The topic of today's story is the history of the creation and analysis of Fonvizin's "Minor". The work of the author of the Catherine's era has not lost its relevance today. Fonvizin's comedy "The Minor" was included in the collection of classical literature. This work touches on a number of problems and issues that have attracted readers at all times.
The analysis of Fonvizin's "The Minor" should include a brief description of the heroes of this dramatic work. It is also worth talking about the idea of a Russian writer. What inspired Fonvizin to write a comedy that has been popular for over two hundred years? What shortcomings of society did the author primarily want to ridicule in his work? And what was the reaction of contemporaries to this work? The answers to all these questions are contained in the article. But before proceeding with the analysis of Fonvizin's "Minor", one should talk about the main events depicted in the play.
Actions, as in any other dramatic work of the era of classicism, take place within just one day.
Events take place in the village of the landowners Prostakovs. What is the meaning of the title of the comedy "The Minor" by Fonvizin? Even without knowing the meaning of this word, one can guess that it has a negative connotation. The meaning of the name of the comedy "The Minor" by Fonvizin should be sought in the realities of the 18th century. The writer's contemporaries used this term in relation to young nobles who did not receive a special certificate of education. Such a document was issued by the teacher. If the young man did not have a certificate, he was not accepted into the service and was not allowed to marry.
The son of the protagonist, the landowner Prostakova, is called a minor in the comedy. The work begins with a scene taking place in her house. Prostakova is angry with Trishka, because he sewed an overly wide caftan for her son Mitrofanushka. The fact that the servant does not have the necessary skills in tailoring, and giving him such assignments was initially a mistake, she does not take into account.
The sixteen-year-old boy does not show much zeal in his studies, which is facilitated by the ignorance and stupidity of his mother. We'll tell you more about these characters later. First, the author acquaints readers with Sophia, the positive heroine of the work.
The girl not so long ago lives in the house of Prostakova. She is a relative of the landowner, and she has no fortune. At least that's what Prostakova thinks. But one day Sophia receives a letter from her uncle Starodum. Mrs. Prostakova is not able to read the message, because she is not taught to read and write. Pravdin, having read the letter, gives her a brief summary. In Fonvizin's The Minor, this hero, along with Starodum, is a supporter of enlightenment.
What is the letter received by Sophia? Starodum writes to his niece that he will bequeath a huge fortune to her. This excites almost all the characters in the comedy. Prostakova believed that the girl was an orphan. But an unexpected turn of events suggests that Starodum's niece can be married off to the disorderly Mitrofan.
Skotinin also begins to dream of marrying Sophia. However, Sophia's heart is taken. She is in love with officer Milon, whom she met in Moscow before she was orphaned. Soon she will meet the young man again, and he will save her from the pretensions of the selfish Skotinin and the despotic Prostakova.
Starodum comes to the small town where the main events take place. He recognizes one of the teachers of Mitrofanushka as his former coachman. The teachers of the son of Prostakova deserve special attention.
Kuteikin is an undergraduate seminarian. Tsyfirkin is a retired sergeant. Vralman, whose surname speaks very eloquently about his human qualities, does not teach Mitrofanushka anything, because he himself knows little. As already mentioned, he used to work as a coachman. But he was fired, he could not find a suitable job, and therefore went to the teacher. The fact that Vralman is incompetent in teaching is not noticed by Prostakova, since she herself is extremely ignorant.
Writing history
Fonvizin's idea for the comedy "The Minor" arose in 1778. The Russian writer spent more than a year in France, where he studied jurisprudence and philosophy. He watched how the European aristocrats lived, and came to a rather disappointing conclusion: the Russian nobility was mired in inertia and ignorance. Upon returning home, Fonvizin began writing the work. It took him over three years.
The idea of the comedy "The Minor" by Fonvizin was very original at that time. The writer tried to ridicule the shortcomings of the typical representatives of the landlord class. It is not surprising that both Moscow and St. Petersburg refused to stage his comedy for a long time.
Criticism of contemporaries
The theme of Fonvizin's comedy "The Minor" seemed interesting to the censors, but there were too many bold remarks in it. The premiere of the performance took place in 1782. Fonvizin's work was an overwhelming success. True, the theater on the stage of which the play was staged was almost closed. In addition, the comedy displeased Catherine II.
The idea of the work
The spiritual decomposition of representatives of the nobility under serfdom is the main theme of the comedy, which is discussed in this article. According to Fonvizin, pedagogical methods determine the moral character of an entire generation. In the 18th century, landowners often entrusted the education of their children to half-educated clerks, illiterate nannies, foreigners with dubious education. Such "teachers" are capable of teaching only young men like Mitrofanushka - the central character of Fonvizin's comedy "The Minor".
The author of this work, using simple examples, showed that the majority of nobles do not remember either honor or dignity. They do not serve the interests of the state, do not comply with moral and state laws. The sharpness of Fonvizin's dramatic work is given by the victory of good over evil, which, however, has an accidental character. If Starodum had not returned from Siberia on time, and Pravdin had not received an order to take Prostakova's property, everything would have ended not so well for Sophia. She would not have left the city with a young, educated officer Milon, but would have become the wife of a stupid Mitrofanushka.
Characters (edit)
The system of images in Fonvizin's "Nedorosl" is quite simple. Heroes are divided into positive and negative, almost all of them have speaking surnames: Vralman, Starodum, Pravdin. Negative characters are representatives of the old nobility, trying to hold out with all their might for the outdated ideas of the serf system. They are opposed by heroes who support the ideas of the Enlightenment - Pravdin, Sophia, Milon, Starodum.
Good and bad characters
There are several dual pairs among the characters in the comedy. So, Sophia is opposed to Mitrofanushka. Starodum is an adherent of educational views. This is a man of modern times. Therefore, he is the opposite of the landowner Prostakova. Milo is opposed to Skotinin. If the first is educated and brought up and has sincere feelings for Sophia, then the second wants to marry a girl for selfish reasons. Skotinin dreams of acquiring land, where he will be actively engaged in animal husbandry, namely, raising pigs.
Mitrofanushka
Fonvizin's analysis of the "Minor" cannot do without describing this striking character. The foolish spoiled youth is absolutely unprepared for an independent life. Everything for him is done by the mother, servants or nannies. From Prostakova, the youth takes over an uncontrollable passion for money. He, like his mother, is rude, disrespectful to his family. Mitrofanushka inherited weakness from his father. A sixteen-year-old boy does not want to study, but wants to get married. He is the opposite of Sophia, an educated, serious, intelligent girl with a difficult fate.
Prostakova
When making an analysis of Fonvizin's "Minor", one should pay attention to the negative heroine. Prostakova is an uneducated, stupid woman, but at the same time she is very cunning. She is a practical housewife, a loving mother. For Prostakova, the carefree future and happiness of Mitrofanushka are above all. But in education, she makes fatal mistakes, because she does not know anything about the correct pedagogical methods. She treats her son the way her parents once treated her. In managing the household and raising her son, the landowner uses exhausted values and ideas.
Starodum
When analyzing Fonvizin's "Minor", special attention should be paid to the hero, symbolizing educational ideas, about which in the 18th century in Russia little was known. Starodum communicates with Sophia in a completely different way from Prostakova with Mitrofanushka. He uses completely different methods of education. Talking with Sophia on an equal footing, she instructs, gives advice based on her rich experience. Knowing nothing about Sophia's feelings for Milo, he does not make decisions for her. Starodum wants his niece to marry an intelligent, educated officer, but does not impose his views on her.
In this image, the author portrayed his ideal of a teacher and parent. Starodum is an authoritative strong personality who has passed a worthy path. For modern readers, this hero, of course, is not an ideal educator. But on contemporaries of Fonvizin, inspired by educational ideas, he made a strong impression.
The work of DI Fonvizin "The Minor" showed the positive character traits that every conscious citizen of the state must possess.
Fonvizin endowed the character of Starodum with such a character in the written play. This is a hero with a big heart, an honest, sympathetic and compassionate character. In the comedy, there are no episodes when Starodum expresses himself unflatteringly about someone, steals or deceives. On the contrary, with him there is always his calmness, poise. Starodum does not throw his words down the drain, gives good advice, makes good conclusions and at the same time has a sense of humor - he laughs and jokes.
Characters with similar traits: Sophia - Starodum's niece; Milon - military man, Sophia's fiancé; Pravdin is a member of the city council. Together they represent an example of a law-abiding citizen.
The opposite of these characters, the author showed the family of small noblemen Prostakov. The head of this family is Mrs. Prostakova - a greedy, rude and deceitful woman. It is not for nothing that Fonvizin calls her Fury - the goddess-avenger of the ancient Romans. She loves only one person - her son, Mitrofan, who is lazy by nature, he stands out for his illiteracy and uncivilized behavior, it is not for nothing that his name means "like a mother."
Speaking about Prostakov Sr., one can easily assert that life makes him happy only when his wife does not take out his anger at him. It is clearly seen in the work that he is trying in every possible way to please her and does not have his own opinion. Another negative character is Skotinin, the brother of Prostakova. For this person, pigs are more valuable than people. He intends to marry Sophia when he finds out that she has a rich inheritance.
Drawing conclusions, we can divide the characters of this work into two halves - good, represented by Starodum, Milo, Sophia, and evil - which are represented by the families of the Prostakovs and Skotinins.
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The main characters of the comedy "The Minor"
Building character Prostakova, DI Fonvizin conveys the complexity and inconsistency of human nature. The playwright seeks to render "a service to humanity" by showing him what is the nature of a person, even insignificant, evil, enjoying his right to offend other people. Hating slavery, despising serf-owners, D.I.
Prostakova is a rude, despotic and at the same time cowardly, greedy and mean-spirited nature, representing the brightest type of Russian landowner, at the same time revealed as an individual character - the cunning and cruel sister of Skotinina, a power-hungry, calculating wife tyrannizing her husband, a mother who loves without mind of his Mitrofanushka. And this individual characteristic makes it possible to show all the terrible force of serfdom disfiguring a person. All the great, human and sacred feelings of Prostakova are distorted. That is why even love for her son - Prostakova's strongest passion - is incapable of ennobling her feelings, for it manifests itself in base, animal forms. Her motherly love is devoid of human beauty and spirituality.
The denouement to which DI Fonvizin's comedy leads was conditional. Actions Pravdina, a government official who carried out the will of the "higher power" was not confirmed by the Russian reality of that time. They reflected only the moods and aspirations of a certain part of the enlightened nobility and therefore were perceived as advice to the government on a possible way of regulating relations between landowners and peasants. Because of this, the image of Pravdin in the comedy was not real, but conditional, ideal.
The image is more vitality Starodum. But he is also a rare phenomenon in the noble environment, judging by the relation of Pravdin, Milon, Sophia. They see him not as an ordinary nobleman, but as a person with special “rules”. And indeed it is. The image of Starodum is associated in the comedy with the expression of the ideas of that part of the progressive nobility that was in opposition to the reign of Catherine and condemned her actions. Outwardly, Starodum's dialogues with positive characters were based on the discussion of problems of morality and education, but on the issues raised in them and coverage of various aspects of public life, they were broader and contained criticism of the depravity of the modern court ("crowd of stingy flatterers"), condemnation of the monarch, whose soul is not always "great", "to take the path of truth and never turn away from her. " The indignation was caused by the abuse of serfdom ("it is illegal to oppress one's own kind"), the first estate forgotten its duties.
Although Starodum and Pravdin could not realize their ideals in public practice, their judgments, taken together, made the comedy ideologically consonant with political tragedy. This was the new thing that introduced the playwright through the images of Starodum and Pravdin into the structure of "The Minor". The comedy was communicated with a socio-political focus.
Fonvizin's contemporaries highly appreciated "The Minor", he delighted them not only with his amazing language, clarity of the author's civic position, and innovative form and content.
Features of the genre
According to the genre, this work is a classic comedy, in it the requirements of the "three unities" (place, time, action) inherent in classicism are observed, the heroes are divided into positive and negative, each of the heroes has its own role ("reasoner", "villain", etc.). but it also contains deviations from the requirements of the classicist esthete and serious deviations.So, the comedy was only supposed to amuse, it could not be interpreted in many ways, there could be no ambiguity in it - and if we remember "The Little Growth", then we must admit that, raising in the work the most important social issues of his time, the author resolves them by means, far from comic: for example, in the finale of the work, when, it would seem, "the vice is punished", the viewer cannot but sympathize with Mrs. Prostakova, who is rudely and cruelly repulsed by the ungrateful Mitrofanushka, anxious about his own fate: "Yes, get off, mother, as imposed. .. "- and a tragic element imperiously invades the comedy, which was unacceptable .. And with" unity of action "everything is also not so simple in comedy, it has too many storylines that do not" work "to resolve the main conflict , but create a wide social background that determines the characters of the characters. Finally, Fonvizin's innovation was reflected in the language of the comedy "The Minor", the characters' speech is very individualized, it contains folklorism, vernacular, and high style (Starodum, Pravdin), which also violates the classic canons of creating speech characteristics of characters. Summing up, one can conclude that Fonvizin's comedy "The Minor" became a truly innovative work for its time, the author expanded the framework of classicism aesthetics, subordinating it to the solution of the task set before him: to angrily ridicule the vices of his contemporary society, to rid him of "evil "capable of destroying both the human soul and public morality.
Image system
Let us analyze the system of images of the comedy "The Minor", which, as demanded by the aesthetics of classicism, represents two directly opposite "camps" - positive and negative characters. Here you can also notice a certain deviation from the canons, it is manifested in what carries in itself duality, it is almost impossible to attribute them purely to positive or purely negative heroes. Let's remember one of the teachers of Mitrofanushka - Kuteikin. On the one hand, he endures humiliation on the part of Mrs. Prostakova and her student, on the other, he does not mind, if the opportunity comes along, "to snatch his piece", for which he is subjected to ridicule. Or "Mitrofan's mother" Eremeevna: she is reviled and humiliated by the hostess in every possible way, she humbly endures, but, forgetting herself, rushes to protect Mitrofanushka from her uncle, and does this not only out of fear of punishment ...
The image of Prostakova in the comedy "Minor"
As already noted, Fonvizin innovatively portrays his main character - Mrs. Prostakova. From the very first scenes of the comedy, we are faced with a despot who does not want to reckon with anyone or anything. She rudely imposes her will on everyone, suppresses and humiliates not only the serfs, but also her husband (how can you not remember Mitrofan's “dream in the hand” about how “mother” beats “father”? ..), she tyrannizes Sophia, she wants to force her to marry first to her brother Taras Skotinin, and then, when it turns out that Sophia is now a rich bride, to her son. Being herself an ignorant and uncultured person (with what pride she declares: "Read it yourself! No, madam, I, thanks to God, have not been brought up that way. I can receive letters, but I always tell someone else to read them!"), She despises education, although he tries to teach his son, he does so only because he wants to ensure his future, and what is the cost of Mitrofan's “training” as it is presented in the comedy? True, his mother is convinced: "Believe me, father, that, of course, this is nonsense, which Mitrofanushka does not know" ...
Mrs. Prostakova is inherent in cunning and resourcefulness, she stubbornly stands her ground and is convinced that "we will take our own" - and is ready to commit a crime, kidnap Sophia and, against her will, marry a man from the "Skotinin family". When she meets a rebuff, she at the same time tries to beg forgiveness and promises punishment to those of her people, whose oversight failed the "enterprise", in which Mitrofanushka is ready to actively support her: "To be taken for people?" Striking is the "transformation" of Mrs. Prostakova, who just on her knees humbly begged to forgive her, and, having received a petition, "jumping up from her knees," vigorously promises: "Well! Now I will give the canals to my people. Now I am all I'll sort it out one by one. Now I'll try to find out who let her go. No, scammers! No, thieves! I will not forgive a century, I will not forgive this ridicule. " How much sensuality is in this threefold "now something", and how really scary it becomes from her request: "Give me a period of at least three days (Aside) I would let myself know ...".
However, as already noted, there is a certain duality in the image of Prostakova. She deeply and devotedly loves her son, is ready for anything for him. Is she guilty that she compares her love for him with the love of a dog for puppies "Have you ever heard of a bitch giving out her puppies?" One must not forget that she is from the Skotin-Priplodin family, where such a semi-animal love was the only possible one, how could she be different? So she disfigures Mitrofan's soul with her blind love, her son pleases her in every possible way, and she is happy that he "loves" her ... Until he throws her away from himself, because now he does not need her, and even those people who have just condemned Mrs. Prostakova sympathize with her in her maternal grief ...
The image of Mitrofan
The image of Mitrofan was created by Fonvizin also not quite traditionally. The "undersized" who likes to be "small", who diligently uses the attitude of his mother towards himself, is not so simple and stupid as it might seem at first glance. He learned to use his parents' love for himself for his own benefit, he knows well how to achieve his goal, he is convinced that he has the right to whatever he wants. The selfishness of Mitrofanushka is the driving force behind his actions, but the hero has both cruelty (remember his remark about "people"), and resourcefulness (which is what his reasoning about the "door" is worth), and lordly contempt for people, including his mother, from which he, on occasion, seeks help and protection. And his attitude to education is so disdainful only because he does not see the real benefit from it. Probably, when he "serves", he - if it is profitable - will change his attitude to education, potentially he is ready for anything: "For me, wherever they are told." Consequently, the image of Mitrofan in the comedy "The Minor" is also characterized by a certain psychologism, as well as the image of Prostakova, which is Fonvizin's innovative approach to creating negative images that were supposed to be only "villains".
Positive images
The playwright is more traditional in creating positive images. Each of them is an expression of a certain idea, and as part of the approval of this idea, an image-character is created. Practically positive images are devoid of individual traits, they are images-ideas inherent in classicism; Sophia, Milon, Starodum, Pravdin are not living people, but spokesmen for a "certain type of consciousness"; they represent an advanced system of views on the relationship between spouses, social structure, the essence of the human personality and human dignity for their time.
The image of Starodum
At the time of Fonvizin, the audience was especially sympathetic to the image of Starodum in the comedy "The Minor". Already in the very "speaking" surname of the character, the author emphasized the opposition of "the present century to the past": in Starodum they saw a man of the era of Peter I, when "In that century there were warriors, but there were no court soldiers" Starodum's thoughts about education, about the ways by which a person can achieve fame and prosperity, about what the sovereign should be, evoked a warm response from a significant part of the audience who shared the advanced beliefs of the author of the comedy, while special sympathy for the image of the hero was caused by the fact that he did not just proclaim these advanced ideas - based on the play it turned out that with his own life he had proved the correctness and advantageousness of such behavior for a person. The image of Starodum was the ideological center around which the positive characters of the comedy united, who opposed the dominance of morality of the Skotinins-Prostakovs.
Image of Pravdin
Pravdin, a government official, embodies the idea of statehood, which protects the interests of education, the people, which seeks to actively change life for the better. The custody of the Prostakova estate, which Pravdin appoints by the will of the empress, gives hope that the ruler of Russia is able to defend those of her subjects who most need this protection, and the decisiveness with which Pravdin is carrying out the transformations should have convinced the viewer. that the supreme power is interested in improving the life of the people. But how, then, can one understand the words of Starodum in response to Pravdin's call to serve at court: "It is in vain to call a doctor to the sick is incurable"? Probably, the fact that behind Pravdin was the System, which confirmed its unwillingness and inability to carry out real transformations, and Starodum represented himself in the play, an individual person, and explained why the image of Starodum was perceived by the audience with much greater sympathy than the image of an "ideal official" ...
Milon and Sophia
The love story of Milon and Sophia is a typically classicistic love story of two noble heroes, each of whom is distinguished by high moral qualities, and therefore their relationship looks so artificial, although against the background of a “skotin's” attitude towards the same Sophia (“My friend, you are heartfelt! if now, without seeing anything, every pig has a special peck, then I will find a light for my wife ") she really is an example of a high feeling of moral, educated, worthy young people, opposed to the" fertility "of negative heroes.
The meaning of the comedy "Minor"
Pushkin called Fonvizin "the bold master of satire," and the comedy "The Minor", which we analyzed, fully confirms this assessment of the writer's work. In it, the author's position of Fonvizin is expressed completely unambiguously, the writer defends the ideas of enlightened absolutism, he does it with the highest talent, creating convincing artistic images, significantly expanding the framework of the aesthetics of classicism, innovatively approaching the plot of the work, creating images-characters, some of which are not simply represents the expression of certain socio-political ideas, but has a pronounced psychological individuality, expresses the contradictory nature of human nature. All this explains the tremendous significance of Fonvizin's work and the comedy "The Minor" for Russian literature of the 18th century, the success of the work among its contemporaries and its significant influence on the subsequent development of Russian drama.
Fonvizin's comedy "The Minor" was written in the best traditions of Russian classicism. In accordance with the classic canons, the characters in the work are clearly divided into positive and negative, and their names and surnames capaciously characterize and reveal the main features of the characters. However, in contrast to the traditional images of classicistic plays, the heroes of "The Minor" are devoid of stereotypes, which is what attracts modern readers and viewers.
Positive actors include Pravdin, Sophia, Starodum and Milon... Each of them supports the ideas of the Enlightenment, considering virtue, honesty, love for the motherland, high morality and education as the main human values. Their complete opposite is depicted as negative characters - Prostakovs, Skotinin and Mitrofan... They are representatives of the "old" nobility, which with all its might is grasping at the outdated ideas of serfdom and feudal system. Their main values are money, position in the social hierarchy and physical strength.
In Fonvizin's play "The Minor", the main characters are divided into peculiar dual pairs, in which the author depicts people with similar social roles, but depicting them in mirror distortion. So, in addition to a couple of "children" - Sophia and Mitrofan, one can single out "educators" - Starodum and Prostakov, "suitors" - Milon and Skotinin, as well as "owners" - Prostakov and Pravdin.
Mitrofan- an undergrowth and the main character of the comedy - a spoiled stupid youth of sixteen, for whom everything was always done by his mother, nanny or servants. Having taken over from his mother a love of money, rudeness and disrespect for relatives (Prostakova is ready to deceive her brother, just to settle a marriage that is profitable for her), and from his father complete weakness, he behaves like a small child - he does not want to study, while he finds marriage fun fun. The complete opposite of Mitrofan is Sophia. This is an educated, intelligent and serious girl with a difficult fate. Having lost her parents at an early age and living in the care of the Prostakovs, Sophia does not adopt their values, but, in fact, becomes a "black sheep" in their society (Prostakova is even outraged that the girl can read).
Prostakova appears to readers on the one hand as an uneducated, cunning woman who is ready for almost anything for profit, and on the other, as a practical housewife and loving mother, for whom the happiness and carefree future of her son is above all. Prostakova brought up Mitrofan the way she was brought up, therefore she could convey and show by her own example outdated, long-exhausted ideas and values.
Have Starodum a completely different approach to upbringing - he does not treat Sophia as a small child, talking with her on an equal footing, instructing her and advising her based on his own experience. In the matter of marriage, a man does not undertake to finally decide for a girl, since he does not know if her heart is free. In the image of Starodum, Fonvizin portrays his ideal parent and educator - an authoritative strong personality who herself has gone a worthy path. However, analyzing the character system of the "Minor" from the point of view of the modern reader, it is worth noting that the image of Starodum as an educator is also not ideal. All the time while he was absent, Sophia was deprived of parental care and left to herself. The fact that a girl learned to read appreciates morality and virtue, rather, the merit of her parents, who instilled this in her at a young age.
In general, the topic of kinship is important for both the positive characters of the play "The Little Growth" and the negative ones. Sophia- the daughter of worthy people, Milon- the son of a good friend Starodum. Prostakova, however, received this surname only after marriage, in fact, she is Skotinina. Brother and sister are very similar, they are both driven by greed and cunning, they are not educated and cruel. Mitrofan is depicted as a real son of his parents and a pupil of his uncle, who inherited all their negative traits, including love for pigs.
Characters whose relationship is not mentioned in the play - Prostakov and Pravdin... Prostakov is fundamentally different from his wife; in comparison with the active and active Prostakova, he looks weak-willed and passive. In a situation where he has to show himself as the owner of the village, the man is lost against the background of his wife. This leads to the fact that the more active Pravdin, who was able to pacify Prostakov, becomes the owner of the inheritance. In addition, Prostakov and Pravdin act as some kind of "auditors" of what is happening. Pravdin is the voice of the law, while Prostakov is the opinion of a simple (remember the “speaking” names of the play) people who do not like how the “old” nobility in the person of his wife and brother-in-law behaves, but is afraid of their anger, therefore he only speaks aside and does not agreeing.
The last couple of characters are Skotinin and Milon... Men represent old and new ideas about marriage and family life. Milon has known Sophia since childhood, they love each other, and therefore their relationship is based on mutual respect and friendship. Skotinin does not even try to get to know the girl better, he only cares about his dowry, while he is not even going to equip her with good conditions after marriage.
In addition to the main characters, there are minor characters in the play - teachers and educators of Mitrofan the ignoramus. Characteristics of the heroes of the second plan - Eremeevna, Tsyfirkina, Kuteikina and Vralman- is related to their social role in the play. The nanny is an example of a serf who loyally serves his mistress all his life, enduring beatings and injustice. On the example of the images of teachers, the author reveals all the problems of education in Russia in the 18th century, when children are taught by retired military men who did not graduate from seminary or even grooms.
For the 18th century, Fonvizin's innovation consisted in the fact that the author portrayed the characters of the "Minor" without the excessive pathos and stereotypes inherent in many works of classicism. Each comedy hero is undoubtedly a composite image, but created not according to a ready-made "stencil", but possessing its own individual features. That is why the characters in the work "The Minor", even today, remain the brightest images of Russian literature.
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