Fonvizin undersized heroes. Some interesting essays

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"Undergrowth" - a play in five acts, feathered Denis Ivanovich Fonvizin. iconic dramatic work XVIII century and one of the most striking examples of classicism. It entered into school curriculum, was repeatedly staged on the stage, received a screen incarnation, and its lines were dismantled into quotes that today live autonomously from the original source, becoming aphorisms of the Russian language.

Plot: a summary of the play “Undergrowth”

The plot of “Undergrowth” is well known to everyone since school years, however, we still recall summary plays to recall the sequence of events.

The action takes place in the village of Prostakov. Its owners - Mrs. and Mr. Prostakov and their son Mitrofanushka - live a quiet life of provincial nobles. The orphan Sofyushka also lives on the estate, whom the lady sheltered in her house, but, as it turns out, not out of compassion, but because of the inheritance, which she freely disposes of as a self-proclaimed guardian. In the near future, they plan to give Sophia for Prostakova's brother Taras Skotinin.

The lady's plans are shattered when Sophia receives a letter from her uncle Starodum, who was still considered dead. Stradum is alive and well and goes on a date with his niece, and he also reports a fortune of 10 thousand income, which he inherits from his beloved relative. After such news, Prostakova begins to court Sophia, whom she still has little complained about, because now she wants to marry her to her beloved Mitrofan, and leave Skotinin with nothing.

Fortunately, Starodum turned out to be noble and honest man wishing the niece well. Moreover, Sophia already had a betrothed - officer Milon, who had just stopped with his regiment in the village of Prostakov. Starodub knew Milon and gave the young people his blessing.

In desperation, Prostakova tries to organize the abduction of Sophia and forcibly marry her to her son. However, even here the treacherous mistress fails - Milon saves her beloved on the night of the abduction.

Prostakov is generously forgiven and not put on trial, however, her estate, which has long aroused suspicion, is transferred to the state guardian. Everyone is leaving, and even Mitrofanushka leaves her mother, because he does not love her, as, in general, he does not love anyone in the world.

Characteristics of heroes: positive and negative characters

As in any classic work, the characters in "Undergrowth" are clearly divided into positive and negative.

Negative characters:

• Mrs. Prostakova - the mistress of the village;
• Mr. Prostakov - her husband;
• Mitrofanushka - the son of the Prostakovs, undersized;
• Taras Skotinin is the brother of the Prostakovs.

Goodies:

• Sophia is an orphan, lives with the Prostakovs;
• Starodum is her uncle;
• Milon - an officer, Sophia's lover;
• Pravdin is a state official who came to control the affairs in the Prostakov village.

Secondary characters:

• Tsyfirkin - teacher of arithmetic;
• Kuteikin - teacher, former seminarian;
• Vralman - a former coachman, pretends to be a teacher;
• Eremovna is Mitrofan's nanny.

Mrs. Prostakova

Prostakova - the brightest negative character, and indeed the most prominent character in the play. She is the mistress of the village of Prostakovs and it is the lady who, having completely suppressed her weak-willed spouse, establishes the lordly order and makes decisions.

However, she is completely ignorant, devoid of manners, often rude. Prostakova, like other members of the family, cannot read and despises science. Mitrofanushka's mother is engaged in the education only because it is supposed to be so in New World society, but true value does not understand knowledge.

In addition to ignorance, Prostakova is distinguished by cruelty, deceit, hypocrisy, and envy.

The only creature she loves is her son Mitrofanushka. However, the mother's blind, absurd love only spoils the child, turning him into a copy of himself in a man's dress.

Mr. Prostakov

The figurative owner of the Prostakovs' estate. In fact, everything is led by his imperious wife, whom he is madly afraid of and does not dare to say a word. Prostakov has long lost own opinion and dignity. He cannot even say whether the caftan sewn by the tailor Trishka for Mitrofan is good or bad, because he is afraid to say something different from what the lady expects.

Mitrofan

Son of the Prostakovs, undersized. In the family, he is affectionately called Mitrofanushka. And, meanwhile, it's time for this young man to go out into adult life but he has absolutely no idea about it. Mitrofan is spoiled maternal love, he is capricious, cruel to servants and teachers, pompous, lazy. Despite many years of studying with teachers, the young gentleman is hopelessly stupid, he does not show the slightest desire for learning and knowledge.

And the worst thing is that Mitrofanushka is a terrible egoist, nothing matters to him except his own interests. At the end of the play, he easily leaves his mother, who loved him so unrequitedly. Even she is for him empty place.

Skotinin

Brother of Mrs. Prostakova. Narcissistic, limited, ignorant, cruel and greedy. Taras Skotinin has a great passion for pigs, the rest is of little interest to this narrow-minded person. He has no idea of ​​family ties, cordial affection and love. Describing how well it will heal future wife, Skotinin only says that he will give her the best lighter. In his system of coordinates, this is where marital happiness lies.

Sofia

Positive female image of the work. A very well-mannered, kind, meek and compassionate girl. Sophia received a good education She has an inquisitive mind and a thirst for knowledge. Even in the poisonous atmosphere of the Prostakovs' house, the girl does not become like the owners, but continues to lead the lifestyle that she likes - she reads a lot, thinks, is friendly and polite with everyone.

Starodum

Sophia's uncle and guardian. Starodum is the voice of the author in the play. His speeches are very aphoristic, he talks a lot about life, virtues, mind, law, government, modern society, marriage, love and other pressing issues. Starodum is incredibly wise and noble. Despite the fact that he clearly has a negative attitude towards Prostakova and her ilk, Starodum does not allow himself to stoop to rudeness and overt criticism, and as for light sarcasm, his narrow-minded “relatives” cannot recognize him.

Milon

Sophia's beloved officer. The image of a hero-defender, an ideal young man, husband. He is very fair, does not put up with meanness and lies. Milo was brave, and not only in battle, but also in his speeches. He is devoid of vanity and base prudence. All the “suitors” of Sophia spoke only about her condition, but Milon never mentioned that his betrothed was rich. He sincerely loved Sophia even before she had an inheritance, and therefore, in his choice, the young man was by no means guided by the size of the annual income of the bride.

“I don’t want to study, but I want to get married”: the problem of education in the story

The key problem of the work is the theme of provincial noble upbringing and education. Main character Mitrofanushka gets an education only because it is fashionable and "so wound up." In fact, neither he nor his ignorant mother understand the true purpose of knowledge. They should make a person smarter, better, serve him throughout his life and benefit society. Knowledge is hard-earned and can never be forced into someone's head.

home education Mitrofana is a dummy, a fiction, provincial theater. For several years, the unfortunate student did not master either reading or writing. The comic test that Pravdin arranges, Mitrofan fails with a roar, but because of his stupidity he cannot even understand this. He calls the word door an adjective, because they say it is attached to the opening, he confuses science with stories that Vralman tells him in abundance, and Mitrofanushka cannot even pronounce the word “geography” ... too tricky.

To show the grotesqueness of Mitrofan's education, Fonvizin introduces the image of Vralman, who teaches "in French and all the sciences." In fact, Vralman (a surname that speaks!) is not a teacher at all, but a former coachman of Starodum. He easily deceives the ignorant Prostakova and even becomes her favorite, because he professes his own teaching method - not to force the student to do anything by force. With such zeal, as in Mitrofan, the teacher and student are simply idle.

Hand in hand with the acquisition of knowledge and skills goes education. For the most part, Mrs. Prostakova is responsible for it. She methodically imposes her rotten morality on Mitrofan, who (here he is diligent!) perfectly absorbs mother's advice. So, while solving the problem of division, Prostakova advises her son not to share with anyone, but to take everything for himself. Speaking about marriage, mother speaks only of the bride's wealth, never mentioning emotional affection and love. Mitrofan is not familiar with such concepts as courage, courage, valor underage. Despite the fact that he is no longer a baby, he is still taken care of in everything. The boy cannot even stand up for himself during a skirmish with his uncle, he immediately starts calling for his mother, and rushes at the offender with his fists old nanny Eremeevna.

Name meaning: two sides of the coin

The title of the play has a direct and figurative meaning.

The direct meaning of the name
Undergrowth in the old days was called teenagers, young men who had not yet reached the age of majority and had not entered the public service.

The figurative meaning of the name
Undergrowth was also called a fool, an ignoramus, a narrow-minded and uneducated person, regardless of his age. WITH light hand Fonvizin, it is precisely this negative connotation that has become attached to the word in modern Russian.

Every person is reborn from a minor youth into an adult man. This is growing up, the law of nature. However, not everyone turns from a dark undergrowth-half-educated into an educated self-sufficient person. Such transformation requires effort and perseverance.

Place in literature: Russian literature of the XVIII century → Russian dramaturgy XVIII century → Creativity of Denis Ivanovich Fonvizin → 1782 → The play “Undergrowth”.

“Undergrowth” - a play by D. I. Fonvizin. Analysis of the work, main characters

Fonvizin's contemporaries highly appreciated "Undergrowth", he admired them not only with his amazing language, clarity citizenship author, innovation of form and content.

Genre features

By genre, this work is classic comedy, it complies with the requirements of the "three unities" inherent in classicism (place, time, action), the heroes are divided into positive and negative, each of the heroes has his own role ("reasoner", "villain", etc.), however, in it but there are also deviations from the requirements of the classic aesthetics, and serious deviations.So, comedy was only supposed to amuse, it could not be interpreted ambiguously, there could not be ambiguity in it - and if we recall "Undergrowth", then we cannot but admit that, raising the most important social issues of his time in the work, the author resolves them by means, far from comical: for example, in the finale of the work, when, it would seem, “the vice is punished,” the viewer cannot but sympathize with Mrs. Prostakova, who is rudely and cruelly repelled by the ungrateful Mitrofanushka, preoccupied with her own fate: “Yes, get rid of it, mother, as imposed. .." - and the tragic element powerfully invades the comedy, which was unacceptable .. And with the "unity of action" everything is also not so simple in comedy, it has too much storylines, which do not "work" in any way to resolve the main conflict, but create a wide social background that determines the characters actors. Finally, Fonvizin's innovation also affected the language of the comedy "Undergrowth", the speech of the characters is very individualized, it contains both folklorisms, and vernacular, and High style(Starodum, Pravdin), which also violates the classic canons of creation speech characteristics characters. It is possible, summing up, to conclude that Fonvizin's comedy "Undergrowth" became a truly innovative work for its time, the author pushed the boundaries of the aesthetics of classicism, subordinating it to the solution of the task set before him: to angrily ridicule the vices of his contemporary society, to rid him of "malice" capable of destroying both the human soul and public morality.

Image system

Let's analyze the system of images of the comedy "Undergrowth", which, as required by the aesthetics of classicism, represents two directly opposite "camps" - positive and negative characters. Here you can also notice a certain deviation from the canons, it manifests itself in the fact that it carries a duality, it is almost impossible to attribute them purely to positive or purely to negative characters. Let's remember one of Mitrofanushka's teachers - Kuteikin. On the one hand, he suffers humiliation from Mrs. Prostakova and his student, on the other hand, he is not averse, if the opportunity arises, to "grab his piece", for which he is ridiculed. Or "Mitrofan's mother" Eremeevna: she is vilified and humiliated in every possible way by the hostess, she dutifully endures, but, forgetting herself, rushes to protect Mitrofanushka from her uncle, and does this not only out of fear of punishment ...

The image of Prostakova in the comedy "Undergrowth"

As already noted, Fonvizin innovatively portrays his main character- Mrs. Prostakova. Already from the very first scenes of the comedy, we have before us a despot who does not want to reckon with anyone or anything. She rudely imposes her will on everyone, suppresses and humiliates not only the serfs, but also her husband (how can one not recall Mitrofan's "dream in the hand" about how "mother" beats "father"? ..), she tyrannizes Sophia, she wants to force her to marry first his brother Taras Skotinin, and then, when it turns out that Sophia is now a rich bride, - for his son. Being herself an ignorant and uncultured person (with what pride she declares: “Read it yourself! No, madam, I, thanks to God, am not brought up like that. I can receive letters, but I always order another to read them!”), she despises education, although he is trying to teach his son, he does it only because he wants to ensure his future, and what is the cost of Mitrofan's "education" as it is presented in the comedy? True, his mother is convinced: "Believe me, father, that, of course, that is nonsense, which Mitrofanushka does not know" ...

Cunning and resourcefulness are inherent in Mrs. Prostakova, she stubbornly stands her ground and is convinced that "we will take ours" - and is ready to commit a crime, kidnap Sophia and, against her will, marry a man from the "Skotinin family". When she meets a rebuff, she simultaneously tries to beg for forgiveness and promises punishment to those of her people, due to whose mistake the "enterprise" fell through, in which Mitrofanushka is ready to actively support her: "To be taken for people?" Strikingly is the “transformation” of Mrs. Prostakova, who just on her knees humbly begged to forgive her, and, having received a petition, “jumping up from her knees”, promises with fervor: “Well! Now I will give dawn to the canals of my people. "I'll sort it out one by one. Now I'll try to find out who let her out of her hands. No, swindlers! No, thieves! I won't forgive a century, I won't forgive this mockery." How much voluptuousness is in this triple "now", and how truly scary it becomes from her request: "Give me a period of at least three days (Aside) I would let myself know ...".

However, as already noted, there is a certain duality in the image of Prostakova. She deeply and devotedly loves her son, is ready for anything for him. Is she guilty that she compares her love for him with the love of a dog for puppies "Have you heard that a bitch gave out her puppies?"? After all, we must not forget that she is from the Skotinin-Priplodin family, where such semi-animal love was the only possible one, how could she be otherwise? So she disfigures Mitrofan's soul with her blind love, her son pleases her in every possible way, and she is happy that he "loves" her ... Until he throws her away from him, because now he does not need her, and even those people who have just condemned Mrs. Prostakova sympathize with her in her maternal grief ...

The image of Mitrofan

The image of Mitrofan created by Fonvizin is also not quite traditional. "Undergrowth", who likes to be "small", who diligently enjoys his mother's attitude towards himself, is not so simple and stupid as it might seem at first glance. He has learned to use his parents' love for himself for his own benefit, he knows well how to achieve his goal, he is convinced that he has the right to everything he wants. Mitrofanushka's egoism is driving force of his actions, but in the hero there is cruelty (remember his remark about "people"), and resourcefulness (which is worth his reasoning about the "door"), and lordly contempt for people, including his mother, who has him on occasion looking for help and protection. And his attitude to education is so dismissive only because he does not see any real benefit from it. Probably, when he "serves", he - if it is profitable - will change his attitude towards education, potentially he is ready for anything: "According to me, where they are told." Consequently, the image of Mitrofan in the comedy "Undergrowth" also has a certain psychologism, as well as the image of Prostakova, which is Fonvizin's innovative approach to creating negative images who were only supposed to be "villains".

positive imagery

In creating positive images, the playwright is more traditional. Each of them is an expression of a certain idea, and as part of the approval of this idea, an image-character is created. Practically positive images deprived individual traits, these are images-ideas inherent in classicism; Sophia, Milon, Starodum, Pravdin are not living people, but spokesmen for a "certain type of consciousness", they represent an advanced system of views for their time on relations between spouses, social structure, essence human personality and human dignity.

The image of Starodum

At the time of Fonvizin, the image of Starodum in the comedy "Undergrowth" evoked special sympathy among the audience. Already in the very "talking" name of the character, the author emphasized the opposition of the "century this century past": in Starodum they saw a man of the era of Peter I, when "In that century, the courtiers were warriors, but the soldiers were not courtiers" Starodum's thoughts about education, about the ways in which a person can achieve glory and prosperity, about how a sovereign should be a warm response from a significant part of the audience, who shared the advanced convictions of the author of the comedy, while special sympathy for the image of the hero was caused by the fact that he did not just proclaim these advanced ideas - it turned out from the play that he own life proved the correctness and advantage for a person of such behavior. The image of Starodum was the ideological center around which the goodies comedies that opposed the dominance of morality by the Skotinins-Prostakovs.

The image of Pravdin

Pravdin, a state official, embodies the idea of ​​statehood, which protects the interests of education, the people, which seeks to actively change life for the better. Guardianship of the Prostakova estate, which Pravdin appoints by the will of the Empress, inspires hope that the ruler of Russia is able to defend those of her subjects who need this protection most, and the decisiveness with which Pravdin carries out transformations should have convinced the viewer, that the supreme power is interested in improving the life of the people. But how then to understand the words of Starodum in response to Pravdin's call to serve at court: "It is in vain to call a doctor to the sick is incurable"? It is likely that the System was behind Pravdin, which confirmed its unwillingness and inability to carry out real transformations, and Starodum represented himself in the play, individual person, and explained why the image of Starodum was perceived by the audience with much more sympathy than the image of the "ideal official".

Milon and Sophia

The love story of Milon and Sophia is a typically classic love story of two noble heroes, each of whom is distinguished by high moral qualities, which is why their relationship looks so artificial, although, against the background of the "Skotinin" attitude towards the same Sophia ("You are my dear friend! if now, without seeing anything, I have a special peck for each pig, then I’ll find a lighter for my wife”) she really is an example of a high sense of moral, educated, worthy young people, opposed to the “fertility” of negative heroes.

The meaning of the comedy "Undergrowth"

Pushkin called Fonvizin "satires bold ruler", and the comedy "Undergrowth", the analysis of which we conducted, fully confirms this assessment of the writer's work. In it, the author's position of Fonvizin is expressed quite unambiguously, the writer defends the ideas of enlightened absolutism, he does this in the highest degree talented, creating persuasive artistic images, significantly expanding the scope of the aesthetics of classicism, innovatively approaching the plot of the work, creating images-characters, some of which are not just an expression of certain socio-political ideas, but have a pronounced psychological individuality, expresses the inconsistency of human nature. All this explains the great importance of Fonvizin's work and the comedy "Undergrowth" for the Russian literature XVIII century, the success of the work among contemporaries and its significant influence on the subsequent development of Russian drama.

As was customary in classicism, the heroes of the comedy "Undergrowth" are clearly divided into negative and positive. However, the most memorable, vivid are still negative characters, despite their despotism and ignorance: Mrs. Prostakova, her brother Taras Skotinin and Mitrofan himself. They are interesting and ambiguous. It is with them that comic situations are associated, full of humor, bright liveliness of dialogues.

Positive characters do not evoke such vivid emotions, although they are reasoners, reflecting the author's position. Educated, endowed with only positive traits, they are ideal - they cannot do lawlessness, they are alien to lies and cruelty.

Heroes are negative

Mrs. Prostakova

History of upbringing and education Grew up in a family characterized by extreme ignorance. Didn't get any education. Have not learned any since childhood moral rules. There is nothing good in her soul. Serfdom has a strong influence: her position as the sovereign owner of the serfs.

Main character traits Rough, unbridled, ignorant. If it does not meet resistance, it becomes arrogant. But if she encounters force, she becomes cowardly.

Attitude towards other people In relation to people, she is guided by rough calculation, personal gain. Merciless to those who are in her power. She is ready to humiliate herself in front of those on whom she depends, who turns out to be stronger than her.

Attitude towards educationEducation is superfluous: "Without the sciences, people live and lived."

Prostakova, as a landowner, a convinced serf-owner, considers the serfs to be her full property. Always dissatisfied with her serfs. She is outraged even by the illness of a serf girl. She robbed the peasants: “Since we took away everything that the peasants had, we can’t tear anything off. Such a disaster!

Attitude towards relatives and close people Despotic and rude towards her husband, she pushes him around, does not put him in anything.

Attitude towards his son, Mitrofanushka Loves him, is tender to him. Caring for his happiness and well-being is the content of her life. Blind, unreasonable, ugly love for his son brings neither Mitrofan nor Prostakova herself anything good.

Peculiarities of speechAbout Trishka: "Swindler, thief, cattle, thieves' mug, blockhead"; turning to her husband: “Why are you so delusional today, my father?”, “All your life, sir, you walk with your ears hanging out”; addressing Mitrofanushka: “Mitrofanushka, my friend; my friend of the heart; son".

She has no moral concepts: she lacks a sense of duty, philanthropy, feelings human dignity.

Mitrofan

(translated from Greek "revealing his mother")

About upbringing and education Used to idleness, accustomed to hearty and plentiful food, free time spends on the dovecote.

The main character traitsSpoiled " Sissy”, who grew up and developed in the ignorant environment of the feudal local nobility. He is not devoid of cunning and ingenuity by nature, but at the same time rude and capricious.

Attitude towards other people Does not respect other people. Yeremeevna (nanny) calls her an “old bastard”, threatens her with severe reprisals; he does not talk to teachers, but “barks” (as Tsyfirkin puts it).

Attitude towards education Mental development is extremely low, experiencing an insurmountable aversion to work and learning.

Attitude towards relatives close peopleMitrofan does not know love for anyone, even for the closest - to his mother, father, nanny.

Speech features It is expressed in monosyllables, in its language there are many vernaculars, words and phrases borrowed from courtyards. The tone of his speech is capricious, dismissive, sometimes rude.

The name Mitrofanushka has become a household name. This is the name of young people who know nothing and do not want to know anything.

Skotinin - brother of Prostakova

On upbringing and education Grew up in a family that was extremely hostile to education: "Don't be that Skotinin, who wants to learn something."

Main character traits Ignorant, mentally undeveloped, greedy.

Attitude towards other people This is a ferocious feudal lord who knows how to “rip off” quitrent from his serfs, and there are no obstacles for him in this occupation.

The main interest in life is Animal Farm, breeding pigs. Only pigs evoke in him a disposition and warm feelings, only to them he shows warmth and care.

Attitude towards relatives and close people For the sake of the opportunity to marry profitably (he learns about Sophia's condition), he is ready to destroy his rival - his own nephew Mitrofan.

Peculiarities of speech The inexpressive speech of an uneducated person often uses rude expressions, in speech there are words borrowed from courtyards.

This typical representative small landowners-feudal lords with all their shortcomings.

Teacher of Russian and Church Slavonic. The half-educated seminarian "feared the abyss of wisdom." In his own way, cunning, greedy.

A history teacher. German, former coachman. He becomes a teacher, as he failed to find a place as a coachman. An ignorant person who cannot teach his student anything.

The teachers make no effort to teach Mitrofan anything. They more often indulge the laziness of their student. To some extent, they, using the ignorance and lack of education of Mrs. Prostakova, deceive her, realizing that she will not be able to verify the results of their work.

Eremeevna - Mitrofan's nanny

What place does she occupy in the house of Prostakov, her distinctive features She has been serving in the house of the Prostakov-Skotinins for more than 40 years. Selflessly devoted to her masters, slavishly attached to their home.

Attitude towards Mitrofan Protects Mitrofan without sparing himself: “I will die on the spot, but I will not give the child away. Sunsya, sir, just show yourself if you please. I'll scratch those walleyes."

What did Eremeevna become for long years serf service She has a highly developed sense of duty, but no sense of human dignity. There is not only no hatred for their inhuman oppressors, but even no protest. Lives in constant fear, trembles before his mistress.

For her loyalty and devotion, Yeremeevna receives only beatings and hears only such appeals as “a beast”, “a dog's daughter”, “ old witch”, “old bastard”. Eremeevna's fate is tragic, because she will never be appreciated by her masters, she will never receive gratitude for her loyalty.

Heroes are positive

Starodum

About the meaning of the name A person who thinks in the old way, giving preference to the priorities of the previous (Peter's) era, preserving traditions and wisdom, accumulated experience.

Education StarodumEnlightened and advanced man. Brought up in the spirit of Peter's time, the thoughts, customs and activities of the people of that time are closer and more acceptable to him.

The civil position of the hero This is a patriot: for him, an honest and useful service to the Fatherland is the first and sacred duty of a nobleman. Demands to limit the arbitrariness of the feudal landowners: "It is illegal to oppress your own kind by slavery."

Attitude towards other people He regards a person according to his service to the Fatherland, according to the benefits that a person brings in this service: “I calculate the degree of nobility by the number of deeds that the great lord did for the Fatherland ... without noble deeds, a noble state is nothing.”

What qualities are honored as human virtues An ardent defender of humanity and enlightenment.

The hero's reflections on education Moral education attaches more value than education: “The mind, if it is only the mind, is the most trifle ... Good manners gives the direct price to the mind. Without him clever man- monster. Science in a depraved person is a fierce weapon to do evil.

What traits in people cause the hero’s just indignation Inertia, savagery, malevolence, inhumanity.

"Having a heart, have a soul - and you will be a man at all times."

Pravdin, Milon, Sofia

Pravdin An honest, impeccable official. The auditor, endowed with the right to take custody of the cruel landlords of the estate.

Milon An officer loyal to his duty, patriotically disposed.

Sofia An educated, modest, prudent girl. Raised in a spirit of respect and respect for elders.

The purpose of these heroes in the comedy, on the one hand, is to prove the correctness of Starodum's views, and on the other hand, to set off the malevolence and ignorance of such landowners as the Prostakovs-Skotinins.

Three centuries ago, the genius of satire created his famous comedy "Undergrowth". This classic text was written at a time when the Russian state lived according to the laws introduced by Peter 1. The tsar's decree was that uneducated youths under the age of 21 could not serve either the army or the state, or create their own family. Such undereducated people were called "underage". This term was used by Denis Ivanovich Fonvizin for the title of his text.

The main character of Fonvizin is an undersized named Mitrofan. He is about 16 years old and he is stupid, lazy, greedy and cruel. He is quite mature and independent by age, but behaves like a capricious child. He causes laughter in the reader and at the same time is a negative character.

Based on the foregoing, we turn to detailed analysis this literary hero.

Looking at the system of characters in the play, it is easy to see that the image of Mitrofanushka is closely interconnected with other characters. This relationship is based on solving the problem of upbringing and education.

Let's turn to Mitrofan's parents. His mother is a selfish, ill-mannered woman; in one word - ignorant.

In accordance with her warehouse, she brings up her son and, as a result, receives the one whom the people call "mama's boy." He completely copies her behavior and attitude towards others: he is cruel, prudent, mercantile. Denis Ivanovich reveals this especially clearly in the finale of the work, when Mitrofan leaves his mother for nothing for the sake of money and power.

It is also worth considering what is the influence of the father on Mitrofan. Father, in fact, no one in own family. It is these qualities that Mitrofanushka copies. As they say, you reap what you sow.

Mitrofan's uncle, Skotinin, is the one Mitrofanushka will turn into when he becomes an adult.

For him, pigs are better than human society.

Fonvizin not only reveals the vices of Mitrofanushka's upbringing. An important role is played by its education, or rather the process of obtaining it. Mother hires teachers for her beloved son. But these people are accidental in pedagogy, one is a retired sergeant, the other is a dropout, the third is a former groom. What can such teachers teach?

In contrast to such unfortunate teachers, the image of Starodum is introduced, through whose remarks and monologues the ignorance of both the son and mother of the Prostakovs, as well as the “nearness” of teachers, is revealed and condemned.

Denis Ivanovich shows such a learning process consciously. He doesn't fantasize at all. Such a turn of events took place in Russia in the 18th century.

Why is Mitrofan one of the main characters? Let's try to figure it out.

In general, this character is opposed to Sophia. He is stupid and she is smart. He is uneducated, and she is brilliantly educated.

Why such an arrangement of actors? The answer is obvious. It was just that for Russia of that period it was the norm that the young offspring of the nobles were mentally and morally behind the times. They lived by the old laws.

Thus, the image of Mitrofanushka is collective. It combined stupidity, greed, passivity and infantilism. This is a symbol of how the likeness of a person who has forgotten about eternal values ​​can be formed.

Characteristics of Mitrofan in the comedy Undergrowth

The key figure of the comedy is the son of the Prostakovs - Mitrofan. He is a "undergrowth" - a young man who has not received an education. At that time, the decree of Peter I introduced compulsory education for noble children. For greater motivation for the implementation of the decree, without obtaining a written certificate of education, young people were forbidden to marry. If you want to get married - gnaw on the granite of science. Our protagonist also faced such an obstacle.

Mitrofanushka became a victim of the excessive love and ignorance of his mother, Mrs. Prostakova. Growing up in an atmosphere of permissiveness, he became selfish and cruel. Disrespect for others, unwillingness to learn, deceit, stupidity - these are his main qualities. He is cunning, manipulates his mother with might and main, flatters her for his own benefit, puts pressure on pity.

Maybe Mitrofan could have learned at least something, but he listens to his mother and the German Vralman, that science is useless and dangerous for him, and you need to study only for the sake of appearance. He despises the rest of his teachers Tsyfirkin and Kuteikin.

Mitrofanushka treats her nurse Eremeevna in a terrible way. He calls her an "old bastard" and threatens to complain to her mother to punish her.

Mitrofan is cowardly. When there is a skirmish with Skotinin, he hides behind Eremeevna's back, and then complains to Prostakova that his uncle threatened to kill him, and that it would be better if he himself goes into the river and drowns himself.

At the end of the play, when Pravdin takes away the estate from the Prostakovs, Mitrofan's real attitude towards his mother is visible. After his mother was deprived of power, he has nothing more to do there and he agrees to go to serve.

Composition The image and characteristics of Mitrofan in Griboyedov's comedy

Mitrofan is one of the main characters in Fonvizin's play "Undergrowth". Due to the classicist direction of the work, the play has a clear division of characters into positive and negative. Mitrofan is a negative character, along with his parents, the Prostakovs, and Skotinin, his mother's brother, respectively, his uncle.

In addition, in classicism it is customary to use speaking surnames for the characters, in order to expose their vices. The name "Mitrofan" in Greek means "given by the mother", "representing the mother." His name once again confirms the fact that the character's mother, Mrs. Prostakova, did not have the right influence on her son, or rather, made him a hostage to her own goals and desires. Therefore, Mitrofan is the fruit of the improper upbringing of Prostakova's own son. Mitrofan's surname is Prostakov (from the word "simple", in the time of Fonvizin - this word also had the meaning of "empty"), which characterizes this family as well as possible as people without spiritual and higher values ​​​​and goals.

Mitrofan is a selfish and spoiled young man who is incapable of feelings of love for his mother and for anyone else. He well feels the power of his mother in the house over the servants and his own father, while he knows that his mother loves him without memory and is ready to do everything for him, so he allows himself to curry favor with her, but this is only as long as Prostakova herself has some meaning in own house. This once again proves that Mitrofan is a cunning character who does not have to pretend to get what he wants.

All of it life goals and landmarks are aimed at satisfying their physical needs (whether it be sleep, food, walks on the dovecote). As for learning or simply developing spiritual qualities, here Mitrofan appears as a real ignoramus, who cannot be not only taught to understand highest values life, but also just teach the basics of grammar and arithmetic.

With all this, Mitrofan is a static character who does not develop in any way throughout the work, but also does not have an independent field of action. He is forced to marry - he agrees, why not. The same is with absolutely everything that happens in the plot of the work. At the same time, Mitrofan remains only an indirect cause of all conflicts, without taking part in them himself.

The meaning of the title of the work also refers to Mitrofan. He is undersized, and in several meanings of the word at once. Firstly, he is an undergrowth intellectually: in all those subjects that are taught to Mitrofan, he is a complete layman, and he cannot even distinguish a noun from an adjective. Secondly, he is a moral undergrowth: he does not put the feelings of other people (especially his own mother) in anything. Thirdly, he is an undergrowth in the social (civilian) sense: Mitrofan in literally did not grow up to enter the civil service (in the time of Peter I, young men under 15 years of age did not have the right to serve the fatherland, which is why they were called “undergrowths”). Of course, in the time of Fonvizin, the word "undergrowth" had only direct meaning, but after the release of his play, in which this concept becomes a metaphor for satire and ridicule, the figurative meaning enters into the everyday life of people's speech.

Thus, Mitrofan is the result of the wrong upbringing of his mother. Who knows what might have come of him if his mother herself had had a good upbringing. What can Mitrofan be taught by a woman who herself has never learned anything, and who does not have at least some rudiments of morality in her soul?

I really liked Paustovsky's story with a beautiful title " warm bread". It looks like a fairy tale, and a parable, and a story from life. The story is very instructive. We all know, they say, bread is the head of everything. And it’s also clear that you can’t laugh at the pain

The original idea of ​​​​Fonvizin's comedy "Undergrowth" was to reveal the topic of education, which was very relevant in the Enlightenment, a little later socio-political issues were added to the work. The name of the play is directly related to the decree of Peter the Great, which banned the opportunity to serve and marry young uneducated underage nobles.

History of creation

The first manuscript sketches of The Undergrowth date from around 1770. To write the play, Fonvizin had to rework many works with the corresponding ideological content - the works of Russian and foreign contemporary writers(Voltaire, Rousseau, Lukin, Chulkov, etc.), articles from satirical magazines and even comedies written by Empress Catherine II herself. The work on the text was completed in 1781. A year later, after some obstacles from censorship, the first production of the play took place, and Fonvizin himself was the director, and the first publication of the play took place in 1773.

Description of the artwork

Action 1

The scene begins with a stormy discussion of a caftan sewn for Mitrofanushka. Mrs. Prostakova scolds her tailor Trishka and Prostakov supports her in an effort to punish the negligent servant. The situation is saved by the appearance of Skotinin, he justifies the unfortunate tailor. This is followed by a comical scene with Mitrofanushka - he manifests himself as an infantile young man, who also loves to eat tightly.

Skotinin discusses with the Prostakov couple the prospects for his marriage to Sofyushka. The only relative of the girl, Starodum, unexpectedly sends news of Sophia's acquisition of an impressive inheritance. Now the young lady has no end to the suitors - now the "minor" Mitrofan appears in the list of candidates for husbands.

Action 2

Among the soldiers who stopped in the village by chance is Sofyushka's fiancé - officer Milon. He turns out to be a good friend of Pravdin, an official who came to deal with the lawlessness that is happening on the Prostakov estate. At a chance meeting with her beloved, Milon learns about Prostakova's plans to arrange the fate of her son by marrying a now wealthy girl. This is followed by a quarrel between Skotinin and Mitrofan because of the future bride. Teachers appear - Kuteikin and Tsyfirkin, they share with Pravdin the details of their appearance in the Prostakovs' house.

Action 3

Arrival of the Starodum. Pravdin first meets Sophia's relative and reports to him about the atrocities happening in the Prostakovs' house in relation to the girl. The entire host family and Skotinin greet Starodum with hypocritical joy. Uncle plans to take Sofyushka to Moscow and marry her off. The girl submits to the will of her relative, not knowing that he chose Milon as her husband. Prostakova begins to praise Mitrofanushka as a diligent student. After everyone has dispersed, the remaining teachers Tsyfirkin and Kuteikin discuss the laziness and mediocrity of their undergrowth student. At the same time, they accuse the rogue, the former stableman of Starodum, Vralman, of hindering the learning process of the already stupid Mitrofanushka with his dense ignorance.

Action 4

Starodum and Sofyushka are talking about high moral principles and about family values- genuine love between spouses. After a conversation with Milon, making sure of the high moral qualities young man, uncle blesses niece for marriage with her lover. What follows is a comical scene in which the unfortunate suitors Mitrofanushka and Skotinin are shown in a very unfavorable light. Upon learning of the departure happy couple, the Prostakov family decides to intercept Sophia on the road.

Action 5

Starodum and Pravdin have pious conversations, having heard a noise, they interrupt the conversation and soon learn about the attempted kidnapping of the bride. Pravdin accuses the Prostakovs of this atrocity and threatens them with punishment. Prostakova on her knees begs for forgiveness from Sophia, but as soon as she receives it, she immediately accuses the servants of sluggishness in kidnapping the girl. A government paper arrives, announcing the transfer of all the property of the Prostakovs under the custody of Pravdin. The scene of paying debts to teachers ends with a fair denouement - Vralman's deceit is revealed, the modest hard worker Tsyfirkin is generously endowed, and the ignoramus Kuteikin is left with nothing. The happy young people and Starodum are getting ready to leave. Mitrofanushka heeds Pravdin's advice to join the army.

Main characters

Considering the images of the main characters, it is worth noting that the speaking names of the characters in the play express the one-line nature of their character and leave no doubt about the author's moral assessment of the characters in the comedy.

The sovereign mistress of the estate, a despotic and ignorant woman, who believes that all matters, without exception, can be solved with the help of force, money or deceit.

His image is the focus of stupidity and ignorance. He has a striking lack of will and unwillingness to make decisions himself. Undergrowth Mitrofanushka was named not only because of his age, but also because of his total ignorance and low level moral and civic education.

A kind, sympathetic girl who received a good education, possessing high level internal culture. Lives with the Prostakovs after the death of his parents. With all her heart she is devoted to her fiancé - officer Milon.

A person personifying the truth of life and the word of the law. As a government official, he is on the Prostakovs' estate in order to sort out the lawlessness that is happening there, in particular, the unfair abuse with servants.

Sophia's only relative, her uncle and guardian. A successful man who managed to realize his high moral principles.

Sophia's beloved and long-awaited fiance. Brave and honest, different high virtue young officer.

A narrow-minded, greedy, uneducated person, who does not disdain anything for the sake of profit and is distinguished by deceit and hypocrisy to a high degree.

Analysis of the work

Fonvizin's "Undergrowth" is a classic comedy in 5 acts, all three unities are strictly observed in it - the unity of time, place and action.

The solution to the problem of education is the central moment of the dramatic action of this satirical play. The accusatory sarcastic scene of Mitrofanushka's exam is a true culmination in the development of an educational theme. In Fonvizin's comedy, two worlds collide - each of them with different ideals and needs, with different styles life and speech dialects. The author innovatively shows the landowner's life of that time, the relationship between the owners and ordinary peasant people. Complex psychological characteristic heroes gave impetus to the subsequent development of Russian household comedy as a theatrical and literary genre of the era of classicism.

Final conclusion

Fonvizin's comedy has become unique for contemporaries landmark work. In the play there is a vivid opposition of high moral principles, real education and laziness, ignorance and willfulness. In the socio-political comedy "Undergrowth" three themes rise to the surface:

• the theme of education and upbringing;
• the theme of serfdom;
• the theme of the condemnation of despotic autocratic power.

The purpose of writing this brilliant work is clear - the eradication of ignorance, the education of virtues, the fight against vices that struck Russian society and the state.