After the release of the comedy by D.I. Fonvizin, the name Mitrofanushka became a household word, the word “minor” acquired a satirical and deeply generalized meaning. This was due to the realism of the comedy, artistic skill playwright.

What features of realism can we note in comedy? First of all, the principle of historicism. In “Minor” the viewer is shown a wealthy noble family of Catherine’s time, i.e. DI. Fonvizin made the subject of his image contemporary life. The characters' characters are determined by their life circumstances, i.e. the environment that formed them. The general way of life in the Russian landowner's estate, the imperfect education system, the moral character of the parents and their ideas about life - these are the components that shaped the personality of the main character in the comedy.

Mitrofanushka is a runt, a lazy, clumsy fellow who is not yet sixteen years old. Favorite hobby his - to chase pigeons. Mitrofan is not particularly fond of science. “I don’t want to study, but I want to get married,” he declares. Nevertheless, teachers constantly visit him: seminarian Kuteikin teaches him grammar, retired sergeant Tsyfirkin teaches him mathematics, German Vralman teaches him “French and all sciences.” And Prostakova’s son is “very successful” in science: from grammar he knows what a “noun and an adjective” are. The door, in his opinion, is an adjective because it is attached to its place. The other door, which has not yet been hung, is “for now a noun.” Mitrofan is just as successful in studying mathematics - Tsyfirkin has been fighting with him for three years, but “this ignoramus... can’t count the sins.” History and other sciences are taught to Mitrofan by the German Vralman, who previously served as a coachman for Starodum. Vralman does not bother his student with classes - instead of teaching him history. Vralman forces the cowgirl Khavronya to tell “stories” and, together with Mitrofan, listens to her with pleasure. Mrs. Prostakova, loving her son with all her heart, does not bother him with his studies and pampers him in every possible way. Inoculate Mitrofan with any positive traits or she is unable to understand the concept of morality, since she herself is deprived of them. The results of such an upbringing are deplorable: Mitrofanushka is not only ignorant, but also malicious. He is cowardly and rude to his teachers. At the end of the comedy, he renounces his own mother, who has lost all rights to manage the estates. Having failed in her intention to marry her son to Sophia and having lost her estates, Mrs. Prostakova is confused and broken. In the hope of finding consolation, she rushes to Mitrofanushka, and in response she hears: “Let go, mother, how you imposed yourself...”.

The hero is depicted in many “expressive” scenes: the scene of trying on a caftan, a fight with Skotinin, we see him in class, in the scene of the failed kidnapping of Sophia. All this allows the viewer to see all the versatility of the character’s personality traits. The author reveals in him such traits as complete ignorance, rudeness, cowardice, spoiledness, selfishness, laziness, moral infantilism. Following the traditions of folk satire, the playwright willingly likens his hero to animals. So, for example, Tsyfirkin, in response to Mitrofan’s rudeness, replies: “the dog barks, the wind blows.”

The life-like authenticity of the comedy and the versatility of the characters are largely created thanks to the speech of the heroes. So, Mitrofan calls his nanny Eremeevna “old Khrychovka”, Tsyfirkina “garrison rat”, he does not stand on ceremony when communicating with his uncle, telling him that he “ate too much henbane” and suggesting that he “get lost”.

It is also worth noting the modernity of the play. DI. Fonvizin affects her eternal problems, problems of upbringing and education younger generation. And such “Mitrofanushki” exist at all times. Also V.O. Klyuchevsky noted this. “We can say without risk that Nedorosl has not yet lost a significant share of his former artistic power over either the reader or the viewer, despite his naive dramatic construction, which at every step reveals the threads with which the play is sewn, neither in outdated language, nor in the dilapidated stage conventions of Catherine’s theater, despite the fragrant morality of the optimists of the last century poured into the play.<…>We live in a different environment and in a different way of life; the same vices are revealed in us differently” (V.O. Klyuchevsky).

Thus, the comedy “Nedorosl” is located at the origins of Russian realistic literature. Having paid a certain tribute to classicism (the presence of a traditional love triangle in the plot, the presence of “speaking” surnames, schematism in the depiction of some characters, the presence of positive and negative characters (with the versatility of their characters)), the playwright strives for a wide coverage of the phenomena of contemporary reality. “In Fonvizin’s play everything is Russian, national: theme, plot... characters characters. The ideological orientation of the work is determined by time... Fonvizin showed the dependence of people’s behavior and characters on the environment in which they live.” All these elements of realism are reflected in the comedy “Minor.” That is why the name Mitrofanushka became “a common name for funny juvenile stupidity and student ignorance” (V.O. Klyuchevsky).

Mitrofan means “revealing his mother,” i.e., similar to his mother. This is a bright type of spoiled “mama’s boy”, who grew up and developed in an ignorant environment landed nobility. Serfdom, the home environment and the absurd, ugly upbringing spiritually ruined and corrupted him.

By nature he is not devoid of cunning and intelligence. He sees perfectly well that the mother is the sovereign mistress of the house, and he plays nice with her, pretends to be a son who loves her tenderly (story about a dream) or scares her with the threat of drowning if

They won’t protect him from his uncle’s fists and will torment him with reading the Book of Hours. Mntrofan's mental development is extremely low, since he has an insurmountable aversion to work and learning.

The scenes of his classes with teachers and the “exam” clearly and fully show his mental squalor, ignorance of the sciences, reluctance to understand anything, to learn new things. The dovecote, hearth pies, sweet soya and the idle life of the barchuk are much dearer to him than mental pursuits. Mitrofan does not know love for anyone, even for those closest to him - his mother and nanny.

He doesn’t talk to teachers, but “barks,” as Tsyfirkin puts it; Eremeeviu devoted to him

He calls her “an old bastard,” and threatens her with fierce reprisals: “I’ll beat them up!” “When Sophia’s kidnapping failed, he angrily shouts: “Take care of people! “The mother who has lost both power and property, rushing to him in despair, he rudely pushes away: get rid of yourself, mother, how you imposed yourself! “Mitrofan’s speech fully reflects his character and his distinctive qualities.

Mitrofan’s mental poverty and lack of development are reflected in this. that he does not know how to use words or speak coherently. He expresses himself in monosyllables: “I suppose, brother,” “Which door? “, “To hell with everything!” In his language there are many colloquialisms, words and phrases borrowed: “For me, where they tell me to!”

, “Yes, look at that, it’s a task from Uncle, “I’ll dive - that’s what they called me!” The main tone of his speech is the capricious, disdainful, rude tone of a spoiled “mama's son, a barchuk, a future despot and tyrant. Even with his mother, he speaks more than cheekily, and sometimes he is insolent to her.

The image of Mitrofan is an image of enormous generalizing power. The name Mitrofanushka became a household name. The very word “minor,” which before Fonvizin meant a noble teenager who had not reached 16 years of age, became synonymous with a complete ignoramus, knowing nothing and not wanting to know anything.

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35. The writer and playwright D.I. Fonvizin, whose comedy “The Brigadier” never left the stage, was compared to Moliere. Therefore, the play “The Minor,” staged on the stage of the Moscow Medox Theater on May 14, 1783, was also a huge success. One of the main characters of this comedy was Prostakov Mitrofan Terentyevich, the son of the Prostakovs, simply Mitrofanushka. As soon as the name of the comedy “Minor” is pronounced, immediately [...]
36. Denis Ivanovich Fonvizin is famous primarily as the author of the comedy “The Minor.” This is one of the most significant literary works XVIII century. The main theme of the play is socio-political: it describes the complete lack of measure and common sense in the behavior of landowners supported by the authorities and the lack of rights of the serfs (“Since we took away everything that the peasants had, we can’t rip off anything […]. ..
37. The problem of upbringing and education in the comedy “The Minor” The comedy “The Minor” was written in the 18th century by D. I. Fonvizin. The peculiarity of this work is manifested through “speaking” names and surnames, as well as through the author’s views on upbringing and education in those times. So, for example, the name of the main character, who is not distinguished by intelligence, is Prostakov, and her brother, who likes to raise pigs […]...
38. The comedy by D.I. Fonvizin “The Minor” reveals the most important theme of all times and peoples – human upbringing. What is education? This is the knowledge that our parents try to instill in us from childhood, their life experience, passing on to us all the best in order to raise a worthy citizen of society. The Prostakovs, according to the spirit of the century, had to accept the sad necessity of training their only […]...
39. The main problem that Fonvizin raises in the comedy “The Minor” is the problem of educating enlightened progressive people. A nobleman, a future citizen of the country who must do things for the good of the fatherland, is brought up from birth in an atmosphere of immorality, complacency and self-sufficiency. In his play, Fonvizin showed the main evil of Russian life at that time - serfdom and painted the typical features of Russian serf-owners. On unlimited power […]...

In the comedy “The Minor,” D.I. Fonvizin poses one of the most important problems of society: the upbringing and education of the younger generation. The play caricatures the “educational process” in the Prostakov family of landowners. Satirically depicting the morals of the local nobles, showing their complete ignorance of how they prepare children for life and activity in society, the writer sought to condemn this approach to education. Mitrofan's mother is forced (in addition to her main concern - the nutrition of her son) to demonstrate the implementation of the decree on the education of noble children, although of her own free will she would never force her beloved child to “useless teaching.”

The author satirically depicts Mitrofan's lessons in mathematics, geography, and the Russian language. His teachers were the sexton Kuteikin, the retired sergeant Tsyfirkin and the German Vralman, who were not far from the landowners who hired them. During an arithmetic lesson, when the teacher suggested solving a division problem, the mother advises her son not to share with anyone, not to give anything away, but to take everything for himself. And geography, according to Prostakova, is not needed by the master, because there are cab drivers who will take you where you need to go.

The “exam” scene in which Mitrofan demonstrated all his knowledge is imbued with a special comedy. He sought to convince the “commission” how “far he had gone” in studying, for example, the Russian language. And therefore he sincerely assured that the word “door” can be both a noun and an adjective, depending on its location. Mitrofan achieved such results thanks to his mother, who indulged her lazy son in everything, who was used to doing only what he liked: eating, sleeping, climbing the dovecote and seeing unquestioning obedience from everyone around him, the fulfillment of his desires. Study was not part of my interests.

In the conditions depicted in the comedy, children could not be very different from their parents, since ignorant people are not able to instill in their offspring a thirst for knowledge, a desire to become educated and intelligent citizens who would consciously prepare to serve the Fatherland. Mitrofan’s father and mother don’t even know how to read, and his uncle “hasn’t read anything in his life”: “God... saved this boredom.” The vital interests of these landowners are extremely narrowed: satisfaction of needs, passion for profit, desire to arrange a marriage of convenience rather than love (at the expense of Sophia’s dowry, Skotinin would like to “buy more pigs”). They have no concept of duty and honor, but they have an immensely developed desire to rule. Prostakova is rude, cruel, inhumane towards the serfs. “Beast, thief's mug” and other curses are a reward, and the payment for work was “five blows a day and five rubles for a year.” Mitrofan will become the same owner, who has been taught cruelty to serfs since childhood. He considers teachers to be servants, wanting them to submit to his lordly will.

Mrs. Prostakova is mentally “too simple” and “not trained in delicacy.” He solves all issues with abuse and fists. Her brother, Skotinin, belongs to that group of people who are close to animals in their image and likeness. For example, Skotinin says: “Mitrofan loves pigs because he is my nephew. Why am I so addicted to pigs?” To this statement, Mr. Prostakov answers him: “And here there is some similarity.” Indeed, the Prostakovs’ son Mitrofan is in many ways similar to his mother and uncle. For example, he does not have a desire for knowledge, but he eats a lot, and at the age of sixteen he is quite overweight. The mother tells the tailor that her child is “delicately built.” Nanny Eremeevna reports about Mitrofan’s needs: “I deigned to eat five buns before breakfast.”

The goal of D.I. Fonvizin was not only ridiculing and denouncing the morals of the local nobility, but also a satirical depiction of the current order in society, in the state. Despotism destroys humanity in a person. The writer substantiates his conclusions about the need to abolish serfdom by showing how some landowners in their own way understood the “Decree on the Freedom of the Nobility” and other royal decrees supporting serf owners. The peculiarity of the life and everyday life of the local nobles is that they accept laxity of morals as a virtue, since they have unlimited power, which is why rudeness, lawlessness, and immorality flourished in their society.

The comedy “Undergrown” is aimed at exposing the vices of society. Satirically depicting the morals of landowners, their “methods of education,” Fonvizin sought conclusions about what people should not be like, how children should not be raised, so that new “Mitrofanushki” do not appear among the nobles. Life principles Mitrofan is directly opposite to the beliefs of an enlightened person. The author of the work created not a positive, but a negative image. He wanted to show “the fruits of evil worthy of it,” so he depicted the worst aspects of landowner life, the evil spirit of the serf-owners, and also highlighted the vices of upbringing the younger generation.

The landowner Prostakova raised her son in her own image and likeness (as her parents once raised her) and instilled in him the qualities that she considered necessary, so Mitrofan, at the age of sixteen, had already defined goals and priorities for himself, and they are as follows:
– does not want to study;
- work or service does not seduce, it is better to chase pigeons in a dovecote;
– food has become the most important pleasure for him, and daily overeating is the norm;
– greed, greed, stinginess – qualities that help achieve complete well-being;
- rudeness, cruelty and inhumanity are the necessary principles of the serf-owner;
– deceit, intrigue, deception, fraud are the usual means in the struggle for one’s own interests;
– the ability to adapt, that is, to please the authorities and show lawlessness with people without rights, is one of the conditions for a free life.

For each of these “principles” in the comedy “The Minor” there are examples. The author wanted to ridicule and expose the low morals of many landowners, so in creating images he used techniques such as satire, irony, and hyperbole. For example, Mitrofan complains to his mother that he was starved: “I haven’t eaten anything since the morning, only five buns,” and last night “he didn’t have dinner at all - only three slices of corned beef, and five or six hearth (buns).” The author also reports with sarcasm and hostility about Mitrofan’s “thirst for knowledge,” who is going to give the old nanny a “trash” because she asks him to study a little. And he agrees to go to lessons only if the conditions he set are fulfilled: “... so that this is the last time and so that there is an agreement today” (about marriage).

Mrs. Prostakova shamelessly lies to Pravdin that her son “doesn’t get up for days because of a book.” And Mitrofan enjoys the permissiveness and blind love of his mother; he has learned well how to achieve the fulfillment of his desires. This ignoramus is self-willed, rude, cruel not only towards the nanny or other serfs, but even towards his mother, for whom he is the main joy. “Get off me, mother, I’m so intrusive!” - the son pushes his mother away when she tries to find support from him.

Starodum’s conclusion, made at the end of the play (“These are the worthy fruits of evil!”), returns viewers and readers to previous facts that explain and clearly show how characters like the undergrown Mitrofan and his mother are formed in society.

The noble son accepts Pravdin’s decision to send Mitrofanushka to serve unquestioningly. But a question arises that is not answered in the comedy, although it is implied: “Can Mitrofan be useful in the service of the Fatherland?” Of course not. This is why D.I. Fonvizin created his comedy, to show society what “underage” people are being raised by landowners and in whose hands the future of Russia may lie.

In this lesson we will get acquainted with the VII and VIII phenomena of the third act of Fonvizin’s comedy “The Minor”. During the lesson, we will analyze these two phenomena, the scene of a fight between teachers, and also learn the meaning of unfamiliar words.

Topic: Russian literature of the 18th century

Lesson: Episode of Fonvizin’s comedy “Minor”

This comedy episode could be called “Mitrofanushka’s Lesson.” Initially, it may seem that everything described in phenomena VII and VIII is a comic exaggeration, or, in scientific language, hyperbole. That it wasn’t and couldn’t be, that Fonvizin had already come up with it. But everything described is from nature. For example, in Radishchev’s book “Journey from St. Petersburg to Moscow” there is a chapter called “Gorodnya”. In this chapter, the traveler meets a Frenchman, and he says that he was a hairdresser, then a sailor, but he was always prone to drunkenness and laziness, so he could not earn his daily bread. And on the advice of his fellow countrymen, he became a teacher and, together with the student’s family, went to the village, where whole year They didn’t know that he couldn’t write. Derzhavin in his “Notes” says that he was apprenticed to a certain Joseph Rosa, who was exiled to hard labor for some crime. His teacher himself was ignorant and did not even know grammatical rules. In the comedy of Catherine II (“Mrs. Vestnikova with her family”), one of the characters says about teachers: “Let him still go as a coachman to someone.” Ivan Ivanovich Shuvalov, an outstanding statesman of the Elizabethan era, founder of Moscow University, patron of Mikhail Vasilyevich Lomonosov, founder of the Academy of Arts in St. Petersburg, in a memo to the Senate in 1754, proving that a university was needed, wrote: “The nobles, not having found the best teachers, accept those who spent their whole lives as footmen, hairdressers, and other similar crafts. We need a university."

Commentary on the selected scene

In the works of the past (and this could be a recent time, say, the end of the last century), and even more so in the works of the 18th-19th centuries, there are an unusually large number of incomprehensible words. Correct reading requires, first of all, familiarity with these words. It is impossible to understand the meaning of a work without understanding the words used in it. What words do you simply need to know in order to read the two phenomena of the third act of the play “The Minor”.

First, the word “conspiracy.” Mitrofanushka says: “So that tomorrow there will be an agreement.” Collusion- this is an engagement. That is, a young man and a girl are declared the bride and groom. It's not a wedding yet, but they are already engaged to each other. This custom of engagement is still alive, although not as widespread as in the past.

Butts which Mitrofanushka demands to take to him - this is what has been passed. Tsyfirkin says quite rightly that if you constantly repeat the same thing, then “you’ll be left with your backside a century ago.” In general, Fonvizin’s penchant for puns is unusually good. Fonvizin makes puns constantly.

Onbutt- For example.

Sabbat- end.

Surname Kuteikin derived from the name funeral dish“Kutia” - rice with raisins. This is a Lenten dish that is eaten at funerals and on memorial holidays.

Az- I (Church Slavonic).

I am- first person singular verb "to be". “I am a worm” - I am a worm. Psalter- book old testament, a collection of spiritual poems, psalms. Authorship is attributed to the Biblical King David. This book was used to teach literacy, writing, and reading. Kuteikin's ignorance is emphasized by the fact that he thinks that different things should be written in the two psalters.

Asmoe tifa f sfete- the eighth wonder in the world.

Palfan- blockhead, block of wood, that is, an empty piece of wood.

Aristotle- ancient Greek philosopher, sage.

Advance- move forward.

Goat- this is an elevation for the coachman.

Mrs. Prostakova and Mitrofan. Teachers Kuteikin and Tsyfirkin.

Prostakova: “While he is resting, my friend, at least for the sake of appearance, learn, so that it reaches his ears how you work, Mitrofanushka.”

Please note that Prostakova constantly emphasizes, especially in front of Pravdin and Starodum, that Mitrofanushka is a scientist, that he is enlightened. That is, Fonvizin seems to show that they, of course, are “dense,” but the time is now such that even the “dense” should send their children to study. No other way.

Mitrofan: “Well! And then what?"

Prostakova: “And then you’ll get married.”

Mitrofan: “Listen, mother, I’ll amuse you. I'll study; just let this be the last time and let there be an agreement today.”

Prostakova: “The hour of God’s will will come!”

Mitrofan: “The hour of my will has come! I don’t want to study, I want to get married! You lured me in, blame yourself. So I sat down.”

Tsyfirkin is repairing the slate (back then they wrote on a black slate board with soft slate - a stylus).

Prostakova: “And I’ll sit down right away and tie the wallet for you, my friend! There would be somewhere to put Sophia’s money.”

This simple motive - money - runs through the entire play and the desire to marry Mitrofan to Sophia is caused by the news that Sophia has a hefty dowry. As for studying directly, everything is very simple for Prostakova.

Mitrofan: “Well! Give me the board, garrison rat! Ask what to write."

Why garrison rat? Because Tsyfirkin served, was a soldier, and then retired. Now he makes money by what he knows in mathematics, he checks the accounts for some, and does something else for others.

Tsyfirkin: “Your honor is always barking idlely.”

Prostakova: “Oh, my God! Don’t you dare, child, to elect Pafnutich! I’m already angry!”

The most wonderful feature that distinguishes all Fonvizin’s satirical characters: absolute contempt for the merits of another person. Just think the child said garrison rat? Why be offended? There is even a proverb: “A scolding does not hang on the collar.”

Tsyfirkin: “Why be angry, your honor? We have a Russian proverb: the dog barks, the wind blows.”

Mitrofan: “Get your butts back, turn around.” Tsyfirkin: “All the backs, your honor. After all, you’ll be left with the backside of a century ago.” Prostakova: “It’s none of your business, Pafnutich. It’s very nice to me that Mitrofanushka doesn’t like to step forward. With his intelligence, may he fly far, and God forbid!” And what does Prostakova mean here? With his grandiose mind or with his weak little mind? Most likely, the first, but we are reading the second, no doubt. Tsyfirkin: “The task. You deigned, on the butt (that is, for example), to walk along the road with me. Well, at least we’ll take Sidorich with us. We found three...” Mitrofan (writes): “Three.” Tsyfirkin: “On the road, for the butt, three hundred rubles.” Mitrofan (writes): “Three hundred.” Tsyfirkin: “It came to a division. Think about it, why on your brother?” Mitrofan (calculating, whispers): “Once three is three. Once zero is zero. Once zero is zero.” Prostakova: “What, what, before the division?” Mitrofan: “Look, the three hundred rubles that were found should be divided among the three of us.” Prostakova: “He’s lying, my dear friend. I found the money and didn’t share it with anyone. Take it all for yourself, Mitrofanushka. Don’t learn this stupid science.” Mitrofan: “Listen, Pafnutich, ask another question.” Tsyfirkin: “Write, your honor. You give me ten rubles a year for my studies.” Mitrofan: “Ten.” Tsyfirkin: “Now, really, no problem, but if you, master, took something from me, it wouldn’t be a sin to add ten more.” Mitrofan (writes): “Well, well, ten.” Tsyfirkin: “How long for a year?” Mitrofan: “Zero yes zero - zero. One and one..." (Thinking.) But then Prostakova intervenes. Prostakova: “Don’t work in vain, my friend! I won’t add a penny; and you're welcome. Science is not like that. Only you are tormented, but all I see is emptiness. No money - what to count? There is money - we’ll figure it out well without Pafnutich.” Here Kuteikin intervenes. Kuteikin: “Sabbath, really, Pafnutich. Two problems have been solved. After all, they won’t bring it up for verification (in the sense that no one will check how they were decided).” Mitrofan: “I suppose, brother. Mother herself can’t make a mistake here. Go now, Kuteikin, teach a lesson about yesterday.” Kuteikin (opens the book of hours): “Let’s start with blessings. Follow me with attention: “I am a worm...” Mitrofan: “I am a worm...” Kuteikin: “A worm, that is, (that is) an animal, a cattle. In other words: “I am cattle.” Mitrofan: “I am cattle.” And this motif, taken from the psalter (chapter 21, verse 7), runs through the entire book: “I am a worm, and not a man, a reproach of men and the humiliation of people.” Kuteikin: “Not a person.” Mitrofan: “Not a man.” Kuteikin: “Reviling people.” Mitrofan: “Reproach of people.” Kuteikin: “And uni...” This is where phenomenon VII ends.

The phenomenon changes when the cast of characters on stage changes. Vralman runs in.

Vralman: “Ay! ah! ah! ah! ah! Now I'm freaking out! They want to kill the turnip! Mother you are! Have fun with this morning...” And so on. This is the so-called German accent, which is found both in the comedies of Fonvizin’s time and in “Woe from Wit” (“he went to hell”), which will continue to be found for a very long time in Russian literature. Moreover, it is not very easy to immediately understand all the words. For example, Vralman says about Mitrofan: “ asmoe tifa f sfete " This means: the eighth wonder in the world. And since it is known that there are only 7 miracles in the world, then Mitrofan, it turns out, is the eighth miracle. Vralman: “Follow these damned slateys. And with such a kalaf, how long is palfan? Ush disposition, ear fse is.” (that is, there is a predisposition that the last brains have flown out). Prostakova: “The truth, the truth is yours, Adam Adamych! Mitrofanushka, my friend, if teaching is so dangerous for your little head, then for me, stop.” Mitrofan: “And even more so for me.” In one of the previous phenomena, teachers complained to each other that as soon as they started studying, a German immediately appeared and interfered with the lessons. That's how it happens here. Kuteikin: “The end and glory to God.” Vralman: “My mother! What's wrong with it? Son, there’s some shit, let’s give up the old stuff; or the wise son, so to speak, Aristotelis, and to the grave.” That is, the mother has to decide whether her son will remain as he is, but will be healthy, or will become a sage, like Aristotle, but his teaching will lead him to the grave. Prostakova: “Oh, what passion, Adam Adamych! He already had a careless dinner yesterday.” Vralman: “Rassuti-sh, mother of May, drank too much pryukho: peda. And the fit of the kaloushka is much slower than that of the nefo; drink it too much and save it later!” That is, if you fill your belly, it’s a disaster, but what if you fill your head with too much? This will be really bad. Mitrofanushka’s head is weaker than his belly. Prostakova: Your truth, Adam Adamych; what are you going to do? A child, without studying, go to St. Petersburg: they will say you are a fool. There are a lot of smart people these days. I'm afraid of them." And what is here - a feeling of one’s time, already new, or a nod to the empress? After all, there were a lot of smart people with her. One way or another, Prostakova wants to teach her Mitrofan (at least in appearance). Vralman: “Why bother, my mother? A wise man will not saturate Nikakhta, Nikakhta will not argue with him: but he does not get involved with clever bastards, and he will continue to be prosperous!” Prostakova: “This is how you should live in the world, Mitrofanushka!” Mitrofan: “I myself, mother, am not one for clever people. Your brother is always better.” Vralman: “Is this a campaign or a body?” Prostakova: “Adam Adamych! But from whom will you choose her? Vralman: “Don’t crash, my mother, don’t crash; What is your most tragic son, there are millions, millions of them in the world. How can he not ruin his campaigns?” Prostakova: “It’s for nothing that my little son is sharp and agile.” Vralman: “Didn’t you just give up your body and don’t sanitize your head? Rossiska kramat! Arihmetika! Oh, my goodness, how the carcass remains in the body! How putto py rassiski tforyanin ush and could not f sfete advance (that is, move forward) pez russian kramat! Kuteikin (to the side): “You should have labor and illness under your tongue.” Vralman: “Kak putto py do arihmetiki dust lyuti turaki sandy!” Tsyfirkin (to the side): “I’ll count those ribs. You will come to me." Vralman: “He needs to know how to sew on fabric. I know the sfet by heart. I grated Kalash myself.” Prostakova: “How can you not know the big world, Adam Adamych? I am tea, and in St. Petersburg alone you have seen enough of everything.” Vralman: “It’s tacky, my mother, it’s tacky. I have always been a keen hunter and eager to watch public. Pyfalo, about the celebratory holiday of the Sietuts in Katringhof, the carriages with the hospots. I still look at them. Damn, I won’t leave my mow for a minute.” Prostakova: “What the hell?” Vralman (to the side): “Ay! ah! ah! ah! What did I screw up! (Aloud.) You, mother, dream that you should always look higher. So, suddenly, I sat down on someone else’s carriage, and I smeared the Polish land from the mowers.”

Goats are a kind of elevation on the front of the crew. The place where the coachman sits.

Prostakova: “Of course, we know better. Clever man knows where to climb." Vralman: “Your dearest son is also on the sfeta somehow in a smastitsa, fiercely look at and touch sepya. Utalets!” Vralman knows perfectly well the value of Mitrofanushka, and here it is necessary to play him in such a way that there is both innocence and cunning, so that it is clear that he is being ironic about Mitrofanushka and his mother, and at the same time he says the words that are expected of him. Vralman: “Utalets! He won't stand still, like a ticking horse. Go! Fort!" Prostakova: “A child, really, even though he’s a groom. Follow him, however, so that he doesn’t anger the guest out of playfulness without intent.” Vralman: “Poti, my mother! Saletna bird! Your voices flow with him.” Prostakova: “Farewell, Adam Adamych!”

This ends the VIII phenomenon, after which there is a scene of a fight between the teachers.

About Molière's comedy "The Bourgeois among the Nobility"

The scene of the teachers' fight, perhaps, is reminiscent of a similar scene in Moliere's comedy "The Bourgeois in the Nobility." This play was staged in 1670, with Moliere himself playing Jourdain, the main character. What is it main character Moliere's comedies? This is always a hero, obsessed with some kind of mania that does not allow him to sleep, does not allow him to live. Jourdain really wants to consider himself a nobleman, and for everyone to consider him a nobleman. He wants to become a nobleman. And he dials whole state teachers: teachers of music, dance, fencing and philosophy. And, in fact, the comedy begins precisely with the fact that each teacher says how important his science is. And they start arguing with each other, especially when the fencing teacher appears. It’s clear that there are music and dance teachers if a fencing teacher can easily put them on a sword. But as soon as the argument between the music, dance and fencing teacher begins, the philosophy teacher appears and tries to reason with the disputants, saying that they are doing this in vain. Each science has its own meaning, its own significance. But, truly, philosophy is above all. And then a general fight begins, and the philosophy teacher ends up getting the most.

There is some wonderful dialogue in the comedy. The philosophy teacher explains to Jourdain that everything that is not poetry is prose, and everything that is not prose is poetry. And Jourdain discovers to his surprise that all his life he spoke in prose. In general, there are many wonderful moments in this comedy. For example, when we're talking about about the new suit that Jourdain ordered. And this costume is associated with a very important motive: life is a game, and each of us plays a role. But nobility is not reduced to a role, to dressing up, it is not bought. And this costume becomes like a theatrical costume. Much of Moliere’s comedy will later remain in Russian comedy in the 18th and 19th centuries. For example, the same Prostakova is obsessed with mania - an unhealthy love for her son. Love that cripples a son, and does not protect or educate. There is also love couple, as in “The Bourgeois in the Nobility.” Jourdain, as a father, is sure that only an aristocrat, a marquis, and therefore a nice, kind guy, but a merchant rank (and Jourdain himself is a merchant) will never be the husband of his daughter. But Jourdain is deceived when he is made to believe that his daughter married the son of the Turkish Sultan.

It is curious that “The Minor” begins in much the same way as “The Bourgeois in the Nobility.” It starts with the costume - with a caftan sewn by Trishka. But if for Moliere the most important thing is appearance and essence (that is, you can wear any suit you like, but you will still remain a bourgeois), then with Fonvizin the emphasis is shifted to something else. Here, for example, is a serf who was ordered to become a tailor, regardless of whether he knows how to sew or not. Stanislav Borisovich Rassadin says that this episode can easily be projected onto Catherine’s court, when already in the 80s such great people as Grigory Orlov and Potemkin were replaced by mere nonentities, like Platon Zubov or Vasilchikov. That is, Catherine gave the opportunity to rule, to manage almost the entire state, to people who not only did not know how to do this, but also did not want to learn it.

Kuteikin and Tsyfirkin beat up Vralman, who constantly interferes with the teaching and prevents them from even their modest opportunities to teach Mitrofanushka something. And this theme of teaching organically continues in Act 4, Act 8, where Mitrofan demonstrates his knowledge in front of Starodum, Pravdin and others. Starodum: “It dawned on my ears that now he only deigned to unlearn. I have heard about his teachers and I can see in advance what kind of literate he needs to be, studying with Kuteikin, and what kind of mathematician, studying with Tsyfirkin. I would be curious to hear what the German taught him.” Mitrofan: “Everything! For example, grammar.” Pravdin: “I see. This is grammar. What do you know about it? Mitrofan: “A lot. A noun and an adjective...” Pravdin: “Door, for example, what name: a noun or an adjective?” Mitrofan: “Door? Which door?" Pravdin: “Which door! This one". Mitrofan: “This one? Adjective." Pravdin: “Why?” Mitrofan: “Because it is attached to its place. Over there at the closet of the pole for a week the door has not yet been hung: so for now that is a noun.” You can see that Mitrofanushka copes well with the situation. So to speak, by intuition he copes with grammatical categories. He is very witty. Starodum: “So that’s why you use the word fool as an adjective, because it is applied to a stupid person?” Mitrofan: “And it is known.” Prostakova: “What, what is it, my father?” Pravdin: “It can’t be better. He's good at grammar." Milo: “I think no less in history.”

And it turns out that Mitrofan is a history hunter, just like Skotinin is his uncle.

Pravdin: “How far are you in history?” Mitrofan: “Is it far? What's the story. In another you will fly to distant lands, to a kingdom of thirty.” Pravdin: “Ah! So this is the story that Vralman teaches you?” Starodum: “Vralman! The name is somewhat familiar."

And finally, the famous scene with geography. It turns out that this is not a noble science. You need to tell the cab driver where you are going - that’s all. He'll take it.

Here is the education of Mitrofan, which may seem to us described completely implausibly, but which, judging by the comments of his contemporaries, was written almost from life.

Final settlement with teachers

Eremeevna brings the teachers and says a phrase that may not be very clear to today’s schoolchildren: “Here, father, all our bastards.” Here the word “bastard” is not a curse word. It means “companions”, “accompanying”, that is, the one who drags along with us, the one who is with us. And although at the beginning of the 19th century this word was rude, it was not abusive.

How do teachers part with their jobs? Vralman asks to be returned to the box, and Starodum tells him: “You probably lost the habit of being a coachman while you were teaching?” To which Vralman responds with a wonderful phrase: “Hey, no, my father! Shiuchi with great hospots, it mattered to me that I was all with horses.” (That is, with cattle).

Honest Tsyfirkin doesn’t ask for anything. Mitrofan didn’t adopt anything. What is there to take here for? And Kuteikin says that it would be necessary to pay off. Indeed, he walked, taught, time and energy wasted. But when he is offered to settle accounts with the lady herself, Kuteikin renounces everything. This is also a property of classical comedy. Each, even a tiny line, each character must exhaust its own path. He must find his final place. There are no misunderstandings, like, for example, Chekhov. So, Mitrofan went to serve. Prostakova is deprived of her estate and removed from management, and we see in this “evil behavior worthy fruits.” Skotinin is told to tell all Skotinins what awaits the evil ones. So, in the context of one particular case, an appeal is read to all those who deserve a similar outcome.

1. Korovina V.Ya., Zhuravlev V.P., Korovin V.I. Literature. 9th grade. M.: Education, 2008.

2. Ladygin M.B., Esin A.B., Nefedova N.A. Literature. 9th grade. M.: Bustard, 2011.

3. Chertov V.F., Trubina L.A., Antipova A.M. Literature. 9th grade. M.: Education, 2012.

1. Learn all the unfamiliar words from scenes VII-VIII of the comedy “The Minor.”

2. Write down 10-15 aphorisms from VII-VIII phenomena.

3. * Retell phenomena VII and VIII.

Russian literature of the “pre-Pushkin” period can rightfully be proud of its 18th century: the names of such masters of words as Lomonosov and Derzhavin, Sumarokov and Trediakovsky. But a special place in it is occupied by the founder of the “light” writing of theatrical drama in the folk spirit, the master of a truly Russian plot and dialogue (despite the fact that he had German roots, which was reflected in the surname), educator and moralist - Denis Fonvizin.

On September 24 (October 4, new style), 1782, the premiere of the magnificent play “The Minor” finally took place on the stage of Volny Russian Theater. The magazine "Dramatic Dictionary" described the event as follows: "The theater was incomparably filled and the audience applauded by throwing purses." Gossips walked and walked around the social halls of Moscow and St. Petersburg - speculation about the Highest permission or, conversely, the non-resolution of the play... Most likely, they were lies, like all the gossip in the world. Why did the performance have to be banned? Because what was decided for the Soviet school program? But what really happened? “Incomparable filling” of the auditorium and “throwing purses.”

Who was the same Fonvizin who gave rise to so many rumors?.. Denis Ivanovich Fonvizin

Apart from strokes and paralysis in his twilight years, Denis Ivanovich Fonvizin was a lucky man all his life. Both fate and origin did not let us down, and youth spoiled us, and maturity pleased us... Well, in old age, God himself ordered the soul to be saved. Sores, as the gentleman himself said about himself, are a punishment for the sins of his youth. A deeply religious man, at the same time an intellectual, an artist and a courtier, he may have regretted the attacks of atheism and primitive liberal Voltairianism, to which he paid tribute in his vagabond European odyssey...

His ancestor von Wiesen was descended from the Livonian dukes. He ended up in Russian captivity among the soldiers of a famous order under Ivan the Terrible. He was pardoned and left in Moscow lands. “Russified” by doubling parts of the surname.

A distant descendant of the Livonian Duke Denis Fonvizin was born on April 3 (14), 1745. I grew up in a patriarchal environment. According to Russian tradition, he received his education at home until he was ten years old. However. His teachers knew their job well, because this boy entered the noble gymnasium at the university with knowledge of three languages, well-read and unspoiled. Then there was Moscow University, just created through the efforts of Lomonosov and Dashkova, young and exuberant. Since the 1760s, the young nobleman-wise man writes, translates, studying at the Faculty of Philosophy, and makes friends with whoever needs to be (Lomonosov, Trediakovsky), and is noted by whomever is needed, and is sent where needed - as the secretary of the minister to the College of Foreign Affairs. In 1763, at the age of eighteen (!). And at 24, with special merits, he becomes the personal secretary of Count Panin himself.

His translations of Terrason, Rousseau, Voltaire, Gresse are published in magazines... In 1768, the play “The Brigadier” was written, the author, on the wave of wild success, was invited to Peterhof. He himself reads his creation to the most famous person in the empire. In general, Mother Catherine favored Denis Ivanovich and forgave his impetuosity, authoritarianism and self-confidence in his journalism. Although her tone was sometimes inappropriate. For example, in “Discourse on the Indispensable State Laws” there should be no need for those in power to ask questions, and in “The Minor” it is in vain that a simple official philosophizes so familiarly on behalf of the Government... But nothing happened, and no one was hurt. There was even no disgrace.

And so the clever and talented, official and diplomat nobly patrols the European capitals, writes meaningful, finely crafted letters, they are also travel notes, to her sister. Immediately after the death of his patron, Count Panin, he resigns, because he soberly looks at his existence as an adviser, even a civil one, at the office of the “Secret Expedition”: he cannot resist without the highest patronage... But he does not lose heart.

Writes. Traveling. Tries to promote plays in the theater. But the theatrical forces of both capitals and the provinces are too weak to comprehend and apply the fantastic gift of the great Russian comedian, a match for Moliere. Fights illnesses. He is trying to publish a five-volume edition of his works... But this is not working. And not because Fonvizin is not Rousseau, and Russia is not Switzerland, a monarchy, not a republic. It’s just that they probably still read too little, the interest of those on whom the movement of thought in the country depends is too small. And the master of drama, the rowdy and professor, the intriguer and gastronome, the Russian playwright, the creator of a truly folk comedy, Denis Ivanovich Fonvizin, has not yet been appreciated by the honor of his dramatic affairs. Illustration for the play “The Minor”

Fonvizin died 10 years after his main premiere: December 1 (12), 1792. He was buried at the Lazarevskoye cemetery in St. Petersburg. The minor Mitrofanushka appeared on the St. Petersburg stage in the fall of 1782 and won himself a viva and a Victoria. In May 1783, the play was repeated in Moscow.

In dramaturgy, Fonvizin is graceful in Russian. If there is a hint of German clumsiness in his beloved Starodum, the scribbler and philistine from “The Minor,” it is superficial, fashionable and educational in the gallant 18th century. The post-Petrine era in Russia honestly repaid debts to Prussian education. If a French dashing note sounds, as in “The Brigadier,” then expect the scourge of satire, a monstrous caricature, so that Rabelais and Scarron will envy. Illustration for the play “Brigadier”

It is not for nothing that a home-grown Francophone, a fool and an ignoramus, who loves “France itself” in a French coachman, is christened Ivan. Ivan, who does not remember his kinship, Ivan with a small letter. Fonvizin knew what he was doing - he was not attacking the Russian nobility, his target was the idiotic, “youth” (!) imitation of everything European at the expense of trampling on what was domestic. An old weed, a chaff, deeply rooted in the soil of Russian socio-political thought. However, a soil scientist and educator, Fonvizin the playwright, unlike Radishchev, does not decipher his national preferences. "The Brigadier" is a play for the theater. You have to play it, act it out, make fun of it! No wonder the author’s friend and drinking companion, Prince Potemkin Tauride, exclaimed after the premiere of the play: “Eh, Denis! Die, you can’t write anything better!” Fonvizin’s sad answer has been preserved as a historical anecdote: “That’s what I’m inclined to do...”

Denis Ivanovich left moral sermons and teachings for treatises and “The Minor.” This is where the fatal trinity of “cannibals and soul-scientists” appears on the mountain of the “thick-eaters” and dense idiots Prostakovs. Classicism certainly presupposes speaking names. Literal. Now it seems comical and surprising, why the hell did the elderly truth teller, the uncle from the hill, Starodum, the stray insolent reasoner Pravdin and a completely nonentity in an officer’s uniform Milon attack the peaceful barbarians Prostakovs like a raider? The estate goes into guardianship, Mitrofan becomes a soldier, Sophia marries Milon... For what?! For rudeness and ignorance - that's what! Enlightening the noble class with the will of the state (read, monarch) is no joke! This is politics, both in literature and in theater too. Hence the answers to all aesthetic questions - classicism is a sovereign style, useful, pleasant... Fonvizin did not even think of being rude to the censor, especially to the Empress. After all, the trinity of “punishers” are all state people, which means they “have the right.” And censorship as such before French Revolution in Russia there was none at all. There was the highest favor or lack thereof. Fonvizin, as a rule, guessed correctly. 1986: “The Minor” at the Maly Theater. Photo: AfishaDaily

Fortunately, Fonvizin knew how to write easily and talentedly. And his charming, 16-year-old slyness and hormones (I don’t want to study, I want to get married!) underage Mitrofan Prostakov still wins a stupid unexpected victory on stage over the gloomy, inert “masters of truth and reason.”