What are its genre features undergrowth. Features of the composition of the comedy D

The poster itself explains the characters.
P. A. Vyazemsky about the comedy "Undergrowth"

A true community comedy.
N. V. Gogop about the comedy "Undergrowth"

The first appearance of the comedy "Undergrowth" on the stage in 1872 caused, according to the memoirs of contemporaries, "throwing wallets" - the audience threw wallets filled with gold pieces onto the stage, such was their admiration for what they saw.

Before D. I. Fonvizin, the public almost did not know Russian comedy. In the first public theater, organized by Peter I, plays by Moliere were staged, and the appearance of Russian comedy is associated with the name of A.P. Sumarokov. “The property of comedy is to correct temper with a mockery” - Denis Ivanovich Fonvizin embodied these words of A.P. Sumarokov in his plays.

What caused such a violent reaction from the audience? The liveliness of the characters, especially the negative ones, their figurative speech, the author's humor, so close to folk, the theme of the play is a satire on the principles of life and education of landlord offspring, denunciation of serfdom.

Fonvizin departs from one of the golden rules of classical comedy: observing the unity of place and time, he omits the unity of action. In the play, there is actually no plot development; it consists of conversations between negative and positive characters. This is the influence modern author European comedy, here he goes further than Sumarokov. “French comedy is absolutely good ... There are great actors in comedy ... when you look at them, you will, of course, forget that they are playing a comedy, but it seems that you see a direct story,” Fonvizin writes to his sister, traveling around France. But Fonvizin can by no means be called an imitator. His plays are filled with a truly Russian spirit, written in a truly Russian language.

It was from the “Undergrowth” that I. A. Krylov’s fable “Trishkin’s caftan” grew, it was from the speeches of the heroes of the play that the aphorisms “mother’s son”, “I don’t want to study, I want to get married”, “fearing the abyss of wisdom” came out ...

The main idea of ​​the play is to show the fruits of a bad upbringing, or even its absence, and it grows into a frightening picture of the wild landowner's malevolence. Contrasting "evil characters" taken from reality, presenting them in a funny way, Fonvizin puts the author's comments into the mouths of positive characters, unusually virtuous persons. As if not hoping that the reader himself will figure out who is bad and what is bad, the writer leading role diverts goodies.

“True - Starodum, Milon, Pravdin, Sophia are not so much living faces as moralistic dummies; but even their actual originals were no more lively than their dramatic shots... They were walking, but still lifeless schemes of a new good morality...

Time was needed, intensified and experiments, to awaken organic life in these still dead cultural preparations, ”wrote the historian V. O. Klyuchevsky about the comedy.
Negative characters appear completely alive before the viewer. And this is the main artistic merit of the play, Fonvizin's luck. Like the goodies, the bad ones wear talking names, and the surname "Skotinin" grows to a full-fledged artistic image. In the very first act, Skotinin is naively surprised at his special love for pigs: “I love pigs, sister; and we have such large pigs in the neighborhood that there is not a single one of them that, standing on its hind legs, would not be taller than each of us with a whole head. The author's mockery is all the more powerful because it is put into the mouth of the hero we are laughing at. It turns out that love for pigs is a family trait.

“Prostakov. It's strange, brother, how relatives can resemble relatives! Our Mitrofanushka is all like an uncle - and he has grown up to pigs as much a hunter as you are. As he was still three years old, so, when he saw a pig, he would tremble with joy. .

Skotinin. This is truly a curiosity! Well, let, brother, Mitrofan loves pigs because he is my nephew. There is some similarity here: but why am I so addicted to pigs?

Prostakov. And there are some similarities. That's how I talk."

The same motif is played up by the author in the replicas of other characters. In the fourth act, in response to Skotinin's words that his family is "great and ancient," Pravdin ironically remarks: "That way you will assure us that he is older than Adam." Unsuspecting Skotinin falls into a trap, readily confirming this: “What do you think? At least a little ... ", and Starodum interrupts him:" That is, your ancestor was created even on the sixth day, but a little earlier than Adam. Starodum directly refers to the Bible - on the sixth day, God first created animals, then man. The comparison of caring for pigs with caring for a wife, sounding from the lips of the same Skotinin, evokes Milon's indignant remark: "What a bestial comparison!" Kuteikin, the cunning churchman, invests author's description in the mouth of Mitrofanushka himself, forcing him to read according to the hour book: "I am cattle, and not a man, a reproach to people." The representatives of the Skotinins themselves, with comical innocence, repeat about their "bestial" nature.

"Prostakov. After all, I am the father of the Skotinins. The deceased father married the deceased mother; she was nicknamed the Priplodins. They had eighteen of us children…” Skotinin speaks about his sister in the same terms as about his “cute pigs”: “To be honest, one litter; Yes, you see how she squealed ... "Prostakova herself likens her love for her son to the affection of a dog for her puppies, and says about herself:" I, brother, will not bark with you, "Ah, I'm a dog's daughter! What have I done!". The peculiarity of the play "Undergrowth" is also that each of the characters speaks his own language. This was duly appreciated by Fonvizin's contemporaries: "everyone is different in his character sayings."

The speech of the retired soldier Tsyfirkin is full of military terms, the speech of Kuteikin is built on Church Slavonic turns, the speech of Vralman, a Russian German, obsequious with the owners and arrogant with the servants, is filled with aptly grasped peculiarities of pronunciation.

The bright typicality of the heroes of the play - Prostakov, Mitrofanushka, Skotinin - goes far beyond its limits in time and space. And in A.S. Pushkin in "Eugene Onegin", and in M.Yu. Lermontov in "The Tambov Treasurer", and in M.E. Saltykov-Shchedrin in "Lords of Tashkent" we find references to them, still alive and bearing the essence of the feudal lords, so talentedly revealed by Fonvizin.

pinnacle of Russian dramaturgy XVIII century is the comedy of D. I. Fonvizin “Undergrowth”, the first Russian socio-political comedy, in which “malice worthy fruits". According to Gogol, Fonvizin created "truly public comedy”, where he revealed “the wounds and diseases of our society, severe internal abuses, which are exposed by the merciless force of irony in stunning evidence.”

The genre of comedy has been known since ancient times. Even Aristotle defined the main features of comedy, based on the fact that the main thing in dramatic work is an image of a person, his character. Since people “are either good or bad”, “are distinguished either by viciousness or virtue”, he saw the difference between tragedy and comedy in the fact that comedy “strives to portray the worst”, and tragedy - “ the best people than the existing ones. The next stage in the development of comedy was associated with classicism, which retained the distinction between the tragic and the comic, characteristic of the era of antiquity. was saved and moral principle dividing people into "best" and "worst". At the same time, in the literature of classicism, those who were concerned about state affairs were recognized as “the best”, and those who lived in their own interests were recognized as “worst”.

The purpose of the classic comedy is to “enlighten”, ridiculing the shortcomings: eccentricity, extravagance, laziness, stupidity. However, it does not follow from this that the comedy of the period of classicism was devoid of social content. Quite the contrary: the ideal of that era, its true hero was recognized as a person of a social warehouse, for whom the interests of the state and the nation were higher than personal ones. Comedy was called upon to affirm this lofty ideal by ridiculing the psychological human qualities that reduced the social significance of the individual.

D. I. Fonvizin in "Undergrowth" observes the classical principle of the "trinity" of time, place and action: events take place "in the village of Prostakova" during the day. At the same time, readers admire the courage and surprise artistic solutions suggested by the playwright. It can be said with confidence that Fonvizin acted as a true innovator in The Undergrowth. Genre definition comedy has been controversial in critical circles. The playwright himself called his comedy public. V. G. Belinsky, noting the originality of the genre this work, gave its clear definition - "satire of genres". The critic argued: "Undergrowth" is not a work of art, but a satire on manners, and satire is a workshop. Its characters are fools and smart: the fools are all very nice, and the smart ones are all very vulgar; the first are caricatures written with great talent; the second are reasoners who annoy you with their maxims. He also noted that Fonvizin's comedies "never cease to arouse laughter and, gradually losing readers in the higher circles of society from the side of education, they will all the more win them in the lower ones and become popular reading."

Historian V. O. Klyuchevsky, challenging the definition given by Belinsky, argued that "Undergrowth" is a sitcom: "In the Undergrowth" bad people of the old school are placed directly against the new ideas embodied in the pale virtuous figures of Starodum, Pravdin and others who came to tell those people that times have changed, that it is necessary to educate, think and act differently than they used to do.

Based modern definition genres, consider artistic and genre features socio-political comedy "Undergrowth". The comedy is based on the traditional motif of matchmaking and the fight of the suitors for the heroine. The events about which the comedy narrates have the following prehistory. Sophia's main character comedy, mother dies. A distant relative of Prostakov takes the girl to the village and decides to pass Sophia off as her brother Skotinin. At this time, Sophia receives a letter from her uncle Starodum, from which everyone learns that she is a rich heiress. This radically changes the strategy of Prostakova's behavior, who decides to "attach" her blockhead son Mitrofanushka. He gladly accepts his mother's decision, because he has long been sick of studying: “The hour of my will has long come. I don't want to study, I want to get married."

However, in the arena of the struggle for a rich bride, Milon, whom Sophia loves, upsets Prostakova's plans. Takova love line plays. However, not only she was the focus of the playwright.

The action in a comedy unites all the characters and at the same time divides them into "evil-minded" and "virtuous". The first are concentrated around Prostakova, the second - around Starodum. The dialogues of the characters of the second group, in fact, are a presentation of the positive program of Fonvizin himself. In them in question about an enlightened monarch, about the appointment of a nobleman, about marriage and family, about the education of young nobles, and that “it is illegal to oppress your own kind with slavery.” This is especially evident in the edifying, didactic speech of Starodum addressed to Sophia. Starodum reflects on wealth (“according to my calculation, not the rich one who counts money to hide it in a chest, but the one who counts out the excess in himself to help someone who does not have what he needs”), nobility (“without noble deeds noble state of nothing"). His conclusions reflect the system of views and principles of the Catherine era: “It is impossible to forgive an honest person if he lacks some quality of the heart ... Fair man must be a perfectly honest person.

The characters of the first group are portrayed in the comedy satirically, caricatured. What does Fonvizin oppose? Against the ignorance of the nobles, "those malevolent ignoramuses who, having their full power over people, use it for evil inhumanly." Against the consumer attitude to life, which is determined by the whole atmosphere of the estate life. Against the heartlessness and despotism of the masters, their unwillingness to recognize the rights of serfs to equality with the "noble". Thus, this comedy has a clear socio-political orientation. According to V.G. Belinsky, Fonvizin's comedies, including "Undergrowth", are not comedies in artistic value, but they - " beautiful works fiction, precious annals of the public of that time.

GENRE ORIGINALITY OF D. I. FONVIZIN’S COMEDY “NEDOROSL”

The pinnacle of Russian dramaturgy of the 18th century is D. I. Fonvizin’s comedy “Undergrowth”, the first Russian socio-political comedy in which “evil morality worthy fruits” are condemned with sarcasm. According to Gogol, Fonvizin created a "truly social comedy", where he revealed "the wounds and diseases of our society, severe internal abuses, which are exposed by the merciless power of irony in stunning evidence."

The genre of comedy has been known since ancient times. Even Aristotle defined the main features of comedy, based on the fact that the main thing in a dramatic work is the image of a person, his character. Since people “are either good or bad”, “are distinguished either by viciousness or virtue”, he saw the difference between tragedy and comedy in the fact that comedy “strives to portray the worst”, and tragedy “better people than existing ones”. The next stage in the development of comedy was associated with classicism, which retained the distinction between the tragic and the comic, characteristic of the era of antiquity. The moral principle of dividing people into “best” and “worst” was also preserved. At the same time, in the literature of classicism, those who were concerned about state affairs were recognized as “the best”, and those who lived by their own interests were recognized as “worst”.

The purpose of the classic comedy is to “enlighten”, ridiculing the shortcomings: eccentricity, extravagance, laziness, stupidity. However, it does not follow from this that the comedy of the period of classicism was devoid of social content. Quite the contrary: the ideal of that era, its true hero, was recognized as a person of a social warehouse, for whom the interests of the state and nation were higher than personal ones. Comedy was called upon to affirm this lofty ideal by ridiculing the psychological human qualities that reduced the social significance of the individual.

D. I. Fonvizin in “Undergrowth” observes the classical principle of the “trinity” of time, place and action: events take place “in the village of Prostakova” during the day. At the same time, readers are delighted with the boldness and unexpectedness of the artistic solutions proposed by the playwright. It can be said with confidence that Fonvizin acted as a true innovator in The Undergrowth. The genre definition of comedy has been controversial in critical circles. The playwright himself called his comedy public. V. G. Belinsky, noting the genre originality of this work, gave it a clear definition - “a satire of genres”. The critic argued: “Undergrowth” is not a work of art, but a satire on manners, and satire is a workshop. Its characters are fools and smart: the fools are all very nice, and the smart ones are all very vulgar; the first are caricatures written with great talent; the second are reasoners who annoy you with their maxims.” He also noted that Fonvizin's comedies "will never cease to arouse laughter and, gradually losing readers in the higher education circles of society, they will all the more win them in the lower ones and become popular reading."

The historian V. O. Klyuchevsky, challenging the definition given by Belinsky, argued that “The Undergrowth” is a comedy of positions: “In the Undergrowth” the bad people of the old school are placed directly against the new ideas embodied in the pale virtuous figures of Starodum, Pravdin and others, who came to tell those people that times have changed, that they need to be educated, think and act differently than they used to do.”

Based on the modern definition of genres, let's consider the artistic and genre features of the socio-political comedy "Undergrowth". The comedy is based on the traditional motif of matchmaking and the fight of the suitors for the heroine. The events about which the comedy narrates have the following prehistory. Sophia, the main character of the comedy, has her mother dying. A distant relative of Prostakov takes the girl to the village and decides to pass Sophia off as her brother Skotinin. At this time, Sophia receives a letter from her uncle Starodum, from which everyone learns that she is a rich heiress. This radically changes the strategy of behavior of Prostakova, who decides to “attach” her blockhead son Mitrofanushka. He gladly accepts his mother’s decision, because he has long been sick of studying: “The hour of my will has long come. I don’t want to study, I want to get married.”

However, in the arena of the struggle for a rich bride, Milon, whom Sophia loves, upsets Prostakova's plans. This is the love story of the play. However, not only she was the focus of the playwright.

The action in a comedy unites all the characters and at the same time divides them into “evil-minded” and “virtuous”. The first are concentrated around Prostakova, the second - around Starodum. The dialogues of the characters of the second group, in fact, are a presentation of the positive program of Fonvizin himself. They talk about an enlightened monarch, about the appointment of a nobleman, about marriage and family, about the education of young nobles, and that “it is illegal to oppress your own kind with slavery.” This is especially evident in the edifying, didactic speech of Starodum addressed to Sophia. Starodum reflects on wealth (“according to my calculation, not the rich one who counts money to hide it in a chest, but the one who counts out the excess in himself to help someone who does not have what he needs”), nobility (“without noble deeds noble state of nothing”). His conclusions reflect the system of views and principles of the Catherine's era: "An honest person cannot be forgiven in any way if he lacks some quality of the heart ... An honest person must be a completely honest person."

The characters of the first group are portrayed in the comedy satirically, caricatured. What does Fonvizin oppose? Against the ignorance of the nobles, "those malicious ignoramuses who, having their full power over people, use it for evil inhumanly." Against the consumer attitude to life, which is determined by the whole atmosphere of the estate life. Against the heartlessness and despotism of the masters, their unwillingness to recognize the rights of serfs to equality with the "noble". Thus, this comedy has a bright socio-political orientation. According to V. G. Belinsky, Fonvizin’s comedies, including “Undergrowth,” are not comedies in an artistic sense, but they are “beautiful works of fiction, precious annals of the public of that time.”

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” is rightfully considered the pinnacle of Russian dramaturgy of the 18th century. Keeping some connection with traditional literary genres and styles, Undergrowth is a profoundly innovative work. The originality of Fonvizin's comedy is manifested both in the language and in the originality of the images created by the author, and in the variety of topics, and in topical issues. But first of all, the writer's innovation was expressed in the very genre of the work.

"Undergrowth". - the first socio-political comedy on the Russian stage. It combines vivid truthful pictures of life local nobility and passionate preaching of educational ideas about the duties of government. The ridicule of landowner morals, stupidity, cowardice is here side by side with an angry denunciation of the vices of the autocratic system. Through the skillful use of numerous artistic techniques, the author managed to turn the manor corner of the local nobility into a public tribune and, with the help of irony and sarcasm, condemn from this rostrum " malice worthy fruits".

IN literary works relating to late XVIII century, the problem of the relationship between man and society has been raised repeatedly. But if main task classicist writers was the creation of specific character traits and demonstration of the manifestation of this character in existing social conditions, then Fonvizin set himself a completely different goal. He sought to reveal the role of circumstances in the life of a person and society, to reveal the very process of character formation. At the same time, each of his characters has his own, individual person, their history, their destiny. drawing typical images landlords, the writer at the same time endows all the characters with bright hallmarks. It shows the diversity of human characters and destinies, the difference not only between classes and estates, but also between individual representatives of the same class.

So in the comedy "Undergrowth" the evil and cruel Prostakova and the cunning, arrogant Skotinin appear; the humiliated, but unbroken, folk craftsman Trishka, the proud teacher Tsyfirkin, and the maid Yeremeevna, slavishly devoted to cruel masters; condemning the abuses of the landlords, proud of his position Starodum and living only at the behest of his heart, striving for the exceptional justice of Pravdin.

All these heroes have not only individual traits character, but also in their own language, different from other characters. In the field of comedic language, Fonvizin made a real revolution. The speech of his characters is closely connected with the specifics of the image. “Cattle”, “swindlers”, “swindlers”, “thieves”, “bad ugly”, “dog daughter” - these are typical expressions of the brutalized serf Prostakova. “Indo bent his uncle to the top of his head” - a good example folk speech characteristic of peasants. “I’ll scratch out those thorns ... Zhenya and his hooks are sharp.” Yeremeevna threatens Skotinin. “It is in vain to call a doctor to the sick is incurable,” Starodum’s speech, which is closest to the book style, is filled with such aphorisms. Pravdin makes extensive use of clericalism in his language, while Sophia and Milon are characterized by sentimental expressions: “the secret of my heart”, “the mystery of my soul”.

The comedy "Undergrowth" is a multi-dark and multi-problem work in which the author raised the most pressing issues: about the steady performance of the "duty" by every citizen, about the character family relations, about the injustice of serfdom, about education, about the form state power. All these topics are inextricably linked and interdependent. Thus, for the first time in Russian literature, the writer showed not one side of the life of society, but life itself, in all its complexity and inconsistency. His characters are divided not only into positive and negative. The comedy also features characters with both traits: Tsyfirkin, Kuteikin, Vralman, Eremeevna. In addition, unlike its predecessors, Fonvizin surrounds his heroes with their familiar environment, preserves all the traditions and customs of their life. Although we do not see here a special description of the everyday situation, the details of everyday life imperceptibly, by themselves, appear from each scene. Trying on a caftan, preparing for a "collusion", Mitrofan's training sessions - all this typical features Russian noble life XVIII century.

Ridiculing the nobility, the writer not only shows his vices, as was done before him, but reveals the very reasons for these vices. First of all, he touches here on the issue of education, which he assigns an important role in the development of both individual as well as the whole society. Society, according to the author, was created for thinking, enlightened people who respect the laws and remember their duty. But many nobles in mental and civil development are so low that they can only be compared with animals. That is why Mrs. Prostakova is always compared to a dog, even saying about herself: “Have you heard that a bitch gave out her puppies?” or: “Oh, I am a dog’s daughter!” In the image of Skotinin, comparisons with pigs are constantly visible: “I love pigs ... - he admits, - and in our neighborhood there are such large pigs that there is not a single one of them that, standing on its hind legs, would not be taller than each of them. our whole heads." And to his sister, Prostakova, he says: “No, sister, I want to have my own pigs.” Mitrofan is also equated with animals: “I am cattle,” he reads according to the hour book, “and not a man.”

Analyzing the genre of Fonvizin's work, G. A. Gukovsky called it "half comedy, half drama." And indeed, the comedy "Undergrowth" contains numerous features of the Western European "petty-bourgeois" drama. The writer himself pointed out that he sees in French comedy "a possible degree of perfection", and by combining it with Russian drama, he managed to create a completely unique and original work, in which touching, comic and moralistic beginnings are visible. Ridiculing the vices of the landlord class, the author shows the deeply tragic collapse of human relations, the destruction of the very institution of the family, where children lack any signs of respect and love for their parents. Showing Mitrofan's attitude to his mother, the playwright seeks to arouse in the audience even some pity for the cruel and wayward landowner Prostakova.

The artistic originality of "Undergrowth" did not fit into the framework of classicism, much less within the framework of the sentimental-romantic direction. Here one can trace the search for other, completely new, hitherto unknown principles and methods of creating artwork. Pictures of objective reality in its wide scope, the creation of typical and at the same time individual images, a living, socially and psychologically motivated language actors- all this testified to the beginning of the formation of a new direction in literature - critical realism.

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"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. IN 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.