Denis Ivanovich Fonvizin is the creator of the Russian social comedy. In the comedy, the ignoramus fonvizin depicts the vices of the modern

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Denis Ivanovich Fonvizin (1744-1792) - writer, drama-writer, educator, who went down in the history of Russian literature as the creator of Russian social comedy. "Satyrs are the brave power-lin" - that is how Pushkin called him. Already in his first original comedy "Brigadier" (1769) Fonvizin showed his bright satirical gift, ridiculing ignorance, bribery, hypocrisy and addiction to everything French, so characteristic of the Russian nobility of the second half of XVIII century. But real and unsurpassable fame came to Fonvizin when he created the comedy "Under-grown" (1782). Gogol put her on a par with "Woe from Wit"

A.S. Griboyedov and called it a truly "public comedy". "Under-grown" is a satirical comedy, in which, according to N.V. Gogol, the writer has exposed "the wounds and diseases of our society, severe internal abuses, which by the merciless force of irony are exposed in stunning evidence."

In the center of the comedy's attention is the whole estate - the Russian nobility, and not by itself, but in close connection with what the system of serfdom, which determines the life of the entire country, carries with it. The theme of the comedy is landlord arbitrariness and its destructive consequences, the system of noble education, legislation, public and family relations v Russia XVIII century.

According to the plot and title, "The Minor" is a play about how badly and incorrectly they taught a young nobleman, raising him to be an "ignorant". But it comes not about learning, but about education in the very broad sense... Scenic Mitrofan - minor person, but the history of his upbringing explains where it comes from scary world Skotin and Prostakovs, what should be changed so that the ideals of goodness, reason and justice reign in it.

Thus, the idea of comedy is the exposure and condemnation of the world of ignorant, cruel and proud landowners who want to subjugate their whole life, arrogate to themselves the right of unlimited power both over serfs and over noble people; affirmation of the ideals of humanity, progress, enlightenment, expressed through goodies(Sophia, Starodum, Milon, Pravdin).

Starodum stands out among the good characters of the play. This is the hero-reasoner, the second “I” of the author himself. Through his mouth, Fonvizin pronounces judgment on the world of arbitrariness and slavery, and he pinned his hopes on good beginnings human soul, on a reasonable upbringing, on the strength of conscience. “Have a heart, have a soul and you will be a man at any time,” says Sophia Starodum. That's what it is author's ideal... In many respects, it is associated with the educational illusions of Fonvizin, but the scale of satirical exposure in comedy takes it beyond the narrow framework of the educational position of classicism and allows us to speak of pronounced realistic principles.

Peculiarities artistic method Fonvizin consists in a combination of features of classicism (the division of characters into positive and negative, schematism in their depiction, "three unities" in the composition, "speaking" names, features of resonance in the image of the Old Man, etc.) and realistic tendencies ( vital reliability of images, images of the noble life and social relations in the serf village). The playwright's innovation was reflected primarily in more complex understanding character. Although the heroes of the comedy are static, but in the living tissue of the work, their characters acquired a multi-meaning unusual for the drama of classicism. If the images of Skotinin, Vralman, Kuteikin are sharpened to caricature, then the images of Prostakova and Eremeevna are distinguished by great internal complexity. Eremeevna is a "slave", but she retains a clear awareness of her position, knows perfectly the characters of her masters, her soul is alive in her. Prostakova, an evil, cruel serf woman, turns out to be at the same time a loving, caring mother who, in the end, rejected by her own son, looks really unhappy and even arouses the sympathy of the audience.

The creation of realistic authenticity of images is largely facilitated by the language of the heroes of the comedy, which becomes a means of their individualization and helps to reveal the socio-psychological essence of the character. Starodum, as befits a traditional hero-reasoner, speaks in the correct, bookish language. But Fonvizin introduces into the hero's speech other - individual - traits: aphorism, saturation with archaisms. All individual and typical qualities of Prostakova are also reflected in her language. She speaks rudely to the cross, using abusive vocabulary ("dog's daughter", "nasty mug", "beast"), and her mother's affectionate, caring speech is addressed to her son Mitrofan ("darling", "my friend is heartfelt") ... With Prostakov's guests - a socialite (“I recommend you dear guest"), And when she humbly laments, begging for forgiveness for herself, popular expressions appear in her speech (" you are my dear mother, forgive me "," the sword does not cut a guilty head "). Material from the site

All this makes Fonvizin's comedy "The Minor", formally created according to the rules of classicism, a truly innovative work that had a tremendous impact on the formation of realism in Russian literature. According to A.I. Herzen, “Fonvizin managed to put his barnyard wild landowners, and Gogol publish his cemetery " Dead souls". The successive connection of Fonvizin's drama with Ostrovsky's theater was noted by Goncharov, and Saltykov-Shchedrin brought out a number of Fonvizin's characters in his works.

Educational tendencies inherent in the Russian literature XVIII centuries, manifested themselves not only within the framework of classicism, which in the last quarter of a century had already clearly given up its positions, but also in the works of a new direction for that time - sentimentalism. It also relied on the ideas of the Enlightenment, but put a specific person with his feelings and experiences in the first place. Feelings, experiences in sentimentalism replace the domination of reason in classicism, and representatives of the middle and lower classes... Although in Russian literature sentimentalism did not receive such a wide development as in Western Europe, in the works of N.M. Karamzin, poems by the young V.A. Zhukovsky, prose by A.N. Radishchev's sentimentalism is noticeable.

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On this page material on topics:

Starodum - Reasoner Hero
the ideals of humanity of progress in the comedy the dumb
Fonvizin the creator of the Russian comedy
denis ivanovich fonvizin nedorosl summary

Budgetary institution of secondary vocational education

"Nizhnevartovsk social and humanitarian college"

(BU "NSGK")

Practice test tasks

for entrance examinations in literature in the specialty Music education

Lecturer: Borisenko L.V.

Nizhnevartovsk, 2010
Explanatory note
Testing for entrance examinations in literature is relevant at the present time, since applicants are required not only to have good knowledge literary texts(this requirement has always been important), but also the ability to use a whole range of historical, philosophical, literary concepts in their answers. Tests make it possible to quickly and effectively determine the entire amount of knowledge of applicants, to reveal how these skills correspond to the requirements of the state program.

The test questions were drawn up taking into account the current literature program approved by the Ministry of the Russian Federation.

The test items reflect various aspects studying the creativity of writers: biographical, historical and cultural information, themes and problems artwork, ideological content, compositional features, characterization of heroes, genre features works, artistic identity, author's position.

This approach will help to better understand the material, systematize it and find analogies in the work of writers. The test contains 16 multiple-choice questions, the last one is of a detailed nature with a creative task.

2 variants of test tasks are proposed, which are generalizing on the studied topics of Russian literature for an incomplete course comprehensive school and correspond to " Mandatory minimum content on literature ".
Criteria for evaluating test items in literature

Option I

1.d	2.d	3.a	4.b	5.c
6.d	7.c	8.b	9.b	10.c
11.c	12.c	13.c	14.b	15.b

Option II

1.c	2.a-D, b-E, c-B, d-D, d-V, e-A			3.c
4.c	5 B	6.c	7.b	8.b
9.d	10.c	11.d	12.b	13.a
14.g	15.b

Option I
1. Name the work, which is the first realistic comedy in Russian literature.

b) "Trumph or subtype" I. A. Krylov

c) "The Inspector General" N. V. Gogol

2. What element of the composition of a work of art is optional?

a) tie

b) climax

c) denouement

d) epilogue
3. Indicate the work main character whom "did not want to study, but wanted to get married."

a) "Minor" D. I. Fonvizin

b) "The Marriage" by N. V. Gogol

c) "The Inspector General" N. V. Gogol

d) "Woe from Wit" by A. S. Griboyedov
4. "... is the passionate appeal of the Russian princes to unification just on the eve of the invasion of the Mongol hordes proper" (K. Marx). Insert the title of the work into the quote.

a) "The Legend of Boris and Gleb"

b) "The Word about Igor's Regiment"

c) "Instructions" by Vladimir Monomakh

d) "The Tale of Bygone Years"
5. Select correct sequence change one literary direction others.

a) sentimentalism, classicism, realism, romanticism

b) classicism, realism, sentimentalism, romanticism

c) classicism, sentimentalism, romanticism, realism

d) romanticism, sentimentalism, realism, classicism
6. Which of the Russian writers of the XVIII century. belong to the sentimentalists?

a) D.I.Fonvizin, G.R.Derzhavin

b) M. V. Lomonosov, A. N. Radishchev

c) N. M. Karamzin, D. I. Fonvizin

d) N. M. Karamzin, A. N. Radishchev
7. Indicate the work in which the main character is ideologically opposed to all the characters.

b) "Song about ... the merchant Kalashnikov" by M. Yu. Lermontov

c) "Woe from Wit" A. S. Griboyedov

G) " Dead Souls"N. V. Gogol
8. Name the author of the following verse passage.

Open the dungeon for me.

Give me the shine of the day.

Black-eyed girl

Black-maned horse.

I am a young beauty

First, I'll kiss you sweetly.

Then I'll jump on a horse,

I will fly away to the steppe like the wind.
a) A.S. Pushkin

b) M. Yu. Lermontov

c) V. A. Zhukovsky

d) G.R.Derzhavin
9. Define the genre of "Dead Souls" by N. V. Gogol.

c) story

d) song
10. The poem "K ***" ("I remember a wonderful moment") by Alexander Pushkin is dedicated to:

a) M.N. Raevskoy

b) E. N. Karamzina

c) A.P. Kern

d) E.P. Bakunina
11. About what work goes speech in the following lines?

If I make this creation the way I need to make it, then what a huge, what an original plot!.,. All Russia will appear in it! ... Huge, great is my creation, and it will not end soon.

a) "Eugene Onegin" by Alexander Pushkin

b) "A Hero of Our Time" M. Yu. Lermontov

v)"Dead Souls" by N. V. Gogol

d) "History of the Russian State" N. M. Karamzin
12. What artistic device used by the author in the following passage?

The sail of the lonely gleams

In the mist of the blue sea! ...

What is he looking for in a distant country?

What did he throw in his native land? ..

a) metaphor

b) hyperbole

c) inversion

d) impersonation
13. What work was named by V.G.Belinsky “the encyclopedia of Russian life and in the highest degree folk work "?

a) "Dead Souls"

b) "Minor"

c) "Eugene Onegin"

d) "Dead Souls"
14. Determine the poetic meter in the following passage.

The storm covers the sky with darkness,

Whirling snow whirlwinds;

How a beast she will howl

It will cry like a child.

c) dactyl

a) A.S. Pushkin

b) M. Yu. Lermontov

c) N.V. Gogol

d) N. M. Karamzin
16. Creative task... My favorite literary hero.
Option II
1. Who is the author of the first public comedy in Russian literature?

a) N.V. Gogol

b) A.S. Griboyedov

c) D.I.Fonvizin

a) A.S. Pushkin

b) M. Yu. Lermontov

c) N.V. Gogol

d) A.S. Griboyedov

e) N. M. Karamzin

f) V. A. Zhukovsky
A) "Ineffable"

B) "Selected passages from correspondence with friends"

B) "Poor Lisa"

D) "Anchar"

E) "Woe from Wit"

E) "Demon"
3. In the work of which writer has not the romantic method been used?

a) N.V. Gogol

b) M. Yu. Lermontov

c) D.I.Fonvizin

d) A.S. Pushkin
4. What is the name of the type of composition in the novel "Eugene Onegin"?

a) annular

b) consistent

c) mirror

d) cyclic
5. The saying "And the smoke of the fatherland is sweet and pleasant to us" belongs to:

a) Starodum from "Minor"

b) Chatsky from Woe from Wit

c) Tatiana's husband from Eugene Onegin

d) a young soldier from "Borodino"

6. In which poem A. Pushkin touches upon the problem of autocracy, serfdom?

a) "Memories in Tsarskoe Selo"

b) "Prophet"

c) "Village"

d) "On the hills of Georgia"
7. Determine the type of rhyme in the following passage.

Tell me Palestine branch:

Where did you grow up, where did you bloom?

What hills, what valley

Have you been a decoration?

a) adjacent (pair)

b) cross

c) encircling

d) triple
8. Whose work did VG Belinsky call “humanity cherishing the soul”?

a) V. A. Zhukovsky

b) A.S. Pushkin

c) M. Yu. Lermontova

d) K. N. Batyushkova
9. Indicate the correct definition of comedy as a literary genre.

a) one of the types of old dramatic art, based on showing funny, exaggeratedly humorous and deliberately rude everyday situations.

b) a small work intended for the stage, innocently ridiculing individual private phenomena in the public or private life of a person.

c) one of the types of dramatic works in which the characters of the heroes are revealed in a hopeless situation, in an unequal, intense struggle that dooms them to death.

d) one of the types of dramatic works, which reflects the funny and incongruous in life, ridicules any unhealthy social or everyday phenomenon, funny features of the human character.
10. Indicate a piece that combines romanticism and realism.

a) "Minor" D. I. Fonvizin

b) "Felitsa" by G. R. Derzhavin

c) "A Hero of Our Time" M. Yu. Lermontov

d) "Eugene Onegin" by Alexander Pushkin
11. What kind of literature can be attributed to "Dead Souls" N. V. Gogol?

b) lyrics

d) lyro-epic
12. Indicate what artistic technique the author used in the highlighted lines.

I loved you: love still, perhaps

In my soul it has not completely faded away;

But don't let it bother you anymore;

I do not want to sadden you with anything.

a) inversion

b) metaphor

c) allegory

d) epithet
13. What is the name of the writer, whom A. Pushkin called "satire brave ruler",

a) N.V. Gogol

b) A.S. Griboyedov

c) D.I.Fonvizin

d) G.R.Derzhavin
14. The plot of the novel "A Hero of Our Time" is based on separate, unrelated fragments. What unites the independent parts of the novel?

a) nothing

b) chronological sequence of events

c) place of action

d) main character
15. Which one literary type represented by the image of Pechorin?

a) the type of "little man"

b) the type of "extra person"

c) Byronic hero

d) type of tyrant
16. Creative assignment: Why is literature a “textbook of life”?

In the understanding of Gogol public comedy in contrast to the entertainment and didactic, which then prevailed on the Russian stage, it is intended to arouse indignation in the viewer against the "deviation of society from the straight road" and to pillory by ridiculing the "multitude of abuses" hidden under the guise of law and order.

Among these few Russian comedies, Gogol and some of his contemporary critics referred to Fonvizin's "The Minor" and Griboyedov's "Woe from Wit", and partly to Kapnist's Yabed.

In creating The Inspector General, Gogol took into account the experience of his predecessors and relied heavily on it. Nevertheless, The Inspector General is a unique, unsurpassed comedy and marks a significant milestone in the development of Gogol's work and Russian realism. This is generally accepted, although it is interpreted by researchers and theatrical figures far from unambiguous and sometimes contradictory.

At the same time, the main thing is overlooked: in The Inspector General, everything is really new and unusual, except for the social and literary type of the characters. Negligent and ignorant officials, grabbers and bribe-takers, like the Gorodnichy and his subordinates, all sorts of stupid fools, vralmans and helpless people, kindred to Khlestakov, dishonest merchants, overripe coquettes - all these are traditional for Russian literature of the second half of the 18th - first third of XIX v. satirical and comedic images. And the anecdotal plot of the comedy itself, suggested by Pushkin, is also, as you know, not new.

Nova in "The Inspector General", on which Gogol himself insisted, is the "idea" of comedy, which is not directly indicated anywhere in its text, but from beginning to end subordinates its artistic structure to itself.

“In The Inspector General,” Gogol wrote later, “I decided to put together everything bad in Russia that I knew then, all the injustices that are done in those places and in those cases where justice is most required of a person, and laugh at everything at once. "

None of Gogol's predecessors, Russian comedians, set himself such an all-encompassing task. "Minor", "Yabeda", "Woe from Wit" ridicule, although very significant, but still local in the social and moral aspect vices of public life.

Due to its social locality ( provincial nobility, the bureaucratic and judicial environment, the Moscow nobility) the action and characters of the comedies of Fonvizin, Kapnist, Griboyedov do not contain the entire incriminating content of the author's thought, which therefore requires as its direct mouthpiece positive characters- resonators. The idea of "The Inspector General" is fully realized in the very action of the comedy, in the logic of its impetuous, phantasmagoric and at the same time irresistible natural development.

The appearance, behavior, relationships of the characters equally worthy of ridicule speak for themselves, do not need any maxims and invectives uttered from the author by Starodum and Chatsky. The ideological completeness of the self-developing action of comedy was what Gogol had in mind, emphasizing that its only positive and noble hero was laughter.

Unlike the positive heroes of the comedies of Fonvizin and Griboyedov, he acts not on the stage, but in auditorium, awakening in him contempt and, according to the "idea" of the "Inspector", at the same time a sense of personal involvement of the audience (and readers) to what is happening on the stage.

The personal responsibility of each and every one for the widespread and everyday abuses and injustices that characterize the reality of a serf society - this is one of the critical aspects"Ideas" of the "Inspector".

Related to this is the seemingly paradoxical and yet unexplained circumstance that the range of abuses collected in The Inspector General is much narrower than those ridiculed in Woe From Wit, and the abuses themselves are more harmless than those committed by the actors, not only "Woe from Wit", but also "Ignorant" and "Yabeda". So, the Governor, although an outspoken bribe-taker, is a bribe-taker "slightly", and the judge even less, taking bribes only with greyhound puppies, passionately and disinterestedly loved by him.

As for the rest, although he neglects his official duties, he also does not use his rights and powers to the detriment of others, as the judicial officials of Yabeda do. Trustee educational institutions- an ignoramus, but far from being as aggressive as Skalozub, and to the extent of his understanding, though perverted, honestly fulfills his official duty, believing him to please his superiors. Bobchinsky and Dobchinsky are gossips, but again disinterested, in contrast to the malicious gossip-slanderers "Woe from Wit".

And nevertheless, the "Inspector General" in sharpness and strength social exposure- and this is one of his "mysteries" - far surpasses not only "Yabed" and "Minor", but also "Woe from Wit".

To solve this riddle, it is necessary to take a closer look at a completely special, new and unusual correlation of the externally traditional comedic characters of The Inspector General, to their functional relationship as elements of a single artistic whole.

It is generally recognized, indisputable and very important that the abuses and injustices of officials of the provincial county town N., from whom "even three years of jumping, you won't get anywhere", they expose and expose the corruption of the entire government apparatus of Nikolayev's Russia, the lawlessness of the entire system of police-bureaucratic management.

But this not only does not explain Gogol's above-mentioned restraint in portraying administrative abuses, but seems to contradict this feature of the comedy. In fact, there is no contradiction here. The point is that the author's idea of The Inspector General is far from being exhausted by exposing the administrative abuses that are familiar to the writer's contemporaries.

He has his main goal"To expose to the eyes of the people" everything that is invisible to them, which poisons all spheres of Russian life without exception, forms its pernicious moral and psychological climate, permeated with "electricity of rank, money capital, profitable marriage", "the desire to get a profitable place, to shine and overshadow , by all means, another, to avenge his contempt, for ridicule ", as Gogol says about it in" Theatrical junction"- this most important auto-commentary to the" Inspector ".

In other words, the "Inspector General" reveals the "vulgarity" of the serf consciousness as a whole, the imaginary, illusory nature of all its generally recognized values, which in the course of the action turn into a general deception and self-deception, the consistent transformation of each of the characters (except Khlestakov) from a deceiver into a deceived one - so many by others as by yourself.

General deception and self-deception, and not fear, as it is commonly believed, is the psychological spring of the “Inspector’s” action and “knits into a single knot,” as Gogol put it, the social characters described in various ways in the comedy. Administrative abuse is a necessary result and the most tangible manifestation of the same general deception and self-deception. The latter is especially important.

Why does Gogol need an officer's wife? As a victim of police brutality? Yes, and in this capacity too, but not only. Otherwise, it would not have been exposed to general ridicule. What is the "funny" of a non-commissioned officer's wife?

In the fact that she does not care about the restoration of justice, she does not defend her trampled human dignity, but like his offender, who, as you know, “is an intelligent person and does not like to let what floats into his hands”, does not want to miss the benefit that he hopes to derive from the insult inflicted on her, seeing in him nothing other than the Gorodnichy’s mistake ... “And for a mistake they ordered him to pay a fine. I have no reason to give up my happiness, ”she says to Khlestakov.

This is how the non-commissioned officer's wife, unjustly whipped behind the scenes, morally whips, humiliates herself in front of the audience, confirming the justice of the famous and at first glance absurd replica of the Governor "she whipped herself." Like everything in "The Inspector", this replica has double meaning- direct, but absurd, and implied, true.

In others and different forms general to the Governor and the non-commissioned officer's wife, the desire not to miss what floats into the hands, characterizes all the actors, no matter what social class they belong to. For example, Khlestakov and Osip.

Khlestakov: “Well, you can have a tray,” “perhaps, let them give you a rug.”

Osip: “Take it! everything will come in handy on the road. Give me heads and a bag! give it all! everything will work. What's in there? rope? come on and string! and the rope will come in handy on the road. "

Behind the last, which has become an aphorism, Osip's dictum is a whole "philosophy" of life, the philosophy of acquisitiveness for the sake of acquisitiveness, which practically and unconsciously adhere to all characters comedy according to gender, age, social status and individual character.

The artistic and unique originality of all these characters is in their correlation as different and diverse shades of one and the same "evil", which constitutes the norm of serf psychology. Associated with this is one of the most essential and, as far as we know, not yet noted features of the system of characters of the "Inspector" - their consistent reflection or repetition of one in the other.

It would seem that what is common between Bobchinsky and the governor's wife Anna Andreevna? Meanwhile, the affinity of their souls, seized by an equally empty and all-consuming curiosity for the "person" imaginary auditor, clearly declares itself by the deliberate, naked identity of its speech expression.

Bobchinsky - to the Governor: “Nothing, nothing, I’m like this: a cock, a cock, I’ll run after the droshky. I would only have a little bit through the crack in the door to see how he is doing these things ... ".

Anna Andreevna - Avdotya: “... you would have run after the droshky. Go, go now! Do you hear, escapes, ask: where did you go, but ask well what kind of newcomer he is, do you hear! peep through the crack and find out everything ... soon, soon, soon. "

Reception of reflection of one character in another or others is similar to coloring the same figure of a graphic pattern with different colors. But, like any pattern, the pattern of the "Inspector's" figurative fabric has its own graphic and picturesque center, whose name is Khlestakov.

The traditional interpretation of "The Inspector General" as a predominantly political comedy makes us consider it the main character of the Governor. But Gogol himself said that “ the main role"- Khlestakov, and Gorodnichy -" one of the main. "

And if Khlestakov is “a phantasmagoric face, a person who, like a deceitful, personified deception, carried away with the troika God knows where,” then the Governor, far from being so simple-hearted and silly deceiver as Khlestakov, turns out to be deceived not only and not so much by Khlestakov, how much by himself, by what psychologists call the value or behavioral attitude of the individual, and his "bad conscience."

By his nature - an intelligent, prudent, practical person, wiser by the difficult and long experience of service "from the bottom" - the Governor is the direct opposite of Khlestakov. But Khlestakov more than once "protrudes" from the Governor, peeps through him. First of all, when the Governor persuades his subordinates to establish at least some kind of external order in the institutions entrusted to them: "I wanted to notice this before, but somehow I forgot everything." “I wanted to tell you about this for a long time, but I don’t remember, I was amused by something.” This is by no means the style of the Governor, but of Khlestakov.

In the last act, the Governor turns into almost Khlestakov's double. The expected "happiness" is drawn to him, like Anna Andreevna, completely in the spirit of Khlestakov's unrestrained boasting of his imaginary greatness and significance.

Governor: “... now you can beat a big rank, because he is a fellow with all the ministers and goes to the palace; so that's why ... with time you will get into generals ... After all, why do you want to be a general? because what happens, you go somewhere - couriers and adjutants will gallop forward everywhere (why not Khlestakov's "couriers, couriers, couriers"? - EK): horses! and there at the stations they won't give anyone, everything is waiting: all these titular, captains, governors, and you don't give a damn about yourself: you dine somewhere with the governor, and there: stop, governor! ! ".

And here are the words of Khlestakov: “I gave them all an excuse ... I am like that! I will not look at anyone ... I am everywhere, everywhere. I go to the palace every day. Tomorrow I will be promoted to field marsh now ... ".

Anna Andreevna, in her own way, echoes the Governor and Khlestakov. That she is "fish", "such that only drool will flow", which her uncouth husband dreams of. “I’m not just wanting that our house was the first in the capital, and that I have such an amber in my room, so that it’s impossible to enter and all I need to do is close my eyes like that ... Ah! how good! ". “Good” and absurd in exactly the same way as in “seven hundred rubles a watermelon” or “straight from Paris” the soup delivered and its “steam, the likes of which cannot be found in nature,” shocking the imagination of Khlestakov's listeners.

"Steam" and "amber" are brilliantly found signs of equal phantasmagoricity, the absurdity of Khlestakov's boasting and Anna Andreevna's dreams. Both are indirectly reflected in the congratulatory wishes to Marya Antonovna Bobchinsky: "You will be in great, great happiness, walk in a golden dress and eat delicate various soups."

In Bobchinsky and Dobchinsky, and in the first edition and in the character of Anna Andreevna, another feature of Khlestakov is reflected - faith in his fantastic inventions and the irrepressible growth of one invention into another, even more fantastic. Taking Khlestakov's lies at face value, Bobchinsky and Dobchinsky, as it were, continue it, making Khlestakov a general on their own initiative - "and when a general, then perhaps the generalissimo himself" - and immediately rush to communicate their stunning discovery to those, who "don't know anything about it yet."

Well, Anna Andreevna (in the first edition), in a purely Khlestakov way, assures her daughter of the irresistible charm of her eyes. And the "head captain Stavrokopytov" almost shot himself because of them, "yes, they say, somehow, in absent-mindedness, forgot to load the pistol", and "just the whole world spoke in one word that the eyes of those, where there would be more fire , feelings and lives ... oh no, no! Yes, no one, but where, how you can. "

Through the mutual reflection of one character in others, and above all of Khlestakov, the idea of the "Inspector General" is most tangibly realized, which Gogol stubbornly and vainly tried to explain in numerous subsequent autocomments to the comedy. First of all - in "An excerpt from a letter written by the author shortly after the first performance of the" Inspector "...", which took place in St. Petersburg in April 1835.

We present the concluding part of Khlestakov's detailed characteristics given in the "Fragment". “In a word, this face should be the type of many things scattered in different Russian characters (italics mine, - E.K.), but which is here accidentally united in one person, as it often comes across in nature” (cf. “to collect in one heap everything bad in Russia ... and laugh at everything at once ”).

“Anyone, even for a minute, if not for a few minutes, was or is being done by Khlestakov, but naturally, he does not want to admit it; he even loves to laugh at this fact, but only, of course, in the skin of another, and not in his own. And a clever guard officer will sometimes turn out to be Khlestakov, and a statesman ... and our brother, a sinful writer, will sometimes turn out to be Khlestakov.

In a word, rarely will anyone not be with them at least once in their life - the only thing is that after that they will turn very deftly, and as if he and not he. " Does this not mean that Khlestakov is a "phantasmagoric face" due to the compressed psychological springs of "everything bad in Russia," and all the other characters in the "Inspector General" are social and psychological "shades" of Khlestakov's various features?

History of Russian Literature: in 4 volumes / Edited by N.I. Prutskov and others - L., 1980-1983

Denis Ivanovich Fonvizin (1744-1792) - writer, playwright, educator, who went down in the history of Russian literature as the creator of Russian social comedy. "Satyrs are the brave master" - this is how Pushkin called him. Already in his first original comedy "Brigadier" (1769) Fonvizin showed his bright satirical gift, ridiculing ignorance, bribery, bigotry and addiction to everything French, so characteristic of the Russian nobility of the second half of the 18th century. But real and lasting fame came to Fonvizin when he created the comedy "The Minor" (1782). Gogol put her on a par with "Woe from Wit"

A.S. Griboyedov and called it a truly "public comedy". "The Minor" is a satirical comedy, in which, according to N.V. Gogol, the writer has exposed "the wounds and diseases of our society, severe internal abuses, which by the merciless force of irony are exposed in stunning evidence."

In the center of the comedy's attention is the whole estate - the Russian nobility, and not by itself, but in close connection with what the system of serfdom, which determines the life of the entire country, carries with it. The theme of the comedy is landlord tyranny and its destructive consequences, the system of noble education, legislation, social and family relations in Russia in the 18th century.

According to the plot and title, "The Minor" is a play about how a young nobleman was taught badly and incorrectly, having raised him to be an "ignorant". But we are not talking about learning, but about education in the broadest sense. On the stage, Mitrofan is a minor person, but the history of his upbringing explains where the terrible world of the Skotinins and Prostakovs comes from, what should be changed so that the ideals of goodness, reason and justice reign in it.

Thus, the idea of comedy is the exposure and condemnation of the world of ignorant, cruel and selfish landowners who want to subjugate their whole lives, arrogate to themselves the right of unlimited power over serfs and noble people; the assertion of the ideals of humanity, progress, enlightenment, expressed through positive heroes (Sophia, Starodum, Milon, Pravdin).

Starodum stands out among the good characters of the play. This is the hero-reasoner, the second “I” of the author himself. Through his lips, Fonvizin pronounces judgment on the world of arbitrariness and slavery, and he pins his hopes on the good principles of the human soul, on rational education, on the strength of conscience. “Have a heart, have a soul and you will be a man at any time,” says Sophia Starodum. This is the author's ideal. In many respects it is associated with the educational illusions of Fonvizin, but the scale of satirical exposure in comedy takes it beyond the narrow framework of the educational position of classicism and allows us to speak of pronounced realistic principles.

The peculiarities of the artistic method of Fonvizin consist in a combination of features of classicism (the division of characters into positive and negative, schematism in their depiction, "three unities" in the composition, "speaking" names, features of resonance in the image of Starodum, etc.) and realistic tendencies (life the reliability of images, images of the noble life and social relations in the serf village). The playwright's innovation was reflected primarily in a more complex understanding of character. Although the heroes of the comedy are static, in the living tissue of the work, their characters acquired a polysemy unusual for the drama of classicism. If the images of Skotinin, Vralman, Kuteikin are sharpened to the point of caricature, then the images of Prostakova and Eremeevna are distinguished by great internal complexity. Eremeevna is a "slave", but she retains a clear awareness of her position, knows perfectly the characters of her masters, her soul is alive in her. Prostakova, an evil, cruel serf woman, turns out at the same time to be a loving, caring mother, who in the end, rejected by her own son, looks really unhappy and even arouses the sympathy of the audience.

The creation of realistic authenticity of images is largely facilitated by the language of the heroes of the comedy, which becomes a means of their individualization and helps to reveal the socio-psychological essence of the character. Starodum, as befits a traditional hero-reasoner, speaks in the correct, bookish language. But Fonvizin introduces into the hero's speech other - individual - features: aphorism, saturation with archaisms. All individual and typical qualities of Prostakova are also reflected in her language. She addresses the serfs rudely, using abusive vocabulary ("dog's daughter", "nasty mug", "beast"), and her mother's affectionate, caring speech is addressed to her son Mitrofan ("darling", "my heartfelt friend"). With Prostakov's guests - a secular lady (“I recommend you a dear guest”), and when she humbly laments, begging for forgiveness for herself, folk turns appear in her speech (“you are my dear mother, forgive me”, “the sword does not cut a guilty head”) ...

All this makes Fonvizin's comedy "The Minor", formally created according to the rules of classicism, a truly innovative work that had a tremendous impact on the formation of realism in Russian literature. According to A.I. Herzen, “Fonvizin managed to put on the stage his cattle yard of wild landowners in advance, and Gogol published his cemetery of“ Dead Souls ”. The successive connection of Fonvizin's drama with Ostrovsky's theater was noted by Goncharov, and Saltykov-Shchedrin brought out a number of Fonvizin's characters in his works.

The enlightening tendencies inherent in Russian literature of the 18th century manifested themselves not only within the framework of classicism, which in the last quarter of a century had already clearly given up its positions, but also in the works of a new direction for that time - sentimentalism. It also relied on the ideas of the Enlightenment, but put a specific person with his feelings and experiences in the first place. Feelings, experiences in sentimentalism replace the dominance of reason in classicism, and representatives of the middle and lower classes become heroes. Although in Russian literature sentimentalism did not receive such a wide development as in Western Europe, in the works of N.M. Karamzin, poems by the young V.A. Zhukovsky, prose by A.N. Radishchev's sentimentalism is noticeable.

Denis Ivanovich Fonvizin (1744-1792) - writer, playwright, educator, who went down in the history of Russian literature as the creator of Russian social comedy. “Satyrs are the brave ruler”; - that's what Pushkin called him. Already in his first original comedy "Brigadier"; (1769) Fonvizin showed his bright satirical gift, ridiculing ignorance, bribery, hypocrisy and addiction to everything French, so characteristic of the Russian nobility of the second half of the 18th century. But the real and lasting fame came to Fonvizin when he created the comedy "The Minor"; (1782). Gogol put it on a par with Woe from Wit;

A. S. Griboyedov and called it a truly "public comedy"; "Minor"; is a satirical comedy, in which, according to N. V. Gogol, the writer exposed “the wounds and diseases of our society, severe internal abuses, which by the merciless power of irony are exposed in stunning evidence”;

The comedian's attention is focused on the whole estate - the Russian nobility, and not by itself, but in close connection with what the system brings with it

serfdom, which determines the life of the whole country. The theme of the comedy is landlord tyranny and its destructive consequences, the system of noble education, legislation, social and family relations in Russia in the 18th century.

According to the plot and the title "Minor"; - a play about how badly and incorrectly taught a young nobleman, raising him to be a "stunted"; But we are not talking about learning, but about education in the broadest sense. On the stage, Mitrofan is a minor person, but the history of his upbringing explains where the terrible world of the Skotinins and Prostakovs comes from, what should be changed so that the ideals of goodness, reason and justice reign in it.

Starodum stands out among the good characters of the play. This is the hero-reasoner, the second “I”; the author himself. Through his lips, Fonvizin pronounces judgment on the world of arbitrariness and slavery, and he pins his hopes on the good principles of the human soul, on rational education, on the strength of conscience. “Have a heart, have a soul and you will be a man at all times,” says Sophia Starodum. This is the author's ideal. In many respects it is associated with the educational illusions of Fonvizin, but the scale of satirical exposure in comedy takes it beyond the narrow framework of the educational position of classicism and allows us to speak of pronounced realistic principles.

The peculiarities of Fonvizin's artistic method lie in a combination of features of classicism (the division of characters into positive and negative, schematism in their depiction, “three unities”; in composition, “speaking”; names, features of resonance in the image of Starodum, etc.) and realistic tendencies (the vital reliability of images, images of the noble life and social relations in the serf village). The playwright's innovation was reflected primarily in a more complex understanding of character. Although the heroes of the comedy are static, in the living tissue of the work, their characters acquired a polysemy unusual for the drama of classicism. If the images of Skotinin, Vralman, Kuteikin are sharpened to the point of caricature, then the images of Prostakova and Eremeevna are distinguished by great internal complexity. Eremeevna is a “slave”; but she retains a clear awareness of her position, knows perfectly the characters of her masters, her soul is alive in her. Prostakova, an evil, cruel serf woman, turns out at the same time to be a loving, caring mother, who in the end, rejected by her own son, looks really unhappy and even arouses the sympathy of the audience.

The creation of realistic authenticity of images is largely facilitated by the language of the heroes of the comedy, which becomes a means of their individualization and helps to reveal the socio-psychological essence of the character. Starodum, as befits a traditional hero-reasoner, speaks in the correct, bookish language. But Fonvizin introduces into the hero's speech other - individual - features: aphorism, saturation with archaisms. All individual and typical qualities of Prostakova are also reflected in her language. She addresses the serfs rudely, using abusive vocabulary ("a dog's daughter" ;, "nasty mug" ;, "beast";), and her mother's affectionate, caring speech is addressed to her son Mitrofan ("darling" ;, "my heartfelt friend"; ). With Prostakov's guests - a secular lady (“I recommend you a dear guest”;), and when she humbly laments, begging for forgiveness, in her speech there are popular expressions (“you are my dear mother, forgive me” ;, “the sword does not cut the guilty head ”;).

All this makes Fonvizin's comedy "The Minor"; formally created according to the rules of classicism, a truly innovative work that had a tremendous impact on the formation of realism in Russian literature. According to AI Herzen, “Fonvizin had time to put on the stage his cattle yard of wild landowners in advance, and Gogol published his cemetery of“ Dead Souls ”; The successive connection of Fonvizin's drama with Ostrovsky's theater was noted by Goncharov, and Saltykov-Shchedrin brought out a number of Fonvizin's characters in his works.

The enlightening tendencies inherent in Russian literature of the 18th century manifested themselves not only within the framework of classicism, which in the last quarter of a century had already clearly given up its positions, but also in the works of a new direction for that time - sentimentalism. It also relied on the ideas of the Enlightenment, but put a specific person with his feelings and experiences in the first place. Feelings, experiences in sentimentalism replace the dominance of reason in classicism, and representatives of the middle and lower classes become heroes. Although in Russian literature sentimentalism has not received such a wide development as in Western Europe, sentimentalism is noticeable in the works of N.M. Karamzin, the poetry of the young V.A.Zhukovsky, and the prose of A.N. Radishchev.

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Denis Ivanovich Fonvizin is the creator of the Russian social comedy. In the comedy, the ignoramus fonvizin depicts the vices of the modern

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