One of the writers who played significant role in the development of Russian literary language at the new stage, there was Denis Ivanovich Fonvizin. In the second half of the 18th century. magnificent verbosity, rhetorical solemnity, metaphorical abstraction and obligatory decoration gradually gave way to brevity, simplicity, and accuracy.

The language of his prose widely uses folk colloquial vocabulary and phraseology; various non-free and semi-free colloquial phrases and stable expressions act as the building material of sentences; The unification of “simple Russian” and “Slavic” language resources, which is so important for the subsequent development of the Russian literary language, takes place.

He developed linguistic techniques for reflecting reality in its most diverse manifestations; principles for constructing linguistic structures that characterize the “image of a storyteller” were outlined. Many important properties and trends were outlined and initially developed, which found their further development and were fully completed in Pushkin’s reform of the Russian literary language.

Fonvizin’s narrative language is not confined to the conversational sphere; in its expressive resources and techniques it is much broader and richer. Of course, focusing on colloquial, on “living use” as the basis of the narrative, Fonvizin freely uses “book” elements, and Western European borrowings, and philosophical and scientific vocabulary and phraseology. Wealth used linguistic means and the variety of methods of their organization allow Fonvizin to create on a general conversational basis various options narratives.

Fonvizin was the first of the Russian writers who understood, describing the complex relationships and strong feelings people simply, but accurately, you can achieve a greater effect than with the help of certain verbal tricks. It is impossible not to note the merits of Fonvizin in the development of techniques realistic image complex human feelings and life conflicts.

In the comedy "The Minor" inversions are used: "the slave of his vile passions"; rhetorical questions and exclamations: “how can she teach them good behavior?”; complicated syntax: abundance subordinate clauses, common definitions involved and participial phrases and other characteristic means of book speech.

Uses words of emotional and evaluative meaning: spiritual, heartfelt, depraved tyrant. Fonvizin avoids the naturalistic extremes of low style, which many contemporary outstanding comedians could not overcome. He refuses rude, unliterary speech means. At the same time, he constantly retains colloquial features in both vocabulary and syntax. The use of realistic typification techniques is also evidenced by colorful speech characteristics created by using words and expressions used in military life; and archaic vocabulary, quotes from spiritual books; and broken Russian vocabulary.

Meanwhile, the language of Fonvizin’s comedies, despite its perfection, still did not go beyond the traditions of classicism and did not represent a fundamentally new stage in the development of the Russian literary language. In Fonvizin's comedies, a clear distinction between the language of negative and positive characters. And if in the construction of linguistic characteristics negative characters While on the traditional basis of using vernacular the writer achieved great liveliness and expressiveness, the linguistic characteristics of the positive characters remained pale, coldly rhetorical, divorced from the living element of the spoken language.

In contrast to the language of comedy, the language of Fonvizin’s prose represents a significant step forward in the development of the Russian literary language; here the trends emerging in Novikov’s prose are strengthened and further developed. The work that marked a decisive transition from the traditions of classicism to new principles of constructing the language of prose in Fonvizin’s work was the famous “Letters from France.”

In “Letters from France”, folk colloquial vocabulary and phraseology are quite richly presented, especially those groups and categories that are devoid of sharp expressiveness and to a greater or lesser extent. to a lesser extent close to the “neutral” lexical and phraseological layer: “I haven’t heard my feet since I arrived here...”; “We’re doing pretty well”; “Wherever you go, everything’s nice.”

There are also words and expressions that differ from those given above; they are endowed with that specific expressiveness that allows us to qualify them as colloquial: “I won’t take both of these places for nothing”; “When entering the city, we were overwhelmed by a disgusting stench.”

Observations of folk colloquial vocabulary and phraseology in “Letters from France” make it possible to draw three main conclusions. Firstly, this vocabulary and phraseology, especially in that part that is closer to the “neutral” lexical and phraseological layer than to vernacular , are freely and quite widely used in letters. Secondly, the use of folk colloquial vocabulary and phraseology is distinguished by a careful selection that was amazing for that time. Even more important and significant is that the vast majority of the colloquial words and expressions used by Fonvizin in “Letters from France” found their own permanent place in the literary language, and with one or another special stylistic “task”, and often simply along with “neutral” lexical and phraseological material, these expressions were widely used in the literature of later times. Thirdly, the careful selection of colloquial vocabulary and phraseology is closely related to the change, transformation stylistic functions this lexical and phraseological layer in the literary language.

Stylistically opposite to the folk-colloquial lexical and phraseological layer - “Slavicisms” - is distinguished by the same main features of use. Firstly, they are also used in letters, secondly, they are subjected to a rather strict selection, thirdly, their role in the language " Letters from France” does not completely coincide with the role assigned to them by the theory of three styles. The selection was manifested in the fact that in “Letters from France” we will not find archaic, “dilapidated” Slavicisms. Slavicisms, contrary to the theory of three styles, are quite freely combined with “neutral” and colloquial elements, losing in to a large extent their “high” coloring is “neutralized” and no longer appears as a specific sign of “high style”, but simply as elements of a bookish, literary language. Let us give examples: “what it was like for me to hear her exclamations”; “his wife is so greedy for money...”; “the writhing that disturbs the human sense of smell in an unbearable way.”

Folk colloquial words and expressions are freely combined not only with “Slavicisms”, but also with “Europeanisms” and “metaphysical” vocabulary and phraseology: “here everyone is applauded for everything”; “In a word, although war has not been formally declared, this announcement is expected from hour to hour.” The literary language features developed in “Letters from France” were further developed in Fonvizin’s artistic, scientific, journalistic and memoir prose. But two points still deserve attention. Firstly, the syntactical perfection of Fonvizin’s prose should be emphasized. In Fonvizin we find not individual well-constructed phrases, but extensive contexts, distinguished by diversity, flexibility, harmony, logical consistency and clarity of syntactic structures. Secondly, in artistic prose Fonvizin further develops the technique of narration on behalf of the narrator, the technique of creating linguistic structures that serve as a means of revealing the image. Analysis various works D.I. Fonvizin allows us to talk about his undoubtedly important role in the formation and improvement of the Russian literary language.

Among the Russian writers who had a special gift for seeing and conveying everything absurd in life, the first was Denis Ivanovich Fonvizin. And readers still feel the full extent of his wit, continuing to repeat the expressions: “Everything is nonsense that Mitrofanushka does not know,” “No I want to study, I want to get married” and others. But it is not so easy to see that Fonvizin’s witticisms were born not of a cheerful disposition, but of the deepest sadness due to the imperfection of man and society.

Fonvizin entered literature as one of the successors of Kantemir and Sumarokov. He was brought up in the belief that the nobility, to which he himself belonged, should be educated, humane, constantly concerned about the interests of the fatherland, and royal power- nominate worthy nobles to high positions for the common benefit. But among the nobles he saw cruel ignoramuses, and at court - “nobles in the case” (to put it simply, the empress’s lovers) who ruled the state according to their whim.

From a long historical distance it is clear that the Fonvizin time, like any other, was neither absolutely good nor absolutely bad. But in Fonvizin’s eyes, evil overshadowed good. Denis Ivanovich Fonvizin was born on April 3, 1745. For a long time, the surname Fonvizin was written in the German manner: “Von Vizin,” and during his lifetime, sometimes even “von Wiesen.” The current form was one of the first to be used by Pushkin with the following comment: “What kind of infidel is he? He is Russian, a pre-Russian Russian.” The spelling “Fonvizin” was finally established only after 1917.

Family of Fonvizins German origin. Denis Ivanovich’s father was a fairly wealthy man, but he never aspired to great ranks and excessive wealth. He lived not at the royal court in St. Petersburg, but in Moscow. Denis’s older brother Pavel wrote some good poetry in his youth and published them in the magazine “Useful Amusement.”

Education future writer received quite a thorough education, although later in his memoirs he described his gymnasium at Moscow University unflatteringly. Nevertheless, he noted that he learned European languages ​​and Latin there, “and most of all... gained a taste for verbal science.”

While still at the gymnasium, Fonvizin translated from German one hundred and eighty-three fables of the once famous children's writer L. Golberg, to which he then added forty-two more. He translated a lot later - the translations amount to most all his works.

In 1762, Fonvizin became a student at Moscow University, but soon left it, moved to St. Petersburg and entered the service. Around the same time, his satirical poems began to circulate. Of these, two were later published and have come down to us: the fable “Fox-Koznodey” (preacher) and “Message to my servants Shumilov, Vanka and Petrushka.” Fonvizin's fable is a vicious satire on court flatterers, and "The Message" is a wonderful work, rather unusual for its time.

Fonvizin addresses the most important philosophical question“Why was this light created?” illiterate people of that time; It is immediately clear that they will not be able to answer it. This is what happens. Honest uncle Shumilov admits that he is not ready to judge such complex things:

I know that we must be servants forever

And we will work forever with our hands and feet.

The coachman Vanka exposes the general deception and in conclusion says:

Everyone understands that this world is bad,

But no one knows why it exists.

Lackey Petrushka is frank in his desire to live for his own pleasure:

The whole world, it seems to me, is a child's toy;

Just need to, believe me, find out

How best to play with that toy, tenacious.

The servants, and with them the reader, are waiting for a reasonable answer from an educated author. But he only says:

And you, my friends, listen to my answer: “And I myself do not know why this light was created!”

This means that the author has nothing to oppose to the opinion of the servants, although he himself does not share it. An enlightened nobleman knows no more about the meaning of life than a lackey. “Epistle to the Servants” sharply breaks out of the framework of the poetics of classicism, according to which it was required that the work clearly prove some very definite idea. The meaning of Fonvizin’s work is open to different interpretations.

Having moved to St. Petersburg, Fonvizin began composing comedies - the genre in which he became most famous. In 1764 he wrote the verse comedy Corion, adapted from a sentimental drama French writer L. Gresse "Sydney". Around the same time, an early edition of “Minor” was written, which remained unpublished. At the end of the sixties, the comedy “Brigadier” was created and was a huge success, which played an important role in the fate of Fonvizin himself.

Having heard “The Brigadier” performed by the author (Fonvizin was a wonderful reader), Count Nikita Ivanovich Panin noticed the writer. At this time he was the tutor of the heir to the throne, Paul, and a senior member of the board (in fact, minister) of foreign affairs. As a teacher, Panin developed a whole political program- essentially a project Russian constitution. Fonvizin became Panin's personal secretary. They became as close friends as possible between a nobleman and his subordinate.

The young writer found himself at the center of court intrigue and, at the same time, the most serious politics. He took a direct part in the constitutional plans of the Earl. Together they created a kind of “political testament” of Panin, written shortly before his death - “Discourse on the indispensable state laws" Most likely, Panin owns the main ideas of this work, and Fonvizin owns their design. In the "Discourse", full of formulations remarkable in wit, it is proved, first of all, that the sovereign does not have the right to rule the country according to his own arbitrariness. Without strong laws, Fonvizin believes, “heads are engaged in nothing but thinking about the means to get rich; those who can rob, those who cannot, steal.”

This is exactly the picture Fonvizin saw in Russia at that time. But France, where the writer traveled in 1777-1778 (partly for treatment, partly on some diplomatic assignments), turned out to be no better. He expressed his joyless impressions in letters to his sister and to Field Marshal Pyotr Panin, Nikita Ivanovich’s brother. Here are some excerpts from these letters, which Fonvizin was even going to publish: “Money is the first deity of this land. The corruption of morals has reached such an extent that a vile act is no longer punished with contempt...”, “It’s rare that I meet someone in whom I would be inconspicuous.” one of two extremes: either slavery or insolence of reason.”

Much in Fonvizin’s letters seems to be simply the grumbling of a spoiled master. But in general, the picture he painted is scary precisely because it is true. He saw the state of society, which twelve years later was resolved by revolution.

During his years of service as a secretary, Fonvizin had almost no time left for literature. It appeared in the late seventies, when Panin was already ill and was in undeclared disgrace. Fonvizin, in 1781, completed his best work - the comedy “The Minor”. The displeasure of high authorities delayed its production for several months.

In May 1782, after Panin's death, Fonvizin had to resign. In October of the same year, the premiere of “The Minor” finally took place - the greatest success in the author’s life. Some delighted spectators threw full wallets onto the stage - in those days a sign of the highest approval.

In retirement, Fonvizin devoted himself entirely to literature. He was a member Russian Academy, which united the best Russian writers. The Academy worked to create a dictionary of the Russian language; Fonvizin took upon himself the compilation of a dictionary of synonyms, which he, literally translating the word “synonym” from Greek, called “estates”. His “Experience of a Russian Estatesman” was a very serious linguistic work for its time, and not just a screen for satire on Catherine’s court and the Empress’s methods of governing the state (this is how this work is often interpreted). True, Fonvizin tried to come up with sharper examples for his “classes”: “Deception (promising and not doing. - Ed.) is the art of great boyars,” “A madman is very dangerous when in power,” and the like.

"Experience" was published in literary magazine“Interlocutor of lovers of the Russian word”, published by the Academy. In it, Catherine II herself published a series of morally descriptive essays, “Things and Fables.” Fonvizin published in the magazine (without a signature) bold, even daring “Questions to the author of “Facts and Fables,” and the Empress answered them. In the answers, irritation was barely contained. True, at that moment the queen did not know the name of the author of the questions, but soon, apparently, she found out.

Since then, Fonvizin’s works began to be banned one after another. In 1789, Fonvizin did not receive permission to publish the satirical magazine “Friend of Honest People, or Starodum.” The writer’s articles, already prepared for him, first saw the light only in 1830. The announced publication of his collected works was twice disrupted. During his lifetime he managed to publish only one new work - detailed biography Panina.

All Fonvizin’s hopes were in vain. None of the previous political plans were implemented. The state of society only became worse over time,

And now the banned writer could not enlighten him. In addition, Fonvizin fell on terrible disease. The man, who was not at all old even at that time, turned into a decrepit wreck: half of his body was paralyzed. To add insult to injury, by the end of the writer’s life, almost nothing was left of his considerable wealth.

From a young age, Fonvizin was a freethinker. Now he became religious, but this did not save him from despair. He began writing memoirs entitled " Sincere confession in my deeds and thoughts", in which he intended to repent of the sins of his youth. But he hardly writes about his inner life there, but again strays into satire, evilly depicting Moscow life in the early sixties of the 18th century. Fonvizin also managed to finish the comedy "The Tutor's Choice ", which has not been completely preserved. The play seems rather boring, but the poet I. I. Dmitriev, who heard the author read the comedy out loud, recalls that he was able to convey the characters unusually vividly characters. The day after this reading, December 1, 1792, Fonvizin died.

Speaking about the historical and literary significance of Fonvizin, we should especially emphasize the large role he played in the development of the literary language. It is not without reason that Batyushkov associates the “education” of our prose with him. In this regard great importance have not only Fonvizin’s comedies, but also the beginning of his confessional memoirs “A sincere confession in my deeds and thoughts” and even his private letters from abroad, the language of which is distinguished by remarkable clarity, conciseness and simplicity, significantly ahead in this regard even of “Letters Russian traveler" Karamzin.

Although the modern reader is separated from the era of Fonvizin by whole two centuries, it is difficult to find a person who would not know that a “junior” is an over-aged dropout, or would not have heard the remarks that have become proverbial: “I don’t want to study, but I want to get married,” “why geography?” “when there are cabbies” and other Fonvizin expressions.

Images, winged words and jokes from Fonvizin’s comedies “The Brigadier” and “The Minor” became part of our vocabulary. In the same way, Fonvizin’s ideas, which played an important role in the history of the liberation movement, were passed on from generation to generation.

Fonvizin belonged to a generation of young nobles who were educated at Moscow University, created on the initiative of Lomonosov. In 1755, he was assigned to the university gymnasium, which prepared its students for transfer to students, and studied there until 1762.

The university was the center literary life in Moscow. One of the first activities of the university was the publication of Lomonosov's works; his students taught here - the poet and translator N. N. Popovsky, the philologist A. A. Barsov, and M. M. Kheraskov was in charge of publishing.

There was a theater at the university, the repertoire of which included translations by students of the gymnasium. Their literary exercises were eagerly published in the university magazines “Useful Fun” and “Collection best essays" It is not surprising that in addition to Fonvizin, many subsequently famous writers came out of the gymnasium - N. I. Novikov, F. A. Kozlovsky, the Karin brothers, A. A. Rzhevsky and others.

First literary works Fonvizin had translations from German and French. He published translated articles in university journals and at the same time published as a separate book “Moral Fables” by the Danish educator and satirist L. Golberg (1761), and also began translating the multi-volume novel by J. Terrason “Heroic Virtue, or the Life of Seth, King of Egypt” (1762– 1768), whose hero was an ideal enlightened sovereign.

Terrason's educational and political ideas were positively assessed by French educators. Fonvizin also tries his hand at dramatic poetry, starting to translate Voltaire’s anti-clerical tragedy “Alzira”.

This list of works that interested the young writer testifies to his early interest in the ideas European Enlightenment. The liberal beginning of the reign of Catherine II aroused hopes among the advanced part of the nobility for the establishment of an “enlightened” monarchy in Russia.

At the end of 1762, Fonvizin left the university and was appointed as a translator at the College of Foreign Affairs. He stayed directly at the Collegium for only a year, and then was seconded to the office of the Empress Secretary of State I.P. Elagin.

Fonvizin's serious political education began in the capital. He was aware of the various opinions about the proposed reforms, the disputes that preceded such important events in Russian history social thought, like the competition of the Free Economic Society on the condition of the serfs (1766) and the convening of the Commission to draw up the New Code (1767). In these disputes, the ideology of the Russian Enlightenment was formed. Fonvizin added his voice to those who demanded political freedoms and the abolition of serfdom.

About him public views During these years, the manuscript “Abridgement of the freedom of the French nobility and the benefits of the third rank” and the translation of “The Merchant Nobility” by G.-F. give an idea. Quaye with a foreword by the German lawyer I.-G. Justi, published in 1766.

Quaye's goal was to indicate how the degrading nobility could once again become a prosperous class. But Fonvizin was apparently attracted to the book primarily by the sharp criticism it contained of the nobles, who, in the name of class prejudices, neglected the interests of the state and nation, as well as by the idea that maintaining rigid class barriers was not in the interests of society.

It was this idea that he developed in a handwritten discussion about the establishment of a “third rank” in Russia, which meant merchants, craftsmen and intelligentsia. The new “philistine” class was supposed to gradually be composed of serfs who had been freed and educated.

Thus, according to Fonvizin, gradually, peacefully, with the help of laws issued by the enlightened authorities, the abolition of serfdom, the enlightenment of society and the prosperity of civil life. Russia was becoming a country with a nobility “completely free”, a third rank, “completely liberated” and a people “practicing agriculture, although not completely free, but at least having the hope of being free.”

Fonvizin was an educator, but the stamp of noble narrow-mindedness marked both his faith in enlightened absolutism and in the primordial selectivity of his class. It should be noted, however, that Fonvizin’s early interest in class issues, and essentially in social issues, characteristic of his subsequent work, will allow him to more soberly evaluate and political situation, which took shape during the reign of Catherine II.

Later, creating the image of the nobleman Starodum in “The Minor,” an image to which the author’s thoughts and sympathies are given in this play, he will note that his hero made his fortune and achieved independence as an honest industrialist, and not as a sycophantic courtier. Fonvizin was among the first Russian writers who began to consistently destroy the class barriers of feudal society.

Fonvizin knew too well Russian nobility to expect his support in implementing the educational program. But he believed in the effectiveness of propaganda educational ideas, under the influence of which a new generation of honest sons of the fatherland was to be formed. As he believed, they would become assistants and support for an enlightened sovereign, whose goal would be the good of the fatherland and the nation.

Therefore, Fonvizin, a satirist by the nature of his talent, starting from early works, also promotes a positive ideal social behavior. Already in the comedy “Corion” (1764) he attacked nobles who evade service, and in the words of one of the heroes declared:

Who has made every effort for the common good,

And he served for the glory of his fatherland,

He tasted direct joy in his life.

"Corion", a free adaptation of the comedy French playwright J.-B. Gresse "Sydney", opens the St. Petersburg period of Fonvizin's work. The translation of Voltaire's tragedy "Alzira" (which was distributed in copies) created his reputation as a talented aspiring author. At the same time, he was accepted into a circle of young playwrights who grouped around his immediate superior, I. P. Elagin, famous translator and philanthropist.

In this circle, the theory of “declining” foreign works “to Russian customs” was developed. Elagin was the first to apply the principle of “declension” in the play “Jean de Molay, or the Russian Frenchman,” borrowed from Golberg, and V. I. Lukin consistently formulated it in the prefaces to his comedies.

Until this time, translated plays depicted life that was incomprehensible to the Russian viewer, and used foreign names. All this, as Lukin wrote, not only destroyed the theatrical illusion, but also reduced the educational impact of the theater. Therefore, the “remaking” of these plays in the Russian style began. With “Korion” Fonvizin declared himself as a supporter of national themes in drama and joined the fight against translators of entertainment plays.

In Elagin’s circle they showed a keen interest in the new genre of “serious comedy,” which received theoretical justification in Diderot’s articles and conquered European stages. An attempt, half-hearted and not entirely successful, to introduce the principles of moralizing dramaturgy into Russian literary tradition was already done in Lukin's plays.

But his comedies turned out to be devoid of a sense of the comic and, most importantly, resisted the growing penetration of satire into all areas of literature, which a few years later led to the emergence of satirical journalism. Such private themes as a touching depiction of suffering virtue or the correction of a vicious nobleman did not in any way correspond to the political goals of Russian enlighteners, who raised the question of transforming society as a whole.

Close attention to human behavior in society allowed Fonvizin to understand more deeply than his contemporaries the foundations of Diderot's educational aesthetics. Concept satirical comedy about the Russian nobility took shape in an atmosphere of controversy surrounding the Commission for drawing up the New Code, where the majority of nobles came out in defense of serfdom. In 1769, “The Brigadier” was completed, and, turning to social satire, Fonvizin finally broke with the Elagin circle.

History of Russian literature: in 4 volumes / Edited by N.I. Prutskov and others - L., 1980-1983.

Khakass State University

them. N.F. Katanova

Institute of Philology (Russian language and literature)

ABSTRACT

Subject: Prose D.I. Fonvizin in the history of the Russian literary language

You completed: Feskov K.V.

group 4b

Contribution of D.I. Fonvizin in the development of Russian literature

native language ……………………………………………………………………………………………………………… 03

Peculiarities of the language of D.I.’s comedies Fonvizin at the

comedy "Minor" ………………………………………….……………………… 04

Prose language D.I. Fonvizina ……………………………………………………………… 05

Conclusion…………………………………………………………………………………………………………… 08

Bibliography …………………………………………………………………………………………………………… 09

CONTRIBUTION D.I. FONVIZIN IN THE DEVELOPMENT OF RUSSIAN

LITERARY LANGUAGE

One of the writers who played a significant role in the development of the Russian literary language at a new stage was Denis Ivanovich Fonvizin.

In the second half of the 18th century. magnificent verbosity, rhetorical solemnity, metaphorical abstraction and obligatory decoration gradually gave way to brevity, simplicity, and accuracy.

The language of his prose widely uses folk colloquial vocabulary and phraseology; various non-free and semi-free colloquial phrases and stable expressions act as the building material of sentences; is happening so important for the subsequent development of the Russian literary language combining “simple Russian” and “Slavonic” language resources.

He developed linguistic techniques for reflecting reality in its most diverse manifestations; principles for constructing linguistic structures characterizing the “image of a storyteller” were outlined. Many important properties and trends emerged and received initial development, which found their further development and were fully completed in Pushkin’s reform of the Russian literary language.

Fonvizin’s narrative language is not confined to the conversational sphere; in its expressive resources and techniques it is much broader and richer. Of course, focusing on the spoken language, on “living usage” as the basis of the narrative, Fonvizin freely uses “book” elements, Western European borrowings, and philosophical and scientific vocabulary and phraseology. The wealth of linguistic means used and the variety of methods of their organization allow Fonvizin to create various narrative options on a common conversational basis.

Fonvizin was the first of the Russian writers who understood that by describing complex relationships and strong feelings of people simply, but definitely, you can achieve a greater effect than with the help of certain verbal tricks.

It is impossible not to note Fonvizin’s merits in developing techniques for realistic depiction of complex human feelings and life conflicts.

FEATURES OF THE LANGUAGE OF D.I.’S COMEDIES FONVIZINA

ON THE EXAMPLE OF THE COMEDY “UNDERGROUND”

In the comedy “Minor” inversions are used: “ slave of his vile passions"; rhetorical questions and exclamations: “ How can she teach them good manners?"; complicated syntax: an abundance of subordinate clauses, common definitions, participial and participial phrases and other characteristic means of book speech. Uses words of emotional and evaluative meaning: soulful, cordial, corrupt tyrant.

Fonvizin avoids the naturalistic extremes of low style, which many contemporary outstanding comedians could not overcome. He refuses rude, unliterary speech means. At the same time, he constantly retains colloquial features in both vocabulary and syntax.

The use of realistic typification techniques is also evidenced by colorful speech characteristics created by using words and expressions used in military life; and archaic vocabulary, quotes from spiritual books; and broken Russian vocabulary.

Meanwhile, the language of Fonvizin’s comedies, despite its perfection, still did not go beyond the traditions of classicism and did not represent a fundamentally new stage in the development of the Russian literary language. In Fonvizin's comedies, a clear distinction was maintained between the language of negative and positive characters. And if in constructing the linguistic characteristics of negative characters on the traditional basis of using vernacular the writer achieved great liveliness and expressiveness, then the linguistic characteristics of positive characters remained pale, coldly rhetorical, divorced from the living element of the spoken language.

PROSE LANGUAGE D.I. FONVIZINA

In contrast to the language of comedy, the language of Fonvizin’s prose represents a significant step forward in the development of the Russian literary language; here the trends emerging in Novikov’s prose are strengthened and further developed.

In “Letters from France,” folk colloquial vocabulary and phraseology are quite richly represented, especially those groups and categories that are devoid of sharp expressiveness and are more or less close to the “neutral” lexical and phraseological layer: “ Since I arrived here I haven’t heard my feet...»; « We're doing pretty well»; « Wherever you go, everything is full».

There are also words and expressions that differ from those given above; they are endowed with that specific expressiveness that allows them to be classified as colloquial: “ I won't take both of these places for nothing»; « When entering the city, we were mistaken by a disgusting stench».

Observations of folk colloquial vocabulary and phraseology in “Letters from France” make it possible to draw three main conclusions.

Firstly, this vocabulary and phraseology, especially in that part that is closer to the “neutral” lexical and phraseological layer than to the vernacular, are freely and quite widely used in letters.

Secondly, the use of folk colloquial vocabulary and phraseology is distinguished by a careful selection that was amazing for that time. Even more important and significant is that the overwhelming majority of the colloquial words and expressions used by Fonvizin in “Letters from France” have found a permanent place in the literary language, and with one or another special stylistic “task”, and often simply along with the “neutral” lexical and phraseological material, these expressions were widely used in the literature of later times.

Thirdly, the careful selection of colloquial vocabulary and phraseology is closely related to the change and transformation of the stylistic functions of this lexical and phraseological layer in the literary language.

The stylistically opposite colloquial lexical and phraseological layer - “Slavicisms” - is distinguished by the same main features of use. Firstly, they are also used in letters, secondly, they are subjected to a rather strict selection, and thirdly, their role in the language of “Letters from France” does not completely coincide with the role assigned to them by the theory of three styles.

The selection was manifested in the fact that in “Letters from France” we will not find archaic, “dilapidated” “Slavicisms”. Slavicisms, contrary to the theory of three styles, are quite freely combined with “neutral” and colloquial elements, lose to a large extent their “high” coloring, are “neutralized” and no longer act as a specific sign of “high style”, but simply as elements of bookish, literary language.

Here are some examples: “ what it was like for me to hear her exclamations»; « his wife is so greedy for money...»; « writhing, disturbing the human sense of smell in an unbearable way».

Folk colloquial words and expressions are freely combined not only with “Slavicisms”, but also with “Europeanisms” and “metaphysical” vocabulary and phraseology: “ here they applaud for everything about everything»; « In a word, although war has not been formally declared, this announcement is expected any hour».

The features of the literary language developed in “Letters from France” were further developed in Fonvizin’s artistic, scientific, journalistic and memoir prose. But two points still deserve attention.

Firstly, the syntactical perfection of Fonvizin’s prose should be emphasized. In Fonvizin we find not individual well-constructed phrases, but extensive contexts, distinguished by diversity, flexibility, harmony, logical consistency and clarity of syntactic structures.

Secondly, in Fonvizin’s fiction, the technique of narration on behalf of the narrator, the technique of creating linguistic structures that serve as a means of revealing the image, is further developed.

CONCLUSION

Analysis of various works by D.I. Fonvizin’s works allow us to talk about his undoubtedly important role in the formation and improvement of the Russian literary language.

Let's note the main points.

1. Became a successor to Novikov’s traditions. He was engaged in the further development of the first-person narration technique.

2. Made a decisive transition from the traditions of classicism to new principles for constructing the language of prose.

3. Done great job on the introduction of colloquial vocabulary and phraseology into the literary language. Almost all the words he used found their permanent place in the literary language.

5. Made an attempt to normalize the use of “Slavicisms” in the language.

But, despite all Fonvizin’s linguistic innovation, some archaic elements still appear in his prose and some unbroken threads remain that connect him with the previous era.

1. Gorshkov A.I. “About the language of Fonvizin - a prose writer” // Russian speech. – 1979. - No. 2.

2. Gorshkov A.I. “History of the Russian literary language”, M.: graduate School, - 1969.