The role of the speech characteristics in the comedy is young. “Undergrowth” - a play by D. I. Fonvizin. Analysis of the work, the main characters. “I do not want to study, but want to get married”: the problem of education in the story
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Speechand nominalcharacterization of heroes comedies
DI. Fonvizina "Undergrowth"
Recently read comedy D.I. Fonvizin's “Undergrowth” made me think about the question: “Is it possible only by name and speech to find out the character of a person, his moral principles? and whether the name and words uttered by her are connected in her personality at all. ” We will conduct a study on this topic.
We initially note that a the second pretty accurately picks up the names of the main characters. It is unlikely that this fact can be attributed solely to the author’s desire to give “challengesat “Memorable and memorable” names to heroes. Rather, it should be assumed that Fonvizin is thus trying to strengthen the impression he received from the play.A profound connoisseur of human souls, Fonvizin understands that the names of the heroes are just what the common man most often draws attention to. Thus, being a great satirist, the author initially sets up the reader in a comical way. Now let's get 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 Latindenotes "Manifest by mother." It should be assumed that the name can be decrypted,as "Sissy",those. person, maybe in everythingpatronized by mother, loving and respectful her more than father. This name is the besttransmits all naturea hero.
What about speech featuresthen in words Mitrofan is clearly visibleexactly love for your mother.He is trying in every way to single out his mother inthe society in which, and it doesn't matter if people are close it is surrounded or by strangers. No doubt it is also necessary to highlight such a characterization of the hero as a complete inability to various kinds of sciences and learning in general. Maybe that’s why after the comedy was released, the name Mitrofan became a household name, denoting people of the near and simple inner world. Let's see from the text:
Mitrofan. This? Adjective.
Pravdin. Why so?
Mitrofan. Because it is attached to its place. There’s a pole vault
the week the door is not yet hinged: so far it is a noun.
Or, one more thing:
Mitrofan (varying). So I felt sorry.
Ms. Prostakova (with annoyance). Whom, Mitrofanushka?
Mitrofan. Mother, you: you’re so tired pounding the priest.
Ms. Prostakova. Hold me, my hearty friend! Here is my son, one of mine
comfort.
Sophia. Just like Mitrofan, the name has ancient Greek roots. Denotes "wisdom." We can also assume that the author gives this name to his heroine, in connection with short form named - Sonya. Among the people, the name Sonya is associated with such a quality as sleepiness. In the comedy, Sophia is a young girl who has not yet shown her nature, her character, who has not fully “woken up” after childhood. We do not know what it will be in the future. Will she accept the qualities of Starodum, her uncle, or will she be the exact opposite, like Madame Prostakova.
Sophia's speech shows that the heroine is polite, very fond and grateful to her uncle. She never allows herself to scold a person, take offense at him or hate him. Sophia is pretty sweet, in her speech breaks the tenderness inherent in every well-educated girl. Only one phrase:
« I have received good news now. Uncle, about whom so for a long time we did not know anything, which I love and honor, as my father, arrived to Moscow these days » ,
reveals to us the whole essence of thischarming girl.
Milon. The name came from western languages. Denotes sweetheart. It can be argued that Fonvizin gave the name to the hero by chance, because Sophia loves Milon, hence the “beloved”. One should also not discount the existing, but the existing probability that the author had any associations of Milon with melon (Melon (English) - melon), because his speech is very sweet.
Based on the speech style of Milon, it is noticeable that the hero is a kind, sympathetic, brave person.
“I will reveal to you the secret of my heart, my dear friend! I am in love, and have the happiness of being loved. For more than six months, as I have been apart from the one that is dearest to me in the world, and, even more sadly, I have not heard anything about her all this time ... Maybe she is now in the hands of some self-interested people who, taking advantage of orphanhood her, contain her in tyranny. From this one thought i'm beside myself »
ABOUT the bottom is just a phrase, but howdisclosed in it all Milon’s feelings for Sophia.
Ms. Prostakova and Mr. Prostakov are the parents of Mitrofan. Their surname speaks of a very important quality - simplicity. As for the type of this simplicity, it is obvious that spiritual simplicity should be assumed first of all. From which the poor spiritual world of heroes also follows. Is there any confirmation of these thoughts? Sure, but first, let's say a few words about the mother of Mitrofan. Prostakova comes from a clan of nobles named Skotinina. Her father was an ignoramus, which is why she and her brother (Skotinin) are ignoramuses. Prostakova is a very wayward person, everywhere she seeks profit for herself. Her whole essence is reflected in her last name. It can be assumed that the title of a nobleman did not go to her father or grandfather by inheritance, but by length of service or by any other means. The validity of this assumption is confirmed by the complete absence of manners instilled in childhood, probably she was brought up by people not accustomed to the nobility, who could not give her proper noble education and upbringing.
The speech of Prostakova is very peculiar and interesting. She never allows herself to affectionately and respectfully contact her husband, but she treats her son so reverently and with such love that she can only envy silently. Often she calls the servant cattle, apparently because she herself was once Skotinina.
Ms. Prostakova (Trishke). And you, cattle, come closer. I didn’t say
i’m for you, thieves' hoarder, so that you let the caftan go wider. Child first
growing, another, a child and without a narrow caftan of delicate constitution.
Tell me, dumb, how are you justified?
Prostakov is the exact opposite of his wife. Prostakov pleases his wife in everything, does not have his own word. It is very difficult to call him a person, rather an individual.
Prostakov. Yes, I thought, mother, that you think so.
Ms. Prostakova. And are you really blind?
Prostakov. Under your eyes, my see nothing.
Ms. Prostakova. That's how hubby the Lord rewarded me: he doesn’t understand
to understand what is wide, what is narrow.
The following heroes: Starodum, Pravdin, Skotinin, Kuteikin, Tsyfirkin and Vralman have corresponding “talking” names that characterize characters even more than their speech turns.
Starodum is Uncle Sophia. He always speaks with aphorisms. For instance:
“The ranks begin - Sincerity ceases”
or
"Without a soul, the most enlightened clever woman is a miserable creature."
This characterizes him as a wise man who knows life and has seen a lot in his lifetime.
Pravdin is an official. A longtime friend of Starodum, that may be why he’s always trying to get the truthspeaks only the truthand at the same time believes that everything is also true and act.
Pravdin. But those worthy people who serve the state by the court ...
Skotinin. Isn’t the nobleman free to beat the servant when he wants to?
Kuteikin, Tsyfirkin, Vralman - the so-called teachers of Mitrofan. TO uteykin is a seminarist.Teaches words nost for son Prostand those . Tsyfirkin is a retired sergeant.Without proper education, Mitrofan teaches mathematics. Vralman - German, sand that he is actually taken as a teacher Mitrofanushka. In fact, it turns out that Vralman is a simple coachman, but for that German!
Kuteikin. What devilry! You won’t get any sense in the morning. Here
every morning thrives and perishes.
Tsyfirkin. And our brother and century lives like this. Do not do things, do not run from the case.
Here’s the trouble for our brother, how they feed poorly, like today for dinner here
food is gone ...
Moreover, the whole trinity(Kuteikin, Tsyfirkin, Vralman) quite densely settled in the house of the Prostakovs, although occasionally between them differences and skirmishes arise.
Tsyfirkin. And we will give honor. I'm a blackboard ...
Kuteikin. And I am a watchman.
Vralman. I’ll mess up on the face.
Eremeevna - Mitrofan’s nanny, a simple Russian woman, lovinghis pupil as her own son and always ready to defend him.
Mitrofan. Mummy cover me up.
Eremeevna (obscuring Mitrofan, frenzied and raising his fists). Dying
in place, but I won’t betray the child. Sunsya, sir, just please poke around. I AM
i’ll scratch those squirrels.
Total, 13 heroes, 13 different names, 13 different images. But all of them are united by the fact thatDI. Fonvizin gave them names similar to their charactersthat once again emphasizes mastery of the author. The names of the characters become the highlight of the work. And so we come to the conclusion that name and characterheroes in the workinherently connected to each other.How reasonable was it (to give such names to heroes)? I think that this is the author’s right step, because I personally remembered these names, and it’s possible that for the rest of my life, even before the end of reading the play.
Untitled Speech and nominal characteristics of the heroes of the comedy D.I. Fonvizin's "Undergrowth" Recently read comedy D.I. Fonvizin's “Undergrowth” made me think about the question: “Is it possible only by name and speech to find out the characterMBOU “Yershichskaya secondary school” Speech characteristics of the character as a means of creating a comic situation (based on the comedy of D. I. Fonvizin “Undergrowth”) (project) Prepared by: student of the 8th grade, Christina Mikhaleva Head: Bokataya V.A. Yershichi 2016 The purpose, objectives of the project, the object and method of research:
- Show how, with the help of a character’s speech, the author of a literary work in the comedy genre creates a comic situation and an artistic image of the character. Objectives of the project: - read the comedy of Dr. I. Fonvizin “Undergrowth” - Observe the speech of Ms. Prostakova, make extracts from the replicas and monologues of this character; -to conduct an analysis of Prostakova’s speech - to answer the question of how Prostakova’s speech helps to make a funny situation, as well as how characterizes a character; - draw conclusions from the observations Object of study: Prostakova’s speech from the comedy of D.I. Fonvizin “Undergrowth” Research method: observation, extracts, generalization
- The central character of the play is Mrs. Prostakova. She manages the household, pounds her husband, keeps the courtyards terrified, and brings up her son Mitrofan. "Now I fight, then I fight, and so the house holds."No one dares to oppose her power: “Am I not domineering in my people.” A speech characteristic is the main way to create the character of Prostakova. The heroine’s language changes depending on whom she addresses. Servant Mrs. Prostakova calls "thieves," "canals," "beast," "dog daughter." To Mitrofan he addresses: “my friend is heartfelt,” “duly.” She greets the guests with respect: “I recommend you a dear guest”, “we ask for favors.” There are also tragic elements in the image of Prostakova. This ignorant and greedy “despicable fury” loves and sincerely takes care of her son. At the end of the play, rejected by Mitrofan, she becomes humiliated and miserable: - You only stayed with me. - Yes, get rid of it ... - I don’t have a son ... It is characteristic that the speech of this hypocritical lady is able to completely change her color in conversations with people on whom she depends: here is her language acquires flattering, cunning intonations, she alternates the conversation with constant fawning and laudatory words.Her speech is rude and spiteful, full of swear words, abuse and threats, emphasizing the landowner's despotism and ignorance, her soulless attitude towards peasants whom she does not consider people to be which rips off "three skins" and at the same time is indignant and reproaches them. “Five rubles a year and five slaps a day” receives from her Yeremeyevna, the faithful and devoted servant and nanny (“mother”) of Mitrofan, whom Prostakova calls the “old ratch”, “bad hare”, “dog daughter”, “beast”, “canal”.
- Prostakova is a central negative character, a representative of the serf nobility. She is depicted by Fonvizin as an uneducated, ignorant and vicious woman who owns all the power in the family: “I am fighting, now I am fighting, and the house is kept”. She is convinced that education is unnecessary and even harmful: "without science, people live and live." Two-faced person: communicates with serfs, teachers, husband, brother from above, rudely, even aggressively, and tries to seduce the people on whom her position depends. Confirmation of the same idea is a change in attitude towards Sophia. “Predloipuria, by which the hellish disposition makes the misfortune of the whole house,” Pravdin calls it. The only person who inspires her with good feelings is Mitrofanushka’s son, “heart friend”, “darling”. Therefore, in the finale, she is even sorry, because he also turns away from her.
- Trishke - “cattle”, “fraudster”, “thieves' bitch”, “idiot”; Yeremeyevna - “beast”, “canalia”, “dog daughter”. To the old-fashioned person - “benefactor”. “Whatever the peasants, we have taken away, we won’t be able to rip anything off already.” “Dodgers, thieves, crooks! I command all to beat to death. ”
- Ms. Prostakova (Trishke). -And you, cattle, come closer. Didn’t I tell you, thieves' hoot, that you let the caftan go wider. The child, the first, is growing; another, a child without a narrow caftan of delicate addition. Tell me, dumb, how are you justified? (Unceremoniousness and rudeness)
- Ms. Prostakova (rushing to hug Sophia). Congratulations, Sofyushka! Congratulations, my soul! I am overjoyed! Now you need a groom. I, I do not wish the best bride and Mitrofanushka. That's uncle! That is my father! I myself still thought that God was keeping him, that he was still alive. (Hypocrisy and fawning)
- Ms. Prostakova. On him, my father, he finds such tetanus, as it should be said here. Sometimes, bulging eyes, it costs an hour as if rooted to the spot. Something I didn’t do with him; what could he not bear with me! You won’t get anything. If the tetanus is crossed, it will bring, my father, such game that you ask the god again for tetanus. (Tactlessness and self-confidence in their power over everyone)
- Ms. Prostakova. (Yeremeyevna) Are you a girl, you are a dog daughter? Is it in my house, except for your bad hari, and there are no maids? Where is the broadsword? (Despotism)
- How does speech characterize the personality of the hero of a dramatic work? Prostakova, being Skotinina as a girl, displays an animal essence: “Is it heard that a bitch betray her puppies? "
- In her rude, often primitive speech, meticulous proverbial expressions (“like hanging by the tongue”, “where the anger is, there is mercy”, “the sword does not cut off the guilty head”) are also found. but the main distinguishing feature of Prostakova’s speech is the frequent use of vernaculars (“first”, “deushka”, “arithmetic”, “shy little girl”, “to soothe him and sweat”) and vulgarisms (“... you, beast, were dumbfounded, but you didn’t stare brother in a mug, but you didn’t tear the snout to his ears ... ").
- All this creates comic situations in which Prostakova constantly gets. However, the play’s laughter is not so harmless, because the owner of such a speech is a terrible person in its cruelty, rudeness, and Prostakova’s personal tragedy does not cause sympathy
Julia KUVSHINOVA
Julia Sergeevna KUVSHINOVA (1982) - teacher of Russian language and literature. Lives in the Moscow region.
The speech characteristic of the heroes of the comedy D.I. Fonvizina "Undergrowth"
An appeal to this topic will allow us to consider many others raised in comedy.
During the conversation, you can repeat the theoretical and literary concepts.
What are the features of drama as a kind of literature.
How is drama different from epic and lyrics?
What genres is drama divided into?
The play was staged in St. Petersburg in 1782, published in 1783, and during the life of the author has survived four editions.
"Undergrowth" is the pinnacle of Fonvizin's work, the first Russian comedy created during the time of Russian classicism.
What are the features of classicism as a literary trend.
The educational orientation of literature (writers sought to influence the human mind in order to correct the vices of society), the doctrine of the three "calm", the spoken names of the heroes, their separation into positive and negative, the triunity of place, time and action - 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.
The merit of Fonvizin in creating spoken comedy language. The true innovation of Fonvizin was widespread use. colloquial speech, in the principles of its selection, in the mastery of individualization. All this is all the more important because in the second half of the 18th century a common Russian literary language was formed, and Fonvizin actually acted as an active participant in this process.
A clear division of the heroes into positive and negative among all comedians of that time entailed the need for differentiation of the speech of the heroes. The language of goodies, carriers of abstract virtues, is a book-literary language, saturated with Slavic vocabulary, many periphrases, and complex syntactic constructions.
The images of goodies in the comedy Fonvizin's “Undergrowth” at first glance are created in the same traditions. The language of Sophia, Milon, Pravdin is book, spoken vocabulary is almost never used.
However, the comedy of Fonvizin is very different from others.
At Fonvizin, we not only see the actions of positive heroes, but also learn their moral ideal - honest service to the Fatherland, intolerant attitude to vice, injustice. The educated, progressively thinking heroes of Fonvizin express the innermost thoughts of the author, 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 the abstract positive heroes of other comedies - wise fathers, honest, loyal friends and so on.
The foregoing should primarily be attributed to Starodum. This is the author’s favorite hero, his second “I”. The desire for realism, which characterizes the comedy of Fonvizin, clearly affected the creation of the speech characteristics of Starodum.
Starodum's speech is first and foremost speaker's speech. He, according to Fonvizin, should convey new ideas to the reader, explain them. therefore his speech is figurative, aphoristic.
An ignoramus without a soul is a beast; It is much more honest to get around without guilt than to merit without merit; Have a heart, have a soul, and you will be a man at all times; Cash is not cash value; Golden boob - all boob; Enlightenment exalts one virtuous soul; Only those who are in ranks not for money, but in nobility not for ranks are worthy of spiritual reverence.
In Starodum’s speech, Fonvizin consistently shows how the choice of a word depends on the speech situation, which was characteristic of colloquial speech of educated people of the second half of the 18th century. So, when he has nothing to talk about with his interlocutor (for example, with the ignorant Prostakova), his remarks become monosyllabic, he is ironic, often uses such vernacular words as to start, this, the skilled worker to interpret, bah! I have tea; postpositive particles (think-ko). He seemed to adapt to the vocabulary of his interlocutor.
In addition, on the example of Starodum’s speech, Fonvizin for the first time showed that the older generation of educated nobles spoke easier than the young, his speech closer to the spoken language. So, Starodum uses if (Milon - will), nonche, survived, help, stagger in the front, just now, rich man, get out (“Leave”) ruble.
Unlike other playwrights, Fonvizin creates individual speech characteristics of goodies. So, the speech of Starodum is simpler, more specific, more figurative than the speech of Pravdin, Milon. Starodum plays a peculiar role of a translator, an intermediary between serfs and his true-love friends. It is he who can explain himself to Skotinin, “laugh” to find a common language with him, while Milon can only exclaim about Skotinin’s remarks:
What impudence ... I can resist by force ... What a bestial comparison!
It is Starodum who knows how to understand the peculiar logic of Mitrofan, who discovers his “knowledge” in the field of grammar: “So that’s why you have the word fool adjective, because it is attached to a stupid person?” (To which Mitrofan replies: “And it’s known.”) When Prostakova asks Pravdin and Starodum to explain to her what “George” is, Pravdin gives an answer incomprehensible to Prostakova: “Description of the land,” and Starodum explains to her so that she immediately understands ( and determines his attitude to geography as follows): “Science is not noble.” 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 man and not an angel:
I know, I know that man cannot be an angel. Yes and no need to be the devil.
In the first dialogue between Pravdin and Starodum, even some contrasting of the speech style of one way to express another is outlined. The courtly phrases of Pravdin, not only a noble, but also an exquisitely polite person, are quite sharply different from Starodum’s remarks with his appeals to “you,” the habit of interrupting the interlocutor’s speech. It seems that the nobleman of the Catherine era is talking with the close associates of Peter I, the nobility of the first is clothed in exquisite forms, the wisdom of the second is simple and unsophisticated, quite in the style of the great sovereign.
Pravdin. As soon as they got up from the table, and I, going to the window, saw your carriage, then, without telling anyone, I ran out to meet you to hug you with all my heart. My sincere respect to you ...
Starodum. It is precious to me. Believe me.
Pravdin. Your friendship with me is all the more flattering because you cannot have it with others other than those ...
Starodum. What are you I speak without ranks. The ranks begin - ceases ...
Pravdin. Your walk ...
Starodum. Many laugh at him. I know it...
But such a contrast is only emerging. Starodum’s “Peter” style is not sustained to the end, and in many scenes the difference between him and the True, Milon is erased. In the same dialogue, Starodum departs from the style of simplicity and artlessness, speaks almost the same way as Pravdin.
Starodum. I could not beware of the first movements of my annoyed piety. The ardor did not allow me to judge then that a directly pious man was jealous of deeds, and not of ranks ...
Even if Starodum’s speech is sometimes affected by a sense of humor, then Pravdin and Milon speak quite seriously, not allowing or understanding jokes. So it should be: their word is inflexible, unequivocally, it expresses thought, but does not convey semantic connotations. For example, Sofya’s jokes, which seemingly sympathetically talks about Mitrofan, “torment” Milon, arouse jealousy in him, and even when he finally realized that she was joking, he still reproached her: how can you joke with such a passionate, serious and virtuous a man?
All this, in the understanding of Fonvizin, does not at all contradict his intention to present Pravdin and Milon as positive heroes of comedy. Their speech should be liked by the severity and classical beauty of the abstractions that make up the harmonious building of the educational program. Abstractions are perceived and experienced by positive characters emotionally: for example, a word such as virtue, causes them ecstasy, 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 himself). She is in your soul ...
This is the end of the conversation that not love, but reason and well-being should be the basis of marriage. The bride does not just agree with her uncle - for her, this rule was an exciting revelation and a source of stormy joy.
In general, the speech of goodies is not yet so bright, and this is primarily due to the fact that they practically do not use colloquial, vernacular phrases. The book speech of educated people of that time was characterized by a lack of emotion. Clarity, correctness, uniformity - these are the hallmarks of the speech characteristics of goodies. You understand the meaning of what was said from the immediate meaning of the words. The rest of the heroes can sense and essence in the very dynamics of the conversation. Speech of good heroes is used by the author to express his thoughts.
By creating images of negative characters, Fonvizin reproduces a living, laid-back
speech.
For negative heroes, the use of folk proverbs, sayings, phraseological turns is characteristic, which gives the landowner national flavor.
Ms. Prostakova (behind the scenes). Dodgers! The thieves! Scammers! All to beat I command to death!
Forgiven! Ah, father .. Well! Now something i will give a dawn channels to their people ...
(Kneeling). Ah my priests a fault confessed is half redressed. My sin! Do not ruin me. (To Sophia.) Mother, you are my dear, forgive me. Have mercy on me (pointing to my husband and son) and on poor orphans.
There are not many vernacular words in comedy, and these are mainly words commonly used in everyday speech. Fonvizin carefully selects the “reduced” vocabulary, we will not meet with words rarely used and therefore attract attention as a foreign interspersed in the fabric of the story.
He uses colloquial and “reduced” vocabulary to create vivid speech characteristics.
As an example, we will focus on speech Simple. The impression of Prostakova’s ignorance is created primarily by the inclusion in her vocabulary of the words vernacularly common, but neutral in expressive terms: he, de, ba, to the article whether, distant, kudy, nowhere, looking ("still"), i tea, indulge, maybe, frighten, now, bye, sweat, look, wee, if only. It is this vocabulary, devoid of expressive load, designed to emphasize the word in speech, to highlight it - this vocabulary creates a "common" background speech characteristics. Sounding against this background swear words (snout, crook, thief, thieves' bitch, cattle, blockhead, beast, freak, molehill, canalia, erysipelas, witch, countless fool) sharply convey the rudeness, rampant, cruelty of Prostakova.
Ms. Prostakova (behind the scenes). Dodgers! The thieves! Scammers! Nail all to death!
Oh i dog daughter! What have I done!
Insatiable soul! Kuteikin! What is this for?
We note, however, that in the dictionaries of the second half of the eighteenth century, not all of these words are qualified as stylistically reduced. Words such as chatterbox, fool, game, erysipelas, mug, die, stagger, gapestylistically not limited. They were completely ordinary in colloquial speech and form. kudy, nowhere, boring, robinok. The colloquial nature of these words is indicated by their absence in official letters, business documents; Fonvizin’s (except for “Undergrowth”) they are found in the comedy The Foreman, in translations of fables, in letters to relatives.
In the speech of Prostakova reflected and dialect features: dialectal unions; the use of a postpositive member.
Ms. Prostakova. Forgiven! Ah, father! .. Well! Now- then let me dawn the canals to my people. Now- then I will go through all of them one by one. Now- then I'll try to find out who released her from her hands. No scammers! No thieves! I will not forgive, I will not forgive this ridicule.
Not free! The nobleman, when he wants, and the servants are not free to carve; Yes, what is the decree given to us from about the liberties of the nobility?
And with debts then to finish off? .. Unpaid for teachers ...
Prostakova uses book expressions in her speech (“hefty fiction”, “amorous writing”).
Most playwrights, reproducing the speech of servants, peasants, and local nobles, created a kind of conditional language that differed from lively everyday speech with a deliberate concentration of vernacular elements.
Unlike most of his contemporaries, Fonvizin creates the language of comic heroes by means of literary language, very accurately using elements of vernacular. By this, he achieves the full likelihood of a speech by Prostakova and other “low” characters in comedy. The reader gets the impression that the speech of these heroes reflects the real speech practice of the provincial nobility, servants, and so on.
Obviously, it was precisely this way of creating a speech characterization of everyday, comic characters in comedy that was fruitful - using the writer’s speech practice, the widespread inclusion of colloquial vocabulary and phraseology, used among educated people. Other comedians, contemporaries of Fonvizin, set themselves a similar task, but it was brilliantly solved only by Fonvizin, who completed it more fully and decisively.
The speech of Mitrofan and Skotinin is also replete with proverbs, sayings, jokes, funny puns: i have ... all fault is to blame; you can’t go around a narrowed horse; live happily ever after; happy piercing yes for the wedding (Skotinin); no fault (Prostakov); bleached overeat, shoot them take them, remember what they called, stuck with a knife to the throat (Mitrofan).
Prostakov. ... After all, Sofyushkino real estate can not be moved towards us.
Skotinin. But movable, although advanced, I am not a petitioner.
Mitrofanushka even rhymes some words. Worried after a heated conversation with Skotinin, he tells his mother that he is not able to read the hour book with Kuteikin.
- Yes! that and look that from uncle's task; and there from his fists and for an hour.
The conversations of good heroes are beyond the comprehension of the Prostakovs and Skotinin, but often they pick up one or another word they know, 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 instance:
Pravdin. When only cattle can be happy with you, your wife will be thin from them and from you peace.
Skotinin. Thin peace! Bah! bah! bah! But do I have few lounges? For her, I will give one coal with a stove bench.
It is clear that Pravdin means peace - “state of mind”, and Skotinin, understanding it differently, speaks of a room, a room (chambers).
From the very first scene, when Ms. Prostakova scolded her husband, who, in her opinion, seemed to be baggy in a narrow caftan (“you’re a baggy, smart head”), and up to the last words in the comedy, the negative characters, as they say, after the word do not climb into your pocket.
But all the receptions of expressiveness that enliven the speech of the Prostakovs and Skotinin, in the poetics of Fonvizin, are not receptions for creating any attractive image. The reader or viewer, referring to the "Younger", judges his negative characters along with the author of the comedy, completely condemning, despite the objectively valuable features of their language.
What are all the same unattractive features in the language of the Fonvizin serfs, discrediting them in accordance with the author’s intentions? First of all it an abundance of vulgarisms, harsh and rude words. This is especially evident in the treatment of simple people with servants and teachers, in comparisons of negative characters with animals - dogs, pigs.
“I want to have my own piglets” (Skotinin wants to have children); “Is it heard that a bitch betray her puppies” (Prostakova explains her intercession for Mitrofan).
Similar parallels and all kinds of vulgarisms serve satirical debunking of heroes - in the comedy of Fonvizin, they perform exactly this role.
The individualization of speech at Fonvizin reaches a high perfection: each comic character differs in the nature of his sayings.
With each 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 utterances, book words of Kuteikin.
Kuteikin. Called bykh and sigh; Letting go of favor? Let’s take a look first ... Shame on you, cursed.
Vladyka, meal, consistory, battle — soldier's words and “arithmetic” by Tsyfirkin.
Tsyfirkin (to Pravdin). What will be the order, your nobility?
So: for those ten rubles I wore boots in two years. We are even.
It's my pleasure. I served the sovereign for over twenty years. I took money for the service, I didn’t take it empty and I won’t take it.
Yes, for what, your nobility, you favor?
AND! Your nobleness. I'm a soldier.
Vralman’s affectionate speech with the owners is impudently arrogant with servants.
Vralman (to Pravdin). Fache is fancy-and-plaque. Isfolili me to sep to beg? ..
(Recognizing Starodum). Aw! ah! ah! ah! ah! It's you, my gracious lord! (Kissing the floor of Starodum.) Is Starofenka, my bastard, sififolize?
Hey no, my patty! Shiuchi with tight proboscis, it concerned me that I was fse with scapulars.
The speech of the characters in the play is a derivative of social realities, it is an important means of creating comic as well as psychological characteristics of the characters.
So, the author manages to overcome the contradiction: on the one hand, his comedy is connected with the traditions of classicism, therefore all characters wear speech masks; on the other hand, in the speech characteristics of the characters he manages to achieve their individualization, which gives the “Younger” features of realism.
For independent work students can be invited to write the essay "Speech Characteristics of Mitrofan and Yeremeyevna."
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The comedy "Undergrowth" is recognized best work outstanding Russian playwright D.I. Fonvizin. In it, the writer faithfully portrayed Russian feudal reality, put it, according to V. G. Belinsky, "as if to shame, in all nudity, in all terrifying disgrace."
The cruelty and arbitrariness of the landowners declare themselves in the comedy of Fonvizin "with all his might." Serf-owners, like Prostakova and Skotinin, create their own iniquities in full confidence in their own righteousness. The local nobility completely forgot about honor, conscience, and civic duty. Landowners are stupidly neglected by culture and enlightenment, interpret laws based on their own benefit, at their own discretion and understanding. But these laws are simply not given to ignorant, illiterate serf-owners: for example, in the Decree on the Liberty of the Nobility, Prostakova sees only confirmation of the right of the nobleman to carve his servant “whenever he wants”. Only “injustice” upsets her in relation to her peasants. “Since everything we took from the peasants, we have taken away, we can’t rip anything off. Such a disaster! ” - complains Prostakova brother.
Trying to give brightness and persuasiveness to the images, Fonvizin reveals the features of their character not only with the help of images of behavior, actions, outlooks on life, but also with the help of accurate speech characteristics. Comedy characters, primarily negative ones, are endowed with a mark, a deeply individualized speech that sharply distinguishes each of them from the rest of the characters and emphasizes the main features, basic shortcomings and vices of a person.
The speech of all the characters in The Undergrowth differs both in lexical composition and in intonation. Creating his heroes, endowing them with vivid language features, Fonvizin makes extensive use of all the wealth of lively folk speech. He introduces numerous folk proverbs and sayings, makes wide use of common and abusive words and phrases.
The most striking and expressive are the linguistic characteristics of the local nobility. When reading the words spoken by these heroes, it’s simply impossible not to guess who they belong to. It is impossible to confuse the characters' speech, just as it is impossible to confuse the heroes themselves with someone - these are so bright, colorful figures. So, Prostakova is an imperious, oppressive, cruel, vile landowner. At the same time, she is incredibly hypocritical, able to adapt to situations, change her views solely for her own benefit. This greedy, cunning mistress actually turns out to be cowardly and helpless.
All of the above traits of Prostakova are clearly illustrated by her speech - rude and spiteful, full of swear words, abuse and threats, emphasizing the despotism and ignorance of the landowner, her soulless attitude towards the peasants, whom she does not consider to be people who are ripping off “three skins” and this is indignant and reproaches them. “Five rubles a year and five slaps a day” is received from her by Yeremeyevna, a faithful and devoted servant and nanny (“mother”) Mitrofan, whom Prostakova calls “the old grunt,” “bad hare”, “dog daughter”, “ beast ”,“ channel ”. Outraged by Prostakova and the girl’s Broadsword, that lies and raves, wabole, "as if noble." “Fraudster”, “cattle”, “thieves' bitch” - these words bring Prostakov to the head of the serf Trishka, who sewed the “child” caftan “to little” Mitrofan. Prostakova herself is confident in this, that she is simply incapable of understanding by ignorance that peasants should be treated differently, that they are people too and deserve a corresponding attitude. “I’ll manage everything myself, father. From morning till night, as if hanging from my tongue, I did not report my hands: now I scold, now I fight; that’s how the house holds, my father! ” - the landowner confidentially informs the official Pravdin.
It is characteristic that the speech of this hypocritical lady is able to completely change her color in conversations with people on whom she depends: here her language acquires flattering, cunning intonations, she alternates the conversation with constant frivolities and laudatory words. At a meeting of the guests, Prostakova’s speech takes on a racket * of secularism "(" I recommend you a dear guest "," we ask for mercy "), and in humiliated lamentations, when she begs forgiveness for herself after Sophia’s abduction, her speech is close to the people’s (" Ah, my priests "The sword cannot be blamed for the guilty head. My sin! Do not destroy me. (To Sophia.). You are my dear mother, forgive me. Have mercy on me (pointing to my husband and son) and over poor orphans”).
Prostakova’s speech also changes at those moments when she communicates with her son, Mitrofanushka: “Live a century, learn a century, my hearty friend!”, “Darling”. This oppressive landowner loves her son and therefore speaks to him affectionately, at times naively and even humiliatingly: “Do not be stubborn, dear. Now show yourself ”,“ Thanks to God, you already understand so much that you yourself will cock the kids. ” But even in this case, Prostakova, being Sktinina as a girl, displays an animal essence: “Is it heard that a bitch betrays her puppies?” In her rude, often primitive speech, meticulous proverbial expressions (“as for the language of the subschpen”, “where there is anger, there is mercy”, “the sword cannot be blamed for its guilty head”) are also found. But the main distinguishing feature of Prostakova’s speech is the frequent use of vernaculars (“spirits”, “deushka”, “arikhmeti-ka”, “child”, “to soothe him and sweat”) and vulgarisms (“... and you, beast, are dumbfounded, and you didn’t glance at your brother in a mug, and you didn’t tear the snout to his ears ... ").
In the image of another landowner, Taras Skotinin, Prostakova’s brother, everything speaks of his “animal” essence, starting with the surname itself and ending with the hero’s own confessions that he loves pigs more than people. This is about people like him, ten years before the advent of the Undergrowth, the poet A. P. Sumarokov said: “Ah, should cattle have people? "Skotinin is even more cruel in dealing with serfs than his sister, he is a dodgy, prudent and cunning master, never losing his profit and using people exclusively for profit. “Don't be Taras Skotinin,” he says, “if I don’t have any fault. In this, sister, I have one custom with you ... and any loss ... I will rip off my own peasants and end up in the water. ” In the speech of such landowners as Skotinin, confidence can be traced not only in one's own rightness, but also in absolute permissiveness and impunity.
The speech of other negative characters also serves to reveal their socio-psychological essence, it is characteristic and quite individualized, although inferior to Prostakova’s language in variety. So, the father of Mitrofanushka, Prostakov, in the scene of his acquaintance with Starodum, appears: “I am a married husband,” emphasizing this as my complete dependence on my wife, lack of my own opinion, my own life position. It has absolutely no independent meaning. Like his wife, he is ignorant, as evidenced by his illiterate speech. Scored by a formidable wife, Prostakov enthusiastically speaks of his son: "such and such a smart child, or something reasonable." But we understand that the mind of Mitrofanushka, who has absorbed all the ugly features of her parents, is out of the question. He is not even able to distinguish true words from outright mockery. So, reading the Church Slavonic text proposed to him by the teacher, Kuteikin, Mitrofan reads: “I am the worm.” And after the teacher’s comment: “A worm, that is, an abdomen, livestock,” dutifully says: “I am livestock” and repeats after Kuteikin: “Not a man.”
The language of Mitrofan’s teachers is also bright and individualized: soldier jargon in Tsyfirkin’s speech, quotes (often inappropriate) from Kuteykin, the monstrous German accent of the former coachman Vralman. The features of their speech make it possible to accurately judge both the social environment where these teachers came from and the cultural level of those who are entrusted with the education of Mitrofan. It is not surprising that Mitrofanushka remained undergrowth without receiving either useful knowledge or decent education during the training.
The founding words of positive actors are “correct”, book turns. Starodum often uses aphorisms (“vainly call a doctor to the patients in vain”, “arrogance in a woman is a sign of vicious behavior”, etc.) and archaisms. Researchers also note direct “borrowings” in Starodum’s speech from the prose works of Fonvizin himself, and this is quite natural, because it is Starodum who expresses the author’s position in comedy. Pravdin is characterized by clericalism, and in the language of the young people of Milon and Sophia there are sentimental turns (“the secret of my heart”, “the mystery of my soul”, “touches my heart”).
Speaking about the peculiarities of the language of the heroes of Fonvizin, one cannot but mention the servant and nanny Mitrofan Yeremeyevna. This is a vivid individual character, due to certain social and historical circumstances. By belonging to the lower class, Yeremeyevna is illiterate, but her speech is deeply popular, absorbing the best features of the simple Russian language - sincere, open, figurative. In her sorrowful remarks, the humiliated position of the servant in the house of the Prostakovs is especially clearly felt. “I have been serving for forty years, but the mercy is the same ...” she complains. “... Five rubles a year, and five slaps a day.” However, despite such injustice, she remains faithful and loyal to her masters.
Speech of each comedy hero differs in originality. This was especially strikingly manifested in the amazing skill of the satirical writer. The richness of the linguistic means used in the comedy "Undergrowth" suggests that Fonvizin was fluent in the vocabulary of folk speech and was well acquainted with folk art. This helped him, as the critic P.N. Berkov rightly asserts, create true, life-like images.
Speech characteristics in the comedy "The Undergrowth"
The first thing that a modern reader of the comedy “Undergrowth” draws attention to is the names of the characters. “Talking” surnames immediately lay down the attitude of the reader (viewer) to their owners. He ceases to be a more or less objective witness of the action in progress, he psychologically becomes its participant. He was deprived of the opportunity to evaluate the heroes themselves and their actions. From the very beginning, with the names of the characters, the reader was told where the negative characters and where the positive. And the role of the reader comes down to seeing and remembering the ideal to which one should strive.
Actors three groups can be divided: negative (Prostakov, Mitrofan, Skotinin), positive (Pravdin, Milon, Sophia, Starodum), the third group includes all the other characters, these are mainly servants and teachers. Negative characters and their servants have a common folk language. The Skotinin vocabulary consists mainly of words used in the barnyard. This is well shown by the speech of Skotinin - uncle Mitrofan. She is all overflowing with words: pig, piglets, pigs. The concept of life begins and ends with the farmyard. He compares his life with the life of his pigs. For example: “I want to get my own piglets”, “if I have a special one for each pig, then I will find a little one for my wife.” And she is proud of it: “Well, be I a pork son, if ...”
Vocabulary his sister, Mrs. Prostakova, is a little more diverse, due to the fact that her husband is "a countless fool," and she has to deal with everything herself. But the Scottish roots also appear in her speech.
Favorite curse word - “cattle”. To show that Prostakova was not far from her brother in development. Fonvizin sometimes refuses her elementary logic. For example, such phrases: “Since everything that we have taken from the peasants, we can’t tear off anything,” “Tal, is it necessary to be a tailor to be able to sew a caftan properly?” And, drawing a conclusion from what was said, Prostakova finishes the phrase: “What an animalistic reasoning.”
Regarding her husband, one can only say that he is laconic and does not open his mouth without the instructions of his wife. But this characterizes him as a “fool of countless”, a limp husband who fell under the heel of his wife. Mitrofanushka is also laconic, though, unlike her father, he has freedom of speech. Skotinin’s roots are manifested in him by the ingenuity of curses; “Old gryvychka”, “garrison rat”.
Servants and teachers have in their speech characteristic features estates and parts of society to which they belong. The speech of Yeremeyevna is constant excuses and desires to please. Teachers: Tsyfirkin is a retired sergeant, Kuteikin is a deacon from Intercession. And in their speech they show belonging: one to the military, the other to church ministers.
Hello:
Kuteikin: “Home to the master of the world and many summers with children and households.”
Tsyfirkin: “We wish your nobility a hundred and twenty years ...”
Forgiven:
Yauteigsy: “Command us to return?”
Tsyfirkin: “Where do we go, your noble?”
Swear:
Kuteikin: “At least now I’m gagged, if only I can sin through the dusting! .. A parable in my tongues!”
Tsyfirkin: “I would give myself an ear to take, if only to parasit this parasite in a soldier's way! .. What an image!”
All the actors, except the positive ones, have very colorful, emotionally colored speech. You can not understand the meaning of words, but the meaning of what is said is always clear.
For instance:
I'll get you there.
I have my hooks too.
The speech of goodies is not so bright. All four in speech lack colloquial, colloquial phrases. This is a book speech, a speech of educated people of that time, which practically does not express emotions. You understand the meaning of what is said from the immediate meaning of the words. The rest of the heroes can sense in the very dynamics of speech.
It is practically impossible to distinguish the speech of Milon from the speech of Pravdin. It’s also very difficult to say anything about Sophia in her speech. An educated, well-meaning young lady, as Starodum would call her, sensitively perceiving the advice and instructions of her beloved uncle. The speech of Starodum is completely determined by the fact that the author put his moral program into the mouth of this hero: the rules, principles, moral laws by which a “pious man” must live. Starodum’s monologues are structured this way: Starodum first tells a story from his life, and then derives morality. Such, for example, is Starodum’s conversation with Pravdin. And the conversation between Starodum and Sophia is a set of rules, and "... every word will be embedded in the heart."
As a result, it turns out that the speech of the negative hero characterizes himself, and the speech of the positive hero is used by the author to express his thoughts. A person is portrayed three-dimensionally, the ideal is in the plane.
and where are the positives. And the role of the reader comes down to seeing and remembering the ideal to which one must strive. The characters can be divided into three groups: negative (Prostakov, Mitrofan, Skotinin), positive (Pravdin, Milon, Sophia, Starodum), the third group includes all other characters - these are mainly servants and teachers. Negative characters and their servants are inherent ...
Her "fool is countless" and she has to do everything herself. But the Scottish roots also appear in her speech. Favorite curse word - "cattle". To show that Prostakova is not far from her brother in development, Fonvizin sometimes refuses her elementary logic. For example, such phrases: “Since everything that we had taken from the peasants, we can’t tear anything away,” “Is it really necessary ...
It was possible to lag behind ", that" the stupider the husband, the better for the wife. " Summing up the conversation about the topics, problems and genre composition of Novikov’s magazines, as well as the result of the study of the aspects of the comic image female images, we can conclude about their greatest diversity. The pages of Novikov's satirical magazines touch upon topics such as the arbitrariness and tyranny of landowners, ...
Which Fonvizin composed after his decision to move on to socially important topics. Comedy has taken a polemic stance against sensitive comedies. At the same time, the Foreman walks past the general thematic line of the dramatic work of Fonvizin. The play is directed against bribery of judges, against abuses in legal proceedings, against gallomania. Fonvizin in his play ...
