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, the problem of speaking surnames in the books of German and French authors, in principle, did not exist - 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 him. However, she did not inherit his loving character, but the seriousness of her mother, Anna Isabella Byron, who loved ... mathematics more than anything else in the world.
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, Ada continued to intensively improve her mathematical abilities. 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.”
Why do we need telling names in “Woe from Wit?” Why, in fact, are they called speakers? What role do they play in the work? To answer these questions, you will have to plunge into the history of literature.
A few words about the stylistic role of speaking surnames
When reading some books, the question sometimes arises: “If the work is a work of art, invented by the author, does that mean the names in it are also invented?”
Of course it is. However, masters of the pen have always keenly felt how important names and characteristics are for the development of the plot.
On the one hand, they serve as a means of some typification, denoting the character’s belonging to a certain community or his essence.
On the other hand, this allows you to understand the author’s attitude towards his hero from the first pages and create your own initial impression. Indeed, it is unlikely that it would occur to anyone that someone with the surname Khryumina or, say, Skalozub could be positive.
Griboedov is not the first to come up with telling surnames. There are many of them in “Woe from Wit,” but the fact is that almost all writers successfully used this literary device. For Gogol it is Lyapkin-Tyapkin (judge), for Chekhov it is non-commissioned officer Prishibeev, for Fonvizin it is Vralman.
Three types of surnames and images of the comedy “Woe from Wit”
You can make assumptions about the character and image of some of Griboyedov’s characters immediately after reading the list of characters. Who do they say “shows his teeth”? What kind of person could a person named Tugoukhovsky be?
After reading the play, it becomes clear that the speaking names in “Woe from Wit” do not belong to any one category. They are very different.
- Some surnames will directly inform about a specific trait of a person. Obvious representatives of this group are Molchalin and Tugoukhovsky. If today, as in the time of Griboyedov, a second language secular society If it were French, then many would have noticed the obvious without prompting: the names Repetilov and Famusov belong to the same group. However, more on this later.
- The meaning of the surnames “Woe from Wit” in the second group is not so obvious. To understand the role of such people, knowledge of Russian history and literature and the ability to make associations are necessary.
- The third group contains surnames that clearly express an assessment.
Using such techniques, Griboyedov was able to paint an objective picture of his contemporary society, to which people of different classes, characters, and beliefs belong.
Why does Griboyedov use telling surnames?
Surnames that give an evaluative description of characters have long been used in Russian literature.
“Woe from Wit” is a long-standing tradition. However, unlike the works of, for example, Fonvizin, such surnames in “Woe from Wit” are not straightforward. They don’t just indicate a personality or character trait, but make you think. To understand what the name Famusov means, you need to know languages. After all, it comes from the Latin word “rumour”, in our opinion - gossip. And if you consider the English roots, it becomes clear that famous is famous. Known gossip in town? Here is the association, here is the literary image.
The same applies to Repetilov. His surname comes from French word"repeat". What does Repetilov do in the play?
If the author noted problems with speaking for these characters, then others clearly have difficulties with listening. Tugoukhovsky always carries a pipe. Does he not want or cannot hear? But his family has the same last name. So much for the problems of communication in society. This is exactly what Griboyedov wrote about in the play.
There are characters in the work with surnames that are simpler and more understandable to the Russian ear. These are Khlestova, Khryumina, Zagoretsky, Skalozub. They carry an assessment of the characters. Although, if you look from the point of view of communication, baring your teeth and whipping (literally and figuratively) is also not very useful.
Associated surname
It is quite difficult to understand what the surname Chatsky means; for this you need to have a broad outlook. Griboyedov put several meanings into the word.
First of all, this is an analogy with the proper name Chaadaev. Last name famous poet often pronounced with one "a". In the drafts, the author even first called his hero “Chadian.” Probably everyone knows what Chaadaev is famous for. Nevertheless, let us pay a little attention to this issue.
Translated from Andrei Andreevich it means “courageous”, and the name means “brave”.
The root “chad” is translated as “dispelling illusions.”
The ending of the surname indicates belonging to a noble family.
This is how a courageous and brave nobleman is formed from details and associations, looking at life sensibly, dispelling the illusions existing in society. He is not afraid to build a new society. He feels cramped among the Molchalins, Tugoukhovskys and Skalozubs. So the surname not only helps to indicate the character of the hero, but also determines the role of Chatsky in the artistic logic and ideological content of the comedy.
The meaning of surnames for understanding the work
So why did Griboyedov use telling surnames in “Woe from Wit”? With their help, he not only emphasized the positive and negative qualities characters, but created a whole system of images, typified and individualized each of its links. As a result, these surnames served as the key to understanding the entire comedy. After all, she talks about how representatives of different social strata, ages, characters.
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Introduction
Alexander Nikolaevich is called the founder of Russian realistic theater. It was he, according to Goncharov, who “completed the building, at the foundation of which Fonvizin, Griboedov, and Gogol laid the cornerstones.” The influence of the traditions of Russian literature served to write many of Ostrovsky's famous plays.
Each play by A.N. Ostrovsky is filled with mystery - unusual names and surnames of the characters.
This work is devoted to the study and decoding of “speaking” names and surnames in the works of A.N. Ostrovsky.
The relevance of my work is as follows. Firstly, the topic is poorly discussed in textbooks, and my peers, I think, will be interested in learning the meanings of surnames and given names in works. Secondly, this work will help them know that the author carefully considers what to name his hero. Thirdly, if we talk about the practical significance of the work, it lies in the fact that deciphering the names will help the reader understand the idea of the play.
The purpose of the work is to analyze for what purpose A.N. Ostrovsky in his plays used such a technique as “speaking” names and surnames
Setting this goal led to the following research objectives:
Consider the diversity of surnames
Classify the names and surnames of the characters in A.N.’s plays. Ostrovsky.
Decipher first and last names.
Compare the hero's first and last name with his character.
Based on the research work carried out, answer the question: for what purpose does A.N. Did Ostrovsky use “speaking” first and last names?
Historical origin of the word "surname"
Have you ever wondered what your last name or first name means? A name can determine, for example, a person’s fate, and a surname can determine his character, or vice versa. But the relationship between personal names and a person is obvious. A striking example this, plays by A.N. Ostrovsky. That is why it became very interesting for me to decipher some of the names and surnames in the works of Alexander Nikolaevich.
Before we move on to deciphering surnames in works, we need to understand what the word “surname” itself means.
The book by L. Uspensky says that in the 17th century, in Russia, a peasant was given a nickname, which was formed from a partial change in the name of the locality in which he lived or it was given according to his occupation, for example, Velikiye Lapti, Kuznetsov. During Peter's reforms, the nickname was replaced by a surname. But it was difficult for people to get used to the new foreign word, therefore, the surname began to be used most often after the abolition of serfdom, as the peasants became free, and nicknames ceased to be used so often. In modern times, the surname is translated as a “family name”, passed on by inheritance, added to the personal name.
But most importantly, in literature, the “surname” is one of the most striking means of characterizing a character. Without knowing the hero yet, the reader forms his attitude by analyzing personal data such as first and last name.
“Talking” surnames and names as an artistic device in works of Russian literature before A.N. Ostrovsky
Classicism with its strict canons is becoming a thing of the past. But if you carefully analyze the plays, you can see a striking feature of this direction - “speaking” surnames that help to understand the essence of the characters.
One of the most striking examples is Fonvizin’s comedy “The Minor.” Denis Ivanovich, according to Pushkin, is “a brave ruler of satire,” so the names in his comedy determine the main feature in the characterization of the characters. Skotinin, bestial, he puts pigs “higher than each one with a whole head.”
Mitrofan, translated from Greek, means “like a mother,” and his internal qualities are stinginess, arbitrariness, rudeness, cruelty, which, in fact, makes him like his mother.
The surnames Pravdin and Vralman unambiguously characterize their characters. The first hero stands for the truth, and for the second, lies and deception of the owners are the norm of life.
“Speaking” surnames remain in works, regardless of their direction.
In the comedy A.S. Griboedov's "Woe from Wit" Chatsky has traits that make him similar to the Decembrists: love for the common people, hatred of serfdom, a highly developed sense of self-esteem, true culture and enlightenment, unwillingness to put up with an unjust social system. Therefore, it is no coincidence that A.S. Griboyedov assigned the surname Chatsky to the representative of the “present” century, which is consonant with the surname of the philosopher, publicist and Decembrist Chaadaev.
Molchalin is the easiest surname to understand; it indicates that the hero would rather remain silent and not express his opinion, unlike Chatsky. “At my age I should not dare to have my own judgment” (D. III, Rev. 3) - such life principle Molchalina.
Famusov, one of the representatives of conservatism, panders to everyone who stands above him, this careerist bureaucrat only cares about what the world will say, it’s not for nothing that his surname means “rumor” in Latin, and famous in English.
Nikolai Vasilyevich Gogol’s comedy “The Inspector General” shows people worthy of universal ridicule. This is the careless judge Lyapkin - Tyapkin, the hypocritical Luka Lukich, the flattering Strawberry, the doctor Gibner. Regarding the last name, there are concerns about what outcome awaits his patients? With each action, more and more new character traits of the characters are revealed. According to N.V. himself Gogol, in his comedy “The Inspector General” he decided to “gather in one pile everything bad in Russia, all the injustices, and laugh at everyone at once.” It is no coincidence that the main characters of the play are laughter and irony.
Thus, D.I. Fonvizin, A.S. Griboyedov and N.V. Gogol looks at dramaturgy as a serious means of characterizing heroes, educating the reader and viewer. In order to most clearly and accurately emphasize the vices and virtues of humanity, playwrights use “speaking” names and surnames in their works.
A.N. Ostrovsky - a successor to the traditions of Russian literature
While researching the playwright’s work, I hypothesized that A.N. Ostrovsky
is a continuator of the traditions of Russian literature.
In the portraits painted by A.N. Ostrovsky, there are no schemes, no abstract personifications. Each of his images is a living, individual face. real life. Plays by A.N. Ostrovsky are devoted to depicting the morals and characters of various social groups. The truth of life, the artistic fidelity of A.N.’s images. Ostrovsky’s works were also determined by his deep knowledge of the characters he portrayed.
To fully reveal the character of the heroes, A.N. Ostrovsky used a technique that dates back to Fonvizin’s theater: he began characterizing the characters with “speaking” names and surnames. Many personal names are not invented, but taken from real life. A.N. Ostrovsky created more than fifty plays, in each of which he showed the unique character of a person. Also, first and last names can be classified according to several criteria: names of animals, lifestyles derived from dialectisms, character traits consonant with the names of scientists.
3.1 Variety of “speaking” names and surnames
The second task that I set for myself was to consider the diversity of names and surnames in the plays of A.N. Ostrovsky. There are more than 100 of them, for example, Berkutov, Pavlin Savelich, Kabanova, Zhadov, Kruchinina, Neznamov, Pogulyaev, Karandyshev, Paratov, Ogudalova, Lynyaev, Podkhalyuzin Lazar Elizarych, etc. Therefore, it was decided to systematize them. For this purpose, eleven plays by A.N. were selected. Ostrovsky. This is what came out of it.
3.2 Classification of “speaking” names and surnames
Surnames consonant with the names of animals
Surnames containing animal names show that their owners have lost their humane and human qualities if they are already compared to animals. It is no coincidence that A.N. Ostrovsky says that “humanity is abolished, that which gives life its value and meaning is abolished.” So, for example, in the play “Wolves and Sheep”. Vasily Ivanovich Berkutov, a clever, greedy landowner who was able to take away the fortune of a rich widow, which further emphasizes his resemblance to the golden eagle bird of prey.
Everyone knows the peacock bird, but not everyone knows its less common name - “royal chicken”. By definition, a peacock is a real chicken, only it is larger and its color is beautiful and unusual, unlike poultry. It was his appearance that created his fame. So the butler Pavlin Savelich wants to seem important and significant.
After the playwright's journey to the upper reaches of the Volga, in order to collect extensive material for his works, he deepened the possibilities of the important literary device. A.N. Ostrovsky learns that boar is not just a wild pig, but also a dialect word that means “block of ice.” Therefore, the surname Kabanov was not invented by A.N. Ostrovsky and fully describes the wild, rude and ferocious disposition of Marfa Ignatievna. But in the city of Kalinov, her surname turns into the nickname Kabanikha, which further reveals the bestial nature in her character. The Church Slavic words that she uses are determined by her piety and everyday experience. A boar can rudely interrupt a person’s speech: “Talk again!” She reads instructions on the river bank so that everyone knows what she teaches the children, but those around her understand that with her notations she “sharpenes” her family like rusty iron.
In the same way, N.V. Gogol compared Sobakevich, the landowner in the poem “Dead Souls,” with a medium-sized bear, emphasizing his physical strength and ugly clumsiness. To achieve the desired results, he paves his way through life with brutal force. Sobakevich considers all people to be crooks and scoundrels, that is, he judges everyone in his own likeness.
The animal nature dominates the natures of these characters. They are far from any philosophical dreams, they do not understand about high spiritual demands, for them this is a waste of time. So, A.N Ostrovsky was a continuer of Gogol’s traditions, and one of the means of creating surnames in his plays is metaphorization.
Surnames showing lifestyle
Surnames that reflect the lifestyle and behavior of the characters are interesting.
For example, the image of Zhadov (“Profitable Place”) is the image of a working intellectual who finds himself in the ranks of the bureaucracy. He felt his social disadvantage, so his life was tragic. The surname “Zhadov” means greedy, or a person who thirsts for something, and this explains his actions. He could not bear the struggle with the inert environment around him and, mourning his youthful dreams, went to his uncle to ask for a “profitable place”, where he learned that he was being put on trial for “shortfalls in amounts and various abuses” (“Profitable Place”, d.V , appearances 2 and 4). This serves as a lesson for the hero. Thus, Ostrovsky, with the help of the image of Zhadov, mercilessly exposed the vices and crimes of bureaucratic omnipotence.
Opposite to Zhadov is the image of the actress Kruchinina (“Guilty Without Guilt”). Her, former teacher, brought to the theater an inner calling to high service. The surname Kruchinina indicates a difficult life. Smart, educated, straightforward, believing that there is nobility in people, she set herself the goal of bringing goodness into life.
In the image of the artist Neznamov, the playwright brought into focus the suffering of illegitimate children. He is a man without a passport, who does not know who his loved ones are, so it is not difficult for the reader to guess that “unknown” in Dahl’s dictionary is interpreted as an unknown person.
Bodaev in the comedy “The Forest” speaks sharply, stands his ground, it’s as if he is butting heads with everyone.
From the surname Pogulyaev (“Abyss”) it is clear that the person wearing it spends his time idly.
All these names indicate the relationships of people with each other, their behavior in different situations.
Surnames formed from dialect words
There are not many surnames that were formed from dialectisms in the works of A.N. Ostrovsky. For example, Ogudalova in “Dowry”. “Ogudat” in the dialect, according to M. Vasmer’s dictionary, means “to deceive,” indeed, Ogudalova has to deceive, “show off” in order to marry off her daughters and get money.
The surname Lynyaev in the play “Wolves and Sheep” means to shirk, to move away from something. Ostrovsky’s choice of such a surname makes it clear to the reader how Mikhail Borisovich solves matters.
Paratov in “Dowry” is a man who arrives in Bryakhimov in pomp and ceremony, with cannon shots. This surname comes from the dialect word “poratiy,” which means “brave, lively.” It is these traits that are revealed when Paratov tells how he wanted to overtake the steamship "Airplane". Karandyshev, from the word “karandysh” - short, just a poor official.
In the comedy “Simplicity is Enough for Every Wise Man,” vivid images were created “ business people”, for whom “money has no smell”, and wealth becomes the only goal in life. This is how the impoverished nobleman Glumov appeared, who traditionally dreamed of receiving an inheritance, a high position, and a rich bride. His cynicism and business acumen do not contradict the way of life of the old noble bureaucracy: he himself is an ugly product of this environment.” Glumov is smart in comparison with those to whom he is forced to bend, he is not averse to mocking the stupidity and swagger of Mamaev and Kurchaev, he is able to see himself from the outside: “I am smart, angry and envious,” Glumov admits. He does not seek the truth, but simply takes advantage.
With the help of dialect words A.N. Ostrovsky gives his characters more personality.
First and last names reflecting character traits
Basically, all surnames and names indicate a clearly expressed main character trait of the hero. In this regard, the most striking surname is Podkhalyuzin (“We will be our own people”). He advises his subordinates - sellers - to shortchange customers at the first opportunity. It should be noted that the clerk's name is Lazar Elizarych. His main feature is hypocrisy and meanness. In the character’s name one can hear “sing Lazarus,” which means whining, begging, exaggerating one’s imaginary suffering and trying to evoke the pity and sympathy of others; the surname means meanness. In the image of Podkhalyuzin A.N. Ostrovsky explains that shameless, arrogant deception in the eyes of the merchants is not a vice, but a necessary condition for trade.
The surname Dikoy (“Thunderstorm”) is interesting - crazy, crazy, which fully justifies his wild disposition. The position of an “important” person in the city, in alliance with the mayor himself, makes it possible for the Wild One to dictate his rights with complete impunity. He is not used to restraining himself in communication. He is a brutal tyrant, exploiter, dictator, even his family hides from him for weeks in attics and closets, and in the market there are rows of people “to give up their own, if only he would calm down” (D. I, Rev. 3).
Tikhon and Varvara are like the fathers of the city. They do not feel any respect for the people, they only observe external “piety”.
Among the highest creations of world drama, one can recognize the image of Tikhon Kabanov - how dramatically dialectical and truthful he is. In his image A.N. Ostrovsky rose to the pinnacle of psychological realism - so deeply did he reveal the screaming contradictions of this character, in which the features of Russian forced reality were expressed. Kind, naive by nature, he is capable of sincere feeling, he truly loves Katerina and bitterly pities her. But he also inflicts painful blows on her. The farewell scene before Tikhon's departure is especially noteworthy in this sense. He is ashamed of Katerina when, following his mother’s instructions, he repeats her offensive instructions: “don’t be rude,” “do something without me.” But at the end of the tragedy, a protest awakens in Tikhon: “Mama, you ruined her! You, you, you...” If Tikhon had remained silent or again followed his mother’s moral teachings, then before us there would have been simply a weak-willed, downtrodden person, a complete nonentity. It was at this moment of shock that the fire of anger and the explosion of despair broke out.
Varvara is the direct opposite of her brother. She is not submissive to the despotic power of tyranny. She has strength, will, courage, audacity. Translated, her name means “barbarian,” which explains that she is deprived of a sense of responsibility for her actions, and her internal suffering is incomprehensible to her. “But in my opinion: do whatever you want, as long as it’s well-kept and covered” (D. II, Rev. 1) - this is Varvara’s code of life, justifying her deception.
And only in Katerina the light of conscience glows, her piety absorbs all the beauty of nature. Her name comes from the Greek word "katharios" - pure, immaculate. Radiating divine light, the heroine is far from Domostroevsky rules. Katerina passionately wanted freedom and reached out to the light. Life was dominated by the darkness of immense lawlessness. She could not resist him, overcome him. And, not submitting to him, but protesting against him with all her feelings, she leaves this life.
Katerina’s love is Boris, his name means “glorious in struggle,” but in his life he did not try to fight for anything, but on the contrary, refused to help Katerina in eliminating the new life against the prevailing traditions of the dark kingdom.
“Dowry” is one of the generally recognized creations of A.N. Ostrovsky late period. Main character, Larisa, makes me remember “The Thunderstorm”. Her tragic fate similar to the fate of Katerina. But Larisa, compared to Katerina, is a softer, lighter, more unprotected girl, her nature is more refined. Larisa - meaningful name: translated from Greek - this is a seagull. The romantic and artistic nature of the heroine flies over the world on the wings of music. She does not notice the godless sides in people and perceives the world like the heroine of a romance. But her mother’s numerous deceptions and the drama of her first love interest left an indelible imprint on Larisa’s soul. Now she shuns society.
The name Felicata (“Truth is good, but happiness is better”) is derived from the name Felicia, which means “happy,” good-natured, independent of the opinions of others. In addition to these qualities, the nanny Filitsa has an extraordinary mind and cunning ingenuity. “I’ve always been kind, but I didn’t notice something in myself before: it all seemed like there wasn’t enough of it, not to the real extent; and now it turns out that I’m smarter than everyone else in the house” (D. IV, Rev. 8) - Filitsata rejoices at the successful result of her invention.
Another interesting character dramas - Kuligin. His surname is very consonant with the great self-taught scientist, Kulibin. The hero of the play is a poetic and dreamy person, as evidenced by his first appearance with the song “Among the Flat Valley...” Kuligin, a self-taught watchmaker. He dreams of making the city of Kalinov better, but the despotism of the Dikiy does not allow his good intentions to be realized.
Also plays by A.N. Ostrovsky are filled with other signs, for example, funny names and surnames: Razlyulyaev (“Poverty is not a vice”), Malomalsky (“Don’t sit in your own sleigh”), Nedonoskov and Nedorostkov (“Jokers”), Dudkin and Shmaga (“Guilty without guilt”) "), Puzatov ("Family Life").
My hypothesis is that A.N. Ostrovsky expanded the list of “speaking” names and surnames, which was confirmed.
4. The role of “speaking” names and surnames in the work of A.N Ostrovsky
The role of “speaking” names and surnames in the work of A.N Ostrovsky is great. They give the work brightness and imagery, help reveal the essence, penetrate the depth of the author’s intention, and indicate the author’s position. Even without reading the work, with the help of “telling” names and surnames, you can guess what kind of character the character is, how he relates to people, how he perceives the world, what he is interested in. Using “speaking” names and surnames, A.N. Ostrovsky creates bright, fresh, individual images. By individualizing them, the playwright discovers the gift of the deepest penetration into their psychological world. “Speaking” surnames and names help the author to saturate the work with colorful bright colors, with their help, plays become more emotional, expressive and expressive.
A.N. Ostrovsky, through the heroes of his plays, depicted a social system in which a person’s value was determined by his wealth, high position in a society in which people of lower social strata experienced the hopelessness of their situation. That is why in his plays all the positive characters are in tragic situations.
In order to show with the greatest force the difference in characters and social status people, Ostrovsky was helped by the “talking” names and surnames of the characters in his plays.
Conclusion
So, having studied the names of some characters in individual plays by A.N. Ostrovsky, we can summarize.
The playwright was a continuer of the traditions of D.I. Fonvizin, A.S. Griboyedov and N.V. Gogol, but with the help of “speaking” names and surnames he was able to depict human vices and virtues, as well as social inequality, more vividly than his predecessors.
A.N. Ostrovsky showed something new social phenomenon characteristic of post-reform Russia: it is not the “moderation and accuracy” of the Molchalins that lead, but the caustic mind and talent of the Chatskys.
In each play, Alexander Nikolaevich revealed the essence of a person through the “speaking” names and surnames of the heroes of his plays. In working on the characters of A.N. Ostrovsky constantly improved the techniques of his psychological mastery, making the colors of his images more complex.
The peculiarity of the naming of the characters is that some of the names of A.N. Ostrovsky took it from real life.
While working on today's topic, we were convinced that A.N. Ostrovsky not only followed the traditions of Russian writers, but also expanded the possibilities of using “speaking” names and surnames, so that their decoding is necessary for a deeper understanding of the meaning of the work, and they also serve as a “key of understanding” in revealing inner world characters in the plays of A.N. Ostrovsky.
We can say that the assigned tasks and goals were achieved.
Appendix 1
Table 1
|
Classification of surnames by: |
Character's last name/name |
The meaning of the surname / name of the character in the play |
|
Peacock ("Wolves and Sheep") |
"royal chicken" |
|
|
Similar to animal names: |
Berkutov (“Wolves and Sheep”) |
Bird of prey |
|
Similar to animal names: |
Kabanova (“The Thunderstorm”) |
Wild pig, "block of ice" |
|
Lifestyle: |
Zhadov (“Profitable Place”) |
|
|
Lifestyle: |
Kruchinina (“Guilty Without Guilt”) |
Smart, good-natured |
|
Lifestyle: |
Neznamov (“Guilty Without Guilt”) |
"Neznam" - unknown person |
|
Lifestyle: |
Pogulyaev (“Abyss”) |
Idle |
|
Lifestyle: |
Bodaev (“Forest”) |
|
|
Lynyaev (“Wolves and Sheep”) |
||
|
Derived from dialect words: |
Ogudalova (“Dowry”) |
"Guess" - deceive |
|
Derived from dialect words: |
Paratov (“Dowry”) |
“Poratiy” - brave, lively |
|
Derived from dialect words: |
Karandyshev (“Dowry”) |
"Pencil" - shorty |
|
Derived from dialect words: |
Glumov (“Simplicity is enough for every wise man”) |
mock |
|
Character Traits: |
Podkhalyuzin Lazar Elizarych (“We are our own people, we will be numbered”) |
meanness, complaining |
|
Character Traits: |
Dikoy (“Thunderstorm”) |
Crazy, crazy |
|
Character Traits: |
Tikhon (“Thunderstorm”) |
Quiet, no opinion of his own |
|
Character Traits: |
Varvara (“Thunderstorm”) |
"Barbarian" |
|
Character Traits: |
Katerina (“The Thunderstorm”) |
"Katarios" - pure, immaculate |
|
Character Traits: |
Boris ("The Thunderstorm") |
"Glorious in the Fight" |
|
Character Traits: |
Larisa (“Dowryless”) |
|
|
Character Traits: |
Filitsata (“Truth is good, but happiness is better”) |
"Felicia" - happy, good-natured |
List of used literature
The art of dramaturgy A.N. Ostrovsky. Ed. 2nd, rev. And additional M., "Enlightenment", 1974.
Moscow in the life and work of A.N. Ostrovsky. Publishing house "Moskovsky Rabochiy".
Alexander Nikolaevich Ostrovsky. - 2nd ed., rev. And additional - M.: Art, 1982. - 568 p., ill., 16 p. ill., 1l. portrait - (Life in art)
Dahl's Explanatory Dictionary of the Living Great Russian Language. Publishing house "Russian language" V/O "Soveksportkniga", 1991.
A.N. Ostrovsky is a comedian. M, Publishing House Moscow. Univ., 1981, 216 p.
Russian literature. XIX century. From Krylov to Chekhov: Textbook. allowance. Comp. N.G. Mikhnovets.-St. Petersburg: "Parity", 2001. - 416 p.
Literature. Applicant's Handbook / V.E. Krasovsky, A.V. Ledenev / Under the general editorship of V.E. Krasovsky - M.: Philol. Society "WORD", LLC "Firm" Publishing House AST", 1998. - 736 p.
"Thunderstorm" by Ostrovsky. M., "Khudozh.lit.", 1975 104 p.
Uspensky Lev Vasilievich YOU AND YOUR NAME AND THE NAME OF YOUR HOUSE. Uch. - ed. l. 29.38. TP 1972 No. 524. M - 17242.
“Etymological Dictionary of the Russian Language” by M. Vasmer. 1st edition: 1964-1973; 2nd edition: 1986-1987
Ministry of Education of the Republic of Bashkortostan
Department of Education of the City District Administration of Sterlitamak
MBOU "Secondary school No. 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 surnames indicated 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 the historical life of nations.
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 that 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 as arbitrary and random, subjectively invented, and conventional signs of types and artistic images would be a blatant misunderstanding of 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.
Relying on the internal form of 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 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.
About the role and meaning of names and surnames literary heroes a lot has been written at the moment 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 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. 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 names literary characters With the help of foreign language word-forming means, Gogol introduces Doctor 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 “put him by the collar” - “to whip him.” 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 the 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 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 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 likely 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 of the last days of Stepan Trofimovich in “The Possessed” ) 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 of the 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 “The Cherry Orchard” is 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 of “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. 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.
I prove that life path a person’s choice of profession, hobby, character, marriage preferences and even the opportunity to leave a mark on history - all this is rigidly determined by a number of factors. It should be said that the factors (admittedly secondary) that determine a person’s fate include the “construction” of his surname, which tells others how to treat its owner. The surname influences career prospects, work conflicts, and even the choice of friends and life partner.
Last name with emphasis on 1 syllable - “Resolute”.
In Russian, the emphasis on the first syllable is usually on words denoting something fast and sudden (for example, wind, storm, rain, rain, thunder, lightning, and even a stone, since it can fall rapidly). Accordingly, surnames with an emphasis on the first syllable sound like “swift”, and those around them attribute decisiveness to their owners. For example, “Trotsky”, “Begichev”, “Larin” are something that “attacks” immediately, from the first step.
Most animate objects, as well as inanimate objects, which have been of primary importance to humans since ancient times, also have stress on the first syllable. These are, for example, the names of most food products. A surname with an emphasis on the first syllable is also a kind of claim to greatness. Such a surname does not allow a person to forget about his “high origins.” It’s the same as wearing a label with the inscription “I am the strongest and fastest!”, “I can be seen from afar - I am the one who does not hide!”, “I am the boss!”.
As you know, in a musical measure, the strong beats are the first and, to a lesser extent, the third beat (the second and fourth are weak). Accordingly, a surname with an emphasis on the first or third syllable sounds strong and confident. In addition, surnames with an emphasis on the first syllable are often pronounced sharply, sometimes with an intonation of hostility, and at the same time all sounds are clearly pronounced. As a result, the bearer of the surname feels that he is a dangerous opponent for the one who pronounces it.
Among those whose surname has an accent on the first syllable, there are many people with an inferiority complex due to the discrepancy between their real status and the one “declared” in their surname. It seems to them that those around them, calling them by their last name, are teasing them, reminding them that they are “nobody.” They are most offended when their last name is pronounced loudly, sharply, emphasizing the stressed syllable. If you want to please the owner of a surname “with a claim to high status,” pronounce it smoothly, “admiring every sound,” but there is no need to reduce “protruding” vowels - this is perceived as “diminution of status.”
Surname with emphasis on 2nd and 4th syllables - “Static”
Words in Russian that denote long-term processes, stationary or slowly moving objects, as a rule, are pronounced with emphasis on the second syllable. For example: water, thunderstorm (process), stream, earth, grass, flower, etc. Accordingly, surnames with an emphasis on the second syllable suggest indecisiveness and passivity of its owner. So, for example, a person named “ Trotsenko», « Semenov», « Ligovsky“appears to us as something that “attacks” only after a “test step”. By the way, this is the most common type of surname, as can be easily seen by looking through any telephone directory.
Such a surname, unlike one that has an emphasis on the first syllable, does not seem “strong”, “swift”, or defiant. It is pronounced, as a rule, softly, and if the surname is long (for example, “Kirpichnikova”), then it is unintelligible. Such surnames are usually pronounced in such a way that individual sounds “skip through” indistinctly, and from childhood you have the feeling that you are not the person on whom attention is focused. True, if you are preparing to become a scout, this will not harm you.
As for others, a person with a similar surname seems to them to be something passive and absolutely safe, so he rarely finds himself alone. The same, to an even greater extent, applies to surnames with an emphasis on the fourth syllable. True, the impression of passivity is not so pronounced if one of the syllables “sticks out strongly,” as in surnames "Bolkonsky", "Rostotsky"etc.
Surname with emphasis on 3 syllables - “Important Bird”
As already mentioned, a surname with an accent on the third syllable is, from the point of view of musicality, sounding confident and “strong”, although it is inferior to one that has an accent on the first syllable. At the same time, the owner of such a surname is credited with such qualities as prudence and caution. This is because it seems that a person with the surname " Dobrolyubov», « Balikoev" or " Kabalevsky“Attacks” the enemy not immediately, but only after he takes two “test steps.”
A surname with an emphasis on the third syllable is sometimes pronounced with a protruding lip, demonstrating disdain for the “high status” inherent in it, but your ear catches not only the enemy’s attitude towards you, but also the fact that he sees you as “important” bird."
Surname with ambiguous accent - “White Crow”
A person with an ambiguous accent in a surname feels uneasy because his status is uncertain. If such a person also has an unusual appearance or an unusual name, he feels like a “black sheep.” This forces him to either strive for solitude or spend a lot of energy on creating a stable status in society.
You may have noticed that sometimes members of the same family put different accents on their surnames. Those of them who have a developed sense of self-esteem, great ambitions, and a high position are not afraid to put emphasis on the first or third syllable (these are, as a rule, fathers of families and respectable older ladies). Those who believe that their real status is low try to “divert attention from themselves” by shifting the emphasis to the second or fourth syllable (usually young women and children). So, all the members of one family I know call themselves the Alexandrovs, and the father of the family, a doctor of sciences, and his pianist daughter call themselves the Alexandrovs, since the emphasis on the third syllable sounds like a claim to a higher status.
Surname with emphasis on the last syllable - “Shocking”
If the position of the stressed syllable in the surname indicates the strength with which you declare yourself, then the presence of the next syllable after the stressed confirms the validity of this statement.
For example, if your last name is “Gushchenkovich”, “Gushchenkovtsev” or “Gushchenkovsky”, you are perceived as a being who takes two “tentative steps”, “strikes” and then takes another “step” forward. Consequently, you are considered cautious, but still capable of inflicting swipe and take the enemy's place. If the surname ends on a stressed syllable (as in the surname “Gushchenkov”), it creates the impression of strangeness and understatement, because “Gushchenkov” for us is something that takes two “tentative steps” and then, suddenly, proudly declares to myself, although this is completely inappropriate - after all, our contact with the surname has already ended. Such a person is more likely to get a reputation as a braggart and a liar, or, at best, a lover of shock.
This is explained by the fact that after the stressed syllable symbolizing strength this person, the surname is “cut off.” The bearer of the surname feels that he has declared his strength and significance, but has not “explained” what it is. In other words, the claim to superiority in such surnames is not supported by anything. People with surnames like “Gorbunov”, “Khitretsov”, “Stachentsov”, “Kochubey” often have a desire to reinforce their status with something visual, so they do not miss the opportunity to brag. It is not for nothing that Gogol named the main character of his “The Inspector General” Khlestakov.
A similar desire, although, as a rule, to a lesser extent, is experienced by those whose surname consists not of three syllables, but of two (“Skachkov”, “Bashkin”, “Dukhnov”, etc.). Their behavior is often incomprehensible to others. For example, the aggression of people whose last name ends with a stressed syllable is expressed differently than that of those whose “aggressive” syllable is the first. The latter first “explode” and then explain the reasons for their indignation, and those whose surnames have an emphasis on the last syllable tend to shock others at the very last moment and leave them in that state.
Number of syllables - ability to complete things
We perceive the sound of a surname in the same way as the sound of a musical beat. If in the surname even number syllables, it seems harmonious and complete. A monosyllabic surname is also perceived as a single whole. Therefore, surnames consisting of three syllables suggest that their owners are not self-sufficient individuals and do not know how to bring what they start to completion.
Russian literature in surnames
The same patterns can be seen in Russian literature. Writers call active heroes by surnames with the emphasis on the first syllable, helpless ones on the second, and important, rich or wise ones on the third. As a rule, authors give surnames with an emphasis on the first syllable to heroes representing the parties to the conflict, as well as negative characters (after all, evil must be active!), and their victims usually have surnames with an emphasis on the second syllable. Judge for yourself - here are the works from the school curriculum:
In “Woe from Wit” A.S. Griboyedov's main character, Chatsky, behaves extremely offensively, as befits a person with an accent on the first syllable. His ideological opponent is Famusov - also a man with a “decisive” surname, but one that sounds more dull. The main object of Chatsky’s attacks is Molchalin, who wants to please everyone (emphasis on the second syllable), who is completely unable to make a retaliatory attack. The character who shocks others (with his rudeness) is Colonel Skalozub. The emphasis in this surname falls on the last syllable, and this syllable is the third, which symbolizes the rather high status of the colonel - it is no coincidence that Famusov wants to marry his daughter to him.
Let us also pay attention to minor characters. Gorich, Chatsky's friend, is the only one who does not believe in his madness. Gorich's internal solidarity with Chatsky is symbolized by the same emphasis on the first syllable. The author makes it clear that Famusov’s friends are quite wealthy and in position. It is not for nothing that among his guests we see people with last names starting with the first and third syllables: these are the Tugoukhovskys, the swindler Zagoretsky (people with the letter “c” in their last names are often attributed to cunning), Repetilov, as well as the ladies Khlestova and Khryumina. These women are busy criticizing everyone. Both have stress on the first syllable, which symbolizes in literature such a quality as aggressiveness.
Let's consider the works of A.S. Pushkin. The story "The Station Agent" boils down to a conflict between two people - Vyrin And Minsky, “Peasant Young Lady” - to a quarrel between landowners Berestov And Muromsky.
In the novel "Dubrovsky" the main character (second syllable) loses his estate, and then his bride, through the efforts of a rich man Troekurova(third syllable).
In the story " Captain's daughter» the negative hero is an aggressive scoundrel Shvabrin, and his victims are positive Peter Grinev and Masha Mironova. In this work there is another negative character with an emphasis on the first syllable - Zurin- a man who meets Grinev in a tavern, teaches him to play billiards, gets him drunk and wins 100 rubles from him.
In the novel "Eugene Onegin" there are three main characters: Tatiana Larina, who is the most active character (accent, respectively, on the first syllable), the evasive Onegin and the poet Lensky, who challenged Onegin to a duel. A letter of challenge to Onegin is brought by Zaretsky (there is a “cunning” sound “c” in his surname!), who has the following description in the novel: “once a brawler, a chieftain of a gambling gang, the head of a rake, a tavern tribune.”
In “Hero of Our Time” by M.Yu. Lermontov, a red thread runs through the idea of the characters’ lack of life goal. Accordingly, they all have last names starting with the second syllable. Stress on the first syllable occurs only once, in foreign name Werner, which belongs to a minor character.
"Taras Bulba" N.V. Gogol is, of course, a decisive and strong-willed hero - a patriot, a brave warrior, a father who shot his own son for betrayal. But the last name of the unlucky Andriy, by the way, was not Bulba, but Bulbenko, as well as his modest brother Ostap.
In “The Inspector General” N.V. Gogol's main character is the braggart and liar Khlestakov. The stress in the surname falls on the last syllable, and this syllable is the third (strong position). As already mentioned, surnames with an emphasis on the last syllable predispose to boasting and shocking others.
Main character " Dead souls» N.V. Gogol - adventurer Chichikov. The “shocking” character with the emphasis on the last syllable is the landowner Nozdryov.
In N. Ostrovsky's "The Thunderstorm", the unsuccessful inventor bears the surname Kuligin, the rich merchant's wife - Kabanova, and the merchant Dikoy shocks those around him with his behavior.
The most passive character in Russian literature is, without a doubt, Oblomov from novel of the same name I. Goncharova. His laziness and lack of life purpose are even more curious than those of other “second-syllables” - Onegin and Pechorin. According to the plot, Oblomov’s bride chose a man with the energetic surname Stolz over him, and Oblomov married another “second-class woman” - the widow Pshenitsyna, after which he soon died, apparently from idleness.
In the novel “Fathers and Sons” by I.S. Turgenev, all the nihilistic theories of E. Bazarov (2nd syllable) were shattered to smithereens when he fell in love with Odintsova (3rd syllable) - an intelligent, cold-blooded woman. Figuratively speaking, his surname collided with a higher-ranking surname, and was defeated.
The novel “Gentlemen Golovlevs” by M.E. Saltykova-Shchedrina describes the life of the wealthy landowner family of the Golovlevs (3rd syllable).
In N.A. Nekrasov’s poem “Who Lives Well in Rus',” folk wisdom is embodied by Grisha Dobrosklonov (third syllable).
The novel “Crime and Punishment” by F. M. Dostoevsky is dedicated to the doubts and hesitations of Raskolnikov (2nd syllable), who was never able to get used to the image of an active villain, and wisdom and prudence are embodied by Sonechka Marmeladova (3rd). The other side of the meaning of the surname on the third syllable is represented by a negative character - the wealthy Svidrigailov. Another bright one negative character is the scoundrel Luzhin.
In “War and Peace” by L.N. Tolstoy, Andrei Bolkonsky (2nd) is depicted as a person with high ambitions. Of all the characters in War and Peace, he has the most “defiant” surname (the second syllable sounds more vivid than that of other characters). Alas, these dreams do not come true, and subsequently the author completely “kills” Bolkonsky.
The rest of the novel's heroes - Bezukhov, Rostova, Kurakin, Karagina - have surnames with an accent on the second syllable, and, unlike the surname "Bolkonsky", the stressed syllable is almost invisible. The surname “Bezukhov” sounds especially smooth, which is quite consistent with the character of this character. They all “go with the flow.” None of them are suitable for the role of a leader, a person who knows how and why to live. Tolstoy clearly does not like heroic leaders, and the only characters in the novel with an emphasis on the first syllable are unattractive spouses named Berg, who, taking advantage of the war, buy things on the cheap. Only they know exactly what they need.
Apparently, from the point of view of Leo Tolstoy, the wisest character in the novel is the peasant Platon Karataev (3rd syllable), a conversation with whom in captivity by the French caused Pierre Bezukhov some kind of spiritual insight. A military man named Zherkov (a surname ending with a stressed syllable) shocks those around him with his attitude towards war as entertainment.
In “Virgin Soil Upturned” by M. Sholokhov, representatives of the Soviet government Davydov, Nagulny and Razmetnov dispossess peasants named Gaev and Borodin. The kulaks, in turn, gather at a meeting with a peasant named Ostrovnov (the rich are supported, naturally, by the peasant, with the emphasis on the third syllable). The enemy of the Soviet regime, the Polovtsians, settles with the latter and decides to start an uprising (the most decisive character!). There are no more heroes with an accent on the first syllable in the novel; all the other peasants - victims of collectivization - have surnames with an accent on the second syllable.
(To be continued)
Next time, PSI-FACTOR readers will learn about how a surname affects the opportunity to make a career in a particular field, get a high position, win elections, as well as our personal relationships - the choice of friends, spouses, and even office conflicts.
© Vladinata Petrova, 2013
© Published with the kind permission of the author