Characteristics of the main characters in the story are undersized. Fonvizin, "Undergrowth": analysis of the work, characterization of the 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 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 create a broad 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 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 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, that's why their relationship looks so artificial, although, against the background of the "Skotininsky" attitude towards the same Sofya ("You are my dear friend! if I now, without seeing anything, have a special peck for each pig, then I will find a light for my wife") she and in fact 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 inconsistency 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.

Denis Fonvizin's immortal comedy "Undergrowth" is outstanding work Russian literature of the 18th century. Bold satire and truthfully described reality are the main components of the skill of this writer. Centuries later, every now and then modern society heated debates emerge about the main character of the play, Mitrofanushka. Who is he: a victim of improper upbringing or a prime example moral decay of society?

The comedy "The Brigadier" written by Fonvizin, which had a stunning success in St. Petersburg, became the basis of one of the greatest world literary monuments. After its publication, the writer did not return to dramaturgy for more than ten years, more and more public affairs and tasks. However, the idea of ​​creating a new book excited the author's imagination. Let's not hide the fact that, according to scientists, the first note related to the "Undergrowth" was started back in the 1770s, long before its publication.

After a trip to France in 1778. the playwright had an exact plan for writing the future work. Interesting fact- Mitrofanushka was originally Ivanushka, which by itself spoke of the similarity of the two comedies (Ivan was a character in The Brigadier). In 1781 the play was completed. Of course, a production of this type meant lighting one of the most problematic issues nobility of the time. However, despite the risk, Fonvizin became the direct "instigator" of the literary revolution. The premiere was postponed due to the empress's dislike for any satire, but it nevertheless took place on September 24, 1782.

Genre of the work

COMEDY is a type of drama in which a moment of effective conflict is specifically resolved. It has a number of features:

1. does not entail the death of one representative from the warring parties;
2. aimed at "nothing carrying" goals;
3. The story is lively and vivid.

Also in the work of Fonvizin, a satirical orientation is obvious. This means that the author set himself the task of ridiculing social vices. This is an attempt to disguise life problems behind a smile.

"Undergrowth" is a work built according to the laws of classicism. One storyline, one place of action, and all events take place within a day. However, this concept is also consistent with realism, as evidenced by individual objects and places of action. In addition, the characters very much resemble real landowners from the hinterland, ridiculed and condemned by the playwright. Fonvizin added something new to classicism - merciless and sharp humor.

What is the piece about?

The plot of Denis Fonvizin's comedy "Undergrowth" revolves around a family of landowners, which is completely mired in immorality and tyranny. Children became like rude and limited parents, from which their idea of ​​morality suffered. Sixteen-year-old Mitrofanushka is struggling to finish his studies, but he lacks the desire and ability. The mother looks at it through her sleeves, she does not care if her son develops. She prefers everything to remain as it is, any progress is alien to her.

The Prostakovs “sheltered” a distant relative, the orphan Sophia, who differs from the whole family not only in her outlook on life, but also in her good manners. Sophia is the heiress big estate, "looks" at which Mitrofanushka's uncle, Skotinin, who is a great hunter. Marriage is the only affordable way take over Sophia's household, so the relatives surrounding her are trying to persuade her to a profitable marriage.

Starodum - Sophia's uncle, sends a letter to his niece. Prostakova is terribly unhappy with such a "trick" of a relative who was considered dead in Siberia. The deceit and arrogance inherent in her nature is manifested in the accusation of a "fraudulent" letter, allegedly "amorous". Illiterate landowners will soon find out the true content of the message, resorting to the help of the guest Pravdin. He reveals to the whole family the truth about the left Siberian inheritance, which gives as much as ten thousand annual income.

It was then that Prostakova came up with an idea - to marry Sophia to Mitrofanushka in order to appropriate the inheritance for herself. However, officer Milon "breaks into" her plans, walking through the village with soldiers. He met with an old friend, Pravdin, who, as it turned out, was a member of the governor's board. His plans include watching the landowners mistreating their people.

Milon talks about his long-standing love for a sweet lady who was transported to an unknown place due to the death of a relative. Suddenly he meets Sophia - she is the same girl. The heroine talks about her future marriage with the undersized Mitrofanushka, from which the groom “flashes” like a spark, but then gradually “weakens” with a detailed story about the “betrothed”.

Sophia's uncle arrived. Having met Milon, he accepts Sophia's choice, while inquiring about the "correctness" of her decision. At the same time, the Prostakovs' estate was transferred to state custody due to abuse with the peasants. Looking for support, the mother hugs Mitrofanushka. But the Son did not intend to be courteous and polite, he is rude, which makes the venerable matron faint. Waking up, she wails: "I died completely." And Starodum, pointing at her, says, “Here are the wickedness worthy fruits!».

Main characters and their characteristics

Pravdin, Sofya, Starodum and Milon are representatives of the so-called "new" time, the Enlightenment. The moral components of their souls are nothing but goodness, love, craving for knowledge and compassion. The Prostakovs, Skotinin and Mitrofan are representatives of the "old" nobility, where the cult flourishes material well-being, rudeness and ignorance.

• The minor Mitrofan is a young man whose ignorance, stupidity and inability to adequately analyze the situation do not allow him to become an active and reasonable representative of the noble community. “I don’t want to study, but I want to get married” is a life motto that fully reflects the character young man not taking anything seriously.
• Sophia is educated kind girl, which becomes a white crow in a society of envious and greedy people.
• Prostakova is a cunning, careless, rude woman with many flaws and a lack of love and respect for all living things, except for her beloved son Mitrofanushka. The upbringing of Prostakova is only a confirmation of the persistence of conservatism, which does not allow the development of the Russian nobility.
• Starodum brings up "his little blood" in a different way - Sophia is no longer for him Small child, but a formed member of society. He gives the girl freedom of choice, thereby teaching her the right basics life. In it, Fonvizin portrays the type of personality that has gone through all the “ups and downs”, while becoming not only a “worthy parent”, but also an undoubted example for the future generation.
• Skotinin - just like everyone else, is an example of a "speaking surname." A person whose inner essence is more like some rough, uncouth cattle than a well-mannered person.

Theme of the work

• The upbringing of the "new" nobility is the main theme of the comedy. “Undergrowth” is a kind of allusion to the “disappearing” moral principles in people who are afraid of transformation. The landowners bring up their offspring in the old fashioned way, without paying due attention to their education. But those who were not taught, but only spoiled or intimidated, will not be able to take care of either their families or Russia.
• Family theme. Family is social institution on which personality development depends. Despite Prostakova's rudeness and disrespect towards all residents, she cherishes her beloved son, who does not at all appreciate her care or her love. Such behavior is a typical example of ingratitude, which is a consequence of spoiled and parental adoration. The landowner does not understand that her son sees her treatment of other people and repeats exactly that. So, the weather in the house determines the character of the young man and his shortcomings. Fonvizin emphasizes the importance of maintaining warmth, tenderness and respect in the family towards all its members. Only then will children be respectful and parents worthy of respect.
• The theme of freedom of choice. The "new" stage is Starodum's relationship with Sophia. Starodum gives her freedom of choice, not limiting her to her beliefs, which can affect her worldview, thereby educating her in the ideal of a noble future.

Main problems

• The main problem of the work is the consequences of improper upbringing. The Prostakov family is a family tree that has its roots in the distant past of the nobility. This is what the landlords boast about, not realizing that the glory of their ancestors does not add to their dignity. But class pride clouded their minds, they do not want to move forward and achieve new achievements, they think that everything will always be the same as before. That is why they do not realize the need for education; in their world enslaved by stereotypes, it is really not needed. Mitrofanushka will also sit all his life in the village and live off the labor of his serfs.
• The problem of serfdom. The moral and intellectual decay of the nobility under serfdom is an absolutely logical result of the unjust policy of the tsar. The landlords are completely lazy, they do not need to work to provide for themselves. Managers and peasants will do everything for them. With such a social structure, the nobles have no incentive to work and get an education.
• The problem of greed. The thirst for material well-being blocks access to morality. The Prostakovs are obsessed with money and power, they don’t care if their child is happy, for them happiness is a synonym for wealth.
• The problem of ignorance. Stupidity deprives the heroes of spirituality, their world is too limited and tied to the material side of life. They are not interested in anything but primitive physical pleasures, because they do not know anything else at all. Fonvizin saw the true "human appearance" only in the person who was brought up by literate people, and not by half-educated deacons.

comedy idea

Fonvizin was a personality, therefore he did not accept rudeness, ignorance and cruelty. He professed the belief that a person is born " clean slate”, therefore only upbringing and education can make him a moral, virtuous and intelligent citizen who will benefit the fatherland. Thus, the chanting of the ideals of humanism - main idea"Undergrowth." A young man who obeys the call of goodness, intelligence and justice - that's a true nobleman! If he is brought up in the spirit of Prostakova, then he will never go beyond the narrow limits of his limitations and will not understand the beauty and versatility of the world in which he lives. He will not be able to work for the good of society and will not leave anything significant behind him.

At the end of the comedy, the author speaks of the triumph of "retribution": Prostakova loses the estate and the respect of her own son, who was brought up in accordance with her spiritual and physical ideals. This is the price of wrong education and ignorance.

What does it teach?

Comedy Denis Fonvizin "Undergrowth", above all, teaches respect for others. The sixteen-year-old youth Mitrofanushka did not take care of either his mother or his uncle at all, he considered this a self-evident fact: “Why did you overeat henbane, uncle? Yes, I don’t know why you deigned to jump on me. Natural result rough treatment in the house is the finale, where the son repels the loving mother.

The lessons of the comedy "Undergrowth" do not end there. Not so much respect as ignorance shows people in a position that they carefully try to hide. Stupidity and ignorance hover in comedy, like a bird over a nest, they envelop the village, thereby not releasing the inhabitants from their own shackles. The author severely punishes the Prostakovs for their narrow-mindedness, depriving them of their property and the very opportunity to continue their idle lifestyle. Thus, everyone needs to learn, because even the most stable position in society is easy to lose, being an uneducated person.

Interesting? Save it on your wall!

Untitled

speechand nominalcharacteristics of heroescomedy

DI. Fonvizin "Undergrowth"

A recently read comedy by D.I. Fonvizina “Undergrowth” made me think about the question: “Is it possible to know the character of a person, his moral principles just by name and speech; and whether the name and the words she uttered are connected at all in her personality. Let's do some research on this topic.

First of all, we note that a the second quite aptly selects the names of the main characters. Hardly given fact can be attributed solely to the desire of the author to give a “challenge V catchy and memorable" names for the heroes. Rather, it should be assumed that Fonvizin is trying in this way to strengthen the impression received from the play.Deep connoisseur human souls, Fonvizin understands that the names of the heroes are just what a simple layman most often pays attention to. Thus, being a great satirist, the author initially sets the reader in a comical mood.Now let's get closer to the comedy itself.

So, the names of the heroes:

Mitrofan. According to the directory of male names - Name Greek origin , translated from Latin stands for "revealed by the mother." It should be assumed that the name can be deciphered, How "Sissy", those. Human, possible in everything tutored by mother, loving and respectful more than her father. This name is the bestconveys all nature hero.

What's up speech features, then in words Mitrofan is clearly visible exactly love for your mother.He tries in every possible way to single out his mother inthe society in which it is, And no matter if the people are close he is surrounded or by strangers. Undoubtedly one should also single out such a characteristic of the hero as a complete inability for various kinds of sciences and learning in general. Maybe that's why after the release of the comedy, the name Mitrofan became a household name, denoting people who are narrow-minded and simple in their inner world.Let's see from the text:

Mitrofan. This? Adjective.

Pravdin. Why?

Mitrofan. Because it is attached to its place. Over there by the pole closet

week the door has not yet been hung: so for the time being it is a noun.

Or here it is:

Mitrofan (relaxing). So I felt sorry.

Mme. Prostakova (with annoyance). Who, Mitrofanushka?

Mitrofan. You, mother: you are so tired, beating the father.

Ms Prostakova. Embrace me, my friend of the heart! Here is my son, one of mine

comfort.

Sophia. Just like Mitrofan, the name has ancient Greek roots. Denotes "wisdom". We can also assume that the author gives this name to his heroine, in connection with short form named Sonya. Among the people, such a quality as sleepiness is associated with the name Sonya. In the comedy, Sophia is a young girl who has not yet shown her nature, her character, who has not fully "awakened" after childhood. We don't know what it will be like in the future. Will she accept the qualities of Starodum, her uncle, or will she be the exact opposite, like Mrs. Prostakova.

Sophia's speech shows that the heroine is polite, loves and is very grateful to her uncle. She never allows herself to scold a person, be offended by him or hate him. Sophia is quite sweet, her speech breaks through the tenderness inherent in every well-bred girl. Just one phrase:

« I have just received good news. Uncle, about whom so for a long time we knew nothing, whom I love and revere as my father, arrived in Moscow today » ,

reveals to us the essence of this charming girl.

Milo. The name comes from Western languages. Denotes dear, beloved. It can be argued that Fonvizin gave the name to the hero not by chance, since Sophia loves Milon, hence the "beloved". It should also not be discounted, although not great, but the existing possibility that the author had some associations of Milo with a melon (Melon (English) - melon), since his speech is very sweet.

Based on the speech style of Milo, it is noticeable that the hero is a kind, sympathetic, brave person.

“I will reveal to you the secret of my heart, dear friend! I am in love and have the happiness of being loved. For more than half a year I have been separated from the one who is dearest to me in the world, and, what is even sadder, I have not heard anything about her all this time ... Maybe she is now in the hands of some greedy people who, taking advantage of orphanhood her, keep her in tyranny. From this one thought I'm beside myself »

ABOUT the bottom is just a phrase, but how revealed in it all Milo's feelings for Sophia.

Mrs. Prostakova and Mr. Prostakov are Mitrofan's parents. Their last name speaks volumes important quality- simplicity. As for the type of this simplicity, it is obvious that in the first place one should assume the simplicity of the soul. From which also follows the poor spiritual world heroes. Is it possible to find confirmation of these thoughts? Undoubtedly, but first let's say a few words about Mitrofan's mother. Prostakova comes from a family of nobles named Skotinins. Her father was an ignoramus, which is why she and her brother (Skotinin) are ignoramuses. Prostakova is a very wayward person, everywhere she seeks profit for herself. Her whole essence is reflected in her surname. It can be assumed that the title of a nobleman to her father or grandfather was by no means inherited, but by length of service or in another way. The validity of this assumption is confirmed by the complete absence of manners instilled from childhood, she was probably brought up by people who were not accustomed to the nobility, who could not give her a proper noble education and upbringing.

Prostakova's speech is very original and interesting. She never allows herself to affectionately and respectfully address her husband, but she treats her son so reverently and with such love that everyone can only silently envy. Often she calls the servants cattle, apparently because she herself was once Skotinina.

Mrs. Prostakova (Trishke). And you, cattle, come closer. Didn't you say

I'm for you, thieves' mug, so that you let your caftan go wider. Child, first

grows, another, a child and without a narrow caftan of delicate addition.

Tell me, idiot, what's your excuse?

Prostakov is the exact opposite of his wife. Prostakov pleases his wife in everything, has no own word. It is very difficult to call him a person, rather an individual.

Prostakov. Yes, I thought, mother, that you think so.

Ms Prostakova. Are you blind yourself?

Prostakov. With your eyes mine see nothing.

Ms Prostakova. This is the kind of hubby the Lord rewarded me with: he doesn’t understand

figure out what is wide and what is narrow.

The following heroes: Starodum, Pravdin, Skotinin, Kuteikin, Tsyfirkin and Vralman have corresponding "speaking" surnames that characterize the characters even more than their speech turns.

Starodum is Sophia's uncle. He always speaks in aphorisms. For example:

"The ranks begin, - sincerity ceases"

or

"Without a soul, the most enlightened clever woman is a miserable creature."

This characterizes him as a wise man, knowing life, and seen a lot in his lifetime.

Pravdin is an official. An old friend of Starodum, maybe that's why he is trying to get the truth everywherespeaks only the truthand at the same time believes that everyone is doing the same in truth.

Pravdin. But those worthy people who serve the state at the court ...

Skotinin. Isn't a nobleman free to beat a servant whenever he wants?

Kuteikin, Tsyfirkin, Vralman - the so-called teachers of Mitrofan. TO Uteikin is a seminarian. Teaches vocabulary ness for son Prost and kov . Tsyfirkin - retired sergeant.Not having a proper education, teaches Mitrofan mathematics. Vralman - German, sand what actually take him as a teacher Mitrofanushka. In fact, it turns out that Vralman is a simple coachman, but for that he is a German!

Kuteikin. What an abomination! You won't get anywhere in the morning. Here

every morning will flourish and perish.

Tsyfirkin. And our brother lives like this forever. Do not do business, do not run away from business.

That's the trouble with our brother, how badly they feed, like today for a local dinner

the provision was gone...

However, all three(Kuteikin, Tsyfirkin, Vralman) settled quite densely in the house of the Prostakovs, although occasionally disagreements and skirmishes arise between them.

Tsyfirkin. And we will honor those. I board...

Kuteikin. And I am a clock.

Vralman. I'll fool around on the face.

Eremeevna - Mitrofan's nanny, a simple Russian woman who loveshis pupillike her own son and always ready to stand up for him.

Mitrofan. Mommy! shield me.

Eremeevna (shielding Mitrofan, frenzied and raising her fists). I'll die

on the spot, but I won’t give the child away. Sunsya, sir, just show yourself if you please. I

I'll scratch out those thorns.

Total, 13 heroes, 13 different names, 13 different images . But what they all have in common is that DI. Fonvizin gave them names similar to their characters, which once again emphasizes author's skill. The names of the characters become the highlight of the work. And so we come to the conclusion that name and charactercharacters in the work inherently linked to each other.How reasonable was the given (giving such names to the heroes)? I think that this is the right step of the author, since I personally remembered these names, and perhaps for the rest of my life, even before I finished reading the play.

Consider the features of the comedy created by Fonvizin ("Undergrowth"). The analysis of this work is the topic of this article. This play is a masterpiece. domestic literature 18th century. This work is included today in the fund of the Russian classical literature. It covers a range of eternal problems". And the beauty of a high style still attracts many readers today. The name of this play is associated with a decree issued by Peter I, according to which "undergrowths" (young nobles) are forbidden to enter the service and marry without education.

The history of the creation of the play

Back in 1778, the idea of ​​this comedy arose from its author, who is Fonvizin. "Undergrowth", the analysis of which we are interested in, was written in 1782 and presented to the public in the same year. It should briefly highlight the time of creation of the play that interests us.

During the reign of Catherine II, Fonvizin wrote "Undergrowth". The analysis of the heroes presented below proves that they were the heroes of their time. The period in the development of our country is associated with the dominance of ideas. They were borrowed by the Russians from the French enlighteners. The spread of these ideas, their great popularity among the educated philistinism and the nobility was largely facilitated by the empress herself. She, as you know, corresponded with Diderot, Voltaire, d'Alembert. In addition, Catherine II opened libraries and schools, supported the development of art and culture in Russia by various means.

Continuing to describe the comedy created by D. I. Fonvizin ("Undergrowth"), analyzing its features, it should be noted that, as a representative of his era, the author, of course, shared the ideas that prevailed at that time in noble society. He tried to reflect them in his work, revealing not only positive aspects to readers and viewers, but also pointing out misconceptions and shortcomings.

"Undergrowth" - an example of classicism

Analysis of the comedy "Undergrowth" by Fonvizin requires considering this play as part of cultural era And literary tradition. This work is considered one of the best examples of classicism. In the play, there is a unity of action (there are no secondary plot lines in it, only the struggle for Sophia's hand and her property is described), places (the characters do not move long distances, all events take place either near the Prostakovs' house or inside it), and time ( all events take no more than a day). In addition, he used "talking" surnames, which are traditional for the classic play, Fonvizin ("Undergrowth"). Analysis shows that, following tradition, he divided his characters into positive and negative ones. Positive ones are Pravdin, Starodum, Milon, Sophia. They are opposed to Prostakov, Mitrofan, Skotinin by D. I. Fonvizin (the play "Undergrowth"). An analysis of their names shows that they let the reader understand which features in the image of this or that character are prevalent. For example, the personification of morality and truth in the work is Pravdin.

A new genre of comedy, its features

"Undergrowth" at the time of creation became important step forward in the development of the literature of our country, in particular, dramaturgy. Denis Ivanovich Fonvizin created a new socio-political. It harmoniously combines a number of realistic scenes depicted with sarcasm, irony, laughter from the life of some ordinary representatives of the high society(nobility) with sermons on morality, virtue, the need for education human qualities that were characteristic of the Enlightenment. At the same time, instructive monologues do not burden the perception of the play. They complement this work, as a result of which it becomes deeper.

First action

The play is divided into 5 acts, the author of which is Fonvizin ("Undergrowth"). Analysis of the work involves a description of the organization of the text. In the first act we get acquainted with the Prostakovs, Pravdin, Sofya, Mitrofan, Skotinin. The characters' characters emerge immediately, and the reader understands that the Skotinin and Prostakovs - and Sophia and Pravdin - are positive. In the first act, the exposition and the plot of this work take place. In the exposition, we get to know the characters, we learn that Sofya lives in the care of the Prostakovs, who is going to be married off as Skotinin. Reading a letter from Starodum is the beginning of the play. Sophia now turns out to be a rich heiress. From day to day, her uncle returns to take the girl to him.

The development of events in the play created by Fonvizin ("Undergrowth")

We continue the analysis of the work with a description of how events unfolded. 2nd, 3rd and 4th actions are their development. We get acquainted with Starodum and Milon. Prostakova and Skotinin are trying to please Starodum, but their flattery, falsity, lack of education and a huge thirst for profit only repels. They look stupid and funny. The most ridiculous scene of this work is Mitrofan's interrogation, during which the stupidity of not only this young man, but also his mother is exposed.

Climax and denouement

5th act - climax and denouement. It should be noted that the opinions of researchers about what moment should be considered the culmination differ. There are 3 most popular versions. According to the first, this is the abduction of Prostakova Sophia, according to the second, Pravdin’s reading of a letter stating that Prostakova’s estate is being transferred under his care, and, finally, the third version is Prostakova’s rage after she understands her own impotence and tries to “recoup "on his servants. Each of these versions is true, since it considers with different points view of the work of interest to us. The first one, for example, highlights storyline dedicated to Sophia's marriage. An analysis of the episode of Fonvizin's comedy "Undergrowth" associated with marriage, indeed, allows us to consider it the key in the work. The second version examines the play from a socio-political point of view, highlighting the moment when justice triumphs on the estate. The third focuses on the historical one, according to which Prostakova is the personification of the weakened principles and ideals of the old nobility, which, however, still do not believe in their own defeat. This nobility, according to the author, is based on ignorance, lack of education, as well as low moral standards. During the denouement, everyone leaves Prostakova. She has nothing left. Pointing to her, Starodum says that these are "worthy fruits" of "malice".

Negative characters

As we have already noted, the main characters are clearly divided into negative and positive. Mitrofan, Skotinin and Prostakov - bad guys. Prostakova is a woman seeking profit, uneducated, rude, domineering. She knows how to flatter for profit. However, Prostakova loves her son. Prostakov appears as the "shadow" of his wife. This is an inactive character. His word means little. Skotinin is the brother of Mrs. Prostakova. It's just as uneducated and foolish man, rather cruel, like his sister, greedy for money. For him, a walk to the pigs in the barnyard - the best activity. Mitrofan is a typical son of his mother. This is a spoiled young man of 16 years old, who inherited from his uncle a love for pigs.

Issues and heredity

In the play, it should be noted important place Fonvizin (“Undergrowth”) takes away the issue of family ties and heredity. Analyzing this issue, let's say, for example, that Prostakova is only married to her husband (a "simple" person who does not want much). However, she is actually Skotinina, akin to her brother. Her son absorbed the qualities of both his parents - "animal" qualities and stupidity from his mother and lack of will from his father.

Similar family ties can be traced between Sophia and Starodum. Both of them are honest, virtuous, educated. The girl listens to her uncle attentively, respects him, "absorbs" science. Pairs of opposites create negative and positive characters. Children - spoiled stupid Mitrofan and meek smart Sophia. Parents love children, but they approach their upbringing differently - Starodub talks on the topics of truth, honor, morality, and Prostakova only pampers Mitrofan and says that education is not useful to him. A couple of grooms - Milon, who sees the ideal and his friend in Sophia, who loves her, and Skotinin, who calculates the fortune that he will receive after marrying this girl. At the same time, Sophia as a person is not interesting to him. Skotinin does not even try to equip his bride with comfortable housing. Prostakov and Pravdin are in reality the "voice of truth", a kind of "auditors". But in the person of an official, we find active strength, help and real action, while Prostakov is a passive character. The only thing that this hero could say was to reproach Mitrofan at the end of the play.

Issues raised by the author

Analyzing, it becomes clear that each of the above-described pairs of characters reflects a separate problem that is revealed in the work. This is the problem of education (which is supplemented by the example of half-educated teachers like Kuteikin, as well as impostors like Vralman), upbringing, fathers and children, family life, relationships between spouses, relations of nobles to servants. Each of these problems is considered through the prism of enlightenment ideas. Fonvizin, sharpening his attention to the shortcomings of the era by using comic tricks, the emphasis is on the need to change outdated, traditional, outdated foundations. They drag foolishness, malevolence into the swamp, liken people to animals.

As our analysis of Fonvizin's play "Undergrowth" showed, the main idea and theme of the work is the need to educate the nobility in accordance with educational ideals, the foundations of which are still relevant today.

This article provides an analysis comedy play"Undergrowth", yes summary labor and traits of heroes.

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 - main character and underage. 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 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. The work is an example good parent and educator. Main life principles: fair state structure, full-fledged education of the mind, honor and heart (with the heart in the first place), main principle upbringing - 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 "ignorant". 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. Upon learning of 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);
• "IN big light there are very small souls ”(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 annotation does not give complete picture, for the analysis, you should familiarize yourself with the key points.

History of creation

The play was born after a long public service Fonvizin, 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 last play Writer "The Brigadier" The first version of the main character's name is Ivanushka.

release date final version books - 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 "spirituality" can be traced not only in speaking surnames heroes, but also in the relationship between parents and children.

Issues

There are two main problems:

1. 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.
2. 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" - typical representative 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.