Features of classicism in the comedy of D.M. Fonvizin "Undergrowth"

Classicism is an artistic method in art, from lat. "classicus" - exemplary. Originated in France in the seventeenth century. Classicism theorist - Nicolas Boileau. Main features: Regulation, service to the state, approval of a reasonable principle, alienation of the unreasonable. Main idea: The conflict of reasonable and unreasonable began, with the obligatory victory of the reasonable. Aesthetic principles: 1. Preservation of the integrity of the hero's personality (ie, the hero does not change throughout the story) 2. Heroes are carriers of one virtue and one vice. 3. The principle of unity of content and form with the leading role of content. 4. Based on historical events, and consistent with canonical ideas about them. 5. Rationalism. 6. Serving first of all the state and its interests. Rules of Classicism in literature: There is a rule of Three Unities: Places (the action takes place in one place) Time (the action takes place within one day) Actions (one storyline, one conflict) Genres: comedy, tragedy. Genres. In classicism, genres are divided into high and low. The high ones are those that tell about outstanding events and outstanding people - a tragedy, an ode, a heroic song. Heroes of high genres are prominent figures of art and politics, monarchs, historical figures. They are spoken about in a solemn, stately language of high style. Low genres tell about the private life of the bourgeois, the third estate. It can be a comedy, satire, a fable written in a colloquial style. Heroes. The heroes of the works of classicism are most often a kind of "templates". So, from work to work, images of maids-assistants of their mistress, courageous heroes, pass. These are the so-called "typical images". In high genres, all prominent figures are only glorified, because it is unacceptable to ridicule them. Satirical comedies are appropriate only if they are about the bourgeoisie. Representatives of classicism: P. Corneille, J. Racine, M. V. Lermontov, G. R. Derzhavin, V. K. Trediakovsky, D. I. Fonvizin.

1. Fonvizin observes in "Undergrowth" the unity of place and time: all the events of the comedy unfold in the house of Mrs. Prostakova and the action takes place within 24 hours. But Fonvizin violates the unity of action, since there are two conflicts in the work: love and socio-political. Love conflict is the main one. 2. The heroes of the comedy are divided into negative (Mrs. Prostakova, Mr. Skotinin) and positive (Milon, Starodum, Sophia). 3. The author endows the heroes with "talking" surnames: Pravdin, Skotinin, Vralman. Positive characters - Starodum, Sophia, Milon - speak the correct literary language, their speech is instructive. Negative heroes use colloquial words, swear words, their speech is more lively (for example, Prostakova says: “And you, cattle, come closer. Didn’t I tell you, thieves’ mug, that you let your caftan go wider”). 4. Speech of heroes is a means of characterizing the heroes.There is a clear connection with folklore: the heroes in the conversation use proverbs and sayings that make the comedy "folk" (for example, "Everyone marry your bride", "Live for a century, learn a century", "I don't want to study, I want to marry"). 5. The comedy has an educational orientation, since it touches upon the most important issues of raising a citizen, education, morality, the arbitrariness of the landowners. The comedy was of a topical nature, because D. I. Fonvizin showed all the hardships of serfdom, the shortcomings of education.

Denis Ivanovich Fonvizin came from a Russified German family, whose original name was von Wiesen. The modern spelling Fonvizin was proposed by A.S. Pushkin much later.

At first, Fonvizin studied with private teachers, then entered the gymnasium at Moscow State University, where he later studied. But he did not graduate from the University, he quit to start his service. While still at the gymnasium, he made his debut as a writer and translator from German: when Fonvizin was in his first year at the university, a translator was needed at the court, and he was accepted into the service of the Collegium of Foreign Affairs, where he worked all his life. In 1763, Fonvizin moved to St. Petersburg, where he met writers, incl. with Elagin: he joins his circle and becomes a fan of the theory of declinations.

Fonvizin as a playwright

1764 - Fonvizin's debut as a playwright: he publishes a play Korion. It is written weakly, but in full accordance with the theory of declensions - this is a reworking of French comedy.

After this failure, Fonvizin did not write for a long time, only in 1769 he created a comedy. Brigadier. This play shows that Fonvizin understood that it is not enough just to give the heroes Russian names, you also need to introduce Russian problems into the play. In the Brigadier, such a problem is gallomania- imitation of everything French, it was relevant in Russia in the middle of the 18th century; Another, no less urgent problem is the education of young nobles. But also in the Brigadier, the influence of the theory of declensions is also felt, because the plot move there is borrowed from French dramaturgy - this is the so-called. symmetry in red tape(a situation where in two married couples husbands simultaneously look after other people's wives). But since the Brigadier was nevertheless intelligently adapted for Russia, he is considered the first Russian play.

At first, the production of the Brigadier in the theater was prohibited, because. Elagin and Lukin were afraid that Fonvizin would take away their dramatic glory. And in order to bring the play to the public, Fonvizin began to arrange public readings. At one of them, he met Count Nikita Panin, the tutor of the heir to the throne, Paul. Communicating with him, Fonvizin began to be more interested in politics, became bolder.

Fonvizin's ideals in the comedy Undergrowth

Fonvizin knew how to distinguish and describe any problems of Russian society, had a good sense of humor, and could think in a state-like way. All this manifested itself in his main work - comedy undergrowth written in 1781. However, the comedy was first published only in 1830, after the death of Fonvizin.

The main problem that comes up in this comedy- education of a young Russian nobleman, the ideas of enlightenment. This was very relevant in the 1780s, when even Empress Catherine herself thought a lot about education, she was an opponent of home education with tutors.

In the 18th century, there were several philosophical theories about education. According to one of them, initially the child is not a full-fledged personality, he only copies the behavior of adults. Since Catherine shared this theory, she recommended that children be separated from their parents and placed in educational institutions. Fonvizin, who was also a supporter of this theory, just shows in the comedy Undergrowth all the perniciousness of home education.

Fonvizin seeks to prove that education is synonymous with happiness.

comedy protagonist- a young nobleman Mitrofan, who has many negative role models before his eyes. Firstly, his mother, Mrs. Prostakova, is a cruel and willful landowner who sees no point in education at all. Secondly, his nurse Eremeevna is a slave in her spirit, from whom Mitrofan takes over the psychology of admiration for the strong (as well as from his father). Thirdly, his uncle, Taras Skotinin, is a nobleman who does not want to serve his fatherland; most of all he loves his pigs. It is emphasized that Mitrofanushka takes something from all of them.

Despite the satire, the play was not originally intended to be funny. Contemporaries, reading it, were horrified.

Undergrowth as a work of classicism

Comedy, undoubtedly, is a product of the era of classicism, but with some deviations from the canonical rules. For example, here only one rule of the trinity- the unity of the place, because all the action takes place on the Prostakovs' estate.

Present mask heroes: Sophia is a mistress, Starodum is a father (although he is not stupid!), He is also a reasoning hero, Milon is a lover hero, Mitrofan and Skotinin are negative suitors, Pravdin is a god from a car. There is no soubrette role here.

In the play, as expected, five actions: exposition, plot, conflict development, climax and denouement (which includes an unjustified denouement and catharsis, when we feel sorry for Prostakov).

classic conflict feelings and duty is expressed in the fact that the positive characters of this play live in obedience to reason, the state and the will of their elders. Negative ones become slaves to their feelings, often evil and selfish. Of course, in the end, the positive characters are rewarded with happiness, and the negative ones are the losers.

Comedy has many speaking names: Skotinin, Tsifirkin, Milon, etc.

The play is written in a low style, in easy colloquial language, in prose.

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There, in the old days, Satires are a brave ruler, Fonvizin shone, a friend of freedom ... AS Pushkin Classicism is a literary trend that existed in the 18th - early 19th centuries. 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. The most outstanding work of classicist dramaturgy in Russian literature of the 18th 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 the deep social conflict between the advanced noble intelligentsia and the reactionary feudal landowners. The playwright deliberately sharpens negative images, thereby achieving greater persuasiveness in exposing serfdom. The images of positive comedy characters are sketchy in the spirit of classicism. Pravdin, Starodum, Milon, Sophia do not so much live and act as they talk 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 Fonvizin's dramatic work: the theme of education, serfdom and the state structure of 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 like and whether the Russian nobility meets 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.

and, 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 who personified unity, integrity, sovereignty (independence ) states) at the beginning of the 17th century and called classicism (from lat. classcus - exemplary). The influence of classicism on the artistic life of Europe in the 17th-18th 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 the art of 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 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 natural life opposing it, 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 there was a conflict between reason and feelings, 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 of the 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. The external expression of the sequence of the flow of 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 the "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. Its moral action is undeniable. 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 is 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, did Fonvizin turn out the positive characters 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 not very comical: in a man ... for whom a pigsty replaces both the temple of science and the hearth - what is comical in this noble Russian nobleman, who, from an educational competition with his beloved 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 made 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. - P. 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.

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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"). The "correct", bookish 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-exposure of negative characters, subtle irony on the part of positive characters. 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