There, in the old days, Satires are a bold ruler, Fonvizin shone, a friend of freedom ... A. S. Pushkin Classicism - literary direction, which existed in the XVIII - early XIX century. It is characterized by a high civic theme, which required that everything personal be sacrificed in the name of national tasks; strict adherence to certain rules and regulations. Classicist writers found examples of beauty in the monuments of ancient art, unchanged for all times. In classicism, there was a clear division of genres of literature into "high" and "low". The subject of high genres (poems, odes, tragedies) could be higher, spiritual life, actors - only kings and aristocrats. The content of low genres (satire, comedy, fables) was reduced to depicting private, everyday life. The characters were representatives of the lower classes - the petty nobility, bureaucracy, serf servants. "High" and "low" have never been combined in one work. The character of the hero was dominated by a single trait - positive or negative. As a result, the characters were either completely vicious or completely noble. Classicism solved the problems of educating a person-citizen. The behavior of others has a decisive influence on the personality of the child. Virtuous or vicious, it serves as an example, a role model. The ideal of the era is proclaimed a person who is able to bring public benefit, for whom the interests of the state are higher than personal interests. The attention of the comedy was drawn to the negative phenomena of reality. The purpose of comedies, according to classicism, is to enlighten, ridiculing shortcomings, to educate with laughter. by the most outstanding work dramaturgy of classicism in Russian literature XVIII century is Fonvizin's comedy "Undergrowth". In the construction of his play, Fonvizin strictly followed the rules of classicism. "Undergrowth" consists of five canonical acts. In each, the rule of triunities is observed - action, time and place. The events depicted by Fonvizin take place within one day and in one place - in the house of the landowner Prostakova. According to the rules of classicism, the actors of the comedy are divided into vicious and virtuous, and in the finale of the play, the evil ones are punished, the good ones triumph. Comic heroes are put to shame. Prostakova was deprived of her rights over the peasants for the abuse of her power, her estate was taken under guardianship. The clash of "evil" and "virtuous" heroes reflects a profound social conflict advanced noble intelligentsia with reactionary feudal landlords. The playwright deliberately sharpens negative images thus achieving greater persuasiveness in exposing serfdom. images positive characters comedies are sketchy in the spirit of classicism. Pravdin, Starodum, Milon, Sophia do not so much live and act as they speak extensively and importantly on moral and political topics, teach lessons of noble virtues. Like these positive characters of the play, its negative characters are endowed with "talking" names by which one can immediately judge each of them: Prostakov, Vralman, Skotinin. Three themes run through dramatic work Fonvizin: the theme of education, serfdom and state structure Russia. The problem of upbringing and education of young nobles deeply worried the playwright, who dreamed of a new generation of enlightened Russian people. According to Fonvizin, the only reliable source of salvation from the spiritual degradation of the nobility is rooted in proper education. Fonvizin raised the question of what a true nobleman should be and whether he answers Russian nobility to its purpose. Starodum expressed the following thought about this: “A nobleman, for example, would consider it a first dishonor not to do anything when he has so much to do: there are people to help, there is a fatherland to serve!” Another problem of the "Undergrowth" is the problem of serfdom: the terrible situation of the Russian serfs, given to the full possession of the landowners, the monstrous arbitrariness of the nobles. The writer, speaking in favor of curbing the ignorant landowners who abused their power over the peasants, shows that faith in Catherine II is meaningless. In response to Pravdin’s words that with such rules, “as they are with Starodum, people should not be let go from the court, but they must be called to the court ... for what a doctor is called to the sick for,” Starodum answers with complete conviction: “My friend, you are wrong. It is in vain to call a doctor to the sick is incurable: here the doctor will not help, unless he himself becomes infected. The author puts another thought into the mouth of Starodum: “It is illegal to oppress your own kind by slavery.” Thus, the comedy "Undergrowth" reflected the most important and acute problems of Russian life. Fonvizin believed that the main weapon of a comedian is laughter and vice can and should be portrayed as funny.

The comedy "Undergrowth" is rightly considered the pinnacle of Fonvizin's work and all domestic dramaturgy of the 18th century. Keeping in touch with the worldview of classicism, comedy has become a deeply innovative work.

How does the comedy "Undergrowth" correspond to the provisions of Russian classicism? First of all, the author retains all the signs of a "low" genre.

The play ridicules vices (rudeness, cruelty, stupidity, ignorance, greed), which, according to the author, require immediate correction. The problem of education is central to the ideas of the Enlightenment, it is the main one in Fonvizin's comedy, which is emphasized by its title. (Undergrowth - a young nobleman, a teenager who received home education). The specificity of the depicted reality also corresponds to the language of the work (one of the rules of classicism). For example, Prostakova's speech: rude in addressing servants ("swindler", "cattle", "thieves' mug" - tailor Trishka; "beast", "scumbag" - nanny Yeermeevna), caring and affectionate in conversation with her son Mitrofanushka ("vek live, learn forever, my dear friend, "darling"). "Correct", book language forms the basis of the speech of positive characters: it is spoken by Starodum, Pravdin, Milon and Sophia. Thus, the speech of the heroes, as it were, divides the characters into negative and positive (one of the rules of classicism).

Observed in comedy and the rule of three unities. The action of the play takes place in the estate of Mrs. Prostakova (unity of place). The unity of time seems to be present too. The unity of action presupposes the subordination of the action of the play to the author's task, in this case, the solution of the problem of true education. In the comedy, the unenlightened (Prostakova, Skotinin, Prostakov, Mitrofanushka) are opposed to the educated (Starodum, Sophia, Pravdin, Milon) characters.

On this, following the traditions of classicism ends. What is the innovation of comedy? For Fonvizin, unlike the classicists, it was important not only to pose the problem of education, but also to show how circumstances (conditions) influence the formation of a person's character. This significantly distinguishes comedy from the works of classicism. The Undergrowth laid the foundations for a realistic reflection of reality in Russian fiction. The author reproduces the atmosphere of landlord arbitrariness, exposes the greed and cruelty of the Prostakovs, impunity and ignorance of the Skotinins. In his comedy about education, he raises the problem of serfdom, its corrupting influence on both the people and the nobles.

Unlike the works of classicism, where the action developed in accordance with the solution of one problem, "Undergrowth" is a multi-dark work. Its main problems are closely related to each other: the problem of education - with the problems of serfdom and state power. To expose the vices, the author uses such techniques as speaking surnames, self-disclosure negative characters, subtle irony on the part of goodies. Fonvizin puts criticism of the "corrupt age", loafing nobles and ignorant landlords into the mouths of positive heroes. The theme of serving the fatherland, the triumph of justice is also carried through positive images.

The nominal meaning of the surname of Starodum (favorite hero Fonvizin) emphasizes his commitment to the ideals of the old, Peter's times. Starodum's monologues are aimed (in accordance with the tradition of classicism) at educating those in power, including the empress. Thus, the coverage of reality in comedy is unusually wide compared to strictly classic works.
The system of comedy images is also innovative. Actors, however, are traditionally divided into positive and negative. But Fonvizin goes beyond classicism, introducing heroes from the lower class into the play. These are serfs, serfs (Eremeevna, Trishka, teachers Kuteikin and Tsyfirkin).

Fonvizin's attempt to give at least a brief background of the characters, to reveal different facets of the characters of some of them, was also new. So, evil, cruel krepos

One of the important problems of Fonvizin's comedy "Undergrowth" is the problem of education. This always worried Fonvizin. He tirelessly stood up for the flourishing of enlightenment in Russia and believed that the nobles brought up in strict civil rules would be worthy leaders of the country.

Everyone talks about upbringing in the play - starting with Mrs. Prostakova and ending with Pravdin and Starodum. Fonvizin shows the clash of two views on upbringing and education: patriarchal (Prostakova, Skotinin, Mitrofan) and advanced, educational (Starodum, Pravdin, Milon, Sophia).

Prostakova and Skotinin are on conservative positions. Prostakova declares that she can’t read, and indeed, is it ever heard that “girls can read and write!” The same view is held by Skotinin, who also "has never read anything from his birth."

But already both Skotinin and Prostakova are beginning to understand that times are changing, and one cannot do without education. Certainly, title of nobility will allow you to get some kind of rank, but break into high society only possible with a good education. Therefore, they force Mitrofan to study and hire teachers for him. But here, too, they are trying in every possible way to protect Mitrofanushka from teachers and damned teachings.

As a result, Mitrofan grows up not just an ignoramus, who knows absolutely nothing and does not want to learn anything. This is also a vicious, rude, cruel and heartless person. He grew up a soulless egoist, completely disrespectful even to his mother. Starodum is absolutely right when he says that this is malice worthy fruits».

In contrast to Mitrofanushka, Fonvizin creates positive image young man, honest, noble, educated. This is a young officer Milon. The playwright puts a certain idea into this image, because he sincerely believes that such people can truly serve their homeland.

Fonvizin put his ideas on education into the mouth of the hero Starodum younger generation Significant phenomenon 2 fourth act plays where Starodum educates Sofya, expressing his thoughts, his life observations to her. From the conversation of the heroes, we learn that Sophia wants to earn a good opinion of herself from worthy people. She wants to live in such a way that, if possible, she never offends anyone. Starodum instructs the girl on the "true path", and she absorbs all the life truths of her uncle. We can say that Starodum's instructions fell on fertile ground. They will undoubtedly bear fruit.

The problem of education is also manifested in the images of Mitrofan's teachers. Creating them, Fonvizin, most likely, sought to show that it is unlikely that teachers like Kuteikin, who himself did not graduate from the seminary, or Vralman, a former coachman, will be able to teach something sensible to a young man. Of these, one Tsyfirkin evokes sympathy for his honesty, directness and conscientiousness. He refuses to take money that he did not deserve, because he could not teach the cudgel Mitrofan anything.

The playwright believes that she has an important national importance, for only in correct education is the source of salvation from the evil that threatens society. The story of Mitrofanushka's upbringing explains where the Skotinins come from and what should be changed so that they no longer appear: destroy slavery and overcome by moral education vices of human nature.

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, conditional division of characters into positive and negative, schematism in the image of positive ones, “speaking names”, 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 serf village, the fidelity of recreating the typical features of negative characters, the authenticity of life images. For the first time in the history of Russian drama love affair was relegated to the background and acquired secondary importance.

Thus, Fonvizin's comedy is a new phenomenon, because it is written on the basis of Russian reality. It combines the features of realism and classicism. Moreover, 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. 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.

but, including the famous comedy "Undergrowth", are closely connected with a special trend in literature and art (painting, architecture), which originated in a number of European countries at the time of the rise of absolutism (the personal power of monarchs, personifying the unity, integrity, sovereignty (independence) of states) in early XVII century and called classicism (from lat. classcus - exemplary). Influence of classicism on artistic life Europe XVII-XVIII centuries. was broad, long-term and generally fruitful.

In literature, classicism was most fully manifested in lyrics and in drama.

Classicism believed that it was necessary to rely on the norms of beauty in ancient art, that is, in art Ancient Greece And ancient rome which were set forth in the works of Aristotle, Horace and other thinkers and poets of antiquity and strictly observe them, without deviating from the creative rules. These norms and rules demanded from art, in particular from art, clarity of presentation, accuracy in expressing thoughts, and order in the construction of works.

Classicism gave preference to culture over savagery and insisted that nature and life, transformed by man, are higher than nature and natural life, not yet subject to the noble efforts of the human mind, feelings, will and hands.

Before the gaze of the classicists, there was always the ideal of a beautiful and exalted life, transformed by the art of man, and the chaos of wild nature opposing it. natural life, controlled by incomprehensible and seemingly bad laws. Consequently, it was typical for classicism to reflect life in ideal images, gravitating towards the universal "norm", the image that classical antiquity serves as an example of perfect and harmonious art in classicism.

Since in real life the conflict between reason and feelings was identified, then classicism sought to resolve and overcome it through a harmonious and complete combination of a person’s personal interests with the dictates of reason and moral duty. At the same time, the interests of the state were considered the main and prevailing over the interests of the individual.

The greatest flourishing in the literature of classicism initially reached drama as a kind of verbal and stage art.

Drama (from Greek, drama - “action”), as you know, is one of the three types of literature, along with epic and lyrics. The basis of the drama, according to the original meaning of the word, is the action: In the drama, the phenomena that make up the external world unfold before the viewer or reader.

Events appear as a live action unfolding in the present (before the eyes of the viewer!) shown through conflicts and in the form of a dialogue. Playwrights are excluded from direct action and cannot speak on their own behalf, with the exception of remarks explaining the action or behavior of the characters (for example, when one or another character utters a line in response to the words of another person, the playwright can mark - “aside”, i.e. .wishing to hide his opinion).

Classical drama has a number of features. In order for the action to retain logical harmony, the classicists advanced the requirement of the "three unities" - the unity of place, the unity of time and the unity of action.

The first two unities are very simple and formal in nature, which is why they subsequently did not stay in dramatic works.

The unity of the place requires that the action takes place in the same room and does not go beyond it, for example, in the same house, but in different rooms. So, the action of the comedy "Woe from Wit" takes place in Famusov's house, but then in Famusov's office, then in Sophia's bedroom, then in the living room, then on the stairs, etc.

The unity of time suggests that the action must begin and end within one day. For example, the action begins with Chatsky's arrival at the Famusovs' house in the morning and ends with his departure at night.

Unity of action is the most fundamental and profound requirement of the theory of classicism. The laws of drama require tension and concentration of the action, usually determined by the characters' characters, special strictness in plot management: the action in the drama and the behavior of the characters must be directed towards one goal, maintain connection and harmony of the composition in all scenes and details and be united, conjugated with the main confrontation actors.

Such a rule for a dramatic plot is called "unity of action." “The action of the drama,” wrote V. G. Belinsky, “should be focused on one interest and be alien to side interests ...” This means that in the drama “everything should be directed towards one goal, one intention.”

Thanks to the unity of the action in the drama, the three-term development of the plot is especially clearly and consistently traced: the plot - the development of the action (including the climax) - the denouement. External expression of the flow sequence dramatic action is the division of the drama into acts, each of which is a completed stage of the unfolding conflict.

Classicism strictly adhered to the so-called hierarchy of genres. Tragedy, ode, epic belonged to " high genres". comedy, fable, satire- to "low".

In the genre of tragedy, France put forward two of the largest playwrights - Pierre Corneille and Jean Racine. Their works are based on the clash of personal interests and civic duty. In the genre of fable, Lafontaine became famous, and in the genre of comedy, Molière. They laughed at the vices of people, at unfair social and social conditions and relationships.

Over time, the contradictions between the individual and the state became more and more aggravated. Not only the lower strata of the population, unenlightened and unaffected by the activity of a powerful mind, began to be criticized, but also the nobility and clergy, who stood at a high level of society. It's comedy time.

The basis of the comic (and laughter) is the law of inconsistency: the imaginary is opposite to the true, the illusion is the opposite of reality, the expected is the result. A discrepancy can be easily detected between words and deeds, as in fable x Krylova, between an unjustifiably underestimated or overly exaggerated event, a discrepancy between the claims of the character, as in the case of Mrs. Prostakova, and her actual essence. It is on the basis of inconsistency that comedy features such as hyperbole, sharpness, absurdity, grotesque and its “high”, often mixed with tears of despair, laughter grow. The more absurd the discrepancy, the more fantastic it is, the more realistic, vitally authentic the setting of the action should be. Only then will comedy, with its wise and uplifting laughter, be convincing and morally effective.

All these remarks apply in full measure both to Russia and to Russian classicism, which possessed a number of national features.

In Russia, classicism arose in the 1730s-1750s. For Russian classicism, the national-patriotic theme, civic pathos, which was based on the growing power of the Russian state and was associated with the transformations of the Petrine era, is natural.

Questions in assignments

1. What were the basic rules, the laws of classicism?

2. Can you determine which properties of classicism Fonvizin inherits and which he rejects or transforms?

3. Do you agree with the following statement by P. A. Vyazemsky:

“In the comedy The Undergrowth, the author already had a most important goal: the disastrous fruits of ignorance, poor education and abuse of domestic power are exposed to him with a bold hand and painted with the most hated colors. In "The Brigadier" the author fools the vicious and foolish, stinging them with arrows of mockery; in "Undergrowth" he no longer jokes, does not laugh, but is indignant at vice and stigmatizes him without mercy ... Ignorance ... in which Mitrofanushka grew up) and home examples should have prepared in him a monster, what is his mother, Prostakova " .

The roles of Milon and Sophia are pale... The official is true: he cuts with the sword of the law the tangle of action that should be unleashed by the author's considerations, and not by the police measures of the governor. Kuteikpn, Tsifirkin and Vralman are funny caricatures; the latter is too caricatured, although, unfortunately, it is not entirely unrealizable that in the old days a German coachman ended up as a teacher in the Prostakovs' house ... ".

The success of the comedy "Undergrowth" was decisive. moral action her undoubtedly. Some of the names of the characters have become common nouns 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. I myself happened to meet in the provinces with two or three living specimens of Mitrofanushka, that is, they allegedly served as a model for Fonvizin ... If it is true that Prince Potemkin, after the first performance of The Undergrowth, said to the author: “Die, Denis, or don’t write anything else! ”, it’s a pity that these words turned out to be prophetic and that Fonvizin no longer wrote for the theater ”(Vyazemsky P. A. Aesthetics and literary criticism. M., 1984. S. 197-198, 211-222).

4. Why, from the point of view of Vyazemsky, goodies did Fonvizin turn out to be less artistically convincing than the negative ones?

5. Comment on the opinion of the Russian historian V. O. Klyuchevsky from his reflection “Undergrowth of Fonvizin (Experience of historical explanation of the educational play)”:
“It can be said without risk that the Undergrowth has not yet lost a significant share of his former artistic power over either the reader or the viewer, despite his naive dramatic construction, which at every step reveals the threads with which the play is sewn, neither into an outdated language, nor into the dilapidated stage conventions of Catherine's theatre, even despite the fragrant morality of the optimists of the last century poured into the play. ... one must carefully laugh at Mitrofan, because Mitrofan is not very funny and, moreover, is very vindictive, and they take revenge with the uncontrollable multiplication and elusive insight of their nature, akin to insects or microbes.

Yeah I don't know who's funny inUndergrowth . Mr. Prostakov? He is only an unintelligent, completely helpless poor fellow, not without the conscientious sensitivity and directness of a holy fool, but without a drop of waves and with an excess of cowardice pitiful to tears, forcing him to be submissive even before his son. Taras Skotnin is also a little comical: in a man ... for whom a pigsty replaces both the temple of science and home, - what is comical in this noble Russian nobleman, who, from an educational competition with his favorite animals, has become
fours? Isn't the mistress of the house herself, Mrs. Prostakova, nee Skotinina, comical? This face in a comedy, unusually successfully conceived psychologically and excellently sustained dramatically ... she is stupid and cowardly, that is, pathetic - according to her husband, like Prostakov, godless and inhuman, that is, disgusting - according to her brother, like Skotinina. Undergrowth is a comedy not of persons, but of positions. Her faces are comical, but not funny, comical as roles, and not at all funny as people. They can amuse when you see them on the stage, but disturb and upset when you meet them outside the theater, at home or in society. Fonvizin forced the sadly bad and stupid people play funny, funny and often smart roles.

The strength of the impression is that it is made up of two opposite elements: laughter in the theater is replaced by heavy reflection upon leaving it ”(Klyuchevsky V.O. historical portraits: Figures of historical thought. - M., 1990. - S. 342-349).

What is the difference between the judgments of Vyazemsky and Klyuchevsky and which of them, in your opinion, is more right? Or perhaps you have a different point of view?

6. By what signs can it be determined that the comedy "Undergrowth" refers to classic works (unity of time, place ...)?

Literature, 8th grade. Proc. for general education institutions. At 2 o'clock / auth. V. Ya. Korovin, 8th ed. - M.: Enlightenment, 2009. - 399 p. + 399 p.: ill.

Lesson content lesson summary support frame lesson presentation accelerative methods interactive technologies Practice tasks and exercises self-examination workshops, trainings, cases, quests homework discussion questions rhetorical questions from students Illustrations audio, video clips and multimedia photographs, pictures graphics, tables, schemes humor, anecdotes, jokes, comics parables, sayings, crossword puzzles, quotes Add-ons abstracts articles chips for inquisitive cheat sheets textbooks basic and additional glossary of terms other Improving textbooks and lessonscorrecting errors in the textbook updating a fragment in the textbook elements of innovation in the lesson replacing obsolete knowledge with new ones Only for teachers perfect lessons calendar plan for a year guidelines discussion programs Integrated Lessons 20.04.2016 1752 357 Zhunusova Gulnara Kasenaevna

I. Fonvizin "Undergrowth". Studying comedy. Lesson system.
Lesson 1 classic comedy.
1. Fonvizin and his comedy
Implementation of homework
What main stages of Fonvizin's life did you note when doing your homework? (Born in Moscow in a family of Russified Germans, studied well at the gymnasium at Moscow University, moved to St. Petersburg, knew Lomonosov, became interested in theater. He began his literary activity from translations of fables and plays. Then he worked as a translator at the Collegium of Foreign Affairs. Fonvizin's first play "The Brigadier". He was Panin's close associate, whom Catherine II hated. "Undergrowth" was first staged on September 24, 1782. But Fonvizin then had to retire. He wrote the satire "The General Court Grammar", after which he was banned from publication. Then he fell seriously ill and died at the age of 47.)
Watch the video and answer the questions (slides 2-4)
Slide 2. Pedigree. Childhood
What is the origin of the surname Fonvizins? ( German descent).
When did they appear in Russia? (The ancestors of Fonvizin ended up in Russia during the reign of Ivan the Terrible, during Livonian War)
Where was Fonvizin born? (in Moscow)
Who is it named after? (in honor of his ancestor Denis)
Where and how did he study? (he studied at the gymnasium at Moscow University perfectly)
Slide 3. Comedy "Undergrowth"
What shortcomings does Fonvizin denounce? (flattery, servility, savagery and cruelty of serfdom)
In whose mouth did he put his secret thoughts? (In the mouth of Pravdin and Starodum)
Slide 4
Where was the comedy first staged? (In the old theater on the Tsaritsyn meadow)
What did Prince Potemkin say to Fonvizin after the release of the comedy? (“Die, Denis, you won’t write better!”)
What did the writer condemn in comedy? ("malice worthy fruits")
What used to mean the word "undergrowth"? (the so-called nobles who did not reach the age of majority)
2. Announcement of the topic of the lesson, goals, problems.
“More than two hundred years have passed since the first performance of “Undergrowth”, however, Fonvizin’s comedy is successfully going on stage contemporary theater, which means that the "river of time in its striving" did not swallow the play of the eighteenth century. And we explain this phenomenon by the fact that the play created in the era of classicism, which absorbed its features, thanks to the talent of the author, went beyond the framework of classicism, taking a very special place in Russian dramaturgy. Today we will reveal the features of classicism in it, and also find those features that distinguish comedy from classic works.
slide 15.
But first you need to get acquainted with classicism as a direction of literature.
In literature and art, there are such directions:
1. Classicism
2. Sentimentalism
3. Romanticism
4. Realism
5. Modernism
slide 16.
Classicism is art system which has developed not only in literature, but also in painting, sculpture, architecture, landscape art, music. This is what we will talk about today. The very name classicism (from lat. Сlassicus - exemplary) emphasized the fact that the artists of this trend inherited the ancient “classics”. But the classicists did not take everything from the Greeks and Romans, but only what they considered the embodiment of order, logic, harmony. As is known, the basis antique architecture lies the principle of straight lines or a perfect circle. Classicists perceived it as an expression of the priority of reason, logic over feelings. ancient art The classicists were also impressed by the fact that patriotic, civic themes were widely represented in it.
Slide 17. (* problem statement: fill in the table with answers)
Slide 18. Classicism developed in the 17th century in France, reflecting the rise of absolutism, or absolute monarchy.
Slide 19. The principles of classicism
1. The basis of everything is the mind. Only that which is reasonable is beautiful.
2. the main task- Strengthening the absolute monarchy, the monarch is the embodiment of the reasonable.
3. main topic– conflict of personal and civic interests, feelings and duty
4. The highest dignity of a person is the fulfillment of duty, service to the state idea
5. Inheritance of antiquity as a model
(Oral explanation: the action was transferred to another time, not only in order to imitate antique samples, but also so that familiar life does not interfere with the viewer, reader to perceive ideas)
6. Imitation of “decorated” nature
7. The main category is beauty
Slide 24. Theorist French classicism Nicolas Boileau-Despreo in his work "Poetic Art" outlined the principles of classicism in literature.
Basic requirements of classicism in literature
1. Heroes - “images without faces”. They do not change, being the spokesmen for common truths.
2. The use of the common language was excluded
3. The requirement of compositional rigor
4. Observance in the work of three unities: time, place and action.
5. Strict division into genres.
6. Role system
slide 26.
But the opinion of Moliere: "The task of comedy is to castigate vices."
slide 27.
3. Work on the cluster: Features of classicism in Fonvizin's comedy
 Students work on passages, answer questions on the slide
 Cluster protection
 A conclusion is made, the teacher supplements with the facts of the deviation of the work from classicism
slide 28.
Let us now turn to the question of creating a comic
Question. In what ways does the author reveal the character of those who turn out to be the subject of “his merciless irony”, whose shortcomings, in the words of N. Gogol, “are exposed in evidence of merciless”?
Answer. Fonvizin uses “talking” surnames, self-exposing phrases.
Speech bad guys sets off individual characteristics heroes, we have already noted this with an example speech characteristics Prostakova.
“ Of course, the comedy “Undergrowth” is a work of Russian classicism. But she is at the origins of Russian realistic literature. In Fonvizin's play, everything is Russian, national: theme, plot, conflict, characters. great merit Fonvizin is that he, being within the framework of the classic rules and conventions, managed to destroy many of them, creating a work deeply innovative both in content and in art form.
 Concluding our conversation, let's try to answer a few more questions: “Do you think that for our time, which is very difficult, imbued with a thirst for money, power, are ideas so dear to Fonvizin viable?
 Are the ideas of citizenship, service to the Fatherland, so beloved by the classicists, outdated today?
Sincwine. The guys make up a syncwine on the word classicism to generalize understanding this concept
Reflection: We fill in the sheets, answering the questions shown on the slide.
Evaluation. Summarizing.
Homework:
1. Find definitions of concepts
2. Individual tasks by heroes

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