Masters of speaking surnames
An unsurpassed master who masterfully mastered this difficult technique was N.V. Gogol. It is enough to remember Korobochka, who intensively accumulates goods, the rude Sobakevich, or Manilov, who constantly dreams of the impossible. But they characterized their heroes in this way even before Gogol. For example, the names of the characters in the play by D.V. Fonvizin “Undergrown” - Prostakovs, Skotinin, Pravdin. In fact, nothing more is needed about these characters; the reader or viewer already understands everything about them.Subtleties of translation
Speaking surnames found not only in Russian, but also in foreign ones. This is a fairly common technique that is not always easy to convey in translation. The translator is required not only to convey the meaning, but also to imitate the sound of the original language. A successful translation while maintaining a neutral tone is Priest Chetkins from Evelyn Waugh's Decline and Fall. But the translators of J.D.R. Tolkien has not yet been able to come up with an equivalent English surname Baggins - in some versions it is translated as Baggins or Sumniks, and this is basically true. But the word “Baggins” also means “the custom of drinking tea at a certain time,” which is very important for characterizing the character. In cases when coming up with an adequate Russian version of the speaker foreign name fails, usually given.In ordinary life
Sometimes the term “speaking surname” is also used in ordinary life. Of course, there is no point in talking about a literary device in this case, since a person most often received such a surname by inheritance. If he gives himself a last name, then it will already be called a pseudonym. But the inherited surname can very accurately characterize the person who bears it. In this case, she can rightfully be called a speaker.Russian surnames are the most valuable material for studying history hometown, regions and even countries. From words to deeds: as soon as the scientist Vladimir Nikonov “superimposed” the names on the map, very interesting patterns immediately began to emerge. This experiment made it possible to divide the European part of Russia into four conventional zones, which are characterized by the active spread of a surname.
These zones were named: Ivanovia (northwest - Pskov, Novgorod, adjacent lands), Smirnovia (center and northern Volga region from Tver to Nizhny Novgorod), Kuznetsovia (south - from Orel to the Middle Volga region and further to the east) and Popovia (north).
Why, for example, are Ivanovs so popular in the north-west? Perhaps the reason for this was the relatively early date of adoption of Christianity by the bulk of the inhabitants of the Novgorod lands. Perhaps “Ivanovia” is connected with the fact that in many lands there were so-called local saints, whose names are church reform in the 19th century they were not included in the unified Russian Orthodox calendar.
Sonorous and noble
“Two years before the revolution, I knew quite a few young girls for whom the mere “ringing” of such a surname awakened the most enthusiastic dreams. I wish I could marry such a lucky man! I wish I could become the owner of such a super-aristocratic name!” - Lev Uspensky wrote in his book “A Word about Words”.
Almost a century has passed, but interest in exotic, “rich”, two-story family names has remained. There is something about them that pleases the Russian ear: a certain chic, a certain foppishness, European reliability, but most importantly - history. It seems that people with such a surname simply cannot be Ivans who do not remember their kinship. However, our interest is in a different direction: it’s still curious, where did they come from and why were they needed in Russia?
Of course, they arose among the local nobility, but for different reasons and in different ways. Often a person who bore an ordinary patronymic surname, with “-ov” or “-in”, added the second part to it, as if becoming a sovereign person. For example, Field Marshal Suvorov, promoted to Count of Rymniksky, if he had been a person of a different character, could have been called Suvorov-Rymniksky in everyday life. But no, even on his tombstone there is a laconic carving: “Here lies Suvorov.”
And the famous Russian rich man Demidov, having married the niece of Napoleon I in Italy, bought the entire principality of San Donato near Florence and received the title of Prince San Donato into the bargain. For almost half a century in Russia this title was not recognized for him, but after his death the title and surname were approved for his nephew. So simply the Demidovs became the Demidovs-San Donato.
Ministry of Education of the Republic of Bashkortostan
Department of Education of the City District Administration of Sterlitamak
MBOU "Secondary" secondary school №12
with in-depth study of individual subjects"
XIXcentury
on literature
10th grade student
Kostyleva Ekaterina
Scientific supervisor
Sterlitamak, 2011
Introduction
1. From time immemorial……………………………………………………….5
2. Speaking names in literature.................................................... ...................6
3. Speaking names in creativity writers of the XIX century
3.1. Classicism.
3.1.1. .............................................................10
3.2. First half of the 19th century.
3.2.1. ..................................................11
3.2.2. ...........................................................12
3.3. Second half of the 19th century.
3.3.1. .......................................................14
3.3.2. -Shchedrin.........................................16
3.3.3. ....................................................17
3.3.4. ................................................................18
Conclusion................................................. ................................................20
Literature................................................. ........................................................ 21
Introduction
In literature lessons, we often get acquainted with heroes who have meaningful surnames. But why does the author resort to such a technique? Who was the first to take this technique as a basis? I will try to answer these questions in my research work.
From the Depth of Ages
Strange as it may sound, but until the end of the XVIII - mid-19th centuries, the majority of the population of our country did not have surnames. At first, surnames arose among feudal lords. There was hereditary land ownership, and it was this that led to the appearance of hereditary names, that is, surnames. Most of the princely families pointed to those lands that belonged to the feudal lord. This is how the surnames Shuisky, Vyazemsky, Eletsky and others arose. The first Russian surnames are found in documents dating back to the 15th century. But most of the people who inhabited our country did not have surnames. Nicknames and patronymics are what our ancestors had in addition to their names.
When did it fall in Russia? serfdom, the government was faced with a serious task - to give surnames to former serfs. Some peasants were given the full or changed surname of their former landowner, others were given a patronymic as a surname, and still others were given a nickname. But the process was slow, and often people continued to do without surnames. In 1888, the Senate published a special decree in which it was written: “To be called by a certain surname is not only the right, but also the duty of every full-fledged person, and the designation of the surname on some documents is required by law itself.”
The word “surname” itself is of Latin origin. Among the Romans, it initially did not apply to spouses and children, but only to slaves. Familia - a collection of slaves owned by one person. But throughout Europe this word spread precisely in the meaning of “family”, “spouses”. And in Russia, the word “surname” was initially used to mean “family.” In the XVII - XVIII centuries The word “nickname” was still in use: in those days it meant a surname. And only in the 19th century the word “surname” acquired its second meaning, which became the main one: “hereditary family name added to a personal name.”
So the surname is the hereditary name of the family, and often its living history.
Previously, in Rus', all newborn boys were called Bogdan, and girls Bogdan. Literally from Slavic these names are translated as “ given by God" And only after some time the child was given a name. It was selected either at baptism in the church, or was given by the parents.
1. Speaking surnames in literature
The connection between a person’s name and his personality was guessed back in ancient times. After all, a name is a word, and since ancient times it has had enormous power over a person. It is believed that the word is on the border of the subtle invisible world and the material world. The word has its own energy and contains a certain idea. And ideas, according to some ancient philosophers, for example, Plato, exist on their own, regardless of human ideas. Man does not invent them, he only gains access to them. A name is essentially an expression of various ideas.
Man began to use names about 7 thousand years ago. The Bible says that Adam was given by God the power to give names to surrounding objects, that is, he acquired the ability to reveal the essence of things through sounds.
Today, reflecting on the past, one is amazed at the homogeneity of the characters and properties of individuals who bear the same name. It’s as if an unknown thread has connected them with each other for many centuries. The unknown, called fate, seems to have prepared a seal for each name and imposes it on people throughout historical life peoples
Proper names in a work of art perform various functions, the most important among them are the following.
Nominative (nominative). The writer needs to somehow identify the character, and this is easy to do by giving him a name. It is usually chosen taking into account certain anthroponymic norms, depending on the theme of the work. In fiction, the social and symbolic function of certain names, patronymics, surnames, nicknames, titles attached to anthroponyms (prince, count, etc.), and forms of address are widely used. So, in Russia XVIII V. “Peasant girls were often called Vasilisa, Fekla, Fedosya, Moors. A girl born into a noble family could not receive such a name. But in noble families there were then such female names, which were uncommon among peasant women: Olga, Ekaterina, Elizaveta, Alexandra”; from the time of Catherine II, it was officially legalized that persons of the first five classes should be written with a patronymic in -vich; persons holding positions from the sixth grade to the eighth grade inclusive were required to be called by their semi-patronymic name, while all others were called by their first names only”; “The period of final “familying” of the country’s population can be considered the second half of XIX century" (when they began to give surnames to former serfs).
Along with the naming function proper names Characters are often also used for characterological purposes, i.e. they emphasize certain personality traits. This function in life in the past was often performed by nicknames: Crybaby, Snake; subsequently they grew into surnames: Plaksin, Zmiev.
In fiction, the hero's nickname almost always reflects his character. For example, the hero of the story "The Morning of the Landowner" Yukhvanka the Wise received his nickname, probably because he spoke in a very difficult, incomprehensible, tricky way. He knew how to hold the attention of his interlocutor for a long time, constructing abstruse phrases without saying anything significant.
If we turn to literature, then artistic types (images) are deep generalizations of reality; although subconscious, they are extremely general and extremely precise guidance. Artistic type it thickens perception and is therefore truer than the truth of life itself and more real than reality itself. And therefore we believe that the declaration of all literary names is arbitrary and random, subjectively invented, and conventional signs types and artistic images it would be a blatant misunderstanding artistic creativity. “Whoever has delved into how artistic images are conceived and born, it is clear that to declare names as random nicknames, and not as the concentrated nuclei of the images themselves, is the same as accusing all literature as such, by its very kind, of subjectivity and randomness,” he believed philosopher Pavel Florensky.
Proper names are anthroponyms (personal names of people, as well as their nicknames), toponyms ( geographical names), ethnonyms (names of peoples), zoonyms (names of animals), cosmonyms (names of extraterrestrial objects), theonyms (names mythical creatures, deities), etc. All these varieties of proper names are studied by onomastics (from the Greek onomastike - the art of giving proper names), a branch of lexicology. Accordingly, in literary criticism a section of poetic onomastics is distinguished. Here we will talk about anthroponyms and toponyms as the most common ones in literary text proper names.
Based on internal shape the word underlying the hero's surname, writers in the era of classicism awarded their heroes with expressive names and characteristics. Russian pen artists - Chekhov, Gogol, Ostrovsky and others - found very bright and unexpected means of expression, one of which is “talking surnames”. Satirists endowed their heroes with “talking” names and surnames. The positive heroes were called Pravdin, Milon, Pravdolyubov, and the negative ones were Skotinin, Vzyatkin, Bezrassud. Parodists changed the name of their literary opponent so that it became a means of ridicule.
Fictitious names, nicknames, titles as typing devices provide invaluable assistance to writers who use them as the most significant typing devices. For example, masters of satire, trying to brand negative images, they select names that from the very beginning expose the base essence, the low social “rating” of these characters. All this plays a significant role in creating a generalized image of a satirical type.
About the role and meaning of names and surnames literary heroes on at the moment a lot has been written scientific works. But in most cases we are talking about the so-called “talking names” technique, which is used by one or another writer to create a certain image of the hero. Everyone knows such surnames as Molchalin, Skalozub, Skotinin, Prostakova, Derzhimorda, Sobakevich, Plyushkin, Manilov, Oblomov - in this vein, a number of surnames of this kind can be continued further. It's no secret what these proper names mean in Russian literature and what author of the work they are associated with.
If we are dealing with a work of art, in which all the characters are generated by the author's imagination, it seems obvious that the author apparently has sufficient freedom when choosing one or another anthroponym for any of his characters. But the imaginary arbitrariness of the anthroponym is actually a conscious or intuitively guessed need to choose this particular name and not another; the study of the semantic halo surrounding the anthroponym of literary heroes at the stage of their creation by the author and then its perception by the reader today is an interesting and relevant problem.
“Talking” names were already used in ancient comedy. For example, one of the heroes of the comedy “Kubishka” by Plautus bears the name Megadorus, formed from the words mega (gr.) - “many” and doron (gr.) - “gift”: he “does not skimp on preparations for the wedding with a dowry, taking on all expenses for yourself and your neighbor. The name of his sister Eunomia means “benevolence” - she makes sure that her son legitimizes his relationship with the girl.” This tradition has proven to be strong. Particularly typical this technique for the literature of classicism.
2. Speaking surnames in the works of writersXIXcentury
2.1. Classicism.
2.1.1.
In the comedy "The Minor" it is easy to determine by the surnames the dominant character or occupation: Prostakovs, Skotinin, Vralman, Tsifirkin, Kuteikin, Milon, Pravdin, Starodum (the last surname given to the positive hero reflected the belief in one thing characteristic of the author-enlightenment - for all times – truth). “Talking names” are often given to comic characters in literature of any genre.
WITH speaking names With Fonvizin, everything is not so simple and unambiguous. Of course, there is no doubt that this is the heritage of classic theater. But not all heroes live up to their names. Pyotr Weil and Alexander Genis write about this in the book “Native Speech”: “Fonvizin is usually attributed to the tradition of classicism. This is true, this is evidenced by even the most superficial details at first glance: for example, the names of the characters. Milon is handsome, Pravdin is a sincere person, Skotinin is understandable. However, upon closer examination, we will be convinced that Fonvizin is a classic only when he deals with the so-called positive characters. Here they are walking ideas, embodied treatises on moral topics.”
In this phrase there are positions that contradict each other, since Skotinin cannot in any way be classified as goodies. It is indisputable, however, that neither Fonvizin, nor his comedies, nor the characters of “The Minor” and “The Brigadier” fit into the Procrustean bed of the traditions of classicism.
And the surname of Adam Adamych - Vralman, partly Russian, partly German - gives rise to many such meaningful names among authors who inherited the classics of the era of Catherine the Great.
2.2. First halfXIXcentury.
2.2.1.
The speaking surnames in the play “Woe from Wit” can be divided into three types:
1) actual speakers who report one important feature of the hero: Famusov, Tugoukhovsky, Repetilov, Molchalin;
2) assessing names: Skalozub, Khryumina, Zagoretsky, Khlestova;
3) associative: the surname “Chatsky” carries a rhymed allusion to the name of one of most interesting people that era: Pyotr Yakovlevich Chaadaev.
Many of the characters' surnames are also based on the internal form of the word: - Tugoukhovsky, he is really hard of hearing, walks with an ear tube; - Molchalin does not pronounce unnecessary words(at my age he should not dare to have his own judgment, and besides, he remembers that nowadays they love the dumb); - Skalozub scolded, vulgar wit. - The surname Famusov is interpreted, on the one hand, as famous, well-known (from the French fameus), on the other hand, afraid of rumors (from the Latin fame rumor).
The names of the characters in Griboyedov’s play “Woe from Wit” are significant not only individually - together they form an important symbolic key to understanding the problems of “Woe from Wit”: after all, this is a comedy about the difficulties of communication (which is why the cross-cutting motives in it are deafness and misunderstanding) .
Such deep symbolism is not characteristic of “speaking” surnames in classicism.
We can conclude that Griboyedov only formally preserves the classical framework, filling it with psychological and socio-psychological content.
2.2.2.
inherits the traditions of classicism in his work. In his dramas you can find nicknames: Derzhimorda, Scrambled eggs and Strawberry. Gogol masterfully plays with double surnames, which, by the way, belonged exclusively to noble people: Musins-Pushkins, Golenishchevs-Kutuzovs, Vorontsovs-Dashkovs, Muravyovs-Apostles. The judge from the comedy “The Inspector General” also has a double surname - Lyapkin-Tyapkin, which hardly indicates the author’s respect for this hero. As for the mayor’s double surname, we read about it in the book “Modern Russian Surnames”: “Draft (according to Dahl) in the figurative meaning “cunning rascal”, “experienced rogue”, in the literal meaning - “draft”, “through wind” . Dmukhati means “to blow” in Ukrainian. Double surname as an example of a high-born nobleman in in this case turns out to be a double hint of fraudulent fraud.
Continuing the formation of names literary characters With the help of foreign language word-forming means, Gogol introduces Dr. Gibner into the comedy, in whose hospital, as is known, all the sick, “like flies, recover.”
The name of the imaginary auditor is also very rich in associations. There is something in it from the bitingness, the agility of the hero and from the phrase “whip over the edge,” since Ivan Aleksandrovich is a master of unbridled lies. Khlestakov, in addition, will not refuse to “pawn by the collar” - “lash.” He is not averse to trailing Anna Andreevna and Marya Antonovna - “whipping.”
Emphasizing the similarity of the two “urban landowners,” Gogol cunningly makes them full namesakes, and changes only one letter in their surnames (Bobchinsky, Dobchinsky). In Russian drama, this technique was first used in “The Inspector General”.
Summing up, we can state that in creativity the speaking names received further development, became even more significant and began to acquire a parodic sound.
2.3. Second halfXIXcentury.
2.3.1.
As a rule, in works of fiction, characters receive their names, patronymics and surnames depending on general plan(concepts) and the function with which each of them is endowed by the author. This applies equally to classical and modernist literature.
The era for Russian drama, as we know, was creativity. From the point of view of the phenomenon of “speaking” names that we are considering, a lot of new, wonderful material can be found in the plays of this great playwright. Let's touch only on the most interesting moments use of this literary device in Ostrovsky's most famous plays.
For example, in the play “The Thunderstorm” there are no random first and last names. A quiet, weak-willed drunkard and mama's boy, Tikhon Kabanov fully lives up to his name. The nickname of his “mama” – Kabanikha – has long been rethought by readers as a name. It is not for nothing that the creator of “The Thunderstorm” already introduces this heroine in the poster: “Marfa Ignatievna Kabanova (Kabanikha), a rich merchant’s wife, widow.” By the way, her old, almost ominous name paired with Savel Prokofievich Dikiy quite definitely speaks about their characters, their way of life, and their morals. It is interesting that in translation from Aramaic the name Martha is translated as “mistress.”
The name Dikoy also contains a lot of interesting things. The fact is that the ending - oh in the corresponding words is now read as - й(-й). For example, Pushkin’s “freedom sower of the desert” (in the current pronunciation – “desert”) means “lonely.” Thus, Dikoy is nothing more than “ wild man", simply "savage".
Ostrovsky's surname may indicate appearance person: Puzatov, Borodkin, Pleshakov, Kurchaev, Belotelova;
In terms of behavior: Gnevyshev, Gromilov, Lyutov, Groznov;
For lifestyle: Baklushin, Pogulyaev, Dosuzhev;
On social and financial status: Bolshov, Velikatov. The surnames Goltsov, Mykin, Tugina, Kruchinina indicate the difficult life of their bearers, full of need and deprivation.
Many of Ostrovsky's surnames are derived from popular words (names of animals, birds, fish) with a pronounced negative value: they seem to characterize people according to the properties that are inherent in animals. Baranchevsky and Pereyarkov are stupid as sheep; Lisavsky is as cunning as a fox; Kukushkina is selfish and heartless, like a cuckoo.
So, one of Ostrovsky’s methods of forming surnames is metaphorization (figurative meaning).
2.3.2. - Shchedrin.
It is well known that when some phenomenon or cultural phenomenon reaches a certain level, becomes universally known and popular, it begins to be parodied. So it is with speaking names. We have already partly touched upon the fact that Gogol parodied some noble families. Shchedrin also has many such surnames: Intercept-Zalikhvatsky from “The History of a City”, Serpukhovsky-Dogonay, Uryupinsky-Doezhay from “Abroad”, Peresvet-Zhaba from “Satire in Prose”. However, in this case we are dealing with a phenomenon that is more social, political, and only then literary.
In the full sense, parodic names and, accordingly, heroes appear in the works of Kozma Prutkov, created through the friendly efforts of the Zhemchuzhnikov brothers. Is it any wonder that the heroes of the comedy “Fantasia” wear completely parody names? Thus, the hero, whom the authors present as a “decent man,” bears the surname Kutilo - Zavaldaisky; “a shy person” is naturally called Shameless. “The man selling soap” in this comedy turns out to be Prince Kasyan Rodionovich Batog-Batyev. In this double surname, both Batu and the batogs found a place for themselves. A clear echo of the name of Manilov’s son is the name of Themistocles Miltiadovich Razorvaki. And in the drama “Love and Silin” Kozma Prutkov brings to the stage General’s wife Kislozvezdova, “a mute but voluptuous widow,” and Silva don Alonzo the Scoundrel,” “a visiting Spanish man.”
No less parodic and funny are the names of the comedy “Skullbreaker, that is, phrenologist.” Here is Shishkenholm, “a phrenologist, a cheerful old man, bald, with a knobby skull,” here is Vikhorin, “a civil official. Shaved face, bald, wearing a wig.” You know, that’s why he’s Vikhorin.
Parody always coexists in parallel with what it satirizes.
It can be assumed that the playwrights later eras The speaking names of the characters had to change.
2.3.3. .
The names and surnames in the works are of a semantic nature. The unpleasant surname Smerdyakov (the novel The Brothers Karamazov) belongs to a character who disgusts others. The secret of the Karamazov surname is revealed in the novel by the writer himself. Staff Captain Snegireva, greeting Alyosha, calls him Chernomazov, and when Snegirev corrects her, she repeats again: “Well, Karamazov, or whatever it is, but I’m always Chernomazov.” As you can see, two roots stand out here: kara - (translated from Turkic as “black”) and maz- (“ointment, to smear”). All Karamazovs are united by a black principle.
Researchers have long paid attention to unusual name the main character of the novel “Crime and Punishment”: the impression of a rumbling sound is created (Ra-Ra-Ra: Rodion Romanovich Raskolnikov). But not only sound associations gave rise to this combination. Raskolnikov - “unfolds” the mother earth that gave birth to him, “splits” his homeland (name Rodion), and if we take the patronymic, then a direct interpretation is quite possible: split of the Romanov homeland(patronymic Romanovich)
F. Dostoevsky widely uses the name Sofia (Greek Sophia “wisdom”) in his works: Sofia Andreevna (mother of the Teenager), Sofia Ivanovna (mother of Ivan and Alyosha Karamazov), Sofia Matveevna Ulitina (guardian angel last days Stepan Trofimovich in “Demons”) Finally, Sonya Marmeladova. All of them are united by faith in the final victory of good. It was not for nothing that Sonechka Marmeladova lived in the apartment of the tailor Kapernaumov, whose surname was derived from the famous evangelical city of Capernaum, where Christ often preached.
Thus, the names and surnames of many heroes are not random. To reveal their meaning means to better understand the writer’s intention.
2.3.4.
I liked to use meaningful surnames. What are they worth, for example: non-commissioned officer Prishibeev, official Chervyakov, actor Unylov...
In Chekhov's works, a name is an accurate description of a character: non-commissioned officer Prishibeev, official Chervyakov, actor Unylov, barber Blestkin. Using surnames, Chekhov creates comic situations, satirical images. Thus, sometimes he puts next to each other surnames formed from words that are very distant in meaning: Kashalotov and Desdemonov, Vesuviev and Chernosvinsky. By contrasting surnames, the writer achieves an even more accurate description characters. How the technique inherited from the classicists has changed can be seen in Chekhov’s amazing story “The Horse's Name.” The “frontal attack” with the endless and completely traditional Uzdechkin, Zherebtsov and Korenny, as we know, did not lead to anything. “Horse” the name of a specialist in charming toothache turns out to be precisely from an associative point of view. Ovsov is a problem with many unknowns. This is not a primitive type of Kobylin and Loshadevich, so we naturally cannot agree with lovers of paradoxes P. Weil and A. Genis, who in the article “Everything is in the Garden” about Chekhov’s work wrote: “In contrast to the long-preserved in Russian literature traditions of baptizing heroes with telling names, surnames in Chekhov's dramas random, like a telephone book, but instead of the alphabet they are united by a typological unity, which the author put into the title of one of his collections - “Gloomy People”.
The surnames Chebutykin, Trigorin, Treplev were not given by Chekhov to his heroes by chance. Words like “merlikhlyundiya” and Chebutykin are from the same category. The same can be said about the heroes of “The Seagull” Konstantin Treplev and his mother, also, by the way, after Trepleva’s husband. It’s not for nothing that the son says about his mother: “Her name is constantly being talked about in the newspapers, and it tires me.” By the way, Irina Nikolaevna’s stage name is Arkadina. The surname of the novelist Trigorin is literary through and through! And not only Trigorskoe, but also three griefs come to mind.
The name of Lyubov Ranevskaya (nee Gaeva) also evokes a lot of associations. Here is a wound, and love, and a mountain (by - oak wood, grove, black forest). In general, the play Cherry Orchard" - a real treasure trove of telling names. Here is Simeonov-Pishchik, and Trofimov’s name is Petya.
Of course, in early stories Chekhov is ruled by the same Kuvaldins, Khryukins and Ochumelovs (synonyms: to become stupefied, to lose one’s mind; this same detail is emphasized in his behavior, in the absence of his own opinion). And in dramas you can find names familiar to Ostrovsky’s times. For example, the character " Three sisters“Solyony is somewhat akin to Skalozubov - his jokes smack of bad taste, are very primitive, stupid - “salty”, and his last name is more like a nickname like Ushetelny.
However, such names in Chekhov's theater are the exception rather than the rule. And a different name reigns in his dramatic masterpieces, corresponding to a new hero, a new character of the conflict, a new theater - Chekhov's theater.
Conclusion
Any writer carefully considers what names he can and should include in the text of his work, especially the names of the characters, through which he necessarily expresses a subjective attitude towards the character being created, the characters depicted, and personality types. The analysis of literary names (poetonyms) should be an integral part of the analysis of artistic images and ideological content any work as a whole.
Literature
Azarova. A manual on Russian literature of the 19th century, part 1. - M., “Prometheus”, 1995, p. 28-29. Albetkova literature. From words to literature: textbook. for 8th grade. general education institutions / 5th ed., stereotype. – M.: Bustard, 2005. p.82. Bulgakov Mr. de Moliere.- M., “Young Guard”, 1962, p.165. Weil P., Genis A. Native speech. - M., “Nezavisimaya Gazeta”, 1991, p. 17, 181. Griboyedov. - M., “ Fiction", 1988, p. 680. Grigoriev and morality. - M., “Sovremennik”, 1986, p.295.
7. . Illustrated dictionary of the living Russian language. In 2 vols. – St. Petersburg: “ Publishing house"Neva"; M.: “OLMA-Press”, 20 p.- (Series “Children's Encyclopedia”).
8. "Woe from Wit". - M: Fiction, 1974, p.62.
Malkhazova literature XIX century, part 1. - M., “Mark”, 1993, pp. 10-11. , Suslova Russian surnames. - M., “Science”, 1984, p.69, 130, 131.
Method of use "speaking" surnames and names are often used by authors of works. It was especially popular in the first half of the 19th century, although at all times it helps writers when creating their creations.
It is known that in Rus' until the 17th-18th centuries. there were names reminiscent of modern nicknames; such names served at the same time as a unique characteristic of a person, the main qualities of his character: Balui, Balamut, Biryuk, Gryaznin, Lyutoy, Molchan, Nesmeyan, Plokh, Crybaby, etc.
And in literature it all started with classicism in literature - a method in which heroes are clearly divided into positive and negative. Therefore, writers and playwrights often gave them surnames that emphasized certain character traits.
Writers of the 19th century continued this tradition. They came up with so many “speaking” surnames! Many became household names, as their characters were characteristic of many people. And even today these words are relevant, since, unfortunately, among us there are Oblomovs, Molchalins, Skotinins and many others.
The surnames themselves and their role also changed: from a simple nickname, which brightly, prominently characterized the hero, to a deep, sometimes veiled meaning, understandable only when studying the history of a given name or surname.
Types of “speaking” surnames:
- Surnames by which one can openly understand the author’s attitude towards the characters, what features he identifies in them (Skotinin, Skalozub, Oblomov, Sobakevich and others)
- Surnames and given names whose meaning is understood by the etymology of the word (Famusov, Prostakova, Mitrofan. Sofya, Larisa).
- The surname may suggest the type of activity of the hero: Professor Preobrazhensky in “The Heart of a Dog” by M. Bulgakov.
- Some surnames invented by authors do not directly indicate traits of this hero, but as if they help to understand a whole social phenomenon that is revealed in this image (the name of the son of the hero of A.P. Chekhov’s story “Fat and Thin” is Nathanael, Akaki Akakievich Bashmachkin in “The Overcoat of N.V. Gogol, Lokhankin Vasisualiy I. Ilf and E .Petrova from “The Golden Calf”)
- The surnames of the characters can also create a unique atmosphere of the work. So in A. Chekhov’s story “The Terrible Night” there are Cherepov, Chelyustov, Panikhidin, Trupov, Pogostov. They add fear to the story.
- The most important goal is to express the author’s attitude towards the hero. Writers use the surnames of characters to already direct readers to what kind of character they will be talking about.
- An important purpose of such surnames is to emphasize, to concentrate attention on some social phenomenon. They are a kind of metaphor, for example, Lyapkin-Tyapkin from “The Inspector General”.
- The surnames of the characters are similar to the surnames of real people. In this case, these are always positive heroes (Meresyev in “The Tale of a Real Man” by B. Polevoy, Dobrosklonov in “Who Lives Well in Rus'” by N.A. Nekrasov, Kuligin in “The Thunderstorm” by A. Ostrovsky)
Thus, the role of “speaking” names and surnames in literature is great. They are playing significant role when creating a literary and artistic text, they are integral components of the writer’s style and language, closely related to the theme of the work, the author’s ideas, the depicted time and space, and the essence of the created images.
Works that can be cited as arguments in task No. 9 on the topic of “speaking” surnames:
- D.I. Fonvizin “Undergrown” (Skotinin, Pravdin, Milon and others)
- A.S. Griboyedov “Woe from Wit” (Molchalin, Chatsky, Famusov)
- N.V. Gogol “Dead Souls” (Manilov, Sobakevich, Korobochka and others), “The Inspector General” (Derzhimorda, Strawberry, Lyapkin-Tyapkin, etc.)
- N.A. Nekrasov “Who can live well in Rus'?” (Altynnikov, Grosh, Dobrosklonov)
- M.E. Saltykov-Shchedrin (Pimple from “The History of a City”, etc.)
- M. Bulgakov " Heart of a Dog(F.F. Preobrazhensky)
- Heroes of plays by A.N. Ostrovsky (Kabanova. Tikhon, Larisa, Katerina, etc.)
- A.P. Chekhov (school superintendent Khamov (“Exam for Rank”), sexton Vonmiglasov from “Surgery,” Nevyrazimov in “Meluzga”). A. Chekhov's heroes can even be divided into types of "speaking" surnames: food - Pivomedov ("Exam for Rank"), body parts - Zhelvakov, Chelyustin, Gryaznorukov, animals - Kleshchev, Guskin, Kuryatin ("Surgery"), Gnilorybenkov. A. Chekhov was a real master at coming up with surnames.
More heroes of A. Chekhov: non-commissioned Prishibeev in story of the same name, official Chervyakov in “Death of an Official”, actor Unylov in “After the Benefit Performance”, overseer Ochumelov and goldsmith Khryukin “Chameleon”.
Note: Separate articles will be written on these works over time.
Material prepared by: Melnikova Vera Aleksandrovna
“Talking names” are found quite often in literature; famous classics often gave their characters meaningful surnames: Molchalin, Skalozub, Prostakov, Skotinin, Tsyfirkin, Vralman, etc. etc.
It's interesting that in real life There are also surnames that accurately characterize their bearers by personal qualities or professionally. Here are my examples from personal observations.
Krovopuskov is a famous fencer, winner of many tournaments and Olympic champion.
Bold - Irkutsk resident Dmitry Smely - test pilot teaches flying combat vehicles. His father, Leonid Georgievich, was also a military test pilot.
Bukhalov is a real forwarder who often likes to "thump."
Bore - was a forester at the cordon near the Devil's Settlement. Then there was a ban on access for tourists to the rocks, the forester drove people away.
Kurochkin actually worked as the director of a poultry farm.
Zababakhin - Soviet nuclear physicist, one of the creators nuclear weapons in the USSR.
There are surnames that, in combination with their profession, make impressionable people smile or worry. Below are photographs of actual information signs and plaques on offices.
But real names and the names of foreigners.
Japanese Pimp: Komuhari Komusishi;
Czech veterinarian: Matsal Kosek;
Japanese doctor: Komuta Herovato;
Japanese driver: Toyama Tokanawa;
Japanese Sniper: Tomimo Tokoso;
Greek Bad Man : Napolnasrakins;
Japanese poet: Yasuka Takaya;
Italian secretary: Whore Di Curvaggio.