Classicism as a literary movement (8th grade) – lesson notes – Russian Textbook Corporation (Drofa-Ventana publishing house)

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.

↑ Definition of classicism, Features, features of classicism

CLASSICISM
- from the Latin classicus (“exemplary”): ideal, exemplary forms are recreated in art.
Orientation towards classics
(
antiquity
) as an aesthetics of perfection of forms.
In the content
there is didacticism, the depiction not of “what is”, but of “what should be”;
in the form
there is a strict canon, regulation of techniques and means for each genre, the separation of high and low genres.
In philosophy
- Cartesianism, the cult of reason, the primacy of reason over feeling.
Then came the Age of Enlightenment and the Great French Revolution. Voltaire and "Voltairianism". This sets the stage for romanticism. Classicism
- literary movement (current) XVII - beginning. XIX centuries in Russia and Western Europe, based on imitation of ancient models in strict stylistic standards.

Chronological framework of classicism:

second half of the 17th, first third of the 18th centuries. (in the West it had already exhausted itself by the middle of the 18th century).

The main historical background

The origin of classicism was absolutism, the sole rule of a monarch (king, czar, emperor) in European countries, especially in France, where classicism originated and developed.

Autocracy required absolute submission to the monarch from every person, and literature and art were supposed to teach this. In turn, the ruler strictly monitored (regulated) the creativity of artists, not allowing any free thinking.

Ancient art, ancient aesthetics in the person of Aristotle and Horace were recognized as a model of art, in connection with which the classicists put forward the principle of “imitation of nature”, implying strict adherence to immutable rules, an example of which is Aristotle’s “Poetics”, on which the classicist theorist N. Boileau relied in his "Poetic Art"

Classicism reached its peak in the 17th century. in French literature; it was then that N. Boileau-Depreo formulated its basic principles

in the didactic poem “Poetic Art” (1674).
Classicism is based on Cartesian philosophy, which derives material existence from the idea (≪ I think, therefore I exist
≫). Reason is interpreted as the primary and highest spiritual ability of man.

The picture of the world in classicism divides reality into two levels: empirical and ideological.

Empirical level

- this is a chaos of disparate material objects and phenomena, above which there is a universal idea of the universe and a set of ideal images of material objects. Such a binary picture of the world determines such aspects of classicism as the concept of personality and the typology of conflict.

Personality concept

in classicism it is also two-level: the first level is “natural” man, part of the material, empirical world; the second is a “social” person, part of the ideal world, guided not by passions, but by reason. This is how a complex and contradictory concept of personality develops, because A “natural” and a “social” person are one and the same character who is in a situation of choice.

The laws of classicism were based on the idealization of life, that is, under absolutism, everything is limited by rules, regulations, and what is useful and necessary for the state. The main idea of art is duty to the state. Therefore, the main conflict in the works is between duty and feeling, while the hero subordinates personal interests to state ones, and in case of violation of this ratio he always suffers punishment.

Classicism, sometimes called rationalistic, is also subject to the laws of reason; its defining categories are hierarchy and normativity

Ancient literature became the literary model for classicism

, understood as the highest standard of art. The theorists of classicism considered imitation of nature to be one of the main achievements of ancient literature. But nature is presented as a strictly planned garden, in which everything is subordinated to beauty (good taste). Classicists are not interested in the truth if it depicts something ugly. Therefore, they prefer verisimilitude to truth.

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...”

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.

Essay on classicism in literature

Content

Introduction 1. Characteristics of classicism 2. Fundamentals of classicism and its meaning 3. Features of classicism in Russia and its supporters 3.1 Kantemirov A.D.
3.2 Trediakovsky V.K. 3.3 Lomonosov M.V. 4. Russian classicism as a literary movement Conclusion List of references Introduction
From the Latin classicus - exemplary.
A style or movement in literature and art of the 17th – early 19th centuries, which turned to the ancient heritage as the norm and ideal model. Classicism developed in the 17th century. in France. In the 18th century classicism was associated with the Enlightenment; Based on the ideas of philosophical rationalism, on ideas about the reasonable regularity of the world, about beautiful ennobled nature, he strove to express great social content, lofty heroic and moral ideals, and to the strict organization of logical, clear and harmonious images. In accordance with the sublime ethical ideas and educational program of art, the aesthetics of classicism established a hierarchy of genres - “high” (tragedy, epic, ode; historical, mythological, religious painting, etc.) and “low” (comedy, satire, fable; genre painting and etc.). In literature (tragedies by P. Corneille, J. Racine, Voltaire, comedies by Molière, the poem “The Art of Poetry” and satires by N. Boileau, fables by J. Lafontaine, prose by F. La Rochefoucauld, J. Labruyère in France, works of the Weimar period by I.V. Goethe and F. Schiller in Germany, odes by M.V. Lomonosov and G.R. Derzhavin, tragedies by A.P. Sumarokov and Ya.B. Knyazhnin in Russia) the leading role is played by significant ethical conflicts and normative typified images. For theatrical art [Mondory, T. Duparc, M. Shanmele, A.L. Lequin, F.J. Talma, Rachel in France, F.K. Neuber in Germany, F.G. Volkov, I.A. Dmitrevsky in Russia] are characterized by a solemn, static structure of performances and measured reading of poetry. In the musical theater, heroism, elation of style, logical clarity of dramaturgy, the dominance of recitative (operas by J.B. Lully in France) or vocal virtuosity in arias (Italian opera seria), noble simplicity and sublimity (reform operas by K.V. Gluck in Austria). Classicism in architecture (J. Hardouin - mansar, J.A. Gabriel, K.N. Ledoux in France, C. Wren in England, V.I. Bazhenov, M.F. Kazakov, A.N. Voronikhin, A.D. Zakharov, K.I. Rossi in Russia) is characterized by clarity and geometricism of forms, rational clarity of layout, combination of a smooth wall with an order and restrained decor. Fine arts (painters N. Poussin, C. Lorrain, J.L. David, J.O.D. Ingres, sculptors J.B. Pigalle, E.M. Falconet in France, I.G. Schadov in Germany, B Thorvaldsen in Denmark, A. Canova in Italy, painters A.P. Losenko, G.I. Ugryumov, sculptors M.P. Matros in Russia) is distinguished by the logical development of the plot, strict balance of composition, plastic clarity of forms, clear harmony of linear rhythms . 1. Characteristics of classicism
This direction is characterized by high civic themes and strict adherence to certain creative norms and rules.
Classicism, as a certain artistic movement, tends to reflect life in ideal images that gravitate toward a certain “norm” or model. Hence the cult of antiquity in classicism: classical antiquity appears in it as an example of modern and harmonious art. According to the rules of the aesthetics of classicism, which strictly adhered to the so-called “hierarchy of genres,” tragedy, ode and epic belonged to the “high genres” and were supposed to develop especially important problems, resorting to ancient and historical subjects, and display only the sublime, heroic aspects of life. “High genres” were opposed to “low” ones: comedy, fable, satire and others, designed to reflect modern reality. Each genre had its own theme (selection of themes), and each work was built according to the rules developed for this purpose. Mixing techniques of various literary genres in a work was strictly prohibited. The most developed genres during the period of classicism were tragedies, poems and odes. Tragedy, as understood by the classicists, is a dramatic work that depicts the struggle of a personality outstanding in its spiritual strength against insurmountable obstacles; such a struggle usually ends in the death of the hero. Classical writers based the tragedy on the clash (conflict) of the hero’s personal feelings and aspirations with his duty to the state. This conflict was resolved by the victory of duty. The plots of the tragedy were borrowed from the writers of ancient Greece and Rome, and sometimes taken from historical events of the past. The heroes were kings and generals. As in Greco-Roman tragedy, the characters were portrayed either positive or negative, with each person representing one spiritual trait, one quality: positive courage, justice, etc., negative - ambition, hypocrisy. These were conventional characters. Life and the era were also conventionally depicted. There was no correct depiction of historical reality, nationality (it is unknown where and when the action takes place). The tragedy had to have five acts. The playwright had to strictly observe the rules of the “three unities”: time, place and action. The unity of time required that all the events of the tragedy fit within a period of no more than one day. The unity of place was expressed in the fact that all the action of the play took place in one place - in the palace or in the square. Unity of action presupposed an internal connection of events; in the tragedy nothing unnecessary was allowed that was not necessary for the development of the plot. The tragedy had to be written in solemn and majestic verses. The poem was an epic (narrative) work that presented an important historical event in poetic language or glorified the exploits of heroes and kings. Ode is a solemn song of praise in honor of kings, generals, or victories won over enemies. The ode was supposed to express the author’s delight and inspiration (pathos). Therefore, it was characterized by elevated, solemn language, rhetorical questions, exclamations, appeals, personification of abstract concepts (science, victories), images of gods and goddesses and conscious exaggerations. In terms of the ode, “lyrical disorder” was allowed, which was expressed in a deviation from the harmony of presentation of the main theme. But this was a conscious, strictly considered retreat (“proper disorder”). 2. Fundamentals of classicism and its meaning
classicism literature style The doctrine of classicism was based on the idea of the dualism of human nature.
The greatness of man was revealed in the struggle between the material and the spiritual. The personality was affirmed in the fight against “passions” and freed from selfish material interests. The rational, spiritual principle in a person was considered as the most important quality of personality. The idea of the greatness of the mind that unites people found expression in the creation of the theory of art by the classicists. In the aesthetics of classicism, it is seen as a way of imitating the essence of things. “Virtue,” wrote Sumarokov, “we do not owe to our nature. Morals and politics make us, by the measure of enlightenment, reason and purification of hearts, useful to the common good. Without this, people would have destroyed each other long ago without a trace.” Classicism is urban, metropolitan poetry. There are almost no images of nature in it, and if landscapes are given, they are urban; pictures of artificial nature are drawn: squares, grottoes, fountains, trimmed trees. This direction is formed, experiencing the influence of other pan-European trends in art that are directly in contact with it: it starts from the aesthetics of the Renaissance that preceded it and confronts the Baroque art that actively coexists with it, imbued with the consciousness of the general discord generated by the crisis of the ideals of the past era. Continuing some traditions of the Renaissance (admiration for the ancients, faith in reason, the ideal of harmony and proportion), classicism was a kind of antithesis to it; behind the external harmony it hides the internal antinomy of the worldview, which makes it similar to the Baroque (for all their deep differences). The generic and the individual, the public and the personal, reason and feeling, civilization and nature, which appeared (in a trend) in the art of the Renaissance as a single harmonious whole, are polarized in classicism and become mutually exclusive concepts. This reflected a new historical state, when the political and private spheres began to disintegrate, and social relations began to turn into a separate and abstract force for humans. For its time, classicism had a positive meaning. Writers proclaimed the importance of a person fulfilling his civic duties and sought to educate a citizen; developed the question of genres, their composition, and streamlined the language. Classicism dealt a crushing blow to medieval literature, full of faith in the miraculous, in ghosts, which subordinated human consciousness to the teachings of the church. Enlightenment classicism was formed earlier than others in foreign literature. In works devoted to the 18th century, this trend is often assessed as the “high” classicism of the 17th century that had fallen into decline. This is not entirely true. Of course, there is a continuity between Enlightenment and “high” classicism, but Enlightenment classicism is an integral artistic movement that reveals the previously untapped artistic potential of classicist art and has Enlightenment features. The literary doctrine of classicism was associated with advanced philosophical systems that represented a reaction to medieval mysticism and scholasticism. These philosophical systems were, in particular, the rationalist theory of Descartes and the materialist doctrine of Gassendi. The philosophy of Descartes, who declared reason to be the only criterion of truth, had a particularly great influence on the formation of the aesthetic principles of classicism. In Descartes' theory, materialistic principles, based on the data of the exact sciences, were uniquely combined with idealistic principles, with the assertion of the decisive superiority of the spirit, thinking over matter, being, with the theory of the so-called “innate” ideas. The cult of reason underlies the aesthetics of classicism. Since every feeling in the minds of adherents of the theory of classicism was random and arbitrary, the measure of a person’s value was for them the compliance of his actions with the laws of reason. Above all else in a person, classicism placed the “reasonable” ability to suppress personal feelings and passions in the name of one’s duty to the state. Man in the works of the followers of classicism is, first of all, a servant of the state, a person in general, for the rejection of the inner life of the individual naturally followed from the principle of subordination of the particular to the general proclaimed by classicism. Classicism depicted not so much people as characters, images and concepts. Typification was therefore carried out in the form of mask images, which were the embodiment of human vices and virtues. Equally abstract was the setting outside of time and space in which these images operated. Classicism was ahistorical even in those cases when it turned to the depiction of historical events and historical figures, because writers were not interested in historical authenticity, but in the possibility through the mouth of pseudo-historical heroes of eternal and general truths, eternal and general properties of characters, supposedly inherent in people of all times and peoples. 3. Features of classicism in Russia and its supporters
In Russia, the formation of classicism occurs almost three-quarters of a century later than it took shape in France.
For Russian writers, Voltaire, a representative of contemporary French classicism, was no less an authority than such founders of this literary movement as Corneille or Racine. Russian classicism had many similarities with Western classicism, in particular with French classicism, since it also arose during the period of absolutism, but it was not a simple imitation. Russian classicism originated and developed on original soil, taking into account the experience that had accumulated before its established and developed Western European classicism. The peculiar features of Russian classicism are the following: firstly, from the very beginning, Russian classicism has a strong connection with modern reality, which in the best works is illuminated from the point of view of advanced ideas. The second feature of Russian classicism is the accusatory and satirical current in their work, conditioned by the progressive social ideas of writers. The presence of satire in the works of Russian classic writers gives their work a vitally truthful character. Living modernity, Russian reality, Russian people and Russian nature are to a certain extent reflected in their works. The third feature of Russian classicism, due to the ardent patriotism of Russian writers, is their interest in the history of their homeland. They all study Russian history, write works on national and historical topics. They strive to create fiction and its language on a national basis, to give it their own, Russian face, and pay attention to folk poetry and the folk language. Along with the general features inherent in both French and Russian classicism, the latter also exhibits such features that give it the character of national originality. For example, this is an increased civic-patriotic pathos, a much more pronounced accusatory-realistic tendency, less alienation from oral folk art. Everyday and ceremonial cants of the first decades of the 18th century largely prepared the development of various genres of lyric poetry in the middle and second half of the 18th century. The main thing in the ideology of classicism is state pathos. The state, created in the first decades of the 18th century, was declared the highest value. The classicists, inspired by Peter's reforms, believed in the possibility of its further improvement. It seemed to them to be a reasonably structured social organism, where each class fulfills the duties assigned to it. “Peasants plow, merchants trade, warriors defend the fatherland, judges judge, scientists cultivate science,” wrote A.P. Sumarokov. The state pathos of Russian classicists is a deeply contradictory phenomenon. It reflected both progressive trends associated with the final centralization of Russia, and at the same time - utopian ideas coming from a clear overestimation of the social possibilities of enlightened absolutism. The establishment of classicism was facilitated by four major literary figures: A.D. Kantemir, V.K. Trediakovsky, M.V. Lomonosov and A.P. Sumarokov. 3.1 Kantemirov A.D.
He lived in an era when the first foundations of the modern Russian literary language were just being laid;
his satires were written according to the syllabic system of versification, which was already outlived at that time, and nevertheless the name of Cantemir, in the words of Belinsky, “has already outlived many ephemeral celebrities, both classical and romantic, and will still outlive many thousands of them,” as Cantemir “ the first in Rus' to bring poetry to life.” “Symphony on the Psalter” is the first printed work of A. Cantemir, but not his first literary work in general, which is confirmed by the authorized manuscript of a little-known translation by Antiochus Cantemir entitled “Mr. Philosopher Constantine Manassis Synopsis Historical,” dated 1725. In the “Translation of a Certain Italian Letter,” made by A. Cantemir only one year later (1726), the vernacular is no longer present in the form of random elements, but as the dominant norm, although the language of this translation was called by Cantemir, out of habit, “famous -Russian." The rapid transition from Church Slavonic vocabulary, morphology and syntax to vernacular as the norm of literary speech, which can be traced in the earliest works of A. Cantemir, reflected the evolution of not only his individual language and style, but also the development of the linguistic consciousness of the era and the formation of Russian literary language as a whole. The years 1726-1728 should include the work of A. Cantemir on poems on a love theme that have not reached us, about which he later wrote with some regret in the second edition of the IV satire. During this period, Antioch Cantemir showed an intense interest in French literature, which is confirmed both by the above-mentioned “Translation of a Certain Italian Letter” and by Cantemir’s notes in his 1728 calendar, from which we learn about the young writer’s acquaintance with English-style French satirical magazines like “ Le Mentor moderne”, as well as with the work of Moliere (“The Misanthrope”) and the comedies of Marivaux. The work of A. Kantemir on the translation into Russian of Boileau’s four satires and the writing of the original poems “On a Quiet Life” and “On Zoila” should also be attributed to this period. The early translations of A. Kantemir and his love lyrics were only a preparatory stage in the work of the poet, the first breakdown of strength, the development of language and style, manner of presentation, their own way of seeing the world. poems from philosophical letters here, obeying rights; However, I live in my charters: the spirit is calm, now life goes without adversity, every day to eradicate my passions and looking at the limit, so I establish life, serenely I direct my days to the end. I do not miss anyone, there is no need for the need, happy that I reduced the days of my desires. I now know, I do not want, I don’t want to know, I am not afraid, I expect death. When you recks your mercy to me , I will be completely happy.
In 1729, the period of the poet’s creative maturity begins, when he completely deliberately concentrates his attention almost exclusively on satire: in
a word, I want to be a pideciots, and not to write in the satires, I can’t write: I can’t stand it. (IV satire, I ed.)
The first satire of Kantemir, “on the fucking teaching” (“to his mind”), was a work of huge political sound, since it was directed against ignorance as a certain social and political power, and not abstract vice;
against ignorance of “in a sewn dress”, opposing the transformations of Peter I and Education, against the teachings of Copernicus and printing; ignorance of the militant and triumphant; clothed with the authority of state and church authorities. Pride, laziness, wealth - wisdom has overcome, ignorance of knowledge by the place of the village; then is proud of Mitroy, walks in a sewn dress, it judges behind a red cloth, drives shelves. The lips are torn off, she has been lined in lumps, from all the noble houses with a curse, it is shot down.
Contrary to the preface to the satire, in which the author tried to assure the reader that everything in it was written in fun and that he, the author, was “no particularly,” - the first Cantemir satire was directed against well -defined and “particular” persons, - These were enemies of the affair of Peter and the "scientific squad."
“The character of the bishop,” wrote in one of the notes to Satire Kantemir, “although the author is described from an unknown person, it has a lot of similarities with D ***, which in external ceremonies delivered the entire highway.” Fleaning in the satire of the churchman, the whole education of which is limited to the assimilation of the “stone of faith” by Stefan Yavorsky, Kantemir clearly pointed out his own ideological position - a supporter of the “scientific squad”. The very real prototypes corresponded to Kantemir's images, and yet these were a generalization, they excited the minds, the reactionary churchmen of new generations continued to recognize themselves in them when the name of Antiochus Kantemir became the property of history and when the names of George Dashkov and his associates were devoted Full of oblivion. 3.2 Trediakovsky V.K.
If Kantemir gave samples of the Russian satire, then Trediakovsky owns the first Russian ode, which was released by a separate brochure in 1734 under the name “Ode solemn about the surrender of the city of Gdansk” (Danziga).
The Russian army and Empress Anna Ioannovna were sung in it. In 1752, in connection with the fiftieth anniversary of the founding of St. Petersburg, a poem was written “Praise of the Irgian land and the reigning degree of St. Petersburg”. This is one of the first works chanting the Northern capital of Russia. In addition to victorious and laudables, Trediakovsky also wrote “spiritual” Odes, that is, poetic transformations (“paraphrases”) of biblical psalms. The most successful of them is the paraphrasis "Second Songs of the Moiseeva", which began with poems: Vonmi Oh! The sky, and the river, the earth heard the mouths of the verbs: how to rain in a word flow; And they will dance like dew to a flower, my broadcasts on the valleys.
Very penetrated verses are “Poems of the Book of Russia”, in which Trediakovsky finds clear and accurate words in order to convey his immense admiration for the unclean, and longing for his native land.
I’ll start on the flute poetry sad, in vain on Russia through the countries are distanced: for everything is my kindly

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”.

↑ Representatives of classicism

In the West

— Outstanding representatives of classicism were the French playwrights P. Corneille, J. Racine, J.-B. Molière, and the fabulist La Fontaine.

In Russia:

The main representatives of classicism were V. Trediakovsky, M.V. Lomonosov, A. Sumarokov, and the leading genre of classicism was the ode, the creator of which is considered to be the Roman poet Horace (65-8 BC), who wrote the ode “Monument”.

Bibliography:

Gukovsky G.A. About Russian classicism // Poetics.
Kurilov A.C. On the essence of the concept of “classicism” and the nature of literary and artistic development in the era of classicism // Russian and Western European classicism. Prose.
Lebedeva O.B. Russian high comedy of the 18th century: Genesis and poetics of the genre.
Pumpyansky L.V. On the history of Russian classicism // Context
Serman IZ. Russian classicism: Poetry. Drama. Satire.
Stennik Yu.V. The genre of tragedy in Russian literature.
Lyon P. E., Lokhova N. M. Literature: For high school students and those entering universities.
G.G. Khazagerov, I.B. Lobanov. Fundamentals of literary theory.
Rusakova M.V., Spector A.L. Theory of literature: textbook.
O.I. Fedotov. Fundamentals of literary theory.

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)

Classicism as a literary movement

Literature is an ever-changing, ever-evolving phenomenon.
Speaking about the changes that have occurred in Russian literature in different centuries, it is impossible to ignore the topic of successive literary trends. Definition 1

A literary movement is a set of ideological and aesthetic principles characteristic of the works of many authors of the same era.

There are a huge variety of literary trends. This includes romanticism, realism, and sentimentalism. A separate chapter in the history of the development of literary movements is classicism.

Definition 2

Classicism (from Latin classicus - exemplary) is a literary movement based on the ideas of rationalism.

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From the point of view of classicism, all works of art must strictly adhere to established canons. The genre hierarchy of classicism divided all genres into high and low and prohibited the possibility of mixing genres.

High genres:

Oh yeah;
Tragedy;
Epic.

Low genres:

Comedy;
Satire;
Fable.

Classicism was formed in the 17th century in France, soon covering all of Europe, as well as Russia. French classicism declared the human personality to be the highest value. Previously, the theological picture of the world assumed that God was at the center of the universe; With the development of science and social thought, the emphasis shifted from God to man.

Note 1

Classicism relied heavily on the art of Antiquity. Ancient works became standards for classicists.

In Russian literature, classicism dominated in the second half of the 18th - first half of the 19th centuries. The reason for this was the Europeanization of Russian culture. Classicism preceded all other literary movements. All of them were built in one way or another based on the ideas of classicism, most often denying them in their dogmas.

Finished works on a similar topic

Course work Classicism in Russian literature 430 ₽ Essay Classicism in Russian literature 280 ₽ Examination Classicism in Russian literature 250 ₽

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Classicism placed the concept of reason above all else. The classicists believed that only with the help of the mind can we understand the world around us. Often the works raised issues of the struggle between reason and feelings, duty and passions.

The heroes of classic works are necessarily good and bad, and the good ones could not look ugly. In the works, the rule of three unities was necessarily observed: the unity of time, place and action.

Classicism was interested only in eternal themes and essential features of phenomena and objects.

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).