Speech characteristics of the negative characters of the comedy are undersized. Minor characterization of the image of Sophia. The moral values ​​of the heroine

Denis Ivanovich Fonvizin wrote back in 1782. However, even in our time it remains relevant. The problems of education raised in the play still have manifestations today. The writer uses vivid satire techniques. So, for example, the heroes have first and last names that correspond to their real essence: Skotinin, Pravdin, Starodum and others.

The main female character is Sophia, whose name means “wisdom.” The girl is Starodum's niece. He also becomes her guardian when Sofia loses her parents. While leaving the city of Starodum, the girl is “taken under their wing” by the Prostakovs. However, they do this not out of good intentions, but with the goal of robbing Sofia. But their plans, although criminal, are too obvious and simple. The girl looks at this family with irony. After all, unlike the Prostakovs, she has a good education. Sofia is smart, mocking, but at the same time kind and honest. Her wisdom is not only in the mind, but also in the soul.

After some time, Sofia receives a letter from Starodum, who says that he makes her his heir. Prostakova is now seized by the obsession of marrying the girl off to her son, a runt. The main character respects elders and believes that they should be treated with humility. But when it comes to her feelings, here Sofia is sure that she has the right to defend her right to love and friendship. And therefore she does not want to marry either Mitrofan or Skotinin, who also dreams of taking possession of her estate.

Sofia is in love with Milon, whom she considers a worthy man. When he stops at their settlement, the girl talks about Prostakova’s attempts to marry her off to someone else. The young man is jealous, but when he sees what Mitrofan is like, he mocks him.

When she returns, Sofia again finds herself in a difficult situation. After all, he dreams of marrying her to some worthy person in his opinion. The girl plucks up courage and honestly admits that she has been in love with Milon for a long time. The uncle ultimately approves of his niece's choice.

He just doesn’t give up and tries to prevent Sofia’s happiness and marry her off to his son. Her plan fails, the lovers join forces and win the battle for love. Prostakova may be punished for her malice, but Sofia forgives her because she is happy.

The main character is an idealized positive character in a comedy where there are too many ironically written characters. She is a bright soul who attracts other positive characters, such as Starodum. The girl believes that people should receive honor and fortune for their merits, and not through deceit. The heroine is the image of a woman who is endowed not only with sensuality, but also with the ability to think intelligently and fight for her happiness and freedom.

The comedy “Undergrown” is a “human” comedy created from a gallery of vivid images that represent different strata of society. The problem of education is central in the work, and other problems emanate from it.

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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”.

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.

Initially, we note that the author quite accurately selects the names of the main characters. It is unlikely that this fact can be attributed solely to the author’s desire to give “provocative and memorable” names to the characters. 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 the heroes are exactly 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, the name is of Greek origin and translated from Latin means “revealed by the mother.” It should be assumed that the name can be deciphered as “mama's boy”, i.e. a person, perhaps cared for by his mother in everything, loving and respecting her more than his father. This name perfectly conveys the whole nature of the hero.

As for the speech characteristics, Mitrofan’s words clearly show his love for his mother. He tries in every possible way to highlight his mother in the society in which he is, and it does not matter whether people close to him or strangers surround him. 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 see 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 muchfor 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 thoughtI'm beside myself»

Just one phrase, and how it reveals all of Milo’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 this is why he tries to achieve the truth everywhere, speaks only the truth and 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 are the so-called teachers of Mitrofan. Kuteikin is a seminarian. Teaches literature for the Prostakovs' son. Tsyfirkin is a retired sergeant. Without proper education, he teaches Mitrofan mathematics. Vralman is a German, which is why he is actually hired as Mitrofanushka’s teacher. 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) 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 is Mitrofan's nanny, a simple Russian woman who loves her pupil as her own son and is 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 D.I. Fonvizin gave them names similar to their characters, which further emphasizes the author’s skill. The names of the heroes become the highlight of the work. And now we come to the conclusion that the name and character of the heroes in the work are integrally connected with each other. How reasonable was this (giving such names to the heroes)? 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.

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 term.

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 its 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.”

Sophia is Starodum's niece (his sister's daughter); S.’s mother is Prostakov’s matchmaker and in-law (like S.) of Prostakova. Sophia means “wisdom” in Greek. However, the name of the heroine receives a special connotation in the comedy: S.’s wisdom is not rational, not the wisdom, so to speak, of the mind, but the wisdom of the soul, heart, feelings, the wisdom of virtue. The image of S. is at the center of the plot. On the one hand, S. is an orphan, and the Prostakovs took advantage of this in the absence of her guardian Starodum (“We, seeing that she was left alone, took her to our village and looked after her estate as if it were our own” - d. 1, yavl. V). The news of Starodum's arrival in Moscow causes real panic in Prostakova's house, who understands that she will now have to part with the income from S.'s estate. On the other hand, S. is a girl of marriageable age, and she has a lover (Milon), to whom she promised her hand in marriage and heart, however, Prostakova reads her brother Skotinin as her husband. From Starodum's letter, Prostakova and Skotinin learn that S. is the heiress of her uncle's 10,000 rubles; and now Mitrofan is also wooing her, encouraged to marry by his mother, Prostakova. Skotinin and Mitrofan do not like S., and S. does not like them, openly despising and laughing at both. Positive characters group around S. and actively contribute to her release from Prostakova’s petty and selfish tutelage. As the action progresses, the barriers to S.'s marriage to Milon crumble, and Prostakova's estate, as a result of this whole story, falls under the guardianship of the authorities. Throughout the comedy, S.'s character remains unchanged: she is faithful to Milon, has sincere respect for Starodum and respects Pravdin. S. is smart, she immediately notices that Prostakova “has become affectionate to the very baseness” and that she “reads” her “and the bride to her son” (D. 2, App. II), is mocking (she makes fun of those who are jealous of her Skotinin and Mitrofan Milon), sensitive and kind (with ardor she expresses her joy when Starodum agrees to her marriage with Milon; in a moment of happiness, she forgives Prostakova for the harm caused and pities the “despicable fury”). S. comes from honest nobles who gave her an education (she reads Fenelon’s essay on the education of girls in French). Her simple feelings are humane: honor and wealth, she believes, should be achieved through hard work (D. 2, Rev. V), meekness and obedience to elders are appropriate for a girl, but she can and should defend her love. When Starodum, not yet knowing Milon, wants to marry S. to a certain young man, S. is “embarrassed” and believes that the choice of the groom also depends on her heart. Starodum confirms S’s opinion, and she immediately calms down, declaring her “obedience.” Fonvizin made a lot of efforts to give S. lively features. To this end, he used the techniques of Western melodrama, combining dramatic moments with sensitive ones. However, he was more interested in raising an honest man worthy of the title of nobleman. Due to her youth, his heroine needed an experienced leader-mentor. She was entering a new, perhaps the most responsible phase of life, and the playwright did not pass by this. S.'s natural virtue had to receive a mental facet. On the threshold of the wedding, Starodum gives S. advice, from the content of which it becomes clear how he (and the author of “The Minor”) understands the correct upbringing of girls and women. Most of all, Starodum is afraid of the influence of “light”, which with its temptations can corrupt an innocent, pure and virtuous soul. Therefore, in the “world,” says Starodum, the first step is important, the ability to establish yourself and recommend yourself. The general rule is: friendship should be made with those who are worthy of it, that is, choose friends. S. is inexperienced and asks for clarification whether the preference of some will incur the anger of others. Starodum teaches her that there is no need to expect evil from people who despise you; evil comes from those who themselves are worthy of contempt, but are jealous of the virtues of their neighbor. S. considers such people pathetic, because such people are unhappy. Starodum warns: pity should not stop before evil, and virtue should follow its own path. There is no need to waste time on educating the “evil”, whom S. calls “unfortunate”, since every person, if he has a conscience, is obliged to awaken virtuous feelings in himself. Having learned the lesson, S. concludes that it is necessary to clearly and firmly show the evil person the baseness of his soul. Starodum adds: the mind of such a person is not a direct mind, that is, crafty, cunning, dishonest. True happiness comes from virtue and straight reason. Like Pravdin, S. understands happiness in the spirit of ordinary ideas: nobility, wealth. However, Starodum explains to her that nobility and wealth are not just titles and money, but “signs” of a person’s state and civil status, imposing moral obligations on him. Starodum teaches S. to distinguish between the real and the imaginary, external splendor and internal dignity; he is the opponent of egoistic happiness. And S. learns his lessons. She is also sure that a person does not live alone, that everyone is obliged to each other. But if this is so, then why, thinks S, won’t reason explain such a simple truth. Starodum responds with a wonderful phrase: “Good behavior gives direct value to the mind.” It is the soul, the “intelligent heart,” that makes an honest person “completely honest.” This way, the most important educational concepts are clarified for S. (intelligence, honor, service to the fatherland, the position of an honest person, good behavior, etc.). The seeds of Starodum fall on fertile soil, because the “inner feeling” of the initially virtuous S. tells her the same thing. From general concepts about the nobleman and his positions, Starodum turns the conversation to the person, to the personal side of his life, to the family hearth. Having turned away from the path of virtue, the husband and wife stop loving each other, feeling mutual friendly affection and turn their life together into hell, forgetting about home and children. Starodum reminds S again and again: “virtue replaces everything, and nothing can replace virtue”; At the same time, he does not forget about the intimate side of marriage: “Just, perhaps, don’t have love for your husband, which would be like friendship. Have a friendship for him that would be like love.” Ultimately, a husband needs strength of mind (“prudence”), a wife needs virtue, a husband obeys reason, a wife obeys her husband. Old norms acquire new content, and the basis of family harmony again becomes the soul and the “good behavior” emanating from it. Therefore, raising an honest person - man or woman - consists of enlightening the soul.