Fonvizin themes of creativity. The main ideas of Fonvizin's work

Denis Ivanovich Fonvizin is a Russian writer and publicist, playwright and translator during the reign of Catherine the Great, the founder of everyday comedy, who worked in such a literary direction as classicism. The life and work of this man made an invaluable contribution to the development of Russian literature.

Denis Ivanovich Fonvizin was born on April 3, 1745 and grew up in a noble family in Moscow. His family went back to German roots, so his last name is a Russian variation of the Germanic name Von Wiesin.

Initially, the future genius was educated at home, and after that he was enrolled in the lists of students of the Faculty of Philosophy of Moscow University. After his merits in the literary sphere, he will be sent to St. Petersburg, where he met such iconic figures of the state as Lomonosov, Sumarokov.

Creative path: a success story

The first works began to appear already in 1760. The writer began with translations, which were periodically published. The first landmark publication was in the form of an early version of the famous play "Undergrowth". Later, already by 1781, the finished play would be staged in St. Petersburg, and two years later it would occupy the stages of Moscow. After 8 years, a comedy with a satirical orientation called "The Brigadier" came out from the pen of the classicist, which elevated Fonvizin as a writer and was honored to be read in front of the empress herself in her summer house in Peterhof.

Like many writers, Fonvizin spent a lot of time abroad, in particular in France. His work as an adviser to the office is accompanied by the writing of a large number of journalistic texts, for example, "Discourse on the indispensable state laws", as well as work on translations that allowed the Russian reader to get acquainted with the works of Rousseau, Ovid and even Walter.

Personal life

Little is known about the writer's personal life. His wife's name was Katerina Ivanovna Rogovikova, she was from the family of a wealthy merchant. Children are not mentioned in his biography.

It is only known that he was an exemplary family man, so all his works are instructive. In matters of family and marriage, he was categorical: a woman is adorned with fidelity, piety and education, and a man with virtue, strength and wisdom.

last years of life

In the last years of his life, spending time traveling abroad in Europe, the writer will encounter a disease that was too tough for the medicine of those years. The first apoplectic gift will be enough for him, because of which he will be forced to return to Russia.

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

What else did the creator of the household comedy write? 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. The works of Fonvizin represent the pinnacle of theatrical art of the 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. The entrepreneur offered the young man to translate the works of Ludwig Holberg into Russian. 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 small. The following is a list of dramatic writings and publications on a 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 in literary creativity until the end of his 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

1. "Brigadier".
2. "Undergrowth".
3. "Discourses on the indispensable state laws".
4. "Governor's Choice".
5. "Conversation with Princess Khaldina".
6. "Honest Confession"
7. "Korion".

"Frank confession" the writer created, being in advanced years. This work is autobiographical. In recent years, the writer Fonvizin has mainly written 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 a characteristic feature of 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 endowed his characters with 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 changing the state system. But he believed that without enlightenment, any changes would lead to rebellion, "Pugachevism" or other negative socio-political consequences.

2. Comedy "Undergrowth"

1. Characteristics of Fonvizin's creativity

The work of Denis Ivanovich Fonvizin bears features that are opposite to Russian noble sentimentalism in the literature of the 18th century. Fonvizin opposed this literary trend, and all his work was imbued with the spirit of political struggle and the desire for freedom. Fonvizin's work can be characterized as follows:

✓ is a protest against the developing movement of Russian noble sentimentalism with its rejection of political and social activity in literature and withdrawal from reality into the world of dreams and fantasies;

✓ is an expression of Fonvizin's political ideas and views on the development of the Russian state and its proper management, and these ideas are as follows:

Critics of noble society and its inactivity and ignorance, and this criticism is expressed through harsh satire;

The requirement from the nobility to raise political consciousness and activity;

An indication of major shortcomings in the upbringing and culture of the nobility and seeing in the correct upbringing of future generations of nobles the salvation of Russia and its power as a civilized and strong world power;

Criticism of the commitment of society and nobles to the fashion for everything Western and their contempt for their native language and their homeland;

Propaganda of the fight against serfdom and its wildest forms, which at that time were very common among the landowners;

A protest against the politics and teachings of the Church and the defenders of religion, and this protest is expressed in the form of harsh social satire;

✓ partly influenced by the ideas of bourgeois education, actively developing in France, where Fonvizin lived for some time;

✓ based on the literary traditions of Sumarokov and Kheraskov, on the traditions of noble classicism and liberalism;

✓ deeply poses the problem of a realistic depiction of a person and the surrounding reality, and thus precedes the one that developed in the 19th century. the literary movement of realism, which actively developed in the work of A. S. Pushkin;

✓ serves the purpose of not only educating the nobility as a narrow class, but also creating a layer of the best people in Russia, capable of leading to a great future and great achievements, that is, the nobility, hereditary and possessing a high level of culture, is seen by Fonvizin as the only and natural master of the state;

✓ contains a lot of Western materials both in dramaturgy and satire, processing them, but at the same time, the comedies created by Fonvizin had no analogues in the West and borrowed motifs and elements organically merged into the original style and method of these comedies, contributing to the creation of original works;

✓ includes elements of both classicism and realism, which were closely intertwined throughout Fonvizin's work.

The most famous and important literary works of Fonvizin include the following works:

✓ translated works, which include:

The tragedy of Walter "Alzira" (1762);

Gresse's psychological drama "Sydney", published under the title "Korion" (1764);

✓ fables "Fox Koznodey" and "Message to my servants Shumilov, Vanka and Petrushka" (1763), written in excellent satirical form;

✓ comedy "Undergrowth" (1764 - the first version, which was unfinished, 1781 - the second, final version), which is a brilliant hard satire on the mores of the nobility in raising their children and brought Fonvizin fame, popularity and recognition not only among his contemporaries, but also in descendants;

✓ the comedy Brigadier (1766), reflecting the ideas of noble liberalism, to which Fonvizin was close.

2. Comedy "Undergrowth"

Fonvizin's comedy "Undergrowth" is the most important work in his work and played an exceptional role in the development of Russian literature in the 19th century. Comedy has the following artistic features:

✓ contains a protest against serfdom;

✓ is, first of all, a comedy about education, which for Fonvizin acts not so much as a moralizing issue, but more as a topical political topic;

✓ acts as a serious manifesto of protest against the existing autocratic power, and it is this feature of comedy that influenced the development of Russian literature of the 19th century. and its protesting nature.

3. The connection between classicism and realism in the work of Fonvizin

The features of classicism and realism are closely intertwined and connected with each other throughout the work of Fonvizin, and this connection has the following features:

✓ classicism has not been thoroughly destroyed, but realism has not been fully developed either;

✓ there is and is already noticeable the struggle of these two trends, which had a significant impact not only on many writers of the second half of the 18th century, for example, Radishchev, but also on the writers of the first half of the 19th century;

✓ there is a close interweaving of these two directions, and it was thanks to this that the ground was prepared for development in the literature of the 19th century. subsequent generations of Russian writers, in particular A.S. Pushkin, realism as the leading literary trend of this period;

✓ the interweaving of classicism and realism is expressed in the artistic method.

4. Fonvizin's artistic method

The artistic method of Fonvizin contains a close interweaving of elements of classicism and realism. In the work of Fonvizin, the following can be distinguished elements of realism:

✓ description of the negative phenomena of reality in satire, which made Fonvizin a participant in the "satirical trend", thanks to which in Russia earlier than in the West, the ground was prepared for the formation of critical realism as the leading literary trend, but this trend itself grew in the bowels of Russian realism ;

✓ the use in comedies of the technique of mixing comic and sad, cheerful and serious motives, forbidden by classicism;

✓ the proximity of elements of a serious drama, which is instructive in nature and designed to make the viewer think, with lyrical elements, designed to touch this viewer;

✓ the introduction of the role of a "resonant person" who preaches from the stage on behalf of the author, which was not in the classic comedies of the early 18th century;

✓ the convergence of comedies with the "sentimental drama" of French authors through the introduction of pictures of true touching virtue;

✓ the use of everyday life scenes to demonstrate a true picture of people's lives, which is not typical of classicism, in which everyday life serves to depict other purposes and should not be an empty stage;

✓ bitterness, anger of Fonvizin's satire, which in this sense differs from the traditions of classicism, indicating the inadmissibility of teaching, which is served by comedy, bitterness and poison. These qualities of Fonvizin's satire prepared the bitter satire of Gogol and Shchedrin;

✓ the appearance in the depiction of the characters of individual heroes of "live", not schematic features, their individual characteristics, which is not characteristic of classical comedy;

✓ the discovery of a realistic method of depicting a hero, which contributes to the understanding of a person as a person and at the same time as a social phenomenon, and this is the crucial importance of Fonvizin's comedies, which led to the further development and strengthening of the realistic method in Russian literature;

✓ the use of real, everyday speech, close to real life, the desire to overcome archaic bookishness.

Receptions of classicism, used by Fonvizin in his work, are due to the influence on him of the classical school of Sumarokov and Kheraskov, the features of which were preserved in all his works, and among these elements the following can be distinguished:

✓ the unity of time, place and action, when all the action of the play is united by one main motive (for example, in "Undergrowth" this is the struggle of three contenders for Sophia's hand, and the whole action of the play is built on this);

✓ the virtues of classicism, which are reduced in the work of Fonvizin to the following:

Rationalistic understanding of the world;

Personality is not as a specific individuality, but as a unit in social classification;

Social and state in man as the leading forces, absorbing into themselves his individual;

The social principle of evaluating human actions and deeds;

✓ the shortcomings of classicism, which are reduced in the work of Fonvizin to the following:

Schematism of abstract classifications of people and moral categories;

A mechanistic idea of ​​a person as a set of abilities of a mental nature;

Antipsychological in the individual sense in the image and understanding of a person, that is, the psychological traits of the hero are shown in relation to the public, and not to the personal, individual;

The mechanistic and abstract idea of ​​the state as a category of social being;

The limitedness of colors and schematization in the depiction of the characters' characters, the demonstration and denunciation of individual shortcomings or feelings without a general picture of the personality and the totality of its features, as evidenced by the so-called speaking surnames and names (Pravdin is a truth-lover, Vyatkin is a bribe-taker, etc.);

One-sidedness in the depiction of everyday life as a scheme of social relationships;

The division of all people into two categories:

Nobles, whose characteristics include signs of their abilities, moral inclinations, feelings, etc.;

All the rest, whose characteristics are reduced to an indication of their profession, class and place in the system of society;

Static in the depiction of human characters and the characters wearing them, i.e., the characters do not develop in the process of acting as individuals;

The use of certain speech techniques characteristic of classicism, for example, the solemnity and height of the syllable in commendable speeches, rich speech patterns, puns.

Denis Ivanovich Fonvizin, the famous Russian writer, a prominent representative of the literary era of Catherine II, was born on April 3, 1745 in Moscow. He came from an old German noble family who, under Ivan the Terrible, left Livonia (Baron Pyotr von Visin; this surname was written separately in the middle of the 19th century: von Vizin, and only later was a continuous spelling established). Until the age of 10, Fonvizin was brought up at home. His father, although not very educated, taught his eight children himself. Upon the establishment of the university in Moscow, Fonvizin-father gave his two eldest sons, Denis and Pavel, to the noble gymnasium opened under him. In the gymnasium, Denis was in excellent standing; he repeatedly received awards, twice spoke at public acts with speeches in Russian and German. In 1758, young Fonvizin, among the best students, was taken to St. Petersburg to be presented to the patron of the university, I. I. Shuvalov and Empress Elizabeth. The splendor of the court and, in particular, theatrical performances made a stunning impression on the boy. In 1759, Fonvizin was "produced as a student", and after 3 years, at the age of 17, he completed his university education.

The university at that time was just being established, and at first there were many shortcomings in its organization, but Fonvizin, like his comrades, took out of him both cultural interests and sufficient knowledge both in the sciences and in foreign languages. During these years of the beginning of Fonvizin's creative biography, Moscow University was the most prominent center of literary life in Russia. Under the leadership of one of the university officials, M.M. successive students of Sumarokov. The literary movement embraced the students as well; many of the university students tried their hand at translations, which were later published in Useful Entertainment. Fonvizin was among them; Kheraskov's journal published his translation of the moralizing story "Justice Jupiter". At the same time, Fonvizin, at the suggestion of the university bookseller Wever, who heard about the gifted student, translated from German a book of fables by the Danish writer Golberg; the translation was then printed (1761). The following year (1762), Fonvizin actively collaborated in the popular science journal of his teacher, Professor Reichel ("Collected Works") - he placed 5 translated articles in it. At the same time, he translated Ovid's Metamorphoses (not published) and 1 volume of Terrason's extensive political and moralizing novel The Heroic Virtue and Life of Seth, King of Egypt (1762, the next 3 volumes were printed until 1768; the translation was made from German). Then Fonvizin first tried his creative powers in the field of poetry; He translated Voltaire's tragedy Alzira into verse. However, he himself was dissatisfied with his translation and did not give it to the stage or to the press.

Denis Ivanovich Fonvizin

Finishing university, Fonvizin turned out to be a sergeant of the Semenovsky regiment, in the service of which, according to the custom of that time, he had been registered since 1754, that is, from the age of 9. Military service could not interest him, and at the first opportunity, taking advantage of the arrival of the court and the government at the end of 1762 in Moscow, he got a job at the College of Foreign Affairs as an interpreter with a salary of 800 rubles. per year, and at the same time was sent on an honorary commission to Schwerin. In 1763, together with the court, Fonvizin moved to St. Petersburg, and already in October of the same year he transferred to the service of the “minister’s cabinet” in accepting petitions addressed to the empress, I.P. Elagin, who later (since 1766) was in charge of and theater management. Fonvizin's quick steps in the official field are largely due to his literary success and secular talents. From early childhood, an unusual liveliness began to appear in his character. Over the years, he developed that ability to see all things from their funny side, a craving for wit and irony, which did not leave him until the end of his biography. His epigrams, witty and malicious remarks about people went around in society. In doing so, he made many friends, but also many enemies. Among the latter was Yelagin's secretary, the notorious playwright V. I. Lukin, enmity with which made Fonvizin's service very difficult.

In St. Petersburg, Fonvizin's literary work continued. In 1763 he translated Barthélemy's novel The Love of Carita and Polydor, and continued to translate Seth. At this time, he met with a circle of young people who were carried away by the doctrines of the French philosophers of the Enlightenment and preached atheism. Fonvizin paid tribute to this hobby; traces of religious skepticism remained in the satire written in this era (“Message to the servants”; perhaps the fable “The Fox-Kaznodey” and some other poetic plays that have come down to us in fragments date back to the same time). However, pretty soon Fonvizin renounced doubts and again became a religious person, as he was in his father's house and university. In 1764, Fonvizin staged his verse adaptation of Gresse's comedy "Sydney", entitled by him "Korion". It was an example of “inclination to our mores”, that is, a free translation with the transfer of action to Russia and a corresponding change in everyday details, names, etc. This was the recipe for writing comedies from the Elagin group, which included Fonvizin and Lukin. Korion was a dubious success; opponents of the system of alterations were unhappy with him.

Fleeing from clashes with Lukin on more or less long vacations to Moscow, Fonvizin completed his famous Brigadier on one of these trips. Upon his return to St. Petersburg (1766), the comedy became famous in society; the author, who read it skillfully, was invited to read it to the empress, and then in a number of noble houses. The success was unprecedented. "The Brigadier" was put on stage and did not leave it for a long time. Fonvizin immediately became one of the luminaries of literature; he was extolled with accolades, compared to Molière. Reaping laurels in the field of dramaturgy, Fonvizin did not leave other branches of literary creativity. In 1766, he published his translation of Coyet's treatise "The Merchant Nobility Opposed to the Military Nobility" (with the addition of Justi; translated from German), in which it was proved that the state and the nobility itself were interested in the nobles being engaged in trade. In 1769, his translation of Arnaud's sentimental story "Sydney and Scilly" and the translation of Bitobe's extensive work "Joseph" (2 volumes) were published.

In the same 1769, Fonvizin, dissatisfied with the slowness of his career and cooled towards Elagin, went to serve in the collegium of foreign affairs to N.I. Panin, where he was until the latter's death. In this service, Fonvizin advanced. He worked hard, corresponded with Russian envoys in Western Europe, helped N.I. Panin in all his undertakings. Fonvizin's zeal was rewarded; when in 1773 Panin received 9,000 souls at the marriage of his pupil, Grand Duke Pavel Petrovich, he presented 1,180 souls of them (in Vitebsk province.) to Fonvizin. The following year, Fonvizin married the widow E. I. Khlopova (born Rogovikova), who brought him a significant dowry.

Fonvizin. Undergrowth. Performance of the Maly Theater

In 1777, Fonvizin left for France to improve his wife's health; from there he wrote extensive letters to his sister F. I. Argamakova and to the brother of his boss, P. I. Panin; he described in detail his journey, the manners and customs of the French. In witty and vivid sketches, he depicted the decaying society of pre-revolutionary France. He correctly felt the approach of a thunderstorm and saw the madness that swept the country before the catastrophe; in addition, he did not like much because he did not want and could not refuse, when evaluating a culture alien to him, from his own, Russian, landowner concepts. Fonvizin treated his letters as a real literary work; this is evident if only from the fact that he introduced into them many remarks borrowed from French and German publicists and geographers.

In the 1770s, Fonvizin wrote and printed a little (“Callisthenes”, “Ta-Gio or Great Science”, “Word for the recovery of Pavel Petrovich” 1771, “A word of praise to Marcus Aurelius” 1777). But from the beginning of the 1780s, his creative energy began to rise again. All the works of this stage of his biography seem to be the fruit of deep reflections on political, moral, and pedagogical topics. Even in Thomas's "Eulogy to Marcus Aurelius", translated by Fonvizin, and in some of his other works of an earlier era, his interest in issues of state structure and politics is visible. Then, on behalf of N.I. Panin and, no doubt, under his leadership, Fonvizin draws up a draft of the reforms necessary for the prosperity of Russia. This project also speaks of the liberation of the peasants, the limitation of autocracy, etc. Abroad, Fonvizin studies not only philosophy, but also the legal sciences: the political system and the legislation of France. In 1782, his “Questions” appeared in the Interlocutor of the Lovers of the Russian Word, in which he boldly points out the shortcomings of the state and court life in Russia; along with the Questions, the answers to them were printed by Empress Catherine, who was so dissatisfied with Fonvizin's insolence that he had to apologize to her in print. The same magazine published "Petition to the Russian Minerva from Russian Writers", an article in which Fonvizin protests against the neglect of literature; he himself believed that writing is one of the useful and sublime ways to serve the fatherland and humanity. The same period of Fonvizin’s biography includes: “The Experience of the Russian Soslovnik”, an excerpt from a dictionary of synonyms, in which original satirical attacks are added to borrowings from Girard’s dictionary of French synonyms, “Teaching spoken on Spirits Day by Priest Vasily” and, finally, “Undergrowth”.

If in The Brigadier Fonvizin gave only a gallery of comic types and a number of satirical attacks that were not commented on with the help of abstract reasoning and not colored by a trend, then in The Undergrowth (see our website for a summary, full text and analysis of this play) we have a complete cycle of ideas both expressed by individual characters and evident from the action itself. The perniciousness of ignorance, the resulting abuse of serfdom, the moral and mental decline of the nobility, are the main ideological cores of the comedy. Fonvizin demands from the nobleman, first of all, consciousness, diligence and devotion to the idea of ​​honor, which he considers the basis of the well-being of society. In the field of pedagogy, according to the Western teachings of that time, he asserts the primacy of moral education over the communication of specific knowledge, believing that a learned villain is no less dangerous than an ignoramus. Fonvizin reinforces the development of his views with a vivid satire on the life of the provincial nobility; along the way, and the court with its intrigues, lies, sycophancy and the like. "Undergrowth" was staged in 1782 in St. Petersburg for the benefit performance of I. A. Dmitrevsky, who played Starodum. The success was complete, amazing; Fonvizin was at the height of his fame. Despite the resistance of the Moscow censorship, he managed to stage the comedy in the Moscow theater, and since then it has not left the stage for many decades and still enjoys a reputation as the best Russian comedy of the 18th century.

This was the last creative success of Fonvizin. In 1783, N.I. Panin died, and Fonvizin immediately retired with the rank of state councilor and a pension of 3,000 rubles. in year. In 1784 - 1785. he traveled in Western Europe; he spent a lot of time in Italy, where he bought, among other things, objects of art for the trading house he had established in Russia together with the merchant Klosterman; so Fonvizin practically implemented the idea of ​​a "trading nobility." From abroad, Fonvizin again wrote long literary letters to his sister. Upon his return to Russia, Fonvizin was struck by paralysis, which deprived him of the use of his left arm and leg, and partly of his tongue. The following years are years of decline. Fonvizin saw in his illness a punishment for the sins and delusions of youth and traveled in search of healing. He was unable to continue writing. In 1788, he prepared a number of satirical articles for the magazine Starodum or Friend of Honest People, which was supposed to be published, but censorship forbade the publication; apparently, "Questions", the draft of reforms, and perhaps some parts of "Undergrowth" were not forgotten by the government; even the idea of ​​Fonvizin to translate Tacitus met with disapproval of the authorities. Shortly before his death, Fonvizin wrote a small comedy "The Choice of a Tutor" and began to write an autobiography "A sincere confession in my deeds and thoughts." He died December 1, 1792.

Brilliant talent, great intelligence and wide erudition give us the right to consider Fonvizin one of the outstanding people of the Catherine era. And in his private life he was a wit, a mocker. A dandy, a lover of painting, poetry, theater, as well as a good table, in his youth he strived with all his might for a bureaucratic career, in his old age he took up the salvation of the soul, a cunning but honest man, he was a characteristic representative of the Russian noble intelligentsia of that time.

“Science and the mind are subject to fashion as much as earrings and buttons”

DI. Fonvizin.

Russian writer - founder of Russian everyday comedy ("Brigadier" and "Undergrowth"); translator. He came from the Russified Livonian nobles and his last name during his lifetime was written like this: Fon-Vizin.

In 1777-1778 DI. Fonvizin traveled in Germany, France, where he met Jean d'Alembert ,Benjamin Franklin and witnessed the triumph arranged on the occasion of the arrival in Paris Voltaire.

DI. Fonvizin, while in Milan, he writes in a letter about his impressions: “Neither in the villages of the rural system, nor in the cities there is any police: everyone does what he wants, without fear of government. It is amazing how it still holds up to this day and how the people themselves have not yet exterminated each other. If we had such an allowance as here, I am sure that the disorder would be even worse. I think that the Italians are so accustomed to disorder that it no longer produces cruel consequences, and that arbitrariness calmed down by itself from time to time and lost its strength.

Later DI. Fonvizin wrote: “Discourse on absolutely every form of state government that has been exterminated in Russia and, therefore, on the unsteady state of both the empire and the sovereigns themselves.”

“In it, the educator, playwright, publicist refers to his time as a successful time for unworthy people whose heads are occupied with the mere invention of means of enrichment. Greedy greed all around: whoever can - robs; who cannot - steals; justice has turned into a marketplace, and one can be afraid to lose one's own without guilt and hope without the right to take someone else's. Not only the trade in wine, salt or the collection of taxes, but justice, the distribution of awards, official places, etc., became the subjects of the ransom. does not encompass a known globe and which, in proportion to its vastness, is not in the world less crowded; a state fragmented into more than thirty large regions and consisting, one might say, of only two cities, of which people live in one mostly out of need, in the other mostly out of whim; a state, terrible with its numerous and brave army, and whose situation is such that the loss of one battle can sometimes completely destroy its existence; a state that, by its power and glory, draws the attention of the whole world to itself, and which man, one human species different from cattle and led by no one, can lead, so to speak, in a few hours to the very edge of final destruction and death; a state that gives kings to foreign lands and whose own throne depends on the opening of taverns for a brutal crowd of brawlers guarding the safety of royal persons; the state, driven by daily and often conflicting decrees, but without any firm statute; a state where people are the property of people, where a person of one state has the right to be both a plaintiff and a judge over a person of another state, where everyone, consequently, can always be either a tyrant or a victim; the state is not monarchical, because there are no fundamental laws in it; not an aristocracy, for the supreme government in it is a soulless machine, driven by the arbitrariness of the sovereign; the earth cannot even resemble democracy, where the people, groveling in the darkness of the deepest ignorance, silently bear the burden of cruel slavery.

The picture is truly hopeless and bleak.

When "Reasoning ..." became known Catherine II, Fonvizin was immediately dismissed from service, a virtual ban was imposed on his literary activity; until the end of his life, the writer's works were not published.

“I have to live badly, sir Fonvizin wants to teach me to reign!” - the empress spoke with undisguised anger in the circle of courtiers.

Pompeev Yu.A., History and philosophy of domestic entrepreneurship, St. Petersburg, "St. Petersburg State University of Culture and Arts", 2003, p. 177-178.

“... Denis Ivanovich will try to create a dictionary of Russian synonyms, and literary specialties will be presented in it in this way: “A scribe is called one who composes his own or rewrites someone else's. A writer is someone who writes prose. A writer is someone who writes in verse and prose. The Creator - who wrote the famous work in verse or prose. Poet, piit didn't even get here. As well as a dramatic writer, tragedian or comedian. The division is unfortunate and indistinct, and this just speaks of the then situation in literature.

Rassadin S.B., Die, Denis, or the unwanted interlocutor of the empress, M., "Text", 2008, p. 77.

“Where less than the Undergrowth is his story Callisthenes, a remarkable work written in 1786, six years before his death. The product can be said to be final. Here's what it's about. Aristotle sends one of his students, a philosopher Callisthenes, to another student, to Alexander the Great. For he, who has not yet forgotten the lessons of the mentor and is aware of how power corrupts him, prays for spiritual help: “I am a man and surrounded by flatterers; I fear lest at last the poison of flattery should penetrate my soul and poison my good inclinations.” And at first things are going well, Callisthenes twice manages to curb Alexander's evil inclinations. But ... In a word, it's clear. Flatterers take their toll, the straightforward philosopher falls into disgrace, then to the block, which, however, he did not wait for. Released the spirit. Lucky..."

Rassadin S.B., Russians, or from nobles to intellectuals, M., "Book Garden", 1995, p. 39.

“A person is low in state, but base in soul. In a low state, one can have the noblest soul, just as a very big gentleman can be a very vile person. The word meanness belongs to state, and meanness to behavior; for there is no vile state, except idlers. A person sometimes comes to a low state involuntarily, but always becomes vile voluntarily. The contempt of a noble scoundrel for good people of low status is a spectacle that humiliates humanity.

Fonvizin D.I., Low, vile / Experience of the Russian classmate, Collected works in 2 volumes, Volume 1, p. 226-227.

Denis Ivanovich Fonvizin, having lost the ability to write, became disabled in the most literal sense of the word - he fell ill, lost the ability to walk, and died a few years later. “Fonvizin, paralyzed, was taken in a wheelchair,” says M. Zoshchenko in the book “Youth Restored,” moreover, he repeatedly ordered the footman to stop his carriage on the embankment, near the Academy of Sciences, and when the students left the university, Fonvizin waved his hand and shouted to them: “Don't write, young people, don't write. That's what literature has done to me."

Chkhartishvili G., Writer and suicide, M., New Literary Review, 2001, p. 410-412.