Positive and negative characters are undergrowth. DI

The comedy "The Minor" is rightly considered the pinnacle of Fonvizin's work and of all Russian drama of the 18th century. Maintaining a connection with the worldview of classicism, the comedy has become a deeply innovative work.
The play ridicules vices (rudeness, cruelty, stupidity, ignorance, greed), which, according to the author, require immediate correction. The problem of education - central to the ideas of the Enlightenment, is the main one in Fonvizin's comedy, which is emphasized by its name. (A minor is a young nobleman, a teenager who received a home education).
The rule of three unities is also observed in comedy. The play takes place in the estate of Mrs. Prostakova (unity of place). The unity of time seems to be present too. The unity of action presupposes the subordination of the action of the play to the author's task, in this case - the solution of the problem of true education. In the comedy, the unenlightened (Prostakova, Skotinin, Prostakov, Mitrofanushka) are opposed to the educated (Starodum, Sophia, Pravdin, Milon) characters.
This is where following the traditions of classicism ends. Where did comedy's innovation come about? For Fonvizin, in contrast to the classicists, it was important not only to pose the problem of upbringing, but also to show how circumstances (conditions) affect the formation of the character of a person. This significantly distinguishes comedy from the works of classicism. The Nedorosl laid the foundations for a realistic reflection of reality in Russian fiction... The author reproduces the atmosphere of landlord tyranny, exposes the greed and cruelty of the Prostakovs, the impunity and ignorance of the Skotinins. In his comedy about education, he raises the problem of serfdom, its corrupting influence on both the people and the nobility.

In contrast to the works of classicism, where the action developed in accordance with the solution of one problem, "The Minor" is a multi-dark work. Its main problems are closely related to each other: the problem of education - with the problems of serfdom and state power... To expose the vices, the author uses such techniques as speaking surnames, self-exposure of negative characters, subtle irony on the part of positive characters. In the mouths of positive heroes, Fonvizin puts criticism of the "depraved century", idlers, nobles and ignorant landowners. The theme of serving the fatherland, the triumph of justice is also carried through positive images.

The common sense of the surname Starodum (Fonvizin's favorite hero) emphasizes his adherence to the ideals of the old, Peter's times. Starodum's monologues are directed (in accordance with the tradition of classicism) to the education of those in power, including the empress. Thus, the scope of reality in comedy is unusually wide in comparison with strictly classic works.

The system of images of comedy is also innovative. The characters, however, are traditionally divided into positive and negative. But Fonvizin goes beyond the framework of classicism, introducing heroes from the lower class into the play. These are serfs, serfs (Eremeevna, Trishka, teachers Kuteikin and Tsyfirkin).

Fonvizin's attempt to give at least a brief prehistory of the characters, to reveal the different facets of the characters of some of them, was also new. So, the evil, cruel serf woman Prostakova in the finale becomes an unhappy mother, rejected own son... She even evokes our sympathy.

Fonvizin's innovation manifested itself in the creation of the characters' speech. It is highly individualized and serves as a means of characterizing them. Thus, formally following the rules of classicism, Fonvizin's comedy turns out to be a deeply innovative work. It was the first socio-political comedy on the Russian stage, and Fonvizin was the first playwright who presented not a character prescribed by the laws of classicism, but a living human image.

/ / / What is the role positive characters in Fonvizin's comedy "Minor"?

The comedy of Denis Fonvizin has a vivid gallery of images, both negative and positive. The role of the first in exposing the vices of society in the 18th century. Mrs. Prostakova and Skotinin personify the ignorance and cruelty of serf-owners, Mitrofanushka - laziness and unwillingness to learn. The author helps us to judge the qualities of a character, starting with their first and last names. If we read about Skotinin, then we understand that this hero behaves like an animal. Prostakova is a simple ignoramus, whose designs, though mean, are not far off. And Mitrofanushka - "revealed by his mother" - really looks like his mother, Prostakova.

The main idea of ​​comedy is in portraying far from comedic problems of society: inhuman serfdom, autocracy and malevolent upbringing. Negative characters help readers understand these problems more deeply, while positive ones show that these problems can still be dealt with.

The fact that the hero is positive can also be learned from his name. There are several such characters in the comedy: Starodum, Sophia, Pravdin, Milon. Each of them has an important role to play.

- nobleman, uncle the main character Sophia. He is the girl's guardian, but leaves for Siberia for long time, leaving her in the care of the Prostakovs. The surname Starodum comes from the phrase "old thoughts". That is, the writer hints that this hero thinks in the old way. One would think that this is bad, because you need to live in step with the times. However, the time of the action in the play was the time of the willfulness of cruel serf-owners who worried only about their estates and did not think about the development of culture. Starodum received his education and upbringing during the reign of Peter, the tsar, who was for enlightenment. And therefore, the "old" time was just more progressive than the "new". The hero cannot accept that the nobles care only about their own benefit, and have forgotten about their duty to their fatherland. Therefore, he leaves his villages and leaves for Siberia, where he can honestly earn a fortune.

- a wise girl, which is clear from the meaning of her name. She got a good education, therefore he looks at the Prostakovs with irony, seeing their ignorance and greed. The heroine is not a rebel, but fights for her love. She does not agree to marry Mitrofan or Skotinin, because she is in love with Milo.

- a nobleman, a member of the governorship, who is entitled to audit the villages. For a couple of days he stops at the Prostakovs' estate and gradually realizes that they are cruel serf-owners. He is asked to read Starodum's letter, but he replies that he does not read letters intended for others. Pravdin justifies his name, because he always speaks the truth and despises lies.

And after Prostakova behaves badly in relation to Sophia, she decides to excommunicate her family from the management of their villages. Pravdin is the embodiment of harsh justice in comedy.

Milon is a brave officer, Sophia's beloved. He is a worthy man.

Positive characters play the role of a noble force that opposes ignorance and cruelty in the guise of negative characters.

The comedy "The Minor" was recognized as the best work of the outstanding Russian playwright DI Fonvizin. In it, the writer faithfully portrayed the Russian feudal reality, exposed it, in the words of V. G. Belinsky, "as if to shame, in all the nakedness, in all the terrifying ugliness."

The cruelty and arbitrariness of the landowners declare themselves in Fonvizin's comedy "at the top of his voice." Serf owners like Prostakova and Skotinin commit their iniquities in complete confidence in their own righteousness. The local nobility completely forgot about honor, conscience, civic duty... Landowners with stupid disdain for culture and education, interpret laws based only on their own benefit, at their own discretion and understanding. And it is simply not given to the ignorant, illiterate serf-owners to understand these laws: for example, in the Decree on the freedom of the nobility, Prostakov sees only confirmation of the nobleman's right to whip his servant "whenever he wants." Only "injustice" grieves her in relation to her peasants. “Since we have taken away everything that the peasants had, we cannot rip anything off. Such a disaster! " - Prostakova complains to his brother.

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

Everybody's speech actors in "Nedoroslya" it differs both in lexical composition and intonation. Creating your heroes, giving them bright language peculiarities, Fonvizin makes extensive use of all the wealth of the living folk speech... He introduces numerous folk proverbs and sayings, widely uses common and swear words and expressions.

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

All of the above features of Prostakova are clearly illustrated by her speech - rude and spiteful, saturated with swear words, swearing and threats, emphasizing the despotism and ignorance of the landowner, her soulless attitude to the peasants, whom she does not regard as people from whom she strips off "three skins" and at the same time is indignant and reproaches them. "Five rubles a year and five slaps a day" receives from her Eremeevna, a faithful and devoted servant and nanny ("mother") of Mitrofan, whom Prostakova calls "an old hrychovka," "a nasty hare," "a dog's daughter," beast "," channel ". Outraged by Prostakova and the girl Palashka, who lies and raves, ill, "as if she were noble." "Swindler", "cattle", "thieves' mug" - these words are brought down by Prostakov on the head of the serf Trishka, who sewed "pretty much" a caftan for the "child" Mitrofan. At the same time, Prostakova herself is confident in her righteousness, out of ignorance she is simply not able to understand that the peasants should be treated somehow differently, that they are also people and deserve the appropriate attitude. “I manage everything myself, father. From morning to evening, as if hanging by my tongue, I don’t lay my hands on it: now I swear, now I fight; that is what keeps the house, my father! " - the landowner confidentially informs the official Pravdin.

It is characteristic that the speech of this hypocritical mistress is capable of completely changing its color in conversations with people on whom she depends: here her language acquires flattering, cunning intonations, she intersperses the conversation with constant ingratiations and words of praise. When meeting guests, Prostakova's speech acquires a touch of "secularism" ("I recommend you a dear guest," "You are welcome"), and in humiliated lamentations, when, after a failed abduction

She begs for Sophia's forgiveness, her speech is close to the folk ("Oh, my priests, the sword does not cut off a guilty head. My sin! Do not ruin me. (To Sophia). You are my dear mother, forgive me. Have mercy on me (pointing to husband and son) and over poor orphans ").

The speech of Prostakova also changes in those moments when she communicates with her son, Mitrofanushka: “Live and learn, my dear friend!”, “Darling”. This despotic landowner loves her son and therefore addresses him affectionately, at times naively and even humiliatingly: “Don't be stubborn, darling. Now you can show yourself "," Thanks to God, you already understand so much that you yourself will cock the kids. " But even in this case, Prostakova, being nee Skotinina, shows an animal essence: "Have you ever heard of a bitch giving out her puppies?" There are also apt proverbial expressions in her rude, often primitive speech (“like hanging by the tongue,” “where there is anger, there is mercy,” “the sword does not cut a guilty head”). But the main distinctive feature Prostakova's speeches are the frequent use of vernaculars (“pervoet”, “deushka”, “arichmetika”, “robenok”, “sweat him and soothe him”) and vulgarisms (“... and you didn’t rip his snout over the ears ... ”).

In the image of another landowner, brother of Prostakova Taras Skotinin, everything speaks of his "animal" nature, starting with the surname itself and ending with the hero's own confessions that he loves pigs more than people. This is about people like him ten years before the appearance of "The Minor" poet A.P. Sumarokov said: "Oh, should cattle have people?" Skotinin is even more cruel in his treatment of serfs than his sister, he is a cunning, calculating and cunning owner, who does not miss his own profit in anything and uses people exclusively for profit. “If I’m not Taras Skotinin,” he declares, “if it’s not all my fault. In this, my sister, I have one custom with you ... and any loss ... I will rip off my own peasants, and the ends are in the water. " In the speech of such landowners as Skotinin, one can trace confidence not only in their own righteousness, but also in absolute permissiveness and impunity.

The speech of other negative characters also serves to reveal their socio-psychological essence, it is characteristic and rather individualized, although it is inferior to the language of Prostakova in diversity. So, Mitrofanushka's father, Prostakov, in the scene of his acquaintance with Starodum appears: "I am a husband's wife," emphasizing by this his complete dependence on his wife, lack of his own opinion, life position... It has absolutely no independent meaning. Like his wife, he is ignorant, as evidenced by his illiterate speech. Downtrodden by his formidable wife, Prostakov enthusiastically speaks of his son: "this is a smart child, something reasonable." But we understand that there is no need to talk about the mind of Mitrofanushka, who has absorbed all the ugly features of his parents. He is not even able to distinguish true words from outright mockery. So, reading the Church Slavonic text proposed to him by his teacher, Kuteikin, Mitrofan reads: "I am a worm." And after the teacher's comment: "A worm, that is, a beast, cattle", he humbly says: "I am a cattle" and repeats after Kuteikin: "Not a man."

The language of Mitrofan's teachers is also bright and individualized: the soldier's jargon in Tsyfirkin's speech, quotes (often inappropriate) from the Holy Scriptures by Kuteikin, the monstrous German accent of the former coachman Vralman. The peculiarities of their speech make it possible to unmistakably judge both the social environment from which these teachers came, and about cultural level those who are entrusted with the education of Mitrofan. It is not surprising that Mitrofanushka remained a small man, having received neither useful knowledge nor a decent upbringing during his studies.

The basis of the speech of positive characters is "correct", book turns. Starodum often uses aphorisms ("it is in vain to call a doctor to the sick is incurable", "insolence in a woman is a sign of vicious behavior", etc.) and archaisms. Researchers also note direct "borrowing" in Starodum's speech from prose works Fonvizin himself, and this is quite natural, because it is Starodum who expresses in the comedy author's position... For Pravdin, clericalism is characteristic, and in the language of the young people Milon and Sophia there are sentimental turns (“the secret of my heart”, “the mystery of my soul”, “touches my heart”).

Speaking about the peculiarities of the language of Fonvizin's heroes, one cannot fail to mention the servant and nanny Mitrofan Eremeevna. It is a vivid individual character, due to certain social and historical circumstances. By belonging to the lower class, Eremeevna is illiterate, but her speech is deeply popular, absorbing the best features of the simple Russian language - sincere, open, imaginative. In her sorrowful statements, the humiliated position of the servant in the Prostakovs' house is especially clearly felt. “I have been serving for forty years, but the mercy is all the same…” she complains. "... Five rubles a year and five slaps a day." However, despite such injustice, she remains loyal and loyal to her masters.

The speech of each comedy hero is distinctive. In this, the amazing skill of the satirical writer was especially vividly manifested. The richness of linguistic means used in the comedy "Minor" suggests that Fonvizin had an excellent command of the vocabulary of folk speech and was well acquainted with folk art... This helped him, according to the just assertion of the critic P. N. Berkov, to create true, life images.

Essay on the topic: THE ROLE OF LANGUAGE IN THE COMEDY OF D. I. FONVISIN "UNGROUP"

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DI Fonvizin's comedy "The Minor" is a work of the 18th century. In it, the heroes are clearly divided into two groups: positive and negative. It combines and mixes the funny and the sad, the comic and the tragic. In the negative characters, the traits that the author condemns are vivid: ignorance, rudeness, meanness, rudeness, dishonesty. Goodies condemn these vices, expressing the thoughts of the writer himself. The negative characters of the "Minor" include Mrs. Prostakova, Taras Skotinin and Mitrofan Prostakov. Prostakova is a noblewoman, mother of Mitrofanushka and sister of Taras Skotinin. Her surname indicates the lack of education and ignorance of the heroine, as well as the fact that at the end of the play she gets into a mess. This heroine is a cruel serf woman. She considers it perfectly normal to own human souls, to scoff at people subject to her. What is the treatment of this heroine with the old nanny Eremeevna, devoted to the Prostakovs with all her heart. She doesn't know the simplest things. But, worse than that, Prostakova believes that education is completely unnecessary, because something completely different helps to advance in life: money, connections. How can I not remember life principles Famusov and the entire Moscow society from the comedy by A. Griboyedov "Woe from Wit." Prostakova is rude, ignorant, dishonest. But main feature in the character of Prostakova - insane, some kind of animal love for her son. She believes that everything that is beneficial for Mitrofan is good, that which is unprofitable is bad. The way in which the benefits are achieved does not matter. This heroine can cling to the neck of her brother, etc. We can say that her moral and moral concepts are completely distorted, they simply do not exist. P.A. Vyazemsky wrote about Prostakova as follows: “A mixture of impudence and baseness, cowardice and anger, vile inhumanity towards everyone and tenderness, equally vile, towards her son, with all that ignorance from which ... all these properties flow ...” It seems to me that D.I. Fonvizin sees two reasons for the heroine's "malice". The first reason is the ignorance of Prostakova, not ennobled by upbringing. The second is the decree of Catherine II "On the freedom of the nobles", which the ignorant nobles understood as complete power over their serfs. At the end of the play, Prostakova is defeated. She loses everything: power over the serfs, her estate, her son. Her defeat is the defeat of the entire former system of education, the entire way of life of the nobles of the 18th century. Brother Prostakova, Taras Skotinin, matched his sister. This is a very ignorant and stupid person. The only interest in his life is the pigs, which he was engaged in breeding. For the sake of money, Skotinin wanted to marry Sophia, Starodum's niece. Therefore, he competed with his nephew Mitrofan and constantly quarreled with Mrs. Prostakova: “It will come to breaking, I’ll drive, so you crackle.” In my opinion, this hero is a “worthy” representative of his family: he was morally and morally degraded, turned into an animal, what his surname says. The reason for such a fall of Skotinin is in ignorance, in the absence of a correct upbringing. “Don't be that Skotinin, he will want to learn something,” he declares. The son of Mrs. Prostakova, Mitrofanushka, is the main one in his family. They are trying to give him a good education, because in modern times there is nowhere without him. But the undersized does not feel any desire to learn. He is such a "dark" person that it becomes both funny and bitter when you read his "exam" answers to teachers. Mitrofan is rude and cruel. He does not care about his father, he mocks teachers and serfs. He takes advantage of the fact that his mother does not like him, and twirls her as she wants. I believe that Mitrofan has stopped in his development. Sophia, a pupil of Mrs. Prostakova, says about him: "Although he is 16 years old, he has already reached the last degree of his perfection and will not go far." When Mrs. Prostakova's plan to marry her son to Sophia fails, Mitrofan behaves like a slave. He humbly asks for forgiveness and humbly accepts "his sentence" from Starodum - to go to serve. “For me, they tell me where they are,” he says, drooping his head. It seems to me that a slave upbringing was instilled in the hero and his serf nanny Eremeevna, and the whole world of the Prostakov-Skotinins, whose notions of honor are completely perverted. I think, through the image of Mitrofan, Fonvizin shows the degradation of the Russian nobility: from generation to generation his ignorance increases, people gradually turn into beasts. No wonder Skotinin calls Mitrofan "damned pig." Thus, Fonvizin's comedy "The Minor" has both features of a comedy and features of a tragedy. Through the funny, the playwright shows us the vices noble society 18th century, all their terrible and destructive force, adversely affecting the development of society in general and individuals in particular.