Misplaced Characters and the Theatrical Structure of Denis Fonvizin’s The Minor
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This article traces all 5 Acts, chronologically, to figure out the structural characteristics of the play Denis Fonvizin’s The Minor based on analysis of the twofold-type characters. To this end, a special focus is given to the characterization of ‘misplaced characters’ and ‘double or foil characters,’ all of these terms are employed for my own interpretative efforts in this study. The first group, which is also called the ‘misset figure’ in this paper, refers to those people that lacked the social responsibility and humanity that were sorely needed by the gentry class at the time. The second group, a diametrical contrast to the first, reflects an idealized and ideological model, at the top of which Starodum imposed his spiritual and intellectual influences. For this reason, we call the characters influenced by Starodum—in the second group— ‘double or foil characters’; they are also called ‘double or foil figures.’ As with most of the plays in classism of Russia, as well as of other European countries at the time, the personage usually is grouped as clear enough to be divided into positive and negative, forming a pair of its own side. To distinguish this cleavage more structurally, the author of this paper tries to forge terms mentioned above and apply them to this play. In order for the reader of this article, then, the first half of this paper is concerned with the relationship between the analysis of the grouped-characters(thematic structure) and the systematic integration within the theatre(theatrical structure). The play is composed of 5 Acts with a total of 40 scenes. Regarding the structural analysis of both the characterization and the theatrical structure, this paper draws its basic constructs from German playwright and critic, Gustav Freytag: the so-called Freytag’s Pyramid. Both structurally and theatrically, we argue that The Minor fits perfectly into this framework and this paper explores: how, in what ways, and where the play’s characteristics fit the framework.
Abstract
This article traces all 5 Acts, chronologically, to figure out the structural characteristics of the play Denis Fonvizin’s The Minor based on analysis of the twofold-type characters. To this end, a special focus is given to the characterization of ‘misplaced characters’ and ‘double or foil characters,’ all of these terms are employed for my own interpretative efforts in this study. The first group, which is also called the ‘misset figure’ in this paper, refers to those people that lacked the social responsibility and humanity that were sorely needed by the gentry class at the time. The second group, a diametrical contrast to the first, reflects an idealized and ideological model, at the top of which Starodum imposed his spiritual and intellectual influences. For this reason, we call the characters influenced by Starodum—in the second group— ‘double or foil characters’; they are also called ‘double or foil figures.’ As with most of the plays in classism of Russia, as well as of other European countries at the time, the personage usually is grouped as clear enough to be divided into positive and negative, forming a pair of its own side. To distinguish this cleavage more structurally, the author of this paper tries to forge terms mentioned above and apply them to this play. In order for the reader of this article, then, the first half of this paper is concerned with the relationship between the analysis of the grouped-characters(thematic structure) and the systematic integration within the theatre(theatrical structure). The play is composed of 5 Acts with a total of 40 scenes. Regarding the structural analysis of both the characterization and the theatrical structure, this paper draws its basic constructs from German playwright and critic, Gustav Freytag: the so-called Freytag’s Pyramid. Both structurally and theatrically, we argue that The Minor fits perfectly into this framework and this paper explores: how, in what ways, and where the play’s characteristics fit the framework.
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