LESSON 1
Methodical hint
We recommend starting it with the key question for classicism: should writers compose according to rules? Opinions are usually divided: some students are in favor of “composing according to the rules” (this is understandable: after all, at school they learn the rules very often, and for them working “by the rules” is quite natural), others, on the contrary, say that creativity is the rule beyond control. Of course, each of them has their own arguments.
Repetition
Ask them to remember which of the writers they knew wrote “by the rules,” and whose work differed sharply from the work of their contemporaries. It will be difficult for them to answer this question: the material they have read so far is not enough, and there is not enough historical context - i.e. the creativity of his contemporaries - they do not know. The answers, in a word, will be contradictory, and you do not forget to note this. This inconsistency of answers will serve as a bridge to your story about classicism. After all, the amazing feature of this trend was its widespread popularity: most writers learned to “write according to the rules.”
Discussion of new theoretical material
Ask your students:
- Why did it happen? How did it happen that European writers willingly learned the rules of composing literary texts?
Of course, it is necessary to recall that “ordinary” writers learn the rules, but outstanding writers, sometimes even brilliant ones, discover these rules. But still: four hundred years have passed, and we do not forget this literary movement, we reflect on its theoretical basis, on its “rules”. Each new literary movement comes with its own rules, with its own manifesto, with its own theory. The theory of creativity for a writer is his view of the literary world, the psychology of creativity, and the motivation for creativity.
If the guys find it difficult, help them formulate the conclusion that the rules of classicism were probably well formulated. They were easy to remember and writers found it easy to follow them, and literary and theater critics understood how to evaluate these works.
Methodical hint
Often a conversation about classicism in school begins with history. Schoolchildren are told about the revival of interest in ancient, “classical” art, and information about Descartes and his teaching about reason is added to the story. They rightly emphasize that the basis of classicism is the desire of writers to call for reasonable, judicious behavior that is easy to understand and explain. All these arguments are presented in an article from the textbook “Classicism”. However, a chapter from a textbook is not yet a teacher’s story. Classroom communication should interact with the textbook and teaching aids. It is possible, of course, so. But the guys remain perplexed: why did writers begin to write according to the same rules? How did it happen that these rules became universal? With the approach we offer, the guys understand that turning to the rules and laws of classicism was also rational. Classicism established a general system of aesthetic values, in other words, it asserted what is good in art and what is bad.
Now you can move on to N. Boileau’s treatise “Poetic Art”. Tell us about this writer: after all, he was a real writer, he sought to dominate minds, influence the public, and most importantly, the French king and court nobility, aristocrats - the public most interested in literary novelties.
Read a fragment from “Poetic Art” with the guys.
– To whom is this appeal addressed? (Of course, not only to ordinary readers, but above all to writers.)
– What does the author encourage his readers to do?
These questions become homework :
- Read fragments from “Poetic Art” by N. Boileau and briefly formulate the ideas contained in them by the author.
- Read the article “Classicism” in the 8th grade textbook.
Art
Painting and fine arts
In painting, classicism is also characterized by restraint and severity. The main elements of form are line and light and shade. Local color emphasizes the plasticity of objects and figures and divides the spatial plan of the picture. The greatest master of the 17th century. – Lorraine Claude, famous for his “ideal landscapes.” Civil pathos and lyricism were combined in the “decorative landscapes” of the French painter Jacques Louis David (18th century). Among Russian artists one can single out Karl Bryullov, who combined classicism with the Romanesque style (19th century).
Classicism in music is associated with such great names as Mozart, Beethoven and Haydn, who determined the further development of musical art.
Literature: heroes and personality in works
The literature of the classical era promoted reason conquering feelings. The conflict between duty and passions is the basis of the plot of a literary work, where a person is constantly in tension and must choose what decision to make. Language reform was carried out in many countries and the foundations of poetic art were laid. Leading representatives of the direction are Francois Malherbe, Corneille, Racine. The main compositional principle of the work is the unity of time, place and action.
In Russia, classicism develops under the auspices of the Enlightenment, the main ideas of which were equality and justice. The most brilliant author of literature of the era of Russian classicism is M. Lomonosov, who laid the foundations of versification. The main genre was comedy and satire. Fonvizin and Kantemir worked in this direction.
The “Golden Age” is considered the era of classicism for theatrical art, which developed very dynamically and was improved. The theater was quite professional, and the actor on stage did not just act, but lived, experienced, while remaining himself. The theatrical style was proclaimed the art of declamation.
An example of a painting in a classic style:
King Lear, William Shakespeare
LESSON #2
It starts with checking your homework.
The children read their interpretations of N. Boileau’s ideas expressed in the passages they read at home.
The teacher can read aloud some other passage from The Art of Poetry.
For example, from “Song Four” from the words “You don’t need to imitate an absurd fool...” to the words “Let your work keep the seal of a beautiful soul // Vicious thoughts and dirt uninvolved...”
There is no need to imitate the absurd fool, the zealous reader of his bad poems, who with a zeal similar to rage, recites them to frightened passers-by; To escape from him, they run into the temple, but the daring muse does not spare them there either. I repeat again: listen carefully to worthy arguments of both knowledge and reason, and do not let the judgment of ignorance frighten you. It happens that a fool, assuming a learned appearance, destroys beautiful creations at random for the boldness of the image and the brightness of expression. It would be in vain for you to answer him: Having despised all arguments, not heeding anything, He, in blind and arrogant conceit, considers Himself a connoisseur and perspicacious. It is better for you to ignore his advice, otherwise your ship will inevitably leak. Your critic must be reasonable, noble, deeply knowledgeable, free from envy: Then he will be able to catch those mistakes that you even tried to hide from yourself. He will immediately resolve funny misconceptions, restore confidence, dispel all doubts, and then explain that the creative impulse, having mastered the soul and inspired the mind, having removed the shackles of rules decisively and boldly, knows how to expand the boundaries of poetry. But we have almost no such critics; Sometimes the most famous poet writes nonsense: Distinguished by his verses, he criticizes zealously, Although he cannot distinguish Lucan from Virgil. Do you want the world to fully approve of you? I can give you some friendly advice: Knowing how to combine business with pleasure. Readers run away from trivial inventions and wait for food for the mind from entertainment. Let your work keep the seal of a beautiful soul, uninvolved in vicious thoughts and dirt: He deserves severe judgment, Who shamefully betrays morality and honor, Drawing debauchery to us as tempting and sweet.
– What rules does the author propose in the passage he read?
– How do you understand Boileau’s call “Explore the courtyard and get to know the city!”
Methodical hint
It is important not just to formulate the rules, “classical unities,” but to show why they were followed and what these rules were used for. Tell the guys about the hierarchy of genres. Invite them to discuss why the hierarchy was built this way: why was tragedy considered higher than comedy?
Remember the exact words about N. Boileau, said by the famous researcher B. Vipper:
“The “poetic art” of Boileau had a very great influence on the formation of the literature of classicism not only in France, but also beyond its borders. Many of Boileau's ideas were adopted by French theorists of 18th-century classicism. - Voltaire, Marmontel, La Harpe; Boileau's authority was relied upon in Germany by Gottsched ("An Experience in Critical Poetics for the Germans", 1730), in England by Pop ("Essay on Criticism", 1711), in Russia by Kantemir, Sumarokov and Trediakovsky (the latter owns the first Russian translation of "Poetic Art") .
Over the years, Boileau grew into a figure who seemed to personify French classicism of the 17th century. In fact, Boileau's poetics, in terms of the ideas and aesthetic trends contained in it, are similar to the creative achievements of the greatest writers of France, his contemporaries - Moliere, La Fontaine, Racine. It does not exhaustively summarize their remarkable artistic achievements, in which the contradictions of reality are revealed more sharply and sharply than allowed by the canons formulated in “Poetic Art.” Moreover, this work does not represent the last word in the development of Boileau’s own aesthetic thought. In his later theoretical works, written at the turn of the 17th and 18th centuries, Boileau, exploring the nature and sources of beauty, along with reason, gave increasing importance to emotions and feelings. At the same time, during these years he was not inclined to so unconditionally make the assessment of works of art dependent on the tastes and judgments of the modern secular elite. Time and history now seem to him to be a more reliable and fair judge.”
In general, the topic “Classicism” provides excellent opportunities to develop children’s oral speech and their ability to defend their opinions.
Now it’s time to work with the article “Classicism”. After the students discussed why writers needed rules, it was time to figure out what those rules were.
Experience shows that schoolchildren remember the three unities easily. But there were other rules. For example, there should have been no scenery in the drama: all events were played against a black background. The play had to consist of five acts, etc.
– Who did following the rules help, an ordinary writer or a talented artist?
– Who did these rules bother?
– Were these rules beneficial to art?
Homework
Read scenes from the comedy by J.-B. Moliere “The Bourgeois in the Nobility”, presented in the textbook. Read the biography of the writer.
LESSON #3
J.-B. Moliere. “A tradesman among the nobility” (scenes from a comedy)
Let's start the lesson with a review:
– Which genres in classicism were considered high and which were low? (guys usually answer this question easily)
– Why was comedy classified as a low genre? (here you always have to refer to the materials from the previous lesson: entertainment genres in European culture were traditionally considered not very prestigious, this applied to both playwrights and actors).
– Does this mean that readers and viewers did not like comedies? (After the controversy surrounding the previous question, this one is much easier to answer: of course, they liked it, but the cultural tradition put tragedies in first place. The main thing is that classicist theory put tragedies in first place)
Following the aesthetic principles of classicism, a comedy must meet the following requirements:
- comedy was considered a low genre;
- the heroes of the comedies were ordinary people, philistines with base interests; each of them had to have one vice;
- as a rule, comedy was intended to reflect modern reality, as well as to ridicule human shortcomings;
- in a dramatic work (including comedy) it was necessary to observe the unity of place, time and action (the events of the play had to unfold within 24 hours and in one place; the main action could not be complicated by others, the comedy had to be based on only one conflict ( collision));
- heroes in comedies, as in other works of classicism, were divided only into positive and negative, etc.
Methodical hint
As always, we accompany the study of a dramatic work by viewing fragments. Try to ensure that the fragments do not repeat chapters from the textbook, but rather complement the schoolchildren’s knowledge of the comedy “A Bourgeois in the Nobility.”
Viewing takes 15-20 minutes. After this, we turn to the “Solving Reading Problems” section:
- Why is Mr. Jourdain attractive to others?
- How do others respond to Mr. Jourdain?
- How does the author relate to his hero? What does this attitude of the author indicate?
- Which part of the play do you think is more important - the action with dialogue or the dancing? Remember the history of the creation of this comedy: what was more important to the author and customers?
- A.S. Pushkin said that high comedy sometimes merges with tragedy. In what scenes of “A Tradesman among the Nobility” does the viewer feel this convergence of genres?
- Which comedy hero is opposed to Mr. Jourdain?
- What events make Jourdain doubt his own righteousness? Find the turning point in the play, the scene in which the hero “sees the light” (this should be shown on the screen in a number of other scenes so that schoolchildren have a choice).
After these questions, which usually do not turn out to be difficult, we move on to the problematic issue:
We already know that Moliere was a playwright of the classicist movement. While working on the image, he selected only those features that were necessary to depict certain types. Classicism did not strive for a complete and versatile depiction of characters. Pushkin pointed out this feature when he said: “In Moliere, the Miser is stingy - and that’s all; in Shakespeare, Shylock is stingy, shrewd, vindictive, child-loving, and witty.” What feature of Mr. Jourdain can be called the most important?
Highlighting the “most important” feature, schoolchildren argue and debate. The teacher’s task is to connect their thoughts and debates with the main topic: the aesthetic theory of classicism, as well as to interest them in the life and work of Moliere, and today sometimes a modern writer.
Homework
Read the biography of M.V. Lomonosov in the textbook.
Between Baroque and Romanticism
Until the mid-18th century, European culture was dominated by Baroque music, which art critics characterize as “pompous” and “strange.” The name of the term comes from the Portuguese phrase perola barroca, meaning a pearl of a bizarre shape. The melodies in the baroque style are pretentious and confused. Composers use sophisticated musical embellishments that complicate the performance of their works.
The intricacy of Baroque gives way to the simplicity and naturalness of classicism. Translated from Latin, classicus means “exemplary”. The main features of musical classics are logic and harmony, rationalism and harmony. Reason conquers feelings. The typical properties of human character are put in first place, sweeping aside the individuality of the individual.
The era of classicism in music begins with the reform of the art of opera, which was carried out by the composer from Bavaria Christoph Gluck, laying the ideological foundations of a new direction. Essays should be truthful, simple and natural. Classical music is built according to certain canons. The structure of the work requires proportionality and balance. Everything unimportant and superfluous is discarded.
The formation of classicism in music is divided into two stages, which took place under the influence of two creative and performing directions. Art historians call them the Mannheim and Vienna schools.
Composers working in Mannheim began to use a four-movement structure for the symphony. The musicians tried to avoid monotonous sound. Much attention was paid to highlighting melodic turns. The volume range has expanded from maximum fortissimo (very loud) to barely audible pianissimo (very quiet). Prominent representatives of the Mannheim school are Jan Stamitz, Franz Richter, and Anton Fils.
LESSON #4
M.V. LOMONOSOV. THE THEORY OF THREE STYLES (2 HOURS)
2 hours are allotted for studying the works of M.V. Lomonosov.
Methodical hint
This planning option involves introducing students to the personality of the writer. The focus of students will be on the personality of Lomonosov and his historical role in the development of Russian literature and philological science.
Eighth-graders will get acquainted with the literary activity of the writer, expressively read and interpret a literary text, discuss problems that concern Lomonosov, work with literary concepts, exchange opinions, evaluate the literary activity and the writer’s contribution to the development of literature.
The main material with which the work is carried out is an article about the writer, questions and assignments in the workbook.
In the first lesson, the teacher can introduce schoolchildren to the assessment of Lomonosov’s personality by famous critics and writers, which involves further questions to the students: what did Lomonosov do to deserve such a high rating?
What do you know about our great compatriot?
Quotes could be, for example, like this: “Lomonosov was not only a poet, speaker and writer, but also a great scientist. The vast field of natural science greatly attracted his inquisitive mind" (V.G. Belinsky), "Contemporaries could only be amazed at him; we judge, distinguish, and all the more vividly feel his dignity... If genius and mental gifts have the right to the gratitude of peoples, then Russia owes Lomonosov a monument” (N.M. Karamzin).
Students can rely on the article in the textbook dedicated to M.V. Lomonosov, “Personal and state in the poetic work of Lomonosov.” It is recommended that you give them the article to read and review as homework before this lesson. They should note in it the main milestones of his work. Students pay attention to theoretical works “A Letter on the Rules of Russian Poetry”, “Russian Grammar”, “On the Use of Church Books in the Russian Language”, poetic works - odes and tragedies; research in the field of a new language system, development of the theory of “three calms”, on the features of poetry: poetry of state affairs, a call to rulers to establish necessary and good laws themselves, to observe them and obey these laws.
At this stage, it is advisable to explain to students what the ode genre is. The teacher notes that Lomonosov’s odes are most often written in iambic. To remember what an iambic is, a teacher can prepare in advance lines from poems by Lomonosov or other poets and give students the task of determining the size of these lines and making sure that an iambic is a poetic size with stress on the last syllable in the foot, and determining the peculiarity of such works (solemnity, enthusiasm of speech), by doing this work, students remember how to determine the size of a verse. The methodological recommendations for grade 7 discuss in detail how to work with poetic meters. Refer to this article before talking about different poetic meters. What is said in it applies not only to works included in the program in 7th grade: the material in the article will be useful to you until you complete the literature course in 11th grade.
Next we turn to the text “Ode on the Day of the Ascension...” (1747). It's time for an exemplary teacher read-aloud. It is advisable for the teacher to independently read to students an excerpt from the ode with an explanation of some outdated words and give the students the task of proving that this work is written in iambic.
This work will be the completion of the first lesson.
Homework
Students answer questions 4 and 5 in the workbook.
4. Remember what the features of iambic poetic meter are. List the poems you know written in iambic and write down their authors and titles.
5. Write down the definition:
Oda is...
Read an article about the theory of “three calms”.
Classicism in foreign literature
Are you an expert in this subject area?
We offer to become the author of the Directory Working conditions Initially, classicism originates from the theory of ancient cultural and artistic figures Aristotle and Horace. Classicism takes as its basis their view of literary rules. The famous French poet Nicolas Boileau drew up rules for writing. This was a kind of guide for classical writers.
European classicism developed in two main stages. The first stage is associated with the rise of the monarchy, which contributed to economic, scientific and cultural progress. During this period, writers - representatives of classicism considered their main task to glorify their king. The dominant genres during this period were ode, poem, and epic. Prominent representatives of this period were Francois Malherbe and Pierre Corneille.
The second stage of classicism is associated with the crisis of the monarchy. People are beginning to pay attention to the shortcomings of this political system. Writers begin to express more criticism of the king rather than laudatory speeches. The leading genres at this stage were comedy, satire, epigram, famous representatives of this period are:
Finished works on a similar topic
Course work Classicism in literature 420 ₽ Essay Classicism in literature 250 ₽ Test work Classicism in literature 200 ₽
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- J. Lafontaine
- J.-B. Moliere
- Voltaire
Francois Malherbe is a theorist of European classicism.
Francois Malherbe refused to follow the tradition of humanism and worked in the genres of ode, stanza, sonnet, and song that were popular at that time. The poet focused much attention on the poetic texture; he condemned gaping, caesuras, and demanded the use of complex rhymes. Malherbe is considered the founder of the aesthetics of classicism.
J.-B. Moliere is the founder of high comedy.
Moliere was a famous French comedian, poet, actor, and founder of classical comedy. His first comedies were “Naughty, or Everything Is Out of Place” and “Love’s Annoyance.” Since the production of the play “Funny Primroses,” Moliere’s popularity begins to grow. Thanks to him, comedy has become an influential genre that can influence people's minds and raise important issues. Moliere made comedy a high genre. In his comedies, Moliere followed his main principle of “educating while entertaining”; he raised moral issues in his works.
Note 1
For Moliere, the theater was a kind of mirror in which the society of that time could be reflected. In his comedies he implemented the principles of classicism.
Voltaire.
Voltaire is a famous philosopher, poet, prose writer. Voltaire tried to develop such poetic genres as epistle, ode, and so on. He was a representative of classical tragedy. He has 28 comedies to his credit.
Voltaire wrote in the genre of classical tragedy, but under his influence it was transformed. He replaces fictional events and characters with real ones and uses allegorical images.
LESSON #5
The second lesson on this topic should begin with checking the oral homework. The questions in the “Solving Reader’s Problems” section will help with this. Students say that according to the theory of “three styles”, Church Slavonic words are divided into three styles depending on the genre of the work: high style - common words for Church Slavonic and Russian languages (genres: heroic poems, odes);
Middle style - commonly used words (genres: theatrical works, poetic friendly letters, satires, descriptions of memorable deeds and noble teachings);
Low style - original Russian words (genres: comedies, epigrams, songs, prosaic friendly letters, descriptions of ordinary affairs).
Next, students answer question 3 in the workbook and summarize the theoretical information received.
3. According to Lomonosov’s theory, what is the basis for the difference in styles, correlated with the system of various genres?
At the next stage of the lesson, it is advisable to work with the text, turning to individual passages from the “Ode”, with proof that this is a work of high style and that it is of a solemn nature and relates to the poetry of state affairs. Students determine what the author calls the empress to do, what hopes he places on her. Of course, if one of the students prepares a brief report on how the poet’s expectations were met and whether the empress followed his calls, this will decorate the lesson, introduce a historical note into it, and show the complex relationships between poetry and real political life, literature and power in Russia.
At the final stage of the lesson, we summarize the conversation about Lomonosov and his services to philology. Students answer questions 1 and 2 in their workbook.
1. What were the names of the books devoted to the creation of the Russian literary language in literary theory?
2. What words and scientific expressions have become firmly established in the Russian language thanks to the teachings of Lomonosov?
Homework
Read the entire “Ode” included in the textbook, and if you wish, learn the passage you like. Fonvizin. Minor (2 hours)
LESSON #6
Aesthetic principles of comedy of classicism. DI. Fonvizin and his political satire in "The Minor". Positive heroes of the play.
Introductory conversation
A story about the work of D.I. It is advisable to start Fonvizin by repeating information about classicism.
Then students can be asked to recall the definition of comedy (a dramatic work in which situations in life or characters are depicted that cause laughter) and comic (funny in life and depiction of the funny in art), as well as the main features of the comedy of classicism.
At one time, theorists proposed the following classification of comedy: comedy of manners, characters, situations. Practice has shown that such a division is partly arbitrary. The more talented the author was, the more organically the elements merged in his creation. D.I. was exactly such an author. Fonvizin, who back in the 18th century managed to combine the comic and tragic. IN. Klyuchevsky, in the article “Fonvizin’s Minor,” described the main character of the comedy “The Minor”: “Isn’t the mistress of the house herself, Mrs. Prostakova, nee Skotinina, comical? This face in the comedy is unusually well conceived psychologically and superbly sustained dramatically: throughout all five acts of the play, with strong-headed, truly bestial patience, she never once blinked from that cruel physiognomy that the ruthless artist ordered her to keep during the entire leisurely session while he was drawing with her portrait. But she is doubly not comical: she is stupid and cowardly, that is, pathetic - for her husband, like Prostakova, godless and inhuman, that is, disgusting - for her brother, like Skotinina. It is not at all conducive to laughter; on the contrary, at the mere sight of this outrageous mischief, not only her downtrodden husband, but also the modern viewer, protected from her for a whole century, begins to blur in his eyes and his faith in man, in his neighbor, begins to waver.”
Working with textbook materials
A.S. Pushkin wrote in “Eugene Onegin”: “A magical land! There in the old days, / Satire’s brave ruler, / Fonvizin, friend of freedom, shone.” Why A.S. Pushkin calls D.I. Fonvizin the “brave ruler” of satire and the “Friend of freedom”? What do you know about him? What was the name of the author's first comedy, which brought him fame?
Why did the comedy “The Minor,” written in 1782, glorify D.I. Fonvizin for centuries?
(When answering these questions, students can use materials from a textbook article about D.I. Fonvizin and his works).
Methodical hint
Drama is not only read, but, above all, staged on stage. Comedy D.I. Fonvizin is a dramatic work. The difficulty when reading any dramatic work has always been the absence of any author's assessments. Therefore, the reader (spectator) must actively participate in the action, independently evaluate, see and hear everything that happens on stage.
So, let’s turn directly to the comedy “Minor.” In it, D.I. Fonvizin identifies several important themes: the theme of honor and dignity, the theme of the purpose of a person and his role in the life of society, the theme of educating the younger generation, as well as the theme of impunity for “evil” landowners, etc.
Having become acquainted with the heroes of the comedy, we will conditionally divide them, following the aesthetics of classicism, into positive and negative. Next, students move on to a more detailed examination of the positive characters of “The Minor.”
Questions and tasks for discussion
1. Try to formulate the main conflict of the play. (The struggle of progressive nobles against oppressive, ignorant landowners).
2. List all the positive characters who ended up at Prostakova’s estate to defend their views. (Starodum, Milon, Pravdin). Tell us about each of them. (Pravdin came on the orders of the governor to investigate the outrages committed by Prostakova, the young officer Milon, in love with Sophia, arrived at the estate with a regiment of soldiers, Starodum, having acquired a considerable fortune in Siberia, returns to his niece). The comedy "The Minor" is closely related to the aesthetics of classicism. Therefore, it would be appropriate to draw students' attention to the fact that all the characters find themselves in the same place and at the same time.
3. Among the educated and sensible heroes of the play, Starodum stands out. For Fonvizin, who grew up in an “honest noble family,” honesty was not an empty word. Fonvizin considered Starodum “a friend of honest people.” Why? (From childhood, Starodum learned his father’s order: “have a heart, have a soul, and you will be a man at all times.” Starodum left his service at court and went to Siberia, where he became rich thanks to his own labor “without vile seniority, without robbing the fatherland.” The image of Starodum for Fonvizin was very significant: through the mouth of this “reasoner” (the so-called character whom the author instructed to express the most important thoughts in the play), the writer tries to convey his innermost thoughts).
4. Consider the scenes (act. 3, phenomenon 1; act. 3, phenomenon 2; act. 5, phenomenon 1) in which the good characters express their views. Can we say that these scenes are comedic in nature? What feelings do they evoke? (The author included non-comedy scenes in the comedy to express a new educational view of man. That is why the positive characters of “The Minor” mainly speak and do not act on stage. By this, Fonvizin preaches, first of all, such personal values as patriotism, understanding of duty to the fatherland, civil courage, etc.)
5. In the comedy there is “a lofty female image - the ideal of girlhood, the virtuous and radiant image of Sophia.” It is not by chance that the author refers to this name; Sofia is the mother of Faith, Hope and Love. Why? (In this name “we hear some sadness for what was lost, what was always there before”...)
Homework
Find in the text the statements of the heroes about serving the Fatherland, about morals at court, about nobility and wealth, about human dignity. Which of them might be interesting and important to modern people?
Lesson 2. Negative characters of the comedy D.I. Fonvizin "Undergrowth".
Checking homework
Eighth-graders give examples of the characters’ statements on the proposed topics. Starodum's statements, which have become aphorisms, can be written down in a notebook, explaining their meaning. (For example, “... it is not the rich man who counts out money in order to hide it in a chest, but the one who counts out what he has in excess in order to help someone who does not have what he needs.”, “Have a heart, have a soul, and you will be a all times. Everything else is in fashion...").
Methodical hint.
Traditionally, when working on “negative” characters, the teacher helps students comprehend the “realism of the satirical portrayal” of the characters in the play. Students can be asked to remember the main ways of creating comedy in a play and find them in the text.
As an example, we can mention the law of discrepancy between the imaginary and the true. One of the first in Russian literature to masterfully use inconsistency in his comedies was D.I. Fonvizin. Thus, the heroine of the comedy “The Minor,” Prostakova, tries in every possible way to show the hospitality of her home and the dignity of Mitrofan, being nice to Sophia and flattering Starodum. But she can’t play for long. Realizing that Sophia is slipping out of her hands, Prostakova shows her true colors. G.G. Krasukhin, who for a long time headed the newspaper “Literature” (a supplement to the newspaper “First of September”), commented on one of the dialogues on his Facebook page: “Here we are analyzing Fonvizin’s “Nedorosl.” We reach the scene where Mrs. Prostakova orders the maid Eremeevna to give the child “breakfast.” Eremeevna replies that Mitrofanushka has already “deigned to eat five buns.” “So you feel sorry for the sixth one, beast?” – Prostakova is indignant. It’s not a pity, but, according to Eremeevna, Mitrofan suffered from stomach pain all night. What did he eat, his mother and uncle ask? “What! - recalls Mitrofan, - three slices of corned beef, and hearth slices, I don’t remember, five, I don’t remember, six.” “At night,” adds Eremeevna, “he kept asking for a drink. I deigned to eat a whole jug of kvass.” For a modern reader, this scene does not sound as grotesquely comic as it did for an 18th-century viewer. Meanwhile, according to the recollections of Fonvizin’s contemporaries, the audience sobbed loudly while listening to Mitrofanushka and Eremeevna. Mitrofanushka’s “slice” is nothing more than an official kitchen measure - “lomot”, which meant a finger-thick or inch-thick piece (2.5 cm), cut across the entire cross-section of corned beef. It weighs approximately 200-250 grams. Three slices eaten by Mitrofan equals 600-750 grams of salted, dried, heavy, difficult-to-digest meat. “Hearthole” is a pie. hearth is baked on a hearth, i.e. at the “bottom” of the Russian stove, directly above the crucible (firebox). At the end of the 18th century they were baked small but tall; stuffed with meat and onions or cabbage and eggs. The dough was kneaded stiff. Baked in a frying pan in beef lard and boiling water. The weight of one such pie reached a pound (409 grams). It is easy to calculate that, having eaten six hearths, Mitrofan weighed down his stomach with 2.5 kilograms of flour products. Well, at that time the “jug” had two volumes - 3 or 5 liters. It is clear that, estimating Mitrofan’s Rabelaisian appetite, the audience, of course, was inclined towards the five-liter “jug”. Don’t forget: “The Minor” is first and foremost a comedy, and the audience adored Fonvizin for his ability to make people laugh. For contemporaries, many things in the play sounded much funnier than they do today.
Questions and tasks for discussion.
1. The teacher or a previously prepared student reads the first scene of act 1. What's funny about this scene? What makes you think? (From the very beginning of the play, we get acquainted with the Prostakov family. Mitrofan tries on a caftan. The serf Trishka enters into an argument with the lady and, knowing full well her despotic character, enters into an argument with her. Trishka is self-taught, he understands that it is better to give the order to a real tailor. The husband who comes running can’t say anything to Prostakova at all, so as not to incur the wrath of his wife. And Prostakova’s brother, Skotinin, unexpectedly praises the caftan, but only because of his upcoming agreement with Sophia... In “Nedorosl”, as in life, the funny exists nearby with the serious, and sometimes with the tragic. Thus, D.I. Fonvizin departs from the basic rule of classicism, bringing comedy closer to reality).
2. Read by role, act 3, phenomena 6, 7, 8 (Mitrofan’s lessons) and act 4, phenomenon 8 (exam). Answer textbook question #1. Formulate in one phrase the life interests of Mitrofanushka (Greek “mother-like”). How were they formed? What can such upbringing lead to? (This phrase is known to everyone: “I don’t want to study, I want to get married.” And it belongs to Mitrofan, the beloved son of Mrs. Prostakova. Mitrofan is not just a blockhead - a glutton, he always wins everything in his favor. This child of “delicate build” is not burdened with anything. The scenes that cause laughter are when the grown-up kid is timid in front of Skotinin’s fists and hides behind the back of the nanny Eremeevna. And the scenes of Mitrofan’s study and exam amaze everyone with the stupidity of the hero, who talks about doors, “which is an adjective”... Unfortunately, excessive maternal love and care lead to betrayal hero. In the finale of the comedy, having committed all sorts of atrocities for the sake of her beloved child, Prostakova rushes to her son in hope. But Mitrofan answers her: “Let it go, mother, I imposed myself...”)
3. Try to orally prepare a story about Prostakova. What is your attitude towards her? Many researchers of D.I. Fonvizin considered the image of Prostakova to be the most “remarkable achievement.” Why? (Indeed, in the image of Prostakova, many first of all see the ignorance of the landowner, her confidence in her power. The character of the heroine is shown in many ways. She is able to change depending on the circumstances. Pay attention to how rudely Prostakova talks to the serfs! But in front of Starodum she is clearly ingratiates. It is hardly necessary to prove with what tenderness and selfless love the landowner treats her only son, thereby crippling him morally. We see how deeply Prostakova suffers when her son turns away from her at the end of the play. Her image evokes sympathy, despite her vile actions).
4. Try to answer the textbook question: What place does Skotinin occupy in the comedy in the system of characters in the play? (Taras Skotinin is a stupid, cynical, stubborn serf owner. He says about himself: “no matter what I get into my head, you can’t knock it out with a nail.” He shows warmth and tenderness only towards pigs; Skotinin even compares his future wife to pigs (“for Each pig gets a special peck, then I’ll find a little light for my wife.” Having learned that Sophia is rich, out of greed Skotinin is ready to destroy any rival, even his own nephew. At the same time, Skotinin, with his unaccountable love for pigs, is not only ridiculous, but also disgusting).
5. Summarizing what has been learned, the teacher invites eighth-graders to answer the questions in the textbook:
– There is a widely known historical anecdote that Prince Potemkin, delighted with the comedy “The Minor,” said to Fonvizin: “Die, Denis, there’s no better way to say it!” How do you understand these words?
– Why do you think the comedy ends with Starodum’s words “Here are the worthy fruits of evil!”
6. To create a comic effect of negative characters, D.I. Fonvizin used speaking first and last names, comparisons with animals, exposure and self-exposure of heroes, as well as the creation of comic situations and speech characteristics of characters. Find examples in the test.
(Speaking names and surnames: Mitrofan - like a mother (Greek), Taras (Skotinin) - causing confusion (Greek); comparisons with animals: Skotinin says that he wants to have his own piglets, comparing them with children; Prostakova compares herself with a dog, and Mitrofan with a puppy (“Don’t be angry. I have a mother’s heart. Have you ever heard of a bitch giving away her puppies? I’ve deigned to welcome someone unknown, who knows who.”); self-exposure: Prostakova says that they have sheltered the orphan Sophia, Prostakov lets slip , that they oversee Sophia's estates as if they were their own; Vralman, hiding the fact that he was a coachman, blurts out: "I have always been a hunter and eager to watch the public. I was afraid, about the prasnik of the Sietut in Katringof, carriages with hospots. I always look at them. I'm afraid, I won't get off." NOT FOR A MINUTE FROM KOSEL"; creation of comic situations: the overeating Mitrofan "was seized after dinner", Prostakova's fight with Skotinin, a mathematics lesson, Mitrofan's "exam", etc.).
7. At the end of the lesson, the teacher asks students to repeat the aesthetic principles of classicism comedy. Did D.I.’s comedy meet all the requirements of classicism? Fonvizina? What is innovative about the playwright?
The main characters are depicted in a three-dimensional, multi-faceted way; the play contains not only comic, but also dramatic, and sometimes tragic notes. Comedy D.I. Fonvizina contributed to the further development of Russian drama.
8. For more than one generation of Russian schoolchildren, they have been reading the works of D.I. Fonvizina. A.S. learned to think and write from Fonvizin’s works. Pushkin and N.V. Gogol, F. Dostoevsky, L. Tolstoy, M. Prishvin... Why is the play by D.I. Is Fonvizina interesting to people of every new era?
(The characters created by the playwright remain “alive” because their vices are alive. Even the name of the hero of “The Minor” Mitrofan has become a household name. Many Fonvizin heroes can still be found in our lives).
