In the comedy "Undergrowth" D.I. Fonvizin poses one of the most important problems of society: the upbringing and education of the younger generation. The play caricaturely depicts the "educational process" in the Prostakov family of landowners. Satirically depicting the manners of the local nobles, showing their complete ignorance in how they prepare children for life and work in society, the writer sought to condemn this approach to education. Mitrofan's mother is forced (besides the main concern - about the nutrition of her son) to demonstrate the implementation of the decree on the education of noble children, although of her own free will she would never force her beloved child to "useless teaching".
The author satirically depicts Mitrofan's lessons in mathematics, geography, and the Russian language. His teachers were the sexton Kuteikin, the retired sergeant Tsyfirkin and the German Vralman, who were not far from the landowners who hired them. During the “arithmetic” lesson, when the teacher suggested solving the division problem, the mother advises her son not to share with anyone, not to give anything, but to take everything for himself. And geography, according to Prostakova, the gentleman does not need, because there are cabbies who will take you where you need to go.
The “exam” scene, in which Mitrofan showed all his knowledge, is imbued with a special comic. He sought to convince the "commission" how "he had gone far" in studying, for example, the Russian language. And therefore he sincerely assured that the word "door" can be both a noun and an adjective, depending on the location. Mitrofan achieved such results thanks to his mother, who indulged her lazy son in everything, who was used to doing only what he liked: eat, sleep, climb the dovecote and see from everyone around him unquestioning obedience, the fulfillment of his desires. Studies were not included in the circle of interests.
In the conditions that are displayed in the comedy, children could not differ much from their parents, since ignorant people are not able to instill in their offspring a craving for knowledge, the desire to become educated and intelligent citizens who would consciously prepare to serve the Fatherland. Mitrofan's father and mother cannot even read, and the uncle "had never read anything": "God ... delivered this boredom." The vital interests of these landowners are extremely narrowed: satisfaction of needs, passion for profit, the desire to arrange a marriage of convenience, and not for love (due to Sophia's dowry, Skotinin would like to "buy more pigs"). They have no concept of duty and honor, but the desire to rule is immensely developed. Prostakova is rude, cruel, inhuman towards the serfs. "Cattle, thieves' mug" and other curses are a reward, and the payment for labor was "five cuffs a day and five rubles a year." Mitrofan, who has been taught cruel treatment of serfs since childhood, will become the same master. He considers teachers as servants, wanting them to obey his lordly will.
Mrs. Prostakova is mentally "too simple" and "not trained in delicacy." He solves all issues with swearing and fists. Her brother, Skotinin, belongs to that group of people who, in their image and likeness, are close to animals. For example, Skotinin says: “Mitrofan loves pigs because he is my nephew. But why am I so addicted to pigs? Mr. Prostakov replies to this statement: "And here there is some similarity." Indeed, the son of the Prostakovs Mitrofan is in many ways similar to his mother and uncle. For example, he does not feel the desire for knowledge, but he eats a lot, and at the age of sixteen he is quite overweight. The mother tells the tailor that her child is of "delicate build." Nanny Eremeevna reports Mitrofan's needs: "I deigned to eat five buns before breakfast."
The purpose of D.I. Fonvizin was not only ridiculing, exposing the customs of the local nobility, but also a satirical depiction of the current order in society, in the state. Despotism destroys humanity in man. The writer substantiates his conclusions about the need to abolish serfdom by showing how some landlords understood the “Decree on the Liberty of the Nobility” in their own way, and other royal decrees supporting the serf-owners. The features of the life and way of life of the local nobles are that they take licentiousness of morals for virtue, since they have unlimited power, and therefore rudeness, lawlessness, and immorality flourished in their society.
The comedy "Undergrowth" is aimed at exposing the vices of society. Satirically depicting the mores of the landlords, their "methods of education", Fonvizin reached conclusions about what people should not be like, how children should not be raised so that new "mitrofanushki" would not appear among the nobles. The life principles of Mitrofan are directly opposite to the convictions of an enlightened person. The author of the work created not a positive, but a negative image. He wanted to show "evil morality worthy of the fruits", therefore, he displayed the worst aspects of landowner life, the malevolence of the serfs, and also highlighted the vices of educating the younger generation.
The landowner Prostakova raised her son in her image and likeness (as her parents once raised her) and instilled in him the qualities that she considered necessary, so Mitrofan at the age of sixteen had already set goals and priorities for himself, and they are as follows:
- does not want to study;
- work or service does not appeal, it is better to drive pigeons on a dovecote;
- food for him has become the most important of the pleasures, and daily overeating is the norm;
- greed, greed, stinginess - qualities that help achieve complete well-being;
- rudeness, cruelty and inhumanity - the necessary principles of the landowner-serf;
- deceit, intrigue, deceit, fraud - the usual means in the struggle for one's own interests;
- the ability to adapt, that is, to please the authorities and to show lawlessness with people without rights, is one of the conditions for a free life.
For each of these "principles" in the comedy "Undergrowth" there are examples. The author wanted to ridicule, denounce the low morals of many landowners, therefore, in creating images, he used such techniques as satire, irony, and hyperbole. For example, Mitrofan complains to his mother that he was starved to death: “I haven’t eaten anything since morning, only five buns,” and last night “didn’t have dinner at all - only three slices of corned beef, and five or six hearth (buns).” Also, with sarcasm and hostility, the author reports about Mitrofan's "craving for knowledge", who is going to arrange a "task" for the old nanny because she asks him to learn a little. And he agrees to go to the lessons only if the conditions set by him are fulfilled: “... so that this is the last time and so that today there will be an agreement” (about marriage).
Mrs. Prostakova shamelessly lies to Pravdin that her son "does not get up for days because of the book." And Mitrofan enjoys permissiveness, the blind love of his mother, he has learned well how to achieve the fulfillment of his desires. This undergrowth is self-willed, rude, cruel, not only in relation to the nanny or other serfs, but even in relation to the mother, for whom he is the main joy. “Yes, get off, mother, how imposed!” - the son pushes away his mother when she tries to find support from him.
Starodum’s conclusion, made at the end of the play (“Here are the worthy fruits of evil-mindedness!”), Returns viewers and readers to the previous facts that explain and clearly show how characters like the immature Mitrofan and his mother are formed in society.
The decision of Pravdin to send Mitrofanushka to the service of the noble son is accepted unquestioningly. But a question arises, to which there is no answer in the comedy, although it is implied: “Can Mitrofan be useful in the service of the Fatherland?” Of course not. For this, D.I. Fonvizin created his comedy to show the public what “undergrowths” are brought up by the landowners and in whose hands the future of Russia may turn out to be.
The material proposed in the article will help seventh-graders to correctly and comprehensively analyze not only the episode of D.I. The theoretical concepts introduced in the first part of the article, devoted to the second section "Satire and Humor in Literature", receive practical application here.
Analysis of the episode "Mitrofanushka's Exams"
- Sarcasm- caustic mockery, the highest degree of irony and satire.
- Grotesque- Violation of lifelikeness; an absurd and illogical combination of artistic details and images.
- Irony hidden laughter.
- Hyperbola- an exaggeration.
- assimilation- the use of comparison when creating a comic. The technique of likening a person to a pet for satirical ridicule of ignorance in the comedy "Undergrowth".
The comedy of this phrase is that Mitrofan does not study at all, he is looking for various excuses to get rid of lessons and teachers.
Discrepancy - what Prostakova says about her son and what really is.
You should know well the meaning of the words "ignorant" and "ignorant"
These are paronyms
Ignorant - a rude, ill-mannered person
An ignoramus is a poorly educated, little-informed person (according to the dictionary of S.I. Ozhegov )
Pravdin turns to Mitrofan with the question: “Are you far in history?”
The comedy of this line is that the word "story"- multi-valued, has 7 meanings.
In what sense does Mitrofan use the word "history"?
- Reality in its development
- The science of social development
- The course of development, the movement of something (the story of our friendship)
- The past preserved in the memory of mankind
- The science of the development of some field of knowledge
- Storytelling (narrative)
- Incident, mostly unpleasant, scandal (colloquial) - That's the story!
By the way, the surname “Vralman”, the name Adam Adamych, the name Khavronya (the distorted name “Fevronya”) are “talkers”, characterizing the human qualities of both the teacher and the narrator, which also creates a comic effect. Mitrofan - Greek name, translated means "like a mother."
The occupation of Khavronya is a cowgirl (“a worker caring for livestock”). The words "cattle", "bestial" constantly sound in Prostakova's speech as abusive, contemptuous. One can imagine what kind of “stories” Khavronya told.
Prostakova persuades her beloved son not to be stubborn, but to show himself
("show yourself" - phraseological phrase denoting the manifestation of one's qualities and abilities to the fullest).
He asks his son to answer all questions for the sake of profit.
He can tell a fictional dream about the beatings that his beloved mother rewards an unrequited father, be rude to the nanny who nursed him. But in the sciences - he did not succeed. But not because he can't. Most likely he doesn't want to.
The mother’s request calls out indignation from him: “Come on, like a knife to the throat ". This phraseological turn means to achieve something "persistently, relentlessly, obsessively" and is labeled "colloquial".
Mitrofan perceives the request as an insult. After all, he experienced the real torment of teaching.
Why is geography needed?
Starodum remarks that knowledge of geography will help to navigate the trip.
Prostakov: “What are cab drivers for? It's their business. And science is not noble.”
The expression has become catchy.
At the end of Prostakova’s statement, the “crown” phrase sounds: "... that's nonsense that Mitrofanushka doesn't know."
Episode Purpose: to show the measure of ignorance of the Skotinins breed, illiterate in the truest sense of the word: they cannot read and write.
In the final self-exposing monologue Prostakova confesses her most intimate thoughts. Her phrase - "Without the sciences people live and lived" - is not unexpected for us. After all, we, the readers, have seen that Mitrofan's education is formal. The teachers gave nothing to the underage. Yes, and they themselves do not know and do not understand much. Science is not included in the list of Skotinins' values.
Scary Mitrofan? Ridiculous? Harmless? Dangerous?
Let us turn to Mitrofan's remark: "To be taken for people?" Read: deal with the serfs?
A worthy descendant of the Skotinins. Not only the future, but also a real cruel serf-owner.
The pathos of comedy is satirical
The comedy is based on an artistic technique called antithesis (opposition, contrast) - enlightened virtuous nobles (Starodum, Pravdin) and ignorant malevolent landowners (Prostakova, Skotinin) are opposed to each other.
A.L. Murzina, honored teacher of Kaz. SSR,
teacher-methodologist of NP secondary school "Lyceum" Stolichny
In this lesson, we will get acquainted with the VII and VIII phenomenon of the third act of Fonvizin's comedy "Undergrowth". In the course of the lesson, we will analyze these two phenomena, the scene of a fight between teachers, and also learn the meaning of unfamiliar words.
Topic: Russian literature of the 18th century
Lesson: Episode of Fonvizin's comedy "Undergrowth"
This episode of the comedy could be called "Mitrofanushka's Lesson." Initially, it may seem that everything described in the VII and VIII phenomena is a comic exaggeration, or, in scientific terms, hyperbole. That it wasn’t and couldn’t be, that Fonvizin already came up with it. But everything described is from nature. For example, in Radishchev's book "Journey from St. Petersburg to Moscow" there is a chapter called "Gorodnya". In this chapter, the traveler meets a Frenchman, who tells that he was a hairdresser, then a sailor, but he was always prone to drunkenness, laziness, so he could not earn his daily bread. And on the advice of fellow countrymen, he became a teacher and, together with the student's family, went to the village, where for a whole year they did not know that he could not write. Derzhavin, in his Notes, says that he was apprenticed to a certain Joseph Roza, who was exiled to hard labor for some kind of guilt. His teacher himself was ignorant and did not even know the rules of grammar. In the comedy of Catherine II (“Mrs. Vestnikova with her family”), one of the characters about teachers says: “Let him still go to be a coachman to someone.” Ivan Ivanovich Shuvalov, an outstanding statesman of the Elizabethan time, founder of Moscow University, patron of Mikhail Vasilievich Lomonosov, founder of the Academy of Arts in St. Petersburg, in a memorandum to the Senate in 1754, proving that a university is needed, writes: those who spent their whole lives as lackeys, hairdressers, and other similar crafts. We need a university."
Commentary on the selected scene
In the works of the past (and this may be recent, say, the end of the last century), and even more so in the works of the 18-19th century, there are an unusually large number of incomprehensible words. Correct reading presupposes, first of all, familiarity with these words. One cannot understand the meaning of a work without understanding the words used in it. What words simply need to be known in order to read the two phenomena of the third act of the play "Undergrowth".
First, the word "collusion". Mitrofanushka says: “To be in agreement tomorrow.” Collusion- it's an engagement. That is, a young man and a girl are declared the bride and groom. It's not a wedding yet, but they're already engaged to each other. This custom of betrothal is still alive, although not as widespread as in former times.
backsides, which Mitrofanushka demands to hand over to him - this is what has been passed. Quite rightly, Tsyfirkin says that if you constantly repeat the same thing, then "you will remain with tasks a century ago." In general, Fonvizin's penchant for puns is unusually good. Fonvizin puns constantly.
Onbutt- For example.
Sabbat- end.
Surname Kuteikin formed from the name of the funeral dish "kutya" - rice with raisins. This is a lenten dish that is eaten at wakes and memorial holidays.
Az- I (Church Slavonic).
I am- the first person singular of the verb "to be". "I am a worm" - I am a worm. Psalter- a book of the Old Testament, a collection of spiritual poems, psalms. Authorship is attributed to the Biblical king David. This book was used to teach literacy, writing and reading. Kuteikin's ignorance is emphasized by the fact that he thinks that the two psalms should contain different things.
Asmoe tifa f sfete- the eighth wonder in the world.
Palfan- blockhead, chump, that is, an empty piece of wood.
Aristotle- ancient Greek philosopher, sage.
advance- move forward.
Goat- this is an elevation for the coachman.
Mrs. Prostakova and Mitrofan. Teachers Kuteikin and Tsyfirkin.
Prostakov: “While he is resting, my friend, at least for the sake of appearance, learn, so that it comes to his ears how you work, Mitrofanushka.”
Pay attention to the fact that Prostakova constantly emphasizes, especially in front of Pravdin and Starodum, that Mitrofanushka is learned, that he is enlightened. That is, Fonvizin seems to show that they are, of course, "dense", but the time is now such that even the "dense" should send their children to study. No other way.
Mitrofan: "Well! And then what?"
Prostakova: "And there you will get married."
Mitrofan: “Listen, mother, I will amuse you. I will learn; only that this be the last time, and that today there should be an agreement.
Prostakov: “The hour of the will of God will come!”
Mitrofan: “The hour of my will has come! I don't want to study, I want to get married! You tricked me, blame yourself. So I sat down."
Tsyfirkin sharpens the slate (then they wrote on a black slate board with soft slate - slate).
Prostakova: “And I will immediately sit down, I will knit a wallet for you, my friend! Sofyushkina's money would be where to put it.
This simple motive - money - runs through the whole play and the desire to marry Mitrofan to Sophia is caused by the news that Sophia has a fair dowry. As for the study itself, Prostakova's everything is very simple here.
Mitrofan: "Well! Get the plank, garrison rat! Ask what to write.
Why a garrison rat? Because Tsyfirkin served, was a soldier, and then retired. Now he earns by what he knows in mathematics, he will check the account for someone, something else for someone else.
Tsyfirkin: "Your nobility always bark around idle, if you please."
Prostakov: “Oh, my God! Don't you dare even choose Pafnutich! Already angry!”
The most wonderful feature that distinguishes all the satirical characters of Fonvizin: absolute contempt for the virtues of another person. You think the kid said garrison rat? Why be offended? There is even a proverb: "Swearing does not hang on the collar."
Tsyfirkin: “Why be angry, your honor? We have a Russian proverb: the dog barks, the wind blows.
Mitrofan: "Ask your butts, turn around." Tsyfirkin: “All backs, your honor. After all, you will remain with tasks a century ago. ” Prostakova: “None of your business, Pafnutich. I am very pleased that Mitrofanushka does not like to step forward. With his mind, fly far, and God forbid! And what does Prostakova mean here? With his grandiose mind or with his weak mind? Most likely, the first, but we read the second, no doubt. Tsyfirkin: “The task. You deigned, on the butt (that is, for example), to go along the road with me. Well, at least we'll take Sidorych with us. We found three...” Mitrofan (writes): “Three”. Tsyfirkin: "On the road, on the butt, three hundred rubles." Mitrofan (writes): "Three hundred." Tsyfirkin: “It came to the division. Guess what, why on your brother? Mitrofan (calculating, whispering): “Once three - three. Once zero is zero. Once zero - zero. Prostakova: “What, what, before the division?” Mitrofan: "Look at the three hundred rubles that they found, to divide the three." Prostakova: “He’s lying, my friend, my heart. Found money, didn't share it with anyone. Take everything for yourself, Mitrofanushka. Don't study this stupid science." Mitrofan: "Listen, Pafnutich, ask another one." Tsyfirkin: “Write, your honor. For learning, you give me ten rubles a year. Mitrofan: "Ten." Tsyfirkin: “Now, it’s true, there’s nothing for it, but if you, gentleman, adopted something from me, then it wouldn’t be a sin to add ten more.” Mitrofan (writes): "Well, well, ten." Tsyfirkin: “How much for a year?” Mitrofan: “Zero yes zero - zero. One and one ... ”(Thinking.) But here Prostakova intervenes. Prostakova: “Do not work in vain, my friend! I will not add a penny; and for nothing. Science is not like that. Only you are tormented, and everything, I see, is emptiness. No money - what to count? There is money - we will consider it good even without Pafnutich. Here Kuteikin intervenes. Kuteikin: “Sabbat, right, Pafnutich. Two tasks are solved. After all, they won’t bring it to reality (in the sense, no one will check how they are solved). Mitrofan: “I suppose, brother. Mother is not mistaken here. Go now, Kuteikin, teach yesterday.” Kuteikin (opens the book of hours): “Let's start with a blessing. Behind me with attention: "I am a worm ..." Mitrofan: "I am a worm ..." Kuteikin: "A worm, in other words (that is) an animal, cattle. In other words: "I am cattle." Mitrofan: "I am cattle." And this motive, taken from the psalter (chapter 21, verse 7), runs through the entire book: "I am a worm, and not a man, a reproach to men and a humiliation of people." Kuteikin: "Not a man." Mitrofan: "Not a man." Kuteikin: "Reviling of people". Mitrofan: "Reviling of people." Kuteikin: “And uni...” This is where the VII phenomenon ends.
The phenomenon changes when the composition of the characters on the stage changes. Vralman runs in.
Vralman: "Hey! ouch! ouch! ouch! ouch! Now I fizhu! They want to kill the turnip! You are my mother! Shall nat sfaey morning ... ”And so on. This is the so-called German accent, which is also found in comedies from the time of Fonvizin, and in “Woe from Wit” (“he went to pusurmans”), which will continue to be found for a very long time in Russian literature. And it is not very easy to understand all the words at once. For example, Vralman says about Mitrofan: “ asmoe tifa f sfete ". It means: the eighth wonder in the world. And since it is known that there are only 7 miracles in the world, then Mitrofan, it turns out, is the eighth miracle. Vralman: “Tail these damned slaves. And with such a calaf only a palfan? Ush disposition, ush fse is. (that is, there is a predisposition that the last brains flew out). Prostakova: “True, your truth, Adam Adamych! Mitrofanushka, my friend, if learning is so dangerous for your little head, stop it for me. Mitrofan: "And even more so for me." In one of the previous phenomena, teachers complained to each other that as soon as they started to study, a German immediately appeared and interfered with the classes. This is how it happens here. Kuteikin: "The end and glory to God." Vralman: “My mother! What is hot now? Son, there is a kakof, but the old FSUs were gone; or the son of the wise, so to speak, Aristotelis, but to the grave. That is, the mother will have to decide whether her son will remain as he is, but be healthy, or become a sage, like Aristotle, but his teaching will bring him to the grave. Prostakov: “Oh, what a passion, Adam Adamych! He dined carelessly yesterday as well.” Vralman: “Rassuti, mother of May, drank too much pruho: peda. And to fit a kaloushka at the nave is a bit of a sloppy pryukha; drink it too much and save it later!” That is, he stuffed his belly - and the trouble is, but if you stuff your head too much? That would be really bad. The head of Mitrofanushka is weaker than the belly. Prostakova: Your truth, Adam Adamych; yeah what are you going to do? Child, without learning, go to the same Petersburg: they will say, you are a fool. There are a lot of smart people now. I'm afraid of them." And here what - a feeling of their time, already new, or a curtsy towards the empress? After all, a lot of smart people started up with her. One way or another, Prostakova wants to teach her Mitrofan (at least for the sake of appearance). Vralman: “What to solder, my mother? A sensible man nikakhta efo does not sate, nikakhta does not argue with him: but he does not get in touch with smart people, and so the blasphemy will be alive! Prostakova: “This is how you need to live in the world, Mitrofanushka!” Mitrofan: “I myself, mother, am not a fan of smart girls. Your brother is always better." Vralman: “Is the campaign a dead body?” Prostakov: “Adam Adamych! Who will you choose from?" Vralman: “Do not collapse, my mother, do not collapse; what is your most precious son, there are millions, millions of them on the planet. How can he not screw up all the campaigns? Prostakov: "It's a gift that my son is a small sharp, agile." Vralman: “Is it not your body, the caps who didn’t samarize the epho for ear? Russian Kramat! Arithmetic! Oh, hospot after mine, how the carcass and the body remains! How putto py rassisks Tforanian ear and could not advance (that is, move forward) without Russian Kramat! Kuteikin (aside): "Under your tongue would be labor and illness." Vralman: “Like putto py to the arithmetic of dust, lyuti sandy turaks!” Tsyfirkin (aside): “I’ll count those ribs. Come to me." Vralman: “It’s shabby for him to sleep, how to sew on a fabric. I sleep sfet by heart. I myself am terta kalash. Prostakova: “How can you not know the big world, Adam Adamych? I am tea, and in Petersburg alone you have seen enough of everything. Vralman: “Tafolno, my mother, tafolno. I am always eager to watch the public. Pyfalo, about the prasnik of a carriage with hospots in Katringhof. I fse look at them. Pyfalo, I won’t get off the mower even for a minute. Prostakova: “What kind of goat?” Vralman (aside): “Ay! ouch! ouch! ouch! What did I screw up! (Aloud.) You, mother, are dreaming about what to look at always better. So, pifalo, I sat on a snak carriage, and so I looked at a Polish sfet with a scythe.
The goats are such an elevation on the front of the crew. The place where the coachman sits.
Prostakova: “Of course, you know better. A smart person knows where to climb." Vralman: “Your worst son is also on the planet, somehow, to look at him fiercely and to touch him. Utalets! Vralman knows the price of Mitrofanushka very well, and here it is necessary to play him in such a way that there is both innocence and cunning, so that it is clear that he is ironic about Mitrofanushka and his mother, and at the same time he says the words that are expected from him. Vralman: “Utalet! He will not stand still, like a teak horse of a pez usda. Go! Fort!" Prostakova: “Child, right, even though the groom. Follow him, however, so that he does not anger the guest with playfulness without intent. Vralman: “Poti, my mother! Sallet bird! With him, your voices are flooded. Prostakov: “Goodbye, Adam Adamych!”
This concludes Scene VIII, followed by the teachers' fight scene.
About Molière's comedy "The tradesman in the nobility"
The scene of the teachers' fight, perhaps, is reminiscent of a similar scene in Molière's comedy The Tradesman in the Nobility. This play was staged in 1670, with Molière himself playing Jourdain, the protagonist. And what is the main character of Molière's comedy? It is always a hero possessed by some kind of mania that does not let him sleep, does not let him live. Jourdain really wants to consider himself a nobleman, and that everyone considers him a nobleman. He wants to become a nobleman. And he recruits a whole staff of teachers: teachers of music, dance, fencing and philosophy. And, in fact, the comedy begins precisely with the fact that each teacher says how important his science is. And they start arguing with each other, especially when the fencing teacher shows up. It is clear: what are the teachers of music and dancing, if the fencing teacher can easily put them on a sword. But as soon as the argument of the teacher of music, dancing and fencing begins, the teacher of philosophy appears and tries to reason with the arguing, saying that they are doing it in vain. Every science has its meaning, its meaning. But, truth, above all is philosophy. And then a general fight begins, and in the end, the teacher of philosophy gets the most.
There is a wonderful dialogue in comedy. The philosophy teacher explains to Jourdain that everything that is not poetry is prose, and everything that is not prose is poetry. And Jourdain discovers with surprise for himself that all his life he spoke in prose. In general, this comedy has a lot of great moments. For example, when it comes to a new suit that Jourdain ordered. And a very important motive is connected with this costume, that life is a game, and each of us plays a role. But the nobility is not reduced to a role, to dressing up, it is not bought. And this costume becomes like a theatrical costume. A lot of Molière's comedy will later remain in Russian comedy in the 18th and 19th centuries. For example, the same Prostakova is obsessed with mania - an unhealthy love for her son. A love that cripples a son, but does not protect or educate. There is also a love couple here, as in "The Tradesman in the Nobility". Jourdain, as a father, is sure that only an aristocrat, a marquis, and therefore a nice kind guy, is suitable for his daughter's husband, but a merchant rank (and Jourdain himself from merchants) will never be his daughter's husband. But Jourdain is deceived when he is led to believe that his daughter has married the son of a Turkish sultan.
It is curious that "Undergrowth" begins in much the same way as "The tradesman in the nobility." It begins with a suit - a caftan sewn by Trishka. But if for Moliere the most important thing is visibility and essence (that is, you can put on any costume you like, but you will still remain a bourgeois), then Fonvizin's emphasis is shifted to something else. Here, for example, is a serf who was ordered to become a tailor, regardless of whether he knows how to sew or not. Stanislav Borisovich Rassadin says that this episode can easily be projected onto Catherine's court, when already in the 80s such great people as Grigory Orlov and Potemkin were replaced by real nonentities, like Platon Zubov or Vasilchikov. That is, Catherine gave the opportunity to rule, manage almost the entire state to people who not only did not know how to do this, but also did not want to learn it.
Kuteikin and Tsyfirkin beat Vralman, who constantly interferes in the teaching and prevents them from teaching Mitrofanushka something even in their modest possibilities. And this theme of the teaching organically continues in the VIII phenomenon of the 4th act, where Mitrofan demonstrates his knowledge in front of Starodum, Pravdin and others. Starodum: “It came to my ears that now he only deigned to unlearn. I heard about his teachers and see in advance what kind of literacy he needs to be when studying with Kuteikin, and what kind of mathematics when studying with Tsyfirkin. I would be curious to hear what the German taught him.” Mitrofan: “Everything! Take, for example, grammar. Pravdin: "I see. This is grammar. What do you know about her? Mitrofan: “A lot. Noun and adjective ... "Pravdin:" Door, for example, what name: noun or adjective? Mitrofan: “Door? Which door? Pravdin: “Which door! This one". Mitrofan: “This one? Adjective." Pravdin: "Why?" Mitrofan: “Because it is attached to its place. Over there, by the closet, the door has not been hung for six weeks: so that one is still a noun. You can see that Mitrofanushka copes with the situation perfectly. So to speak, by intuition copes with grammatical categories. He is very witty. Starodum: “So that’s why you have the word fool as an adjective, because it is attached to a stupid person?” Mitrofan: "And it is known." Prostakova: “What, what is it like, my father?” Pravdin: “It can't be better. He is strong in grammar. Milon: "I think no less in history."
And it turns out that Mitrofan is a history hunter, just like Skotinin is his uncle.
Pravdin: “Are you far in history?” Mitrofan: “Is it far? What's the story. In another, you will fly to distant lands, to thirty kingdoms. Pravdin: "Ah! so Vralman teaches you this story? Starodum: “Vralman! The name is familiar."
And finally, the famous scene with geography. It turns out that this science is not noble. You have to tell the driver where you're going, and that's it. He will take.
Here is the education of Mitrofan, which may seem to us completely improbably described, but which, judging by the remarks of his contemporaries, was written almost from nature.
Final settlement with teachers
Eremeevna brings teachers and says a phrase that today's schoolchildren may not be very clear: "Here, father, all our bastard." Here the word "bastard" is not a curse word. It means “companions”, “accompanying”, that is, the one who drags along with us, the one who is with us. And although at the beginning of the 19th century this word was rude, it was not abusive.
How do teachers leave their place? Vralman asks to be returned to the goats, and Starodum says to him: “Yes, you must have weaned yourself from the coachman’s service while you were a teacher?” To which Vralman responds with a wonderful phrase: “Hey, no, my dear! Shiuchi with petty hospots, it concerned me that I am a fse with horses. (That is, with cattle).
Honest Tsyfirkin asks for nothing. Mitrofan did not adopt anything. Why take it here? And Kuteikin says that he should comb his hair. Indeed, he walked, taught, time and effort spent. But when he is offered to comb the lady herself, then Kuteikin renounces everything. This is also a feature of classic comedy. Each, even a tiny line, each character must exhaust his own way. He must find his final place. There are no reticences, as, for example, in Chekhov. So, Mitrofan went to serve. Prostakova was deprived of her estate and removed from management, and we see in this "evil morality worthy fruits." Skotinin is told to tell all the Skotinins what awaits the malevolent. So in the context of one particular case, an appeal is read to all those who deserve such an outcome.
1. Korovina V.Ya., Zhuravlev V.P., Korovin V.I. Literature. Grade 9 Moscow: Enlightenment, 2008.
2. Ladygin M.B., Esin A.B., Nefedova N.A. Literature. Grade 9 Moscow: Bustard, 2011.
3. Chertov V.F., Trubina L.A., Antipova A.M. Literature. Grade 9 M.: Education, 2012.
1. Learn all unfamiliar words from the VII-VIII phenomena of the comedy "Undergrowth".
2. Write down 10-15 aphorisms from the VII-VIII phenomena.
3. * Retell events VII and VIII.
What is the comedy of the "exam" arranged for Mitrofan?
Read the text snippet below and complete the tasks.
Pravdin (to Mitrofan). How far are you in history?
Mitrofan. Is it far? What's the story. In another you will fly to distant lands, to thirty kingdoms.
Pravdin. A! so Vralman teaches you this story?
Starodum. Vralman? The name is familiar.
Mitrofan. No, our Adam Adamych does not tell stories; he, what am I, himself a hunter to listen.
Ms Prostakova. Both of them force themselves to tell stories to the cowgirl Khavronya.
Pravdin. Didn't you both study geography with her?
Ms. Prostakova (son). Do you hear, my dear friend? What is this science?
Mitrofan (quiet mother). And how much do I know.
Mrs. Prostakova (quietly to Mitrofan). Don't be stubborn, darling. Now show yourself.
Mitrofan (quiet mother). Yes, I do not understand what they are asking.
Ms. Prostakova (Pravdin). What, father, did you call science?
Pravdin. Geography.
Ms. Prostakova (to Mitrofan). Do you hear, georgaphia.
Mitrofan. Yes, what is it! Oh my God! They stuck with a knife to the throat.
Ms. Prostakova (Pravdin). And you know, father. Yes, tell him, do me a favor, what kind of science is it, he will tell it,
Pravdin. Description of the land.
Ms. Prostakova (Starodum). And what would it serve in the first case?
Starodum. In the first case, it would also fit the fact that if it happened to go, you know where you are going.
Ms Prostakova. Ah, my father! Yes, cabbies, what are they for? It's their business. This is not a noble science either. Gentleman, just say: take me there, they will take me wherever you please. Believe me, father, that, of course, that is nonsense, which Mitrofanushka does not know.
Starodum. Oh, of course, ma'am. In human ignorance, it is very comforting to consider everything as nonsense that you do not know.
Ms Prostakova. Without science people live and lived. The deceased father was a voivode for fifteen years, and with that he deigned to die, because he did not know how to read and write, but he knew how to earn and save enough. He always received petitions, sometimes sitting on an iron chest. After every chest will open and put something. That was the economy! He did not spare his life, so as not to take anything out of the chest. I won’t boast before another, I won’t hide from you: the dead light, lying on a chest with money, died, so to speak, of hunger. A! what is it like?
Starodum. commendable. You have to be a Skotinin to taste such a blissful death.
Skotinin. Yes, if you want to prove that learning is nonsense, then let's take Uncle Vavila Faleleich, Nobody ever heard of literacy from him, nor did he want to hear from anyone: what a goloushka!
Pravdin. What is it?
Skotinin. Yes, that's what happened to him. Riding on a greyhound pacer, he ran drunk into the stone gates. The man was tall, the gate was low, he forgot to bend down. As soon as he had enough of himself with his forehead on the lintel, the Indo bent his uncle to the top of his head, and a vigorous horse carried him out of the gate to the porch on his back. I would like to know if there is a learned forehead in the world that would not fall apart from such a cuff; and uncle, eternal memory to him, having sobered up, asked only if the gate was intact?
Milo. You, Mr. Skotinin, admit yourself to be an unlearned person; however, I think in this case your forehead would be no stronger than a scientist.
Starodum (Milon). Don't worry about betting. I think that the Skotinins are all kind of strong-willed.
D. I. Fonvizin "Undergrowth"
Indicate the name of the literary movement that dominated in the 18th century, the principles of which were reflected in the dramaturgy of D. I. Fonvizin.
Explanation.
This is classicism. A work of art is organized as an artificial, logically constructed whole. Strict plot-compositional organization, schematism. Human characters are outlined in a straight line; positive and negative characters are opposed. Active appeal to public, civic issues. Emphasized objectivity of the story. Classicism in Russia developed under the influence of the ideas of the Enlightenment. In his comedy, Fonvizin ridicules a society that is not interested in gaining knowledge and is proud of it.
Answer: classicism.
Answer: Classicism
Tatiana Statsenko
We read the task: "the name of the literary movement that dominated the 18th century." Still, it's a classic.
Xenia Budai 10.10.2016 21:38
Such a question cannot be on the exam, since there cannot be an exact answer to this question. This is classicism with realism. Correct or delete the question. Thanks for understanding.
Tatiana Statsenko
At the exam, unfortunately, as practice shows, there may be different questions, including not entirely correct ones. As for this question, there can be only one answer - classicism. I draw your attention once again to the wording of the question: " dominating in the 18th century of the literary trend. "Is realism, even enlightenment realism, this dominant direction of the 18th century?
Name the genre to which Fonvizin's "Undergrowth" belongs.
Explanation.
This genre is called comedy. Comedy is a dramatic work that ridicules the vices of society and man by means of satire and humor.
Mitrofanushka is a fool who believes that education is not a master's business.
Answer: comedy.
Answer: comedy
The heroes of "Undergrowth" have surnames, the sound of which is their peculiar characteristic. What are these surnames called?
Explanation.
Such surnames are called speaking. Ms. Prostakova is a stupid, narrow-minded woman, and a stupid, rude person is Skotinin.
Answer: speakers.
Answer: Talkers
What term denotes the author's remarks and explanations in the course of the play (Ms. Prostakova ( quietly to Mitrofan))?
Remarque - an explanation that the author gives in a playwright, describing how he imagines the appearance, age, behavior, feelings, gestures, intonations of the characters, the situation on the stage. Remarks are instructions for the performers of the roles and the director who is staging the play, an explanation for its readers.
Answer: remark.
Answer: Remark | remarks
Catherine Rabbit 09.06.2013 19:24
And for what reason is the answer "Remarks" not accepted? After all, the question is in the plural. And will such a "mistake" affect the USE scores? Thank you in advance.
Tatiana Statsenko
the question is formulated as follows: what TERM denotes the author's remarks ... The term denoting these author's remarks is REMARK, not REMARKS.
The basis of the action of the play is the conversation of the characters, the exchange of remarks. What is the name of this form of communication between characters?
Explanation.
This form of communication is called dialogue. Let's give a definition.
Dialogue is a conversation between two or more persons in a work of art. In a dramatic work, the dialogue of characters is one of the main artistic means for creating an image, character.
Answer: dialogue.
Answer: dialogue | polylogue
In the stories of Mrs. Prostakova and Skotinin, the “dead father” and Uncle Vavila Faleleich appear. What are the names of the characters mentioned in the speech of the heroes, but not appearing on the stage?
Explanation.
Such a character is called off-stage. An off-stage character is a character who is mentioned in the speeches of the characters on the stage, but does not appear on the stage himself. Off-stage characters are especially important for the characterization of society, the persons who mention them.
To the play by D.I. Fonvizin "Undergrowth" The comedy of the exam arranged for Mitrofan lies in the complete lack of understanding of the examinee in the current situation. In this fragment, the funny moments are the conversations of the untrained son and his mother with the teacher - Pravdin. To questions about knowledge of sciences, such as history and geography, the illiterate nobleman replies that he loves to listen to fairy tales and stories of the cowgirl Khavronya, and he hears about the "description of the earth" for the first time.
Mrs. Prostakova calls science "Eography" at all, after which she declares: "That is nonsense, which Mitrofanushka does not know." Also, the story of the landowner about the “dead father”, who “did not know how to read and write, but knew how to make and save wealth”, causes laughter. The stated position allows us to conclude that Mrs. Prostakova regards the possibility of obtaining an education as a way to show her financial solvency, rather than as a chance to raise a smart and prepared person from Mitrofan. Thus, in the eyes of the literate Pravdin, the Prostakovs look ridiculous - wanting to boast of Mitrofan's "knowledge" and at the same time proving that "people live and lived without science", the landowners demonstrate their earthiness and ignorance in all its glory.
Russian classics contain many works that reflect the problem of the clash of ignorance and enlightenment. One of the brightest examples is the comedy "Woe from Wit" by A. S. Griboyedov. The conflict between the "current century" in the person of Alexander Chatsky and the "past century" - the ruler, which is Pavel Afanasyevich Famusov, concerned the problem of the need for education in society. Chatsky assures the "generation of fathers" that knowledge and conscientious work are the key to the engine of progress and a successful life path, to which the idle "Famus society" shouted with displeasure: "learning is the plague." Like Mrs. Prostakova, Famusov recalls "the late uncle - Maxim Petrovich", who achieved respect and wealth by serving Catherine 2, to which Chatsky replied: "I would be glad to serve - it's sickening to serve."
Another example is Ostrovsky's drama "Thunderstorm".
Thus, these works reflect the struggle between the old and the new world, which decides which values are most useful for society.
Updated: 2019-07-12
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