What works of Fonvizin are known to modern readers? Of course, "Minor". After all, comedy is part of school curriculum. It is known that the Russian writer wrote critical articles and translations of foreign authors. However, literary works and satirical essay Fonvizin’s works are not limited to the ignorant Prostakov family.
What else did the creator write? domestic comedy? And why, in his declining years, was it difficult for the author of “The Minor” to publish his creations?
Russian author of foreign origin
The writer lived and worked in Catherine's era. Fonvizin’s works would not have been created if one of the comedian’s ancestors had not once fallen into Russian captivity. The creator of such characters as Prostakov, Starodum and Mitrofanushka was of foreign origin, but was the most Russian of all Russian writers of the eighteenth century. At least that's what Pushkin said about him.
Translation activities
The writer studied at the gymnasium, then became a student at the Faculty of Philosophy. Fonvizin's works represent the pinnacle theatrical arts eighteenth century. However, before receiving recognition, the writer spent many years poring over translations of famous foreign and even ancient playwrights. And only after gaining experience, he began to write original essays.
The hero of this article began to engage in literary translation by accident. One day one of the St. Petersburg booksellers heard about his excellent knowledge of foreign languages. Businessman suggested young man translate the works of Ludwig Holberg into Russian. Denis Fonvizin coped with the task. After which many offers from publishers poured in.
Literary creativity
When did Fonvizin’s original works begin to appear? The list of his works is small. Below is a list of dramatic works and publications on political topics. But first it’s worth saying a few words about the worldview of this author.
In the second half of the eighteenth century, educational thought was in fashion throughout Europe, one of the founders of which was Voltaire. The Russian writer happily translated the works of the French satirist. The humor that distinguishes Fonvizin’s works in the style of classicism probably became a feature formed under the influence of Voltaire’s work. During the years when the writer was especially active in visiting circles of freethinkers, the first comedy was created.
"Brigadier"
Literary studies helped Fonvizin climb the career ladder in his youth, but had a detrimental effect on the writer’s work in his old age. The empress herself drew attention to the translation of the tragedy of the Aviary. The comedy “Brigadier” enjoyed particular success.
Journalism
In 1769, the writer entered the service of which prompted him to write a political treatise. The title of this work fully corresponds to the time in which the author lived: “Reflections on the completely destroyed form of government and on the precarious state of the empire and sovereigns.”
In Catherine’s era, educated people expressed themselves in a very florid way, even the empress herself, who, by the way, did not like the essay. The fact is that in this work the author criticized both Catherine and her favorites and demanded constitutional reform. At the same time, he even dared to threaten a coup.
In Paris
Fonvizin spent more than two years in France. From there he carried on regular correspondence with Panin and other like-minded people. Social problems have become main theme both letters and essays. Fonvizin's journalistic works, the list of which is little known to contemporaries, despite the absence of strict censorship in those years, were imbued with a thirst for change and a reformist spirit.
Political Views
After visiting France, Denis Fonvizin wrote new “Discourses”. This time they were dedicated to state laws. In this essay, the author raised the issue of serfdom. Convinced of the need to destroy it, he was still under the impression of “Pugachevism,” and therefore proposed getting rid of serfdom moderately, without haste.
Fonvizin was engaged in literary creativity until the end of his days. But due to the disapproval of the empress, he was unable to publish a collection of his works. Finally, it is worth mentioning the works of Fonvizin.
List of books
- "Brigadier."
- "Undergrown."
- "Discourses on indispensable state laws."
- "Governor's Choice"
- "Conversation with Princess Khaldina."
- "Frank confession."
- "Corion".
The writer created “Frank Confession” while in old age. This work is autobiographical in nature. IN recent years writer Fonvizin mainly wrote articles for magazines. Fonvizin entered the history of Russian literature as the author of comedies in the genre of classicism. What is this direction? What are its characteristic features?
Works by Fonvizin
Classicism is a movement based on the principles of rationalism. The works contain harmony and faith, and poetic norms are strictly observed. The heroes of the comedy “The Minor” are divided into positive and negative. Conflicting images not here. And this is also characteristic feature classicism.
This trend originated in France. In Russia, classicism was distinguished by its satirical orientation. In works French playwrights Antique themes came first. They are characterized by national-historical motives.
Main feature dramatic works the eighteenth century - the unity of time and place. The events of “The Minor” take place in the house of the Prostakov family. Everything that is described in the comedy takes place within twenty-four hours. Fonvizin endowed his characters speaking names. Skotinin dreams of villages where many pigs graze. Vralman pretends to enlighten Mitrofanushka, while he introduces the ignoramus into even more terrible ignorance.
The comedy touches on the topic of education. Enlightenment thought had a significant influence on all of Fonvizin’s work. The writer dreamed of changing the political system. But he believed that without enlightenment, any changes would lead to rebellion, “Pugachevism” or other negative socio-political consequences.
Denis Ivanovich Fonvizin, a famous Russian writer, a prominent representative of the literary era of Catherine II, was born on April 3, 1745 in Moscow. He came from an old German noble family, which, under Ivan the Terrible, left Livonia (Baron Peter von Visin; this surname was written separately in the middle of the 19th century: von Visin, and only later was a combined spelling established). Until the age of 10, Fonvizin was raised at home. His father, although not a very educated man, taught his eight children himself. Upon the establishment of a university in Moscow, Fonvizin the father sent his two eldest sons, Denis and Pavel, to the noble gymnasium that opened under him. Denis was in excellent standing at the gymnasium; He repeatedly received awards and twice gave speeches at public events in Russian and German. In 1758, young Fonvizin, among the best students, was taken to St. Petersburg to be presented to the patron of the university, I. I. Shuvalov, and Empress Elizabeth. The splendor of the courtyard and, in particular, theatrical performances made a stunning impression on the boy. In 1759, Fonvizin was “promoted to student,” and 3 years later, at 17 years old, he completed his university education.
The university at that time was just being established, and at first there were many shortcomings in its organization, but Fonvizin, like his comrades, brought from it both cultural interests and sufficient knowledge in both sciences and foreign languages. These years began creative biography Fonvizin Moscow University was the most prominent center literary life in Russia. Under the leadership of one of the university officials, M. M. Kheraskov, in 1760 the magazine “Useful Entertainment” began to be published, uniting on its pages all almost young writers of that time, connected by the same unity literary school: all of them were more or less consistent students of Sumarokov. The literary movement also spread to students; Many of the university students tried their hand at translations, which were later published in Useful Entertainment. Fonvizin was among them; His translation of the moralizing story “Just Jupiter” was published in Kheraskov’s journal. At the same time, Fonvizin, at the suggestion of the university bookseller Wever, who had heard about the gifted student, translated from German language a book of fables by the Danish writer Holberg; the translation was published at the same time (1761). The following year (1762) Fonvizin energetically contributed to the popular science magazine of his teacher, Professor Reichel (“Collection best essays") - he placed 5 translated articles in it. At the same time, he translated Ovid’s “Metamorphoses” (not published) and 1 volume of Terrason’s extensive political and moral novel “Heroic Virtue and the Life of Seth, King of Egypt” (1762, the next 3 volumes were published until 1768; the translation was made from German). It was then that Fonvizin first tried his creative forces in the field of poetry; he translated Voltaire's tragedy "Alzira" into verse. However, he himself was dissatisfied with his translation and did not send it either to the stage or to print.
Denis Ivanovich Fonvizin
After graduating from university, Fonvizin turned out to be a sergeant of the Semenovsky Guard Regiment, in which, according to the custom of that time, he had been in service since 1754, i.e., from the age of 9. Military service could not interest him, and at the first opportunity, taking advantage of the arrival of the court and government at the end of 1762 in Moscow, he got a job at the College of Foreign Affairs as a translator with a salary of 800 rubles. per year, and then was sent on an honorary mission to Schwerin. In 1763, together with the court, Fonvizin moved to St. Petersburg, and already in October of the same year he went to serve the “cabinet minister” in accepting petitions addressed to the empress, I. P. Elagin, who later (from 1766) received under his jurisdiction and theater management. Fonvizin's rapid steps in his career are largely explained by his literary successes and secular talents. From the very early childhood An extraordinary liveliness began to appear in his character. Over the years, he developed that ability to see all things from their funny side, a craving for wit and irony that did not leave him until the end of his biography. His epigrams, witty and evil remarks about people circulated in society. This made him many friends, but also many enemies. Among the latter was Elagin’s secretary, a well-known playwright V. I. Lukin, enmity with whom made Fonvizin’s service very difficult.
In St. Petersburg literary creativity Fonvizin continued. In 1763, he translated Barthelemy’s novel “The Love of Carita and Polydor” and continued to translate “Sif.” At this time, he became friends with a circle of young people who were passionate about the doctrines of French enlightenment philosophers and preached atheism. Fonvizin paid tribute to this hobby; traces of religious skepticism remained in the satire written during this era (“Message to the Servants”; perhaps the fable “The Fox-Kaznoday” and some other poetic plays that have come down to us in fragments date back to the same time). However, quite soon Fonvizin renounced his doubts and again became a religious man, as he had been in his father’s house and university. In 1764, Fonvizin staged his poetic adaptation of Gresse's comedy "Sydney", entitled "Corion". This was an example of “inclination to our morals,” that is, a free translation with the transfer of action to Russia and a corresponding change in everyday details, names, etc. This was the recipe for writing comedies from Elagin’s group, which included Fonvizin and Lukin. Corion was a dubious success; opponents of the rework system were unhappy with it.
Fleeing from clashes with Lukin on more or less long vacations to Moscow, Fonvizin completed his famous “Brigadier” on one of these trips. Upon his return to St. Petersburg (1766), the comedy became famous in society; the author, who read it masterfully, was invited to read it to the empress, and then to a number of noble houses. The success was unprecedented. “The Brigadier” was put on stage and did not leave it for a long time. Fonvizin immediately became one of the luminaries of literature; he was extolled with praise and compared to Moliere. While reaping laurels in the field of drama, Fonvizin did not abandon other types of literary creativity. In 1766, he published his translation of Quayer’s treatise “The Trading Nobility, Opposed to the Military Nobility” (with the addition of Justi; translated from German), which argued that the state and the nobility itself were interested in the nobles engaging in trade. In 1769, his translation of Arno’s sentimental story “Sidney and Scilly” and a translation of Bitobe’s extensive work “Joseph” (2 volumes) were published.
In the same 1769, Fonvizin, dissatisfied with the slowness of his career and having lost interest in Elagin, went to serve in the Collegium of Foreign Affairs under N.I. Panin, under whom he remained until the latter’s death. At this service, Fonvizin advanced. He worked hard, corresponded with Russian envoys in Western Europe, helped N.I. Panin in all his endeavors. Fonvizin's diligence was rewarded; when in 1773 Panin received 9,000 souls upon the marriage of his pupil, Grand Duke Pavel Petrovich, he donated 1,180 of them (in Vitebsk province) to Fonvizin. The following year, Fonvizin married the widow E.I. Khlopova (born Rogovikova), who brought him a significant dowry.
Fonvizin. Minor. Maly Theater performance
In 1777, Fonvizin left for France to improve his wife’s health; from there he wrote extensive letters to his sister F.I. Argamakova and the brother of his boss, P.I. Panin; he described in detail his journey, the morals and customs of the French. In witty and vivid sketches, he depicted the decaying society of pre-revolutionary France. He truly felt the approach of a thunderstorm and saw the madness that gripped the country before the catastrophe; in addition, he did not like many things because he did not want and could not abandon his own, Russian, landowner concepts when assessing a culture alien to him. Fonvizin treated his letters as if they were real literary work; this is evident from the fact that he introduced into them many remarks borrowed from French and German publicists and geographers.
In the 1770s, Fonvizin wrote and published a little (“Callisthenes”, “Ta-Gio or Great Science”, “Word for the recovery of Pavel Petrovich” 1771, “Word of praise to Marcus Aurelius” 1777). But from the beginning of the 1780s, his creative energy began to rise again. All the works of this stage of his biography seem to be the fruit of deep reflection on political, moral, and pedagogical topics. More in " Word of praise Marcus Aurelius" by Tom, translated by Fonvizin, and in some of his other works more early era his interest in issues of government and politics is visible. Then, on the instructions of N.I. Panin and, no doubt, under his leadership, Fonvizin draws up a draft of reforms necessary for the prosperity of Russia. This project also talks about the liberation of the peasants, the limitation of autocracy, etc. Abroad, Fonvizin studies not only philosophy, but also legal sciences: the political system and legislation of France. In 1782, his “Questions” appear in the “Interlocutor of Lovers of the Russian Word”, in which he boldly points out the shortcomings of state and court life in Russia; along with the “Questions,” the answers to them were published by Empress Catherine, who was so dissatisfied with Fonvizin’s insolence that he had to apologize to her in print. The same magazine published “Petition to the Russian Minerva from Russian writers", an article in which Fonvizin protests against the neglect of literary studies; he himself believed that writing was one of the useful and sublime ways to serve the fatherland and humanity. The same period of Fonvizin’s biography includes: “The Experience of the Russian Soslovnik”, an excerpt from a dictionary of synonyms, in which original satirical attacks are added to borrowings from Girard’s dictionary of French synonyms, “A Teaching delivered on Spiritual Day by Priest Vasily” and, finally, “The Minor”.
If in “The Brigadier” Fonvizin gave only a gallery of comic types and a number of satirical attacks, not commented on with the help of abstract reasoning and not colored by a trend, then in “The Minor” (see on our website for a summary, full text and analysis of this play) we have before us a complete cycle of ideas both expressed by individual characters and evident from the action itself. The perniciousness of ignorance, the resulting abuse of serfdom, the moral and mental decline of the nobility constitute the main ideological cores of the comedy. Fonvizin demands from the nobleman, first of all, consciousness, hard work and devotion to the idea of \u200b\u200bhonor, which he considers the basis of the well-being of society. In the field of pedagogy, he, according to Western teachings of that time, asserts the primacy of moral education over the communication of specific knowledge, believing that a learned villain is no less dangerous than an ignoramus. Fonvizin reinforces the development of his views with bright satire on everyday life provincial nobility; Along the way, the court also gets it with its intrigues, lies, sycophancy and the like. “The Minor” was staged in 1782 in St. Petersburg for a benefit performance by I. A. Dmitrevsky, who played Starodum. The success was complete, amazing; Fonvizin was at the height of his fame. Despite the resistance of Moscow censorship, he achieved the production of the comedy at the Moscow theater, and since then it has not left the stage for many decades and still enjoys the reputation of the best Russian comedy of the 18th century.
This was the last one creative success Fonvizina. In 1783, N.I. Panin died, and Fonvizin immediately retired with the rank of state councilor and a pension of 3,000 rubles. per year. In 1784 – 1785 he traveled throughout Western Europe; He spent a lot of time in Italy, where he purchased, among other things, objects of art for the trading house he founded in Russia together with the merchant Klosterman; This is how Fonvizin practically implemented the idea of a “trading nobility.” From abroad, Fonvizin again wrote long literary letters sister. Upon returning to Russia, Fonvizin was struck by paralysis, which deprived him of the use of his left arm and leg and partly of his tongue. The following years are years of extinction. Fonvizin saw his illness as a punishment for the sins and delusions of his youth and traveled in search of healing. He was unable to continue his literary work. In 1788, he prepared a number of satirical articles for the proposed publication of the magazine “Starodum or Friend” honest people", but censorship prohibited publication; Apparently, “Questions”, the reform project, and perhaps some places in “Nedoroslya” were not forgotten by the government; even Fonvizin’s idea to translate Tacitus met with the disapproval of the authorities. Shortly before his death, Fonvizin wrote a short comedy, “The Tutor’s Choice,” and began writing an autobiography, “Frank Confession of My Deeds and Thoughts.” He died on December 1, 1792.
Brilliant talent, great intelligence and wide erudition give us the right to consider Fonvizin one of outstanding people Catherine's era. And in privacy he was a wit, a mocker. A dandy, a lover of painting, poetry, theater, and also a good table, in his youth he strived with all his might for an official career, in his old age he took up the salvation of his soul, a cunning but honest man, he was a characteristic representative of the Russian noble intelligentsia of that time.
1. The beginning of the journey: Fonvizin is a fable writer.
2. Comedy "Brigadier"
3. “The Minor” as a satire of its time.
4. Innovation of the writer.
D. I. Fonvizin is a writer in many ways iconic for the literature of the 1760s - 1780s. The originality and difference of Fonvizin’s work is determined primarily by the fact that the writer stands at the origins of a new stage in the development of Russian satire.
Fonvizin's work as a literary critic began with the translation of fables by the then famous Danish poet Golberg. Later, he himself began to write fables and parables that were still “raw” in many respects, but interesting for his time. However, being already known as a translator, Fonvizin more than once found himself in an awkward position - most of the fables he created were considered either elegant translations of foreign works into Russian, or outright plagiarism. Nevertheless, several fables are still known as the genuine work of Fonvizin and are of particular interest for revealing the initial stages of the master’s creative path. This is the political fable “The Fox the Executor” and the satire “Message to My Servants, Shumilov, Vanka and Petrushka,” written in 1760.
The first named work was written shortly after the death of Empress Elizabeth and was an angry response to the church ceremony associated with her funeral. The writer ridiculed the sycophancy and sycophancy of the courtiers in his work and revealed to the reader true essence actions the highest of the world this. The Emperor “Lion King” is depicted as a “desert beast,” and his kingdom and leadership of the people are based on oppression and violence:
During his reign, favorites and nobles
They skinned innocent animals without rank.
The second work presents the reader with a conversation between the author and his servants. To the question: “Why was this light created? — the author was never able to get a clear answer. Shumilov believes that there is no point in the question, that the lot of the serf is eternal slavery and humiliation of the servant; he is simply not ready to express his thoughts, which most likely do not exist at all. Vanka expresses his opinion that “the world here” is bad, and talking about it is a trifle, a worthless conversation. Petrushka, the footman, also cannot answer the question, but proudly declares his intention to live for his own pleasure in this world. It becomes obvious to everyone that there is no higher divine plan no, and that society and the division into classes are structured, to say the least, unreasonably. The first major satirical work The writer became the comedy “The Brigadier”, written in 1763. The comedy brilliantly played out a plot common in the 18th century, while the hackneyed comedy theme received a new understanding and became almost an innovation in the theatrical tradition. Parents strive to profitably marry children who have long given their hearts to others. Two families - the Advisor and the Brigadier - decide to arrange a marriage between the brigadier's son Ivan and the advisor's daughter Sophia. At the same time, Fonvizin “twists” the affair that had begun to develop according to the standard in a completely different direction: the brigadier’s son begins to pursue the Advisor, while the Brigadier is ready to advance his son in the battle for the beautiful lady. The Advisor begins to hunt for the Brigadier, and the prudent Sophia is left alone, with the choice of her heart. It is not by chance that Fonvizin introduced such clashes of feelings and intrigue into the text. Thus, the author manages to demonstrate all the absurdity and vulgarity of the behavior of serf owners and gallomaniac dandies. In terms of the genre, “The Brigadier” is an unusual comedy for Russian literature. This is one of the first “comedy of manners” in the history of Russian satire and drama. The process of formation of this kind of characters has not yet been shown by the author, but an explanation of the behavior and impulses of each of the characters is already present in the text of the comedy. Many innovative techniques - self-exposure, outright buffoonery, grotesquery - make the comedy understandable and funny even for modern reader.
Fonvizin’s next work is “The Minor,” a comedy written in 1781. She is the most important stage in the life and work of the writer. This work became programmatic and appeared highest point development of domestic satire of the 18th century.
The main task that the author set for himself was to expose the rotten morals of that time, the formation of which was due to the established tradition of relationships between people within a notorious and conserved society.
The main theme of the comedy is the malice of the serf-owners, which Fonvizin presents as the worst thing social evil. The main conflict of the era - the arbitrariness of the landowners and the lack of rights of the serfs - is the leitmotif of the entire work. The main subject of the image, therefore, is not the nobility itself, but the noble class shown in close interaction with the serfs.
The problem of comedy is the decomposition of the nobility as the main ruling class of the country. The author presents the viewer with an unusual, but easily imaginable world even for the modern reader, where some people own others. The ruling figure of this world is Mrs. Prostakova - “despicable fury” and “inhuman lady.” The sovereign mistress of this world, Prostakova subjugates both the slave-serfs (the old woman Eremeevna, Trishka, the girl Palashka), and her family and friends, in whom she can find neither support nor support.
The author seeks to reveal two problems of contemporary society. The fact is that the servility of the serf system not only kills everything human in the serfs, making them a soulless and uncomplaining herd, but also corrupts the serf owners themselves, allows them to revel in power over people and with each new obscene act pushes them down the inclined plane lower and lower.
For the first time in Russian drama, Fonvizin not only gave a high-quality and complete possible solution to a social issue, but also fully and comprehensively described goodies. Before this, only evil was visible and significant, while positive heroes were perceived differently - their speeches and actions seemed too straightforward and feigned. Fonvizin also gave positive heroes the right to life. They felt, spoke and acted like living heroes, and not like machines programmed to do good.
It is difficult to create a work that would be relevant not only for the modern reader, but also for the coming generation. One topical topic is not enough; it also requires remarkable writing talent combined with pure and clear thought. However, talent is not so much simple thing. Even natural talent requires constant development and polishing.
Fonvizin had a difficult time creative path. Starting with rather “raw” and gray works, he was able to hone his literary gift to such an extent that he became not only an outstanding writer of his time, but also an innovative author who opened the doors to all Russian literature. new level development.
2. Comedy "Undergrown"
1. Characteristics of Fonvizin’s creativity
The work of Denis Ivanovich Fonvizin contains features that are opposite to Russian noble sentimentalism in XVIII literature V. Fonvizin opposed this literary direction, and all his work was imbued with the spirit of political struggle and the desire for freedom. Fonvizin’s work can be characterized as follows:
✓ is a protest against the developing movement of Russian noble sentimentalism with its rejection of political and social activity in literature and escape from reality into the world of dreams and fantasies;
✓ is an expression of Fonvizin’s political ideas and views on development Russian state and its proper management, and these ideas are as follows:
Critics noble society and his inactivity and ignorance, and this criticism is expressed through harsh satire;
The demand from the nobility for a rise in political consciousness and activity;
Pointing out major shortcomings in the education and culture of the nobility and seeing in the correct education of future generations of nobles the salvation of Russia and its power as a civilized and strong world power;
Criticism of the adherence of society and nobles to the fashion for everything Western and their contempt for native language and to his homeland;
Promoting the fight against serfdom and its wildest forms, which at that time were very common among landowners;
Protest against the policies and teachings of the Church and defenders of religion, and this protest is expressed in the form of harsh social satire;
✓ partly influenced by the ideas of bourgeois enlightenment, actively developing in France, where Fonvizin lived for some time;
✓ based on literary traditions Sumarokov and Kheraskova, on the traditions of noble classicism and liberalism;
✓ deeply poses the problem of a realistic depiction of man and the surrounding reality and thereby precedes what developed in the 19th century. literary movement realism, which actively developed in the work of A. S. Pushkin;
✓ serves the purpose of not only educating the nobility as a narrow class, but also creating a layer the best people Russia, capable of leading to a great future and great achievements, that is, the nobility, hereditary and possessing a high level of culture, is seen by Fonvizin as the only and natural master of the state;
✓ contains a lot of Western materials both in drama and in satire, processing them, but at the same time the comedies created by Fonvizin had no analogues in the West and the borrowed motifs and elements organically merged into the original style and method of these comedies, contributing to the creation of original works;
✓ includes elements of both classicism and realism, which were closely intertwined throughout Fonvizin’s entire work.
To the most famous and important literary works Fonvizin can be attributed the following works:
✓ translated works, which include:
Walter's tragedy "Alzira" (1762);
Gresse's psychological drama "Sydney", published under the title "Corion" (1764);
✓ the fables “Fox Koznodey” and “Message to my servants Shumilov, Vanka and Petrushka” (1763), written in an excellent satirical form;
✓ comedy "The Minor" (1764 - the first version, which was unfinished, 1781 - the second, final version), which is a brilliant, harsh satire on the morals of the nobility in raising their children and brought Fonvizin fame, popularity and recognition not only among his contemporaries, but also among his descendants;
✓ the comedy "The Brigadier" (1766), reflecting the ideas of noble liberalism, to which Fonvizin was close.
2. Comedy "Undergrown"
Fonvizin's comedy "The Minor" is the most important work in his work and played an exceptional role in the development of Russian literature in the 19th century. The comedy has the following artistic features:
✓ contains a protest against serfdom;
✓ is, first of all, a comedy about education, which for Fonvizin acts not so much as a moralizing issue, but to a greater extent as a hot-button political topic;
✓ acts as a serious manifesto of protest against the existing autocratic power, and it was this feature of comedy that influenced the development of Russian literature of the 19th century. and on her protesting character.
3. The connection between classicism and realism in the work of Fonvizin
The features of classicism and realism are closely intertwined and connected with each other throughout Fonvizin’s work, and this connection has the following features:
✓ classicism was not completely destroyed, but realism also did not fully develop;
✓ there is and is already noticeable the struggle between these two directions, which had a significant influence not only on many writers of the second half of the 18th century, for example Radishchev, but also on the writers of the first half of the 19th century V.;
✓ there is a close interweaving of these two directions, and it is thanks to this that the ground was prepared for development in XIX literature V. subsequent generations of Russian writers, in particular A.S. Pushkin, realism as the leading literary movement of this period;
✓ the interweaving of classicism and realism is expressed in the artistic method.
4. Fonvizin’s artistic method
Artistic method Fonvizin contains a close interweaving of elements of classicism and realism. The following can be distinguished in Fonvizin’s work: elements of realism:
✓ a description of the negative phenomena of reality in satire, which made Fonvizin a participant in the “satirical movement”, thanks to which in Russia, earlier than in the West, the ground was prepared for education critical realism as a leading literary movement, but this movement itself grew in the depths of Russian realism;
✓ the use in comedies of the method of mixing comic and sad, funny and serious motives, prohibited by classicism;
✓ the juxtaposition of elements of a serious drama, which is instructive in nature and designed to make the viewer think, with lyrical elements, designed to touch this viewer;
✓ introducing the role of a “resonating person” who preaches from the stage on behalf of the author, which was not the case in classical comedies early XVIII V.;
✓ bringing comedies closer to the “sentimental drama” of French authors through the introduction of pictures of true touching virtue;
✓ the use of scenes of everyday life to demonstrate a true picture of people’s lives, which is not typical of classicism, in which everyday life serves to depict other purposes and should not be an empty stage;
✓ the bitterness and anger of Fonvizin’s satire, which in this sense differs from the traditions of classicism, which indicates the inadmissibility of bitterness and poison in the matter of teaching, which comedy serves. These qualities of Fonvizin's satire prepared the bitter satire of Gogol and Shchedrin;
✓ the appearance in the depiction of the characters of individual heroes of “living”, non-schematic features, their individual characteristics, which is not typical classic comedy;
✓ the discovery of a realistic method of depicting a hero, which contributes to the understanding of man as an individual and at the same time as social phenomenon, and this is the most important significance of Fonvizin’s comedies, which determined the further development and strengthening of the realistic method in Russian literature;
✓ the use of real, everyday speech, close to real life, the desire to overcome archaic bookishness.
Techniques of classicism, used by Fonvizin in his work, are due to the influence on him of the classical school of Sumarokov and Kheraskov, the features of which were preserved in all his works, and among these elements the following can be distinguished:
✓ unity of time, place and action, when the entire action of the play is united by one main motive (for example, in “The Minor” this is the struggle of three contenders for Sophia’s hand, and the entire action of the play is built on this);
✓ the advantages of classicism, which in Fonvizin’s work boil down to the following:
Rationalistic understanding of the world;
Personality is not as a specific individual, but as a unit in social classification;
Social and state in man as leading forces that absorb his individuality;
The social principle of assessing human actions and behavior;
✓ shortcomings of classicism, which in Fonvizin’s work boil down to the following:
Schematism of abstract classifications of people and moral categories;
A mechanistic idea of a person as a set of mental abilities;
Anti-psychological in the individual sense in the depiction and understanding of a person, that is, the psychological traits of the hero are shown in relation to the public, and not to the personal, individual;
The mechanical and abstract nature of the idea of the state as a category of social existence;
Limited colors and schematization in the depiction of characters, demonstration and exposure of individual shortcomings or feelings without big picture personality and the totality of its characteristics, as evidenced by the so-called speaking names and names (Pravdin - lover of truth, Vzyatkin - bribe-taker, etc.);
One-sidedness in the depiction of everyday life as a diagram of social relationships;
Dividing all people into two categories:
Nobles, whose characteristics include signs of their abilities, moral inclinations, feelings, etc.;
All others, whose characteristics boil down to indicating their profession, class and place in the system of society;
Static in the image human characters and the characters wearing them, i.e. the heroes do not develop as individuals in the process of action;
The use of certain speech techniques characteristic of classicism, for example, solemnity and height of syllable in laudatory speeches, rich speech patterns, puns.
The famous writer of Catherine's era D.I. Fonvizin was born on April 3 (14), 1745 in Moscow, into a wealthy noble family. He came from a Livonian knightly family, completely Russified (until mid-19th century, the surname was spelled Von-Wiesen). He received his primary education under the guidance of his father, Ivan Andreevich. In 1755-1760, Fonvizin studied at the newly opened gymnasium at Moscow University; in 1760 he was “promoted to student” at the Faculty of Philosophy, but stayed at the university for only 2 years.
A special place in the dramaturgy of this time is occupied by the work of Denis Ivanovich Fonvizin (1745-1792), which was the pinnacle of theatrical XVIII culture century. Inheriting the traditions of classicist comedy, Fonvizin goes far ahead, essentially being the founder of critical realism in Russian drama. A. S. Pushkin called the great playwright “a brave ruler of satire,” “a friend of freedom.” M. Gorky argued that Fonvizin began the most magnificent and, perhaps, the most socially fruitful line of Russian literature - the accusatory-realist line. Fonvizin’s work had a tremendous influence on contemporary and subsequent writers and playwrights. D.I. Fonvizin joined the theater early. Theatrical impressions were the strongest in his youth: “... nothing in St. Petersburg delighted me so much as the theater, which I saw for the first time as a child. The effect the theater produced in me is almost impossible to describe.” While still a student, Fonvizin took part in the life of the Moscow University Theater. In the future, Denis Ivanovich maintains connections with the largest figures of the Russian theater - playwrights and actors: A. P. Sumarokov, I. A. Dmitrevsky and others, and appears with theatrical articles in satirical magazines. These magazines had a great influence on Fonvizin's work. From them he sometimes drew motives for his comedies. Fonvizin's dramatic activity began in the 60s. At first, he translates foreign plays and “transposes” them into the Russian style. But this was only a test of the pen. Fonvizin dreamed of creating a national comedy. "Brigadier" is Fonvizin's first original play. It was written in the late 60s. The simplicity of the plot did not prevent Fonvizin from creating a sharply satirical work, showing the morals and character of his narrow-minded heroes. Contemporaries called the play “The Brigadier” “a comedy about our morals.” This comedy was written under the influence of advanced satirical magazines and satirical comedies Russian classicism and is imbued with the author’s concern for the education of youth. “The Brigadier” is the first dramatic work in Russia, endowed with all the features of national originality, and in no way reminiscent of comedies created according to foreign standards. The language of comedy contains many popular expressions, aphorisms, and apt comparisons. This dignity of the “Brigadier” was immediately noticed by contemporaries, and the best of Fonvizin’s verbal turns were transferred to daily life, have become proverbial. The comedy “The Brigadier” was staged in 1780 at the St. Petersburg Theater on Tsaritsyn Meadow. The second comedy “The Minor” was written by D. I. Fonvizin in 1782. It brought the author long-lasting fame and placed him in the forefront of the fight against serfdom. The play explores the most important issues of the era. It talks about the education of underage noble sons and the morals of court society. But the problem of serfdom, evil and unpunished cruelty of landowners is posed more acutely than others. “The Minor” was created by the hand of a mature master, who managed to populate the play with living characters and build the action according to the signs of not only external, but also internal dynamics. The comedy “The Minor” absolutely did not meet the requirements of Catherine II, who ordered the writers to “only occasionally touch upon vices” and to conduct criticism without fail “in a smiling spirit.” On September 24, 1782, “The Minor” was staged by Fonvizin and Dmitrevsky at the theater on Tsaritsyn Meadow. The performance was a great success among the general public. On May 14, 1783, the premiere of “The Minor” took place on the stage of the Petrovsky Theater in Moscow. The premiere and subsequent performances were a huge success. “The Tutor's Choice” - a comedy written by Fonvizin in 1790, was dedicated to the burning topic of educating young people in aristocratic noble houses. The pathos of the comedy is directed against foreign adventurers-pseudo-teachers in favor of enlightened Russian nobles.
