sake of appearance. Why would she? She believed that, having earned the respect of Starodum, Mitrofan would be able to marry Sophia. The son agreed with his mother, but on the condition that in the future he would never study again. These are the fruits of immoral education.

DI. Fonvizin in his comedy ridicules the laziness and ignorance of the Prostakovs, is perplexed about the vicious upbringing of Mitrofan and shows the negative results of the wrong attitude towards children.

5. What qualities unite Skotinin, Prostakova and Mitrofan? (According to D.I. Fonvizin's comedy "Undergrowth".)

6. What educational ideals are reflected in D. I. Fonvizin's comedy "Undergrowth"?

7. What features of classicism are inherent in the comedy of D. I. Fonvizin "Undergrowth"?

8. What is the role of "speaking" names and surnames in D.I. Fonvizin "Undergrowth"?

9. What is the role of positive characters in D. I. Fonvizin's comedy "Undergrowth"?

10. What is the author's attitude towards Mitrofan? (According to the play by D. I. Fonvizin "Undergrowth".)

11. What is the significance of the last phenomenon in D.I. Fonvizin "Undergrowth"?

An example of a student's essay (without corrections).

The question of the meaning of a particular scene in work of art interesting enough. How does the author construct the plot? Why does the writer describe certain incidents from the life of the characters? What is the meaning of the denouement of the work? I was able to answer these questions only after reading Denis Ivanovich Fonvizin's comedy "Undergrowth".

The playwright expresses his opinion about each of the heroes of the comedy. The life of the Prostakov family is presented to them not as a summary picture of ridiculous customs, but as a system of relations based on serfdom.

The author builds his plot traditionally, opposing positive and negative characters. The Prostakovs and Skotinin come into conflict with Sophia, Milon, Pravdin and Starodum. Having created such a system of images, Fonvizin, as it were, advises the reader which of the heroes to be equal to. You should try to be like Starodum, who really was distinguished by intelligence and wisdom. Sophia's uncle was kind to his niece, and he treated others with respect too. You can also correlate your actions with the behavior of Sophia, Milon and Pravdin.

The playwright shows the true face of all the negative heroes of this comedy in the fifth act, in latest phenomenon. The author leads us to the idea that not all people live as they should, showing honesty and respect for others, and that evil will definitely be punished. The play ends with the words of Starodum: "Here are worthy fruits of evil-mindedness!". By this, the author wanted to say that one should not be people like Mitrofan and his mother.

12. What are the goals and means of satire in D.I. Fonvizin "Undergrowth"?

13. What is the significance of D.I. Fonvizin "Undergrowth" has the image of Pravdin?

14. What is the significance of D.I. Fonvizin "Undergrowth" has the image of Eremeevna?

15. Which of the characters in the comedy D.I. Fonvizin's "Undergrowth" can be called "evil ignoramuses" and why?

16. Who plays the most active role in D. I. Fonvizin's play? Why is it called "Undergrowth"?

18. What can Fonvizin the playwright teach viewers (readers)?

It happens that we can not immediately understand the main essence of the work. What could be its meaning? How does the writer communicate to the reader? the right thought? Why do many of us not understand what the author wants to convey to us? You can find answers to such complex questions by reading the comedy by D.I. Fonvizin "Undergrowth".

In his work, the playwright pays special attention to the problems of education. He makes fun of his characters because they don't understand the importance of education. You can understand the meaning laid down by the author by analyzing the behavior of the characters.

In the second act of the fourth phenomenon, Fonvizin shows what the wrong upbringing of children leads to. Mitrofan speaks rudely to Eremeevna, even allowing himself to call her "an old bastard". The bad behavior of Prostakova's son proves that the mother does not pay him due attention. He is unrestrained, ungrateful, accustomed to the fact that his relatives and servants satisfy all his needs. Unfortunately, not all readers can immediately understand that the author wants to convey to us the idea of ​​the need for responsible education and self-education.

What, according to Fonvizin, is the main thing in education and how do we find out about it? The writer believes that only personal example can bring up good baby. In the act of the third phenomenon, the second tells that Sophia looks like her kind mother, the sister of Starodum. Prostakova's niece is distinguished by modesty and reverence. Fonvizin conveys his attitude to the heroine through the originality of her speech characteristics, through the disclosure of her thoughts and feelings, and the position of the playwright is expressed in the direct statements of Starodum.

If the reader gets the wrong idea about the content of the work, he is unlikely to understand its meaning. So what does Fonvizin the playwright teach us? The well-known satirist wrote the comedy "Undergrowth" to warn those parents who indulge any childish desire.

19. Traits moral ideal in the form of Sophia. (According to D.I. Fonvizin's comedy "Undergrowth".)

20. What could give rise to the writer V.F. Odoevsky to call the play "Undergrowth" a "tragedy"? (According to D.I. Fonvizin's comedy "Undergrowth")

21. What is common and different in the characters of Ms. Prostakova and Mitrofan? (According to D.I. Fonvizin's comedy "Undergrowth".)

Example of a student essay (no corrections)

Since ancient times, people have been thinking about the question of the character of a person. What does this concept mean? Why does a person develop this or that character? How are we similar and different? I was able to answer these questions only after reading Denis Ivanovich Fonvizin's comedy "Undergrowth".

In his work, the author describes the life of the ignorant Prostakov family and their actions, the virtuous characters of Starodum and Pravdin, draws huge scenes filled with conversations about morality, fearlessness, life at court, the duty of a nobleman. Fonvizin expresses regret that people who should serve as an example due to their social status are of a negative nature.

Both Prostakova and her son Mitrofan do not understand that they are obliged by the law of justice to be kind. The son of the mistress of the estate, for example, looks like a mother who is distinguished by an evil disposition and behaves as inappropriate for a young man. For example, when talking about a caftan, the mistress of the house is rude to the tailor and insults him. And Mitrofan is also unbearable and cruel with the servants. Turning to Eremeevna, he humiliates her, calling her an "old bastard", but she is much older than him. Yes, Mitrofan, like his mother, considers himself entitled to treat people with arrogance.

Character, no doubt, depends on education. Whatever example parents set, so do children. Prostakova's niece Sophia is a kind and modest girl. After reading the action of the first phenomenon of the sixth, we learn that when talking with her aunt, the orphan expresses respect for Mitrofan's mother and does not reread her, but tries to explain that she did not write the letter herself. Sophia is well-mannered and well-behaved, she is the successor of the traditions of her parents.

Mitrofan is strikingly unlike the bride of his opponent Milon and differs from others in his actions. At the end of the play, we see the true face of Mitrofan. He grew up to be an evil and soulless person. Talking with Prostakova, the darling of fate insults her mother. When she starts hugging him and showing off her love, she pushes her away. loving son and Prostakova, who takes care of him, is most shocked by his act.

Mitrofan surpassed his mother, he became even angrier than her. Fonvizin's attitude to his hero is expressed openly, he puts the words into the mouth of Starodum: "Here are worthy fruits of evil-mindedness!"