Denis Ivanovich Fonvizin was the first among Russian writers who had a special gift to see and convey everything absurd in life. I want to study, I want to get married ”and others. But it is not so easy to see that the Fonvizin jokes were born not of a cheerful disposition, but of the deepest sadness due to the imperfection of man and society.

Fonvizin entered literature as one of the successors of Kantemir and Sumarokov. He was brought up in the conviction that the nobility, to which he himself belonged, should be educated, humane, constantly care about the interests of the fatherland, and the royal power should nominate worthy nobles for the common good. high positions... But among the nobles he saw cruel ignoramuses, and at court - “nobles in case” (simply put, the Empress's lovers), who ruled the state at their own whim.

From a distant historical distance it is clear that the Fonvizin time, like any other, was neither unconditionally good nor unconditionally bad. But in the eyes of Fonvizin, evil overshadowed good. Denis Ivanovich Fonvizin was born on April 3, 1745. For a long time Fonvizin's surname was written in German style: "Von Wiesen", and sometimes even "von Wiesen" during his lifetime. Pushkin was one of the first to use the current form with the following comment: “What kind of infidel is he? He is Russian, from the Pre-Russian Russian. " The spelling "Fonvizin" was finally established only after 1917.

Rod Fonvizin German origin... Denis Ivanovich's father was a rather wealthy man, but he never aspired to great ranks and excessive wealth. He did not live at the royal court in St. Petersburg, but in Moscow. Denis's older brother Pavel in his younger years wrote not bad poetry and published them in the magazine "Useful entertainment".

Education future writer received a fairly thorough one, although later in his memoirs he described his grammar school at Moscow University in an unflattering way. Nevertheless, he noticed that he had learned European languages ​​and Latin there, "and above all ... got a taste for verbal sciences."

While still in the gymnasium, Fonvizin translated from German one hundred and eighty-three fables of the famous in his time children's writer L. Golberg, to which he then added forty-two more. He also translated a lot later - the translations are most all his writings.

In 1762, Fonvizin became a student at Moscow University, but soon left him, moved to St. Petersburg and entered the service. Around the same time, his satirical poems began to go from hand to hand. Of these, two were later printed and came down to us: the fable "The Fox-Koznodey" (preacher) and "The Epistle to my servants Shumilov, Vanka and Petrushka." Fonvizin's fable is an evil satire on court flatterers, and The Message is a wonderful work, rather unusual for its time.

Fonvizin addresses the most important philosophical question "What is this light created for?" illiterate people of that time; it is immediately clear that they will not be able to answer it. And so it happens. Honest uncle Shumilov admits that he is not ready to judge such difficult things:

I know we must be servants

And for a century we have to work with our hands and feet.

The coachman Vanka denounces the general deception and in conclusion says:

That the local light is bad, everyone understands

Nobody knows what it is for.

Lackey Petrushka is frank in his desire to live for his own pleasure:

The whole world, it seems to me, is a child's toy;

Just need to, believe me, then find out

How best, tenacious, to play with a toy.

Servants, and with them the reader, await a reasonable answer from an educated author. But he only says:

And you, my friends, heed my answer: "And I myself do not know why this light was created!"

This means that the author has nothing to oppose the opinion of the servants, although he himself does not share it. An enlightened nobleman knows about the meaning of life no more than a lackey. "The Epistle to the Servants" abruptly breaks out of the framework of the poetics of classicism, according to which it was required that some completely definite thought should be clearly proved in the work. The meaning of the Fonvizin composition is open to different interpretations.

After moving to St. Petersburg, Fonvizin began to compose comedies - a genre in which he is most famous. In 1764 he wrote poetic comedy"Korion" remade from sentimental drama French writer L. Gresse "Sydney". Around the same time, an early version of Nedorosl was written, which remained unpublished. At the end of the sixties, the comedy "Brigadier" was created and had a huge success, which played an important role in the fate of Fonvizin himself.

Hearing "Brigadier" in the author's performance (Fonvizin was a wonderful reader), the writer was noticed by Count Nikita Ivanovich Panin. He was at this time the tutor of the heir to the throne, Paul, and a senior member of the collegium (in fact, the minister of foreign affairs). As an educator, Panin developed a whole political program for his ward - in fact, a draft of the Russian constitution. Fonvizin became Panin's personal secretary. They became friends as much as possible between a noble nobleman and his subordinate.

The young writer found himself in the center of court intrigue and at the same time the most serious politics. He was directly involved in the constitutional plans of the count. Together they created a kind of "political testament" of Panin, written shortly before his death - "Discourse on the indispensable laws of the state." Most likely, Panin owns the main ideas of this work, and Fonvizin - their design. In the "Discourse", full of remarkably witty formulations, it is proved first of all that the sovereign does not have the right to rule the country at will. Without strong laws, Fonvizin believes, “the heads are engaged in one industry of means of enrichment; who can - rob, who cannot - steals. "

This is exactly the picture that Fonvizin saw in Russia at that time. But France turned out to be no better, where the writer traveled in 1777-1778 (partly for medical treatment, partly with some diplomatic missions). He expressed his bleak impressions in letters to his sister and to Field Marshal Pyotr Panin, brother of Nikita Ivanovich. Here are some excerpts from these letters, which Fonvizin even intended to publish: “Money is the first deity of this land. The corruption of morals has reached such an extent that a vile act is no longer punished with contempt ... "," I rarely meet someone in whom one of the two extremes is inconspicuous: either slavery, or the impudence of reason. "

Much in Fonvizin's letters seems to be just the grumbling of a spoiled master. But in general, the picture he painted is terrible precisely because it is correct. He saw the state of society, which after twelve years was resolved by the revolution.

During the years of his service as a secretary, Fonvizin had almost no time left to study literature. It appeared in the late seventies, when Panin was already ill and was in undeclared disgrace. Fonvizin, in 1781, finished his best work - the comedy "The Minor". Displeasure high authorities its production was delayed for several months.

In May 1782, after Panin's death, Fonvizin had to resign. In October of the same year, the premiere of "The Minor" finally took place - the greatest success in the life of the author. Some admiring spectators threw full wallets onto the stage - a sign of the highest approval in those days.

In retirement, Fonvizin devoted himself entirely to literature. He was a member of the Russian Academy, which brought together the best Russian writers. The Academy worked on the creation of a dictionary of the Russian language, Fonvizin took it upon himself to compile a dictionary of synonyms, which he, literally translating the word “synonym” from Greek, called “estates”. His "Experience of the Russian Estates" for its time was a very serious linguistic work, and not just a screen for satire on the Catherine's court and the ways of the empress's government (this is how this work is often interpreted). True, Fonvizin tried to come up with examples of his "estates" more sharply: "To cheat (to promise and not to do. - Ed.) Is the art of great boyars", "Madcap is very dangerous when in power" and the like.

"Experience" was published in literary magazine"Interlocutor of lovers of the Russian word", published at the Academy. In it, Catherine II herself published a cycle of moral-descriptive essays "There were also fables." Fonvizin placed in the magazine (without a signature) bold, even daring "Questions to the author of" Bylei and Fables ", and the Empress answered them. In the answers, irritation was contained with difficulty. True, at that moment the queen did not know the name of the author of the questions, but soon, apparently, she did.

Since then, the works of Fonvizin began to be banned one after another. In 1789, Fonvizin did not receive permission to publish the satirical magazine "Friend honest people, or Starodum ". The writer's articles already prepared for him were first published only in 1830. Twice the announced publication of his collected works was disrupted. During my lifetime I managed to print only one new work – detailed biography Panin.

All Fonvizin's hopes were in vain. Nothing of the previous political plans was realized. The state of society only got worse over time, and the forbidden writer could no longer educate it. In addition, a terrible disease fell on Fonvizin. Not at all old, even at that time, the person turned into a decrepit ruin: half of his body was paralyzed. To top it off, by the end of the writer's life, almost nothing remained of his considerable wealth.

From his youth, Fonvizin was a free-thinker. Now he became pious, but this did not save him from despair. He began to write memoirs under the title “ Sincere confession in my deeds and thoughts ”, in which he intended to repent of the sins of his youth. But about my inner life he almost does not write there, but again gets lost in satire, evilly depicting Moscow life in the early sixties of the 18th century. Fonvizin managed to finish writing the comedy "The Choice of the Governor", which was not completely preserved. The play seems rather boring, but the poet I.I.Dmitriev, who heard how the author read the comedy aloud, recalls that he was able to convey the characters in an unusually vivid way. actors... The day after this reading, December 1, 1792, Fonvizin died.

The role of Fonvizin as an artist-playwright and author of satirical essays in the development of Russian literature is enormous, as well as the fruitful influence he exerted on many Russian writers, not only in the 18th century, but also in the first half. 19th century... Not only the political progressiveness of Fonvizin's work, but also his artistic progressiveness determined that deep respect and interest in him, which Pushkin quite clearly showed.

Elements of realism emerged in Russian literature of the 1770s and 1790s simultaneously in different areas and in different ways. This was the main tendency in the development of the Russian aesthetic worldview of that time, which prepared - at the first stage - the future Pushkin stage for it. But Fonvizin did more in this direction than others, if not to talk about Radishchev, who came after him and not without dependence on his creative discoveries, because it was Fonvizin who first raised the question of realism as a principle, as a system of understanding man and society.

On the other hand, realistic moments in Fonvizin's work were most often limited to his satirical assignment. It was precisely the negative phenomena of reality that he was able to understand in a realistic sense, and this not only narrowed the scope of the themes embodied by him in the new manner he discovered, but also narrowed the very principled formulation of the question. In this respect, Fonvizin is included in the tradition of the “satirical trend,” as Belinsky called him, which is a characteristic phenomenon of the Russian Literature XVIII centuries. This trend is peculiar and almost earlier than it could be in the West, it prepared the formation of the style critical realism... By itself, it grew in the depths of Russian classicism; it was associated with the specific forms that classicism acquired in Russia; it eventually exploded the principles of classicism, but its origin from it is obvious.

Fonvizin grew up as a writer in the literary environment of Russian noble classicism of the 1760s, in the school of Sumarokov and Kheraskov. Throughout his life, his artistic thinking retained a clear imprint of the influence of this school. The rationalistic understanding of the world, characteristic of classicism, is strongly reflected in the work of Fonvizin. And for him, a person is more often not so much a concrete individual as a unit in social classification, and for him, a political dreamer, the public, the state can completely absorb the personal in the image of a person. The high pathos of social duty, subordinating in the mind of the writer the interests of the "too human" in man, and forced Fonvizin to see in his hero a scheme of civic virtues and vices; because he, like other classics, understood the state itself and the very duty to the state not historically, but mechanically, to the extent of the metaphysical limitations of the educational worldview of the 18th century in general. Hence, Fonvizin was characterized by the great advantages of the classicism of his century: both the clarity, the clarity of the analysis of man as a general social concept, and the scientific nature of this analysis at the level of scientific achievements of his time, and the social principle of assessing human actions and moral categories. But the inevitable shortcomings of classicism were also characteristic of Fonvizin: the schematism of abstract classifications of people and moral categories, the mechanistic nature of the idea of ​​a person as a conglomerate of abstractly conceivable "abilities", the mechanism and abstraction of the very idea of ​​the state as a norm of social life.

For Fonvizin, many characters are not built according to an individual law, but according to a predetermined and limited scheme of moral and social norms. We see a lawsuit - and only a lawsuit of the Counselor; Galloman Ivanushka, - and the entire composition of his role is built on one or two notes; the Brigadier's soldier, but, apart from the soldier's spirit, he has few characteristic features. This is the method of classicism - to show not living people, but individual vices or feelings, to show not everyday life, but a diagram of social relationships. Characters in comedies, in satirical sketches, Fonvizin's sketches are schematized. The very tradition of calling them "meaningful" names grows on the basis of a method that reduces the content of a character's characteristics primarily to the very trait that is enshrined in his name. The bribe-taker Vzyatkin, the fool of the Slabooms, the "khalda" Khaldin, the tomboy Sorvantsov, the truth-lover Pravdin, etc. appear. At the same time, the artist's task is not so much to depict individual people as to depict social relations, and this task could and was carried out by Fonvizin brilliantly. Social relationships, understood as applied to the ideal norm of the state, determined the content of a person only by the criteria of this norm. Subjectively, the noble character of the norm of state life, built by the Sumarokov-Panin school, also determined the trait characteristic of Russian classicism: it organically divides all people into nobles and "others." The characteristics of the nobles include signs of their abilities, moral inclinations, feelings, etc. - Pravdin or Skotinin, Milon or Prostakov, Dobrolyubov or Durykin; the same is the differentiation of their characteristics in the text of the corresponding works. On the contrary, the "others", "ignoble" are characterized primarily by their profession, class, place in the system of society - Kuteikin, Tsyfirkin, Tsezurkin, etc. The nobles for this system of thought are still people par excellence; or - for Fonvizin - on the contrary: the best people should be nobles, and the Durykins should be noblemen only by name; the rest act as carriers of the general features of their social belonging, assessed positively or negatively, depending on the attitude of this social category to the political concept of Fonvizin, or Sumarokov, Kheraskov, etc.

For a classicist writer, the very attitude to tradition, to the established roles-masks is typical literary work, to the usual and constantly repeating stylistic formulas, which represent the settled collective experience of mankind (the author's anti-individualistic attitude to the creative process is characteristic here). And Fonvizin freely operates with such ready-made formulas and masks given to him by the ready-made tradition. Dobrolyubov in "The Brigadier" repeats Sumarokov's ideal comedies in love, the Clerk's Counselor came to Fonvizin from satirical articles and comedies of the same Sumarokov, just as the Petitemistress-Counselor appeared in plays and articles before the Fonvizin comedy. Fonvizin, within the limits of his classical method, does not seek new individual themes. The world seems to him long ago dismembered, decomposed into typical features, society as a classified "mind" that predetermined assessments and frozen configurations of "abilities" and social masks. The genres themselves have been defended, prescribed by rules and demonstrated by exemplars. A satirical article, a comedy, a high-style solemn speech of commendation (in Fonvizin's "Word on Paul's Recovery"), etc. - everything is unshakable and does not require the invention of the author, his task in this direction is to inform Russian literature of the best achievements of world literature; this task of enriching Russian culture was solved all the more successfully by Fonvizin because he understood and felt specific features the very Russian culture, which refracted in its own way what came from the West.

Seeing in a person not a person, but a unit of the social or moral scheme of society, Fonvizin in his classical manner is antipsychological in an individual sense. He writes an obituary-biography of his teacher and friend Nikita Panin; this article contains a heated political thought, an upsurge of political pathos; is in it and achievement list hero, there is also a civil glorification of him; but there is no person, personality, environment in it, in the end, there is no biography. This is a "life", a diagram of an ideal life, not of a saint, of course, but of a politician, as Fonvizin understood him. Fonvizin's antipsychological manner is even more noticeable in his memoirs. They are called "Sincere confession in my deeds and thoughts", but there is almost no disclosure of inner life in these memoirs. Meanwhile, Fonvizin himself puts his memoirs in connection with Rousseau's Confessions, although he characteristically opposes his idea to the latter's. In his memoirs, Fonvizin is a brilliant everyday writer and satirist, above all; the individualistic auto-disclosure, brilliantly permitted by Rousseau's book, is alien to him. Memoirs in his hands turn into a series of moralizing sketches such as satirical letters-articles of journalism of the 1760s-1780s. At the same time, they give a picture of social life in its negative manifestations, exceptional in terms of the richness of witty details, and this is their great merit. The people of Fonvizin the classic are static. Brigadier, Counselor, Ivanushka, Ulita (in the early "Minor"), etc. - all of them are given from the very beginning and do not develop in the course of the movement of the work. In the first act of The Brigadier, in the exposition, the heroes themselves directly and unambiguously define all the features of their character schemes, and in the future we see only comic combinations and collisions of the same features, and these collisions are not reflected in the internal structure of each role. Then the verbal definition of masks is characteristic of Fonvizin. The soldier's speech of the Brigadier, the clerk's speech - the Adviser, the pettymetric speech - Ivanushki, in essence, exhausts the characterization. After the deduction of the speech characteristic, there are no other individual human traits. And they all joke: the fools and the smart, the evil and the kind joke, because the heroes of The Brigadier are still heroes of the classic comedy, and everything in it should be funny and “intricate”, and Boileau himself demanded from the author of the comedy “that he words were abundant everywhere witty "(" Poetic Art "). It was strong powerful system artistic thinking, which gave a significant aesthetic effect in its specific forms and perfectly realized not only in the "Brigadier", but also in the satirical articles of Fonvizin.

Fonvizin remains a classic in a genre that flourished in a different, pre-romantic literary and ideological environment, in fictional memoirs. He adheres to the outer canons of classicism in his comedies. They basically follow the rules of the school. Fonvizin is most often alien and interested in the plot side of the work.

In Fonvizin, in a number of works: in the early "Minor", in "The Choice of the Governor" and in "Brigadier", in the story "Calisthenes" the plot is just a frame, more or less conventional. "Brigadier", for example, is constructed as a series of comic scenes, and above all a series of declarations of love: Ivanushka and the Counselor, the Counselor and the Brigadier, the Brigadier and the Counselor, and all these couples are opposed not so much in the movement of the plot as in the plane of schematic contrast. a pair of exemplary lovers: Dobrolyubov and Sophia. There is almost no action in the comedy; "Brigadier" is very similar in terms of construction Sumarokov farces with a gallery of comic characters.

However, even the most convinced, most zealous classicist in Russian noble literature, Sumarokov, found it difficult, perhaps even impossible, not to see and depict specific features of reality at all, to remain only in the world created by reason and the laws of abstract art. To leave this world was obliged, first of all, to be dissatisfied with the real, real world. For the Russian noble classicist, the concrete individual reality of social reality, so different from the ideal norm, is evil; it invades, as a deviation from this norm, into the world of the rationalist ideal; it cannot be framed in reasonable, abstract forms. But it does exist - both Sumarokov and Fonvizin know this. Society is living an abnormal, "unreasonable" life. We have to reckon with this and fight. Positive developments in public life for both Sumarokov and Fonvizin, they are normal and reasonable. Negative ones fall out of the scheme and appear in all their tormenting individuality for the classicist. Hence, in satirical genres, even in Russian classicism, Sumarokov's desire to show concretely real features of reality is born. Thus, in Russian classicism, the reality of a specific fact of life emerged as a satirical theme, with a sign of a definite, condemning author's attitude.

Fonvizin's position on this issue is more complicated. The intensity of the political struggle pushed him to take more radical steps in relation to the perception and portrayal of reality, hostile to him, surrounding him from all sides, threatening his entire worldview. The struggle activated his vital vigilance. He raises the question of the social activity of the citizen-writer, of the impact on life, more acute than noble writers before him could have done. “At the court of the king, whose autocracy is not limited by anything ... can the truth be freely expressed? "- writes Fonvizin in the story" Calisthenes ". And now the task before him is to explain the truth. A new ideal of a fighter-writer arises, very reminiscent of the ideal of the leading figure in literature and journalism of the Western educational movement. Fonvizin is drawing closer to the bourgeois-progressive thought of the West on the basis of his liberalism, rejection of tyranny and slavery, and the struggle for his social ideal.

Why is there almost no culture of eloquence in Russia? Fonvizin asks in The Friend of Honest People and answers that this does not come from “a lack of national talent, which is capable of everything great, lower from the lack of the Russian language, which wealth and beauty are convenient for everyone expression ", but from the lack of freedom, lack of public life, non-admission of citizens to participate in political life country. Art and political activity are closely related to each other. For Fonvizin, the writer is a "guardian of the common good", "a useful adviser to the sovereign, and sometimes a savior of his fellow citizens and the fatherland."

In the early 1760s, in his youth, Fonvizin was carried away by the ideas of the bourgeois radical thinkers of France. In 1764 he remade Gresse's Sydney into Russian, not quite a comedy, but not a tragedy either, a play similar in type to the psychological dramas of 18th century bourgeois literature. in France. In 1769, the English story, Sydney and Scilly, or Benefit and Gratitude, was published, translated by Fonvizin from Arno. It - sentimental piece, virtuous, sublime, but built on the new principles of individual analysis. Fonvizin seeks rapprochement with the bourgeois French literature... The fight against reaction pushes him on the path of interest in advanced Western thought. And in his literary work Fonvizin could not only be a follower of classicism.

Khakass State University

them. N.F. Katanova

Institute of Philology (Russian Language and Literature)

ESSAY

Theme: Prose D.I. Fonvizin in the history of the Russian literary language

Completed by: Feskov K.V.

group 4b

D.I. Fonvizin in the development of Russian literature

language …………………………………………………………………………………………………… 03

Features of the language of comedies by D.I. Fonvizin for

measure of the comedy "Minor" ………………………………………. …………………… 04

The prose language of D.I. Fonvizina …………………………………………………………… 05

Conclusion ………………………………………………………………………………………………………………… 08

Bibliography ………………………………………………………………………………………………… 09

CONTRIBUTION OF D.I. FONVISINA IN THE DEVELOPMENT OF RUSSIAN

LITERARY LANGUAGE

One of the writers who played a significant role in the development of the Russian literary language at a new stage was Denis Ivanovich Fonvizin.

In the second half of the 18th century. pompous verbosity, rhetorical solemnity, metaphorical abstraction and obligatory adornment gradually gave way to brevity, simplicity, and precision.

In the language of his prose, folk colloquial vocabulary and phraseology are widely used; as building material proposals are made by various non-free and semi-free colloquial phrases and stable turns; going on so important for the subsequent development of the Russian literary language combining "simple Russian" and "Slavic" language resources.

He developed linguistic techniques for reflecting reality in its most diverse manifestations; outlined the principles of constructing linguistic structures that characterize the "image of the storyteller." Many important properties and tendencies that found their further development and were fully completed in the Pushkin reform of the Russian literary language.

Fonvizin's narrative language is not confined to the spoken sphere; in terms of its expressive resources and techniques, it is much broader, richer. Certainly focusing on colloquial, on "living use" as the basis of the narrative, Fonvizin freely uses both "book" elements, and Western European borrowings, and philosophical and scientific vocabulary and phraseology. The richness of the linguistic means used and the variety of methods for organizing them allow Fonvizin to create on a common colloquial basis different options narration.

Fonvizin was the first Russian writer who understood by describing complex relationships and strong feelings of people in a simple, but certainly more effective way than with the help of certain verbal tricks.

It is impossible not to note the merits of Fonvizin in the development of techniques for realistic depiction of complex human feelings and life conflicts.

FEATURES OF THE LANGUAGE OF COMEDY D.I. FONVISINA

ON THE EXAMPLE OF THE COMEDY "NEDOROSL"

In the comedy "The Minor" inversions are used: " slave to his vile passions"; rhetorical questions and exclamations: “ how can she teach them good behavior?"; complicated syntax: abundance clauses, common definitions, participles and participles and other characteristic means of book speech. Uses words of emotional-evaluative meaning: soulful, cordial, corrupt tyrant.

Fonvizin avoids the naturalistic extremes of a low style, which many of today's outstanding comedians could not overcome. He refuses rude, non-literary speech means... At the same time, it constantly preserves both in the vocabulary and in the syntax the features of colloquiality.

The use of techniques of realistic typification is also evidenced by the colorful speech characteristics created by attracting words and expressions used in military life; and archaic vocabulary, quotations from spiritual books; and broken Russian vocabulary.

Meanwhile, the language of Fonvizin's comedies, despite its perfection, nevertheless did not go beyond the traditions of classicism and did not represent a fundamentally new stage in the development of the Russian literary language. In the comedies of Fonvizin, a clear distinction between the language of negative and positive characters... And if in the construction of language characteristics negative characters on the traditional basis of the use of vernacular, the writer achieved great liveliness and expressiveness, then the linguistic characteristics of positive characters remained pale, cold rhetorical, divorced from the living element of the spoken language.

PROSE LANGUAGE D.I. FONVISINA

Unlike the language of comedy, the language of Fonvizin's prose represents a significant step forward in the development of the Russian literary language, further development tendencies outlined in Novikov's prose.

In "Letters from France" Folk colloquial vocabulary and phraseology is presented quite richly, especially those groups and categories that are devoid of sharp expressiveness and are more or less close to the "neutral" lexico-phraseological layer: " Since my arrival here, I have not heard my feet ...»; « We are doing pretty well»; « Wherever you go, everywhere is full».

There are also words and expressions different from the above, they are endowed with that specific expressiveness that allows them to be qualified as vernacular: “ I won’t take both of these places for nothing»; « At the entrance to the city we were mistaken by a vile stench».

Observations on folk colloquial vocabulary and phraseology in Letters from France make it possible to draw three main conclusions.

Firstly, this vocabulary and phraseology, especially in that part of it, which is closer to the "neutral" lexico-phraseological layer than to common speech, are freely and rather widely used in letters.

Secondly, the use of folk colloquial vocabulary and phraseology is distinguished by an amazing selection process for that time. Even more important and indicative is that the overwhelming majority of the common words and expressions used by Fonvizin in "Letters from France" found themselves permanent place in the literary language, and with one or another special stylistic "task", and often just along with "neutral" lexico-phraseological material, these expressions were widely used in the literature of a later time.

Thirdly, a careful selection of folk colloquial vocabulary and phraseology is closely connected with the change, transformation of the stylistic functions of this lexical and phraseological layer in the literary language.

Stylistically opposite to the folk-colloquial lexico-phraseological layer - "Slavicisms" - is distinguished by the same main features of use. Firstly, they are also used in letters, secondly, they are subjected to a rather strict selection, and thirdly, their role in the language of "Letters from France" does not completely coincide with the role that was assigned to them by the theory of three styles.

The selection manifested itself in the fact that in the Letters from France we will not find archaic, "dilapidated" "Slavisms". Slavicisms, contrary to the theory of three styles, are rather freely combined with "neutral" and colloquial elements, lose to a large extent their "high" coloring, "neutralize" and act no longer as a specific sign of a "high style", but simply as elements of a book, literary language.

Here are some examples: “ what it felt like to hear her exclamation»; « his wife is so greedy for money ...»; « writhing, disturbing the human sense of smell in an intolerable way».

Popular colloquial words and expressions are freely combined not only with "Slavisms", but also with "Europeanisms" and "metaphysical" vocabulary and phraseology: " here they applaud for everything about everything»; « In a word, although the war has not been formally declared, this announcement is expected from hour to hour.».

The features of the literary language developed in Letters from France were further developed in Fonvizin's artistic, scientific, journalistic and memoir prose. But two points still deserve attention.

First, the syntactic perfection of Fonvizin's prose should be emphasized. In Fonvizin we find not separate well-constructed phrases, but vast contexts, characterized by diversity, flexibility, harmony, logical consistency and clarity of syntactic constructions.

Secondly, in Fonvizin's fictional prose, the technique of narration on behalf of the narrator is further developed, the technique of creating linguistic structures that serve as a means of revealing an image.

OUTPUT

Analysis of various works by D.I. Fonvizin allow us to talk about, of course, important role him in the formation and improvement of the Russian literary language.

Let's point out the main points.

1. Became the successor of Novikov's traditions. He was engaged in the further development of the first-person storytelling technique.

2. Made a decisive transition from the traditions of classicism to new principles of constructing the language of prose.

3. He did a great job of introducing folk colloquial vocabulary and phraseology into the literary language. Almost all the words he used found their permanent place in the literary language.

5. He made an attempt to standardize the use of "Slavisms" in the language.

But, despite all the linguistic innovations of Fonvizin, some archaic elements still slip through in his prose and separate unbroken threads are preserved connecting him with the previous era.

1. Gorshkov A.I. "On the language of Fonvizin - prose writer" // Russian speech. - 1979. - No. 2.

2. Gorshkov A.I. "History of the Russian literary language", M .: graduate School, - 1969.

Artistic method Fonvizin. The role of Fonvizin as an artist-playwright and author of satirical essays in the development of Russian literature is enormous, similar to the fruitful influence he exerted on many Russian writers, not only in the 18th century, but also in the first half of the XIX centuries. Not only the political progressiveness of Fonvizin's work, but also his artistic progressiveness determined that deep respect and interest in him, which Pushkin quite clearly showed.

Elements of realism emerged in Russian literature of the 1770s and 1790s simultaneously in different areas and in different ways. This was the main tendency in the development of the Russian aesthetic worldview of that time, which prepared - at the first stage - the future Pushkin stage for it. But Fonvizin did in this direction more than others, if not talking about Radishchev, who came after him and not without dependence on his creative discoveries, because it was Fonvizin who first raised the question of realism as a principle, as a system of understanding man and society.

On the other hand, the realistic moments in Fonvizin's work were most often limited to his satirical assignment. It was precisely the negative phenomena of reality that he was able to understand in a realistic sense, and this not only narrowed the scope of the themes embodied by him in the new manner he discovered, but also narrowed the very principled formulation of the question. Fonvizin is included in this respect in the tradition of the “satirical trend”, as Belinsky called it, which is a characteristic phenomenon of Russian literature of the 18th century. This trend is peculiar and almost earlier than it could be in the West, it prepared the formation of the style of critical realism. By itself, it grew in the depths of Russian classicism; it was associated with the specific forms that classicism acquired in Russia; it eventually exploded the principles of classicism, but its origin from it is obvious.

Fonvizin grew up as a writer in the literary environment of Russian noble classicism of the 1760s, in the school of Sumarokov and Kheraskov. Throughout his life, his artistic thinking retained a clear imprint of the influence of this school. The rationalistic understanding of the world, characteristic of classicism, is strongly reflected in the work of Fonvizin. And for him a person is more often than not so much a concrete individual as a unit in social classification, and for him, a political dreamer, the public, the state can completely absorb the personal in the image of a person. The high pathos of social duty, subordinating in the mind of the writer the interests of the “extremely human” in man, and Fonvizin made him see in his hero a scheme of civic virtues and vices; because he, like other classics, understood the state itself and the very duty to the state not historically, but mechanically, to the extent of the metaphysical limitation of the educational worldview of the 18th century in general. Hence, Fonvizin was characterized by the great advantages of classicism of his century: clarity, clarity of the analysis of man as a general social concept, and the scientific nature of this analysis at the level of scientific achievements of his time, and the social principle of evaluating human actions and moral categories. But the inevitable shortcomings of classicism were also characteristic of Fonvizin: the schematism of abstract classifications of people and moral categories, the mechanistic nature of the idea of ​​a person as a conglomerate of abstractly conceivable "abilities", the mechanism and abstraction of the very idea of ​​the state as a norm of social life.

For Fonvizin, many characters are not built according to an individual law, but according to a predetermined and limited scheme of moral and social norms. We see a lawsuit - and only a lawsuit of the Counselor; Galloman Ivanushka, - and the entire composition of his role is built on one or two notes; the Brigadier's soldier, but, apart from the soldier's spirit, he has few characteristic features. This is the method of classicism - to show not living people, but individual vices or feelings, to show not everyday life, but a diagram of social relationships. Characters in comedies and in Fonvizin's satirical sketches are schematized. The very tradition of calling them "meaningful" names grows on the basis of a method that reduces the content of a character's characteristics primarily to the very trait that is enshrined in his name. The bribe-taker Vzyatkin, the fool of the Slaboumov, the "khalda" Khaldin, the tomboy Sorvantsov, the truth-lover Pravdin, etc. appear. At the same time, the artist's task is not so much to depict individual people as to depict social relations, and this task could and was carried out by Fonvizin brilliantly. Social relations, understood as applied to the ideal norm of the state, determined the content of a person only by the criteria of this norm. Subjectively, the noble character of the norm of state life, built by the Sumarokov-Panin school, also determined the trait characteristic of Russian classicism: it organically divides all people into nobles and "others". The characteristics of the nobles include signs of their abilities, moral inclinations, feelings, etc. - Pravdin or Skotinin, Milon or Prostakov, Dobrolyubov or Durykin; the same is the differentiation of their characteristics in the text of the corresponding works. On the contrary, the “other”, “non-noble” are characterized first of all by their profession, class, place in the system of society - Kuteikin, Tsyfirkin, Tsezurkin, etc. The nobles for this system of thought are still people par excellence; or - for Fonvizin - on the contrary: the best people should be nobles, and the Dury-kin should be noblemen only by name; the rest act as carriers of the general features of their social belonging, assessed positively or negatively based on the attitude of this social category to the political concept of Fonvizin, or Sumarokov, Kheraskov, etc.

For a classicist writer, the very attitude to tradition, to the defended roles-masks of a literary work, to the familiar and constantly repeating stylistic formulas, representing the settled collective experience of mankind, is typical (the author's anti-individualist attitude to the creative process is characteristic here). And Fonvizin freely operates with such ready-made formulas and masks given to him by the ready-made tradition. Dobrolyubov in the “Brigadier” repeats Sumarokov’s ideal comedies in love, the Clerk Counselor came to Fonvizin from satirical articles and comedies of the same “Fatal Suma”, just as the petty meter-Counselor appeared in plays and articles before the Fonvizin comedy. , does not seek new individual themes. The world seems to him long ago dismembered, decomposed into typical features, society as a classified "mind" that predetermined assessments and frozen configurations of "abilities" and social masks. The most genres were settled, prescribed by rules and demonstrated by models. Satirical article, comedy, solemn praiseworthy high-style speech (in Fonvizin's - "The word for Pavel's recovery"), etc. - everything is unshakable and does not require the invention of the author, his task in this direction is to inform Russian literature the best achievements of world literature; this task of enriching Russian culture was solved all the more successfully Fonvizin that he understood and felt the specific features of Russian culture itself, which in its own way refracted what came from the West.

Seeing in a person not a person, but a unit of the social or moral scheme of society, Fonvizin in his classical manner is antipsychological in an individual sense. He writes an obituary-biography of his teacher and friend Nikita Panin; this article contains a heated political thought, an upsurge of political pathos; there is a track record of the hero in it, there is also a civil glorification of him; but there is no person, personality, environment in it, in the end, there is no biography. This is “life”, the scheme of an ideal life, not of a saint, of course, but of a politician, as Fonvizin understood him. Fonvizin's antipsychological manner is even more noticeable in his memoirs. Οʜᴎ named “Pure heartfelt confession in my deeds and thoughts”, but there is almost no disclosure of inner life in these memoirs. Meanwhile, Fonvizin himself puts his memoirs in connection with Rousseau’s “Confession”, although he then characteristically opposes his plan to the latter’s plan. In his memoirs, Fonvizin is a brilliant everyday writer and satirist above all; the individualistic auto-disclosure, brilliantly permitted by Rousseau's book, is alien to him. Memoirs in his hands turn into a series of moralizing sketches such as satirical letters-articles of journalism of the 1760s-1780s. Οʜᴎ give at the same time a picture of social life in its negative manifestations, exceptional in terms of the richness of witty details, and this is their great merit. The people of Fonvizin the classic are static. Brigadier, Counselor, Ivanushka, Ulita (in the early "Undergrowth"), etc. - all of them are given from the very beginning and do not develop in the course of the movement of the work. In the first act of the "Brigadier", in the exposition, the heroes themselves directly and unambiguously define all the features of their character schemes, and in the future we see only comic combinations and collisions of the same features, and these collisions are not reflected in the internal structure of each role. Further, the verbal definition of masks is characteristic of Fonvizin. The soldier's speech of the Brigadier, the clerk's speech - the Adviser, the pettymetric speech - Ivanushki, in essence, exhausts the characterization. After the deduction of the speech characteristic, there are no other individual human traits. And everything they joke: they joke the fools and the smart, the evil and the kind, because the heroes of the "Brigadier" are all the same heroes of a classic comedy, and everything in it should be funny and "complicated", and Boileau himself demanded from the author of the comedy his words were everywhere abundant with witticismsʼʼ ("Poetic Art"). It was a strong, powerful system of artistic thinking, which gave a significant aesthetic effect in its specific forms and was superbly realized not only in the "Brigadier", but also in Fonvizin's satirical articles.

Fonvizin remains a classic in a genre that flourished in a different, pre-romantic literary and ideological environment, in fictional memoirs. He adheres to the outer canons of classicism in his comedies. They basically follow the rules of the school. Fonvizin is more often than all alien to and interested in the plot side of the work.

In Fonvizin's works in a number of works: in the early "Underoros", in "The Choice of the Governor" and in "The Brigadier", in the story "Calisthenes" the plot is just a frame, more or less conventional. The Brigadierʼʼ, for example, is built as a series of comic scenes, and above all a series of declarations of love: Ivanushka and the Counselor, the Counselor and the Brigadier, the Brigadier and the Counselor, and all these couples are opposed not so much in the movement of the plot͵ as in the plane schematic contrast͵ a pair of exemplary lovers: Dobrolyubov and Sophia. There is almost no action in the comedy; “The foreman” is very similar in terms of construction to Sumarokov farces with a gallery of comic characters.

At the same time, even the most convinced, most zealous classicist in Russian noble literature, Sumarokov, found it difficult, perhaps even impossible, at all not to see and not depict specific features of reality, to remain only in the world created by reason and the laws of abstract art. To leave this world was obliged, first of all, to be dissatisfied with the present, real world. For the Russian noble classicist, the concrete individual reality of social reality, so different from the ideal norm, is evil; it invades, as a deviation from this norm, into the world of the rationalist ideal; it does not have to be framed in reasonable, abstract forms. But it does exist - both Sumarokov and Fonvizin know this. Society lives an abnormal, "unreasonable" life. We have to reckon with this and fight. Positive phenomena in public life for both Sumarokov and Fonvizin are normal and reasonable. Negative ones fall out of the scheme and appear in all their tormenting individuality for the classicist. Hence, in satirical genres, even in Russian classicism, Sumarokov's desire to show concretely real features of reality is born. Τᴀᴋᴎᴍ ᴏϬᴩᴀᴈᴏᴍ, in Russian classicism the reality of a concrete fact of life arose as a satirical theme, with a sign of a definite, condemning author's attitude.

Fonvizin's position on this issue is more complicated. The intensity of the political struggle pushed him to take more radical steps in relation to the perception and portrayal of reality, hostile to him, surrounding him from all sides, threatening his entire worldview. The struggle activated his vital vigilance. He raises the question of the social activity of the citizen-writer, of the impact on life, more acute than noble writers before him could have done. ʼʼIn the court of the king, whose autocracy is not limited by anything ... can the truth be freely expressed? ʼʼ - Fonvizin writes in the story "Kalisthenes". And now the task before him is to explain the truth. A new ideal of a fighter writer is emerging, very reminiscent of the ideal of the leading figure in literature and journalism of the Western educational movement. Fonvizin is drawing closer to the bourgeois-progressive thought of the West on the basis of his liberalism, rejection of tyranny and slavery, and the struggle for his social ideal.

Why in Russia there is almost no culture of eloquence, Fonvizin asks in the “Friend of honest people” and answers that this is not the lack of national talent ĸᴏᴛᴏᴩᴏᴇ is capable of everything great, lower from the lack of the Russian language, which wealth and beauty are convenient for any expressionʼʼ , but from the lack of freedom, lack of public life, the prohibition of citizens to participate in the political life of the country. Art and political activity are closely related to each other. For Fonvizin, the writer is the “guardian of the common good”, “a useful adviser to the sovereign, and sometimes the savior of his fellow citizens and the fatherland”. In the early 1760s, in his youth, Fonvizin was carried away by the ideas of the bourgeois radical thinkers of France. In 1764, he remade Sydney Gresse into Russian, not just a comedy, but not a tragedy either, a play similar in type to the psychological dramas of bourgeois literature of the 18th century. in France. In 1769 ᴦ. was printed an English story, "Sydney and Scilly or Benefit and Thanks", translated by Fonvizin from Arno. It is a sentimental work, virtuous, sublime, but built on new principles of individual analysis. Fonvizin seeks rapprochement with bourgeois French literature. The fight against reaction pushes him on the path of interest in advanced Western thought. And in his literary work, Fonvizin could not only be a follower of classicism.

2). Kheraskov ʼʼRussia

Mikhail Matveevich Kheraskov (1733-1807). The son of a Wallachian boyar who moved to Russia at the same time as Cantemir.

Kheraskov owns a number major works, among which the heroic poem "Russia" (1779) stands out.

M. M. Kheraskov, a poet highly appreciated by his contemporaries and almost half-forgotten by his descendants, entered Russian culture first of all as the author of large-scale epic poems on national heroic themes (in XVIII century the task of creating such works was set by all European literature). In addition to such poems as "Battle of Chesmes" and "Rossiada", Kheraskov owns a significant number of lyric poems of different genres, tragedy, comedy, drama, several stories and novels. Most complete collection works of Kheraskov ("Creations" in 12 parts) was published at the end of the poet's life (1796-1803) and republished shortly after his death. Since then, Kheraskov has hardly been published.

Kheraskov worked on "Rossiyada" for 8 years. This grandiose work was the first completed example of a Russian epic poem, for which admired contemporaries hastened to declare the author a “Russian Homer”.

Best work Kheraskova - the epic poem "Russia" (1779). It was preceded by another, smaller poem ʼʼ Chesme battleʼʼ dedicated to the victory of the Russian fleet over the Turkish in 1770 ᴦ. in the Chesme Bay.

Unlike "Tilemachida", the plot of "Russia" is not mythological, but truly historical - the conquest of the Kazan kingdom by Ivan the Terrible in 1552. Kheraskov considered this event the final deliverance of Russia from Tatar yoke... The military actions against Kazan are interpreted in the poem in several ways: as the struggle of the Russian people against their oppressors, as a dispute between Christianity p. Mohammedanism and, finally, as a duel between enlightened absolutism and Eastern despotism. Ivan the Terrible appears in the poem not as an autocratic ruler of the 16th century, but as a monarch presented by the author in the spirit of the educational ideas of the 18th century. Before starting a campaign, he listens to the boyar duma and listens to different opinions about his decision. An argument flares up.
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The crafty courtier boyar Glinsky hypocritically advises the tsar not. risk your life. Kurbsky and Adashev give a decisive rebuff to Glinsky. Feeling the support of smart and honest companions, Grozny opens military: action. The rulers of Kazan appear in a completely different light. Despotically ruling the Tatars, they treat the enslaved peoples even more cruelly. “Kazan,” writes Kheraskov, “carries a sword with his hand, another — a sounding chain”.

According to the genre, "Russia" is a typical epic, heroic poem of the 18th century. The plot for it is an event of state and even national-historical significance. The poem begins with the traditional phrase: "I sing Russia free from the barbarians ..." A large place in it is occupied by the description of battles, which are depicted either as a grandiose battle, or as a single combat between two warriors. The symmetry of the composition is achieved by the non-variable transfer of the action to either the Russian or the Tatar camp, headed by the Tatar queen Sumbeka. Ivan IV and Sumbeka are surrounded by nobles, military leaders, clergymen. Angels act as assistants to Russians, while Tatars are wizards and mythological monsters.

Heroic is depicted in contrast in each of the warring camps. For Russians, it is devoid of an egoistic principle and is wholly subordinated to a common, national principle. In the Tatar camp, personal, self-serving motives are intertwined with her: the struggle for power, love rivalry (for example, three knights in love with the Persian Ramida and sent by her father to help the citizens of Kazan). Parallels with antique samples are abundantly presented in the poem. The vengeful Sumbek is sometimes compared to Medea, then to Circe, Ivan the Terrible's farewell to his wife resembles the scene of Hector's parting with Andromache. A scene of a wonderful vision that reveals the future of his fatherland to the hero has been transferred from the Aeneid. In the holy book, the Russian tsar sees a "time of trouble", and Minin with Pozharsky, and Peter I, and his successors, up to Catherine II.

And yet, despite foreign sources, we have before us a work of Russian classicism, rooted in national literature... Wednesday Russian sources "Russia" in the first place is the "Kazan chronicler". Transferred from a military tale to a poem traditional image"Death bowl". From the historical song about Ivan the Terrible, the author took the scene of the tunnel under the Kazan walls. Epics suggested the image of a fire-breathing snake, personifying the Tatar camp. Grozny and his associates resemble Prince Vladimir and his heroes. The literary glory of "Russia" was short-lived. Met with the delight of her contemporaries, she was already in early XIX v. was criticized and gradually lost its credibility with readers.

The main events are the capture of Kazan. Idyllic attitude of the tsar and the boyars (before the oprichnina). The king is the first among equals. Prince Kurbsky - the main character poems. The idea is that Orthodoxy triumphs over Mohammedanism. The fight against Turkey takes place at this time. Volume - 10,000 verses (possible in excerpts). ʼʼRossiyadaʼʼ. Epic poem.

John Vasilyevich II is attacked by the Tatar horde and the Kazan queen Sumbek. Alexander of Tverskoy descends from heaven to the young tsar resting in sleep. The king is ashamed and summons Adashev. Adashev and John go to Sergius in the Trinity Lavra to ask for blessings. Convene the elected parliament.

He talks about the brave deeds of his ancestors, asks for advice. Metropolitan Daniel blesses. Prince Kubinsky is trying to ward off. Prince Glinsky (who has power due to the tsar's childhood) advises to abstain. Prince Kurbsky exhorts not to listen to the words of the insidious nobleman. He is supported by Adashev and Khilkov. Prince Glinsky leaves the thought with anger. He does not heed the queen's prayer, he commanded the army to take the path to Kolomna. Cavalry - prince Pronsky archers - Paletsky oprichniki - tsar. Metropolitan Daniel blesses.

Tatars are frightened. Sumbeka - the widow of the last king Safgirey (fell in love with Osman - the Tavrian prince) is going to choose the high priest of her husband Seit - the enemy of Osman. The high priest foreshadows the dangers predicted by the spirits on the Kama shores (at the behest of the queen). Warns the queen about the undesirability of marrying Osman (allegedly predicted by a shadow). The Kazan prince Sagrun and the knight Astolon are trying to win Sumbeki's love. Osman loves another, is in chains. Sumbeka asks the spirits, they are silent, goes to the coffin of her husband.

Cemetery: Batu, Sartan, Mengu-Temir, Uzben, Nagai, Zanibek, etc.
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Tomb of Safgirey. The appearance of the husband in the form of smoke. He advises to marry the former Tsar of Kazan, Aln, an ally of the Russians. Sees a phenomenon foreshadowing the kingdom of Christians. He asks to burn the tombs, which the queen does.

Alei goes to learn about the fortifications of Kazan, sees Sumbeka in the forest, falls in love. Sumbek makes him king, he releases Osman. The people and nobles are advancing on Aleya. Sagrun weaves intrigues on the love of Sumbeki and Osman.

Kolomna. The fugitive Safgir says that Iskanor, the king of the Crimean and pagan hordes, is going to Russia (approaching Tula), on the advice of the teacher of the law Seit. A third of John's army under the leadership of Kurbsky defeats Iskanar. Iskanar's wife kills herself and Seit. Kurbsky asks for rewarding wars.

From Kolomna, the army is divided into two parts: Morozov - by sea, the tsar - by dry land. The old man advises to postpone the campaign, but the cry and tears of the devastated people get in the way. The king gives him a shield, which darkens the surface when the soul leaves. In the Kazan limits, it suffers a lot from heat, hunger, waterlessness and ghosts. Timid warriors are advised to return back. Warriors: "We are ready to die for faith and for you."

Dream. Dragon (misfortune in the form of Mohammed) - shield - serpent - Alei - the old hermit. The book of the future is a temple.

The heat of the sun ceases. Everyone is looking for a king. Leaves the forest with Alei. Accession of the Komois, Mordovians, etc. Sagrun advises to kill Alei so that he always remains in Kazan, and thus preserve it. Alei is running. Kettlebell is thrown into chains. Astalon saves Giray from death. Astalon argues with Osman (the intended husband is the death of Osman). Sumbeka wants to kill himself. Sagrun steals the sword of Astalon. The horse is wounded, Astalon grabs Sagrun by the hair. The horse carries both into the river, both drown. Ambassadors in peace. The citizens of Kazan agree to give three days for reflection, and they give the queen as a pledge.

Sumbeke in a dream is an angel (he founded her suicide). Orders to go with Giray and his son to Sviyazhsk. Alei and Sumbeka. The citizens of Kazan have elected Ediger as tsar, they are preparing to repel the Russians. The Persian Ramida is running. Paletsky is captured.

The Mortal Instruments - a girl with Alnorat Paletsky attacks Hydromir - Ramida's lover. Rescues Paletsky - "Heroes are not executed": wants to fight in Field Three Russian hero against three followers of Ramida. The ships are wrecked. Hydroworld defeats Mirced and Brasil for Ramida. Ramida stabs Gidomir and herself for Mirced. Kazan residents are in despair. Ramidin's father - the sorcerer Nigrin backs them up.

Nigrin on a dragon leads a cold winter from the Caucasian mountain. The banner is erected, the magical powers pass. Another peace proposal. Refusal. Victory of Russia. "I will sing from the barbarians free Russia, I will trample the power of the Tatars and vanquish pride." “But no matter how Russian Irakly fought, the Heads of the evil hydra were born again every hour”. Boreas.

The innovation of the drama of Fonvizin (Minor). - concept and types. Classification and features of the category "Innovation of Fonvizin's Drama (Ignorant)." 2017, 2018.

One of the writers who played a significant role in the development of the Russian literary language at a new stage was Denis Ivanovich Fonvizin. In the second half of the 18th century. pompous verbosity, rhetorical solemnity, metaphorical abstraction and obligatory adornment gradually gave way to brevity, simplicity, and precision.

In the language of his prose, folk colloquial vocabulary and phraseology are widely used; various non-free and semi-free colloquial phrases and stable turnovers act as a building material for proposals; a combination of “simple Russian” and “Slavic” linguistic resources, which is so important for the subsequent development of the Russian literary language, is taking place.

He developed linguistic techniques for reflecting reality in its most diverse manifestations; outlined the principles of constructing linguistic structures that characterize the “image of the storyteller.” Many important properties and tendencies were outlined and developed initially, which found their further development and were fully completed in Pushkin's reform of the Russian literary language.

Fonvizin's narrative language is not confined to the spoken sphere; in terms of its expressive resources and techniques, it is much broader, richer. Of course, focusing on the spoken language, on "living use" as the basis of the narrative, Fonvizin freely uses both "bookish" elements, and Western European borrowings, and philosophical and scientific vocabulary and phraseology. The richness of the linguistic means used and the variety of methods for organizing them allow Fonvizin to create, on a common colloquial basis, various narrative options.

Fonvizin was the first Russian writer who understood, describing complex relationships and strong feelings of people simply, but for sure, you can achieve a greater effect than with the help of certain verbal tricks. One cannot fail to note the merits of Fonvizin in the development of techniques for the realistic depiction of complex human feelings and life conflicts.

In the comedy "The Minor" inversions are used: "the slave of his vile passions"; rhetorical questions and exclamations: "how can she teach them good behavior?"; complicated syntax: an abundance of subordinate clauses, common definitions, participial and adverbial expressions and other characteristic means of book speech.

Uses words of emotional and evaluative meaning: spiritual, heartfelt, depraved tyrant. Fonvizin avoids the naturalistic extremes of a low style, which many of today's outstanding comedians could not overcome. He refuses coarse, non-literary speech means. At the same time, it constantly preserves both in the vocabulary and in the syntax the features of colloquiality. The use of techniques of realistic typification is also evidenced by the colorful speech characteristics created by attracting words and expressions used in military life; and archaic vocabulary, quotations from spiritual books; and broken Russian vocabulary.

Meanwhile, the language of Fonvizin's comedies, despite its perfection, nevertheless did not go beyond the traditions of classicism and did not represent a fundamentally new stage in the development of the Russian literary language. In the comedies of Fonvizin, a clear distinction between the language of negative and positive characters was preserved. And if in the construction of the linguistic characteristics of negative characters on the traditional basis of using vernacular the writer achieved great liveliness and expressiveness, then the linguistic characteristics of positive characters remained pale, cold rhetorical, divorced from the living element of the spoken language.

Unlike the language of comedy, the language of Fonvizin's prose represents a significant step forward in the development of the Russian literary language, here the tendencies outlined in Novikov's prose are strengthened and further developed. The famous "Letters from France" was the work that marked the decisive transition from the traditions of classicism to the new principles of constructing the language of prose in Fonvizin's work.

In "Letters from France" Folk colloquial vocabulary and phraseology is presented quite richly, especially those groups and categories that are devoid of sharp expressiveness and are more or less close to the "neutral" lexical and phraseological layer: "Since my arrival here I have I don’t hear ... ”;“ We are getting along pretty well ”; "Wherever you go, it's full everywhere."

There are also words and expressions different from the ones given above, they are endowed with that specific expressiveness that allows them to be qualified as colloquial: “I won’t take both of these places for nothing”; “At the entrance to the city, a disgusting stench knocked us down”.

Observations on folk-colloquial vocabulary and phraseology in "Letters from France" make it possible to draw three main conclusions: First, this vocabulary and phraseology, especially in that part of it, which is closer to the "neutral" lexico-phraseological layer than to vernacular are freely and widely used in letters. Secondly, the use of folk colloquial vocabulary and phraseology is distinguished by an amazing selection process for that time. Even more important and indicative is that the overwhelming majority of common words and expressions used by Fonvizin in "Letters from France" found a permanent place in the literary language, and with one or another special stylistic "task", and often just along with "neutral" Lexico-phraseological material, these expressions were widely used in the literature of a later time.Thirdly, careful selection of folk colloquial vocabulary and phraseology is closely connected with the change, transformation of the stylistic functions of this lexical-phraseological layer in the literary language.

Stylistically opposite to the folk-colloquial lexico-phraseological layer - "Slavicisms" - differs in the same main features of use. Firstly, they are also used in letters, secondly, they are subjected to a rather strict selection, and thirdly, their role in the language " Letters from France ”does not completely coincide with the role assigned to them by the theory of three styles. The selection manifested itself in the fact that in Letters from France, we will not find archaic, “dilapidated” “Slavisms”. coloring, "neutralized" and appear no longer as a specific sign of "high style", but simply as elements of the bookish, literary language. Let's give examples: "What was it like for me to hear her exclamations"; "his wife is so greedy for money ..."; "writhing, disturbing the human sense of smell in an intolerable way."

Popular colloquial words and expressions are freely combined not only with “Slavisms”, but also with “Europeanisms” and “metaphysical” vocabulary and phraseology: “here they applaud for everything about everything”; “In a word, although the war has not been formally declared, this announcement is expected from hour to hour.” The features of the literary language developed in Letters from France were further developed in Fonvizin's artistic, scientific, journalistic and memoir prose. But two points still deserve attention. First, the syntactic perfection of Fonvizin's prose should be emphasized. In Fonvizin we find not separate well-constructed phrases, but vast contexts, characterized by diversity, flexibility, harmony, logical consistency and clarity of syntactic constructions. Secondly, in Fonvizin's fictional prose, the technique of narration on behalf of the narrator is further developed, the technique of creating linguistic structures that serve as a means of revealing an image. Analysis of various works of D.I.