Brigadier work. The position of Dobrolyubov and Sophia

Brigadier Ignatiy Andreevich and his wife Akulina Timofeevna are going to marry their son Ivanushka to Sofya, daughter of adviser Artamon Vlasich. The foreman's family is staying with the adviser in his village. Future relatives are talking about the upcoming wedding. Ivanushka has already managed to visit Paris, he always inserts French words into his speech. Father doesn't like it. He advises Ivanushka to "be diligent about business" and read "the article and military regulations." The economic Akulina Timofeevna considers account notebooks to be the best reading.

Sophia is not happy about the upcoming marriage: she considers her fiancé a fool. Her stepmother, on the contrary, is delighted with Ivanushka and his “Parisian” manners.

The general conversation of future relatives is not glued. The brigadier is only interested in what concerns military affairs, his wife thinks only about the economy, the adviser is only interested in legal issues, and Ivanushka and the adviser find all these topics base. Conversation terminated

The arrival of Dobrolyubov. The adviser, Sophia and the foreman with his wife go to meet him.

The counselor and Ivanushka are left alone. They quickly find mutual understanding: the young man scolds his parents, and the adviser scolds her husband. Ivanushka admits that she does not want to marry Sophia. Guessing on the cards, Ivan and Avdotya Potapyevna declare their love to each other. The adviser reveals to the young man that Sophia has long loved Dobrolyubov and is loved by him.

When Sophia and Dobrolyubov appear, Ivanushka and her adviser immediately leave, leaving the lovers alone. Sophia guesses about the feelings of her fiancé and stepmother. She also notices that her father looks tenderly at the foreman, and the foreman at the adviser. Only Sofya and Dobrolyubov love each other with love, "based on honest intentions." An obstacle to their marriage is Dobrolyubov's poverty. But he hopes that with the end of the trial, his wealth will increase.

Sofya asks her father not to marry her off to Ivanushka. But the adviser does not want to listen: Ivanushka has “fair villages,” he explains. Artamon Vlasich advises his daughter to please her mother-in-law and honor her. The real reason for the counselor's stubbornness is his love for the foreman. Having given his daughter in marriage to Ivanushka, Artamon Vlasich will be able to see Akulina Timofeevna often by kinship.

The pious adviser is ashamed of his sinful love, but still, at the sight of the brigadier, he cannot refrain from telling her about his feelings. True, the ingenuous brigadier does not understand anything, because the adviser inserts Church Slavonic expressions into his speech. When Artamon Vlasich kneels before Akulina Timofeevna, Ivanushka unexpectedly enters. At the sight of this scene, he laughs and applauds. The dumbfounded adviser exits. The son explains to the bewildered brigadier that the adviser is "amorous" with her.

The brigadier is furious. She promises to tell her husband everything. But the adviser who appeared explains to Ivanushka that this secret cannot be divulged: if the foreman finds out about something, he will immediately take his wife and son home. Ivan and Avdotya Potapyevna convince the angry brigadier that Ivanushka was just joking, and the adviser was not at all "amorous". Akulina Timofeevna, believing, calms down.

Ivanushka and the adviser are happy to note that they are people of “one mind, one taste, one temper”. The adviser has only one drawback in Ivan's eyes: she is Russian. The young man hopes to make amends for this “misfortune” by taking his beloved to Paris. Avdotya Potapevna tells Ivan that the brigadier is "mortally in love" with her. Ivanushka gets excited: he is ready to challenge his father to a duel. The Brigadier appears. He wants to drive his son out of the room and talk to the adviser himself. But Avdotya Potapyevna leaves with Ivanushka.

The brigadier scolds Ivanushka for "tomfoolery" and addiction to everything French. He replies disrespectfully. Ignatius Andreevich threatens his son with beatings, but the adviser who appears protects Ivan from his father's wrath. She persuades the young man to tell about his stay in France. The son says that he "has already become more French than Russian." The counselor and foreman are delighted with this story, but the foreman is annoyed. Ivan leaves with annoyance at his father, his mother follows him. And the foreman begins to express his love for the adviser. But since he uses military terms, the adviser pretends not to understand him.

Dobrolyubov tells the adviser that his trial is over and now he has two thousand souls. The judges turned out to be bribe-takers, so Dobrolyubov had to turn directly to "higher justice", and justice finally prevailed. Dobrolyubov asks for Sophia's hand. The counselor is happy about this, but her husband doubts: he does not say yes or no.

Dobrolyubov and Sofya hope that the adviser's greed will induce him to agree to their marriage. The lovers stop talking at the sight of the crying foreman: Akulina Timofeevna was again scolded by her husband. Ignatiy Timofeevich is generally of a tough temper and heavy on the arm: once he jokingly pushed his wife so that she almost gave her soul to God.

Ivanushka, the adviser, Sofya and Dobrolyubov are starting a quadrille card game. The foreman of this fashionable game does not know and is forced only to observe. The adviser and the foreman are playing chess.

The brigadier recalls the village game of pigs. Telling the adviser about this fun, she takes the cards from the players. Ivanushka is annoyed, and the foreman takes the opportunity to scold his wife. The offended brigadier leaves.

Artamon Vlasich reproaches the brigadier for mistreating his wife. Then Ignatius Andreevich, in turn, hints that the adviser is not indifferent to Ivanushka. But the adviser doesn't believe it. The brigadier is also sure that “there is no such fool in the world” who would take it into his head to drag Akulina Timofeevna.

The brigadier persuades her son to marry. But Ivan's parental example does not inspire. In addition, he does not like the bride. Akulina Timofeevna explains that the choice of the bride is not the business of the groom, but the parents. She herself, for example, had never spoken to Ignatiy Andreevich before the wedding.

The adviser and Ivanushka talk about their love and about the danger from the adviser and the foreman. Ivanushka tells her beloved about his education. Before the trip to Paris, it turns out that he was brought up by a French coachman - Ivan owes his love for France to him.

The adviser and the foreman find Ivan on his knees before Avdotya Potapyevna. They hear the words of lovers. The secret is revealed. Ignatiy Andreevich is going to beat his son, and the adviser is going to recover money from Ivan for dishonor. The brigadier, Sofya and Dobrolyubov, who entered, immediately find out about what happened. Sophia refuses to marry Ivan. The adviser and foreman agree to this.

Then Ivan and the adviser reveal all the secrets they know. Ivanushka tells how the adviser knelt before the foreman. And Avdotya Potapievna - about how the foreman "declared his love to her."

The brigadier and adviser part in great anger. Ignatiy Andreevich takes away his family: “In what we are standing, in that we are out of the yard!”. The adviser and Ivan touchingly say goodbye - the adviser and the foreman barely manage to separate them.

The adviser stays with his wife and daughter. Dobrolyubov again asks for Sophia's hand. Artamon Vlasich, Avdotya Potapyevna, and Sofya herself express their consent.

Option 2

The family of foreman Ignatii Andreevich is going to arrange the marriage of his son Ivanushka. Sophia, the daughter of an adviser, was offered to him as a wife. While visiting future relatives, the parents of the young discuss the details of the wedding celebration. Ivanushka takes part in the conversation and flaunts his knowledge of French, which his father does not like very much.

Sophia does not like the groom, in her opinion Ivanushka is too stupid. Relatives do not find a common topic for conversation, they have different interests. The meal was interrupted by the arrival of Dobrolyubov. When Ivanushka and the stepmother are left alone, they confess that they love each other. Another secret is revealed: Sofyushka and Dobrolyubov are also connected by tender feelings.

Soofya sees that feelings touched not only her, but also her stepmother and Ivanushka. The father admires the foreman, and the foreman is not indifferent to the adviser. Here is such a love polygon turned out. Sophia wants to become Dobrolyubov's wife, but his poverty becomes an obstacle. Sophia's father does not want to hear about his daughter's unwillingness to marry Ivanushka. Having become related to the foreman's family, he will be able to freely meet with Akulina Timofeevna, the mother of the groom.

The adviser tries to explain himself to the brigadier, but chooses such pretentious words that the woman does not understand him. During this occupation, their son finds them and with a laugh reveals to his mother the feelings of a man in love.

The brigadier is determined to report everything to her husband, but the adviser and Ivanushka say that it was a joke. The woman believes and calms down. The counselor confesses to Ivan that his father loves her. The young man is ready to fight with his father, but Avdotya Potapovna chooses Ivanushka and leaves the chamber with him, in which the foreman has come.

The son is rude to the foreman in response to remarks, and the adviser defends her protégé. When the guy leaves the room, the foreman in love talks about his feelings to Avdotya Potapovna. But so confused that the woman is perplexed. Dobrolyubov asks Sophia's parents to give the girl for him, along the way informing him of the successful resolution of the trial. The adviser does not mind, but the father continues to doubt.

Young people hope for paternal consent. Meanwhile, everyone is busy playing cards and chess, only the foreman is out of work. She recalls one village game, which causes dissatisfaction with her husband and son.

The mother tries to persuade her son not to refuse marriage to Sophia, and the adviser reproaches the brigadier for his bad treatment of his wife. To which he replies that there is no such man who could take care of such a woman. At the moment of Ivanushka's declaration of love for Avdotya Potapovna, all participants in these events enter the room. Sophia now legally refuses Ivan. She is supported by both fathers.

When the adviser and Ivanushka talk about the pranks of these men, both families part almost as enemies. Dobrolyubov receives the long-awaited consent to marry Sophia.

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Summary Brigadier Fonvizin

Brigadier;
Ivanushka, his son;
Brigadier;
Advisor;
adviser, his wife;
sophia, councilor's daughter;
Dobrolyubov, Sophia's lover;
Advisory servant.

The action takes place in the village of an adviser, to whom, on his way home from St. Petersburg, the foreman with his wife and son stopped by.

Act one

Advisor's estate. Rustic furnished room. The brigadier, in a frock coat, walks and smokes tobacco. His son, in dezabile, coaxing, drinks tea. The adviser, in a kazakin, looks at the calendar. Near the tea table sits an adviser in disabille and, simpering, pours tea. The brigadier is sitting at an odal and knitting a stocking. Sofya also sits at an ode and sews.

The conversation is about the close wedding of Sophia and Ivanushka. The adviser, Avdotya Potapyevna, believes that her stepdaughter was lucky, "she goes for the one who was in Paris." Ivanushka is unhappy with this marriage because his fiancee does not speak French. The adviser and the foreman begin to praise each other. The adviser, Artamon Vlasich, likes the practical foreman, Akulina Timofeevna; the brigadier, Ignatius Andreevich, is conquered by a sentimental and cutesy adviser. “God save you from having your head filled with anything other than amiable novels! Throw, my soul, all the sciences in the world, ”advises the adviser of the future son-in-law. Ivanushka proudly admits that "he himself, except for novels, did not read anything." Sophia thinks the groom is a fool. At the end of a meaningless conversation, everyone agrees that no one needs grammar and cannot be useful in life.

A servant enters and announces the arrival of Dobrolyubov. Everyone goes out into the garden. The adviser and Ivanushka remain in the room. The counselor complains about her husband's stupidity and narrow-mindedness. She is dying of boredom in this backwater, all day trying on hats and fortune-telling herself on the cards. Ivanushka taunts his parents, sighing, saying that for twenty-five years he has been living not with his parents, but with animals. They thickly sprinkle their speech with distorted French words. Then Avdotya Potapyevna and Ivanushka begin to guess each other on the cards and gradually confess their feelings. Seeing Sophia and Dobrolyubov approaching, the couple decides: “We must certainly leave them alone, so that they eventually leave us alone.”

Dobrolyubov and Sophia enter. The adviser and Ivanushka are removed. It seems to Sophia that "except for the foreman, everyone here is in love." “The difference is that their love is ridiculous, shameful and dishonorable to them. Our love is based on an honest intention,” Dobrolyubov replies. He complains about his small income, because of which the adviser does not agree to marry Sophia to him. The girl "small wealth does not frighten." Dobrolyubov hopes that soon his situation will change for the better thanks to the lawsuit won. In order not to arouse unnecessary suspicion, the lovers return to the guests.

Action two

Enter Counselor and Sophia. She tells her father that she does not want to marry Ivanushka. The counselor is convinced that "father and children should think alike." He says that before the son was responsible for the father, and the father for the son, and recalls the times when he was a judge. “The guilty used to pay for his guilt, and the right for his truth; and so in my time everyone was happy: the judge, and the plaintiff, and the defendant. Our brother, the judge, for the common good, can interpret manners for twenty-one decrees, ”says the adviser. He tells Sofya that she “should not interpret the decree to marry according to judicial custom,” but would go, as ordered, for Ivanushka. “Just imagine my misfortune: I will be the wife of such a fool who is filled with some French nonsense, who has not only love for me, not the slightest respect,” says Sophia. The adviser answers her that the groom has a good dignity - a fair amount of villages, and Sophia should honor the groom and please her mother-in-law. Then the adviser makes the daughter: “Go to the guests and, as if from yourself, tell your future mother-in-law that I, I instruct you to please her.”

Sophia leaves. The adviser remains alone and admits to himself that he is marrying off his daughter against his will to Ivanushka “only so that I can more often see my beloved matchmaker by kinship.” Brigadier enters. The counselor begins to speak to her about his sins and "weak flesh". The brigadier cannot understand his hints. Then the adviser kneels down and confesses his love to the foreman. At this time, Ivanushka enters. The adviser sees him and jumps up, and Ivanushka laughs and applauds. The adviser, dumbfounded, leaves. The brigadier still does not understand anything. Ivanushka explains to her mother that the adviser is "amusing" with her. The brigadier is offended.

The counselor enters. Ivanushka laughingly describes to her the scene he has witnessed. They whisper. At this time, the foreman is going to go to her husband and tell him everything. Son and adviser grab her by the floor. They convince the foreman that Ivanushka was joking. The brigadier calms down and leaves. The counselor and Ivanushka are left alone. The adviser accuses Ivanushka of frivolity - if the brigadier found out about everything, he would take his wife and son away from the estate. Ivanushka declares: “I am frivolous, otherwise I would have imitated the French badly.” He tells the adviser that he would like to go with her to Paris. The adviser informs Ivanushka that the foreman is in love with her. Ivanushka threatens to challenge her father to a duel, because there was also such a case in Paris.

The foreman enters to call the guests to the table. He sends his son to the bride to be alone with the adviser. Ivanushka does not want to leave. The adviser gives him her hand, and Ivanushka, simpering, leads her to the table. The brigadier, holding a grudge against his son, walks behind.

Act Three

The Brigadier enters with his son. The foreman is ashamed of his son. Ivanushka is unhappy that they want to marry him to a Russian. “My body was born in Russia, but my spirit belongs to the French crown,” he declares to his father and adds that he is not obliged to respect his father. The foreman gets angry and threatens to beat his son with a stick. Brigadier enters. The brigadier tells her that her son has completely lost his mind. He scolds his wife for spoiling her son, for not letting him enlist in the regiment. Ivanushka yawns. The brigadier threatens to grab two ribs from Ivanushka.

The adviser enters and intercedes for Ivanushka. She is delighted with Ivanushka and asks him to tell about his stay in Paris. “In Paris, everyone honored me the way I deserve. Where they didn’t see me, everywhere everyone had joy on their faces, and they often declared it with such extraordinary laughter, which directly showed what they think of me, ”says Ivanushka. The adviser and foreman are delighted. The brigadier doesn't know whether to laugh or cry. Willow-

noushka, annoyed, leaves. The brigadier rushes after him.

The brigadier and adviser remain alone. The adviser says that he is too rough with his son. The brigadier threatens: "Sooner or later I'll knock the French spirit out of him." He says that "the son's stories are a wasteland." Taking advantage of the moment, the foreman hints to the adviser about his feelings. The adviser pretends not to understand the hints. Then the foreman admits: “Your eyes are more terrible to me than all bullets, cannonballs and buckshot. One of their first shots has already shot right through my heart, and before they slap me, I surrender to your prisoners of war. The counselor still pretends not to understand. “I am like a brave commander, and you are my fortification, which, no matter how strong, can do everything in it,” says the brigadier.

Enter Counselor and Dobrolyubov. He informs the adviser that his case in court has already been decided in his favor. The brigadier, annoyed, exits. Dobrolyubov informs the adviser and adviser that he now has two thousand souls. The adviser's attitude towards Dobrolyubov immediately changes. “If someone has two thousand souls, it seems to me that they can reward all vices,” he says. The adviser tells Dobrolyubov that the time has come for him to get married. “I don’t want to marry anyone when you don’t agree to give up your daughter for me,” says Dobrolyubov. The adviser replies that now he is not against this marriage, but now he cannot decide anything and postpones the decision of this issue until the morning.

act four

Dobrolyubov and Sofya alone. Dobrolyubov hopes that his marriage to Sophia will have a happy outcome. Sophia doubts it. She knows that her father is in love with the foreman. “Covetousness makes the same miracles out of a person as love does,” Dobrolyubov tells her. “Covetousness rarely wins love,” Sophia objects.

The brigadier enters, wiping her tears. She complains that her husband scolded her for nothing, for nothing. Sofya and Dobrolyubov are outraged by the foreman's attitude towards his wife. The counselor and Ivanushka enter. The adviser invites Ivanushka to play a game of cards. They serve a card table. The adviser, Ivanushka, Sofya and Dobrolyubov begin to play square dance. The brigadier does not know this game. She sits down and watches.

The foreman and adviser enter and begin to play chess. The brigadier does not understand anything in a quadrille. She begins to remember how she used to play mariage, fools and pigs. Then he grabs cards from the table and runs up to the adviser to show how they play pigs. The adviser looks at her with tenderness. The brigadier throws chess. Ivanushka jumps up and complains that it is impossible to play. “Listen, wife! Wherever you go, you mess up everywhere. Whoever has no mind, approaching one, can interfere with everyone, ”says the foreman. The adviser intercedes for the foreman. The brigadier and adviser tell him not to mind his own business. The brigadier steps aside. The adviser sends Sophia to her.

The adviser tells the foreman that he is "treating his wife very badly." “She is out of place sad, not cheerful for good, healed, there is a lot of sin, inopportunely,” the brigadier answers him. Ivanushka says that even a dog, not only mother, should not be wished for death. The brigadier calls his wife a fool and accuses her of raising a worthless son. The adviser again intercedes for the foreman, arguing with the foreman. “She is humble, like a lamb, industrious, like a bee, beautiful, like a bird of paradise, and faithful, like a turtle dove,” the adviser says with a sigh.

The adviser and Ivanushka leave, and the foreman and adviser continue to argue. Each of them believes that the wife of the other is the best. They soon find themselves alone and decide to go where everyone is.

Act Five

The brigadier persuades Ivanushka to marry. He replies that he would like to be a hundred miles of French from her when it comes to his marriage. “Our business is to find you a bride, and your business is to get married,” the foreman says to Ivanushka. Ivanushka is outraged by these words. He begins to speak French with his mother, realizing that she does not know this language. The brigadier is offended and leaves.

The counselor enters. It seems to her that the brigadier is jealous of her son. The adviser tells Ivanushka that their love must be hidden. Ivanushka replies that the foreman is minding his own business. The adviser complains about her husband, then asks Ivanushka who taught him French. “Before my departure for Paris, I was here at the boarding house of a French coachman. I owe him alone for my love for the French and for being cold towards the Russians, ”Ivanushka answers her. The adviser declares: “From now on, in my heart I will maintain true reverence for the French coachmen. Your happiness and mine that you got caught by a French coachman. Then she once again reminds Ivanushka of caution.

At this time, the foreman and adviser enter and see how Ivanushka throws herself on her knees in front of the adviser. They are outraged to the core. Ivanushka jumps up from his knees. The adviser scolds him in a rage. The brigadier is going to beat his son. The adviser laments that the villainous wife has deprived him of honor.

At this time, the foreman, Sofya and Dobrolyubov enter. The brigadier tells his wife about the antics of her son. The brigadier does not believe this, she does not allow the thought that the son can love someone other than Sophia. “It is impossible for honest people to get angry over such a trifle. Among people who know the world, they laugh at this, ”says Ivanushka. The brigadier replies that he would bruise the sides of someone who would drag his wife. The adviser threatens to sue Ivanushka and declares that he no longer wants to have him as his son-in-law. Then Ivanushka says that he saw the adviser on his knees in front of the brigadier. The brigadier threatens to mutilate the adviser. He, frightened, asks for forgiveness. At this time, the adviser cannot stand it and tells how the foreman prayed for her love. The brigadier and adviser quarrel completely. “Now let's get out of such a house, where I, an honest man, almost became a loafer,” the brigadier shouts. Ivanushka and the adviser, saying goodbye, throw themselves into each other's arms. The brigadier and adviser rush to separate them. The brigadier and his family leave the councilor's estate.

Remain adviser, adviser, Dobrolyubov and Sophia. Dobrolyubov asks for Sophia's hand. The adviser agrees. “Be you prosperous, and I, for all my sins, have been punished enough by the Lord: here is my hell!” he says. “I wish you a happy fortune, but I am condemned to suffer to death: here is my tartare,” says the adviser. Sofya and Dobrolyubov are happy. The adviser addresses the public: "They say that it is bad to live with a conscience: but I myself have now learned that living without a conscience is worse than anything in the world."

Good retelling? Tell your friends on the social network, let them prepare for the lesson too!

Brigadier Ignatiy Andreevich and his wife Akulina Timo-feevna are going to marry their son Ivanushka to Sofya, the daughter of Councilor Artmon Vlasich. The family of the brigade-dir is visiting the councilor in his village. Future relatives are talking about the upcoming wedding. Ivanushka has already managed to visit Paris, he always puts French words into his speech. Father doesn't like it. He advises Ivanushka to "dedicate himself to business" and read the "article and military regulations." Akulina Timo-feevna considers the economic books to be the best reading. The adviser recommends the future son-in-law to get acquainted with the code and decrees. And adviser Avdotya Pota-pyevna, Sophia's stepmother, prefers “amiable novels” to any other reading. Ivanushka fully agrees with her.

Sophia is not happy about the upcoming marriage: she considers her fiancé a fool. Her stepmother, on the contrary, is delighted with Ivanushka and his "Parisian" manners.

The general conversation of future relatives is not glued. The brigadier is only interested in what concerns military affairs, his wife thinks only about the economy, the adviser is only concerned with legal issues, and Ivanushka and the adviser find all these low topics. The conversation was interrupted by the arrival of Dobro-lyubov. The adviser, Sofya and the foreman with his wife go to meet him.

The councilor and Ivanushka are left alone. They quickly find mutual indifference: the young man scolds his parents, and the counselor scolds her husband. Ivanushka admits that she does not want to marry Sophia. Guessing on the cards, Ivan and Avdotya Pota-pyevna declare their love to each other. The counselor reveals to the young man that Sophia has long loved Good-love and is loved by him.

When Sophia and Dobro-lyubov appear, Ivanushka and her adviser immediately leave, leaving the lovers alone. Sofya dog-dy-va-etsya about the feelings of her fiancé and stepmother. She also notices that her father looks tenderly at the brig-dirsha, and the foreman at the adviser. Only Sofya and Dobro-lyubov love each other with love, "based on honest intentions." An obstacle to their marriage is the poverty of Good-love. But he hopes that with the end of the trial, his wealth will increase.

Sophia asks her father not to marry her off to Ivanushka. But the adviser does not even want to listen: Ivanushka has “fair villages,” he explains. Artamon Vlasich advises his daughter to please her mother-in-law and honor her. The true reason for the stubbornness of the councilor is love for the brig dirsha. Having given his daughter in marriage to Ivanushka, Artamon Vlasich will be able to see Akulina Timo-feevna often by kinship.

The pious adviser is ashamed of his sinful love, but still, at the sight of the brig-dirshi, he cannot refrain from telling her about his feelings. True, the simply stuffy brig-dirsha does not understand anything, because the adviser inserts Church Slavonic expressions into his speech. When Artamon Vlasich kneels before Akulina Timo-feevna, Ivanushka unexpectedly enters. At the sight of this scene, he laughs and applauds. The speaker-singing adviser exits. The son explains to the bewildered brig-dirsha that the adviser is “amouring” with her.

Briga-dirsha is furious. She promises to tell everything to her husband. But the adviser who appears tells Ivanushka that this secret cannot be divulged: if the brigadier finds out about something, he will immediately take his wife and son home. Ivan and Avdotya Pota-pievna convince the angry brig-dirsha that Ivanushka was just joking, and the adviser was not at all "amorous". Akulina Timo-fe-evna, believing, calms down.

Ivanushka and the counselor note with joy that they are people of "one mind, one taste, one disposition." Only one shortcoming has the adviser in the eyes of Ivan: she is Russian. The young man hopes to make amends for this "misfortune" by taking his beloved to Paris. Avdotya Pota-pievna tells Ivan that the brigadier is "mortally in love" with her. Ivanushka is excited: he is ready to challenge his father to a duel. The brigadier appears. He wants to drive his son out of the room and talk to the adviser himself. But Avdotya Pota-pyevna comes out with Ivanushka.

The brigadier scolds Ivanushka for being "foolish" and addicted to everything French. He replies disrespectfully. Ignatius Andreevich threatens his son with beatings, but the adviser who appears protects Ivan from his father's wrath. She persuades the young man to tell about his stay in France. The son says that he "has already become more French than Russian." The councilor and the brig-dirsha are delighted with this story, but the brigadier is annoyed. Ivan leaves with annoyance at his father, his mother follows him. And the foreman begins to express his love for the adviser. But since he uses military terms, the counselor pretends not to understand him.

Good-love tells the adviser that his trial is over and now he has two thousand souls. The judges turned out to be bribe-takers, therefore, Dobro-lyubov had to turn directly to “the highest justice-judge”, and justice was finally the delight of the shaft. Good-love asks for Sophia's hand. The councilor is happy about this, but her husband doubts: he does not say yes or no.

Good-love and Sophia hope that the bark-hundred-love of the adviser will induce him to agree to their marriage. The lovers stop talking at the sight of the crying brig-dirshi: Akulina Timo-feevna was again scolded by her husband. Ignatiy Timo-feevich is generally of a tough temper and heavy on the arm: once he jokingly pushed his wife so that she almost gave her soul to God.

Ivanushka, the counselor, Sofya and Dobro-lyubov start a card game in a square dance. The brigade-dirsha does not know this fashionable game and is forced only to observe. The adviser and the foreman are playing chess.

The brig-dirsha recalls the village game of pigs. Telling the councilor about this fun, she takes the cards from the players. Ivanushka is annoyed, and the foreman takes the opportunity to choose a wife. The offended brig-dirsha leaves.

Artamon Vlasich reproaches the brigadier for mistreating his wife. Then Ignatius Andreevich, in turn, hints that the adviser is unequal to Ivanushka. But the adviser doesn't believe it. The brigadier is also sure that "there is no such fool in the world" who would take it into his head to drag Akulina Timo-feevna.

Briga-dirsha persuades his son to marry. But Ivan's parental example does not inspire. In addition, he does not like the bride. Akulina Timo-feevna explains that the choice of the bride is not the business of the groom, but the parents. She herself, for example, never spoke to Ignatius Andreevich before the wedding.

The councilor and Ivanushka talk about their love and about the danger from the councilor and the foreman. Ivanushka tells her beloved about her education. Before going to Paris, it turns out that he was raised by a French coachman - Ivan owes his love for France to him.

The adviser and the brigadier find Ivan on his knees before Avdotya Pota the drunkard. They hear the words of lovers. The secret is revealed. Ignatiy Andreevich is going to kill his son, and the adviser is to recover money from Ivan for dishonor. The brig-dirsha, Sofya and Dobro-lyubov, who entered, immediately find out about what happened. Sophia refuses to marry Ivan. The adviser and the foreman agree with this.

Then Ivan and the counselor reveal all the secrets they know. Ivanushka tells how the adviser knelt before the brigade director. And Avdotya Pota-pievna - about how the foreman "declared his love to her."

The brigadier and adviser part in great anger. Ignatiy Andreevich takes away his family: “In what we are standing, in that, out of the yard!”. The councilor and Ivan touchingly say goodbye - the councilor and the foreman are barely able to separate them.

The adviser stays with his wife and daughter. Good-love again asks for Sophia's hand. Artamon Vlasich, Avdotya Pota-pievna and Sofya herself express their consent.

Probably the most intelligent person of the second half of the 18th century. Enlightenment man by temperament

He was born into a wealthy middle-class noble family. All his family are very worthy people. He was brought up in the spirit of the ideas of noble duty. He entered the Moscow State University after the gymnasium under him. As he said himself, he took out little knowledge from there. The university did not give deep knowledge. But at the university he received a love for literature and creativity (translated from German, Latin, spoke French.

After graduating from the university, he went to St. Petersburg, where he first began working in the foreign affairs service, then moved to the cabinet of ministers. He entered Elagin's circle - a circle of translators and "remachiners" of plays. Elagin was a major freemason, a literary gifted person, and a theater manager. The circle translated Lessing, Diderot, the early Beaumarchais. Names were replaced with Russian ones, some realities changed. The positive hero in the West came from the third estate, which did not exist in Russia, so the conflict in Russian plays was between the “bad” and “good” nobility

In enlightenment literature, it was important to erase class boundaries => Fonvizin's plays cannot be considered educational.

60s - the first period of Fonvizin's literary activity, the period of apprenticeship .. Since he translated a lot, he had a wide range of interests: journalistic and ideological treatises, for example, A. Tom's "Eulogy to Marcus Aurelius", where a moderate line of educational ideology is drawn - enlightened absolutism A: The monarch must be the same as the subjects. These ideas have forever entered the mind of Fonvizin. He also translated literary texts: "Aziza" by Voltaire, stories, short stories by Francois Borno, poetic comedies - "Korion".

In his poetic work - "Message to my servants Shumilov, Vanka and Petrushka" opposes the foundations of church teaching and against all kinds of defenders of religion who spoke about the divine goal of the world order. This work expresses "Fonvizin's love to laugh at everyone" (vyr-e Bukharkina).

Epistolary creativity . It has important aesthetic advantages. Within one letter - different spheres of life. Fonvizin traveled about Europe and spent a long time in France for medical reasons - with his sick wife. The main interlocutor in the letters is the sister. France made a painful impression on him. He saw the remnants of tyranny there, he sees the lies of bourgeois "freedoms". A number of letters from P.I. Panin was the fruit of this journey. In France, he did not like absolutely everything. He believed that life in France was built on false ideologies. He considered the only merit of the French to be their love for the monarch. He felt the instability of the French character. I saw the problem in education: they tried to give the child a profession, but no one thought about making a person out of him. And the second is the absence of laws. Fonvizin is not interested in France in itself, he hopes, having studied it, to better understand the ways of Russia's development.

The key moment in the history of literature is the Brigadier of 1769. The heroes of this tragedy are Russians. There is a specifically Russian atmosphere. Behind the figure of the stupid Brigadier lies the tragic figure of a typical Russian woman. "The Brigadier" is both funny and serious comedy. Before that, there were funny comedies, for example, some comedies by Sumarokov, and very serious tragedies (absolute evil is depicted, threatening the normal course of life). There are five negative characters in the "Brigadier" (Brigadier, Brigadier, Counselor, Counselor, Ivan). They do not think about their duty, they are ignorant, immoral. Heroes manifest themselves through words and negative heroes carry infernal evil through words. (Violation of the 10 commandments) Ivan constantly swears - ie. summons an evil force. Ivan casts the shadow of this evil on other heroes. In everyday troubles - the struggle between good and evil.

"Brigadier" made the name of Fonvizin famous, influenced his fate. Count Panin, who liked the comedy, offered to read it to Pavel. Tom liked comedy. Panin invited Fonvizin to his service as a confidant secretary.

"Undergrowth" is a comedy of manners. The images are specifically Russian (Kuteikin, Tsifirkin, Vralman, etc.) - even more specific. Comedy is also serious and funny. The clash of good and evil. Heroes are divided into positive and negative. The fight between them is intriguing. Heroes are revealed at different levels. Negative heroes are carriers of absolute evil. In the center of consciousness of positive characters is the soul. The characters are also characterized by the speech flow. The speech of negative characters is more expressive, vital, and the speech of positive characters is rhetorical, somewhat artificial. However, this does not mean that they are drawn worse. Negative heroes are in the power of language, i.e. in the power of the world. Positive - master the language => therefore master the world. Good always wins. The appearance of "Undergrowth" meant another change in reality.

In the 80s, Fonvizin began to collaborate with various magazines. "Interlocutor of lovers of the Russian word." He writes several anti-Catherine works. "The General Court Grammar". Ekaterina forbids Fonvizin to publish.

Fonvizin was greatly influenced by the ideology of the Masons. I wanted to publish the Starodum magazine. It asks questions about what determines the virtues of a person.

Being physically weak, Fonvizin fell ill early. (diabetes, then a stroke and paralysis) But he did not lose his presence of mind, and even in the last days of his life. A lot of Fonvizin's texts have not reached us.

New comedy "Undergrowth" was completed in 1781 and in the next 1782, after a stubborn struggle, it was set up by Dmitrevsky. Fonvizin began working on the comedy at the time of his political and creative maturity - after returning from France in the fall of 1778. Simultaneously with the comedy, “Discourse on the indispensable state laws” was written. The clarity of Fonvizin's political thought, his commitment to the ideals of human freedom, which was expressed with such force in the "Reasoning", determined the political sharpness of the comedy, its public pathos. /.../

The main theme of the comedy is already indicated by the writer in the first act. /.../ Prostakova's first remark: “The caftan is all ruined. Eremeevna, bring the swindler Trishka here. He, the thief, has restrained him everywhere” - introduces us into the atmosphere of the arbitrariness of the landowners' power. All the following five phenomena are devoted precisely to showing this arbitrariness. /.../

This is how "Undergrowth" begins. The main conflict in the socio-political life of Russia - the arbitrariness of the landlords, supported by the highest authorities, and the lack of rights of the serfs - becomes the theme of a comedy. /.../ The dramatic conflict of the “Undergrowth” is the struggle between the progressive-minded advanced nobles - Pravdin and Starodum - and the feudal lords - the Prostakovs and Skotinin. /.../

The main intention of Fonvizin in “Undergrowth” was to show all the actions, deeds, thoughts of the Prostakovs and Skotinin, all their morality and interests in social conditioning .. They are generated by serfdom, Fonvizin claims. That is why, from the first to the last act, the theme of serfdom permeates the entire work. /.../

In the literature devoted to Fonvizin, one can come across statements that the plot of "Undergrowth" is the struggle for Sofya Prostakova, Skotinin and Milon. It is difficult to agree with this, because the "struggle" of Mitrofan and Skotinin for Sophia is frankly parodic, farcical. Skotinin’s “passion” is determined, on the one hand, by the desire to get Sofyushkin’s money, with which he “will redeem all the pigs from the wide world”, and on the other hand, by the desire to “get his own piglets”. Mitrofan wants to get married because he is tired of studying. The harassment of these suitors is not intriguing. They only make Sophia smile - the thought of this matchmaking is so monstrously absurd for her and her friends. /.../

All subsequent depiction of the struggle of “rivals” - Mitrofan and Skotinin (a fight in which Eremeevna takes part on the side of Mitrofan, preparations for the removal of Sofya Prostakova, etc.) - is ironic. The author pursues only one goal - to once again emphasize the bestiality of the representatives of the "noble class".

The story of the union of Milon and Sophia, who love each other, does not tie up the events in the comedy. Actually, there is no history. From the words of Milo, we learn that when Sophia lived in her family, they fell in love with each other. The death of her mother changed the fate of Sophia - she ended up in the house of her distant relatives. Milon does not know where his bride was taken, and is now in a hurry to Moscow to start looking for her. The case helps him - he discovers Sophia in the Prostakovs' house. This whole story is out of action. /.../

Already in the first appearance of the second act, Milon told Pravdin, his friend, about the grief that befell him (he does not know where and to what people Sophia was taken away) and suddenly meets the one he is looking for. It is clear that Pravdin, who had already seen the “inhumanity” of the Prostakovs and decided to “put boundaries on the wickedness of his wife and the stupidity of her husband,” would not have tolerated violence against Sophia and would have helped his friend snatch the bride from the Prostakovs’ house.

Thus, the opportunity opened up to put the struggle for Sophia Pravdin and Milon with the Prostakov family at the base of the comedy, a struggle that would end in victory in the end, and Sophia would marry Milon. But Fonvizin refused this. He deliberately refused, because he no longer considered the love plot the basis of a dramatic work. That is why he put the conflict of the era, the conflict he discovered in the socio-political life of the late 70s and early 80s, at the basis of The Undergrowth. That is why the story of the union of Milo and Sophia did not form the plot of the comedy. That is why the parodic struggle of Skotinin and Mitrofan for Sophia does not organize the action. The writer needs it only for the comical compromise of the heroes exposed. /.../

The struggle of the noble educators against the slave owners and the despotic government of Catherine II after the defeat of the Pugachev uprising was the second theme of The Undergrowth. /.../

“Undergrowth” is a political comedy. /.../ Fonvizin's political convictions determined his artistic innovation. In The Undergrowth, his innovation found its expression primarily in the plot, which really conveyed the historical conflict, depicting the events of the social and political life of Russia in the late 70s. Innovation was also determined in the creation of images of goodies, who, to a greater extent and with greater artistic expressiveness than in The Brigadier, conveyed the features of real “new people” - noble educators. Researchers still pass by this innovation of Fonvizin, declaring Pravdin and Starodum to be reasoners, incorporeal characters who needlessly talk, “resonate” on abstract themes of virtue, needlessly explain to viewers that evil characters are really evil. /.../

Starodum, in his worldview, is a pupil of the Russian noble Enlightenment. Two major political problems determined the program of the noble educators at that time: a) the need to abolish serfdom by peaceful means - reform, education, "preparation of the nation"); b) the need to fight Catherine, who is not an enlightened monarch, but a despot, patron and inspirer of the policy of slavery. /.../ That is why such a direct and immediate connection is found between the speeches of Starodum and the “Discourse on the indispensable state laws”.

Comparison of Starodum's speeches with "Reasoning" convinces us that the positive heroes of "Undergrowth" are deploying open propaganda of the ideas of the noble Enlightenment. This connection is obvious, despite the fact that in a number of cases Fonvizin had to be guided by a sense of caution in The Undergrowth and avoid especially harsh anti-Catherine statements. /.../

The political ideal of the Fonvizin citizen is expressed in the formula - an honest man. /.../

The images of Starodum and Pravdin are historically and socially correct. These are not literary cliches, but living characters, characters snatched from life, conveying the charming appearance of noble educators with their patriotic jealousy for their “beloved fatherland”, hatred for despotism and slavery, with sympathy for the peasant state .. That is why the audience “recognized” the prototypes of Pravdin and Starodum.

For all the significance of Fonvizin's artistic achievements in depicting positive characters, his realism is historically limited. He helped, destroying classicism, break away from conventional literary clichés. He served as the basis for the creation of the type of progressive figure generated by the social movement. But these heroes of Fonvizin have not yet appeared before the audience in the individual uniqueness of their fate. Starodum, Pravdin and Milon act as representatives of the same specific type (author's italics - comp.), a specific category of people who oppose the world of self-serving Skotinins and Prostakovs. For Fonvizin, it is important to show not so much their difference (author's italics - comp.) from each other as their closeness (author's italics - comp.). He cherishes the commonality of their convictions, a high understanding of their “position”, their duties to the fatherland, their readiness “out of their own feat of their hearts” to stand up for all those who needed this help. That is why the playwright leaves aside what separates his heroes - the biography of the soul, the secret of the heart, the peculiarity of the subjective world of each.

But still, the image of Starodum is artistically significant; this is a major and historically necessary step forward in creating a living character of a good hero, without which, for example, the image of Chatsky could not have appeared.

The same features of Fonvizin's realism - its strengths and weaknesses - also appeared in the disclosure of negative characters. The same truthfulness and historical concreteness of the images of Prostakova, Mitrofan, Skotinin. The same conditionality of characters and social practice. And the same weakness in the depiction of the individual appearance of each of them. True, this sharp difference between Prostakov and Skotinin could not have been according to the very plan of Fonvizin, for people who have developed a rich personality differ from each other. Skotinin, Prostakova and Mitrofan have long since completely erased the features of a human personality from themselves. Hence the caricature, the hyperbolic nature of their image.

But in two other images, Fonvizin's realism won a remarkable victory. The characters of Eremeevna and Prostakova are not only socially and historically correct, typical, but also individually conditioned. Eremeevna is not only a type, a representative of that category of serfs who have turned into serfs, but also a living individuality. Her fate - the fate of a courtyard woman typical of a Russian village - at the same time reflects the individual bitter life of an unfortunate downtrodden mother, who still has human dignity somewhere, in the deep recesses of her soul. /.../

Fonvizin conveys the complexity and inconsistency of human nature, even as undeveloped as Prostakova. The playwright seeks to do a “service to humanity” by showing him what the nature of a person is, even an insignificant, evil one, enjoying his right to offend other people. Hating slavery, despising the feudal lords, Fonvizin loved a man, grieved when he saw desecration of him, in whatever forms it manifested itself.

Prostakova - a tyrant, despotic and at the same time cowardly, greedy and vile, being the brightest type of Russian landowner, at the same time revealed as an individual character - the cunning and cruel sister of Skotinin, a power-hungry, prudent wife who tyrannizes her husband, a mother who loves without a mind his Mitrofanushka. And this individual characteristic allows us to show all the terrible, disfiguring power of serfdom. All the great, human, holy feelings and relationships of Prostakova are distorted, slandered. That is why even love for her son - Prostakova's strongest passion - is not able to ennoble her feelings, for it manifests itself in base, animal forms. Her maternal love is devoid of human beauty and spirituality. And such an image helped the writer from a new angle to expose the criminality of slavery, which corrupts human nature and serfs and masters.

But Fonvizin went further and managed to create a new type (emphasis added by the author - comp.) of realistic comedy, overcoming the contradiction that he saw in dramaturgical works written “in the style of Diderotov”. He did not introduce a ready-made plot scheme into the comedy, but, having discovered a conflict in social and social relations in serf-owning Russia, he laid it at the base of The Undergrowth. In The Undergrowth, therefore, the action is driven not by a conventional and traditional love affair in the dramaturgy of classicism, not by family ups and downs in the test of virtue, characteristic of a “tearful” comedy and petty-bourgeois drama, but by the contradiction of social life observed by Fonvizin. /.../

The conflict on which Fonvizin builds "Undergrowth" draws all the heroes into big events. Revealed, like the characters of The Brigadier, in their social conditionality, the heroes of The Undergrowth begin to live a double life by the force of a new conflict, the action, as it were, is taken out of the landowner's house, family, private existence into the expanse of universal life. And then those who develop in the house (author's italics - comp.) become a reflection of conflicts and disastrous living conditions in the country (author's italics - comp.). Such a display of a person could only be carried out thanks to a new artistic method.

The French enlighteners put forward a great doctrine about the connection of man with the conditions of life, about the formation of the environment of the character, actions and morality of a person. Literature opened up new opportunities for a detailed, reliable, scientifically accurate depiction of morals, revealing the connection of a person with the circumstances of his life. Recognizing the equality of all people, the enlighteners saw the difference in the conditions of their existence. The concept of a certain, concrete environment appeared. Character ceased to be built according to a predetermined scheme, it was, as it were, extracted from the circumstances that determined his entire moral world, he was born before the eyes of the reader and viewer. The environment explained the person, the character revealed the patterns of the environment. /.../

Fonvizin, drawing the Prostakov family, not only recreates the life of a landowner's house, but shows how life (italics by the author - comp.) passes into being. The playwright openly says that the source of Prostakova's beliefs and actions is her position as a landowner, whose power is supported by the law of an absolutist state, a decree on the freedom of the nobles. /.../

In The Undergrowth, Fonvizin no longer confines himself to the everyday characteristics of his heroes, does not become isolated in family relationships, being able to see Russia behind the family, behind the precisely written interior of the landowner's house - the exterior of human destiny in society. The individual characteristics of the character of each member of the Prostakov family are associated with a certain social system that exists with the support of the court. So naturally and naturally, the story about the behavior of the Prostakov family turns into a condemnation of the government and the monarch, the condemnation of Prostakov's cruelty leads to the conclusion that it is unacceptable to oppress one's own kind with slavery. Here, in a private house, the ideological struggle that took place within the nobility between the best people of the ruling class, who stood in educational positions, and the slave-owning landlords is played out in miniature. All this made "Undergrowth" an innovative work. /.../

The social comedy created by Fonvizin overcame the contradictions of dramaturgy "in the taste of Diderot." At the same time, the development of a “higher content” did not lead to the rejection of the comic principle. “Undergrowth” is a funny, full of true gaiety, revealing comedy. But it was punishing laughter, laughter that kills cowardice and meanness, the moral baseness of deeds and thoughts, the insignificance and criminality of the life of Prostakov and Skotinin. Such are the scenes that reveal Prostakov's maternal love, the love rivalry between Skotinin and Mitrofan, Skotinin's dreams of family happiness, Mitrofan's teaching science, exams, and many, many others.

But sometimes laughter is replaced by bitter irony. Under the sign of irony, for example, conversations between teachers Mitrofan and Eremeevna were held. /.../

So, “Undergrowth” is a realistic comedy. But it is not enough to state this fact. It is necessary to carefully study and determine the concrete historical character of Fonvizin's realism. All researchers rightly note that at a time when classicism has not yet lost its dominant position, writing a realistic work is associated with enormous difficulties. The power of tradition was also reflected in The Undergrowth. Hence the meaningful surnames, and the preservation of symmetry in the distribution of negative and positive characters, and the conventionality of some characters, and, most importantly, their insufficient individualization in some cases. In The Undergrowth, the type that is revealed as a social phenomenon is not always shown as a person (emphasis added by the author - comp.).

The real recognition of dramatic talent came to D.I. Fonvizin with the creation of the comedy "Foreman". It was the result of the search for Russian original comedy and at the same time carried in itself other, deeply innovative principles of dramatic art in general. These principles contributed to the convergence of the theater with reality.

Already from the lifting of the curtain, the viewer was immersed in an environment that struck with life's reality. In a peaceful picture of home comfort, everything is significant and at the same time everything is natural - the rustic decoration of the room, and the clothes of the characters, and their activities, and even individual touches of behavior.

A retired Brigadier arrives at the Councilor's house with his wife and son Ivan, whom his parents marry the owner's daughter Sophia. Sophia herself loves the poor nobleman Dobrolyubov, but no one takes into account her feelings. "So if God bless, then the twenty-sixth will be a wedding" - with these words of Sophia's father, the play begins.

All the characters in "The Brigadier" are Russian noblemen. In the modest, everyday atmosphere of middle-class life, the personality of each character appears as if gradually in conversations. Gradually, from action to action, the spiritual interests of the characters are revealed from various sides, and step by step the originality of the artistic solutions found by Fonvizin in his innovative play is revealed.

The conflict traditional for the genre of comedy between a virtuous, intelligent girl and a stupid fiance imposed on her is complicated by one circumstance. Ivan recently visited Paris and is full of contempt for everything that surrounds him at home, including his parents. "Everyone who has been in Paris," he frankly, "has the right, speaking of Russians, not to include himself among those, because he has already become more French than Russian." Ivan's speech is replete with French words pronounced by the way and inopportunely. The only person he finds common ground with is the Counselor, who grew up reading romance novels and is crazy about all things French.

The absurd behavior of the newly-minted "Parisian" and the Counselor, who is delighted with him, suggests that the basis of the ideological concept in comedy is the denunciation of gallomania. With their empty talk and newfangled mannerisms, they seem to oppose Ivan's parents and the Counselor, wise by life experience. However, the fight against gallomania is only part of the accusatory program that feeds the satirical pathos of "The Brigadier". Ivan's kinship with all the other characters is revealed by the playwright already in the first act, where they speak out about the dangers of grammar: each of them considers the study of grammar an unnecessary thing, it does not add anything to the ability to achieve rank and wealth.

This new chain of revelations, exposing the intellectual horizons of the main characters of the comedy, brings us to an understanding of the main idea of the play. In an environment where mental apathy and lack of spirituality reign, familiarization with European culture turns out to be an evil caricature of enlightenment. The moral wretchedness of Ivan, who prides himself on his contempt for his compatriots, matches the spiritual ugliness of the rest, for their morals and way of thinking, in essence, are just as base.

And what is important, in comedy this idea is revealed not declaratively, but by means of psychological self-disclosure of the characters. If earlier the tasks of comedy satire were conceived mainly in terms of bringing out a personified vice on the stage, for example, "stinginess", "evil-tonguing", "bragging", now, under the pen of Fonvizin, the content of vices was socially concretized. The satirical pamphletery of Sumarokov's "comedy of characters" gave way to a comically pointed study of the mores of society. And this is the main significance of Fonvizin's "Brigadier".

Fonvizin found an interesting way to enhance the satirical and accusatory pathos of comedy. In "The Brigadier" the everyday authenticity of the portrait characteristics of the characters develops into a comically caricatured grotesque. The comedy of the action grows from scene to scene thanks to a dynamic kaleidoscope of intertwining love scenes. The vulgar flirting in the secular manner of the gallomaniacs Ivan and the Counselor is replaced by the hypocritical courtship of the Counselor for the Brigadier who does not understand anything, and then, with soldierly straightforwardness, the Brigadier himself storms the Counselor's heart. The rivalry between father and son threatens with a brawl, and only a general exposure calms all the unlucky "lovers".

"Brigadier". Comedy in five acts, written by the innovator of dramatic art Denis Fonvizin in 1769. The satirical comedy is realistic.

Fonvizin very accurately portrayed the conflict between virtue and immorality, intelligence and stupidity. The playwright wanted to show an environment where apathy, lack of spirituality and mental limitations reign, which means that there can be no talk of any kind of enlightenment.

The desire for European trends will not take root where it becomes just an unsuccessful parody. To start talking about the high, you must first overcome your own ignorance. D. created a whole study of the mores of society, which he embodied in The Brigadier.

So what is the plot of the famous play?

The play tells about a rather ordinary everyday situation - a wedding. Brigadier Ignatiy Andreevich and his wife Akulina Timofeevna want a marriage between their son Ivan and the adviser's daughter Sophia. The girl is incredibly beautiful and smart, unlike her close fiancé.

Ivan was recently in Paris, from where he picked up newfangled ideas, and now he inserts French words everywhere, considering himself "a Russian body and a French soul." Sophia is not at all happy about such a marriage, unlike her mother, who has read too many romance novels.

In contrast to the stupidity of his wife is the Counselor, as well as Ivan's parents, who are ordinary Russian nobles who do not see the need for grammar. True, the further events develop, the more strongly it is felt that other characters do not differ much from Ivan in their judgments.

People who decide to become a family do not have common interests: the foreman is a military man, Akulina thinks only about the household, and the Counselor is only busy with his legal career. Ivan does not want marriage and calls his parents animals, and Sophia loves Dobrolyubov. But, the adviser insists on marriage, hiding another more piquant reason for his decision. He fell in love with a foreman, and the foreman with an adviser.

Behind all these fake feelings and Ivan's ignorance, only Dobrolyubov and Sofya look real. Only lovers do not have a chance to be together for a reason quite familiar to that society: a man has no money. It seems to Sophia that everyone around her is in love, only the love of these people is dishonorable and shameful, and her love is based on good intentions and bright feelings.

It soon turns out that Ivan falls in love with the adviser and even confesses his feelings to her. They suit each other, for both are delighted with everything French. This scene, of course, is noticed by the rest of the relatives. An attempt to blame each other ends with the realization of the guilt of everyone in this house.

The foreman asked for the love of the adviser, and she was delighted with Ivan, and the adviser confessed to the foreman. As a result, everyone disperses to their homes, and the wedding will not take place. Sophia is glad of this, who is now allowed to be happy with Dobrolyubov. Her love won, as did spirituality over ignorance. “They say that it’s bad to live with a conscience: now I have learned that living without a conscience is worse than anything in the world!” These are the words the Counselor says, recognizing his unworthy behavior.

Perhaps it is with this phrase that one can sum up what the author wanted to say, who wanted to show the immorality of society, the multitude of their vices and the need to raise their spiritual level.