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

Positive characters do not cause such vivid emotions, although they are resonators reflecting the author’s position. Educated, endowed only with positive traits, they are ideal - they cannot do lawlessness, they are alien to lies and cruelty.

We describe in more detail each of the characters:

Heroes	Characteristic	Character Speech
Negative characters
Mrs. Prostakova	The central negative character, a representative of the serf nobility. She is depicted as an uneducated, ignorant and vicious woman who owns all the power in the family: "I fight, I fight, and the house keeps itself." 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. “Predloifuria, which makes the unhappiness of the whole house a hellish disposition,” 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 turns away from her.	Trishke - “cattle”, “fraudster”, “thieves' bitch”, “idiot”; Yeremeyevna - “beast”, “kanalya”, “dog’s daughter”. To the old-fashioned person - “benefactor.” “Whatever the peasants have, we have taken away, we won’t be able to rip anything off yet.” “Dodgers, thieves, scammers! I command all to be beaten to death. ”
Scotinin	Another sharply negative character, the owner of a cattle-like surname, narcissistic and cruel. The only passion is pigs and everything connected with them gives its image a kind of animal.	“I didn’t read anything ... God saved me from this boredom.” “I love pigs ...” “Do you have pigs in your villages?” “I want to get my piglets too.” “... how can I break the devil ... if I’m a pig son ... "" Eco happiness fell. "" I would ... by the legs, but by the corner "," Oh, you damn pig! " “To Mitrofan.” Oh, how's it messing up, “about my sister.
Mitrofan	A minor of sixteen years old, the son of provincial landowners. His name is "speaking", because Mitrofan in Greek means "like a mother." The same two-faced: the tyrant in relation to domestic, humiliatingly apologizes to Starodum in the final. It has undoubted cunning. For example, a dream where "mother beats the priest." Education depends on the way of life, the environment, and the conditions for the formation of man. Mitrofan, who grew up in an ignorant family, is himself ignorant, stupid and lazy. Mitrofanushka is not only a complete ignoramus, averse to learning, but also an egoist, for him there is nothing significant other than her own interests. “An ignoramus without a soul is a beast,” according to Starodum. Rude and cruel to serfs, teachers, a nanny, father. “Although he is sixteen years old, he has already reached the last degree of his perfection and will not go further,” Sophia says about him. "Damned pig", as his uncle calls it, is the final result of the degradation of the nobility with a soul-mutilating upbringing. Historically, a "young man" was considered a young nobleman who did not receive a written certificate of training from the teacher. He was not accepted for service, he was not allowed to marry. The image of "undergrowth", thanks to the comedy, has become a household word: they usually say that about stupid and ignorant people.	Yeremeyevna - “old grychovka”; uncle - “Get out, uncle; get out "; “Garrison rat” - to teacher Tsyfirkin .. “I took them and took them with Yeremeyevna” - about teachers. “I don’t want to study, I want to get married.” “All to hell!”
Simpletons	Man is weak-willed and weak. It’s impossible to say about him that he is “the head of the family”. In everything submits to the spouse and is afraid of her. She prefers not to have her own opinion - a scene with sewing a caftan: “My eyes do not see anything before your eyes.” An illiterate "spineless henpecked", in fact, he is not such a bad person. He loves Mitrofan, "as befits a parent." “He is humble,” Pravdin says of him.
Positive characters
Pravdin	State official sent to verify the situation on the estate of Prostakovs. Arbitrariness, in his opinion, is an unforgivable vice. Tyranny deserves punishment. Therefore, the truth will triumph and the estate of the cruel and oppressive Prostakova will be taken away in favor of the state.	“Out of the feat of my heart, I fail to notice the malevolent ignoramuses who, having power over their people ... power, use it for evil inhumanly.” “So that worthy people are not lacking, special ... efforts are made to educate.”
Sophia	Starodum's niece. A decent, kind, smart girl. Translated from the Greek name is her "wisdom." Honest and educated. “God has given you the courtesy of your gender, ... the heart of an honest man,” Starodum tells her.	"How not to be pleased with the heart when a conscience is calm ... One cannot help but love the rules of virtue ... They are ways to happiness." "All my efforts will be to use merit the good opinion of worthy people."
Starodum	Sophia's uncle and guardian. Acts as a resonator, expressing the thoughts of the author. His name says that he was brought up in the era of Peter and adheres to her ideals, when they served faithfully and honestly at court, not fawning before “ the strongest of the world this. " And he honestly deserved his condition and position: he was on military service, served at the court. Has straightforwardness and impatience to injustice. A person endowed with power, in his opinion, should not in any way violate the rights of other people.	“Enlightenment exalts one virtuous soul.” “Cash is not cash virtue.” “Orders begin - sincerity ceases.” “Have a heart, have a soul - and you will be a man at all times.” “The dignity of the heart is inseparable.” “The main goal of all knowledge human beings are good manners. ”
Milon	Handsome officer, Sophia's fiancé. Despite his youth, he already took part in hostilities, where he showed himself heroically. Modest. “A young man of great virtues,” “the whole public considers him an honest and worthy man,” according to Starodum.	"I'm in love, and i have the happiness of being loved. ”“I believe the true intimidation in the soul, and not in the heart ...”
Minor Characters
Tsyfirkin	In the past, a soldier therefore cherishes the concepts of duty and honor: “I took money for the service, but I didn’t take it empty and I won’t take it.” Rude, but straightforward and honest. “I don't like living idlely,” he says. "Direct good man" called Starodum.	“Here gentlemen are good commanders!”, “There’s a quick fire a day for three hours at a time.” “Hello one hundred years, twenty, and even fifteen, uncountable years.”
Kuteikin	An under-educated seminarist with a "speaking" surname: kutia - ceremonial cereal, an obligatory sacred and funeral meal. The man is undoubtedly cunning, as evidenced by the choice of text during the training of Mitrofan: “I am the worm, not the man, the reproach of people”, “to say the belly, the cattle”. Greedy for money, trying not to miss her.	Church Slavonic vocabulary: “pitch darkness”, “woe to me a sinner”, “call of bykh”, “idiot”, “fearing the abyss of wisdom”.
Vralman	The German Adam Adamovich is a former coachman of Starodum. A man who is a rogue, which is what his last name says, pretends to be a scientist who can teach “in French and all sciences”, and he himself interferes with other teachers. The owner of a lackey soul, tries to please Prostakova, praising Mitrofan. He is ignorant and uncultured.	“They want to die a kid!” “Shiuchi with his hospots, it concerned me that I’m fse with scapulars.”
Eremeevna	Nanny Mitrofan. He sincerely serves in the house of the Prostakovs, loves his pupil Mitrofan, but is rewarded for his service as follows: “Five rubles a year, up to five slaps a day.”	"... I would have broken with him ... I wouldn’t have become fangs too." "... how to serve more, you don’t know ... I’d be glad not only that ... you do not regret your stomach ... but everything is not wanted. ”

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Speech characteristics in the comedy "The Undergrowth"

The first thing that a modern reader of the comedy “Undergrowth” draws attention to is the surname actors. “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 must strive.

The actors 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 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 have my own piglets”, “if I have a special one for each pig, then I will find a little one for my wife.” And proud of it: “Well, if I were a pig son, if ...”

The vocabulary of his sister, Mrs. Prostakova, is a little more diverse, due to the fact that her husband is “a 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 has been taken away, we can’t tear anything off already”, “Is it really 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 kind of bestial 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 classes and parts of society to which they belong. The speech of Yeremeevna 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 to live a hundred years, twenty ...”

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 heat of my mouth! .. A parable in my tongues!”

Tsyfirkin: “I would give myself an ear to take it, if only I could smash this parasite like a soldier! .. What an image!”

All actors, except for 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 example:

I'll get you there.

I have my hooks too.

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 almost 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 deduces 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 depicted 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 actors 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 all that we have 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 of 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 ...

Julia KUVSHINOVA

Julia Sergeevna KUVSHINOVA (1982) - teacher of the 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 undoubted merit of Fonvizin in creating spoken comedy language. The true innovation of Fonvizin was 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 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, complex syntactic constructions.

The images of goodies in Fonvizin’s comedy “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 above 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 monosyllables, 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 seems 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 a (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, a mediator 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 applies 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, 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 from the bottom of 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 did not know how to guard against 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.

Negative characters are characterized by the use of proverbs, sayings, phraseological turns, 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 interspersing 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 ("yet"), 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 “popular” background of 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 noblemen, 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 the literary language, very accurately using the 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 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); guilty without guilt (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 unable 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 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 example:

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 Mrs. Prostakova scolded her husband, who, in her opinion, was narrow in her caftan, seemed baggy (“you’re baggy, you’re smart head”), and up to last words in the comedy, negative characters, as they say, do not climb into a pocket for a word.

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. 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 lofty-and-plank. 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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MBOU “Yershichskaya secondary school” Speech characterization of a character as a means of creating a comic situation (based on the comedy of D.I. 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.
Project Objectives: - 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

DI. Fonvizin (1745-1792) The speech characteristic of Mrs. Prostakova Characteristic

• 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

• Prostakova is a central negative character, a representative of the serf nobility. Fonvizin is portrayed by 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 held." 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. “Predloifuria, which makes the unhappiness of the whole house a hellish disposition,” 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 turns away from her.

Examples of speech Prostakova

• 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 be beaten to death. ”
• Ms. Prostakova (Trishke). -And you, cattle, come closer. I didn’t 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, finds such a tetanus, as I can say. Sometimes, bulging eyes, it costs an hour as if rooted to the spot. Already something I did not do with him; what could he not bear with me! You won’t get anything. If the tetanus walks, 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 daughter of a dog? Is it in my house, except for your bad hari, and there are no maids? Where is the broadsword? (Despotism)

Draw conclusions

• 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 cannot be blamed for the guilty head”) are also found. but the main distinguishing feature Prostakova’s speech is a frequent use of vernaculars (“first”, “deushka”, “arithmetic”, “shy little girl”, “soak his sweat”) and vulgarisms (“... and you, beast, were dumbfounded, and you didn’t glance at your brother’s mug, but you didn’t tear the snout to his ears ... ").
• All this creates comic situations in which Prostakova constantly gets. However, the laughter of the play is not so harmless, since the owner of such a speech is a terrible person in its cruelty, rudeness, and Prostakova’s personal tragedy does not cause sympathy

Prostakova is a typical serfwoman. The way she treats her servants testifies to her authority and cruelty; the servants are not people for her, therefore, she allows them to be humiliated and suppressed, and sometimes even physically tortured. And she doesn’t put her husband Prostakov at all. Speech by Prostakova speaks of her limitations, lack of education, she usually pronounces the words incorrectly, distorting proverbs as she wants. Prostakova is flattering to those from whom she hopes to profit; smart flattering Starodum immediately guesses her flattering words, so she ironizes over her. Prostakova does not raise her son, but only spoils Mitrofan with her blind love, the indulgence of his laziness and sloppiness. Mitrofan cannot learn from his mother neither humanity, nor education, nor good speech.

Speech characteristics in the comedy "The Younger"

The first thing that a modern reader of the comedy “The Little Growth” 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 are and where the positive ones. 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 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 have my own piglets”, “if I have a special chick 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 ...”

The vocabulary of his sister, Mrs. Prostakova, is a little more diverse due to the fact that her husband is "a myriad of fools" and she has to deal with everything herself. But the Sko-Tinian roots also appear in her speech. Favorite curse - "cattle." To show that Prostakova is not far from her brother in development, Fonvizin sometimes refuses her elementary logic. For example, such phrases: “Since all that we have taken from the peasants, we can’t tear anything off already,” “Is it really necessary to be a tailor in order to be able to sew a caftan properly?” And, drawing conclusions 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 his father he has freedom of speech. Skotinin’s roots are manifested in his ingenuity of curses: “old grunt”, “garrison rat”.

Servants and teachers have in their speech the characteristic features of the estates and parts of the 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:

Kuteikin: "Command us to retire?"

Tsyfirkin: “Where are we going, your honor?”

Swear:

Kuteikin: “Even now I’m silly, if only I could sin through the dusting!”

Tsyfirkin: “I would give myself an ear to take it, if only I could smash this parasite like a soldier! .. 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 example:

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 almost 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 the Staro Duma 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 the True. 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 depicted three-dimensionally, the ideal is in the plane.