The role of speech characteristics in comedy is underdeveloped. Speech characteristics of the heroes of the comedy "Minor"

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“The Minor” is a play in five acts written by Denis Ivanovich Fonvizin. A cult dramatic work of the 18th century and one of the most striking examples of classicism. It was included in the school curriculum, was repeatedly staged on the theater stage, received a screen embodiment, and its lines were disassembled into quotes, which today live independently of the original source, becoming aphorisms of the Russian language.

Plot: summary of the play “Minor”

The plot of “The Minor” is well known to everyone since school years, but we will still recall a brief summary of the play in order to restore the sequence of events in our memory.

The action takes place in the village of Prostakovs. Its owners - Mrs. and Mr. Prostakov and their son Mitrofanushka - live the quiet life of provincial nobles. Also living on the estate is the orphan Sofyushka, whom the lady sheltered in her house, but, as it turns out, not out of compassion, but because of the inheritance, which she freely disposes of as a self-proclaimed guardian. In the near future, they plan to marry Sophia to Prostakova’s brother Taras Skotinin.

The mistress's plans collapse when Sophia receives a letter from her uncle Starodum, who was still considered dead. Stradum is alive and well and is going on a date with his niece, and he also reports a fortune of 10 thousand in income, which he passes on as an inheritance to his beloved relative. After such news, Prostakova begins to court Sophia, whom she has hitherto given little favor to, because now she wants to marry her to her beloved Mitrofan, and leave Skotinin with nothing.

Fortunately, Starodum turned out to be a noble and honest man who wished well for his niece. Moreover, Sophia already had a betrothed - officer Milon, who had just stopped with his regiment in the village of Prostakov. Starodub knew Milo and gave the young man his blessing.

In desperation, Prostakova tries to organize the kidnapping of Sophia and forcibly marry her to her son. However, even here the treacherous mistress suffers a fiasco - Milon saves his beloved on the night of the kidnapping.

Prostakova is generously forgiven and not put on trial, although her estate, which has long been a source of suspicion, is transferred to a state guardian. Everyone leaves and even Mitrofanushka leaves his mother, because he doesn’t love her, like, in general, no one else in the world.

Characteristics of heroes: positive and negative characters

As in any classic work, the characters in “The Minor” are clearly divided into positive and negative.

Negative heroes:

Mrs. Prostakova is the mistress of the village;
Mr. Prostakov is her husband;
Mitrofanushka is the son of the Prostakovs, an undergrowth;
Taras Skotinin is the brother of the Prostakovs.

Positive heroes:

Sophia is an orphan, lives with the Prostakovs;
Starodum is her uncle;
Milon is an officer, Sophia’s lover;
Pravdin is a government official who came to monitor affairs in the Prostakov village.

Minor characters:

Tsyfirkin – arithmetic teacher;
Kuteikin – teacher, former seminarian;
Vralman is a former coachman, posing as a teacher;
Eremevna is Mitrofan’s nanny.

Mrs. Prostakova

Prostakova is the most striking negative character, and indeed the most outstanding character in the play. She is the mistress of the Prostakov village and it is the mistress, who has completely suppressed her weak-willed husband, who establishes the lordly order and makes decisions.

At the same time, she is absolutely ignorant, has no manners, and is often rude. Prostakova, like other members of the family, cannot read and despises science. Mitrofanushka’s mother is involved in education only because this is how it is supposed to be in New World society, but she does not understand the true value of knowledge.

In addition to ignorance, Prostakova is distinguished by cruelty, deceit, hypocrisy, and envy.

The only creature she loves is her son Mitrofanushka. However, the mother’s blind, absurd love only spoils the child, turning him into a copy of himself in a man’s dress.

Mr. Prostakov

The figurative owner of the Prostakov estate. In fact, everything is controlled by his domineering wife, of whom he is terribly afraid and does not dare say a word. Prostakov has long lost his own opinion and dignity. He cannot even say whether the caftan sewn by the tailor Trishka for Mitrofan is good or bad, because he is afraid to say something that is not what his mistress expects.

Mitrofan

Son of the Prostakovs, an undergrowth. His family lovingly calls him Mitrofanushka. Meanwhile, it’s time for this young man to enter adulthood, but he has absolutely no idea about it. Mitrofan is spoiled by his mother's love, he is capricious, cruel to servants and teachers, pompous, and lazy. Despite many years of lessons with teachers, the young master is hopelessly stupid, he does not show the slightest desire for learning and knowledge.

And the worst thing is that Mitrofanushka is a terrible egoist; nothing matters to him except his own interests. At the end of the play, he easily leaves his mother, who loved him so unrequitedly. Even she is nothing to him.

Skotinin

Brother of Mrs. Prostakova. Narcissistic, narrow-minded, ignorant, cruel and greedy. Taras Skotinin has a great passion for pigs; the rest is of little interest to this narrow-minded person. He has no idea of family ties, heartfelt affection and love. Describing how well his future wife will heal, Skotinin only says that he will give her the best light. In his system of coordinates, this is precisely what marital happiness consists of.

Sophia

Positive female image of the work. A very well-mannered, kind, meek and compassionate girl. Sophia received a good education, she has an inquisitive mind and a thirst for knowledge. Even in the poisonous atmosphere of the Prostakovs’ house, the girl does not become like the owners, but continues to lead the lifestyle that she likes - she reads a lot, thinks, is friendly and polite to everyone.

Starodum

Sophia's uncle and guardian. Starodum is the voice of the author in the play. His speeches are very aphoristic, he talks a lot about life, virtues, intelligence, law, government, modern society, marriage, love and other pressing issues. Starodum is incredibly wise and noble. Despite the fact that he clearly has a negative attitude towards Prostakova and others like her, Starodum does not allow himself to stoop to rudeness and outright criticism, and as for light sarcasm, his narrow-minded “relatives” cannot recognize it.

Milo

Officer, Sophia's lover. The image of a hero-protector, an ideal young man, a husband. He is very fair and does not tolerate meanness and lies. Milo was brave, not only in battle, but also in his speeches. He is devoid of vanity and low-minded prudence. All of Sophia’s “suitors” talked only about her condition, but Milon never mentioned that his betrothed was rich. He sincerely loved Sophia even before she had an inheritance, and therefore in his choice the young man was not guided by the size of the bride’s annual income.

“I don’t want to study, but I want to get married”: the problem of education in the story

The key problem of the work is the theme of provincial noble upbringing and education. The main character Mitrofanushka receives an education only because it is fashionable and “just the way it is.” In fact, neither he nor his ignorant mother understands the true purpose of knowledge. They should make a person smarter, better, serve him throughout his life and benefit society. Knowledge is gained through hard work and can never be forced into someone's head.

Mitrofan's home education is a dummy, a fiction, a provincial theater. For several years, the unfortunate student did not master either reading or writing. Mitrofan fails the comic test that Pravdin arranges with a bang, but because of his stupidity he cannot even understand this. He calls the word door an adjective, because it is supposedly attached to the opening, he confuses science history with the stories that Vralman tells him in abundance, and Mitrofanushka can’t even pronounce the word “geography”... it’s too tricky.

To show the grotesqueness of Mitrofan’s education, Fonvizin introduces the image of Vralman, who teaches “French and all sciences.” In fact, Vralman (that’s a telling name!) is not a teacher at all, but Starodum’s former coachman. He easily deceives the ignorant Prostakova and even becomes her favorite, because he professes his own teaching methodology - not to force the student to do anything through force. With such zeal as Mitrofan’s, the teacher and student are simply idle.

Education goes hand in hand with acquiring knowledge and skills. Mrs. Prostakova is mostly responsible for him. She methodically imposes her rotten morality on Mitrofan, who (here he is diligent here!) perfectly absorbs his mother’s advice. So, while solving a division problem, Prostakova advises her son not to share with anyone, but to take everything for himself. When talking about marriage, mother speaks only about the bride’s wealth, never mentioning spiritual affection and love. The young Mitrofan is not familiar with such concepts as courage, boldness, and valor. Despite the fact that he is no longer a baby, he is still looked after in everything. The boy cannot even stand up for himself during a clash with his uncle; he immediately begins to call his mother, and the old nanny Eremeevna rushes at the offender with her fists.

The meaning of the name: two sides of the coin

The title of the play has a literal and figurative meaning.

Direct meaning of the name
In the old days, minors were called teenagers, young men who had not yet reached adulthood and had not entered the public service.

The figurative meaning of the name
A fool, an ignoramus, a narrow-minded and uneducated person was also called a minor, regardless of his age. With the light hand of Fonvizin, it was precisely this negative connotation that became attached to the word in the modern Russian language.

Every person is reborn from a minor youth into an adult man. This is growing up, a law of nature. However, not everyone transforms from a dark, half-educated person into an educated, self-sufficient person. This transformation requires effort and perseverance.

Place in literature: Russian literature of the 18th century → Russian drama of the 18th century → The work of Denis Ivanovich Fonvizin → 1782 → The play “The Minor”.

Addressing this topic will allow us to consider many others raised in comedy.

During the conversation, you can repeat theoretical and literary concepts.

Name the features of drama as a type of literature.

How does drama differ from epic and lyric poetry?

What genres is drama divided into?

The play was staged in St. Petersburg in 1782, published in 1783, and went through four editions during the author’s lifetime.

“The Minor” is the pinnacle of Fonvizin’s creativity, the first Russian comedy created during the times of Russian classicism.

Name the features of classicism as a literary movement.

The educational orientation of literature (writers sought to influence the human mind in order to correct the vices of society), the doctrine of three “calms”, the telling names of the heroes, their division into positive and negative, the trinity of place, time and action - all these are the main features and rules of classicism.

In his comedy, Fonvizin largely deviates from these rules, although he builds it in accordance with the norms of classicism.

Fonvizin’s merit in creating a spoken language of comedy. Fonvizin's true innovation lay in the widespread use of colloquial speech, the principles of its selection, and the skill of individualization. All this is all the more important because in the second half of the 18th century a pan-Russian literary language was being formed, and Fonvizin himself was an active participant in this process.

The clear division of heroes into positive and negative among all comedians of that time entailed the need to differentiate the speech of the heroes. The language of positive heroes, bearers of abstract virtues, is bookish and literary, rich in Slavic vocabulary, many periphrases, and complex syntactic structures.

At first glance, the images of positive characters in Fonvizin’s comedy “The Minor” were created in the same traditions. The language of Sophia, Milon, and Pravdin is bookish, colloquial vocabulary is almost never used.

However, Fonvizin's comedy is sharply different from others.

In Fonvizin we not only see the actions of positive heroes, but also learn their moral ideal - honest service to the Fatherland, intolerant attitude towards vice and injustice. Fonvizin's educated, progressively thinking heroes express the innermost thoughts of the author, who was close to the noble opposition during the reign of Catherine II - this is the main ideological and artistic function of positive heroes. Consequently, the high syllable of their speech is psychologically motivated. And this distinguishes their speech from the speech of abstractly positive heroes of other comedies - wise fathers, honest, devoted friends, and so on.

The above should first of all be attributed to Starodum. This is the author’s favorite hero, his second self. The desire for realism, which characterizes Fonvizin’s comedy, was clearly reflected in the creation of Starodum’s speech characteristics.

Starodum's speech is, first of all, Speaker's speech. He, according to Fonvizin, must convey new ideas to the reader and interpret them. That's why His speech is figurative, aphoristic.

An ignoramus without a soul is a beast; It is much more honest to be treated without guilt than to be rewarded without merit; Have a heart, have a soul, and you will be a man at all times; Cash is not cash worth; The golden fool is still a fool; Enlightenment elevates one virtuous soul; Only those who are in rank not by money, and in the nobility not by rank, are worthy of spiritual respect.

In Starodum’s speech, Fonvizin consistently shows how the choice of words depends on the speech situation, which was typical for the colloquial speech of educated people in the second half of the 18th century. Thus, when he has nothing to talk about with his interlocutor (for example, with the ignorant Prostakova), his remarks become monosyllabic, he is ironic, and often uses such colloquial words as To start, this is a master of interpretation, bah! I'm having tea; post-positive particles (think about it). He seems to adapt to the vocabulary of his interlocutor.

In addition, using the example of Starodum’s speech, Fonvizin showed for the first time that the older generation of educated nobles spoke more simply than the younger generation, his speech was closer to folk colloquialism. So, Starodum uses If(Milon - Will), Now, survived, will help, hang around in the hallway, just now, rich man, get out(“to leave”), Rublev.

Unlike other playwrights, Fonvizin creates individual speech characteristics of positive characters. Thus, Starodum’s speech is simpler, more specific, more figurative than the speech of Pravdin and Milon. Starodum plays a unique role as a translator, a mediator between the serf owners and his truth-loving friends. It is he who can explain himself to Skotinin, “laughing” to find a common language with him, while Milon, regarding Skotinin’s remarks, is only able to exclaim:

What insolence... I can hardly resist... What a bestial comparison!

It is Starodum who knows how to understand the peculiar logic of Mitrofan, who reveals his “knowledge” in the field of grammar: “So that’s why you use the word fool as an adjective, because it is applied to a stupid person?” (To which Mitrofan replies: “And it is known.”) When Prostakova asks Pravdin and Starodum to explain to her what “heorgaphy” is, Pravdin gives an answer incomprehensible to Prostakova: “Description of the land,” and Starodum explains to her in such a way that she immediately understands ( and defines his attitude towards geography as follows): “Science is not a noble science.” Condemning Prostakova, Starodum, unlike Milon and Pravdin, does not philosophize, does not suppress her with abstractions, but simply says in response to her exclamation that she is a person, not an angel:

I know, I know that a person cannot be an angel. And you don’t have to be a devil.

In the first dialogue between Pravdin and Starodum, there is even some opposition between the speech manner of one and the way of expressing the other. The courtly phrases of Pravdin, not only a noble, but also an exquisitely polite person, differ quite sharply from Starodum’s remarks with his “you” addresses and his habit of interrupting the speech of his interlocutor. It seems that a nobleman of Catherine’s era is talking with a close associate of Peter I, the nobility of the first is clothed in exquisite forms, the wisdom of the second is simple and artless, completely in the style of the great sovereign.

Pravdin. As soon as they got up from the table and I went to the window and saw your carriage, then, without telling anyone, I ran out to meet you and hug you with all my heart. My sincere respect to you...

Starodum. It is precious to me. Trust me.

Pravdin. Your friendship for me is all the more flattering because you cannot have it for others except such...

Starodum. What are you like? I speak without ranks. The ranks begin - they stop...

Pravdin. Your treatment...

Starodum. Many people laugh at him. I know it...

But such a contrast is only emerging. Starodum’s “Petrine” style is not maintained to the end, and in many scenes the difference between him and Pravdivny, Milon is erased. In the same dialogue, Starodum moves away from the style of simplicity and artlessness and speaks almost the same as Pravdin.

Starodum. I did not know how to guard against the first movements of my irritated curiosity. My ardor did not allow me to judge then that a truly inquisitive person is jealous of deeds, and not of rank...

If Starodum’s speech sometimes shows a sense of humor, then Pravdin and Milon speak completely seriously, not allowing or understanding jokes. This is how it should be: their word is inflexible, unambiguous, it expresses a thought, but does not convey shades of meaning. For example, the jokes of Sophia, who supposedly talks sympathetically about Mitrofan, “torment” Milon, arouse jealousy in him, and even when he finally realized that she was joking, he still reproaches her: how can you joke with such a passionate, serious and virtuous a person?

All this, in Fonvizin’s understanding, does not at all contradict his plan to present Pravdin and Milon as positive heroes of the comedy. Their speech should appeal to the rigor and classical beauty of abstractions that make up the harmonious edifice of the educational program. Abstractions are perceived and experienced emotionally by positive characters: such, for example, a word as Virtue, causes them ecstasy and excitement.

Starodum. ...I caress that my ardor does not deceive me, that virtue...

Sophia. You filled all my feelings with it. (Rushing to kiss his hands.) Where is she?

Starodum (kissing her hands). She's in your soul...

This is the end of the conversation that it is not love, but reason and good morals that should be the basis of marriage. The bride not only agrees with her uncle - for her this rule was an exciting revelation and a source of intense joy.

In general, the speech of the positive characters is not yet so bright, and this is primarily due to the fact that they practically do not use colloquial, colloquial phrases. The bookish speech of educated people of that time was characterized by a lack of emotion. Clarity, correctness, monotony - these are the distinctive features of the speech characteristics of positive heroes. You understand the meaning of what they say from the immediate meaning of the words. For the rest of the characters, the meaning and essence can be grasped in the very dynamics of the conversation. The speech of positive characters is used by the author to express his thoughts.

Creating images of negative characters, Fonvizin reproduces a lively, relaxed
speech.

Negative characters are characterized by the use of folk proverbs, sayings, and phraseological units, which gives the landowner a national flavor.

Ms. Prostakova (behind the scenes). Rogues! The thieves! Fraudsters! Everyone Nail I command To death!

Forgive me! Ah, father... Well! Now I'll give you the dawn channel to your people...

(Kneeling). Ah, my fathers, A fault confessed is half redressed. My sin! Don't ruin me. (To Sophia.) You are my dear mother, forgive me. Have mercy on me (pointing to my husband and son) and on the poor orphans.

There are few vernacular words in comedy, and these are mostly words widely used in everyday speech. Fonvizin carefully selects “reduced” vocabulary; we will not find words from him that are rarely used and therefore attract attention as a foreign inclusion in the fabric of the narrative.

He uses colloquial and “reduced” vocabulary to create vivid speech characteristics.

As an example, let's look at speech Prostakova. The impression of Prostakova’s ignorance is created primarily by the inclusion in her vocabulary of words that are colloquial, but expressively neutral: He, de, ba, to the article, tired, where, nowhere, looking for("more"), I tea, indulge, maybe, intimidate, now, bye, sweat, look, if only, little. It is this vocabulary, devoid of expressive load, designed to emphasize the word in speech, to highlight it - this vocabulary creates a “common” background of speech characteristics. Sounding against this background Swear words (snout, swindler, thief, thieving mug, cattle, fool, beast, freak, weakling, scoundrel, mug, witch, countless fool) Prostakova’s rudeness, unbridledness, and cruelty are conveyed more sharply.

Ms. Prostakova (behind the scenes). Rogues! The thieves! Fraudsters! I'll order everyone to be beaten to death!

Oh me Dog's daughter! What have I done!

Insatiable soul! Kuteikin! What is this for?

Note, however, that in the dictionaries of the second half of the 18th century, not all of these words are classified as stylistically reduced. For example, words like Chatterbox, fool, game, mug, mug, kill, stagger, gape, stylistically not limited. Were completely common in colloquial speech and form Where, nowhere, enough, baby. The colloquial nature of these words is indicated by their absence in official letters and business documents; in Fonvizin (except for “The Minor”) they are found in the comedy “Brigadier”, in translations of fables, in letters to relatives.

Prostakova's speech reflects Dialect features: dialect conjunctions; use of the postpositive member.

Mrs. Prostakova. Forgive me! Ah, father!.. Well! Now- That I will give the dawn to my people. Now- That I'll take them all one by one. Now- That I’ll find out who let her out of his hands. No, scammers! No, thieves! I will not forgive a century, I will not forgive this ridicule.

Not free! A nobleman is not free to flog his servants when he wants; Yes, what have we been given instructions for? From about the freedom of the nobility?

And with debts - That get rid of things?.. Teachers are underpaid...

Prostakova uses bookish expressions in her speech (“a fair amount of fiction”, “amorous writing”).

Most playwrights, reproducing the speech of servants, peasants, and local nobles, created a kind of conventional language that differed from living everyday speech in its deliberate concentration of vernacular elements.

Unlike most of his contemporaries, Fonvizin creates the language of comic characters using literary language, very accurately using elements of vernacular language. In this way he achieves complete verisimilitude in the speech of Prostakova and other “low” characters in the comedy. The reader gets the impression that the speech of these characters reflects the real speech practice of the provincial nobility, servants, and so on.

Obviously, it was precisely this way of creating speech characteristics of everyday, comic comedy characters that was fruitful - the use of the speech practice of the writer himself, the wide inclusion of colloquial vocabulary and phraseology used among educated people. Other comedians, contemporaries of Fonvizin, set themselves a similar task, but it was brilliantly resolved only by Fonvizin, who carried it out more fully and decisively.

The speech of Mitrofan and Skotinin is also replete with proverbs, sayings, jokes, and funny puns: I have... all sorts of guilt; you can’t beat your betrothed with a horse; live happily; a merry feast and for the wedding(Skotinin); Guilty without guilt(Prostakov); Henbane ate too much, shoot them, remember their names, stuck with a knife to the throat(Mitrofan).

Prostakov. ...After all, we can’t move Sofyushkin’s real estate estate to our place.

Skotinin. And although the movable has been put forward, I am not a petitioner.

Mitrofanushka even rhymes some words. Worried after a tough conversation with Skotinin, he tells his mother that he is not able to read the book of hours with Kuteikin.

- Yes! just look at what the uncle is doing; and there from his fists and for the book of hours.

The conversations of the positive characters are inaccessible to the understanding of Prostakovs and Skotinin, but they often pick up one or another word familiar to them, expressing an abstract concept in the language of Pravdin and Milon, and, interpreting this word in their own way, return it to its original concrete meaning. For example:

Pravdin. When only your cattle can be happy, then your wife will suffer from them and from you. Peace.

Skotinin. Poor peace! Bah! bah! bah! Don't I have enough light rooms? I’ll give her a coal stove and a bed for her alone.

It is clear that Pravdin means peace - a “state of mind”, and Skotinin, understanding it differently, speaks of a room, a room (chamber).

From the very first scene, when Mrs. Prostakova scolds her husband, to whom the narrow, in her opinion, caftan seemed baggy (“you yourself are baggy, smart head”), and right up to the last words in the comedy, the negative characters, as they say, are behind the word They don't go into your pocket.

But all the techniques of expressiveness that enliven the speech of Prostakov and Skotinin in Fonvizin’s poetics are not techniques for creating any attractive image. The reader or viewer, turning to “The Minor,” judges his negative characters together with the author of the comedy, completely condemning them, despite the objectively valuable features of their language.

What, after all, are the unattractive features in the language of the Fonvizin serf-owners that compromise them in accordance with the author’s intentions? First of all this An abundance of vulgarisms, harsh and rude words. This is especially visible in the Prostakovs’ treatment of servants and teachers, in comparisons of negative characters with animals - dogs, pigs.

“I want to have my own piglets” (Skotinin wants to have children); “Have you ever heard of a bitch giving away her puppies?” (Prostakova explains her intercession for Mitrofan).

Similar parallels and all kinds of vulgarisms serve Satirical debunking of heroes- in Fonvizin’s comedy they play exactly this role.

Fonvizin's individualization of speech reaches high perfection: each comic character differs in the nature of his sayings.

Let's say About the language of teachers and servants. The features of their speech are determined by the social status of these characters, the nature of past and present occupations, professions, nationality (Vralman) and so on. First of all, this applies to teachers - Church Slavonic sayings, book words of Kuteikin.

Kuteikin. The call came and went; Are you willing to let go? Yes, first let’s be disappointed... We’ve been put to shame, damned one.

Vladyka, meal, consistory, battle - soldiers’ words and “arithmeticisms” of Tsyfirkin.

Tsyfirkin (to Pravdin). What will the order be, your honor?

So: with those ten rubles I wore out my boots in two years. We're even.

My pleasure. I served the sovereign for more than twenty years. I took money for service, I didn’t take it in vain, and I won’t take it.

Why, your honor, are you complaining?

AND! Your Honor. I'm a soldier.

Vralman's affectionate speech with the owners is impudently arrogant with the servants.

Vralman (to Pravdin). Fasche fisoko-i-plakhorotie. They fooled me to ask for it?..

(Having recognized Starodum). Ay! ah! ah! ah! ah! It's you, my gracious master! (Kissing the floor of Starodum.) Are you going to cheat the old lady, my dear fellow?

Hey, no, my dad! Shiuchi with great hospotam, it concerned me that I was with horses.

The speech of the characters in the play is a derivative of social and everyday realities; it is an important means of creating comic, as well as psychological characteristics of the characters.

Thus, the author manages to overcome the contradiction: on the one hand, his comedy is associated with the traditions of classicism, therefore all the characters wear speech masks; on the other hand, in the speech characteristics of the characters he manages to achieve their individualization, which gives “The Minor” features of realism.

For independent work Students can be asked to write an essay “Speech characteristics of Mitrofan and Eremeevna.”

As was customary in classicism, the heroes of the comedy “The Minor” are clearly divided into negative and positive. However, the most memorable and striking are the negative characters, despite their despotism and ignorance: Mrs. Prostakova, her brother Taras Skotinin and Mitrofan himself. They are interesting and ambiguous. It is with them that comic situations are associated, full of humor, and bright liveliness of dialogues.

Positive characters do not evoke such vivid emotions, although they are sounding boards that reflect the author’s position. Educated, endowed with only positive traits, they are ideal - they cannot commit lawlessness, lies and cruelty are alien to them.

Let us describe each of the characters in more detail:

Heroes	Characteristic	Character Speech
Negative characters
Mrs. Prostakova	The central negative character, a representative of the serf nobility. She is depicted as an uneducated, ignorant and evil woman, who holds all the power in the family: “I scold, then I fight, and that’s how the house holds together.” She is convinced that education is unnecessary and even harmful: “People live and have lived without science.” A two-faced person: she communicates haughtily, rudely, even aggressively with serfs, teachers, husband, brother, and tries to flatter the people on whom her position depends. Confirmation of the same thought is the change in attitude towards Sophia. Pravdin calls her “a despicable woman whose hellish disposition brings misfortune to the whole house.” The only person who inspires her with good feelings is her son Mitrofanushka, “dear friend”, “darling”. That’s why in the finale it’s even a pity for her, because he also turns away from her.	Trishke - “cattle”, “swindler”, “thief’s mug”, “blockhead”; To Eremeevna - “beast”, “rascal”, “dog’s daughter”. To Starodum - “benefactor.” “Whatever the peasants had, we took it away, we won’t be able to rip anything off.” “Rogues, thieves, swindlers! I’ll order everyone to be beaten to death.”
Skotinin	Another sharply negative character, the owner of a bestial surname, narcissistic and cruel. His only passion is pigs and everything connected with them gives his image a certain semblance of an animal.	“I haven’t read anything since I was born... God saved me from this boredom.” “I love pigs...” “Are there pigs in your villages?” “I want to have my own piglets.” “... I’ll break the devil... if I were a pig’s son... “Eco happiness has fallen.” “I would have… by the legs, but on the corner,” “Oh, you damn pig!” - Mitrofan. “Look how she screamed” - about her sister.
Mitrofan	A minor of sixteen years old, the son of provincial landowners. His name is “speaking”, because Mitrofan translated from Greek means “like a mother.” The same two-faced: a tyrant towards his family, humiliatingly asks for forgiveness from Starodum in the finale. He has undeniable cunning. For example, a dream where “mother beats father.” Education depends on life, environment, and the conditions of a person’s formation. Mitrofan, who grew up in an ignorant family, is himself ignorant, stupid and lazy. Mitrofanushka is not only a complete ignorant who has an aversion to learning, but also an egoist; for him there is nothing significant except his own interests. “An ignoramus without a soul is a beast,” according to Starodum. Rude and cruel towards serfs, teachers, nanny, father. “Although he is sixteen years old, he has already reached the last degree of his perfection and will not go further,” Sophia says about him. “The damned pig,” as his uncle calls him, is the final result of the degradation of the nobility under a soul-crippling upbringing. Historically, a young nobleman who did not receive a written certificate of training from his teacher was considered a “minor.” He was not accepted into the service and was not allowed to marry. Thanks to comedy, the image of a “minor” has become a household word: this is usually what they say about stupid and ignorant people.	Eremeevne - “old Khrychovka”; uncle - “Get out, uncle; get lost"; “garrison rat” - to teacher Tsyfirkin.. “Take them and Eremeevna too” - about teachers. “I don’t want to study, I want to get married.” “To hell with everything!”
Prostakov	The person is weak-willed and weak. It’s definitely impossible to say about him that he is the “head of the family.” Submits to his wife in everything and fears her. He prefers not to have his own opinion - the scene with sewing a caftan: “Before your eyes, mine see nothing.” An illiterate “spineless henpecked” man, in essence, he is not such a bad person. He loves Mitrofan, “as a parent should.” “He is humble,” Pravdin says about him.
Positive characters
Pravdin	A government official sent to check the situation on the Prostakov estate. Arbitrariness, in his opinion, is an unforgivable vice. Tyranny deserves punishment. Therefore, the truth will prevail and the estate of the cruel and despotic Prostakova will be taken away in favor of the state.	“From the struggle of my heart, I do not fail to notice the malicious ignoramuses who, having power over their people, use it inhumanly for evil.” “So that there is no shortage of worthy people, special efforts are made to educate.”
Sophia	Starodum's niece. A decent, kind, smart girl. Translated from Greek, her name is “wisdom”. Honest and educated. “God gave you all the pleasantness of your sex,... the heart of an honest man,” Starodum tells her.	“How can the heart not be content when the conscience is calm... It is impossible not to love the rules of virtue... They are ways of happiness.” “I will use all my efforts to earn the good opinion of worthy people.”
Starodum	Sophia's uncle and guardian. Acts as a sounding board, expressing the author’s thoughts. His name says that he was raised in the era of Peter and adheres to its ideals, when they served at court faithfully and honestly, without fawning before the “powers of this world.” And he honestly earned his fortune and position: he was in military service, and served at court. Has straightforwardness and impatience for injustice. A person endowed with power, in his opinion, should not in any way violate the rights of other people.	“Enlightenment elevates one virtuous soul.” “Cash money is not cash dignity.” “Ranks begin, sincerity ceases.” “Have a heart, have a soul, and you will be a man at all times.” “The dignity of the heart is indivisible.” “The main goal of all knowledge.” human - good behavior."
Milo	A handsome officer, Sophia's fiancé. Despite his youth, he already took part in hostilities, where he showed himself heroically. Modest. “A young man of great merit,” “the entire public considers him an honest and worthy person,” according to Starodum.	"I'm in love and I have the happiness of being loved.”“I believe true fearlessness is in the soul, not in the heart...”
Minor characters
Tsyfirkin	In the past he was a soldier, so he values the concepts of duty and honor: “I took money for service, but I didn’t take it in vain and I won’t take it.” Rough, but straightforward and honest. “I don’t like to live idly,” he says. Starodum is called a “straightforward, kind person.”	“Here gentlemen are good commanders!” “Here there is rapid fire every day for three hours in a row.” “Hello for a hundred years, yes twenty, and another fifteen, countless years.”
Kuteikin	A half-educated seminarian with a “speaking” surname: kutia is a ritual porridge, an obligatory Christmas and funeral dish. The man is undoubtedly cunning, as evidenced by the choice of text when teaching Mitrofan: “I am a worm, and not a man, a reproach of men,” “that is, an animal, a cattle.” Greedy for money, tries not to miss what he has.	Church Slavonic vocabulary: “utter darkness”, “woe is me a sinner”, “the call was”, “I came”, “fearing the abyss of wisdom”.
Vralman	German Adam Adamovich is Starodum's former coachman. The man is a rogue, as his last name suggests, posing as a scientist who can teach “French and all the sciences,” but he himself interferes with other teachers. The owner of a lackey's soul, tries to please Prostakova, praising Mitrofan. He himself is ignorant and uncultured.	“They want to kill the turnip!” “Shiuchi with the wild hospots, as far as I’m concerned, I’m all with the little horses.”
Eremeevna	Mitrofan's nanny. She sincerely serves in the Prostakovs’ house, loves her pupil Mitrofan, but is rewarded for her service like this: “Five rubles a year, up to five slaps a day.”	“... I would have broken down with him... I wouldn’t even take care of my fangs.” ... you don’t know how to serve anymore... I would be glad if nothing else... you don’t regret your belly... but everything is not to your liking."

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Untitled

Speechand personalcharacteristics of heroescomedy

DI. Fonvizin "Minor"

Recently read comedy by D.I. Fonvizin’s “Minor” made me think about the question: “Is it possible to recognize a person’s character, his moral principles just by name and speech; and whether the name and the words spoken by her are connected at all in her personality.” Let's conduct research on this topic.

First of all, we note that a The second quite aptly selects the names of the main characters. It is unlikely that this fact can be attributed solely to the author’s desire to give a “challenge” V catchy and memorable names for the heroes. Rather, it should be assumed that Fonvizin is trying in this way to enhance the impression he receives from the play.A deep connoisseur of human souls, Fonvizin understands that the names of heroes are precisely what the common man most often pays attention to. Thus, being an excellent satirist, the author initially sets the reader in a comical mood.Now let's come closer to the comedy itself.

So, the names of the heroes:

Mitrofan. According to the directory of male names - name of Greek origin, translated from Latin stands for “revealed by the mother.” It should be assumed that the name can be deciphered, How "Sissy", those. Human, everything is possible warded by mother, loving and respectful her more than her father. This name couldn't be betterconveys the whole nature hero.

What about speech features, then in words Mitrofan is clearly visible exactly love for your mother.He tries in every possible way to highlight his mother inthe society in which it is located, And it doesn’t matter if the people are close he is surrounded or strangers. Undoubtedly One should also highlight such a characteristic of the hero as a complete inability for various kinds of sciences and learning in general. Maybe that’s why after the comedy was published, the name Mitrofan became a common noun, denoting people who are narrow-minded and simple in their inner world.Let's look from the text:

Mitrofan. This? Adjective.

Pravdin. Why?

Mitrofan. Because it is attached to its place. Over there by the pole closet

week the door has not been hung yet: so for now that is a noun.

Or here, again:

Mitrofan (softened up). So I felt sorry.

Mrs. Prostakova (with annoyance). Who, Mitrofanushka?

Mitrofan. You, mother: you are so tired, beating your father.

Mrs. Prostakova. Surround me, my dear friend! Here's my son, one of mine

comfort.

Sophia. Just like Mitrofan, the name has ancient Greek roots. Means "wisdom". We can also assume that the author gives this name to his heroine, in connection with the short form of the name - Sonya. The name Sonya is popularly associated with the quality of sleepiness. In the comedy, Sophia is a young girl who has not yet shown her nature, her character, who has not fully “awakened” after childhood. We don't know what it will be like in the future. Will she accept the qualities of Starodum, her uncle, or will she be the exact opposite, like Mrs. Prostakova.

Sophia's speech shows that the heroine is polite, loves and is grateful to her uncle. She never allows herself to scold a person, take offense at him or hate him. Sophia is quite sweet; her speech reveals the tenderness characteristic of every well-bred girl. Just one phrase:

« I have now received good news. Uncle, about whom so much for a long time we knew nothing, whom I love and honor as my father, I came to Moscow these days » ,

reveals to us the whole essence of this charming girl.

Milo. The name comes from Western languages. Denotes dear, beloved. It can be argued that Fonvizin gave the name to the hero not by chance, since Sophia loves Milon, hence the “beloved”. One should also not discount the possibility, although not great, that the author had some kind of association between Milo and melon (Melon (English) - melon), since his speeches are very sweet.

Based on Milo’s speech style, it is noticeable that the hero is a kind, sympathetic, brave person.

“I will tell you the secret of my heart, dear friend! I am in love and have the happiness of being loved. For more than six months I have been separated from the one who is dearer to me than anything else in the world, and what is even sadder is that I have not heard anything about her during all this time... Maybe she is now in the hands of some self-interested people who, taking advantage of her orphanhood, her, they keep her in tyranny. From this one thought I'm beside myself »

ABOUT the bottom is just a phrase, but how it reveals all Milon's feelings for Sophia.

Mrs. Prostakova and Mr. Prostakov are Mitrofan's parents. Their surname speaks of a very important quality - simplicity. As for the type of this simplicity, it is obvious that first of all one should assume spiritual simplicity. From which also follows the poor spiritual world of the heroes. Is it possible to find confirmation of these thoughts? Undoubtedly, but first let’s say a few words about Mitrofan’s mother. Prostakova comes from a family of nobles named Skotinin. Her father was ignorant, which is why she and her brother (Skotinin) are ignoramuses. Prostakova is a very wayward person, looking for benefit everywhere. Her whole essence is reflected in her last name. It can be assumed that her father or grandfather got the title of nobleman not by inheritance, but by length of service or in some other way. The validity of this assumption is confirmed by the complete lack of manners instilled in childhood; she was probably raised by people not accustomed to the nobility, who were unable to give her the proper noble education and upbringing.

Prostakova's speech is very original and interesting. She never allows herself to address her husband kindly and with respect, but she treats her son so reverently and with such love that everyone can only silently envy. She often calls the servants brutes, apparently because she herself was once Skotinina.

Mrs. Prostakova (Trishke). And you, brute, come closer. Didn't you say

I tell you, you thieving mug, to make your caftan wider. Child, first,

growing up, another, a child without a narrow caftan of delicate build.

Tell me, idiot, what is your excuse?

Prostakov is the complete opposite of his wife. Prostakov pleases his wife in everything and has no word of his own. It is very difficult to call him a person, rather an individual.

Prostakov. Yes, I thought, mother, that it seemed so to you.

Mrs. Prostakova. Are you blind yourself?

Prostakov. With your eyes, mine see nothing.

Mrs. Prostakova. This is the kind of hubby God gave me: he doesn’t understand

figure out for yourself what is wide and what is narrow.

The following characters: Starodum, Pravdin, Skotinin, Kuteikin, Tsyfirkin and Vralman have corresponding “speaking” surnames that characterize the characters even more than their speech patterns.

Starodum is Sophia's uncle. He always speaks in aphorisms. For example:

“Ranks begin, Sincerity ceases”

“Without a soul, the most enlightened, clever woman is a pitiful creature.”

This characterizes him as a wise man who knows life and has seen a lot in his life.

Pravdin is an official. An old friend of Starodum, maybe that’s why he’s trying to get the truth everywhere, speaks only the truthand at the same time believes that everyone also acts in the truth.

Pravdin. But those worthy people who serve the state at the court...

Skotinin. Isn't a nobleman free to beat a servant whenever he wants?

Kuteikin, Tsyfirkin, Vralman - the so-called teachers of Mitrofan. TO Uteikin is a seminarian. Teaches vocabulary ease for my son Simplicity and the kovs . Tsyfirkin is a retired sergeant.Without proper education, he teaches Mitrofan mathematics. Vralman - German, sand that they actually hire him as a teacher Mitrofanushka. In fact, it turns out that Vralman is a simple coachman, but a German for that!

Kuteikin. What a devilry! You won't achieve much in the morning. Here

every morning will flourish and perish.

Tsyfirkin. And our brother lives like this forever. Don't do things, don't run away from things.

That's the trouble for our brother, how bad the food is, like today for lunch here

there were no provisions...

At the same time, the whole trio(Kuteikin, Tsyfirkin, Vralman) She has settled quite tightly in the Prostakovs’ house, although occasionally disagreements and squabbles arise between them.

Tsyfirkin. And we will give them the honor. I'll finish the board...

Kuteikin. And I am a book of hours.

Vralman. I'm going to play pranks on my mistress.

Eremeevna - Mitrofan's nanny, a simple Russian woman, lovinghis pupillike her own son and always ready to defend him.

Mitrofan. Mommy! shield me.

Eremeevna (shielding Mitrofan, becoming furious and raising her fists). I'll die

on the spot, but I won’t give up the child. Show up, sir, just kindly show up. I

I’ll scratch out those thorns.

Total, 13 heroes, 13 different names, 13 different images. But what they all have in common is that DI. Fonvizin gave them names similar to their characters, which once again emphasizes author's skill. The names of the characters become the highlight of the work. And now we come to the conclusion that name and characterheroes in the work inalienably connected to each other.How reasonable was it (to give such names to the characters)? I think that this is the right step of the author, since I personally remembered these names, and perhaps for the rest of my life, even before finishing reading the play.

Untitled Speech and nominal characteristics of the heroes of the comedy D.I. Fonvizin “Undergrown” A recently read comedy by D.I. Fonvizin’s “Minor” made me think about the question: “Is it possible to recognize the character just by name and speech?

Yulia KUVSHINOVA

Yulia Sergeevna KUVSHINOVA (1982) - teacher of Russian language and literature. Lives in the Moscow region.

Speech characteristics of the heroes of the comedy by D.I. Fonvizin "Minor"

Addressing this topic will allow us to consider many others raised in comedy.

During the conversation, you can repeat theoretical and literary concepts.

Name the features of drama as a type of literature.

How does drama differ from epic and lyric poetry?

What genres is drama divided into?

The play was staged in St. Petersburg in 1782, published in 1783, and went through four editions during the author’s lifetime.

“The Minor” is the pinnacle of Fonvizin’s creativity, the first Russian comedy created during the times of Russian classicism.

Name the features of classicism as a literary movement.

In his comedy, Fonvizin largely deviates from these rules, although he builds it in accordance with the norms of classicism.

However, Fonvizin's comedy is sharply different from others.

Starodum's speech is, first of all, speaker's speech. He, according to Fonvizin, must convey new ideas to the reader and interpret them. That's why his speech is figurative, aphoristic.

In Starodum’s speech, Fonvizin consistently shows how the choice of words depends on the speech situation, which was typical for the colloquial speech of educated people in the second half of the 18th century. Thus, when he has nothing to talk about with his interlocutor (for example, with the ignorant Prostakova), his remarks become monosyllabic, he is ironic, and often uses such colloquial words as to start, this, a master of interpretation, bah! I'm having tea; post-positive particles (think about it). He seems to adapt to the vocabulary of his interlocutor.

In addition, using the example of Starodum’s speech, Fonvizin showed for the first time that the older generation of educated nobles spoke more simply than the younger generation, his speech was closer to folk colloquialism. So, Starodum uses If(Milon - will), now, survived, help, stagger in the hall, just now, rich man, get out(“to leave”), rubles.

What insolence... I can hardly resist... What a bestial comparison!

I know, I know that a person cannot be an angel. And you don’t have to be a devil.

Starodum. It is precious to me. Trust me.

Pravdin. Your friendship for me is all the more flattering because you cannot have it for others except such...

Starodum. What are you like? I speak without ranks. The ranks begin - they stop...

Pravdin. Your treatment...

Starodum. Many people laugh at him. I know it...

Starodum. ...I caress that my ardor does not deceive me, that virtue...

Sophia. You filled all my feelings with it. (Rushing to kiss his hands.) Where is she?

Starodum (kissing her hands). She's in your soul...

By creating images of negative characters, Fonvizin reproduces a lively, relaxed
speech.

Negative characters are characterized by the use of folk proverbs, sayings, and phraseological units, which gives the landowner a national flavor.

Ms. Prostakova (behind the scenes). Rogues! The thieves! Fraudsters! Everyone nail I command to death!

Forgive me! Ah, father... Well! Now I'll give it to you channel to your people...

(Kneeling). Ah, my fathers, a fault confessed is half redressed. My sin! Don't ruin me. (To Sophia.) You are my dear mother, forgive me. Have mercy on me (pointing to my husband and son) and on the poor orphans.

He uses colloquial and “reduced” vocabulary to create vivid speech characteristics.

As an example, let's look at speech Prostakova. The impression of Prostakova’s ignorance is created primarily by the inclusion in her vocabulary of words that are colloquial, but expressively neutral: he, de, ba, to the article, tired, where, nowhere, looking for("more"), I tea, indulge, perhaps, intimidate, now, bye, sweat, look, if only, little. It is this vocabulary, devoid of expressive load, designed to emphasize the word in speech, to highlight it - this vocabulary creates a “common” background of speech characteristics. Sounding against this background swear words (snout, swindler, thief, thieving mug, cattle, fool, beast, freak, weakling, scoundrel, mug, witch, countless fool) Prostakova’s rudeness, unbridledness, and cruelty are conveyed more sharply.

Ms. Prostakova (behind the scenes). Rogues! The thieves! Fraudsters! I'll order everyone to be beaten to death!

Oh me dog daughter! What have I done!

Insatiable soul! Kuteikin! What is this for?

Note, however, that in the dictionaries of the second half of the 18th century, not all of these words are classified as stylistically reduced. For example, words like chatterbox, fool, game, mug, mug, kill, stagger, gape, stylistically not limited. Were completely common in colloquial speech and form where, nowhere, enough, baby. The colloquial nature of these words is indicated by their absence in official letters and business documents; in Fonvizin (except for “The Minor”) they are found in the comedy “Brigadier”, in translations of fables, in letters to relatives.

Prostakova's speech reflects dialect features: dialect conjunctions; use of the postpositive member.

Not free! A nobleman is not free to flog his servants when he wants; Yes, what have we been given instructions for? from about the freedom of the nobility?

And with debts - That get rid of things?.. Teachers are underpaid...

Prostakova uses bookish expressions in her speech (“a fair amount of fiction”, “amorous writing”).

The speech of Mitrofan and Skotinin is also replete with proverbs, sayings, jokes, and funny puns: I have...every guilt is to blame; you can’t beat your betrothed with a horse; live happily; a merry feast and for the wedding(Skotinin); guilty without guilt(Prostakov); he ate too much henbane, shoot them, remember their names, stuck with a knife to his throat(Mitrofan).

Prostakov. ...After all, we can’t move Sofyushkin’s real estate estate to our place.

Skotinin. And although the movable has been put forward, I am not a petitioner.

Mitrofanushka even rhymes some words. Worried after a tough conversation with Skotinin, he tells his mother that he is not able to read the book of hours with Kuteikin.

- Yes! just look at what the uncle is doing; and there from his fists and for the book of hours.

Pravdin. When only your cattle can be happy, then your wife will suffer from them and from you. peace.

Skotinin. Poor peace! Bah! bah! bah! Don't I have enough light rooms? I’ll give her a coal stove and a bed for her alone.

It is clear that Pravdin means peace - a “state of mind”, and Skotinin, understanding it differently, speaks of a room, a room (chamber).

What, after all, are the unattractive features in the language of the Fonvizin serf-owners that compromise them in accordance with the author’s intentions? First of all this an abundance of vulgarisms, harsh and rude words. This is especially visible in the Prostakovs’ treatment of servants and teachers, in comparisons of negative characters with animals - dogs, pigs.

“I want to have my own piglets” (Skotinin wants to have children); “Have you ever heard of a bitch giving away her puppies?” (Prostakova explains her intercession for Mitrofan).

Similar parallels and all kinds of vulgarisms serve satirical debunking of heroes- in Fonvizin’s comedy they play exactly this role.

Fonvizin's individualization of speech reaches high perfection: each comic character differs in the nature of his sayings.

Let's say about the language of teachers and servants. The features of their speech are determined by the social status of these characters, the nature of past and present occupations, professions, nationality (Vralman) and so on. First of all, this applies to teachers - Church Slavonic sayings, book words of Kuteikin.

Kuteikin. The call came and went; Are you willing to let go? Yes, first let’s be disappointed... We’ve been put to shame, damned one.

Vladyka, meal, consistory, battle - soldiers’ words and “arithmeticisms” of Tsyfirkin.

Tsyfirkin (to Pravdin). What will the order be, your honor?

So: with those ten rubles I wore out my boots in two years. We're even.

My pleasure. I served the sovereign for more than twenty years. I took money for service, I didn’t take it in vain, and I won’t take it.

Why, your honor, are you complaining?

AND! Your Honor. I'm a soldier.

Vralman's affectionate speech with the owners is impudently arrogant with the servants.

Vralman (to Pravdin). Fasche fisoko-i-plakhorotie. They fooled me to ask for it?..

(Having recognized Starodum). Ay! ah! ah! ah! ah! It's you, my gracious master! (Kissing the floor of Starodum.) Are you going to cheat the old lady, my dear fellow?

Hey, no, my dad! Shiuchi with great hospotam, it concerned me that I was with horses.

The speech of the characters in the play is a derivative of social and everyday realities; it is an important means of creating comic, as well as psychological characteristics of the characters.

For independent work Students can be asked to write an essay “Speech characteristics of Mitrofan and Eremeevna.”

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