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Fonvizin's ideological and aesthetic views. Fonvizin's artistic method

Creativity D.I.Fonvizin

1. Biography and personality of the writer.

2. The beginning of the creative path. Translations and original works.

3. The comedy "Undergrowth" is the pinnacle of Russian dramaturgy of the 18th century. Genre, issues, plot and conflict, features of composition, language and style. Problem creative method.

4. Fonvizin is a publicist.

5. Master class “Genres and forms of youth culture in work with classical heritage(based on the play "Undergrowth)"

Literature

Fonvizin D.I. Sobr. Cit.: In 2 vols. M., L., 1959

Pigarev K.V. Creativity Fonvizin. M., 1954.

Makogonenko G.P. From Fonvizin to Pushkin. M., 1969. S. 336-367.

Berkov P.N. History of Russian comedy in the 18th century. L., 1977.

History of Russian drama: XVII - the first half of the XIX century. L., 1982.

Moiseeva G.N. Ways of development of Russian drama in the eighteenth century. M., 1986.

Strichek A. Denis Fonvizin: Enlightenment Russia. M., 1994.

Lebedeva O.B. Russian high comedy XVIII century: Genesis and poetics of the genre. Tomsk, 1996. Ch. 1 (§ 5), 2 (§ 2, 3), 4, 5 (§ 4).

1. Denis Ivanovich Fonvizin is one of the remarkable representatives of the century, who shared with him its ups and downs, hopes and disappointments.

On the one hand, he is a secular man who made an excellent career (personal secretary of I. Elagin and N. Panin, after Panin's resignation, headed the postal department), quite rich, one of the first in Russia began to deal with the acquisition of art objects abroad, on the other - “Satyrs, the brave ruler” and “Friend of Freedom”, the author of “Undergrowth”, “Court Grammar”, who compiled the famous “Panin’s Testament” (certain provisions of this document were used by the Decembrists in their political platforms), a man who was suspected of conspiring against Catherine.

The personality is lively and captivating. A.S. Pushkin wrote about him:

It was a famous writer

Famous Russian merry fellow,

Laurels entwined mocker

Denis, the scourge and fear of the ignorant.

He was an unusually witty man. From the memoirs: “Very early, a penchant for satire appeared in me ... my sharp words rushed around Moscow, and as they were sarcastic for many, the offended announced me as an evil and dangerous boy. ... They soon began to fear me, then hate me. Fonvizin had the gift of a parodist, and had undoubted artistic abilities. IN home performance in the Apraksin's house he played the role of Taras Skotinin (!). From the memoirs of contemporaries (about reading the comedy "The Brigadier" in the Hermitage for Catherine and her entourage): “... he showed his talent in all its brilliance. ... in the faces he depicted the noblest nobles, busy arguing over playing whist, so skillfully, as if they themselves were here.

A native of a German aristocratic family (rather Russified by the 18th century), who received a good education, an expert European languages, Fonvizin, in the words of A.S. Pushkin, was “from the Russian Russian”. From the writer’s letter: “If any of my young fellow citizens who have common sense become indignant, seeing abuses and disorder in Russia, and begin to alienate themselves from her in their hearts, then there is no surer means to turn to proper love for the fatherland, how to send him To France. Here, of course, he will learn by experience very soon that all the stories about local perfection are a real lie, that a downright intelligent and worthy person is rare everywhere, and that in our country, no matter how bad things sometimes happen in it, you can, however, be just as happy, as in any other country. Looking ahead a little, I would like to note the following. In 1785, he translated Zimmermann's Discourse on National Piety into Russian. In this translation, he expressed and at the same time deepened his understanding of the essence and nature of patriotism - "love for the fatherland, civic virtue, which is associated with love for freedom."

2.Early work of D.I. Fonvizin associated with the ideas of the French and German Enlightenment. So, he translated into Russian “Fables of the Danish educator and satirist L. Golberg”, the novel “Heroic Virtue, or the Life of Seth, King of Egypt” by J. Terrason, the anti-clerical drama “Alzira” by Voltaire.

He also wrote satires. One of them has survived to our time: “A message to my servants, Shumilov, Vanka and Petrushka” (1760).

The next important period literary activity associated with the circle of I.P. Elagin. The circle, along with Fonvizin (then still von Vizin), included talented representatives of the golden youth of St. Petersburg: Vladimir Lukin, Fedor Kozlovsky, Bogdan Elchaninov. They were engaged in "inclining the texts of foreign plays to Russian customs": the scene was transferred to Russia, the characters were given Russian names, and some features of Russian life were introduced. This is how the well-known comedies of the 18th century by I. Yelagin “The Russian Frenchman” (an alteration of Golberg’s play), Vl. Lukin’s “Mot, corrected by love” (an alteration of Detouch’s play), D. Fonvizin’s “Korion” (an alteration of Gresse’s play) appeared.

2. Original comedy creativity of D.I. Fonvizin connected with the history of the creation and productions of his famous plays "The Brigadier" and "Undergrowth". Fonvizin worked on the comedy "The Brigadier" in 1768-1769. According to contemporaries: "This is the first comedy in our manners." Her themes are: 1) education of the nobility; 2) extortion and bribery; 3) the emergence of new people. According to the genre "Foreman" - a comedy of manners with elements of buffoonery. For the first time in the history of Russian comedy, it presents such techniques as 1) travesty of the structure of the petty-bourgeois drama (respectable fathers of families embark on love affairs) 2) the method of self-disclosure of the character; 3) verbal devices of the comic (use of pasta, puns).

3. The comedy "Undergrowth" is the pinnacle of the playwright's work. He worked on it starting in the 1770s. It premiered on September 24, 1782 in St. Petersburg on the Field of Mars. The most famous Russian actors participated in the production: Dmitrevsky, Plavilshchikov, Mikhailova, Shumsky.

Ivan Dmitrevsky, who played Starodum, chose the play for his benefit performance. At this time, he returned from a brilliant tour of Europe, thanks to which, in fact, the production of "Undergrowth" became possible, Catherine was afraid of publicity. Subsequently, the play was withdrawn from the repertoire, but its premieres nevertheless took place in a number of provincial theaters. The play was a terrific success, they encored it by throwing purses onto the stage. G. Potemkin is credited famous phrase: “Die Denis or don’t write anything else, your name is known from this one play!”

The genre of comedy in the research literature is not unambiguously defined: it is called folk, political, and high.

The issue is also multifaceted: 1) the hidden anti-Catherine orientation is so tangible in it: “the spearhead of political satire was directed against the main social evil of the era - the complete lack of control of the supreme power, which gave rise to moral devastation and arbitrariness” (P.N. Berkov). Interesting materials, in our opinion, confirming this point of view are available in the book by Yu.V. Stennik “Russian satire of the 18th century. L., 1985, pp. 316-337). In particular, this is an analysis of the plays of the Empress herself, the scene of trying on a caftan in the first act of Fonvizin’s play, a comparison of the dialogues of Starodum and Pravdin in the third act of the comedy with Fonvizin’s text “Discourses on the indispensable state laws” 2) the problem of the true dignity of a nobleman; 3) education in the broad sense of the word.

The comedy is masterfully crafted. Three levels of structure attract attention: 1) plot level; 2) comedy-satirical, 3) ideally utopian. Basic compositional technique- contrast. The climax can be considered a kind of examination of Mitrofan in the fourth act of the play.

At the same time, each level of the structure has its own stylistic dominant: the compositional-satirical one has a superbly written moralistic satire; ideal-utopian - the dialogue manner of philosophical treatises (for details, see Stennik Yu.V. Decree. Op.).

The issue of similarities and differences between this comedy and the classic comedies of Western Europe is also important. As a rule, such comedies did not allow 1) mixing the serious and the comic; 2) images-characters became carriers of one property of character; 3) consisted of five acts, while the climax necessarily occurred in the third act; 4) demonstrated the rules of the three unities; 5) comedies were written in free meter verses.

On this basis, the following classic features can be distinguished in Fonvizin's comedy:

1) she also demonstrated the author's rationalistic interpretation of reality (low reality was displayed in a low genre);

2) her images became carriers of certain advantages and disadvantages, which was reinforced by the presence of meaningful/speaking surnames/nicknames;

3) consisted of five actions;

4) demonstrated the rule of three unities.

There were also serious differences. They can be reduced to the following points:

1) there was a mixture of serious and comic;

2) a description of everyday life has been introduced;

3) there was some individualization of the characters and their linguistic manner;

4) the climax is assigned to the fourth act;

5) the comedy is written in prose.

All these points will be clarified in detail in the practical lesson.

In the 1980s, D.I. Russian writers, "The Narrative of the Imaginary Deaf and Mute"); participated in the compilation of the Dictionary Russian language"(He compiled dictionary entries for the letters "K" and "L"); translated Zimmermann's book "Discourses on National Piety", Schubart's fable "The Treasurer's Fox", wrote the story "Callisthenes", attempted to publish a new magazine "A Friend of Honest People, or Starodum" and even prepared for some original materials, unfortunately, the magazine was prohibited by censorship; compiled the “Court Grammar”, performed in the genre of confession (“Frank confession in my deeds and deeds”), two of the four books were completed.

On November 30, at the Derzhavins' house, already seriously ill, the writer read his new play, The Choice of a Tutor. And on December 1st, 1792, he was gone.

What works of Fonvizin are known to modern readers? Definitely "Undergrowth". After all, comedy is included in school curriculum. It is known that the Russian writer wrote critical articles-translations of foreign authors. However, literary works and satirical essay about the ignorant Prostakov family, Fonvizin's works are not limited.

What else did the creator write? household comedy? And why, in his declining years, was it difficult for the author of The Undergrowth to publish his creations?

Russian author of foreign origin

The writer lived and worked in the Catherine era. Fonvizin's works would not have been created if one of the comedian's ancestors had not once been taken into Russian captivity. The creator of such characters as Prostakov, Starodum and Mitrofanushka was of foreign origin, but he was the most Russian of all Russian writers of the eighteenth century. At least that's what Pushkin said about him.

Translation activities

The writer studied at the gymnasium, then became a student of the Faculty of Philosophy. Fonvizin's works represent the pinnacle theatrical art eighteenth century. However, before gaining recognition, the writer spent many years poring over translations of eminent foreign and even ancient playwrights. And only after gaining experience, he began to write original compositions.

The hero of this article began to engage in literary translation by accident. Once one of the St. Petersburg booksellers heard about his excellent knowledge of foreign languages. Entrepreneur suggested young man translate into Russian the works of Ludwig Holberg. Denis Fonvizin coped with the task. After that, a lot of offers from publishers rained down.

Literary creativity

When did the original works of Fonvizin begin to appear? The list of his works is short. The following is a list of dramatic works and publications on political topic. But first it is worth saying a few words about the worldview of this author.

In the second half of the eighteenth century, throughout Europe, enlightenment thought was in fashion, one of the founders of which was Voltaire. The Russian writer was happy to translate the works of the French satirist. The humor that distinguishes the works of Fonvizin in the style of classicism, probably became a feature that was formed under the influence of Voltaire's work. In the years when the writer was especially active in freethinkers' circles, the first comedy was created.

"Foreman"

Literary studies helped Fonvizin climb the corporate ladder in his youth, but had a detrimental effect on the writer's work in his advanced years. The empress herself drew attention to the translation of the tragedy of Aviary. The comedy Brigadier enjoyed particular success.

Publicism

In 1769, the writer moved to the service which prompted him to write a political treatise. The title of this work is fully consistent with the time in which the author lived: "Reasoning about the completely exterminated any form of state government and about the unsteady state of the empire and sovereigns."

In the Catherine's era, educated people spoke very ornately, even the Empress herself, who, by the way, did not like the essay. The fact is that in this work the author criticized both Catherine and her favorites, demanded a constitutional transformation. At the same time, he even dared to threaten a coup d'état.

In Paris

Fonvizin spent more than two years in France. From there, he corresponded regularly with Panin and other like-minded people. Socio-social problems became the main theme of both letters and essays. The journalistic works of Fonvizin, the list of which is little known to contemporaries, despite the absence of strict censorship in those years, were saturated with a thirst for change, a reformist spirit.

Political Views

After visiting France, Denis Fonvizin wrote a new "Reasoning". This time they were devoted to state laws. In this essay, the author raised the issue of serfdom. Being confident in the need to destroy it, he was still under the impression of "Pugachevism", and therefore offered to get rid of serfdom moderately, slowly.

Fonvizin was engaged literary creativity till the end of one's days. But due to the disapproval of the empress, he could not publish his collected works. Finally, it is worth mentioning the works of Fonvizin.

List of books

"Brigadier".
"Undergrowth".
"Discourses on the indispensable state laws".
"Governor's Choice".
"Conversation with Princess Khaldina".
"Honest Confession"
"Korion".

"Frank confession" the writer created, being in advanced years. This work is autobiographical. IN last years the writer Fonvizin mainly wrote articles for magazines. Fonvizin entered the history of Russian literature as the author of comedies in the genre of classicism. What is this direction? What are its characteristic features?

Fonvizin's works

Classicism is a direction based on the principles of rationalism. There is harmony and faith in the works, poetic norms are strictly observed. The heroes of the comedy "Undergrowth" are divided into positive and negative. There are no conflicting images here. And this is also feature classicism.

This trend originated in France. In Russia, classicism was distinguished by a satirical orientation. In the works of French playwrights, antique themes were in the first place. For characteristic national-historical motives.

The main feature of the dramatic works of the eighteenth century is the unity of time and place. The events of "Undergrowth" take place in the house of the Prostakov family. Everything that is described in the comedy is accomplished within twenty-four hours. Fonvizin gave his characters speaking names. Skotinin dreams of villages where many pigs graze. Vralman pretends to enlighten Mitrofanushka, while introducing the undergrowth into even more terrible ignorance.

The comedy deals with the theme of education. Enlightenment thought had a significant impact on all of Fonvizin's work. The writer dreamed of change political system. But he believed that without enlightenment, any changes would lead to rebellion, "Pugachevism" or other negative socio-political consequences.

The remarkable Russian playwright Denis Ivanovich Fonvizin (1744/45-1792), author of the comedies Brigadier and Undergrowth, began his career as a poet. He was born into a Russified German family that had long since taken root in Moscow. His father, an educated free-thinking man, carried through his whole life lofty concepts about the honor, dignity and social duty of a nobleman. Starodum from the comedy "Undergrowth" Fonvizin, by his own admission, "write off" from his father. Decency and independence of judgment were the main qualities that the head of the family brought up in his sons. Denis's younger brother Pavel, who later left a good mark on himself as the director of Moscow University, also wrote poetry. But the verses of the brothers were different. Pavel Ivanovich was attracted by elegiac poetry. Denis Ivanovich, who was distinguished by a mocking mindset, practiced parodies, satirical messages and fables.

After graduating from the gymnasium at Moscow University, both brothers become students of this university. Denis Ivanovich receives a philological and philosophical education and at the end of the course is determined to serve in St. Petersburg in the Collegium of Foreign Affairs. Here he has been working since 1762 as a translator, and then as a secretary for a large politician that time N.I. Panin, sharing his oppositional views in relation to Catherine II, and on his behalf developed draft constitutional reforms in Russia, which were supposed to cancel serfdom, to rid the country of the power of temporary workers, to grant political rights to all classes.

Very early, the young man showed the qualities that his father brought up in him: courage of judgment and independence of behavior. It is no coincidence that, in addition to famous comedies, he left to posterity sharp political pamphlets, boldly and brilliantly written journalistic articles. He translated into Russian the tragedy of Voltaire "Alzira", filled with impudent attacks against the ruling power.

The most daring journalistic work of Fonvizin was the so-called “Testament of N.I. Panin" (1783). The opposition-minded nobleman, to whose party Fonvizin belonged, shortly before his death, asked the writer to draw up a political testament for him. It was supposed to be a pamphlet addressed to the heir to the throne, Paul, and directed against the orders established in Russia by his mother Catherine II. Fonvizin fulfilled the task with brilliance. Three decades will pass, and the formidable accusatory document, written with a masterful hand, will be adopted by the Decembrists, who are creating secret political societies.

Finding out worldview position Fonvizin, let us turn to the analysis of two of his poetic works, which were distributed due to their impudent content in the lists and were published only much later. Both of them were created in the early 1760s, when Fonvizin had already moved to St. Petersburg and served in the Collegium of Foreign Affairs. Both are intensely satirical. One of them is the fable "The Fox-Koznodey", the second is "Message to my servants Shumilov, Vanka and Petrushka".

In the fable genre, Fonvizin was a follower of Sumarokov. National customs and characters, exact details and signs of life, colloquial speech with frequent use of common words and expressions are found in his fabled works. Only Fonvizin is more daring and radical than his predecessor. The fable "The Fox-Goater" is aimed at dexterous and shameless sycophants-officials who, with flattering speeches and obsequious behavior, support the mighty of the world this. And they have a lot of personal gain from it. The work is about a certain "Libyan side", which, however, is very reminiscent of Russian reality. not shy outright lies, The fox praises the Lion:

In the Libyan side, a true rumor rushed,

That the Lion, the king of beasts, died in the great forest,

Cattle flocked there from all sides

Witness to be a huge funeral.

The fox-Kaznodey, with this gloomy rite,

With a humble hare, in a monastic outfit,

Climbing up to the pulpit, he cries out with delight:

"Oh rock! crazy rock! whom the world has lost!

Struck by the death of the meek lord,

Cry and wail, venerable cathedral of beasts!

Behold the king, the wisest of all forest kings,

Worthy of eternal tears, worthy of altars,

Father to his slaves, terrible to his enemies,

Spread out before us, insensible and mute!

Whose mind could comprehend the number of his goodness?

The abyss of goodness, the greatness of generosity?

In his reign, innocence did not suffer

And the truth fearlessly presided at the court;

He nourished bestiality in his soul,

In it he honored his throne as a support;

There was a planter in the region of his order,

Arts and Sciences was a friend and patron.

In addition to the Fox, two more characters are bred in the fable: the Mole and the Dog. These are much more frank and honest in their assessments of the deceased king. However, they will not tell the truth aloud; whisper in each other's ear.

Descriptions of the lion's rule are given in the tones of invective, that is, angry denunciation. The king's throne was built "from the bones of torn beasts." From the inhabitants of the Libyan side, the royal favorites and nobles, without trial or investigation, "rip off the skin." From fear and despair leaves the Libyan forest and hides in the steppe Elephant. Smart builder Beaver is ruined by taxes and falls into poverty. But the fate of the court painter is shown especially expressively and in detail. He is not only skilled in his field, but he owns new painting techniques. Alfresco is painting with water-based paints on damp plaster walls of dwellings. Throughout his life, the court painter faithfully served the king and nobles with his talent. But he, too, dies in poverty, "out of anguish and hunger."

"The Fox-Kaznodey" is a bright and impressive work not only in terms of the bold ideas stated here, but also in their artistic embodiment. The reception of the antithesis works especially clearly: opposing the flattering speeches of the Fox with the truthful and bitter assessments given by the Mole and the Dog. It is the antithesis that emphasizes and makes the author's sarcasm so deadly.

Let us recall the dialogue between Starodum and Pravdin from the third act of Fonvizin's comedy The Undergrowth (1781). Starodum tells about the vile morals and orders that prevail at the court. An honest and decent person, he could not accept them, adapt to them. Pravdin is amazed: "With your rules, people should not be let go from the court, but they must be called to the court." "What for? "- Starodum is perplexed. “Then, why are they calling a doctor to the sick,” Pravdin gets excited. Starodum cools his ardor with a reasonable remark: “My friend, you are mistaken. It is in vain to call a physician to the sick. Here the doctor will not help, unless he becomes infected. Isn't it true that the ending of the fable resembles the quoted dialogue? Fable and comedy were separated by a time span of almost twenty years. The thoughts expressed by the young poet Fonvizin will find development and completion in another art form: dramaturgy, brought to the wide public stage.

The date of the creation of another wonderful poetic work Fonvizin's "Messages to my servants Shumilov, Vanka and Petrushka" has not been precisely established. Most likely, it was written between 1762 and 1763. No less daring in content than the "Fox-Kaznodey", the "Message" also came to readers without the name of the author, in handwritten lists. In the poem, from the very first lines, a seemingly somewhat abstract, philosophical problem: why the “white light” was created and what place is reserved for a person in it. However, for clarification, the author, who is also one of the heroes of the "Message", does not turn to learned men, but to his servants. Shumilov, who managed to turn gray to an elderly "uncle" (that is, a servant assigned to the master to "look after" him). Kucher Vanka, apparently a middle-aged man who has already seen a lot in his life. And Petrushka, the youngest and therefore the most frivolous of the trinity of servants.

The judgments of the coachman Vanka are the central and most an important part poems. Choosing the conductor of your ideas common man from the people, Fonvizin gives a sharp description of the order in the country. No church dogmas, no government regulations will explain or justify a social order in which the system of general hypocrisy, deceit and theft triumphs:

Priests try to deceive people

Servants - the butler, butlers - masters,

Each other - gentlemen, and noble boyars

Often they want to deceive the sovereign;

And everyone, to fill his pocket tighter,

For good reason, I decided to take up deception.

To the money, the dainties of the townspeople, the nobles,

Judges, clerks, soldiers and peasants.

Humble are the shepherds of our souls and hearts

They are pleased to collect dues from their sheep.

Sheep marry, breed, die,

And the shepherds, moreover, stuff their pockets,

For pure money they forgive every sin,

For money, many in paradise promise comfort.

But if you can tell the truth in the world,

That my opinion I will tell you is not false:

For the money of the most supreme Creator

Ready to deceive both the shepherd and the sheep!

From an unpretentious plot picture (three servants seem to be talking about an abstract topic), a large-scale picture of the life of Russian society grows. It captures the life and morality of the common people, the ministers of the church, the "big gentlemen". It includes the Creator himself in its orbit! The "Message" was a bold and risky challenge to both the politics and the ideology of the establishment. Therefore, it could not be printed at that time, it went in handwritten lists. "The Light of the World" lives by untruth - this is the final conclusion of the work.

In 1769, twenty-four-year-old Denis Ivanovich Fonvizin (1745-1792) wrote the comedy Brigadier. This is a cruel satire on young people who have been to France, on the obsequious attitude towards them in Russia, on the disregard for everything domestic. Fonvizin himself, having been abroad several times, including in France, got acquainted with European countries, but was not fascinated by them. The comedy "The Brigadier" did not have a stage incarnation for a long time, but the author read it many times among friends and acquaintances. The listeners, and later the audience, enthusiastically accepted the comedy for its striking similarity, fidelity of characters and typical images.

In 1782, Fonvizin wrote the comedy "Undergrowth". The first production took place on September 24, 1782.V.O. Klyuchevsky called "Undergrowth" "an incomparable mirror" of Russian reality. Exposing the arbitrariness of the lord, Fonvizin showed the corrupting effect of serfdom, which disfigured both peasants and landlords. The problem of educating the nobility, raised in The Brigadier, received a social sounding in The Undergrowth. Fonvizin adhered to the educational program moral education citizen and patriot, true son of the Fatherland.

In 1782 Fonvizin retired. Despite a serious illness, he continued to engage in literary work. He wrote “The Experience of the Russian Vocabulary” (1783), “Several Questions That Can Arouse Special Attention in Intelligent and Honest People” (1783), which actually contained criticism domestic policy Catherine II, which displeased the Empress. Of great interest are his autobiographical notes “A sincere confession in my deeds and thoughts”, as well as the extensive epistolary heritage of Fonvizin.

FONVIZIN Denis Ivanovich - the famous Russian writer - came from Russified Ostsee nobles (von Vizin). F.'s childhood passed in a patriarchal setting in the house of his father, an official of the revision college. Educated at the university gymnasium and at the Faculty of Philosophy of Moscow University. After graduating from the university, F. entered the foreign collegium as an interpreter, but already in 1763 he moved to serve as an official under the Cabinet Minister Yelagin. From 1769 to 1783 F. served with c. Panin P. I., in the Collegium of Foreign Affairs as a secretary. In 1785 F. was paralyzed.

F. was a humanist educator of the second half of the XVIII century. An admirer of Voltaire, Rousseau, F. was an enemy of autocratic despotism. F. rose to the idea that "it is illegal to oppress your own kind by slavery." Through all his life, F. carried enmity to the secular society, the royal court, court nobles, temporary workers. F. was an enemy of ignorance, a fighter for culture, an admirer of Peter's reforms, who advocated the assimilation Western European culture, but at the same time struggling with blind imitation of the foreign. Fonvizin knew perfectly well purely folk speech and skillfully used it: Russian vernacular, sharp folk words, sayings gave strength to the best works of Fonvizin.

F.'s literary activity began when he was a student at Moscow University. In 1761 he translated Golberg's fables from German, then a number of moralizing satirical works Voltaire and others. In 1762, F. moved to St. Petersburg and developed an intensive literary activity here. He was a regular guest of Kozlovsky's circle. As a result of rapprochement with this circle, F. wrote a "Message to the servants", in which he discovered religious skepticism and gave a sharp description of the clergy. Although in the future, F.'s departure from atheistic views is noticed, however, he forever remained an enemy of clericalism, religious obscurantism, and all kinds of superstition. In 1764, F. made his first independent dramatic work, with the comedy Korion. A few years after Korion, the social comedy Brigadier appears.

goat fox

In the fable genre, Fonvizin was a follower of Sumarokov. National customs and characters, exact details and signs of life, colloquial speech with frequent use of common words and expressions are found in his fabled works. Only Fonvizin is more daring and radical than his predecessor. The fable "The Fox-Goater" is aimed at deft and shameless toadies-officials who, with flattering speeches and obsequious behavior, support the powerful of this world. And they have a lot of personal gain from it. The work is about a certain "Libyan side", which, however, is very reminiscent of Russian reality. Not embarrassed by outright lies, the Fox praises the Lion. In addition to the Fox, two more characters are bred in the fable: the Mole and the Dog. These are much more frank and honest in their assessments of the deceased king. However, they will not tell the truth aloud; whisper in each other's ear.

Descriptions of the lion's rule are given in the tones of invective, that is, angry denunciation. The king's throne was built "from the bones of torn beasts." From the inhabitants of the Libyan side, the royal favorites and nobles, without trial or investigation, "rip off the skin." From fear and despair leaves the Libyan forest and hides in the steppe Elephant. Smart builder Beaver is ruined by taxes and falls into poverty. But the fate of the court painter is shown especially expressively and in detail. He is not only skilled in his craft, but owns new painting techniques. Alfresco is painting with water-based paints on damp plaster walls of dwellings. Throughout his life, the court painter faithfully served the king and nobles with his talent. But he, too, dies in poverty, "out of anguish and hunger."

Brigadier

Denis Fonvizin began to write a comedy in five acts "The Brigadier" in the first days of his stay in Moscow in the winter of 1768. In the spring of 1769, Denis Ivanovich mentioned her in his letter to the Russian statesman, poet and historian Ivan Elagin: “I almost finished my comedy.” In his next letter to the same addressee, Ivan Perfilievich, Fonvizin again mentions the comedy, in all likelihood, already written to the final page.

All the work of the playwright on the comedy was connected with the issues raised during the convening of the Commission for the drafting of the New Code. Denis Fonvizin was a supporter of those who, like the Russian philosopher and public figure Yakov Kozelsky, considered it necessary to show a picture of Russian life with the help of "righteous speeches". At the same time, in the comedy, the question of the method of creating a national comedy, raised in Elagin's circle, sounded in a new way.

Be that as it may, the first Russian national-household comedy "The Brigadier" by Fonvizin is considered literary monument, which reflected the struggle of advanced Russian minds of the 18th century for the national originality of Russian culture. Denis Fonvizin in his comedy "The Brigadier" harshly ridiculed the servility of the contemporary Russian nobility before the French aristocracy.

undergrowth

The comedy "Undergrowth" absorbed all the experience gained by Fonvizin, and in depth ideological issues, by the boldness and originality of the artistic solutions found, remains an unsurpassed masterpiece of Russian dramaturgy of the 18th century. The accusatory pathos of The Undergrowth is fed by two powerful sources equally dissolved in the structure of the dramatic action. Lacquer are satire and journalism.

Destroying and merciless satire fills all the scenes depicting the lifestyle of the Prostakova family. In the scenes of Mitrofan's teachings, in the revelations of his uncle about his love for pigs, in the greed and arbitrariness of the mistress of the house, the world of the Prostakovs and Skotinins is revealed in all the ugliness of their spiritual poverty.

No less annihilating sentence to this world is pronounced by the group of positive nobles present on the stage, contrastingly contrasted with the bestial existence of Mitrofan's parents. Dialogues between Starodum and Pravdin. in which deep, sometimes state problems are touched upon, these are passionate publicistic speeches that reflect the author's position. The pathos of the speeches of Starodum and Pravdin also performs an accusatory function, but here the accusation merges with the affirmation of the positive ideals of the author himself.

Two problems that particularly worried Fonvizin lie at the heart of The Undergrowth. This is primarily a problem of the moral decay of the nobility. In the words of the Starodum. indignantly denouncing the nobles, in whom the nobility, one might say, “buried with their ancestors”, in the observations reported to them from the life of the court, Fonvizin not only states the decline in the moral foundations of society, he is looking for the reasons for this decline. The unlimited power of the landowners over their peasants in the absence of due moral example on the part of the highest authorities, it became a source of arbitrariness, this led to the oblivion by the nobility of their duties and principles of class honor, that is, to the spiritual degeneration of the ruling class. In the light of the general moral and political concept of Fonvizin, which is expressed in the play by positive characters, the world of simpletons and cattle appears as an ominous realization of the triumph of malevolence.

Another problem of "Undergrowth" is the problem of education. Understood quite broadly, education in the minds of thinkers of the 18th century was considered as the primary factor determining moral character person. In the views of Fonvizin, the problem of education acquired national significance, because in proper upbringing rooted the only reliable, in his opinion, source of salvation from the evil threatening society - the spiritual degradation of the nobility. A significant part of the dramatic action in The Undergrowth is, to one degree or another, subordinated to the problems of education.

A son of his time, Fonvizin, with all his appearance and direction of creative quest, belonged to that circle of advanced Russian people of the 18th century who made up the camp of enlighteners. All of them were writers, and their work is permeated with the pathos of affirming the ideals of justice and humanism. Satire and journalism were their weapons. A courageous protest against the injustices of autocracy and angry accusations against the feudal lords sounded in their works. This was the historical merit of Russian satire of the 18th century, one of the most prominent representatives which was Fonvizin.

Question number 6. Odes of Derzhavin

Born on July 3 (14 n.s.) in the village of Karmachi, Kazan province, in a poor noble family. Three years he studied at the Kazan gymnasium (1759 - 62). Since 1762 he served as a soldier in the Preobrazhensky Guards Regiment, which participated in the palace coup that elevated Catherine II to the throne.

In 1772 he was promoted to officer, participated in the suppression of the Pugachev uprising. Offended by the fact that his service is not appreciated, bypassed with awards, he went to the civil service. He served for a short time in the Senate, where he came to the conclusion that "it is impossible for him to get along there, where they do not like the truth."

In 1782 he wrote "Ode to Felitsa", addressed to the Empress, for which he received an award from Catherine II - the appointment of governor of Olonets (since 1784) and Tambov (1785 - 88). He made a lot of efforts to educate the Tambov region, tried to fight the bureaucracy, uphold justice.

Energetic, independent and direct, Derzhavin could not "get along" with the highest nobles, so his places of service often changed. In 1791 - 1793 he was the cabinet secretary of Catherine II, but, not pleasing her, was dismissed from the service; appointed senator, made many enemies because of his love of truth. In 1802 - 1803 he was Minister of Justice. At the age of sixty, he retired.

Derzhavin began to publish in 1773, trying to follow the traditions of Lomonosov and Sumarokov, but from 1779 "choose a completely different path." He created own style, which became a model of philosophical lyrics: the ode "On the Death of Prince Meshchersky" (1799), the ode "God" (1784) about the greatness of the universe and its Creator, about the place and destiny of man: "I am a king, I am a slave, I am a worm , I'm God"; "Autumn during the siege of Ochakov" (1788), "Waterfall" (1791 - 94), etc.

In the 1790s, Derzhavin created the lyrical works To the Lyre and Praise of Rural Life. Derzhavin's aesthetic views are expressed in the treatise Discourse on Lyric Poetry or on an Ode (1811-15).

In the last years of his life, Derzhavin turned to drama, writing several tragedies: Dobrynya, Pozharsky, Herod and Mariamne, and others.

St. Petersburg writers gathered in his house, and in 1811 the circle took shape in the government-approved literary society Conversation of Lovers of the Russian Word, in which Derzhavin held special positions. He favorably treated Zhukovsky and "noted" the young Pushkin. Derzhavin's work paved the way for the poetry of Batyushkov, Pushkin, and the Decembrist poets.

Ode "On the Death of Prince Meshchersky""(1779) brought Derzhavin fame. The poem is emotional, the mood of confusion and horror set in the first stanza by the end of the poem is pumped up. The main thing in the poem is life and death, time and eternity. For example, time, inexorably bringing a person closer to death, is depicted in the form of a clock.Death is an old woman with a scythe.

The tragic experience of death. It has plot lines. Prince Meshchersky, a close acquaintance of the poet, died. His death struck all the more because the whole life of the prince, "the son of luxury and bliss," was "a celebration of beauty and contentment." The drama of death is greatly enhanced by the opposition of these poles. the entire figurative system of the work is in conflict. And this artistic conflict, which is the basis of the structure of the ode, leads the reader to the thought of the contradictory, not reducible to unity, dialectical essence of the universe:

Joy, joy and love,

Where they shone brightly with health,

Everyone's bleeding there

And the spirit is tormented by sadness.

Where the table was food - there is a coffin;

Where feasts were heard clicks -

Tombstone faces howl there,

And pale death looks at everyone.

Not only the glory of Derzhavin, but also his influence on Russian literature was enormous. At the same time, it is important to emphasize that this influence was deeply perceived not by the idealistic leaders of noble sentimentalism, but by more democratic literary movements.

To the first neighbor

The music rumbles, the choirs are heard

Around your delicious tables;

Sweets and pineapple mountains

And many other fruits.

Derzhavin wrote the poem "To the Second Neighbor", which was included in the 2nd part of this edition. Derzhavin refers in a poem to the merchant M. S. Golikov, who took over drinking fees in St. Petersburg and Moscow

Gypsy dance.

He was the first in Russian poetry to depict the "Gypsy Dance" with a dark and terrible force lines: “Stomping on the coffin boards, Wake up the dream of dead silence”, with a wild passionate refrain: “Burn the souls, throw fire into the hearts From swarthy face”, laying the foundation for that line of passion for gypsyism, which was then continued in such a diverse way in the work of Pushkin, Grigoriev, Tolstoy, Leskov, Blok ...

Take, Egyptian, a guitar,

Hit the strings, exclaim:

Filled with voluptuous heat,

Introduction. 3

1. general characteristics creativity of D. I. Fonvizin. 4

2. Artistic features. 8

3. The value of creativity D. I. Fonvizin. eleven

Conclusion. 15

Literature. 16

Introduction

Denis Ivanovich Fonvizin is a special name in Russian literature. He is an old ancestor of Russian comedy. “Russian comedy began long before Fonvizin, but began only with Fonvizin: his Brigadier and Undergrowth made a terrible noise when they appeared and will forever remain in the history of Russian literature as one of the most remarkable phenomena,” Belinsky wrote.

Pushkin highly valued gaiety and was extremely sorry that in Russian literature "there are so few truly merry writings." That is why he lovingly noted this feature of Fonvizin's talent, pointing to the direct continuity of the dramaturgy of Fonvizin and Gogol.

“In the works of this writer, for the first time, the demonic beginning of sarcasm and indignation was revealed, which was destined to permeate all Russian literature since then, becoming the dominant trend in it,” noted A. I. Herzen.

Speaking about the work of Fonvizin, the famous literary critic Belinsky wrote: “In general, for me Kantemir and Fonvizin, especially the last one, are the most interesting writers the first periods of our literature: they tell me not about sky-high primaries on the occasion of plate illuminations, but about living reality, historically existing, about the rights of society.

General characteristics of the work of D. I. Fonvizin

Fonvizin gave very vividly the types of contemporary noble society, gave vivid pictures of life, although the comedy "The Brigadier" was built according to the old classic patterns(the unity of place, time, sharp division of heroes into positive and negative, 5-act composition of the play are observed).

In the development of the action, Fonvizin followed the French classical theory, he studied the characterization of Moliere, Golberg, Detouche, Scarron; The impetus for creating a comedy on national themes was given by Lukin (his comedy Mot, Corrected by Love and his critical remarks about the need to write comedies “in our manners”).

In 1882, Fonvizin's second comedy "Undergrowth" was written, and in 1883 it was published - the culminating point in the development of Fonvizin's work - "the work of a strong, sharp mind, a gifted man" (Belinsky). In his comedy, Fonvizin responded to all the questions that worried the most advanced people of that time. The state and social system, the civic obligations of a member of society, serfdom, the family, marriage, the upbringing of children - these are the range of questions posed in The Undergrowth. Fonvizin answered these questions from the most advanced positions for his time.

realistic outline actors the clearly expressed individualization of the language of the characters contributed greatly. Goodies"Undergrowth", reasoners - are schematic, they are little individualized. However, in the remarks of the reasoners, we hear the voice of the most advanced people of the 18th century. In reasoners and virtuous people, we hear the voice of smart and well-meaning people of that time - their concepts and way of thinking.

When creating his comedy, F. used a huge number of sources: articles from the best satirical magazines of the 70s, and works of contemporary Russian literature (the works of Lukin, Chulkov, Emin, etc.), and works of English and French literature XVII-XVIII centuries (Voltaire, Rousseau, Duclos, La Bruyère, etc.), but at the same time, Fonvizin remained completely independent.

The best works F. vividly and truthfully reflected life, woke up the minds and helped the people fight to change their plight.

Peru belongs to D. I. Fonvizin - the most famous to the modern reader are the comedies "Undergrowth" and "Foreman", "General Court Grammar", autobiography "Frankly confessed in my deeds and thoughts", "Choice of a tutor", "Conversation with Princess Khaldina". In addition, Fonvizin served as a translator in a foreign college, so he very willingly translated foreign authors, for example, Voltaire. Compiled “Discourse on absolutely every form of state government that has been exterminated in Russia, and from that on the unsteady state of both the empire and the sovereigns themselves,” where he criticized the picture of Catherine’s despotic regime. From journalism, one can name "Discourse on the indispensable state laws", where he proposed not to completely eradicate serfdom, but simply to alleviate the fate of the peasants.

Among the predecessors for Fonvizin was Lukin Vladimir Ignatievich. This is a playwright who prepared the appearance of "Undergrowth" with accusatory comedies. It should be noted that Lukin was accused of not praising the "glorious Russian writers", even the "Russian Voltaire" Sumarokov, and they found bad that which was the most original in his work - "new expressions", the desire for independence, to the simplicity of Russian speech, etc. In the latter respect, Lukin can be considered not only the predecessor of Fonvizin - who, as a rival, treated him hostilely, despite the huge difference in their talents, - but even the forerunner of the so-called " natural school". Being a zealot of nationality in the then imitative literature, Lukin demanded Russian content from comedy and understood the falsity of the direction taken by Russian drama.

Fonvizin also made a special contribution to the literary language of his era, which was adopted by his followers and actively used later in literary works. In the language of his prose, folk colloquial vocabulary and phraseology are widely used; various non-free and semi-free colloquial phrases and stable turns act as the building material of sentences; is happening so important for the subsequent development of the Russian literary language the union of “simple Russian” and “Slavic” language resources.

He developed language techniques for reflecting reality in its most diverse manifestations; the principles of constructing linguistic structures that characterize the “image of the narrator” were outlined. Many important properties and trends have been outlined and have received initial development, which have found their further development and got full completion in Pushkin's reform of the Russian literary language.

Fonvizin was the first of the Russian writers who realized that by describing complex relationships and strong feelings of people simply, but accurately, one can achieve a greater effect than with the help of various verbal tricks. It is impossible not to note the merits of Fonvizin in the development of techniques for realistic depiction of complex human feelings and life conflicts.

In the comedy "Undergrowth" inversions are used: "a slave of his vile passions"; rhetorical questions and exclamations: “how can she teach them good manners?”; complicated syntax: abundance subordinate clauses, common definitions, participles and participial phrases and other characteristic means of book speech.

Uses words of emotional and evaluative meaning: sincere, cordial, depraved tyrant. Fonvizin avoids naturalistic extremes of low style, which many of today's outstanding comedians could not overcome. He refuses rude, non-literary speech means. At the same time, it constantly retains both in vocabulary and in syntax the features of colloquialism. The use of realistic typification techniques is also evidenced by colorful speech characteristics, created by attracting words and expressions used in military life; and archaic vocabulary, quotations from spiritual books; and broken Russian vocabulary.

Meanwhile, the language of Fonvizin's comedies, despite its perfection, still did not go beyond the traditions of classicism and did not represent a fundamentally new stage in the development of the Russian literary language. In Fonvizin's comedies, a clear distinction was made between the language of negative and positive characters. And if in the construction of language characteristics negative characters on the traditional basis of the use of vernacular, the writer achieved great liveliness and expressiveness, the linguistic characteristics of the positive characters remained pale, coldly rhetorical, cut off from the living elements of the spoken language.

In contrast to the language of comedy, the language of Fonvizin's prose represents a significant step forward in the development of the Russian literary language, here the trends that have emerged in Novikov's prose are strengthened and further developed. The work that marked the decisive transition from the traditions of classicism to the new principles of constructing the language of prose in the work of Fonvizin was the famous “Letters from France”.

In “Letters from France” the colloquial vocabulary and phraseology is quite richly represented, especially those groups and categories that are devoid of sharp expressiveness and are more or less close to the “neutral” lexical-phraseological layer: “Since my arrival here, I I can not hear…"; “We are doing pretty well”; “Wherever you go, everywhere is full.”

There are also words and expressions that differ from those given above, they are endowed with that specific expressiveness that allows them to qualify as colloquial: “I won’t take both of these places for nothing”; “At the entrance to the city, a vile stench knocked us down.”

The features of the literary language worked out in Letters from France were further developed in Fonvizin's artistic, scientific, journalistic and memoir prose. But two points still deserve attention. First, the syntactic perfection of Fonvizin's prose should be emphasized. In Fonvizin, we find not separate well-constructed phrases, but extensive contexts that are distinguished by diversity, flexibility, harmony, logical consistency and clarity of syntactic constructions. Secondly, in fiction Fonvizin further develops the method of narration on behalf of the narrator, the method of creating language structures that serve as a means of revealing the image. Analysis various works D. I. Fonvizin allow us to talk about, of course, his important role in the formation and improvement of the Russian literary language.

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