Artistic features of speech in the comedy ignoramus. Speech characteristics in the comedy “Minor”

26.03.2019

Semakova Anastasia

Characteristics of Mrs. Prostakova, Mitrofanushka, Skotinin through the speech of the heroes

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MBOU "General education Selmenga high school»
branch "Topetskaya Basic School"

Research work on Russian language

8th grade students

Semakova Anastasia

Swear words are a means of speech characterization of the characters in the play.
DI. Fonvizin "Minor"

Head of work – Fedoseeva S.V.

October, 2013

Introduction

Target - explore swear words in the speech of the characters in the play by D.I. Fonvizin "Undergrowth".

Tasks :

Determine what swear words are and what marks they have in dictionaries.
Extract from the text of the play by D.I. Fonvizin vocabulary that can be classified as abusive, and analyze the etymology and lexical meaning of these words.
Determine how the swear words of the characters in the play characterize them.
Draw conclusions about how abusive language characterizes the characters in the play.

This paper examines the use of swear words by the characters in the play by D.I. Fonvizin “Undergrown”, in order to characterize the characters.

Speech always characterizes the speaker:

Study

“Dictionary of the Russian Language of the USSR Academy of Sciences” (MAS), edited by A.P. Evgenieva indicates that the adjective abusive refers to the word swearing, and the interpretation of swearing gives as “offensive, abusive words, swearing” and notes the connotation of this word “condemnation, censure, reproaches.”

Let's try to characterize the heroes of the work by D.I. Fonvizin “Undergrown”, using abusive language in their speech. To do this, we wrote out lines containing abusive language from the text of the play, and based on this we compiled a table:

Hero of the play	Action/ phenomenon	Whom is he talking to?	What does it say
Ms. Prostakova		Trischke	And you, beast , come closer. Didn't I tell you thief's mug I wish you could make your caftan wider. Tell, idiot What is your excuse?
			While searching, he argues. A tailor learned from another, another from a third, and who did the first tailor learn from? Speak up, cattle.
		Trischke	Get out, you beast.
		Eremeevna	So you feel sorry for the sixth one, beast?
		Eremeevna	Well... and you, beast , dumbfounded, but you didn’t glared at my brother haryu , and you didn’t pull him apart dug up to my ears... Yes...yes what...not your child, beast! You, the old witch, burst into tears.
		Eremeevna	All you beasts zealous in words only, but not in deeds...
		Eremeevna	Are you a girl? you're a dog's daughter ? Is there anything in my house other than yours? nasty hari, and no maids!
		Eremeevna about the serf Palashka	Lying down! Oh, she's a beast! Lying down! As if noble!
		Eremeevna about the serf Palashka	She's delusional, she's a beast ! As if noble!
		Sophia	Perhaps a letter for me. (Almost throws up.) I bet it's some kind of amorous. And I can guess from whom. This is from that officer who was looking to marry you and whom you yourself wanted to marry. Yes which one beast Gives you letters without my asking! I'll get there. This is what we have come to. They write letters to girls! Girls can read and write!
		Starodum About Me	Oh, I'm such a fool ! Father! I'm sorry. I stupid .
		Milo about my husband	Don't be angry, my father, what freak mine missed you. That's right I'm a baby born, my father.
		household members and serfs	Rogues! The thieves! Fraudsters!I'll order everyone to be beaten to death!
		everyone About Me	Oh me, the dog's daughter! What have I done!
Skotinin		Pravdin	How! The nephew should interrupt his uncle! Yes, I like him at the first meeting damn I'll break it. Well, if I were pig son , if I am not her husband, or Mitrofan freak.
		Mitrofan	Oh, you damn pig!
		Pravdin	I myself won’t take my eyes off it without the elected official telling me stories. Master, dog son where does everything come from!
Mitrofan		Eremeevna	Well, another word, old Khrychovka!
Tsyfirkin		Vralman	Why did you frown your eyebrows? Chukhon owl!
Kuteikin		Vralman	Damn owl! Why are you patting your teeth?
Vralman		Tsyfirkin and Kuteikin	What the hell are you doing, you beast? Shuta suntes.
		Tsyfirkin and Kuteikin	How to put it down to the arithmetic of dustluthi turaki sandy!

For the etymological analysis of words, we used the dictionary of N.M. Shansky. All words from the list we compiled are marked “Obshcheslav.” and “Original”, except for words fury , borrowed from the Polish language, which came there from Greek language, And canine , which refers to the word dog, borrowed from the Iranian language.Based on their origin, all the swear words from the play “The Minor” can be divided into groups:

Animal origin:

Livestock = wealth, money. This is explained by the fact that cattle served as bargaining chips.
Mug. Origin unclear. Presumably a contraction of Khavrya Sow. In this case, mug literally means “pig snout.”
Bestia. From the argot of seminarians.Is a rethinking of lat. bestia “beast, animal”, Bestia “animal” literally means “breathing”. Dictionary V.I. Dalia points to the Latin origin of this word.
Chushka is a suffixal derivative of chukha “pig”, derived from “imitative” chug-chug . Chukha → pig (alternating x//sh). Dictionary V.I. Dalia gives an explanation of the word chukha as "snout, nose, pig's grunt."
Canine is an adjective formed from the noun dog.
Snout is the front part of the head in some animals.

Borrowing from Greek mythology- Fury.
Devil / Devil - origin unclear. Presumably "he who digs lives in the earth" and further - "underground spirit."
Blockhead - origin unclear. Presumably a suffixal derivative oflost bally, bally "log".

Let's consider the lexical meaning (LZ) of swear words (according to the dictionaries of V. I. Dahl and S. I. Ozhegov)

Words	LZ	Litters
		« Explanatory dictionary living Great Russian language" by V.I. Dahl	Dictionary of the Russian language by S.I. Ozhegov.
livestock	“an animal-like man”	“abusive”	“figurative” “colloquial” “expletive”
mug	“bad, disgusting face, mug”		“colloquial” “expletive”
idiot	“stupid, fool, ignorant, ignorant”		“abusive” “colloquial”
beast	“a rogue, a sneak, an impudent swindler, a clever and daring rogue”	“abusive”	“colloquial”
fool / fool	“stupid man, dumbass”		“colloquial” “abusive”
crap	“the personification of evil, the enemy of the human race: unclean, black power, Satan, devil, evil one”	“abusive”
khrych / khrychovka	“old man, old man”	“abusive or humorous”	“colloquial” “expletive”
pig /chukhna	“the same as a pig” (according to S.I. Ozhegov) “clueless fool” (according to V.I. Dahl)	“abusive”	“colloquial”
canine	“grumpy, abusive” (according to V.I. Dahl’s dictionary)	“abusive”	“colloquial” “disapproving”
deadhead	“slow person”		“disapproving” “colloquial”
rogue	“a person who likes to be cunning, disingenuous” (according to S.I. Ozhegov)		“colloquial”
thief	“a swindler, a slacker, a deceiver; traitor” (according to V.I. Dahl’s dictionary) “traitor, villain” (according to S.I. Ozhegov)
scammer	“rogue, swindler”
freak	“immoral, a person of bad rules or inclinations” (according to V.I. Dahl’s dictionary) “a person with some bad, negative properties” (according to S.I. Ozhegov)
snout	“same as face”	“abusive”	“colloquial” “expletive”

Most of the words that the characters in the play “The Minor” swear at refer to colloquial and colloquial vocabulary and are labeled “abusive.”

conclusions

So, abusive language as an address is most often present in the speech of Mrs. Prostakova (“And you, cattle, come closer”, “Didn’t I tell you, you thieving mug, to let your caftan widen”, “Get out, you cattle” , “Well... and you, beast, were dumbfounded, and you didn’t dig into your brother’s mug, and you didn’t tear his snout to the ears,” “Tell me, idiot, how will you justify yourself?”). Addressing her maids, Prostakova most often calls them beasts and servants beasts, moreover, when she wants to achieve something from influential people, then he begins to humiliate himself in front of them, for example: “Oh, I’m an incredible fool! Father! I'm sorry. I'm a fool". Since she always uses rude words from colloquial vocabulary, which are not diverse and are associated in their origin with the animal world, it can be argued that Prostakova is uneducated, ignorant, rude, and cruel to those who cannot protect themselves from her rudeness. Prostakova uses abusive language when communicating with her servants, brother and husband or talking about them, for example: “Don’t be angry, my father, that my freak missed you. I was born so young, my father.” The same applies to her son Mitrofan and brother Skotinin, who use swear words of animal origin as addresses, for example: “Oh, you damn pig!”

Throughout the entire play, the author constantly plays in the speech of the characters with words of animal origin, thereby trying to expose the bestial behavior of some characters, even though they are people of noble noble origin. For example, the word livestock appears in the play different meanings. “When only cattle can be happy among us, then your wife will have bad peace from them and from us,” - in Pravdin’s speech, the word cattle can be understood in different ways: “ common name domestic animals” or “animal-like person”. Cattle is the root of the surname of the hero of the play Skotinin. And Prostakova herself, although she now bears the same surname, was also originally Skotinina. It is no coincidence that Kuteikin dictates the words to Mitrofan: “I am cattle” (I am cattle). With the help of these words, Fonvizin constantly ridicules the lack of education and rudeness of the Prostakov and Skotinin family, showing their true essence. The author is trying to convince the reader that, no matter how noble a person’s origin may be, with bestial behavior he will be worse than the cattle itself.

Three teachers, Tsyfirkin, Kuteikin and Vralman, although they are teachers, behave very hostilely towards each other, using the same words of animal origin when meeting. As Prostakova herself is, she chose such teachers for her son: rude and uneducated.

Consequently, abusive language characterizes the heroes of Fonvizin’s play “The Minor” as rude, vicious, uneducated, ignorant people.

Bibliography

Emelyanenko E. M. Predicate nouns with the meaning of a negative evaluation // RYASh, 1990, No. 5, pp. 73 - 76.
Kimyagarova R. S., Bash L. M., Ilyushina L. A. Dictionary of the language of comedy by D. I. Fonvizin “The Minor.” -http://www.philol.msu.ru/~slavmir2009/sections/?secid=9- International scientific symposium “Slavic languages and cultures in modern world" - Moscow, Faculty of Philology, Moscow State University. M. V. Lomonosov, March 24–26, 2009
Krysin L.P. Relationships of modern literary language and vernacular // RYASH, 1988, No. 2, pp. 81 - 88.
The full text of the “Explanatory Dictionary of the Living Great Russian Language” by Vladimir Ivanovich Dahl (vols. 1-4, 1863-66) in accordance with modern spelling rules.http://slovari.yandex.ru/dict/dal
Dictionary of the Russian language S.I. Ozhegova. 10th edition, stereotypical. Ed. the doctors philological sciences, Professor N.Yu. Shvedova. Publishing house " Soviet Encyclopedia", Moscow - 1973.http://www.ozhegov.org
Dictionary of the Russian language: In 4 volumes /AS USSR, Institute of the Russian Language; Ed. A.P.Evgenieva. - 3rd ed., stereotype. - M.: Russian language, 1985 -1988. T.1. A - J. 1985. - 696 p. T.2. K-O. 1986. - 736 p.
Shansky. N. M. Shkolny etymological dictionary Russian language. Origin of words / N. M. Shansky, T. A. Bobrova. - 7th ed., stereotype. - M.: Bustard, 2004. - 398, p.http://slovari.yandex.ru/dict/shansky/
Fonvizin D.I. Minor //Fonvizin D.I., Griboedov A.S., Ostrovsky A.N. Selected works / Editorial Board: G. Belenky, P. Nikolaev, A. Puzikov; Comp. And entry. Article by V. Turbin; Comp. section "Applications" and notes. Yu. Dvinskaya. - M.: Artist. Lit., 1989. - 608 p.

Yulia KUVSHINOVA

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

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

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

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

Name the features of drama as a type of literature.

How does drama differ from epic and lyric poetry?

What genres is drama divided into?

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

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

Name the features of classicism as a literary movement.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Starodum. It is precious to me. Trust me.

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

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

Pravdin. Your treatment...

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Oh me dog daughter! What have I done!

Insatiable soul! Kuteikin! What is this for?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

From the very first scene, when Mrs. Prostakova scolds her husband, to whom the narrow, in her opinion, caftan seemed baggy (“you’re baggy yourself, smart head”), and right up to last words In comedy, negative characters, as they say, do not mince words.

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

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

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

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

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

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

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

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

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

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

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

Why, your honor, are you complaining?

AND! Your Honor. I'm a soldier.

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

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

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

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

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

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

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

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The comedy "The Minor" is recognized best work the outstanding Russian playwright D.I. Fonvizin. In it, the writer truthfully depicted Russian feudal reality, exposed it, in the words of V. G. Belinsky, “as if to shame, in all its nakedness, in all its terrifying ugliness.”

The cruelty and arbitrariness of the landowners declare themselves in Fonvizin’s comedy “at the top of his voice.” Serf owners like Prostakova and Skotinin commit their lawlessness in full confidence in their own rightness. The local nobility completely forgot about honor, conscience, and civic duty. Landowners have a stupid disregard for culture and education, interpret laws based only on their own benefit, according to their own discretion and understanding. And it is simply not possible for ignorant, illiterate serf owners to understand these laws: for example, in the Decree on the freedom of the nobility, Prostakova sees only confirmation of the right of a nobleman to flog his servant “whenever he wants.” The only thing that upsets her about her peasants is “injustice.” “Since we took away everything the peasants had, we can’t take anything back. Such a disaster! - Prostakova complains to her brother.

Trying to give brightness and persuasiveness to the images, Fonvizin reveals the features of their character not only with the help of depicting behavior, actions, and outlook on life, but also with the help of apt speech characteristics. The characters of the comedy, primarily negative ones, are endowed with a mark, deeply individualized speech, sharply distinguishing each of them from the other characters and emphasizing the main features, main shortcomings and vices of this or that person.

Everyone's speech characters in “Nedorosl” differs both in lexical composition and intonation. Creating your heroes, giving them bright linguistic features, Fonvizin widely uses all the wealth of living folk speech. He introduces numerous folk proverbs and sayings, widely uses common and swear words and expressions.

The most striking and expressive are the linguistic characteristics landed nobility. Reading the words spoken by these characters, it is simply impossible not to guess who they belong to. The speech of the characters is impossible to confuse, just as it is impossible to confuse the characters themselves with someone - they are such bright, colorful figures. So, Prostakova is a powerful, despotic, cruel, vile landowner. At the same time, she is incredibly hypocritical, capable of adapting to situations, changing her views solely for the purpose of her own benefit. This greedy, cunning lady actually turns out to be cowardly and helpless.

All of the above features of Prostakova are clearly illustrated by her speech - rude and angry, rich swear words, abuse and threats, emphasizing the despotism and ignorance of the landowner, her callous attitude towards the peasants, whom she does not consider to be people from whom she rips off “three skins” and at the same time is indignant and reproaches them. “Five rubles a year and five slaps a day” is received from her by Eremeevna, Mitrofan’s faithful and devoted servant and nanny (“mother”), whom Prostakova calls “an old bastard”, “a nasty mug”, “a dog’s daughter”, “ beast", "canals". Prostakova is also outraged by the girl Palashka, who lies and raves, vabolev, “as if she were noble.” “Fraud”, “cattle”, “thief’s mug” - these words are brought down by Prostakov on the head of the serf Trishka, who sewed a “pretty good” caftan for the “child” Mitrofan. In this, Prostakova herself is confident that she is right; due to ignorance, she is simply not able to understand that peasants should be treated differently, that they are also people and deserve appropriate treatment. “I manage everything myself, father. From morning to evening, as if suspended by the tongue, I don’t report my hands: I scold, I fight; That’s how the house holds together, my father!” - the landowner confidentially informs the official Pravdin.

It is characteristic that the speech of this hypocritical lady is capable of completely changing its color in conversations with people on whom she depends: here her language acquires flattering, cunning intonations, she alternates the conversation with constant ingratiation and laudatory words. When meeting guests, Prostakova’s speech acquires a touch of secularism” (“I recommend you dear guest”, “You are welcome”), and in her humiliated lamentations, when after the failed abduction of Sophia she begs for forgiveness for herself, her speech is close to the people’s (“Oh, my priests , the sword does not cut off a guilty head. My sin! (To Sophia.) Have mercy on me (pointing to my husband and son) and on the poor orphans."

Prostakova’s speech also changes in those moments when she communicates with her son, Mitrofanushka: “Live forever, learn forever, my dear friend!”, “darling.” This despotic landowner loves her son and therefore addresses him affectionately, at times naively and even humiliatingly: “Don’t be stubborn, darling. Now it’s time to show yourself,” “Thanks to God, you already understand so much that you’ll raise the kids yourself.” But even in this case, Prostakova, whose maiden name was Sktinina, shows an animal nature: “Have you ever heard of a bitch giving away her puppies?” In her rough, often primitive speech, there are also apt proverbial expressions (“as if the tongue is punished”, “where there is anger, there is mercy”, “the sword does not cut off a guilty head”). But the main thing distinguishing feature Prostakova’s speech - frequent use of vernaculars (“pervoet”, “deushka”, “arihmeti-ka”, “child”, “sweat him and pamper”) and vulgarisms (“... and you, beast, were dumbfounded, but you didn’t dig in brother in the mug, and you didn’t tear his snout up to his ears...").

In the image of another landowner, Prostakova’s brother Taras Skotinin, everything speaks of his “animal” essence, starting with his last name and ending with the hero’s own confessions that he loves pigs more than people. It’s about people like this that even ten years before the appearance of “The Minor,” the poet A.P. Sumarokov said: “Oh, should cattle have people? “Skotinin is even more cruel in his treatment of serfs than his sister; he is a resourceful, calculating and cunning owner, who does not miss his benefit in anything and uses people solely for the purpose of profit. “If I weren’t Taras Skotinin,” he declares, “if I’m not guilty of every fault. In this, sister, I have the same custom as you... and any loss... I’ll rip it off from my own peasants, and it’ll go down the drain.” The speech of landowners like Skotinin reveals confidence not only in their 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 it is inferior to Prostakova’s language in diversity. Thus, Mitrofanushka’s father, Prostakov, in the scene of meeting Starodum introduces himself: “I am my wife’s husband,” thereby emphasizing his complete dependence on his wife, the lack of his own opinion, his own life position. He has absolutely no independent meaning. Like his wife, he is ignorant, as evidenced by his illiterate speech. Downtrodden by his formidable wife, Prostakov enthusiastically speaks of his son: “This is a smart child, this is a reasonable child.” But we understand that there is no need to even talk about the mind of Mitrofanushka, who has absorbed all the ugly features of his parents. He is not even able to distinguish true words from outright mockery. So, reading the Church Slavonic text offered to him by his teacher, Kuteikin, Mitrofan reads: “I am a worm.” And after the teacher’s comment: “A worm, that is, an animal, a cattle,” he humbly says: “I am a cattle,” and repeats after Kuteikin: “And not a man.”

The language of Mitrofan’s teachers is just as bright and individualized: the soldier’s jargon in Tsyfirkin’s speech, Kuteikin’s quotes (often inappropriate) from the Holy Scriptures, the monstrous German accent of the former coachman Vralman. The peculiarities of their speech allow us to accurately judge the social environment, where these teachers came from, and about cultural level those who are entrusted with the upbringing of Mitrofan. It is not surprising that Mitrofanushka remained undersized, having not received any useful knowledge, no decent education.

The main words of the positive characters are “rubbish”, book turns. Starodum often uses aphorisms (“it is in vain to call a doctor to the sick without healing”, “arrogance in a woman is a sign of vicious behavior”, etc.) and archaisms. Researchers also note direct “borrowings” in Starodum’s speech from prose works Fonvizin himself, and this is quite natural, because it is Starodum who expresses in comedy author's position. Pravdin is characterized by clericalism, and in the language of the young people Milon and Sophia there are sentimental phrases (“the secret of my heart”, “the mystery of my soul”, “touches my heart”).

Speaking about the peculiarities of the language of Fonvizin’s heroes, one cannot fail to mention the maid and nanny Mitrofan Eremeevna. This is a bright individual character, determined by certain social and historical circumstances. By belonging to the lower class, Eremeevna is illiterate, but her speech is deeply folk, having absorbed best features simple Russian language - sincere, open, figurative. In her sorrowful statements, the humiliated position of the servant in the Prostakovs’ house is especially clearly felt. “I’ve been serving for forty years, but the mercy is still the same...” she complains. “...Five rubles a year and five slaps a day.” However, despite such injustice, she remains faithful and devoted to her masters.

The speech of each comedy hero is unique. This particularly clearly demonstrated the amazing skill of the satirical writer. The wealth of linguistic means used in the comedy “The Minor” suggests that Fonvizin had an excellent command of the dictionary of folk speech and was well acquainted with folk art. This helped him, according to the rightful assertion of the critic P. N. Berkov, to create truthful, life-like images.

Speech characteristics in the comedy "Minor"

The first thing a modern reader of the comedy “Minor” pays attention to is the names of the characters. “Talking” surnames immediately establish the reader’s (viewer’s) attitude towards their owners. He ceases to be a more or less objective witness to the unfolding action; he psychologically already becomes a participant in it. The opportunity to evaluate the heroes and their actions was taken away from him. From the very beginning, from the names of the characters, the reader was told where the negative characters were and where the positive ones were. And the reader’s role comes down to seeing and remembering the ideal to which one must strive.

The characters can be divided into three groups: negative (Prostakovs, 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 vernacular language. The Skotinins' vocabulary consists mainly of words used in the barnyard. This is well shown by the speech of Skotinin - Uncle Mitrofan. It is all filled with words: pig, piglets, barn. The idea of life also begins and ends with the barnyard. He compares his life with the life of his pigs. For example: “I want to have my own piglets,” “if I have... a special barn for each pig, then I’ll find a little one for my wife.” And he’s proud of it: “Well, I’ll be a son of a pig if...”

Lexicon his sister Mrs. Prostakova is a little more varied, due to the fact that her husband is a “countless fool”, and she has to do everything herself. But Skotinin’s roots are also evident in her speech.

Favorite curse word: “cattle”. To show that Prostakova is not far behind her brother in development. Fonvizin sometimes denies her basic logic. For example, such phrases: “Since we took away everything that the peasants had, we can’t rip off anything anymore,” “Is it really necessary to be a tailor in order to be able to sew a caftan well?” And, drawing a conclusion from what has been said, Prostakova finishes the phrase: “What a bestial reasoning.”

All that can be said about her husband is that he is a man of few words and does not open his mouth without his wife’s instructions. But this characterizes him as a “countless fool,” a weak-willed husband who fell under the heel of his wife. Mitrofanushka is also a man of few words, although, unlike his father, he has freedom of speech. Skotinin's roots are manifested in his ingenuity of curses; “old khrychovka”, “garrison rat”.

Servants and teachers have in their speech characteristic features of the classes and parts of society to which they belong. Eremeevna’s speech is constant excuses and desires to please. Teachers: Tsyfirkin - retired sergeant, Kuteikin - sexton from Pokrov. And with their speech they show their belonging: one to the military, the other to church ministers.

Greetings:

Kuteikin: “Peace to the Lord’s house and many summers to the children and household.”

Tsyfirkin: “We wish your honor to live a hundred years, yes twenty...”

Saying goodbye:

Yauteigsy: “Will you command us to go home?”

Tsyfirkin: “Where should we go, your honor?”

They swear:

Kuteikin: “Even now I’m going to be splintered, if only I’m sinning by piercing my neck!.. A parable of the town!”

Tsyfirkin: “I would let myself have my ear taken, if only I could train this parasite like a soldier!.. What a brat!”

All characters, except the positive ones, have very colorful and emotionally charged speech. You may 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 own holds too sharp.

The speech of the positive heroes is not so bright. All four of them lack colloquial, colloquial phrases in their speech. This is bookish speech, the speech of educated people of that time, which practically does not express emotions. You understand the meaning of what is said from the direct meaning of the words. For the rest of the characters, the meaning can be grasped in the very dynamics of speech.

Milon's speech is almost impossible to distinguish from Pravdin's speech. It is also very difficult to tell anything about Sophia based on her speech. An educated, well-behaved young lady, as Starodum would call her, sensitive to the advice and instructions of her beloved uncle. Starodum’s speech is completely determined by the fact that the author put his moral program into the mouth of this hero: rules, principles, moral laws by which a “pious person” should live. Starodum's monologues are structured in this way: Starodum first tells a story from his life, and then draws a moral. This is, for example, the conversation between Starodum and Pravdin. And Starodum’s conversation with Sophia is a set of rules, and “...every word will be engraved into the heart.”

As a result, it turns out that the speech negative hero characterizes him, and the speech of a positive hero is used by the author to express his thoughts. A person is depicted three-dimensionally, the ideal is depicted in a plane.

and where are the positive ones. And the reader’s role comes down to seeing and remembering the ideal to which one must strive. The characters can be divided into three groups: negative (Prostakovs, 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...

She is a “countless fool” and she has to do everything herself. But Skotinin’s roots are also evident in her speech. Favorite curse word: "cattle". To show that Prostakova is not far behind her brother in development, Fonvizin sometimes denies her basic logic. For example, such phrases: “Since we took away everything that the peasants had, we can’t rip off anything anymore,” “Is it really necessary...

It was possible to fall behind,” that “the stupider the husband, the better for the wife.” Summing up the conversation about the themes, issues and genre composition of Novikov’s magazines, as well as the result of the study of aspects of the comic image female images, we can conclude about their greatest diversity. The pages of Novikov's satirical magazines touch on such topics as the arbitrariness and tyranny of landowners, ...

Which Fonvizin composed after his decision to move on to socially important topics. Comedy took a polemical position in relation to sensitive comedies. At the same time, “Brigadier” goes past the general thematic line dramatic creativity Fonvizina. The play is directed against bribery of judges, against abuses in legal proceedings, against gallomania. Fonvizin in his play...

Speech characteristics in the comedy “Minor”

The characters can be divided into three groups: negative (Prostakovs, 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 vernacular language. The Skotinins' vocabulary consists mainly of words used in the barnyard. This is well shown by the speech of Skotinin - Uncle Mitrofan. It is all filled with words: pig, piglets, barn. The idea of life also begins and ends with the barnyard. He compares his life with the life of his pigs. For example: “I want to have my own piglets,” “if I have... a special barn for each pig, then I’ll find a little one for my wife.” And he’s proud of it: “Well, I’ll be a son of a pig if...”

The vocabulary of his sister Mrs. Prostakova is a little more diverse due to the fact that her husband is “a fool beyond counting” and she has to do everything herself. But the Sko-Tinin roots also appear in her speech. Favorite curse word: “cattle.” To show that Prostakova is not far behind her brother in development, Fonvizin sometimes denies her basic logic. For example, such phrases: “Since we took away everything that the peasants had, we can’t tear off anything anymore,” “So is it necessary to be like a tailor in order to be able to sew a caftan well?” And, drawing conclusions from what has been said, Prostakova ends the phrase: “What a bestial reasoning.”

All that can be said about her husband is that he is a man of few words and does not open his mouth without his wife’s instructions. But this characterizes him as a “countless fool,” a weak-willed husband who fell under the heel of his wife. Mitrofanushka is also a man of few words, although unlike his father he has freedom of speech. Skotinin’s roots are manifested in his inventiveness of curse words: “old bastard”, “garrison rat”.

Greetings:

Kuteikin: “Peace to the Lord’s house and many summers to the children and household.”

Tsyfirkin: “We wish your honor to live a hundred years, yes twenty...”

Saying goodbye:

Kuteikin: “Will you order us to go home?”

Tsyfirkin: “Where should we go, your honor?”

They swear:

Kuteikin: “Even now they whisper to me, if only I’m sinning by stabbing me!”

Tsyfirkin: “I would let myself have my ear taken, if only I could train this parasite like a soldier!.. What an idiot!”

All characters, except the positive ones, have very colorful and emotionally charged speech. You may 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 own holds too sharp.

Milon's speech is almost impossible to distinguish from Pravdin's speech. It is also very difficult to tell anything about Sophia based on her speech. An educated, well-behaved young lady, as Starodum would call her, sensitive to the advice and instructions of her beloved uncle. The speech of Staro Duma is completely determined by the fact that the author put his moral program into the mouth of this hero: rules, principles, moral laws by which a “pious person” should live. Starodum's monologues are structured in this way: Starodum first tells a story from his life, and then draws a moral. This is, for example, the conversation between Starodum and Pravdivy. And Starodum’s conversation with Sophia is a set of rules, and “...every word will be engraved into 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 depicted in a plane.