Translators are aware of the problem of so-called “speaking” surnames - is it necessary to translate them? And how? For example, D. Fonvizin’s comedy “The Minor,” as befits a play from the era of classicism, is densely filled with telling names - Prostakovs, Skotinins, Pravdin, Starodum. This technique is certainly important for understanding the text, but how to convey it to a foreign reader? Should we limit ourselves to tracing paper (Starodum), fill the text with footnotes, or still come up with a translation?
When, in the 18th century, Russian educated society discovered European literature, there was, in principle, no problem of speaking surnames in the books of German and French authors - the reading public knew these languages and either mastered the texts in the original, or easily recognized the meaning of surnames in translations. Again, due to the prevalence of these languages, tracing paper from German and French names quite accurately conveyed their authentic sound. But there were difficulties with the English language. It seems that those who undertook the translation of English authors studied the language exclusively from books, or rather, used French translations of popular novels. Therefore, names and titles were most often translated based on French reading rules or read as in Latin.
Even in Dostoevsky’s “White Nights” we encounter the following dialogue: “What, have you read the books?” I answered: “I read it.” “What did he say you liked better?” I say: I liked Ivangoy and Pushkin the most.” But this is the middle of the 19th century! This means that even then the translators had no idea how, at least approximately, the name Ivanhoe should be pronounced, and there was no one to ask.
More or less close to the English original, Ivanhoe still came to us, but with another name it turned out worse, since it quickly became a household name and firmly entered the Russian language. I am, of course, referring to the name Lovelace. Everyone knows that this word means an unscrupulous collector of love victories. But it seems that while Samuel Richardson's novel Clarissa was captivating the reading public, not everyone realized how clever the author's play on words was: the hero's name is Lovelace, which means "love's lace." And this word perfectly conveys the character of a character who wins a woman not by force, but by skillful and subtle weaving of intrigue.
Nowadays, almost everyone will understand that this name should be pronounced as "Lovelace" or "Lovelace". Even if we take into account that in the 18th century his pronunciation may have been somewhat different from what is customary in our time, it is still quite difficult to understand what the translator was guided by when presenting the character to the reader as Lovelace - after all, even in French it should be pronounced differently. By the way, in Pushkin there is a more logical “French” tracing paper “Lovlas”. But Pushkin’s authority could not change the established pronunciation of the common noun.
Having become interested in the history of this error, I was surprised to discover that such a “talking” name actually exists in English, and when you come to the UK, you can meet a real Lovelace. But I was even more struck by the story of one of the bearers of this wonderful surname.
At birth, she received the name Augusta Ada Byron and was the only legitimate child of her famous father, for whom the title of ladies' man would have suited her. However, she did not inherit his loving character, but the seriousness of her mother, Anna Isabella Byron, who loved more than anything else... mathematics.
Soon after the birth of his daughter, Byron signed divorce papers and left England forever. The baby’s mother turned out to be a slightly more caring parent: immediately after the birth of her daughter, she gave her up to her parents and went on a “health cruise,” apparently to heal the emotional wounds left by an unhappy marriage. The recovery dragged on for several years, and upon returning, Anna Isabella discovered that the girl was already quite ready to perceive mathematics.
Ada grew up in contact with the best minds of the time, one of whom was Charles Babbage, the creator of the digital “analytical” engine. The operating principle of this prototype of a modern computer captivated the girl. Despite the large age difference, they became good friends, and their intellectual cooperation continued throughout Ada's short life.
Ada's personal life was successful: she married Lord King, who later inherited the title of Earl of Lovelace. This is how Ada Lovelace appeared, who went down in the history of computer technology.
As a mother of three children, Ada continued to intensively improve her math skills. At working together with Babbage on comments to one article, Ada introduced the concept of work cells and cycles, far ahead of her time and immortalizing her name.
The disease took Ada at the thirty-seventh year of her life - at the same age at which her father died.
August 10 - Ada's birthday - is considered Programmer's Day, and one of the programming languages is called "Ada".
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 19th century 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 wear speaking names. 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 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. The artistic type condenses perception and is therefore truer than 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 of mythical creatures, deities), etc. All these types of proper names are studied by onomastics (from the Greek onomastike - the art of giving proper names) , section 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, then 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 Fonvizin’s telling names, 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 Griboedov’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 Griboedov 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 of “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 speaking names received further development, became even more significant and began to acquire a parody 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 a “wild man”, simply a “savage”.
Ostrovsky's surname may indicate a person's appearance: 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 on 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 the unusual name of the main character of the novel “Crime and Punishment”: it creates the impression of a rumbling sound (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. So, sometimes he puts next to each other surnames formed from words that are very distant from each other 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 reigned by the same Kuvaldins, Khryukins and Ochumelovs (synonyms: to become stupefied, to lose reason; 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 nature 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. Griboedov. - M., “ Fiction", 1988, p. 680. Grigoriev and morality. - M., “Contemporary”, 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.
Malkhazov’s literature of the 19th century, part 1. - M., “Mark”, 1993, pp. 10-11. , Suslova Russian surnames. - M., “Science”, 1984, p.69, 130, 131.
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RESEARCH WORK
Speaking surnames in Russian
literature of the 18th-19th centuries
Completed:
9th grade student "B"
Svashenkova Yuliana
Head: Velichko E.N.
Yelets-2015
Introduction…………………………………………………………………….…….., page 3
Speaking surnames and their role in the stylistic image
work of art……………………………..page 4
Speaking names in the works of D.I. Fonvizina………………page 5
Speaking names in the works of N.V. Gogol…………………...page 7
Speaking names in the works of A.N. Ostrovsky…………….page 8
Speaking names in the works of A.P. Chekhov………………….page 10
Conclusion………………………………………………………page 11
Literary sources…………………………………………………….page 12
INTRODUCTION
The topic of my research work is “Speaking surnames in Russian literature of the 18th-19th centuries”
GOAL - to consider the use of speaking surnames in the works of Russian writers of the 18th-19th centuries, learn to work with additional literature, collect illustrative material, and create your own work.
RELEVANCE and RATIONALE FOR THE CHOICE OF THE TOPIC:: in literature lessons in grades 8-9, starting with classicism, we often come across heroes with “speaking names.” The choice of this topic is due to my great personal interest in speaking names in Russian literature.
If we are dealing with a work of art in which all the characters are generated by the author’s imagination, then it seems obvious that the author apparently has sufficient freedom when choosing one or another name or surname for his characters. However, any writer carefully considers what names he can and should include in the text of his work, especially the names of the characters.
CONTINUOUS QUESTION:
How, through “telling names,” authors in their works express a subjective attitude towards the character being created, the characters portrayed, personality types, and finally, how heroes with “telling names” help the author to reveal the ideological intent of his work. Consider this problem I will use the example of the works of D.I. Fonvizin, N.V. Gogol, A.N. Ostrovsky.
PRACTICAL SIGNIFICANCE: Form the information obtained as a result of the work done in the form of a report and presentation and present it at a scientific and practical conference.
- Speaking surnames and their role in the stylistic image of a work of art
So, what is a “talking” surname? In “Dictionary of the Russian Language” edited by A.P. Evgenieva, the word “speak” has the meaning “to serve as evidence, confirmation,” and the word “surname” is the name of a person added to the personal name.
Consequently, the “speaking” surname is the surname given to the character by the author, serving as confirmation of positive or negative qualities acting person.
Proper names and nicknames occupy an important place in the lexical composition of the language. The system for choosing names in a literary text depends on literary direction, genre, theme of the work, structure of images, creative originality artist. In this system, all elements are subordinated to one goal - the most successful expression of the artistic content of the work."
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 stigmatize negative images, 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.
Thus, in a work of art, proper names perform not only an identification function: being associated with the theme of the work, genre, general composition and the nature of the images, they carry a certain stylistic load and have a stylistic coloring.
In Russian literature, proper names first became the object of special attention in artistic practice classicists.
II. Speaking surnames in the works of Russian writers
2.1 Speaking names in the works of D.I. Fonvizina
As was customary in classicism, the heroes of the comedy DI. Fonvizina “Undergrowth” are clearly divided into negative and positive. However, the most memorable and striking are the negative characters, despite their despotism and ignorance: Mrs. Prostakova, her brother Taras Skotinin and Mitrofan himself.
Let us describe in more detail each of the negative characters:
The name Mitrofan (literally translated from Greek language means “revealing his mother”, i.e. similar to his mother), a very interesting transformation took place in him thanks to Fonvizin’s comedy. For more than two centuries, a previously lexically neutral proper name has been considered almost a curse, and in any case, in Russia it is customary to call lazy people, half-educated people and ignoramuses Mitrofanami. Here are his catchphrases in the work:Eremeevne - “old Khrychovka”; to uncle - “Get out, uncle; get lost"; “Garrison rat” - to teacher Tsyfirkin. “I don’t want to study, I want to get married.” “To hell with everything!”
Another sharply negative character, the owner of a bestial surname, narcissistic and cruel is Taras Skotinin. My only passion is pigs and everything connected with them. His famous phrases “I haven’t read anything since I was born... God saved me from this boredom”, “I love pigs”, “If I were a pig’s son” give the image a certain semblance of an animal. Mrs. Prostakova matches her brother; let us remember that she received this surname when she got married, and her maiden name was Skotinina, and she is more suitable for the heroine. And her speech, and actions, and attitude towards serfs are similar to her surname. Pravdin calls Mrs. Prostakova “a depraved woman whose hellish disposition makes the whole house miserable.”
The names of the “positive heroes” are no coincidence: Eremeevna – exalted by God, quiet, patient, submissive. Pravdin - from the word “truth”, acting in accordance with his conscience. Starodum is a wise man who thinks in the old way, brought up in the spirit of Peter’s time. Sophia - from the word “wisdom”, the smart, well-mannered niece of Starodum.
Thus, all the characters with telling names in D.I. Fonvizin’s comedy are interesting and ambiguous. With negative heroes "speaking names"connected by comic situations, full of humor, bright liveliness of dialogues. Positive characters do not evoke such vivid emotions, although they are sounding boards that reflect the author’s position.
2.2 Speaking names in the works of N.V. Gogol
N.V. was also a master at naming his heroes meaningful names. Gogol. 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, it is described in the book “Modern Russian Surnames”: “Draft (according to Dahl) in the figurative meaning of “cunning rogue”, “experienced rogue”, in the literal meaning - “draft”, “through wind”. Dmukhati means “to blow” in Ukrainian. A double surname as an example of a high-born nobleman in this case turns out to be a double hint of fraudulent fraud.”
Continuing the formation of the names of literary characters with the help of foreign word-formation 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.”
Summing up, we can state that in the works of N.V. Gogol’s speaking names received further development, became even more significant, and began to acquire a parodic sound.
2.3 Speaking names in the works of A.N. Ostrovsky
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 of the use of this literary device in Ostrovsky’s comedy “Our People – Let’s Be Numbered!”
At the center of the “material”, monetary intrigue are Bolshov and Podkhalyuzin, as well as their tool, the drunken lawyer Rispozhensky.
The list of characters says briefly about Samson Silych Bolshov: “merchant. Bolshov is characterized primarily socially and professionally, then his place in family world. His full name is no less significant: Bolshov is the head and owner (“himself”, “big” - so in folk speech denoted the head and owner of the house), the biblical name Samson- the name of a biblical hero who was famous for his strength, reinforced by the patronymic, still additionally emphasizes a certain largeness: Samson Silych is the strongman Samson - and, as it were, predicts defeat from the treachery of loved ones. Bolshov's position in the character system, as initially stated, does not remain unchanged, however. He represents the world of patriarchal Zamoskvorechye in its simplest, roughest form, not the ideals of the patriarchal merchants, but its everyday everyday practice.
Elizarych Podkhalyuzin
The image of Lazar Elizarych Podkhalyuzin can be explained quite clearly. The name Lazarus is associated with the expression: “To sing Lazarus.” Ozhegov defines this phrase as common, disapproving and gives it the following interpretation: “Complain, trying to pity someone.” I remember the scene when Podkhalyuzin tries to pity Bolshoi so that he marries his daughter Lipochka to him, dreaming of receiving a dowry and inheritance. As for his last name, Vladimir Dal gives it a fairly clear definition: “Podkhalyuza is a crawler, a clever rogue; a crafty, secretive and flattering person.” This description fully corresponds to the behavior of the owner of such a name.
Rispozhensky Sysoy Psoich The characteristic seminary surname speaks of origin from a clergy, however, it is distorted: it is written not according to its meaning, but according to its pronunciation; direct communication has been lost. At the same time, the surname hints at the well-known: to get drunk “to the point of a vestment,” which this character fully justifies, since his irresistible craving for a bottle is played out many times in the play: “I, Samson Silych, will drink vodka!”
Generally speaking, one of Ostrovsky’s methods of forming speaking surnames is a figurative meaning, the creation of surnames from popular words. Ostrovsky’s surname can also indicate a person’s appearance: Puzatov, Wartkin, Pleshakov, Bolshov. Almost a third of all surnames in the playwright’s works are of dialect origin: Velikatov (“Talents and Admirers”) Ostrovsky’s plays are rich funny names: Razlyulyaev (“Poverty is not a vice”), Nedonoskov and Nedorostkov (“Jokers”). But in general, A.N. Ostrovsky's speaking names are so precise and significant that it is time to talk about the playwright's virtuoso, phenomenal mastery of this technique.
2.4 Speaking names in the works of A.P. Chekhov
Speaking surnames in the story “Chameleon” are used as a means of characterizing the characters, chosen to create a comic effect. The characters in the story are very different people, representing the people, the “street”, the people of the crowd. Since in the small space of the story the author is limited in the ability to give detailed characteristics to the characters, the first and last names acquire special weight: they immediately and completely represent those in question. Let us list the “full” names as they are given in the text.
“Police warden Ochumelov in a new overcoat and with a bundle in his hand” - this is his full “name”, which creates a comic effect, because without an overcoat (a symbol of power) he is impossible, as well as without a “bundle in his hand” (a symbol of his greed ).
“Yeldyrin is a red-haired policeman with a sieve filled to the brim with confiscated gooseberries,” he “walks,” therefore, tall. Both Ochumelov and Eldyrin are referred to only by their last names, which characterizes them as purely official persons and in itself already indicates the author’s detachment from these characters.
“Goldsmith master Khryukin” is an absurd person with absurd claims (“goldsmith master” can have such a surname, of course, only in a satirical work).
General Zhigalov is an off-stage character, the word “general” seems to be part of his name, and General Zhigalov does not have a first and patronymic: they are impossible in the eyes of those who are below him on the steps of the social and career ladder.
Vladimir Ivanovich Zhigalov is the brother of General Zhigalov; as a person with a high social position, he was given the privilege of having a first name and patronymic.
Other characters: Prokhor - the general's cook, people from the crowd and - "a white greyhound puppy with a sharp muzzle and a yellow spot on his back, in his teary eyes there is an expression of melancholy and horror."
Thus, A.P. Chekhov's technique of speaking surnames is a means of characterizing the hero.
Conclusion
Thus, The expressive use of proper names is characteristic of many writers.Speaking names in Russian literature of the mid-18th and 19th centuries, as it turned out, go through a number of stages in their formation and development. Naive, almost one-dimensional names are replaced by more psychologically complex ones. Proper names play significant role when creating a literary and artistic text. They are integral components of the writer’s style and language and are closely related to the theme of the work, the ideological views of the author, the depicted time and space, and the essence of the created images.
References
1. Azarova N.M. Text. A manual on Russian literature of the 19th century, part 1. - M.: Prometheus, 1995.
2. Vvedenskaya L. A., Kolesnikov N. P... From proper names to common nouns. M.: Education, 1989.
3.Vinogradov V.V. Stylistics. Theory of poetic speech. Poetics. – M: Nauka, 1993.
4. Griboyedov A.S. Works.- M., “Fiction”, 1988.
5.Gogol N.V. Dead Souls. – M.: Detizdat, 1988.
6.Morozova M.N. Proper names in the fables of I.A. Krylov. – In the book: “Poetics and stylistics of Russian literature.” – L., Nauka, 1971.
7. Monakhova O.P., Malkhazova M.V. Russian literature of the 19th century, part 1. - M., Mark, 1993.
8. Nikonov V.A. Character names. – In the book: “Poetics and stylistics of Russian literature.” – L., Nauka, 1981.
9. Ostrovsky A.N. Storm. – M.: Detizdat, 1980.
10. Superanskaya A.V., Suslova A.V. Modern Russian surnames. - M., Nauka, 1984.
11. Fedosyuk Yu. Russian surnames. Popular etymological dictionary. M.: Det. Lit., 1981
12. Chekhov A.P. Selected works in two volumes. Volume 1. – M.: Fiction, 1986.
What do the “talking” names say? What is the connection between the Khomutovs and the Hamiltons? Where are Ivanovia and Popovia? And what to answer the question: “Whose will you be?”
The family name remained in the village
Once, Emperor Alexander I, not hearing the last name of one of the people being introduced to him at a reception, asked again: “Let me ask, what is your last name?” According to legend, the merchant replied that “the family name remained in the village, but if the sovereign wishes, the person being asked is ready to immediately send for it.” The fact is that the word ‘surname’ was then used only in its “primordial” meaning - “family”.
At first, this was how they joked about the “lagging behind” nobles, and then about the merchants, who were just beginning to get used to their new position in society. But in every joke, as we know, there is some truth! The vast majority of Russian surnames come from fatherland (patronymic), or rather dedicism (patronymic grandfather), assigned to the third generation. What is not a “surname”, what is not a family?
What does the “speaking” surname mean?
Several centuries ago the most popular names were... Malina and Kalina: the prevalence of the surnames Malinin and Kalinin reminds us of this today. But how can this be explained? Why exactly these berries, and not cranberries or, say, gooseberries?
In the old days, gooseberries were called the word "bersen", and the name "gooseberry" came from Polish-Belarusian dialects. And that’s not the only thing! All attention is paid to the chronicles: they show that in the old days there was a male name Malina. A charter from 1498 mentions a Novgorod peasant, Malina. And the “related” and even more common surname Kalinin owes its popularity to the canonical church name Kallinikos, which translated from ancient Greek means “good conqueror.”
Or here’s another thing: you met a person whose last name seems simple to the extreme: Khomutov. And, if you are asked to express thoughts about the origin of this surname, you will probably shrug your shoulders dismissively. Everyone knows old word"collar": the main part of a horse's harness, placed around the horse's neck so that shafts or lines can be attached to it.
As if everything is correct, but in our country you will meet many Khomutov citizens, whose surname and the venerable old Khomutov have absolutely nothing in common. Their surname comes from another surname, and not even Russian, but English - from noble family Hamilton.
By historical legend, in the middle of the 16th century, a representative of the noble Scottish family of Hamilton, Thomas Hamilton, left England for Russia with his son Peter. The descendants of this Peter Hamilton gradually turned into the boyars of the Hamiltons, Gamantovs, Khomentovs and, finally, the Khomutovs!
From Moscow to the very...
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 of 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.
Kublik, Kulka, Vernigora, Mytnik, Shumay, Galda, Finko, Loboda, Konovalenko, Zyuba, Sachko, Artyukh and some others - these were the names of the first settlers. Actually, peasants and Cossacks did not have surnames then; they had nicknames based on their occupation, character, and appearance. It was only after nicknames became surnames.
What are they talking about? Let's think about it.
Kulka- everything with them is like in a bag of rye compressed like a sickle: tightly, firmly, reliably. Or, perhaps, from the word “kul”, which means a small bag made of matting, to put in a sack; in a sack means to put supplies for the road. There is even a saying - from bag to bag - about unsuccessful attempt fix something that has led to the worse.
Kublik- probably a very friendly family, a real “kublo” - all one for one.
Vernigora- return, they say, behind the mountain, to the lowland, there is no point in being located on the mountain, or maybe there was a nickname for Mountain, and they addressed him like this: they say, turn, return, Mountain. They settled downstairs, right next to the pond.
Zyuba- most likely, from the word “tooth” with a softened (z’), that is, toothy, smart, knowing his worth.
Mytnik- from the word “myt”, which means “tax”, the Gospel speaks of publicans, tax collectors. In Ukraine, even today, customs is called mytnya.
The second meaning of the word “Mytnik” is a genus of plants of the Norichnikov family, which is still widespread on all continents; in Russia it grows in swamps and along the banks of reservoirs. The flowers are irregular, pink-violet, purple, yellow, white, all its parts are poisonous, although it is beautiful in appearance, some types of mytnik are bred as decorative ones. Mytnik is still growing in Ukraine and here, in Nikolaevka. It is now impossible to establish what meaning this surname came with.
Konovalenko- from Ukrainian word“farmer”, that is, a horse doctor.
Shumay- there is a lot of noise, at first glance. Let's turn to another source. After the defeat and enslavement of the Serbs by the Turks, many Serbian refugees, starting from the 15th century, found salvation in Russia. Isn’t the basis of the surname connected with the Serbian word “shuma” - “forest”, and “shumai” - “forest”? The inhabitant of the wooded area of central Serbia was called Shumak. Isn't this where the name Shumay comes from?
Finko- Ukrainian surname in -ko from the form “Finai” from the church name “Feoniy” or “Finod”.
Galda- from the word “to chatter”, that is, to talk loudly, to bother with your conversations.
Volkov- from old Russian name“Wolf” (the ancient Slavs had such a name, like the name “Beetle”),
Loboda- this is how “quinoa” sounds in Ukrainian, that is, by meaning it is a herbaceous or shrubby plant that clogs crops. But quinoa, by the way, is eaten as a salad.
Rope- one of the common surnames, formed by the name of the tool. But does she belong to the first settlers? Rope - clean Russian word, in Ukrainian it sounds “matuzok”, so maybe people with that last name came later.
Shinkar means “owner of a tavern,” that is, a tavern. Perhaps the first inhabitants came with it, or it arose here as a designation of human activity, occupation.
Chumak- a trader who was engaged in plague trade - he transported bread, flax, lard to the south on oxen or horses, and from there - fish, salt
.Miroshnik- flour grinder, miller.
Koval- master of shoeing a horse, blacksmith.
Zarudny- from the Ukrainian “rudy”, which means red, even fiery red. Perhaps the prefix was formed from the preposition: go get some ore.
Artyukh- belongs to one of the varieties Slavic surnames, formed from folk forms peasant names, goes back to the name “Artemy”, which means “healthy, unharmed.” The name was popular and had many forms: Ortemko grandfather (1495, Bronnitsy peasant), Artyukh Parfeev (1500, Suzdal landowner), Artuy Ivankov (1564, Novgorod peasant). One of the ancient names stuck as a surname.
Sachko- double meaning: - from the word “net” - to evade work, to be cunning; and like a net for catching birds, it means dexterity and savvy.
Gutter- a purely Ukrainian word, in Russian it has the form “gutter” - a device through which water flows, or from the Ukrainian word “zhlob” - greedy, stingy.
Colgan- either from the word “restlessness” (tights in Ukrainian), or this is the name of the steppe grass. Somewhat later, the Yatsenkov farmstead was formed, the predominant surname was Yatsenko, however, i.e. Ukrainian origin, but the meaning is not clear. Then in x. Kulkin (Nikolaevka) and surnames appeared in Yatsenkovo
Davydovs(from the name David or Davyd), Zinchenko (from male name Zinovy), Goncharenko (potter - master who makes pottery, ceramics), Syrovatsky (settlers from Syrovatsky village, comes from the adjective “damp”, Syrovatsky village is located near Nikolaevka, in a lowland, in a damp place), Kharchenko (grub - products).
There is information that there was a surname Bigwig, this word denotes a person who powerfully manages and manages all affairs. Then, in all likelihood, the saying “De yarochok, there is a little farm” appeared, since the Cherkassy settled in ravines.
Currently, some of the most common surnames are Artyukh, Zarudny, Zyuba, Yatsenko.
Last name disappears Share. It probably came about as follows. When there was not enough space in two beams, they settled in others: this is how Grushovka, Krai, Raek, and Dolin Les arose. The last ravine (Dolin Les) was not inhabited for a long time, since although it is located at the bottom, the area is swampy.
But some family had to go there. They were probably told: “Go, line up, it’s your lot to live there.” Here we go: Dolin Les. There was a small beam forest, just like in Parnoy. The place is very beautiful, there are hazel thickets all around, viburnum bushes flaunt, numerous springs spring up, giving rise to a tributary of the Krasnaya River (in the ancient Russian language the word “red” meant “beautiful”).