Reflecting on what we have read fonvizin and classicism. Abstract and presentation for a literature lesson
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Lesson objectives:
To acquaint students with the personality of D.I. Fonvizin.
Review the types of literature and features of the drama.
Create conditions for the formation of an initial concept of various directions in the literature.
To create conditions for the identification of traditional elements of classicism and innovation in D.I. Fonvizin "The Minor".
Reveal students' perception of comedy by the reader.
Equipment: computer, multimedia projector, computer presentation for the lesson, task cards.
During the classes.
1. Introduction (slides 1-4)
Magic land! There in the old years
Satyrs brave lord
Fonvizin, friend of freedom, shone ...
A.S. Pushkin. "Eugene Onegin"
... An excellent satirist
Ignorance was executed in a folk comedy.
A.S. Pushkin. "Message to the censor"
What contributed to the fact that Pushkin so highly appreciated the work of Fonvizin, calling him an excellent satirist? Probably, first of all, the fact that Fonvizin was a master who, using traditions in his work, created an innovative work. What is the playwright's innovation and what traditions he adhered to in his work, we have to find out today.
Acquaintance with the biography of D.I. Fonvizin (video).
Fonvizin's literary activity begins in the 60s of the XYIII century. An inquisitive and witty person, he was created in order to become a satirist. And there were enough reasons for bitter laughter in the Russian reality of that time.
DI. Fonvizin is a representative of Russian classicism, one of the literary trends.
What is literary direction? Attention to the screen.
What information did you get from this table?
In connection with what are the literary directions distinguished? (with the coincidence of creative attitudes, themes, genres and style in the writer's work)
List the named literary directions.
DI. Fonvizin is a representative of classicism. What is characteristic of this literary movement? We work with a spreadsheet.
Do you understand all the features of classicism? You have a printout of this table on your desks. This is card number 1. In the future, you can use it as a reference material. Mark on the card what you do not understand with a question mark.
Today Kopina Veronika and Breeva Sveta prepared an advanced individual task for the lesson. They will try to answer your questions. What features of classicism do you not understand?
2. Repetition of the covered (slides 5)
Let us recall the types of literature. What kind of literature does the work of Fonvizin you read belong to?
What are the features of a dramatic work? Each of you has card number 2, which indicates the features of the drama. But there are mistakes in the card. Correct them.
So what are the features of the drama? (checking work with cards)
3. Explanation of the new.
The classic comedy was built according to certain canons (slide 7 of the presentation)
Today we have to find out whether Fonvizin adheres to these rules in his comedy.
But first, let's explain the name of the comedy and get to know the characters.
Who in the 18th century was called a stupid?
What features of character names draw attention to themselves? Can surnames and names be called speaking? (Yes.) Mitrofan from the Greek. "Like a mother", Sophia - "wisdom", etc.)
4. Dramatization of comedy episodes (slide 8)
Comedy heroes are our guests today.
5. Conversation.
There is almost no commentary on the cast of the comedy. Did your initial idea of the characters in the play match what you saw? What features of the heroes of the comedy tried to embody the actors of the drama club? (students' statements)
A conflict flares up from the very first pages of the comedy. What is conflict in a work? (collision underlying the development of the action)
Among whom does the collision occur in the first appearance? (between Prostakova and Trishka)
What phrase does Prostakova think to drive Trishka into a dead end? And how does Trishka counter this line? ("So, is it really necessary to be a tailor in order to be able to sew a caftan well. What a beastly reasoning. - Why, the tailor studied, madam, but I did not").
Does Prostakova understand the importance and necessity of education?
Why is she hiring teachers? (firstly, she declares: "We are not worse than others," and secondly, there is a decree of Peter 1 on the nobility, according to which each nobleman had to learn different sciences before entering public services, since educated people can bring more benefit to the state)
What is the theme of Fonvizin's comedy? (the topic of education and upbringing)
Who else from the heroes of the play opposes Prostakova? (Starodum). Write down your homework. Write out quotes about upbringing and enlightenment from the replicas of the heroes of the comedy. Now we will work in groups and individually.
6. Work in groups. I remind you of the rules for working in groups. The discussion is conducted in an undertone. We express all your opinions. The group leader sums up and answers, who has the right to entrust the answer to any of you.
1st group (strong students) You will conduct a research and answer the question: “What, in your opinion, of the rules and techniques of classical comedy did D.I. Fonvizin, what have you violated? " You have card number 3 - a table of canons for constructing a classic comedy. + note the traditions followed by Fonvizin. In the second box, write the playwright's innovation.
Group 2 (middle students) will select quotes from the comedy for these illustrations.
The 3rd group (members of the drama circle) will remember the text and try to restore aphorisms from the comedy, which, unfortunately, crumbled.
4th and 5th groups (other students, mixed groups). You have the most serious and responsible task. You work individually with a control test based on the USE type. Mark the answer options in the boxes next to the question.
7. Summing up the results of the lesson (reports of groups on the work done, except for the 4th and 5th groups, who pass the completed tests to the teacher) (slides 9-14)
8. Closing remarks from the teacher (slide 15)
Today we met D.I. Fonvizin, made the first attempt to penetrate the secrets of his immortal comedy "The Minor". We will continue the conversation about its heroes, about the problems raised by the author in the next lessons. For this work, highly appreciated by Russian critics, requires careful reading.
“The Russian comedy began long before Fonvizin, but it only started with Fonvizin. His "Minor" and "Brigadier" made a terrible noise when they appeared and will forever remain in the history of Russian literature, if not art, as one of the most remarkable phenomena. Indeed. These comedies are works of the strong mind. A gifted man. "
So highly appreciated the work of V.G. Fonvizin. Belinsky in the article "Woe from Wit". Let's try to comprehend the secret of the immortal work of D.I. Fonvizin.
Features of classicism
Idealization of heroes
Features of classicism
Referring to examples and forms of antiquity as an ideal
The principle of rationalism, the cult of reason
Strict adherence to the rules, the canon in the construction of a work of art
Observing the unity of place, time and action in the drama
The desire to capture the essential properties of life phenomena
Addressing social issues
Approval of the ideas of absolutism, patriotism, citizenship
Straightness of presentation of human characters
Idealization of heroes
Classicism as a literary movement
Classicism emerged in the first half of the 18th century. During this period, the autocratic system was strengthening in Russia. The main support of the autocracy was the nobility. The literature of classicism served the needs of the absolute state. She preached the idea of citizenship associated with this form of social structure, the idea of an enlightened monarchy.
Translated from Latin "classicism" - "exemplary", "first-class". In the 17-18 centuries, works of ancient Greco-Roman art were considered exemplary, worthy of imitation.
The study of the works of ancient art allowed the theorists of classicism to deduce the canons by which writers had to follow in artistic creation.
Classicist writers believed that human feelings are deceiving, that only with the help of reason can one cognize life and reflect it harmoniously in literature.
The rules of classicism provided for the division of literature into strictly defined genres, high (ode, poem, tragedy) and low (comedy, satire, fable).
Human characters were outlined one-sidedly, the acting were usually carriers of any one trait. The characters were clearly subdivided into carriers of good or evil.
Dramatic works were subject to the rules of three unities. The events took place over the course of one day, in one place, the plot was not complicated by side episodes.
CARD No. 3
Classic comedy canons
Fonvizin's innovation
Image of everyday life, human vices
The heroes are people of a low class, with base interests worthy of ridicule;
Each of the heroes is a carrier of one trait, one vice
A clear division into good and bad characters
Speaking surnames
One idea
Unity of action (comedy should be based on one conflict)
The unity of place and time (the action takes place in one place during the day)
Heroic and tragic are not allowed (comedy should execute vices with laughter)
Installation in spoken language
A happy ending
CARD No. 2
Assignment: Find errors in the peculiarities of drama as a kind of literature.
The basis of the drama is the narration of events
A portrait of a hero is the main means of creating an image
The drama contains an expanded narrative-descriptive image
The role of landscape and artistic detail is important
The author's position is expressed through lyrical digression
CARD No. 1
Features of classicism
Referring to examples and forms of antiquity as an ideal
The principle of rationalism, the cult of reason
Strict adherence to the rules, the canon in the construction of a work of art
Observing the unity of place, time and action in the drama
The desire to capture the essential properties of life phenomena
Addressing social issues
Approval of the ideas of absolutism, patriotism, citizenship
Straightness of presentation of human characters
Idealization of heroes
Related educational materials:
"Minor" written by D.I.Fonvizin in 1781 and became the pinnacle of Russian drama of the 18th century. This is a work of classicism, but it also exhibits certain features of realism, which makes this work innovative.
The play "The Minor" has the following features of classicism:
- educational orientation of literature, the writer sought to influence the human mind in order to correct the vices of society,
- a clear division of heroes into positive and negative,
- "Speaking surnames" of heroes"Minor" (Pravdin, Skotinin, Vralman)
- the comedy is instructive in nature (it touches upon the most important issues of the upbringing of a citizen, education, morality, the tyranny of the landowners.
- the play preaches civic duty
The comedy "The Minor" is written in the strict framework of classicism(Fonvizin observes the unity of place and time in "The Minor"): it consists of 5 acts, events take place during the day, in one place, without being distracted by side storylines, the scene is the Prostakovs' estate, the action begins in the morning and ends in the morning of the next day, action is subordinated to one main idea - the need to educate a worthy, honest, good-natured citizen.
In accordance with the requirements of classicism, all the heroes of the comedy are divided into positive and negative.
Goodies "Minor": Starodum, Pravdin, Milon, Sophia, Tsifirkin.
Negative heroes "Minor": Skotinina, Prostakova, Eremeevna, Vralman, Kuteikin- act under the "leadership" of Mrs. Prostakova, a serf-landowner. In such an environment, the morality of a young nobleman, an ignoramus, Mitrofan Prostakov, is formed. This is how the topic of family education, the topic of the family, intrafamily relations arises.
and, including the famous comedy "The Minor", are closely connected with a special trend in literature and art (painting, architecture), which originated in a number of European countries during the rise of absolutism (personal power of monarchs who personified unity, integrity, sovereignty (independence ) states) at the beginning of the XVII century and received the name of classicism (from Lat.classcus - exemplary). The influence of classicism on the artistic life of Europe in the 17th-18th centuries. was broad, long-lasting 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, clarity of presentation, accuracy of expression of thoughts, 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 inflated life, transformed by the art of man, and the opposing chaos of wild natural life, ruled by incomprehensible and seemingly bad laws... Consequently, it was typical for classicism to reflect life in ideal images, gravitating towards a universal "norm", an image that classical antiquity acts 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 personal interests of a person 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 an individual.
The greatest flowering in the literature of classicism initially reached drama as a kind of verbal and performing arts.
Drama (from the Greek, drama - "action"), as you know, is one of the three types of literature, along with epic and lyric poetry. The basis of the drama, according to the original meaning of the word, is action: In the drama, the phenomena that make up the external world unfold before the viewer or reader.
Events appear as a living, unfolding in the present time (in front of the viewer!) Action, shown through conflicts and in the form of 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 personages (for example, when a particular character speaks a line in response to the words of another person, the playwright can mark - "to the side", i.e. . wanting to hide his opinion).
The classic drama has a number of features. In order for the action to preserve its logical harmony, the classicists saw the demand for "three unities", the unity of place, the unity of time and the unity of action.
The first two unities are very simple and were of a formal 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 Sofia's bedroom, then in the living room, then on the stairs, etc.
The unity of time assumes 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.
The unity of action is the most fundamental and profound requirement of the theory of classicism. The laws of drama require the tension and concentration of the action, which is, as a rule, due to the characters of the heroes, special rigor in the plot: the action in the drama and the behavior of the heroes must be directed towards one goal, keep the connection and harmony of the composition in all scenes and details and be united, conjugated with the main confrontation of the characters.
This 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 free from secondary interests ..." This means that in the drama "everything should be directed towards one goal, towards 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 outset - the development of the action (including the culmination) - the denouement. The external expression of the sequence of the course of the dramatic action is the division of the drama into acts, each of which is a completed stage of the unfolding conflict.
Classicism strictly adhered to the so-called hierarchy of genres. Tragedy, ode, epic belonged to "high genres". Comedy, fable, satire- to "low".
In the genre of tragedy, France has nominated two of the greatest playwrights - Pierre Corneille and Jean Racine. Their works are based on the clash of personal interests and civic duty. In the genre of fables, La Fontaine became famous, and in the genre of comedy - Moliere. They laughed at the vices of people, at unfair social and social conditions and relations.
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 activities of the powerful mind, began to be criticized, but also the nobility and clergy, who stood at a high level of society. Comedy time has come.
The comic (and laughter) is based on the law of inconsistency: the imaginary is opposite to the true, the illusion is the opposite of reality, the expected is the result. Inconsistency can be easily detected between words and deeds, as in fable x Krylov, between an unjustifiably underestimated or overly exaggerated event, the discrepancy between the character's claims, as in the case of Mrs. Prostakova, and her real nature. It is on the basis of discrepancy that such properties of comedy as hyperbole, sharpness, absurdity, grotesque and its "high" laughter, often mixed with tears of despair, grow. The more absurd the discrepancy, the more fantastic it is, the more realistic, vitally reliable the setting of the action should be. Only in this case will the comedy with its wise and uplifting laugh be convincing and morally effective.
All these remarks apply in full measure to both Russia and Russian classicism, which had a number of national characteristics.
In Russia, classicism emerged in the 1730-1750s. 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 Peter the Great era, is characteristic.
Questions in assignments
1. What were the basic rules, 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 Minor, ”the author already had the most important goal: the disastrous fruits of ignorance, poor upbringing and abuse of domestic power were exposed by him with a bold hand and painted with the most hated colors. In "Brigadier" the author fools the vicious and fools, stinging them with arrows of mockery; in "Minor" he no longer jokes, does not laugh, but is indignant at vice and stigmatizes him without mercy ... Ignorance ... in which Mitrofanushka grew up) and examples from the family were supposed to cook in him a monster, what is his mother, Prostakova " ...
The roles of Milo and Sophia are pale ... Pravdin is an official: he cuts with the sword of the law the interweaving of action, which should be unleashed by the considerations of the author, and not by the police measures of the governor. Kuteikpn, Tsifirkin and Vralman funny cartoons; 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 "The Minor" 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 legends still name several persons, as if they served as originals for the author. I myself happened to meet in the provinces with two or three living specimens of Mitrofanushka, that is, as if they served as a model for Fonvizin ... If it is true that Prince Potemkin, after the first performance of the "Minor", said to the author: "Die, Denis, or do not 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 PA Aesthetics and literary criticism. M., 1984. S. 197-198, 211-222).
4. Why, from the point of view of Vyazemsky, did Fonvizin make positive characters less artistically convincing than negative ones?
5. Comment on the opinion of the Russian historian V.O. Klyuchevsky from his reflections "Fonvizin's Minor (An Experience of Historical Explanation of the Educational Play)":
“It is safe to say that the Minor has not yet lost a significant share of his former artistic power either over the reader or over the viewer, despite his naive dramatic construction, which at every step reveals the threads with which the play is sewn, neither in an outdated language, nor in the dilapidated stage conventions of the Catherine's theater, despite the fragrant morality of the optimists of the last century that is poured into the play. ... one must carefully laugh at Mitrofan, because Mitrofans are not funny and, moreover, very vindictive, and they take revenge with irrepressible reproduction and elusive insight of their nature, akin to insects or microbes.
I don’t know who’s funny inUndersized
... Mr. Prostakov? He is only a stupid, 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 impersonate even in front of his son. Taras Skotnnin is also a little comical: in a person ... for whom a pig shed replaces both a temple of science and a home, what is comical about this noble Russian nobleman, who, from educational competition with his beloved animals, became
fours? Isn't the mistress of the house herself, Mrs. Prostakova, nee Skotinina, comical? This is a face in a comedy, unusually well conceived psychologically and excellently sustained dramatically ... she is stupid and cowardly, that is, she is pitiful - for her husband, like Prostakova, godless and inhuman, that is, disgusting - for her brother, like Skotinina. The undersized is not a comedy of faces, 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 stage, but disturb and upset when you meet them outside the theater, at home or in society. Fonvizin made sad-bad and stupid people play funny-funny and often clever roles.
The strength of the impression is that it is composed of two opposite elements: laughter in the theater is replaced by heavy meditation upon leaving it "(Klyuchevsky V.O. Historical portraits: Figures of historical thought. - M., 1990. - S. 342-349) ...
What is the difference between the judgments of Vyazemsky and Klyuchevsky and which of them, in your opinion, is more right? Or perhaps you have a different point of view?
6. On what grounds can one determine that the comedy "The Minor" belongs to classic works (the unity of time, place ...)?
Literature, grade 8. Textbook. for general education. institutions. At 2 o'clock / auth.-comp. V. Ya. Korovin, 8th ed. - M .: Education, 2009 .-- 399 p. + 399 p .: ill.
There in the old years
Satyrs brave lord
Fonvizin shone, friend of freedom ...
A. S. Pushkin
Classicism is a literary movement that existed in the 18th - early 19th centuries. It is characterized by a high civic theme, which demanded that everything personal should 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 (poem, ode, tragedy) mrgla be a higher, spiritual life, the characters are only kings and aristocrats. The content of low genres (satire, comedy, fable) was reduced to the depiction of private, everyday life. The characters were representatives of the lower classes - the small landed nobility, officials, serfs. “High” and “low” have never been combined in one piece. 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 capable of bringing public benefit, for whom the interests of the state are higher than personal interests. The attention of comedy was drawn to the negative phenomena of reality. The purpose of comedies, according to classicism, is to educate, ridiculing shortcomings, to educate with laughter.
The most outstanding work of classicism in Russian literature of the 18th century is Fonvizin's comedy "The Minor". In the construction of his play, Fonvizin followed the rules of classicism exactly. The "Minor" consists of five canonical acts. In each, the rule of trinity is observed - action, time and place. The events depicted by Fonvizin take place over the course of one day and in one place - in the house of the landowner Prostakova.
According to the rules of classicism, the characters of the comedy are divided into vicious and virtuous, and in the finale of the play the evil are punished, the good triumph. Comic heroes are put to shame. Prostakova was deprived of rights over the peasants for abuse of her power, her estate was taken under guardianship.
The clash between "evil" and "virtuous" heroes reflects the deep social conflict between the progressive noble intelligentsia and the reactionary feudal landlords. The playwright deliberately sharpens negative images, thereby achieving greater persuasiveness in exposing serfdom.
The images of the positive characters in the comedy are schematic in the spirit of classicism. Pravdin, Starodum, Milon, Sophia do not so much live and act as they discuss extensively and importantly on moral and political topics, teach lessons of noble virtues.
Like these positive heroes of the play, its negative characters are endowed with “speaking” names by which one can immediately judge about each of them: Prostakov, Vralman, Skotinin.
Three themes pass through the dramatic work of Fonvizin: 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 the correct upbringing. Fonvizin raised the question of what a true nobleman should be and whether the Russian nobility is responsible for 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 many things to do: there are people to help, there is a fatherland to serve!" Material from the site
Another problem of the "Minor" is the problem of serf slavery: the terrible situation of the Russian serfs, given into full possession of the landowners, the monstrous arbitrariness of the nobles. The writer, speaking out 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 the words of Pravdin that with such rules, "as they are in Starodum, people should not be released from the court, but they must be called to the court ... for what they call a doctor to the sick", Starodum answers with full conviction: “My friend, you are wrong. It is in vain to call a doctor to see the sick is not cure: 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 with slavery."
Thus, the comedy "The Minor" 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.
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On this page material on topics:
- the rules of classicism and the comedy undergrowth
- classicism in comedy fonvizin the ignoramus
- classicism ignoramus
- traditions of classicism, preserved in the undergrowth
- undergrowth the problem of slavery
Teacher of Russian language and literature Mukhitdinova Dilnoza Rustamovna.
Summary of a lesson on literature in grade 8 "DI Fonvizin. Comedy" Minor ".
Lesson objectives:
Educational - acquaintance with the genre of comedy; identification of the conflict on which the action in the play is based, its causes, connection with the era; consideration of comedy from the standpoint of the canons of classicism and deviations from them.
Developing - creating conditions for the formation of skills and abilities of an analytical nature; express your point of view in a monologue form, solve a problem situation
Educational - fostering the desire to be a truly moral, well-mannered, educated person who knows how to see and appreciate the personality in another person; the formation of the need to live according to the law.
Lesson type: Lesson in the formation of new knowledge.
Main method: analytical conversation with elements of problematic search
Forms : collective, individual.
Technologies : teacher-teacher cooperation.
Equipment: Portrait of D. I. Fonvizin, texts of the comedy "Minor", workbooks on literature,
Board decoration:
record of the topic of the lesson, epigraph:
Satire is "not an innocent scoffing of merry witches, but a thunderstorm of a spirit insulted by the shame of society."
V.G.Belinsky.portrait of the writer, problems, vocabulary to the topic, comedy conflicts.
During the classes
Organizing time.
Homework check.
Reading the poem by G. R. Derzhavin "Monument" by heart.
3. Brief information about D.I. Fonvizin.
Student presentation (pre-assigned assignment)
D.I.Fonvizin (1745-1792) was born into a wealthy noble family, received his education at Moscow University, studied at the university gymnasium, andv 1761-1762 - at the Faculty of Philosophy. At first he wrote satirical works, then he took up translations.
He became interested in theater early. I first saw a performance at the age of 14 and recalled it as a miracle: The actions performed in me by the theater are almost impossible to describe. "
The future playwright showed a vivid imagination early, a heartfeltresponsiveness, irony, humor: "My sharp words rushed around Moscow, as they were sarcastic for many, then the offended announced me as an evil and dangerous boy" ...
In 1762 Fonvizin moved to St. Petersburg and entered the College of Foreign Affairs as a translator. From 1763 to 1769 he served under the leadership of the cabinet minister I.P. Elagin, who was responsible for handling complaints, which allowed him to get to know the court of Catherine II closely.
The first original work is the satirical fable "The Fox-Treasurer", then the first comedy, which enjoyed a resounding success.
The comedy "The Minor" was completed in 1782. "... the theater was packed and the audience applauded the play by throwing wallets."
Student speech (pre-assigned assignment) -records in notebooks.
SATIRE-denouncing, scourging irony
Drama- a kind of literary works, built in the form of a dialogue without the author's speech and intended to be performed on the stage8 works of this kind, serious, but not heroic in content (as opposed to comedy and tragedy).
Remark- an explanation of the author in the text of the play (usually in brackets) related to the setting of the action, the actions of the characters, intonation, facial expressions, etc.
Undergrowth- young people, who did not receive sufficient education and could not be admitted (did not grow up) to the service.
After the appearance of the comedy, they began to call negligent adolescents, young men.
Teacher's word:
According to the plot and the title "The Minor" is a play about how badly and incorrectly they taught a young nobleman, having raised him to be "an ignorant". The problem of education is central to the works of the Enlightenment. But Fonvizin greatly expanded the very formulation of this problem: we are talking here about education in the broadest sense of the word. Mitrofan is the same ignoramus about whom the title of the play speaks. The history of his upbringing explains where the terrible world of the Skotin and Prostakovs comes from.
4. Work on the problematics of the play.
What satirical techniques does Fonvizin use when portraying landowners? (Entries in notebooks)
1. "Speaking" surnames and first names;
2. Deliberate exaggeration of negative traits. Dominant trait What is the name of this technique? /hyperbola/
3. Self-characteristics (self-exposing and accusatory);
4. "Zoologization";
5. Remarks
So which onethe main problem
delivered already in 1 act?
1. Criticism of the autocratic serf reality.
2. The tragedy of the fate of the common man.
Second problem.
The future of Russia is dying - the young generation, the ugly brought up mitrophans, who will become a brake on the spiritual and cultural development of Russia.
Third problem.
Fonvizin opposes the images of progressive people to the conservatism of the old generation.
All the characters in the comedy can be clearly divided into two camps: the heroes of the ideology are positive characters, depicted schematically, traditionally, in accordance with the rules of classicism, and negative or secondary everyday characters, in the image of whichFonvizin's innovation .
From the comedy it is known what the origin and conditions of the upbringing of everyday heroes are: he tells about his family Prostakov, we know why Skotinin remained uneducated, and the "upbringing" and training of Mitrofanushka is directly depicted in the play. The upbringing of ideological heroes remains unknown: we do not know in what environment Sophia was brought up, what made Milo an ideal officer, etc.
Everyday heroes in comedy are constantly in motion: fights between Mitrofan and Skotinin, Prostakova and Skotinin take place on the stage, Prostakova herself says: “I scold, then I fight” (II, 5), etc. Household heroes almost do not act, their actions are words.
1. Name the goodies. / Sophia, Milon, Pravdin, Starodum /. Pay attention to the "speaking" names and surnames.
2. What fresh stream do these heroes bring into the dark ignorant world of the Skotinins?
3. What kind of dreams, in contrast to the Skotinins, do progressive people have?
Milo - "Reason, courtesy, enlightenment".
Starodum - ‘Soul and heart’.
Pravdin is ‘’ Truth in everything ’’.
Creating his comedy, Fonvizin hoped that the time would come when the advanced youth would consider an inactive life a shame: “A nobleman would consider it a first dishonor not to do anything when he has so many things to do, there are people who need help, there is a Fatherland serve. "
And as a result of this, Russia will become educated, spiritually rich, for the value of a nation should be determined by the deeds of its people.
Here is another problem - the desire to see Russia educated, spiritually rich, not adoring other states.
5. Fastening of new material.
In what century was this comedy created? (In the 18th century )
To which literary movement does it directly relate? (classicism)
Name the features of classicism as a literary movement that are encountered in the play. (educational orientation of literature, the writer sought to influence the human mind in order to correct the vices of society, their clear division into positive and negative, the comedy is instructive in nature, preaches a civic duty, the "speaking surnames" of the heroes).
What kind of literature does this work belong to? What genre? In the hierarchy of genres, comedy belongs to the low ones, which were considered secondary. What was the purpose of the low genres? (ridicule, expose the vices of a person and society as a whole).
What rules were followed when writing a play in the strict framework of classicism? Does Fonvizin follow them in the comedy "The Minor"? (Consists of 5 acts, events take place during the day, in one place, without being distracted by side plot lines, the scene of action is the estate of the Prostakovs, the action begins in the morning and ends in the morning of the next day, the action is subordinated to one main idea - the need to educate a decent, honest, good-natured citizen).
So, we can conclude: Fonvizin follows the traditions of classicism, he wrote his immortal comedy in accordance with the basic rules of this literary trend
5. Conclusion from the lesson:
The speech characteristics that Fonvizin endows with his heroes is distinguished by extraordinary accuracy, precision, laconicism, aphorism, individuality, and richness of language. The speech of the heroes betrays their essence, their views, intentions, desires. All this speaks of the high skill of Fonvizin the playwright.
Following traditions does not cancel the desire for new things. The skill and talent of the writer consists in the fact that he brings something new to the established, traditional.
Mainly observing the division of heroes into positive and negative, Fonvizin still ambiguously portrays some of them. If Starodum, Pravdin, Sophia, Milon are undoubtedly positive, then Mitrofan's teachers can hardly be confidently attributed to positive or negative characters. And Eremeevna? A slave or a baby-sitter who loves an undergrowth?
Fonvizin's innovation manifested itself in the well-aimed language of comedy, in brilliant speech characteristics. The idea of organizing society according to the laws of good and justice was also progressive.
The lesson has come to an end, thank you.
Guys, read the comedy to the end. The next lesson will do some exploratory work in tables.
6.Homework: Reading the comedy to the end, characterizing the characters.
7. Summing up the results of the lesson, assessment