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Lessons from Penza teachers

Methodological recommendations for conducting lessons on comedy by D.I. Fonvizin “Nedorosl” in 8th grade

From the compiler. This is a kind of continuation of the seminary “Lessons of Penza teachers”, published in No. 8 for 2003. Unfortunately, that selection did not include all the most interesting finds made by Penza wordsmiths. Today we offer our readers another material developed by a creative group of language teachers at school No. 51.
Let us note that teachers in this city work mainly according to the educational and methodological complex “In the World of Literature”, prepared by a team of authors edited by A.G. Kutuzova. Therefore, it is natural that all lessons are focused specifically on him.

Program (section “Russian literature of the 18th century and its traditions”). DI. Fonvizin. "Undergrown"

Main characters. Dramatic conflict. Features of the composition. Ways to create a comic effect. Reflection of the ideas of the 18th century in comedy. The importance of comedy for contemporaries and subsequent generations

Lesson 1. D.I. Fonvizin. “Nedorosl”: educational ideas and Russian literature. Commented reading of the playbill and the first act

Working with a textbook article

What is the role of the writer in the 18th century?

Why did Fonvizin know court life well?

What does an ideal state look like from the point of view of educators? (“We are obliged to obey and submit to every sovereign, without exception, since he has an indisputable right to this; but we must respect and love only his virtues” - Michel Montaigne.)

Why does Fonvizin choose drama?

Why is Fonvizin’s favorite genre comedy?

Individual message about the comedy “Brigadier”. What hero of the work we read can I compare Ivanushka with and why?

The pinnacle of the playwright’s creativity is “The Minor” (1782)

Working with an epigraph on the board

...There in the old days,
Satire is a brave ruler,
Fonvizin, friend of freedom, shone...
(A.S. Pushkin)

Teacher's opening speech

The connection between the playwright’s work and the historical situation, with social and artistic thought of the 70s and 80s.

Fonvizin was one of the first to touch upon the topic of serfdom - the basis of his contemporary social system. He considered the unlimited power of landowners over peasants to be a great social evil, which could lead the noble state “to the very brink of ultimate destruction and death.”

Remember the features of dramatic works

DRAMA (from Greek - action, action) is one of the main types of fiction (along with epic and lyric poetry). Written in a dialogical form and, as a rule, intended for production on stage; the basis of drama is action. Reproduces, first of all, the world external to the author. Dramatic works are characterized by acute conflict situations that powerfully induce characters to verbal and physical actions.

COMEDY is a dramatic genre that depicts life situations and characters that cause laughter.

Features of the composition of plays XVIII century- subordination of the composition of a stage work to the rule of three unities.

The events take place over the course of one day and in one place - a provincial manorial estate, in the house of the landowner Prostakova.

Independent vocabulary work

Card (8 groups). Explain the lexical meaning of the word. As a result of group work, a "Comedy Dictionary", the vocabulary of which is replenished throughout the work on the work.

Heartlessness - lack of gentleness, warmth; callousness, cruelty.

Voivode - in Ancient Rus' and in some Slavic states - the head of the army, district.

Garrison - belonging to a military unit located in a populated area, fortress or fortified area.

Dvorovy - belonging to the gentry. Yard people. Outbuilding for courtyards(noun).

Mongrel (collected) - under serfdom: domestic servants in a manor's house. Numerous d.

Noble - belonging to a nobleman.

Nobleman- a person belonging to the nobility.

Despotism - 1) autocratic rule. Monarchical village; 2) the behavior of a despot (in the second meaning). D. tyrant.

Careerism - pursuit of a career, desire for personal well-being, career advancement in personal interests.

Selfishness - desire for personal gain, profit, greed.

Serf - serf peasant.

Serf owner - owner of serfs, champion of serfdom.

Scammer - a person who engages in fraud, a rogue, a swindler. Small m.

Minor - in Russia in the 18th century: a young nobleman who had not reached the age of majority and had not yet entered the public service; trans.- a stupid, half-educated young man ( decomposition iron.).

Reproof - expose, reveal something unseemly, harmful, criminal, severely condemn. O. vices.

Guardianship - a form of protection of personal and property rights of incapacitated persons (children who have lost their parents, the mentally ill). Take custody. Establish guardianship.

Opposition - opposition, resistance ( book). About someone's politics. To be in opposition to someone or something(if you disagree with someone’s views and actions, oppose them).

Estate - land ownership of the landowner. Large, small p.

Dedicate (what, who-what) - to designate, to give. P. your life to work.

Privilege - pre-emptive right, preference. Privileges for war veterans.

Courtier - a person who is attached to the monarch (as well as a member of his family) and is part of his entourage.

Enlighten (who, what) - transfer knowledge to someone, spread knowledge, culture.

Devastation (who, what) - violation, destruction of someone’s material well-being, reduction to poverty. R. family.

Collusion - engagement, agreement between the parents of the bride and groom ( outdated).

Stinginess - great stinginess, greed.

Acquisitiveness - greed, desire for profit.

hard worker - a person who works; hardworking person..

Village workers Petitioner

- the one who submits the petition. Petition - in Russia until the beginning of the 18th century: written petition, complaint..

Submit a petition Favorite

- a favorite of a high-ranking official who receives benefits and advantages from his patronage. be able to explain the lexical meaning of words, create phrases and sentences with words, select words from the dictionary that may be needed when working on the characterization of the hero, interpreting the author’s position, and so on.

Who is the main character of the play for you?

Prostakova - a play about her fate. Sophia- the reason for the rivalry between Mitrofan, Skotinin, Milon. Starodum- everything depends on his opinion. Mitrofan- after all, the play is called “The Minor.”

Working with the title(teacher's comment)

According to the order established under Peter I and Empress Anna Ioannovna, every seven-year-old boy-nobleman was obliged to appear at the Heraldry School-Office of the Senate, say how old he was, what he studied, where his parents and ancestors served, how many serf souls his parents had. Then the “minor,” as the boys were called then, were sent home. Five years later, at the “second examination,” the child should already be able to read and write. After that, he was sent to military or civilian service, allowed to stay at home only if the parents agreed to teach their son a foreign language, arithmetic, and the Law of God. At the age of fifteen, the young man appeared at a new review, and he was either assigned to an educational institution, or they took a subscription that he would learn geography, history and military engineering.

Working with a poster

Commented reading of the poster. Speaking names.

Development of dramatic conflict. What is the balance of power in the play?

The Prostakovs-Skotinins, ignorant backward landowners-serfs, are contrasted with the noble intellectuals Sophia, Starodum, Milon, Pravdin. ( Who is related to whom?)

What are the goals and aspirations of both groups?

Selfish money-grubbers are contrasted with those who desire justice, convinced opponents of “evil-minded ignoramuses,” educated and humane people.

Based on this, how do you imagine the conflict that arose between them?

Commented reading and analysis of the first act

Nothing tormented my heart more than innocence in the hands of deceit. I have never been so pleased with myself as when I happened to snatch the spoils of vice from my hands.(Starodum)

Reading the scenes and dialogues of the first act

How are the characters of the Prostakovs, Mitrofan, and Skotinin revealed in the first scenes? How do they behave, what is their speech?

Trying on a caftan (phenomena 1–3). Prostakova’s barbaric attitude towards serf servants, her lust for power and despotism.

The theme of lordly tyranny is the main one in the play. (The play begins with a scene with the tailor Trishka, who is being bullied by the “inhuman lady.”)

“Mitrofanushka... mother’s son, not father’s son”(phenomena 4). Mitrofanushka is a spoiled and unscrupulous “mama's boy”.

“The plans of Prostakova and Skotinin”(phenomenon 5).

Skotinin is a stupid rude man, a cruel landowner, preoccupied with the upcoming “conspiracy” with Sophia.

The dialogue between Prostakova and Skotinin characterizes them as cruel serf owners. “Since we took away everything the peasants had, we can’t take anything back. Such a disaster!” (Prostakova complains to her brother.)

Self-interest, acquisitiveness, profit - the behavior of Prostakovs and Skotinin is subordinated to them.

Serfdom ,Fonvizin believes, not only does he reduce the peasants to the position of uncomplaining slaves, but he also stupefies the landowners.

Why does Skotinin want to get married? Do you like “Girl”? No, we need her “villages”, in which there are pigs: Skotinin “has a mortal desire” for them.

So, EXPOSITION of the play - acquaintance with the characters took place.

Why did Prostakova initially have nothing against her brother’s marriage to Sophia? ( I considered her a dowry.)

Prostakova changes her plans(phenomena 6)

Why does she change her plans? ( He finds out that she is the heiress of a rich uncle, Starodum.)

What is so funny about her behavior? (Inconsistency: he wants to consider his fiction as truth, but presents the truth as fiction.)

What interesting things will we learn about Prostakova? ( Can't read.)

It is from this event that the dramatic conflict begins to develop - this is the PRINCIPLE of the play. And it seems that nothing will help Sophia.

The balance of power is changing not in favor of Prostakov-Skotinin(Revelation 8).

What event changes the balance of power? (Soldiers came to the village to stay, led by officer Milon, Sophia’s fiancé. He is a friend and like-minded person of Pravdin, a staunch opponent of the “evil-minded ignoramuses.”)

Lesson 2. Commented reading of comedy: speech and actions as the main means of creation character in a dramatic work

Checking homework: discussion of the compiled text of the presentation, its comparison with the sample text.

Morning in Prostakova's house

Morning. The all-powerful lady examines the caftan made by the tailor Trishka. And although the caftan is sewn “pretty well,” it is difficult to please a capricious lady. “Thief”, “thief’s mug”, “blockhead”, “swindler” - these are the mildest epithets with which she rewards her servants.

A frequent guest at the Prostakov estate is her brother Skotinin, whose very name speaks volumes. Today he came to his sister to set the day for the “conspiracy.” The fact is that Prostakova, having robbed her distant relative Sophia “legally,” decided to marry her off to her brother. Of course, Sophia’s opinion is not asked.

And here is Prostakova’s son, Mitrofanushka, in whose character the features of the same serf owner as his mother and uncle are clearly visible. But in some respects he went even further than his mother. Prostakova loves her son in her own way, but the ignoramus is heartless and rude to her. However, he understands very well who is the real boss in the house, and therefore clumsily flatters his mother, telling his dream. Mitrofan “feels sorry for mother,” who is so tired, “beating father.”

Thus begins the action of this wonderful comedy by D.I. Fonvizin, and before us appears the life of a landowner’s estate of the 18th century.

Work on the topic of the lesson: what happens in the second act?

Positive characters meet, talk, find moral support and mutual understanding.

Phenomenon 1

Why does Pravdin come to the village? (He has a duty assignment to travel around the district; at the behest of his heart, noticing the use of power over people by landowners for evil, he strives to correct the situation.)

Phenomenon 2

What did Pravdin discover at the Prostakov estate? (“I found a landowner, a countless fool, and a wife, a despicable fury, whose hellish disposition brings misfortune to their entire house.”)

Phenomenon 3

What is Skotinin’s cherished dream? How is his last name reflected in his speech?

Phenomenon 4

How does Eremeevna’s character appear in this scene? What did we learn about Mitrofan’s character by reading about the clash between rivals?

Phenomenon 5

How does Prostakova manage her estate? (Find her self-characteristic.)

Important: the characters of the negative characters are clearly outlined.

Homework (optional)

1. Select aphorisms that speak about the life principles of Starodum (act III, phenomena 1 and 2; act V, phenomenon 1).

2. Complete a written presentation "Biography of Starodum".

Lesson 3. The concept of dramatic conflict and its development. Reading by role of individual comedy scenes

Analysis of the third act

The mind, if it is only the mind, is the most trifle. With runaway minds we see bad husbands, bad fathers, bad citizens. Good behavior gives him a direct price.(Starodum)

Phenomenon 1

Whose worldview does the conversation between Starodum and Pravdin introduce us to? (The dialogue introduces the worldview of advanced noble intellectuals who sharply criticize the “depraved age” of Catherine II, her idle and vicious nobles and ignorant serf-owners.)

The images of the bearers of virtue are Starodum and Pravdin. Positive images of lovers - Sophia and Milon. They are entrusted with the thoughts and feelings of the playwright himself and those close to him. They talk about what is dear to the author: the need to instill in a person from childhood a sense of duty and love for the Fatherland. Infallible honesty, truthfulness, self-esteem, respect for people, contempt for baseness, flattery, dishonesty. They put forward concepts about honor, nobility and wealth that are directly opposite to simpletons of all ranks.

Their speeches reveal the arbitrariness of the government, which creates in Russia people unworthy of being human, nobles unworthy of being nobles.

Checking homework

Reading written work "Biography of Starodum." Make sense of the “speaking surname”(what and who is the author’s ideal). Peter I and his era.

Working with cards “Life Principles of Starodum”(by rows). Determine what socio-political and moral issues it addresses. Formulate and write them down. If possible, supplement the cards with your own examples.

Card I

• In that century, under Peter I, the courtiers were warriors, but the warriors were not courtiers.
• In the great world there are small souls.
• Where the sovereign thinks, where he knows what his true glory is, there mankind cannot but return their rights.
• It is in vain to call a doctor to the sick without healing: the doctor will not help unless he himself becomes infected.

Card II

• It is unlawful to oppress your own kind through slavery.
• An ignoramus without a soul is a beast.

Card III

• The ranks begin - sincerity ceases.
• Ranks are often begged for, but true respect must be earned.
• A truly inquisitive person is jealous of deeds, and not of rank.

Card IV

• Cash is not cash worth.
• Riches are no help to a foolish son.
• The golden fool is still a fool.

Messages on the results of group work

1) The role of government is to know what its role is: to protect human rights. The Tsar and the great world are “incurably sick,” “small souls,” instead of serving the state, care about their careers.

Starodum does not hide his opposition to Catherine’s monarchy. In the army, noble idlers who have never been in a single battle enjoy themselves, while military officers are neglected. Flattery, rivalry, and mutual hatred soar at court. Anyone who does not want to lie, be hypocritical, or flatter in the fight for a warm place, resigns, as Starodum did. So, to be in favor at court, you must be dishonest. It is difficult to characterize the situation more sharply. And although Starodum does not say a word about the empress, it is clear that rewards for the dishonest can fall at the court of either a stupid or a dishonest monarch. Nobody thought Catherine II was stupid.

Fonvizin, as Panin’s secretary, lived at court until 1773 and saw with his own eyes the fierce struggle of court groups and individuals on the narrow road to the favor of the empress, “where two people, having met, cannot separate. One knocks the other down.”

The continuation of Starodum's conversation with Pravdin completes the gloomy picture. To Pravdin’s words that people like Starodum should be called to court for the same purpose for which a doctor is called to the sick, Starodum replies: "My friend! You're wrong. It is in vain to call a doctor to the sick without healing. The doctor won’t help here unless he gets infected himself.”

Arbitrariness of the government as a result of the unlimited power of the empress and her favorites, arbitrariness of the bureaucracy, natural in a country where there is no firm legislation, arbitrariness in a serfdom, where the power of some people over others is not limited in any way and is not controlled by anyone, arbitrariness in the family, the pursuit of power everywhere , the insatiable power of wealth, the measure of which determines the strength of power - these are the links of a single chain that fosters servility, baseness of soul, meanness - anything but humanity.

2) Serfdom is illegal. If an uneducated person does not yet have a soul, he is a beast.

The “minor” only demanded a human attitude towards the serfs. “It is unlawful to oppress one’s own kind through slavery,” says Starodum. But Fonvizin realized that moral preaching did not reach the consciousness of the serf owners, that conviction alone could not influence tyrants corrupted by uncontrolled power. According to the writer, government intervention is necessary.

And the law at that time forbade the landowner only to kill the peasant. Prostakova did not kill anyone, did not maim anyone, did not burn her maids with tongs, like Countess Kozlovskaya, did not force footmen to tickle girls in her presence until they gave up the ghost, did not drive naked people out into the cold, did not sew the fingers of an inept seamstress to her body, even did not flog her to death, as many, many nobles did. Prostakova is not Saltychikha, who tortured 140 peasants. She is an ordinary ordinary landowner, and the fact that Fonvizin portrayed her exactly like this is the great strength of comedy, its deep truth of life. Saltychikha, Kozlovskaya and other monsters were spoken of as exceptions. The image of Prostakova, which absorbed the features of thousands of landowners, was, according to the author’s plan, to become a living reproach to the gentlemen in whose houses the same thing was happening. And not only gentlemen. Having forced Pravdin to take custody of Prostakova’s estate at the end of the comedy, Fonvizin tells the government a way out: all landowners who brutalize the peasants should be deprived of the right to own peasants.

Everyone, not just rabid killers.

3) Service. The main thing is not rank, but deeds.

“It is much more honest to be treated without guilt than to be rewarded without merit.” “I will calculate the degree of nobility by the number of deeds that the great gentleman did for the fatherland...” 4) Wealth is not about money. The enormous influence on human relations of another terrible force is the power of money. In “The Minor,” Fonvizin showed that “money is the first deity,” the sovereign masters over the serfs are themselves slaves of money. Mrs. Prostakova is rude to everyone who depends on her, and she fawns over Starodum after learning that he has ten thousand. She pushes Sophia around at the beginning of the play and ingratiates herself with her, a bride with wealth. She remembers with pride father, who knew how to make a fortune with bribes, and, without hesitation, teaches his son: “If you found the money, don’t share it with anyone.” Take everything for yourself, Mitrofanushka.”

“The rich man... is the one who takes away what he has in excess in order to help the one who does not have what he needs.”

What can Fonvizin do against all this? Faith in the good principles of the human soul, capable, according to the enlighteners, of distinguishing bad from good; hope in the power of conscience - a faithful friend and strict judge of man; moral sermon: “Have a heart, have a soul and you will be a man at all times” and the like.

To Pravdin’s remark: “So, you left the courtyard with nothing?” - Starodum replies: “The price of a snuff box is 500 rubles. Two people came to the merchant. One paid the money and brought home a snuff box. Another came home without a snuff box. And you think that the other one came home with nothing? You're wrong. He brought home his 500 rubles intact. I left the court without villages, without a ribbon, without ranks, but I brought mine home intact, my soul, my honor, my rules.”

Starodum resigns, not wanting to oppress his own kind with slavery, he leaves for Siberia, acquires a small fortune there and, upon returning, preaches his views in a narrow circle of people close to him. Fonvizin acts more courageously: he writes “Minor.” And he understands the meaning of his act, through the lips of Milo, placing the fearlessness of a statesman who speaks the truth to the sovereign, at the risk of angering him, above the fearlessness of a soldier going into battle. Death in battle is honorable. Disgrace threatens with dishonor, slander, doom to inaction, and moral death.

Fonvizin is not afraid of disgrace. But, having pronounced a harsh sentence on Catherine's Peseta, what could he offer in return? What are those new, different from European, ways and forms of life about which he wrote to Bulgakov? The playwright did not rise above the idea of ​​​​replacing the tsar's bad advisers with Starodums, bad officials with Pravdins, military careerists with Milons, bad landowners with good ones.

Generalization.

What behest of his father does Starodum consider most important for himself? What aphorisms do you find interesting and important today?

Lesson 4. Workshop “Traditions and innovations of comedy by D.I. Fonvizin “Minor”

1. Traditions of classicism in comedy. Features of plays of the 18th century (individual message)

• Subordination of the composition of a stage work to the rule of three unities: place, time, action.

Are these three unities observed in Fonvizin’s comedy? The events take place over the course of one day and in one place (in a provincial manor’s estate, in the house of the landowner Prostakova).

• Satire must correct morals, teach.
• Does comedy correct morals, what does it teach? Vice And virtue

The main characters of the comedy are sharply divided into two camps. In one - representatives of vice, “evil morality” - Prostakova, Skotinin, Mitrofan. In the other camp, the bearers of virtue are Starodum, Milon, Pravdin, Sophia.

Does virtue win? Virtue truly wins.

• According to the traditions of classicism, every hero should have some kind of one characteristic feature.

Determine what basic quality heroes, carriers of what vices or virtues they are.

Prostakova is “malevolent”, Prostakov is downtrodden, Skotinin is bestial, Mitrofan is ignorant, Starodum is straightforward, Pravdin is honest, Sophia is noble...

• In the plays of that time there is always a hero who directly expresses the author’s ideas, his most cherished and dear thoughts.

In “Nedorosl” this is Starodum. Its main task is to express what the author wants to inspire in the audience.

2. Innovation of Fonvizin the playwright

• The heroes of the comedy turned out to be much more complex than tradition required. They are not just walking masks of virtue or vice.

Are Kuteikin, Vralman, Tsyfirkin, Eremeevna bad or good? There is no definite answer.

Fonvizin follows the classical tradition in depicting positive heroes. By portraying negative heroes, he departs from this tradition.

Prove that Prostakova is not only malicious, find her positive qualities.

Prostakova cruel and rude, but she loves his son madly. At the end of the comedy before us suffering mother, losing her last consolation - the consolation of her son. It no longer evokes laughter, but sympathy.

Determine the qualities of Mitrofan’s character that go beyond the definition of an ignoramus and a “mama’s boy.”

Mitrofan not only an ignoramus and a “mama’s boy.” He cunning, knows how to flatter his mother (story about a dream). Smart(answer to Starodum’s question). Heartlessness- this is his most terrible feature. “An ignoramus without a soul is a beast,” says Fonvizin. Mitrofanushka the ignoramus is funny, but the one who repels his mother is terrible.

• Fonvizin's innovation lies in his ability to structure the speech of his characters in such a way that the reader imagines the characters of the characters.

Individual tasks for compiling speech characteristics

Prostakova's speech is illiterate, but very changeable. From timid, obsequious to domineering and rude. Support with examples.

Skotinin’s speech is not only rude, but also fully corresponds to his surname. He speaks of himself and others as if they were animals. Support with examples.

The speech of Starodum is the speech of an educated, cultured person. She is aphoristic, sublime.

What is unique about the speech of Kuteikin, Vralman, Tsyfirkin?

• Everything in the play is national: theme, plot, social conflict and characters. And in the works of classicism, in the depiction of characters, they sought to reveal not the individual, but the general, eternal, inherent in people of all countries and times.
• Virtue wins.

But why do the positive heroes win?

They win accidentally. Not because there is a fair law. Pravdin turned out to be an honest man. The local governor is a good man. Uncle Starodum arrived on time. By chance, Milon led a detachment through the village. A coincidence of happy circumstances, and not the triumph of a just law.

The author's idea is innovative. The idea of ​​enlightenment is not new. Fonvizin argues that enlightenment alone is not enough. “Science in a depraved person is a fierce weapon to do evil,” says Starodum. “Enlightenment elevates one virtuous soul.” First you need to cultivate virtue, take care of the soul, and then the mind.

The playwright believes that such a law is needed so that virtue is beneficial, so that everyone understands that “without good morals no one can go out in public. Then everyone finds his advantage in being well-behaved and everyone becomes good.”

Thus, it turns out that the landowners are not to blame for their evil behavior, it is the officials and the sovereign who are to blame for not establishing a good law.

A truly statesman in comedy is Starodum (he thinks in terms of the era of Peter I). Unfortunately, in the modern era the author does not need either honesty, courage, or concern for the benefit of the state.

Starting with the comedy “The Minor,” Russian literature entered into a noble struggle with state power, a struggle for justice and for people.

4. Aphorism

A short expressive statement containing a generalizing conclusion.

Individual task: find and list Fonvizin’s expressions, which enriched Russian speech with catchphrases and became aphorisms.

Homework. Retelling an article from a textbook; prepare answers to questions (according to options).

Speech characteristics - great achievement of Fonvizin.

Prostakova is a powerful landowner, speaks abruptly, imperiously, often shouting, distorting words, using rude expressions and insulting others. Affectionately addresses only Mitrofan.

Starodum- an educated and humane person. His judgments are apt and witty (“There are small souls in the big world”, “Cash is not dignity”).

A vivid imagination and warm-hearted responsiveness showed up early in Fonvizin’s relationships with others. He was able to feel the condition of another person as his own and, in his words, “he was not afraid of anything more than to do someone injustice, and for this reason he was not so afraid of anyone as of those who depended on me and who had to answer.” I wasn’t able to.”

However, this did not mean that he was timid and compliant.

“My penchant for satire manifested itself very early. My sharp words rushed around Moscow. Just as they were sarcastic to many, the offended declared me to be an evil and dangerous boy. They soon began to fear me, then to hate me... My writings were sharp curses: there was a lot of satirical salt in them, but not a drop of reason, so to speak,” the writer admitted.

For example: “Oh, Klim, your deeds are great! But who praised you? Relatives and two stutterers.”

From his youth, Fonvizin mastered the art of “imitation”, acting impersonation. He was characterized by the ability to “take on the face” of a familiar person and speak “not only with his voice, but also with his mind.”

In all his first experiments, the gift of words is evident.

Working on the topic “Speech characteristics of heroes”

Target: show high dramatic skill in creating speech characteristics.

1. Individual tasks:

1) life of Kuteikin; biography of Tsyfirkin; Vralman's life;

2) vocabulary unique to Kuteikin;

Tsyfirkin; Vralman. 2. Work with the class.

What is unique about Kuteikin’s speech? Speech half-educated seminarian. It is built on Church Slavonic vocabulary and phraseology, and is rich in forms of the Church Slavonic language: pitch darkness, the talk of the town; woe to me, a sinner; the local diocese, he was hungry, he was called and died; God willing, so that the Lord does not make me wise too

and so on.

What is unique about Tsyfirkin’s speech? The speech is based on the fact that he is in the past was a soldier and now teaches arithmetic.

Hence, in his speech there are constant calculations, as well as military terms and phraseological turns. Give examples to prove this.

What is unique about Vralman’s speech?

Write a brief description of the speech. Give examples.

3. Tasks for working in groups: Compose a speech characteristic of Skotinin

• (Only one group works in this lesson). speak,
• characterizing Skotinin.

Prove with comedy materials that the entire lexical composition of Skotinin’s speech characterizes his bestial character. For evidence, use not only lexical material, but also syntactic structures. Work on the comedy text

Phenomenon 3

(continuation)(Prostakova, Milon, Skotinin, Starodum, remarks by the author)

How do the relationships between Starodum, Pravdin, Milon and Sophia differ from the relationships between Prostakovs and Skotinin? What is amazing about the relationship between brother and sister?

Lack of related feelings. (“Let me go! Let me go, father! Give me a face, a face...")

Phenomenon 7

(continuation)(Prostakova, Mitrofan, Tsyfirkin, Kuteikin, remarks by the author)

How does Mitrofanushka's training take place?

How does Prostakova explain the necessity of his teaching?

How is the teaching going?

Who are Mitrofanushka's teachers?

How does Mitrofan himself feel about teachers and teaching?

Important: The theme of the upbringing and education of young nobles runs through the entire comedy. “A nobleman, for example, would consider it the first dishonor to do nothing when he has so much to do: there are people to help; there is a fatherland to serve"(appearance 1. d. 4).

The education that Prostakov gives to his son kills his soul. Mitrofan loves no one but himself, does not think about anything, treats teaching with disgust and is only waiting for the hour when he will become the owner of the estate and, like his mother, will push around his loved ones and uncontrollably control the destinies of the serfs.

Analysis of the fourth act. Reading on the roles of Starodum's advice (phenomena 2).

Homework

Task for everyone: compare Prostakova in Mitrofon’s lesson and Starodum in a conversation with Sophia. What do they teach, what do they consider important - ideals of heroes in whom? What kind of people do they want their children to be?(It is advisable to do it in the form of a plan, a comparative table.)

Individual tasks:

• life of Kuteikin; biography of Tsyfirkin; Vralman's life;
• vocabulary inherent only to Kuteikin’s speech;
• Tsyfirkina; Vralman (prepare orally);
• prepare an analytical retelling of the fifth act;

answer the questions:

What does Starodum say about education and enlightenment? What does he think is more important? What ways does Starodum see to make people kind?

What “deserved reward” does each of the comedy heroes receive? How did Prostakova’s malice turn against herself in the last act?

Lesson 5. Continuation of the practical lesson Group work assignments:

(continuation)

• Compose a speech characteristic of Prostakova. (Only one group works in this lesson). Analysis of the author's remarks. Choose synonyms for the verb
• characterizing Prostakova.
• Analysis of appeals in Prostakova’s speech: how they change depending on the situation.

Prove with comedy materials what reveals the character of a rude, unrestrained, tyrant person. For evidence, use not only lexical material, but also syntactic structures.

• Compose a speech characteristic of Prostakova. (Only one group works in this lesson). characterizing Starodum.
• Prove with comedy materials that Starodum’s speech is full of bookish vocabulary and testifies to his education and high morality. For evidence, use not only lexical material, but also syntactic structures.

Checking group work.

Summarizing: With the help of speech features (characteristics), the author managed to create unforgettable images of comedy heroes. Let us remember that speech characterization is the main means of creating an image in a dramatic work.

Continuation of the analysis of the fourth action.

Prostakova adapts to Starodum's demands and changes her tactics. She pretends to be a hospitable hostess of the house, trying to please the honorable guest. He never misses an opportunity to praise himself and Mitrofan. Sharp transitions in behavior - from rudeness to exaggerated courtesy - reveal Prostakova’s deceit and hypocrisy.

Scene "Mitrofan's Exam" (phenomenon 9), reading (possibly with elements of dramatization) and brief explanations.

What can be said about Mitrofan’s knowledge?

Does a nobleman need science? How do Prostakova and Skotinin answer the question? What was Prostakova up to when she learned about the upcoming departure of Sophia and Starodum?

Checking individual assignments.

Retelling and analysis of the fifth act of the comedy.

What does Starodum say about education and enlightenment? What does he think is more important? What ways does Starodum see to make people kind?

What “deserved reward” does each of the comedy heroes receive? How did Prostakova’s malice turn against herself in the last act?

Result: The goals of Prostakov and Skotinin are insignificant and base (enrichment at the expense of the suffering of other people). The positive characters of the play strive for the triumph of justice and truly human feelings.

Analysis of the final scene

What led Prostakova to disaster? Who is more right in explaining the cause of Prostakova’s misfortune: Pravdin (“mad love” for Mitrofan “brought her down the most”) or Starodum (“had the power to do bad things to others”)?

How does Prostakov see his son and what is he really like? Prostakova turns to her son for sympathy. But he rudely pushes her away: “Go away, mother! How I imposed myself...” To the sorrowful cry: “I don’t have a son!” - Starodum responds with words full of deep meaning: “These are the worthy fruits of evil!”

Homework

Choose a topic for your essay (the topics are suggested in the textbook) or come up with your own wording. Select material for it.

Lesson 6. Creative workshop: working on an essay on the comedy of D.I. Fonvizin "Minor"

Essay topics suggested for analysis:

• “Cheerful” family.
• Funny and sad in Mitrofan.
• Life of Starodum.
• Teacher Mitrofan.

Three main laws(Imagine that you have the opportunity to establish three laws. What laws will they be? How to formulate them? How to explain their meaning to people?)

• Education and upbringing.(What is the difference between education and upbringing? Are a well-mannered and an educated person the same thing? What, in your opinion, should be the main goal of upbringing? What is the goal of education?)

Essay preparation work

Independent selection of episodes of a literary work. Their analysis, determined by this topic. What is a characteristic?

Characteristic- this is a description of a living person and character, that is, stable characteristics of a person that depend on the lifestyle and are manifested in actions, deeds and statements.

How is an essay structured - characterization of a character?

1. Thesis - an idea is expressed.

2. Arguments - proven by examples from the text.

3. Conclusion - logical generalization.

Characteristics of Mitrofanushka

(Essay; main points)

What determines a person's character?

From the environment, life, conditions of formation of a young man as a person. This is exactly how D.I. solved this problem. Fonvizin in the comedy "Minor". Its importance is emphasized by the title itself.

General notes about the character

Mitrofanushka, the “undergrowth,” is one of the main characters of the comedy. Mitrofan is a Greek name and translated into Russian means “resembling a mother.” This is a fifteen-year-old young man, the son of provincial landowners, despotic and ignorant serf-owning nobles.

Logical transition. New thought

“Like a mother”... This already says a lot. But no, in some respects he went further than his mother.

Generalization, transition and new thought

His mother loves him (albeit in her own way), but Mitrofan only pretends to be loving. In fact, he is heartless, extremely selfish and rude.

Proof

At the end of the comedy, when Prostakova seeks his sympathy, the “minor” rudely pushes her away: “Get off yourself, mother! How imposed.”

Intermediate thesis

His rudeness and cruelty are manifested in everything.

Proof

“Teachers” came to him - he grumbles: “Get them shot!” He calls Tsyfirkin, who really wants to teach him something, a “garrison rat.” The old serf nanny Eremeevna hears only abuse addressed to her for all her worries. And after he failed to kidnap Sophia, he and his mother intend to “take on people,” that is, flog the servants.

Logical generalization

Thus, teachers are enemies for him, and servants... he doesn’t even consider servants to be people.

Transition to a new thought

But, speaking about Mitrofanushka’s character traits, one cannot fail to mention his extreme ignorance...

Work assignments:

Come up with your own introduction to the work.

Divide the text into paragraphs.

Styling tips:

There is no need to use many quotes, especially large ones.

Avoid repeating words, use synonyms.

Use only those words and expressions that you understand.

Make sure to use the correct word order in the sentence.

Do not write fragmentary, unfinished sentences, subordinate clauses without the main one.

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Mistakes that are often made:

• unclear or erroneous formulation of thoughts;
• lack of evidence or insufficient evidence;
• inconsistency of evidence of the expressed idea;
• lack of logical generalizations;
• lack of logical connection between individual parts of the essay.

Civil position. In recent years, standing at the helm of the writers' organization, Alexander Fadeev implemented repressive decisions of the party and government in relation to his colleagues: Zoshchenko, Akhmatova, Platonov. In 1946, after the historical decree of Zhdanov, which actually destroyed Zoshchenko and Akhmatova as writers, Fadeev was among those who carried out this sentence. In 1949, Alexander Fadeev became one of the authors of a programmatic editorial in the organ of the CPSU Central Committee, the newspaper Pravda, entitled “On an anti-patriotic group of theater critics.” This article marked the beginning of a campaign that became known as the "Fight Against Cosmopolitanism." But in 1948, he tried to allocate a significant amount from the funds of the Union of Writers of the USSR for Mikhail Zoshchenko, who was left penniless. Fadeev showed sincere participation and support in the fate of many writers disliked by the authorities: Pasternak, Zabolotsky, Gumilyov, several times he quietly transferred money for the treatment of Andrei Platonov to his wife. Having a hard time experiencing such a split, he suffered from insomnia and fell into depression. In recent years, Fadeev became addicted to alcohol and went on long binges. Ilya Erenburg wrote about him: Fadeev was a brave but disciplined soldier, he never forgot about the prerogatives of the commander-in-chief. Fadeev did not accept the Khrushchev thaw. In 1956, from the rostrum of the 20th Congress, the activities of the leader of Soviet writers were subjected to severe criticism by Mikhail Sholokhov. Fadeev was not elected a member, but only a candidate member of the CPSU Central Committee. Fadeev was directly called one of the perpetrators of repression among Soviet writers. After the 20th Congress, Fadeev’s conflict with his conscience escalated to the limit. He confessed to his old friend Yuri Libedinsky: “My conscience torments me. It’s hard to live, Yura, with bloody hands.”

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“Questions about Fonvizin’s “Minor”” - Aphorism. Speakers. Prostakova. Find and write down a word from this replica. Classicism. Comedy. Vralman. Tsyfirkin. What term refers to the characters' form of speech? The ideas of what era are promoted in the comedy “The Minor.” Mitrofan. Indicate the surname of the heroine of the play by D. I. Fonvizin. Minor. Skotinin. Which of the characters in the play expresses the author’s assessment of events in the finale?

“Uspensky” - Uspensky is a playwright. Uspensky is a poet. The work of a writer helps you children not only gain interest. Awards and prizes. Always in a creative search for adventure. Children's prose writer. Uspensky is a screenwriter. Quiz. Eduard Nikolaevich Uspensky was born on December 22, 1937. Eduard Nikolaevich Uspensky did a lot for children. The schoolboy Uspensky was “rescued” by an incident. Uspensky. Uspensky's characters.

“Questions on “Minor”” - Main types of dramatic works. Test based on the work of D.I. Fonvizin “Minor”. Generalization of knowledge on the comedy by D.I. Fonvizin “The Minor.” What Starodum says about education and enlightenment. Where does the comedy begin? Magic land. What is Skotinin’s cherished dream? For what purpose does Pravdin come to the village of Prostakovs? “Science in a corrupt man is a fierce weapon to do evil.” Who is the head of the Prostakov family?

“Wilde” - They brought the virok - two rocks of convict labor. Two fates have been born in the memory of Lord Alfred Douglas in his childhood. Always cheerful, intelligent, with a great mind for learning. Edgar Allan Poe, Charles Baudelaire, Stéphane Mallarmé are infused into his creativity. Vice and Integrity are the material for his creativity. Marquis of Queens berry Later he went to America to give lectures on mysticism as the third son of the Marquis of Queensberry.

Fonvizin's contemporaries highly valued The Minor; he delighted them not only with his amazing language, the clarity of the author's civic position, and the innovation of form and content.

Features of the genre

According to the genre, this work is a classic comedy, it complies with the requirements of “three unities” (place, time, action) inherent in classicism; the heroes are divided into positive and negative, each of the heroes has its own role (“reasoner”, “villain”, etc.). etc.), however, there are also deviations from the requirements of classicist aesthetics, and serious deviations.So, the comedy was only supposed to amuse, it could not be interpreted in multiple meanings, there could be no ambiguity in it - and if we remember “The Minor”, ​​then we cannot help but admit that, raising in the work the most important social issues of his time, the author resolves them by means far from comic: for example, at the end of the work, when, it would seem, “the vice is punished,” the viewer cannot help but sympathize with Mrs. Prostakova, who is rudely and cruelly pushed away by the ungrateful Mitrofanushka, preoccupied with his own fate: “Let go, mother, how you imposed yourself. .." - and the tragic element powerfully invades the comedy, which was unacceptable.. And with the “unity of action” everything is also not so simple in comedy, it has too many storylines that do not “work” in any way to resolve the main conflict , but create a broad social background that determines the characters of the characters. Finally, Fonvizin’s innovation was reflected in the language of the comedy “The Minor”; the speech of the characters is very highly individualized, it contains folklorisms, vernacular, and high style (Starodum, Pravdin), which also violates the classic canons of creating speech characteristics of characters. We can, summing up, conclude that Fonvizin’s comedy “The Minor” became a truly innovative work for its time; the author pushed the boundaries of the aesthetics of classicism, subordinating it to the solution of the task set for himself: to angrily ridicule the vices of his contemporary society, to rid it of “evil morals.” ", capable of destroying both the human soul and public morality.

Image system

Let us analyze the system of images of the comedy "The Minor", which, as required by the aesthetics of classicism, represents two directly opposite "camps" - positive and negative heroes. Here you can also notice a certain deviation from the canons; it manifests itself in the fact that it carries duality; it is almost impossible to classify them as purely positive or purely negative heroes. Let us remember one of Mitrofanushka’s teachers, Kuteikin. On the one hand, he suffers humiliation from Mrs. Prostakova and his student, on the other hand, he is not averse, if the opportunity arises, to “snatch his piece,” for which he is ridiculed. Or “Mitrofan’s mother” Eremeevna: she is reviled and humiliated by her mistress in every possible way, she humbly endures, but, forgetting herself, rushes to protect Mitrofanushka from her uncle, and does this not only out of fear of punishment...

The image of Prostakova in the comedy "Minor"

As already noted, Fonvizin innovatively portrays his main character, Mrs. Prostakova. From the very first scenes of the comedy, we are faced with a despot who does not want to reckon with anyone or anything. She rudely imposes her will on everyone, suppresses and humiliates not only the serfs, but also her husband (how can one not recall Mitrofan’s “dream in hand” about how “mother” beats “father”?..), she tyrannizes Sophia, she wants to force her to marry first her brother Taras Skotinin, and then, when it turns out that Sophia is now a rich bride, her son. Being herself an ignorant and uncultured person (with what pride she declares: “Read it yourself! No, madam, thank God, I was not brought up like that. I can receive letters, but I always tell someone else to read them!”), she despises education, although he tries to teach his son, he does this only because he wants to ensure his future, and what is Mitrofan’s “training” worth, as it is presented in the comedy? True, his mother is convinced: “Believe me, father, that, of course, it’s nonsense that Mitrofanushka doesn’t know”...

Mrs. Prostakova is characterized by cunning and resourcefulness, she stubbornly stands her ground and is convinced that “we will take ours” - and is ready to commit a crime, kidnap Sophia and, against her will, marry her to a man from the “Skotinin family.” When she meets resistance, she simultaneously tries to beg for forgiveness and promises punishment to those of her people, due to whose oversight the “enterprise” failed, in which Mitrofanushka is ready to actively support her: “Take it for people?” The “transformation” of Mrs. Prostakova is striking, who just on her knees humbly begged to forgive her, and, having received the petition, “jumping up from her knees”, fervently promises: “Well! Now I will give the dawn to my people. I’ll take it one by one. Now I’ll find out who let her out of her hands. No, swindlers! I won’t forgive this mockery forever.” There is so much voluptuousness in this triple “now”, and how truly scary it becomes from her request: “Give me at least three days (Aside) I would make myself known...”.

However, as already noted, there is a certain duality in the image of Prostakova. She deeply and devotedly loves her son and is ready to do anything for him. Is she guilty of comparing her love for him to the love of a dog for puppies: “Have you ever heard of a bitch giving away her puppies?”? We must not forget that she is from the Skotinin-Priplodin family, where such half-animal love was the only possible one, how could she be different? So she disfigures Mitrofan’s soul with her blind love, her son pleases her in every possible way, and she is happy because he “loves” her... Until he throws her away from him, because now he doesn’t need her, and even those people who just condemned Mrs. Prostakova sympathize with her in her maternal grief...

Image of Mitrofan

The image of Mitrofan was also created by Fonvizin in a non-traditional way. The “minor” who likes to be “small” and who diligently takes advantage of his mother’s attitude toward him is not as simple and stupid as it might seem at first glance. He has learned to use his parents' love for himself for his own benefit, he knows well how to achieve his goal, he is convinced that he has the right to everything he wants. Mitrofanushka’s selfishness is the driving force behind his actions, but the hero also has cruelty (remember his remark about “people”), resourcefulness (what is his discussion about the “door”), and lordly contempt for people, including his mother, from whom he, on occasion, seeks help and protection. And his attitude towards education is so dismissive only because he does not see any real benefit from it. Probably, when he “serves”, he - if it is beneficial - will change his attitude towards education, potentially he is ready for anything: “For me, where they tell me.” Consequently, the image of Mitrofan in the comedy “Minor” is also characterized by a certain psychologism, as is the image of Prostakova, which is Fonvizin’s innovative approach to creating negative images that were only supposed to be “villains”.

Positive images

The playwright is more traditional in creating positive images. Each of them is an expression of a certain idea, and as part of the statement of this idea, an image-character is created. Almost positive images are devoid of individual traits; they are images-ideas inherent in classicism; Sophia, Milon, Starodum, Pravdin are not living people, but exponents of a “certain type of consciousness”; they represent a system of views that was advanced for their time on the relationship between spouses, the social structure, the essence of the human personality and human dignity.

Image of Starodum

During the time of Fonvizin, the image of Starodum in the comedy “The Minor” aroused special sympathy among the audience. Already in the very “talking” surname of the character, the author emphasized the contrast between “the present century and the past century”: in Starodum they saw a man of the era of Peter I, when “In that century, courtiers were warriors, but warriors were not courtiers.” Starodum’s thoughts on education, on the ways in which a person can achieve fame and prosperity, about what a sovereign should be evoked a warm response from a significant part of the audience who shared the progressive beliefs of the author of the comedy, while special sympathy for the image of the hero was caused by the fact that he did not just proclaim these progressive ideas - according to the play It turned out that with his own life he proved that such behavior was correct and beneficial for a person. The image of Starodum was the ideological center around which the positive heroes of the comedy united, opposing the dominance of the morality of the Skotinins and Prostakovs.

Image of Pravdin

Pravdin, a government official, embodies the idea of ​​statehood, which protects the interests of education and the people, which seeks to actively change life for the better. Guardianship of Prostakova's estate, which Pravdin appoints by the will of the empress, gives hope that the ruler of Russia is able to stand up for the protection of those of her subjects who most need this protection, and the determination with which Pravdin carries out the reforms should have convinced the viewer, that the highest authorities are interested in improving the lives of the people. But how then can we understand Starodum’s words in response to Pravdin’s call to serve at court: “It is in vain to call a doctor to the sick without healing”? It is likely that behind Pravdin stood the System, which confirmed its reluctance and inability to carry out real reforms, and Starodum represented himself, an individual person, in the play, and explained why the image of Starodum was perceived by the audience with much more sympathy than the image of the “ideal official” .

Milon and Sophia

The love story of Milon and Sophia is a typically classic love story of two noble heroes, each of whom is distinguished by high moral qualities, which is why their relationship looks so artificial, although, against the backdrop of Skotinin’s attitude towards the same Sophia (“You are my dear friend! If now, without seeing anything, I have a special peck for each pig, then I’ll find a little one for my wife”) she really is an example of the high feeling of moral, educated, worthy young people, contrasted with the “fertility” of negative heroes.

The meaning of the comedy "Minor"

Pushkin called Fonvizin “a brave ruler of satire,” and the comedy “Minor,” which we analyzed, fully confirms this assessment of the writer’s work. In it, Fonvizin’s author’s position is expressed quite unambiguously, the writer defends the ideas of enlightened absolutism, he does this with extreme talent, creating convincing artistic images, significantly expanding the scope of the aesthetics of classicism, taking an innovative approach to the plot of the work, to the creation of character images, some of which are not It simply represents the expression of certain socio-political ideas, but has a pronounced psychological individuality and expresses the inconsistency of human nature. All this explains the enormous importance of Fonvizin’s work and the comedy “Nedorosl” for Russian literature of the 18th century, the success of the work among his contemporaries and its significant influence on the subsequent development of Russian drama.