The comedy "Undergrowth" was written by D.I. Fonvizin in 1782. But, despite the past 200 years and social changes, it continues to be staged in theaters and is of interest to the viewer and reader. Comedy is interesting with bright characters, which, oddly enough, are still found in our time. The main problem of the work is the level of education of young nobles.
The main characters of the comedy "Undergrowth":
Prostakov - typical henpecked, not wanting to think with his head. All housekeeping was entrusted to his wife. Humble as a calf. Prostakov in his house does not have the right to vote.
G - Mrs. Prostakova - cunning, prudent landowner. She ruined her peasants to the last thread, and is crying that there is nothing more to take. Upon learning that Sophia had become a rich heiress, she set out to marry her lazybones to Sophia. Rude and scandalous. No one lives from her. But she is cunning and flattering to those from whom she expects benefits. Capable of low deeds. Denies the need for education, which speaks of her narrow mind.
Mitrofan- the son of the Prostakovs, undersized. Cunning, knows how to sweeten his mother. Illiterate lazy and lazy. In those days, underage children were called noble children who did not receive a written certificate from teachers about their education. Undergrowths were not allowed to public service, they were not given the so-called. coronal memories - papers that allowed marriage.
Pravdin - an official sent by the governor to take custody of the estate and villages of the Prostakovs. Honest and decent official.
Starodum - Sophia's uncle The man is straightforward, decent. In his youth, he participated in battles, served at court, but seeing how some are ready to curry favor, build intrigues in order to rise in the eyes of the most august persons, Starodum left the service at court, as he admits, “brought home intact, my soul, my honor, my rules." In his conversations, he advocates the education of young nobles.
Sophia - Starodum's niece, a modest, educated girl. Loves Milo.
Milon - officer, nobleman, loves Sophia, is respected by colleagues.
Skotinin - the landowner robs his peasants to the last. He is going to marry Sofya, but he does not love the girl, but the pigs that the peasants raise in Sophia's villages. To match him and the surname. The person is uneducated, rude.
Kuteikin - teaches Mitrofan literature. A rogue and a swindler.
Tsyfirkin - teaches mathematics. Refusing Mitrofan's tuition fee, Tsyfirkin behaved like a decent person.
Vralman - German, French teacher. Versatile surname. With her, Fonvizin tries to emphasize the deceitful nature of the German, who, receiving 300 rubles a year, does not teach Mitrofan anything himself, and interferes with others. Once Vralman accidentally let slip that he was a coachman in St. Petersburg. And indeed, his master was once Starodum. Leaving the Prostakovs, he took the German again as a coachman.
Eremeevna- Prostakov's serf, Mitrofan's nanny. She treats the undergrowth as if she were her own, and is ready to stand up for him. All orders Prostakova executes implicitly.
Almost all the names of the heroes of the work in one way or another characterize their owners:
- Pravdin personifies honesty;
- Starodum - a conservative outlook on life;
- Vralman - deceit.
- Kuteikin - a penchant for spree and an easy life
True, Mrs. Prostakova is not as simple as her dull-witted hubby and undersized Mitrofan.
Prostakova tried to quietly steal Sophia in order to secretly marry her to Mitrofan. But Sophia raised a fuss, and Milon came to her aid first, followed by Starodum and Pravdin. Prostakova realized that the complaint of Starodum and Sophia could end badly for her, begged for forgiveness. As soon as Sophia forgave her, she began to threaten her people. Then Pravdin read to her and her husband a document on guardianship, which in fact deprived her of any power over the estate and the peasants. In Fonvizin's comedy, the thought of the greatness and mind of the Sovereign Emperor runs like a red thread.
Fonvizin's contemporaries highly valued "Undergrowth", he delighted them not only with his amazing language, clarity of the author's civic position, innovation of form and content.
Genre features
By genre, this work is a 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 ("resonator", "villain", etc.). however, it also contains 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 imperiously invades the comedy, which was unacceptable .. Yes, and with the "unity of action" everything is also not so simple in comedy, it has too many storylines that do not "work" in any way to resolve the main conflict , but they create a broad social background that determines the characters of the characters. Finally, Fonvizin's innovation also affected the language of the comedy "Undergrowth", the characters' speech is very individualized, it contains folklorisms, vernacular, and high style (Starodum, Pravdin), which also violates the classic canons of creating characters' speech characteristics. 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 for 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 us 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 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" Yeremeevna: 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 someone else 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 oversight the "enterprise" fell through, in which Mitrofanushka is ready to actively support her: "To be taken for people?" The “transformation” of Mrs. Prostakova is striking, 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 takes advantage of 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 the driving force behind his actions, but the hero also has cruelty (remember his remark about "people"), and resourcefulness (which is worth his reasoning about the "door"), and lordly contempt for people, including his mother, from whom he seeks help and protection on occasion. 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 that were supposed to be only "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 are devoid of individual features, 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, the essence of the 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 "speaking" name of the character, the author emphasized the opposition of "the current century to the past century": in Starodum they saw a person of the era of Peter I, when "In that century, the courtiers were warriors, but the warriors were not courtiers" Starodum's thoughts about education, about the ways in which a person can achieve fame and prosperity, about how a sovereign should be evoked a warm response from a significant part of the audience, who shared the advanced convictions of the author of the comedy, while the fact that he not only proclaimed these advanced ideas caused special sympathy for the image of the hero - according to the play it turned out that with his own life he proved the correctness and advantageousness of such behavior for a person. The image of Starodum was the ideological center around which the positive heroes of the comedy united, who 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, an individual, 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 "a bold ruler of satire", and the comedy "Undergrowth", which we analyzed, 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 it extremely talentedly, creating convincing artistic images, significantly expanding the scope of the aesthetics of classicism, innovatively approaching the plot of the work, to creating images-characters, some of which are not simply represents the expression of certain socio-political ideas, but has 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 Russian literature of the 18th 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. I did not learn any moral rules from childhood. 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 complete 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, a sense of human dignity.
Mitrofan
(translated from Greek "revealing his mother")
About upbringing and education I am accustomed to idleness, accustomed to hearty and plentiful food, spends free time on the dovecote.
The main character traits A spoiled "sissy", who grew up and developed in an ignorant environment of the feudal landed 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 is a typical representative of 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 Eremeevna has become over the long years of 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”, “an old witch”, “an 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 StarodumAn enlightened and progressive person. 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 hero's civic position 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 master 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 it, a smart person is a 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.
”, is one of the first-class works of Russian literature. The playwright portrayed in it, firstly, the ignorant ancient upbringing of noble children; secondly, the arbitrariness of the landlords, their inhuman treatment of the serfs.
About the main characters of the play Mrs. Prostakova and her son Mitrofanushka , you can read in the articles specially dedicated to them on our site: Characteristics of Mrs. Prostakova in Fonvizin's "Undergrowth" and Characteristics of Mitrofan in Fonvizin's "Undergrowth". Next, we will outline the other characters in the play.
Heroes of "Undergrowth" Fonvizin
Prostakova's husband , Mitrofan's father, is a timid and weak-willed man, so downtrodden and intimidated by his wife that he has neither his own desires nor his own opinions. "With your eyes," he says to his wife, "mine see nothing."
Skotinin, brother of Prostakova , is a comic face. He is depicted a little caricatured with his exaggerated passion for pigs, which he himself ingenuously explains as follows: “People are clever in front of me, but among pigs I myself am the smartest of all.” He received the same upbringing as his sister, and is just as rude as she is: he treats pigs "unbelievably better than people"; but in his whole figure there is a kind of comic good nature, which, however, comes from extraordinary stupidity. His name, as well as the names of other characters, were chosen by Fonvizin in accordance with the properties of their characters or occupations.
Fonvizin. Undergrowth. Performance of the Maly Theater
With a few strokes, but very vividly, the teacher Mitrofan, the retired sergeant Tsyfirkin and the seminarian Kuteikin are depicted. Tsyfirkin teaches Mitrofan arithmetic, as hinted at by his name; this is an honest old soldier. Kuteikin says that he left the seminary without completing the course: "fearing the abyss of wisdom." He is a completely ignorant person; the only thing he had left from his stay in the seminary was the manner in which he often used Church Slavonic expressions; moreover, Kuteikin is greedy and greedy, “an insatiable soul,” as Prostakova characterizes him.
The name of another teacher is German Vralman- very well composed of the Russian word "liar" and the German "mann" (man). In the person of Vralman, Fonvizin shows what kind of foreign teachers in those days taught noble children "all the sciences." Vralman was a coachman for a long time: having lost his place, he became a teacher, only in order not to die of hunger. In the house of the Prostakovs, he, as a foreigner, is given special honor and preference over other teachers. He receives a salary of three hundred rubles a year, while the honest Tsyfirkin should receive only ten. Prostakova lists all the benefits that Vralman receives from them in the house: “we sit at the table with us; our women wash his linen; where necessary - a horse; at the table - a glass of wine; at night - a tallow candle. Prostakova is pleased with the German: "he does not captivate a child." The cunning Vralman found a wonderful way to please the mistress, while at the same time hiding his ignorance: not only does he not teach Mitrofanushka anything, but he also prevents other teachers from studying with him, indulging Mitrofan's laziness, praising him in every possible way in front of his adoring mother.
in the face Eremeevna, Mitrofan's "mother", Fonvizin for the first time portrayed the type of an infinitely devoted, selfless serf servant, who was reflected in Russian literature in several images, male and female. Savelyich, in The Captain's Daughter by Pushkin, Evseich, in Aksakov's Childhood of Bagrov-grandson, Natalya Savishna - in Leo Tolstoy's Childhood and Adolescence. In life, this type is known to everyone in the person of Pushkin's nanny, Arina Rodionovna. Yes, how many of us have a dear, beloved face associated with the name "nanny" ... It is surprising that this very type is found only in Russian literature, among the Russian people!
But unlike other heroes and heroines of Russian writers similar to her, Eremeevna is a completely unhappy, unappreciated creature: it’s not for nothing that she serves in the Prostakovs’ house! For her faithful forty years of service and love, she receives only insults, abuse and beatings. "I'm not zealous for you, mother?" in tears, she says to Prostakova, “you don’t know how to serve anymore ... I would be glad not only that ... you don’t feel sorry for your stomach ... but everything is objectionable.” Tsyfirkin and Kuteikin ask her how much she gets for her service? - "Five rubles a year, and five slaps a day," Yeremeevna answers sadly. Even her pet, Mitrofanushka, is rude and insults her.
This article provides an analysis of the comedy play "Undergrowth", gives a brief summary of the work and features of the characters.
The comedy was written by Denis Ivanovich Fonvizin in 1781.
There are only five acts in the work. Due to the fact that the play was written more than 200 years ago, and the style of the Russian language has changed quite a lot since then, not everyone will be able to read the work in the original.
The main characters of the comedy and their characteristics
Since "Undergrowth" is not a story or novel, but a play, the characters here are the key bearers of the author's ideas.
The main characters are divided into pairs with similar social roles, but opposed to each other.
Children:
- Mitrofan is the main character and undersized. A young representative of the nobility, sixteen years old. Spoiled, weak-willed and irresponsible (note: Undergrowth: a young underage nobleman who did not enter the civil service);
- Sophia is the opposite of Mitrofan. Educated and serious girl. An orphan who lives in the care of the Prostakovs. White crow in the family.
Educators:
- Mrs. Prostakova is the mother of the protagonist. Uneducated and cunning, ready for anything for the sake of profit. On the one hand - a contemptuous fury, on the other - a loving and caring mother. In the work he appears as a “translator” of false and obsolete values;
- Starodum is Sophia's uncle. Authoritative and strong personality. Seriously treats his niece, instructs her and gives advice. In the work he is an example of a good parent and educator. Basic principles of life: a fair state system, full-fledged education of the mind, honor and heart (with the heart in the first place), the main principle of education is one's own positive example.
Owners:
- Prostakov is the father of the protagonist. A weak-willed and passive person. In the play, he appears as the embodiment of a people who are dissatisfied with the orders of the old nobility, but because of fear of him, they behave quietly;
- Pravdin is an official, the embodiment of the law and one of the positive characters.
Grooms:
- Skotinin is Prostakova's brother and Sophia's fiancé, whose only goal is the girl's benefit and dowry. The embodiment of outdated concepts of marriage and family;
- Milon is Sophia's fiancé and her childhood friend. Really loves the girl. The embodiment of new ideas in the areas of family and marriage.
Minor characters
Secondary characters - teacher Mitrofan:
- Eremeevna - Mitrofan's nanny. Devotedly serves the family, despite the humiliation. The embodiment of the image of serfs;
- Tsyfirkin is a mathematics teacher. An honest and hardworking man, a retired military man;
- Kuteikin is a teacher of Russian and Church Slavonic who left the seminary. Satire on poorly educated priests;
- Vralman is a teacher of secular manners. A simple coachman posing as a German.
Brief retelling of the comedy "Undergrowth"
Act one
The Prostakov Manor and the surrounding countryside is the area where the action of The Undergrowth takes place.
The hostess of the family reprimands the servant for the fact that he sewed a caftan for her son Mitrofanushka of poor quality. Her husband supports her.
The Prostakovs are discussing with Skotinin that they want to pass off Sophia as the last.
Sofya says that a letter has come from her uncle Starodum, who has not heard from him for a long time. No one believes her, but when the girl offers to read the letter, it turns out that those present are not literate.
The letter is voiced by Pravdin, who has come in. It states that Starodum bequeathed 10,000 rubles to his niece. The mistress of the house fawns over the girl, wanting to marry Mitrofan to her.
Action two
Officer Milon arrives in the village and meets here an old friend of Pravdin, an official. He says that he has heard about the "evil ignoramuses" and the Prostakovs who mistreat the servants.
Sophia appears. She and Milon rejoice at the meeting. This is followed by Sophia's story that they want to marry her off as Mitrofan. However, Skotinin, passing by them, immediately speaks of his plans to marry a girl.
A conflict is brewing between the three "suitors", but his nanny Eremeevna stands up for Mitrofanushka.
Act Three
Starodum arrives with the aim of "freeing" Sophia from the "ignoramuses". He wants to pass her off as one "worthy person". This news upsets everyone, but after Starodum says that marriage completely depends on the will of Sophia herself.
Prostakova continues to praise her son, while his teachers, meanwhile, complain about his laziness and poor progress. That is why Prostakova persuades her son to study for the sake of appearance - in order to please Uncle Sophia and thereby obtain consent to marriage. However, Mitrofan declares that he does not want to study, but to marry.
act four
Milon's uncle, Count Chesten, sends a letter to Starodum about his desire to marry him to Sophia. And Starodum agrees to the marriage. The couple is happy. Having learned about the wedding, Prostakova takes active steps and tries to interfere with what was planned, hoping to pass off the young heiress to Mitrofan.
Act Five
While Starodum is talking with Pravdin, who was instructed to take care of the Prostakovs' estate and their village at the slightest threat, Prostakov's servants lead the resisting Sophia to the carriage to take Mitrofan to marry.
Milon frees his beloved, and Pravdin takes the estate and the village under his supervision.
Power completely passes to Pravdin, Mitrofan's teachers are dismissed, Skotinin leaves the village. Uncle and Milon with Sophia are preparing to leave.
Prostakova hugs her son and complains that he is the only one she has left. However, he is rude to her and the mother loses consciousness. Pravdin wants to send the undergrowth to the service.
Idioms
Phrases that can be written in the reader's diary:
- “All fault is to blame” and “Ends in the water” (Skotinin);
- “Don’t do business, don’t run away from business” and “The dog barks, the wind carries” (Tsyfirkin);
- “Live a century, learn a century” (Prostakova);
- “Small souls are found in the big world” (Starodum);
- “Guilty Without Guilt” and “Dream in the Hand” (Prostakov);
- “I overate henbane” and “I don’t want to study, but I want to get married” (Mitrofan).
Analysis of the work of Fonvizin
Since the abstract does not give a complete picture, for the analysis you should familiarize yourself with the key points.
History of creation
The play was born after Fonvizin's long public service, because of which he did not turn to dramaturgy for a long time.
The first drafts of the work appeared in the 1770s and were closer to the writer's last play, The Brigadier. The first version of the main character's name is Ivanushka.
The date of publication of the final version of the book is 1781.
The very same play made a splash in the theater. However, due to the topicality of the topic, the reviews of those who watched were contradictory.
main topic
The key theme is the upbringing and formation of the new nobility. Fonvizin illuminates it by contrasting characters with outdated feudal views (all negative characters), with heroes who carry educational ideas (positive characters).
The problem of the phenomenon of "lack of spirituality" can be traced not only in the characters' surnames, but also in the relationship between parents and children.
Issues
There are two main problems:
- Decay of the nobility. With the words of Starodum, the writer denounces moral decline and tries to find its causes. It is no coincidence that at the end he says: “Here are worthy fruits of evil-mindedness!”. Fonvizin blames the unlimited power of the landlords and the lack of positive examples from representatives of the highest authorities.
- Upbringing. Thinkers of that time saw education as a key factor influencing a person's morality. The plot is based on this. Fonvizin saw in the transfer of the right values to the next generation a reliable way to strengthen politics and build a strong, developed nobility.
Thus, the comedy "Undergrowth" is a typical representative of classicism, exposing the mores of the society of that time. Nowadays, the work is studied in schools, starting from the 8th grade, as well as by students of philological and pedagogical universities.
Based on the play in the 18th century, performances were repeatedly staged, the success of which, like the work itself, was enormous. In the 20th century, in 1987, director Grigory Roshal made the film "Lord Skotinina" based on the work.
