"Undergrowth" is the first socio-political comedy on the Russian stage.
The artistic originality of "Undergrowth" is determined by the fact that the play combines the features of classicism and realism. Formally, Fonvizin remained within the framework of classicism: observance of the unity of place, time and action, the conditional division of characters into positive and negative, schematism in the depiction of positive, " speaking surnames”, features of reasoning in the image of Starodum and so on. But, at the same time, he took a certain step towards realism. This is manifested in the accuracy of reproduction of the provincial noble type, social relations in a fortified village, faithfully recreating typical features negative characters, life authenticity of images. For the first time in the history of Russian drama love affair was relegated to the background and acquired secondary importance.
Fonvizin's comedy is a new phenomenon, because it is written on the material of Russian reality. The author innovatively approached the problem of the character of the hero, the first of the Russian playwrights sought to psychologize him, to individualize the speech of the characters (here it is worth taking examples from the text!).
Fonvizin introduces biographies of heroes into his work, approaches the solution of the problem of education in a complex way, denoting the trinity of this problem: family, teachers, environment, that is, the problem of education is posed here as social problem. All this allows us to conclude that "Undergrowth" is a work of enlightenment realism.
K. V. Pisarev: “Fonvizin sought to generalize, to typify reality. AT negative images comedy, he succeeded brilliantly.<...> positive characters"Undergrowth" clearly lacks artistic and life-like persuasiveness.<...>The images he created were not clothed with living human flesh and, indeed, are a kind of mouthpiece for the “voice”, “concepts” and “way of thinking” of both Fonvizin himself and the best representatives his time"
Critics doubted the art of Fonvizin to build dramatic action and talked about the presence in it of "superfluous" scenes that do not fit into the action, which must certainly be one:
P. A. Vyazemsky: “All other [except Prostakova] persons are secondary; some of them are completely extraneous, others are only adjacent to the action. Of the forty phenomena, among which there are several quite long ones, there is hardly a third in the entire drama, and even then short ones, which are part of the action itself.
A. N. Veselovsky: “the clumsiness of the structure of the play, forever remaining weak side Fonvizin's writing, despite the school of European models"; “The widely developed desire to speak not in images, but in rhetoric<...>gives rise to stagnation, fading, and then the viewer will recognize Milo's view of true fearlessness in war and in civilian life, then sovereigns hear the unvarnished truth from virtuous people, or the thoughts of the Starodum about the education of women ... "
The word, the original constructive material of the drama, is emphasized in The Undergrowth in dual functions: in one case, the pictorial, plastic-figurative function of the word (negative characters), which creates a model of the world of physical flesh, is accentuated, in the other, its inherently valuable and independent ideal-conceptual nature (positive characters), for which human character is needed only as an intermediary, translating an incorporeal thought into the matter of a sounding word. Thus, the specificity of his dramatic word, initially and fundamentally ambiguous and ambiguous, is put forward at the center of the aesthetics and poetics of The Undergrowth.
the punning nature of the word
Reception of the destruction of phraseological units, pushing the traditionally conventional figurative with the direct literal meaning of a word or phrase.
The immortal comedy of D. I. Fonvizin "Undergrowth" was and remains one of the latest works Russian classics. The breadth of the writer's views, his deep convictions about the benefits of education and enlightenment, are reflected in the creation of this brilliant work. We invite you to familiarize yourself with brief analysis planned works. This material can be used to work at a literature lesson in grade 8, to prepare for the exam.
Brief analysis
Year of writing– 1782
History of creation– The writer came up with the idea of a comedy after returning from abroad, under the influence of the educational views of a foreign country.
Topic- The main theme of the "Undergrowth" is enlightenment and education, the upbringing of a new generation in the spirit of new trends of the times and political transformations.
Composition- the comedy is built according to all the rules of the genre, it observes three components - the unity of action, place and time. Consists of five actions.
Genre– The play is a comedy, a bright and lively narration that does not contain tragic episodes.
History of creation
In The Undergrowth, the analysis of the work involves the disclosure of the theme, the main idea of the comedy, its essence and idea.
First, let's define the meaning of the name. In the eighteenth century, the word "underage" meant a person who did not have a document on education. Such a person was not hired and not allowed to marry.
Fonvizin lived in France for more than a year, delving deeply into its educational doctrines. He was occupied by all spheres social life country, he delved into philosophy, jurisprudence. great attention the writer paid theatrical performances in particular comedies.
When the writer returned to Russia, he came up with the idea of the comedy "Undergrowth", where the characters will receive speaking surnames in order to better express the meaning of the comedy. Work on the history of creation took the writer almost three years, began in 1778, and the final year of writing was 1782.
Topic
Initially main theme comedy the theme of the upbringing and education of the new generation was assumed, later socio-political problems were included in the problems of the “Undergrowth”, which directly related to the decree of Peter the Great on the prohibition of the service and marriage of noblemen - underage.
The Prostakov family, which has undergrowth Mitrofanushka, has deep noble roots. In the first place among such Prostakovs is pride in their noble estate, and they do not accept anything new and progressive. They don't need education at all. serfdom have not yet been canceled, and there is someone to work for them. Above all for the Prostakovs material well-being, greed and greed turns a blind eye to the education of the son, power and wealth are more important.
The family is the example on which a person grows and is brought up. Mitrofanushka fully reflects the behavior and lifestyle of her despotic mother, but Mrs. Prostakova does not understand that she is the example for her son, and wonders why he does not show her proper respect.
revealing comedy problems, family conflict Prostakov, we come to the conclusion that everything depends on the upbringing of a person. A person's attitude towards others depends only on a worthy upbringing in the family. strangers his decency and honesty. What the writer's comedy teaches is education, respect for one's neighbor, good manners and prudence.
Composition
Masterfully executed features of the composition allow you to get acquainted with the main characters at the very beginning of the play. Already at the end of the first act, the plot starts. Immediately, Pravdin and Sofya appear in the comedy. There is intrigue in the comedy - Sophia's rich dowry, which they learn about from Starodum's story, and a struggle for her hand flares up.
In the next two acts, events are developing rapidly, tension is growing, the peak of which falls on the fourth act, in which the idea comes to Prostakova's head to kidnap Sophia and force her to marry an undergrowth.
Gradually, the development of the action begins to decline, and in the fifth act the comedy comes to a denouement. It becomes known about the unsuccessful kidnapping of Sophia. Pravdin accuses the Prostakovs of evil intentions and threaten with punishment.
A paper arrives about the arrest of the property of the Prostakovs, Sophia and Milon are going to leave, and Mitrofanushka is forced to join the soldiers.
Using in his comedy such artistic means as telling surnames and names, the author gives a moral assessment of the characters, which does not raise any doubts about its justice. Takova general characteristics comedy.
main characters
Genre
Fonvizin's play is built according to the laws of classicism. Events take place throughout the day in one place. The comedic orientation of the play is clearly expressed by sharp satire, mercilessly ridiculing the vices of society. The play also contains funny motifs permeated with humor, there are also sad ones in which the landowner arrogantly mocks her serfs.
The writer was an ardent supporter of education, he understood that only a comprehensive education and proper upbringing can help a person grow into a highly moral person, become a worthy citizen of his homeland. A huge role in this should be played by the institution of the family, where the foundations of human behavior are laid.
Critics enthusiastically reacted to the comedy "Undergrowth", calling it the pinnacle of Russian drama of the 18th century. All critics wrote that Fonvizin described with maximum accuracy and straightforwardness typical images and characteristics of society that look caricatured and grotesque, but in fact, are simply taken from life and described from nature. And in modern world comedy remains relevant: now in society there is also a large number of Mitrofanushki, for whom the meaning of life lies in material wealth, and education is given a minimum place.
P. A. Vyazemsky, From the book “Fonvizin”
In the comedy "Undergrowth" the author already had a most important goal: the disastrous fruits of ignorance, bad upbringing and abuses of domestic power were exposed by him with a bold hand and painted with the most hated colors ... In "Undergrowth" he no longer jokes, does not laugh, but is indignant at the vice and stigmatizes it without mercy: even if he amuses the audience with a picture of abuses and foolishness, then even then the laughter inspired by them does not entertain from deeper and more deplorable impressions ...
The ignorance in which Mitrofanushka grew up, and the examples at home were to prepare a monster in him, what is his mother, Prostakova ... All the scenes in which Prostakova appears are full of life and fidelity, because her character is sustained to the end with unrelenting art, with unchanging truth. A mixture of arrogance and baseness, cowardice and malice, vile inhumanity towards everyone and tenderness, equally vile, to the son, for all that ignorance, from which, as from a muddy source, all these properties flow, are coordinated in her character by a sharp-witted and observant painter.
The success of the comedy "Undergrowth"
was resolute. Its moral action is undeniable. Some of the names actors became common noun and are still used in popular circulation. There is so much reality in this comedy that provincial traditions even now name several persons who allegedly served as originals for the author.
N. V. Gogol, From the article “What, finally, is the essence of Russian poetry and what is its peculiarity”
Fonvizin's comedy strikes at the coarse brutality of man, which has come from a long, insensitive, unshakable stagnation in the remote corners and backwoods of Russia. She exhibited such a terrifying bark of coarseness that one hardly recognizes a Russian person in her. Who can recognize anything Russian in this evil creature full of tyranny, what is Prostakova, the tormentor of the peasants, her husband and everything except her son ... This crazy love for her offspring is our strong Russian love, which in a person who has lost his dignity, expressed itself in such a perverted form, in such a wonderful combination with tyranny, so that the more she loves her child, the more she hates everything that is not her child. Then the character of Skotinin is another type of roughness. His clumsy nature, not getting his share of any strong and violent passions, turned into some more calm, in its own way artistic love to cattle, instead of man: pigs have become for him the same as for an art lover picture gallery. Then Prostakova's husband - an unfortunate, murdered creature, in which even those weak forces that held on were clogged with his wife's prodding - a complete dulling of everything! Finally, Mitrofan himself, who, having nothing malicious in his nature, having no desire to cause misfortune to anyone, becomes insensitive, with the help of pleasing and self-indulgence, a tyrant of everyone, and most of all of those who love him most, that is, mothers. and nannies, so that insulting them has already become a pleasure for him.
V. O. Klyuchevsky, From the article “Undergrowth” by Fonvizin (An attempt at a historical explanation of an educational play)
... In comedy there is a group of figures led by Uncle Starodum. They stand out from the comic staff of the play: they are noble and enlightened reasoners, academicians of virtue. They are not so much the protagonists of the drama as its moral environment: they are placed near the protagonists in order to sharpen their dark physiognomies with their bright contrast ... Starodum, Milon, Pravdin, Sophia ... were walking, but still lifeless schemes of a new, good morality, which they put on like a mask. Time, efforts and experiments were needed to awaken organic life in these still dead cultural preparations...
“Undergrowth” is a comedy not of persons, but of positions. Her faces are comical, but not funny, comical as roles, but not at all funny as people. They can be amusing when you see them on the stage, but disturb and upset when you meet them outside the theater, at home or in society.
... Yes, Mrs. Prostakova is a skilled interpreter of decrees. She wanted to say that the law justifies her iniquity. She said nonsense, and this nonsense is the whole point of "Undergrowth"; without it, it would be a comedy of nonsense ... The decree on the freedom of the nobility was given so that the nobleman was free to flog his servants when he wanted ...
... Mitrofan is a synonym for a stupid ignoramus and mother's minion. Fonvizin's undergrowth is a caricature, but not so much a stage caricature as an everyday one: his upbringing disfigured him more than a comedy laughed at.
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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 Sofya, 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 this is " worthy fruits"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 stupid 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 goodies. 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, main idea and the theme of the work is the need to educate the nobility in accordance with educational ideals, the foundations of which are still relevant today.
What is the composition "Undergrowth"? First of all, it is worth saying that all the events of the comedy are grouped around one main intrigue: the struggle for Sophia of three contenders for her hand - Skotinin, Mitrofanushka and Milon.
Composition "Undergrowth"
The action of the comedy develops clearly and harmoniously. At the beginning of the play, in the scene with the fitting of the caftan, the author skillfully introduces the viewer into the everyday atmosphere of a provincial estate. This episode immediately allows the author to introduce the viewer to most of the main characters of the play. This is the exposition of the play.
In the sixth or seventh scenes of the first act, around the scene with Starodum's letter, a comedy knot is tied. New characters appear: Sophia and Pravdin. This is the plot of a comedy.
In the second and third acts, events develop and grow. On the stage are all the actors of the comedy. All three contenders enter the fight for Sophia. The characters of the actors are also revealed.
The highest moment of action tension falls at the end fourth act when Prostakova decides to kidnap Sophia and forcibly marry Mitrofanushka.
In the fifth act, when the failure of Prostakova's attempt is discovered, the decrease in action begins. In the fourth phenomenon, the denouement comes: the estate of Prostakova goes into custody. Last appearance- the end of the play. Starodum's exclamation: "Here are worthy fruits of evil-mindedness!" - sums up Prostakova's whole life and at the same time explains the idea of \u200b\u200bcomedy. Such is the composition "Undergrowth". Let us now turn to the consideration of realism in this work.
Realism in "Undergrowth"
Despite the presence in the "Undergrowth" of the features of the dominant literary style- classicism (the unity of place, time, action, the division of characters into positive and negative, "significant" names and surnames that reveal the main features of the characters), "Undergrowth" - a comedy of the new literary school, in it there are obvious deviations from classicism. The rules of classicism did not allow mixing elements of the comic and the tragic in the drama.
Meanwhile, in Fonvizin's comedy we have both funny scenes and sketches of the difficult, disgusting aspects of serf life. Further, the breadth and versatility in the characteristics of the characters attracts attention in the comedy. Prostakova is both a cruel landowner, and an ignorant woman, and a deceitful person to the point of cynicism, and loving mother; Mitrofanushka is both a dumbass, and a glutton, and an ignoramus, and a cunning, and an ungrateful son. These are not abstract images of classicism, but real, living people. The principle of dividing heroes into "positive" and "negative" did not prevent, therefore, Fonvizin from giving a realistic interpretation of the images. In the comedy "Undergrowth" even reasoners turned into living people. The names of some of the characters in the work (Mitrofanushka, Prostakova, Skotinin) therefore became common nouns, because the very images of the characters are distinguished by their vitality and truthfulness. In these images, Fonvizin achieved a remarkable artistic typification. And this speaks of the unconditional realism of the images of the comedy.
The language of "Undergrowth" is also realistic. Brightness speech characteristics we have already noted the actors. The sharpness and accuracy of the language of comedy is evidenced by the fact that many of its expressions have entered Russian colloquial speech and turned into a kind of proverb, for example: “I don’t want to study, I want to get married”, “Yes, what are cab drivers for?” Silly son wealth does not help”, “Here are worthy fruits of malevolence”, etc. Even the gallicisms of comedy (“I am glad to have made your acquaintance”, “I did my job”, etc.) reflect the true language of individual sections of Russian society of the Fonvizin era.
Finally, and ideological pathos The play goes beyond the usual tasks of classic comedy—only to make the audience laugh.
Thus, the comedy turned into the first time realistic work Russian literature. That is why Gorky called Fonvizin "the founder of realism" in Russian literature.
