Fonvizin, "Minor": analysis of the work, characterization of the heroes. Features of the composition of the comedy D

"The Minor" is the first socio-political comedy on the Russian stage.

The artistic originality of "The Little Growth" is determined by the fact that the play combines features of classicism and realism. Formally, Fonvizin remained within the framework of classicism: the observance of the unity of place, time and action, the conventional division of characters into positive and negative, schematism in the depiction of positive, “ speaking surnames", Features of reasonableness in the image of Starodum and so on. But, at the same time, he took a certain step towards realism. This is manifested in the accuracy of reproduction of the provincial noble type, social relations in a fortress village, fidelity to recreate typical features negative characters, the vital reliability of images. For the first time in the history of Russian drama, a love affair was relegated to the background and acquired secondary importance.

Fonvizin's comedy is a new phenomenon, because it is written on the basis of Russian reality. The author has an innovative approach to the problem of the character of the hero, the first of the Russian playwrights sought to psychologize him, to individualize the speech of the characters (here it is worth taking examples from the text!).

In his work, Fonvizin introduces the biographies of heroes, takes a comprehensive approach to solving the problem of upbringing, designating the trinity of this problem: family, teachers, environment, that is, the problem of upbringing is posed here as a social problem. All this allows us to conclude that "The Minor" is a work of enlightenment realism.

K. V. Pisarev: “Fonvizin strove for generalization, typification of reality. V negative images comedy he succeeded brilliantly.<...>The positive characters of "The Minor" clearly lack artistic and lifelike persuasiveness.<...>The images he created were not clothed with living human flesh and, indeed, are a kind of mouthpiece for the “voice”, “concepts” and “way of thinking” of both Fonvizin himself and the best representatives of his time. "

Critics doubted Fonvizin's art of constructing dramatic action and spoke about the presence of “extra” scenes in it that did not fit into the action, which must certainly be the same:

P. A. Vyazemsky: “All other [except Prostakova] persons are of secondary importance; some of them are completely outsiders, others only adjoin the action. Of the forty phenomena, including several rather long ones, hardly a third can be found in the whole drama, and even then short ones that are part of the action itself. "
A. N. Veselovsky: “the ineptness of the structure of the play, which forever remains weak side Fonvizin writing, despite the school of European designs ”; “The widespread desire to speak not in images, but in rhetoric<...>generates stagnation, fading, and the viewer will then recognize Milo's view of true fearlessness in war and in peaceful life, then the sovereigns hear the unadorned truth from virtuous people, or Starodum's thoughts about raising women ... "

The word, the initial constructive material of the drama, is emphasized in "The Little Growth" in twofold functions: in one case, the pictorial, plastic-pictorial function of the word (negative characters), which creates a model of the world of physical flesh, is emphasized, in the other - its self-valuable and independent ideal-conceptual nature (positive characters), for which a human character is needed only as a mediator, translating ethereal thought into the matter of a sounding word. Thus, the specifics of his dramatic word, initially and fundamentally two-valued and ambiguous, is put forward at the center of the aesthetics and poetics of the "Minor".

pun nature of the word

The method of destruction of phraseological units, colliding the traditionally agreed figurative with the direct literal meaning of a word or phrase.

The poster itself explains the characters. PA Vyazemsky about the comedy "The Minor" ... A truly public comedy. NV Gogop about the comedy “The Minor” The first appearance of the comedy “The Minor” on the stage in 1872 caused, according to the recollections of contemporaries, “throwing wallets” - the audience threw wallets filled with ducats onto the stage, such was their admiration for what they saw. Before D.I.Fonvizin, the public almost did not know Russian comedy. In the first public theater, organized by Peter I, plays by Moliere were staged, and the appearance of the Russian comedy is associated with the name of A.P. Sumarokova. "The property of comedy is to rule the temper with a mockery" - these words of AP Sumarokov Denis Ivanovich Fonvizin embodied in his plays. What caused such a violent reaction from the viewer? The liveliness of the characters, especially the negative ones, their figurative speech, the author's humor, so close to the folk, the theme of the play is a satire on the principles of life and upbringing of landlord's offspring, denunciation of serfdom. Fonvizin departs from one of the golden rules of classical comedy: observing the unity of place and time, he omits the unity of action. There is virtually no plot development in the play, it consists of negative and negative conversations. positive characters... This is the influence of the modern European comedy author, here he goes further than Sumarokov. "The French comedy is absolutely good ... There are great actors in comedy ... when you look at them, you will, of course, forget that they are playing a comedy, but it seems that you are seeing a direct story," Fonvizin writes to his sister, traveling across France. But Fonvizin can by no means be called an imitator. His plays are filled with a truly Russian spirit, written in a truly Russian language. It was from the "Minor" that I.A. main idea plays - to show the fruits of a bad upbringing, or even its absence, and it grows to a frightening picture of wild landlord malice. Opposing "malevolent characters" taken from reality, presenting them in a ridiculous way, Fonvizin puts the author's comments into the mouths of positive heroes, unusually virtuous persons. As if not hoping that the reader himself will figure out who is bad and what is bad, the writer the main role takes away goodies... “Truth - Starodum, Milon, Pravdin, Sophia are not so much living faces as moralistic mannequins; but their real originals were no more vivid than their dramatic photographs ... They were walking, but still lifeless schemes of a new good morality ... It took time, intensifying experiments, to awaken organic life in these still deadly cultural preparations, "the historian wrote about the comedy V.O. Klyuchevsky. The negative characters appear completely alive before the viewer. And this is the main artistic merit of the play, Fonvizin's luck. Like the goodies, the bad guys wear speaking names, and the surname "Skotinin" grows to a full-fledged artistic image... In the very first act, Skotinin is naively surprised at his special love for pigs: “I love pigs, sister; and we have such large pigs in our neighborhood that there is not a single one of them that, standing on its hind legs, would not be taller than each of us with a whole head. " The author's mockery is all the more powerful because it is put into the mouth of the hero we are laughing at. It turns out that love for pigs is a family trait. “Simpletons. It's a strange thing, brother, how relatives can resemble relatives! Our Mitrofanushka is all uncle - and he is just as much a hunter as you are before the pigs. As he was three more years old, it happened, when he saw a mumps, tremble with joy. ... Skotinin. This is truly a curiosity! Well, let him, brother, Mitrofan loves pigs so that he is my nephew. There is some similarity here: why am I so addicted to pigs? Prostakov. And here there are some similarities. I think so. " The same motive is played up by the author in the replicas of other characters. In the fourth act, in response to Skotinin's words that his family is "great and ancient," Pravdin ironically remarks: "That way you will assure us that he is older than Adam." The unsuspecting Skotinin falls into a trap, readily confirming this: “What do you think? At least a little ... ", and Starodum interrupts him:" That is, your ancestor was created even on the sixth day, but a little earlier than Adam. " Starodum directly refers to the Bible - on the sixth day, God created first animals, then man. Comparison of caring for pigs with caring for a wife, sounding from the lips of the same Skotinin, evokes Milon's indignant remark: “What a bestial comparison!” Kuteikin, the cunning churchman, invests author's description into the mouth of Mitrofanushka himself, forcing him to read the words of the hour: "I am the cattle, and not the man, the reproach of men." Representatives of the Skotinin family themselves, with comical innocence, repeat about their "bestial" nature. “Prostakova. After all, I am after the father of the Skotinins. The deceased father married the deceased mother; she was nicknamed the Priplodins. They had eighteen of us children ... "Skotinin speaks about his sister in the same terms as about his" cute pigs ":" What a sin to hide, one litter; Yes, see how she squealed ... "Prostakova herself likens her love for her son to the dog's affection for her puppies, and says about herself:" I, brother, will not bark with you "," Oh, I'm a dog's daughter! What have I done!". The peculiarity of the play "Minor" is also that each of the heroes speaks his own language. This was appreciated at its true worth by Fonvizin's contemporaries: "each one differs in his own character with sayings." The speech of a retired soldier Tsyfirkin is full of military terms, Kuteikin's speech is built on Church Slavonic phrases, the speech of Vralman, a Russian German, obsequious with masters and arrogant with servants, is filled with aptly captured pronunciation features. The striking typicality of the play's heroes - Prostakov, Mitrofanushka, Skotinin - goes far beyond its limits in time and space. And in A.S. Pushkin in Eugene Onegin, and in M.Yu. Lermontov in the Tambov Treasury, and in M.E. Saltykov-Shchedrin in The Lords of Tashkent, we still find living and bearing the essence of serf-owners, so talentedly revealed by Fonvizin.

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

A truly public comedy.
N. V. Gogop about the comedy "Minor"

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

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

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

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

It was from the "Minor" that I. A. Krylov's fable "Trishkin's caftan" grew, it was from the speeches of the characters of the play that the aphorisms "mother's son", "I do not want to study, I want to marry", "being afraid of the abyss of wisdom" ...

The main idea of ​​the play is to show the fruits of a bad upbringing or even its absence, and it grows up to a frightening picture of wild landlord malice. Opposing "malevolent characters" taken from reality, presenting them in a ridiculous way, Fonvizin puts the author's comments into the mouths of positive heroes, unusually virtuous persons. As if not hoping that the reader himself will figure out who is bad and what is bad, the writer assigns the main role to positive heroes.

“Truth - Starodum, Milon, Pravdin, Sophia are not so much living faces as moralistic mannequins; but their real originals were no more vivid than their dramatic photographs ... They were walking, but still lifeless schemes of a new good morality ...

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

“Simpletons. It's a strange thing, brother, how relatives can resemble relatives! Our Mitrofanushka is all uncle - and he is just as much a hunter as you are before the pigs. As he was three more years old, it happened, when he saw a mumps, tremble with joy. ...

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

Prostakov. And here there are some similarities. I think so. "

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

“Prostakova. After all, I am after the father of the Skotinins. The deceased father married the deceased mother; she was nicknamed the Priplodins. They had eighteen of us children ... "Skotinin speaks of his sister in the same terms as about his" cute pigs ":" What a sin to hide, one litter; Yes, you see how she squealed ... "Prostakova herself likens her love for her son to the dog's affection for her puppies, and says about herself:" I, brother, will not bark with you "," Oh, I'm a dog's daughter! What have I done!". The peculiarity of the play "Minor" is also that each of the heroes speaks his own language. This was appreciated at its true worth by Fonvizin's contemporaries: "each one differs in his own character with sayings."

The speech of a retired soldier Tsyfirkin is full of military terms, Kuteikin's speech is built on Church Slavonic phrases, the speech of Vralman, a Russian German, obsequious with masters and arrogant with servants, is filled with aptly captured pronunciation features.

The striking typicality of the play's heroes - Prostakov, Mitrofanushka, Skotinin - goes far beyond its limits in time and space. And in A.S. Pushkin in Eugene Onegin, and in M.Yu. Lermontov in the Tambov Treasury, and in M.E. Saltykov-Shchedrin in The Lords of Tashkent, we still find living and bearing the essence of serf-owners, so talentedly revealed by Fonvizin.

GENRE CHARACTERISTICS OF THE COMEDY BY D. I. FONVISIN "UNGROUP"

The pinnacle of Russian dramaturgy XVIII century is DI Fonvizin's comedy "The Minor", the first Russian socio-political comedy, in which "evil worthy fruits" are condemned with sarcasm. According to Gogol, Fonvizin created a "truly social comedy", where he exposed "the wounds and diseases of our society, severe internal abuses, which by the merciless power of irony are exposed in stunning evidence."

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

The purpose of the classic comedy is to “educate” by making fun of the shortcomings: eccentricity, extravagance, laziness, stupidity. However, it does not follow from this that the comedy of the period of classicism was devoid of social content. Quite the opposite: the ideal of that era, its true hero, was recognized as a person of a social make-up, for whom the interests of the state and the nation were higher than personal ones. The comedy was intended to affirm this lofty ideal by ridiculing the psychological human properties that reduced the social significance of the individual.

D.I.Fonvizin in "Nedorosl" observes classical principle“Trinity” of time, place and action: events take place “in the village of Prostakova” during the day. At the same time, the readers are delighted with the boldness and unexpectedness of the artistic solutions proposed by the playwright. It is safe to say that in "Nedorosl" Fonvizin acted as a true innovator. Genre definition comedy has generated controversy in critical circles. The playwright himself called his comedy public. V.G.Belinsky, noting genre originality this work, gave its clear definition - "satire of genres." The critic asserted: "The undersized" is not work of fiction, but satire on manners, and satire workshop. Its characters are fools and smart: all fools are very nice, and smart are all very vulgar; the first are caricatures written with great talent; the second are the resonators who bore you with their maxims ”. He also noted that Fonvizin's comedies "will never cease to excite laughter and, gradually losing readers in the higher educational circles of society, the more they will win in the lower ones and become popular reading."

The historian V.O. Klyuchevsky, challenging the definition given by Belinsky, argued that "The Minor" is a comedy of positions: "In Not Matured" bad people of the old school are set directly against new ideas embodied in the pale virtuous figures of Starodum, Pravdin and others, who came to tell those people that times have changed, that it is necessary to be educated, think and act differently from the way they used to do it ”.

Based modern definition genres, consider artistic and genre features socio-political comedy "Minor". At the heart of the comedy - traditional motive matchmaking and the fight of suitors for the heroine. The events of the comedy have the following background. At Sophia's, the main character comedy, mother dies. A distant relative of Prostakov takes the girl to the village and decides to marry Sophia to her brother Skotinin. At this time, Sophia receives a letter from her uncle Starodum, from which everyone learns that she is a rich heiress. This radically changes the strategy of behavior of Prostakova, who decides to "attach" her idiot son Mitrofanushka. He gladly accepts the decision of his mother, for he has long become disgusted with studying: “The hour of my will has long come. I don’t want to study, I want to get married ”.

However, in the arena of the struggle for a rich bride, Milon, whom Sophia loves, frustrates Prostakova's plans. Such is love line plays. However, she was not alone in the center of attention of the playwright.

Action in a comedy unites all the characters and at the same time divides them into "malevolent" and "virtuous". The former are concentrated around Prostakova, the latter around Starodum. The dialogues of the characters of the second group, in fact, represent a presentation of the positive program of Fonvizin himself. In them in question about an enlightened monarch, about the appointment of a nobleman, about marriage and family, about the upbringing of young noblemen and about the fact that "it is illegal to oppress your own kind with slavery." This is especially evident in the edifying, didactic speech Starodum turned to Sophia. Starodum reflects on wealth (“in my calculation, not the one who counts out money in order to hide it in the chest, but the one who counts out excess money from himself to help someone who doesn’t have what is needed”), nobility (“without noble deeds noble fortune is nothing ”). His conclusions reflect the system of views and principles of Catherine's era: “An honest person cannot be forgiven in any way if he lacks some quality of heart ... An honest person must be completely fair man”.

The characters of the first group are depicted in the comedy in a satirical and caricatured manner. What is Fonvizin opposed to? Against the ignorance of the nobles, "those malicious ignoramuses who, having their full power over people, use it for evil inhumanly." Against the consumer attitude to life, which is determined by the entire atmosphere of the estate. Against the heartlessness and despotism of the masters, their unwillingness to recognize the rights of serfs to equality with the "noble". Thus, this comedy has a bright socio-political orientation. According to V.G.Belinsky, Fonvizin's comedies, including "The Minor", are not comedies in artistic meaning but they are "wonderful works of fiction, precious annals of the public at that time."

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The rich ideological and thematic content of the comedy "The Minor" is embodied in a masterfully developed art form... Fonvizin managed to create a harmonious plan for a comedy, skillfully interweaving pictures of everyday life with the disclosure of the views of the heroes. With great care and breadth, Fonvizin described not only the main actors, but also minor ones, like Eremeevna, teachers and even Trishka's tailor, revealing in each of them some new side of reality, never repeating itself. All the heroes of his comedy are drawn not by an indifferent contemplator of life, but by a citizen writer who clearly shows his attitude towards the people he portrays. He executes some with angry indignation and caustic, killing laughter, treats others with cheerful derision, and draws others with great sympathy. Fonvizin proved to be a deep connoisseur human heart, character of the person. He skillfully reveals mental life heroes, their attitude to people, their actions. The same purpose is served in comedy and stage directions, that is, the author's instructions to the actors. For example: "stumbling from timidity", "with annoyance", "frightened, with anger", "delighted", "impatiently", "trembling and threatening", etc. Such remarks were news in Russians dramatic works XVIII century.

V artistic style comedy, the struggle between classicism and realism is noticeable, that is, the desire for the most truthful depiction of life. The first is clearly on the side of realism.

This is manifested mainly in the depiction of characters, especially negative ones. They are typical representatives of their class, widely and versatile shown. These are living people, and not the personification of any one quality, which was characteristic of the works of classicism. Even positive images are not devoid of vitality. And Prostakova, Skotinin, especially Mitrofanushka are so vital, typical that their names have become common nouns.

The rules of classicism are violated in the very construction of the comedy. These rules forbade mixing the comic and the dramatic, the funny and the sad in the play. In comedy, it was supposed to correct morals with laughter. In "Minor", in addition to funny (comic), there are also dramatic scenes (the drama of Prostakova at the end of the work). Along with comic pictures, there are scenes that reveal the difficult aspects of serf life. In addition, the comedy introduces scenes that are only indirectly related to the main action (for example, the scene with Trishka and a number of others), but the author needed them for a broad and truthful sketch of everyday life pictures.

The language of comedy is so bright and well-marked that some expressions passed from it into life as proverbs: “I don’t want to study - I want to marry”; “Riches cannot help a stupid son”, “Here are worthy fruits of evil”, etc.

This victory of realism in the most important area - in the depiction of a person - constitutes the most valuable side of Fonvizin - the artist of the word. The truthfulness in the depiction of life is closely connected with the advanced views of Fonvizin, with his struggle against the main evils of his time, so vividly revealed by him in the comedy "The Minor".

Those important questions, which Fonvizin staged and covered in the comedy "Minor", determined its great public importance primarily in his contemporary era. From the pages of the comedy, from the stage of the theater, the bold voice of the leading writer sounded, who angrily denounced the ulcers and shortcomings of the life of that time, called for a fight against them. Comedy painted true pictures of life; showed live people, good and bad, urged to imitate the former and fight the latter. She enlightened the consciousness, brought up civil feelings, called for action.

The significance of "The Little Ones" is also great in the history of the development of Russian drama. It is not for nothing that Pushkin called the "Minor" " folk comedy". Fonvizin's comedy has remained on the stage of the theater up to the present day. The vitality of images, historically correct image people and life of the 18th century, natural colloquial, skillful plot construction - all this explains the lively interest that comedy arouses in our days.

Fonvizin's "undersized" is the ancestor of the Russian (in Gorky's words) "accusatory-realistic" comedy, a socio-political comedy. Continuing this line, such wonderful comedies as Woe From Wit by Griboyedov and The Inspector General by Gogol appeared in the 19th century.

37. The problem of education and its artistic expression in the comedy of D.I. Fonvizina "Minor"

In the comedy D.I. Fonvizin's "Minor", of course, comes to the fore the criticism of the ignorant nobility, cruel serf-owners, corrupted by the decree of Catherine II "On the freedom of the nobility" (1765). In connection with this theme, another one is raised in comedy - the problem of education. How to improve the situation so that the younger generation, represented by Mitrofanushka and other ignoramuses, turns into a true support for the state? Fonvizin saw only one way out - in the education of youth in the spirit of educational ideals, in the cultivation of ideas of goodness, honor, duty in young minds.

Thus, the topic of education becomes one of the leading in comedy. She, in many of its aspects, develops throughout the entire work. So, first we see scenes of Mitrofanushka's "upbringing". This is what is suggested and demonstrated to the lack of growth by his parents, first of all by his mother - Mrs. Prostakova. She, accustomed to being guided by only one law - her desire, inhumanly treats serfs, as if they were not people, but soulless objects. Prostakova considers it completely normal to stoop to swearing and beatings, and for her this is the norm of communication not only with servants, but also with family members, with her husband. Only for her son, whom she adores, does the heroine make an exception.

Prostakova does not understand that, communicating with others in this way, she humiliates herself first of all, loses human dignity and respect. Fonvizin shows that the way of life that the Russian provincial nobility led thanks to, among other things, public policy, destructively, fundamentally wrong.

The playwright points out that Mitrofanushka took over from his mother the manner of dealing with people, it is not for nothing that his name is translated as "showing his mother." We see how this hero mocks with his nanny Eremeevna, other serfs, and neglects his parents:

“Mitrofan. And now I walk like crazy. The night all such rubbish climbed into my eyes.

Ms. Prostakova. What rubbish, Mitrofanushka?

Mitrofan. Yes, then you, mother, then father. "

Mitrofan grows up as a spoiled, ignorant, lazy and selfish bum, thinking only about his own amusements. He is not used to working either mentally or, of course, physically.

Out of necessity, the mother hires teachers for Mitrofan - according to the new decree of the empress, the nobles must have an education, otherwise they will not be able to serve. And so, reluctantly, the young hero is engaged in "sciences". It is important that he does not even have a thought about the benefits of his own enlightenment. He is looking for only one benefit in education, which is given to this hero with great difficulty.

Yes, and a teacher of an ignoramus to match him. Seminarist Kuteikin, retired sergeant Tsyfirkin, teacher Vralman - all of them have nothing to do with real knowledge. These pseudo-teachers give Mitrofan poor fragmentary knowledge, but he is not able to remember even those. Fonvizin paints comical pictures of young Prostakov's education, but behind this laugh lies the playwright's bitter indignation - such ignoramuses will determine the future of Russia!

In contrast to such upbringing, Fonvizin presents his ideal of upbringing. We find his main postulates in the speeches of Starodum, who in many respects is the reason for the author himself. Starodum shares his experience, views on life with his niece Sophia - and this is presented in the play as another way of education: the transfer of vital wisdom from the older generation to the younger.

From the conversation of these heroes, we learn that Sophia wants to earn "a good opinion of herself from worthy people." She wants to live in such a way that, whenever possible, she will never offend anyone. Starodum, knowing this, instructs the girl on the "true path." His life "laws" relate to the state, social activities of the nobleman: "the degrees of nobility" are calculated according to the number of deeds that the great master has done for the fatherland "; “Not the rich man who counts out money in order to hide it in the chest, but the one who counts out the excess in order to help the one who does not have what is needed”; "An honest person must be a completely honest person."

In addition, Starodum gives advice on "matters of the heart", family life a well-behaved person: to have a “friendship for her husband that would be like love. It will be much stronger "," it is necessary, my friend, that your husband obey reason, and you obey your husband. " And, finally, as a final chord - the most important admonition: “… there is more happiness than all this. This is to feel worthy of all the benefits that you can enjoy. "

I think that Starodum's instructions laid down on fertile ground. They will undoubtedly give positive results - Sophia and Milon will be guided by them and bring up their children according to them.

Thus, the problem of education is central in Fonvizin's comedy "The Minor". Here the playwright raises the question of the future of Russia, in connection with it the problem of education arises. The real state of affairs in this area does not suit the writer, he believes that the nobility is degrading, turning into an ignorant crowd of brutes and simpletons. This is largely due to the connivance of Catherine II.

Fonvizin believes that only education in the spirit of educational ideas can save the situation. The carriers of these ideas in comedy are Starodum, Sophia, Milon, Pravdin.