Sophia's characterization in the comedy “Undergrowth. Comparative characteristics of Sophia and Mitrofan. Summary: Speech and nominal characteristics of the heroes of the comedy D.I. Fonvizin "Undergrowth Speech characteristics of Sophia from the comedy undergrowth

"Undergrowth" was written in the era of the reign of Catherine II, when the issues of social relations, upbringing and education of young people were especially relevant. In the play, the author not only raises the acute problems of contemporary society, but also illustrates the ideological concept with vivid collective images. One of these characters in comedy is Sophia. Fonvizin's "Undergrowth" is, first of all, a classic comedy that illuminates the enlightening ideas of humanism. In the image of Sophia, the author portrayed a perfect example of a Russian woman of the Enlightenment - educated, smart, short, kind and modest. The girl respects her parents, treats older and more authoritative people with respect, is open to receiving true moral guidelines.

According to the plot of the play, Sophia had a difficult fate. Even at a young age, the girl's father died, and half a year before the events described in the work, her mother. Since her uncle, Starodum, was in the service in Siberia, Sophia, by the will of fate, falls into the care of the rude, cruel and stupid Prostakova.
The landowner is going to marry the girl without her knowledge to her brother Skotinin. However, the news about Sophia's inheritance radically changes Prostakova's plans - the woman decides to woo her underage son Mitrofan in order to receive her share of the inheritance. The apogee of the marriage story is the kidnapping of Sophia on the orders of the landowner, while the issue of the girl’s marriage has already been resolved - Starodum approved Sophia’s choice to marry the honest and kind Milon. However, the ending of the comedy is happy for the girl - she remains with her loved one.

Sofia and Mitrofan

In "Undergrowth" the central characters are Sophia and Mitrofan. In addition to the fact that both of them are the youngest images of the play, the heroes also appear in the play as antipodes. Sofya is an orphan who has to take care of herself, while Mitrofan is a spoiled sissy. The girl strives for knowledge, takes her future seriously, develops as a person with her own opinion, while the young man is a weak-willed, stupid, obeying Prostakov in everything and an infantile character.

In the play, the author pays special attention to the issue of education of each of the characters, pointing out that good, correct education is the basis for the development of a strong independent personality. This becomes clear when analyzing the images of Sophia and Mitrofan within the storyline. The girl was brought up in an enlightened noble family, where the most important value was respect and love for parents, good manners, honesty, justice and mercy to those in need, which formed the basis of Sophia's virtuous nature. Mitrofan, on the other hand, was brought up by the despotic, cruel, deceitful Prostakova and weak-willed Prostakov, having adopted all the negative traits from them. In comedy, Sophia is a symbol of purity, modesty, inner beauty and virtue.
She is just such a person, whom Starodum speaks of in his instructions, and whom the author himself admires.

Sofia and Prostakova

The image of Sophia in "Undergrowth" is also opposed to the second main female image of the play - Prostakova. The girl and the landowner personify two diametrically opposed views on the role of women in the family and society. Prostakova does not love and does not respect her husband, she can scold him or even hit him - the wedding itself for her was more of an opportunity to get a large household into her possession. For Sophia, marriage is an important thoughtful step, the union of two people who love and respect each other, fully accomplished and congenial personalities. The girl has long loved Milon, remains faithful to him, while the young man serves his homeland, is honest and open before him. In marriage, for Sophia, not material wealth is important, but warm relationships, well-being and understanding.

Prostakova acts as the bearer of the values ​​​​and foundations of the long-obsolete Domostroy, according to the norms of which a woman does not need to be educated, understand high matters and talk about serious things, instead, she should only deal with housekeeping and children, mired in daily household routine. The image of Sophia is innovative for Russian literature, as it embodies new, enlightening views on the role of women in society. In the work, she acts as the bearer of true wisdom, kindness, honesty, cordiality and human warmth. The reader is presented not with a peasant woman or a cook, but with an educated girl who has her own views and opinions. A comparative description of Sophia in The Undergrowth makes it clear that in her image Fonvizin portrayed his own ideal of a renewed, enlightened, harmonious personality of enlightenment.

Untitled

speechand nominalcharacteristics of heroescomedy

DI. Fonvizin "Undergrowth"

A recently read comedy by D.I. Fonvizina “Undergrowth” made me think about the question: “Is it possible to know the character of a person, his moral principles just by name and speech; and whether the name and the words she uttered are connected at all in her personality. Let's do some research on this topic.

First of all, we note that a the second quite aptly selects the names of the main characters. It is unlikely that this fact can be attributed solely to the author’s desire to give a “challenge V catchy and memorable" names for the heroes. Rather, it should be assumed that Fonvizin is trying in this way to strengthen the impression received from the play.A deep connoisseur of human souls, Fonvizin understands that the names of heroes are just what a simple layman most often pays attention to.. Thus, being a great satirist, the author initially sets the reader in a comical mood.Now let's get closer to the comedy itself.

So, the names of the heroes:

Mitrofan. According to the directory of male names - name of Greek origin, translated from Latin stands for "revealed by the mother." It should be assumed that the name can be deciphered, How "Sissy", those. Human, possible in everything tutored by mother, loving and respectful more than her father. This name is the bestconveys all nature hero.

What's up speech features, then in words Mitrofan is clearly visible exactly love for your mother.He tries in every possible way to single out his mother inthe society in which it is, And no matter if the people are close he is surrounded or by strangers. Undoubtedly one should also single out such a characteristic of the hero as a complete inability for various kinds of sciences and learning in general. Maybe that's why after the release of the comedy, the name Mitrofan became a household name, denoting people who are narrow-minded and simple in their inner world.Let's see from the text:

Mitrofan. This? Adjective.

Pravdin. Why?

Mitrofan. Because it is attached to its place. Over there by the pole closet

week the door has not yet been hung: so for the time being it is a noun.

Or here it is:

Mitrofan (relaxing). So I felt sorry.

Mme. Prostakova (with annoyance). Who, Mitrofanushka?

Mitrofan. You, mother: you are so tired, beating the father.

Ms Prostakova. Embrace me, my friend of the heart! Here is my son, one of mine

comfort.

Sophia. Just like Mitrofan, the name has ancient Greek roots. Denotes "wisdom". We can also assume that the author gives this name to his heroine, in connection with the short form of the name - Sonya. Among the people, such a quality as sleepiness is associated with the name Sonya. In the comedy, Sophia is a young girl who has not yet shown her nature, her character, who has not fully "awakened" after childhood. We don't know what it will be like in the future. Will she accept the qualities of Starodum, her uncle, or will she be the exact opposite, like Mrs. Prostakova.

Sophia's speech shows that the heroine is polite, loves and is very grateful to her uncle. She never allows herself to scold a person, be offended by him or hate him. Sophia is quite sweet, her speech breaks through the tenderness inherent in every well-bred girl. Just one phrase:

« I have just received good news. Uncle, about whom so for a long time we knew nothing, whom I love and revere as my father, arrived in Moscow today » ,

reveals to us the essence of this charming girl.

Milo. The name comes from Western languages. Denotes dear, beloved. It can be argued that Fonvizin gave the name to the hero not by chance, since Sophia loves Milon, hence the "beloved". It should also not be discounted, although not great, but the existing possibility that the author had some associations of Milo with a melon (Melon (English) - melon), since his speech is very sweet.

Based on the speech style of Milo, it is noticeable that the hero is a kind, sympathetic, brave person.

“I will reveal to you the secret of my heart, dear friend! I am in love and have the happiness of being loved. For more than half a year I have been separated from the one who is dearest to me in the world, and, what is even sadder, I have not heard anything about her all this time ... Maybe she is now in the hands of some greedy people who, taking advantage of orphanhood her, keep her in tyranny. From this one thought I'm beside myself »

ABOUT the bottom is just a phrase, but how revealed in it all Milo's feelings for Sophia.

Mrs. Prostakova and Mr. Prostakov are Mitrofan's parents. Their surname speaks of a very important quality - simplicity. As for the type of this simplicity, it is obvious that in the first place one should assume the simplicity of the soul. From which the poor spiritual world of the heroes also follows. Is it possible to find confirmation of these thoughts? Undoubtedly, but first let's say a few words about Mitrofan's mother. Prostakova comes from a family of nobles named Skotinins. Her father was an ignoramus, which is why she and her brother (Skotinin) are ignoramuses. Prostakova is a very wayward person, everywhere she seeks profit for herself. Her whole essence is reflected in her surname. It can be assumed that the title of a nobleman to her father or grandfather was by no means inherited, but by length of service or in another way. The validity of this assumption is confirmed by the complete absence of manners instilled from childhood, she was probably brought up by people who were not accustomed to the nobility, who could not give her a proper noble education and upbringing.

Prostakova's speech is very peculiar and interesting. She never allows herself to affectionately and respectfully address her husband, but she treats her son so reverently and with such love that everyone can only silently envy. Often she calls the servants cattle, apparently because she herself was once Skotinina.

Mrs. Prostakova (Trishke). And you, cattle, come closer. Didn't you say

I'm for you, thieves' mug, so that you let your caftan go wider. Child, first

grows, another, a child and without a narrow caftan of delicate addition.

Tell me, idiot, what's your excuse?

Prostakov is the exact opposite of his wife. Prostakov pleases his wife in everything, does not have his own word. It is very difficult to call him a person, rather an individual.

Prostakov. Yes, I thought, mother, that you think so.

Ms Prostakova. Are you blind yourself?

Prostakov. With your eyes mine see nothing.

Ms Prostakova. This is the kind of hubby the Lord rewarded me with: he doesn’t understand

figure out what is wide and what is narrow.

The following heroes: Starodum, Pravdin, Skotinin, Kuteikin, Tsyfirkin and Vralman have corresponding "speaking" surnames that characterize the characters even more than their speech turns.

Starodum is Sophia's uncle. He always speaks in aphorisms. For example:

"The ranks begin, - sincerity ceases"

or

"Without a soul, the most enlightened clever woman is a miserable creature."

This characterizes him as a wise man, who knows life, and who has seen a lot in his lifetime.

Pravdin is an official. An old friend of Starodum, maybe that's why he is trying to get the truth everywherespeaks only the truthand at the same time believes that everyone is doing the same in truth.

Pravdin. But those worthy people who serve the state at the court ...

Skotinin. Isn't a nobleman free to beat a servant whenever he wants?

Kuteikin, Tsyfirkin, Vralman - the so-called teachers of Mitrofan. TO Uteikin is a seminarian. Teaches vocabulary ness for son Prost and kov . Tsyfirkin - retired sergeant.Not having a proper education, teaches Mitrofan mathematics. Vralman - German, sand what actually take him as a teacher Mitrofanushka. In fact, it turns out that Vralman is a simple coachman, but for that he is a German!

Kuteikin. What an abomination! You won't get anywhere in the morning. Here

every morning will flourish and perish.

Tsyfirkin. And our brother lives like this forever. Do not do business, do not run away from business.

That's the trouble with our brother, how badly they feed, like today for a local dinner

the provision was gone...

However, all three(Kuteikin, Tsyfirkin, Vralman) settled quite densely in the house of the Prostakovs, although occasionally disagreements and skirmishes arise between them.

Tsyfirkin. And we will honor those. I board...

Kuteikin. And I am a clock.

Vralman. I'll fool around on the face.

Eremeevna - Mitrofan's nanny, a simple Russian woman who loveshis pupillike her own son and always ready to stand up for him.

Mitrofan. Mommy! shield me.

Eremeevna (shielding Mitrofan, frenzied and raising her fists). I'll die

on the spot, but I won’t give the child away. Sunsya, sir, just show yourself if you please. I

I'll scratch out those thorns.

Total, 13 heroes, 13 different names, 13 different looks. But what they all have in common is that DI. Fonvizin gave them names similar to their characters, which once again emphasizes author's skill. The names of the characters become the highlight of the work. And so we come to the conclusion that name and charactercharacters in the work inherently linked to each other.How reasonable was the given (giving such names to the heroes)? I think that this is the right step of the author, since I personally remembered these names, and perhaps for the rest of my life, even before I finished reading the play.

Untitled Speech and nominal characteristics of the heroes of the comedy D.I. Fonvizin "Undergrowth" A recently read comedy by D.I. Fonvizina "Undergrowth" made me think about the question: "Is it possible just by name and speech to find out the character

Sofya - Starodum's niece (daughter of his sister); S.'s mother is Prostakov's matchmaker and in-law (like S.) Prostakov's howl. Sophia - in Greek means "wisdom". However, the name of the heroine receives a special connotation in the comedy: the wisdom of S. is not rational, not wisdom, so to speak, of the mind, but the wisdom of the soul, heart, feelings, the wisdom of virtue. The image of S. is at the center of the plot. On the one hand, S. is an orphan, and the Prostakovs took advantage of this in the absence of her guardian Starodum (“We, seeing that we were left alone, took her to our village and oversee her estate as our own” - d. 1, yavl. V). The news of the arrival of Starodum in Moscow causes a real panic in the house of Prostakova, who understands that now she will have to part with the income from the estate of S. On the other hand, S. is a marriageable girl, and she has a lover (Milon), to whom she promised her hand and heart, however, Prostakova will read her brother Skotinin as her husband. From a letter from Starodum, Prostakov and Skotinin learn that S. is the heiress of his uncle's 10,000 rubles; and now Mitrofan is also wooing her, encouraged to marry by her mother, Prostakova. Skotinin and Mitrofan do not like S, and S. does not like them, openly despising and laughing at both. Positive characters are grouped around S. and actively contribute to her release from the petty and selfish tutelage of Prostakova. In the course of the action, the barriers to the marriage of S. with Milon are crumbling, and the estate of Prostakova, as a result of this whole story, falls under the care of the authorities. Throughout the comedy, the character of S. remains unchanged: she is faithful to Milon, has sincere reverence for Starodum and respects Pravdin. S. is smart, she immediately notices that Prostakova "has become affectionate to the very base" and that she "reads" her "and the bride to her son" (d. 2, phenom. II), mocking (she taunts the jealous of her for Skotinin and Mitrofan Milon), sensitive and kind (with ardor she expresses her joy when Starodum agrees to her marriage to Milon; at the moment of happiness, she forgives Prostakov for the harm done and pities the "evil fury"). S. comes from honest nobles who gave her an education (she reads in French the essay of Fénelon on the upbringing of girls). Her simple feelings are humane: honor and wealth, she believes, should be gained by labor (d. 2, yavl. V), meekness and obedience to elders are decent for a girl, but she can and should defend her love. When Starodum, not yet knowing Milon, wants to marry S. to a certain young man, S. is “embarrassed” and believes that the choice of a groom also depends on her heart. Starodum confirms C's opinion, and she immediately calms down, declaring her "obedience". Fonvizin made a lot of efforts to give S. lively features. To this end, he used the techniques of Western melodrama, combining dramatic moments with sensitive ones. However, he was more interested in raising an honest person worthy of the title of nobleman. In her youth, his heroine needed an experienced leader-mentor. She entered a new, perhaps the most responsible phase of life, and the playwright did not pass by this. S.'s natural virtue was to be given a mental cut. On the threshold of the wedding, Starodum gives S. advice, from the content of which it becomes clear how he (and the author of The Undergrowth) understands the correct upbringing of girls and women. Most of all, Starodum is afraid of the influence of "light", with its temptations capable of corrupting an innocent, pure and virtuous soul. Therefore, in the "light", says Starodum, the first step is important, the ability to put oneself forward and recommend oneself. The general rule is: friendship must be made with those who deserve it, that is, choose friends. S. is inexperienced and asks to clarify whether the preference of some will bring anger to others. Starodum teaches her that one should not expect evil from people who despise you, evil comes from those who themselves are worthy of contempt, but envy the virtues of their neighbor. S. considers such people miserable, because such people are unhappy. Starodum warns: pity should not stop before evil, and virtue should follow its own path. Wasting time on the education of the "evil", whom S. calls "unfortunate", should not be, since every person, if he has a conscience, must himself awaken virtuous feelings in himself. Learning the lesson, S. concludes that it is necessary to clearly and firmly show the evil person the baseness of his soul. Starodum adds: the mind of such a person is not a direct mind, that is, crafty, cunning, dishonest. True happiness comes from virtue and direct reason. Like Pravdin, S. understands happiness in the spirit of ordinary ideas: nobility, wealth. However, Starodum explains to her that nobility and wealth are not just titles and money, but "signs" of a person's state and civil status, imposing moral obligations on him. Starodum teaches S. to distinguish between the real and the imaginary, external brilliance and internal dignity; he is opposed to selfish happiness. And S. learns his lessons. She is also sure that a person does not live alone, that everyone owes each other. But if this is so, then why, thinks C, the mind does not clarify such a simple truth. Starodum in response pronounces a wonderful phrase: "The direct price of the mind gives good manners." It is the soul, the “intelligent heart,” that makes an honest person “completely honest.” So for S. the most important educational concepts (mind, honor, service to the fatherland, the position of an honest person, good manners, etc.) are clarified. The seeds of Starodum fall on fertile ground, because the "inner feeling" of the originally virtuous S. tells her the same thing. From general concepts about a nobleman and his positions, Starodum translates the conversation to a person, to the personal side of his life, to the family hearth. Having turned off the path of virtue, the husband and wife cease to love each other, feel mutual friendly affection and turn life together into hell, forgetting about the house and children. Starodum again and again reminds S: “virtue replaces everything, and nothing can replace virtue”; at the same time, he does not forget about the intimate side of marriage: “Only, perhaps, do not have love for your husband, which was like friendship b. Have a friendship for him that would resemble love. Ultimately, the husband needs the power of the mind (“prudence”), the wife needs virtue, the husband obeys reason, the wife obeys her husband. The old norms acquire a new content, and the soul and the "virtue" coming from it again become the basis of family harmony. Therefore, the upbringing of an honest person - man or woman - consists in the enlightenment of the soul.

Sophia is the central character of the play, around whom the main events of the play revolve: an unexpected inheritance, the appearance of the girl's uncle, a kidnapping plan and three suitors fighting each other.

The heroine is well educated, she is left without parents early and ends up in the house of the Prostakovs, who are trying to take over her small inheritance. Knowing that Sophia has a fiancé Milon, Prostakova is trying to marry her off to her brother Skotinin in order to finally seize the girl's fortune.

When the landowner finds out that Sofya is a rich heiress, she decides to marry her to Mitrofan. Previously, without ceremony in dealing with an orphan, now Prostakova is amiable and courteous. Realizing that her plans are not destined to come true, the landowner plots the kidnapping of the heroine and a forced marriage. However, Starodum, Milon and Pravdin manage to prevent this deceit.

The moral values ​​of the heroine

Sophia in Greek means wisdom. The girl has the wisdom of the mind and the sensitivity of the heart. At the end of the play, she forgives Prostakov and rushes to her aid herself.

Despite the attacks of Prostakova and Skotinin, Sophia remains faithful to her fiancé. At the same time, she is ready to obey the will of her uncle when he says that he has in mind a suitable party for her. The fact is that she infinitely trusts her uncle, asks for his advice and rules to follow.

Sophia talks a lot about life values. For her, conscience and heart are inextricably linked - the calmness of one directly depends on the contentment of the other, and for this it is necessary to strictly observe the rules of virtue.

She wants to receive respect from those whom she respects, seeks to prevent bad thoughts about herself.

It is also important for her the concept of honestly earning one's fortune and the conviction that being born in a noble family does not make a person noble.

The author's ideal of a woman

In the image of Sophia, modest and well-mannered, D.I. Fonvizin outlined his feminine ideal. The main principle of family life for her is Starodum's words of instruction that the head of the family should be a husband who obeys reason, and the wife is obliged to obey him in everything. Only then will the family be strong and happy.

The image of Sophia Fonvizin seeks to make alive and mobile. This is reflected in the refined language of the heroine, she is no stranger to jokes and even manipulation of people - she can easily make her lover jealous.

Sofia and other heroes

Sophia, brought up by Starodum, is directly opposed to Mitrofanushka, who was greatly influenced by Prostakova. Sophia's mind is inversely proportional to the stupidity of the undergrowth.

The girl relies on her uncle in everything, is grateful to him for the advice that he shared with her, and Mitrofan renounces her mother at the most difficult moment of her life.

The heroine is kind, appreciates the honesty and decency of others, and Mitrofan is cruel, only strength and wealth attract his attention.

Sophia is also opposed to Prostakova. The landowner believes that a woman should not learn to read and write, that marriage for her is only a means to achieve a goal and her own well-being. She does not put her husband in anything, she even beats him. And for Sophia, marriage is a union of loving hearts, based on respect and mutual understanding.

Characteristics of Sophia (Undergrowth)

Fonvizin's work touches on the topical issues of contemporary society, among which one can single out the problem of social relations, issues of upbringing and education of the younger generation.

As a contrast to ignoramuses and idlers, there is a bright, collective image of a young girl endowed with the best qualities of a real Russian woman. We are talking about one of the main characters of the novel, around which a whirlpool of passions swirled, associated with her dowry.

The image and characterization of Sophia in the comedy "Undergrowth" gives the reader a complete picture of what girls were like in the Enlightenment. She is a positive character of the work and serves as a worthy example to follow.

The name of the heroine is fully consistent with her appearance and character. Translated from Greek, Sophia means “wise”, “reasonable”.

Family

Orphan. The girl, still a small child, lost her father. The mother died a few months before the events described. The uncle became the guardian. During his absence, the Prostakov family took over the care of the girl, who did not have warm feelings for the relative.

Image. Character

Sophia noblewoman. Outwardly, a rather pretty person. “You combine perfection in yourself of both sexes ....” “God gave you all the amenities of your sex ...”
She received a good education and upbringing. Reasonable and wise beyond her years. Loves French literature. Patient and gentle by nature. She has a good heart. A girl can forgive even those who offended her.

At the end of the comedy, when Prostakova's plans collapsed and the marriage did not take place, Sophia did not hold a grudge against her aunt, releasing past grievances from her heart, and when her son refused Prostakova, the girl was the first to rush to calm her down. Responsive. Honest. “I see in you the heart of an honest person ...”. Not capable of betrayal. Knows how to be faithful.

Sophia has a fiancé. Officer Milon.

Young people love each other and dream of starting a family. For those six months that they did not see each other, their feelings did not weaken. Milon all this time was looking for his beloved, which the Prostakovs took away and hid from him, and Sophia remained faithful to him and waited for him to come and pick her up. Marriage is very important to her.

Unlike Prostakova, who believes that marriage should be calculated, the girl is sure that the main thing in marriage is love and mutual respect.

Consider the opinions of elders. He listens to the advice of his uncle, who loves to instruct his niece on the right path. Sociable. Likes to talk about serious topics. Knows how to joke and play a trick on loved ones. Sharp on the tongue.

Sofia is a rich bride. It was the girl's dowry that served as a bone of contention between Mitrofan and Skotinin, who wanted to get rich for free at someone else's expense.

The character of Sophia was conceived by Fonvizin to oppose Mitrofan.

A girl who is positive in all respects and her complete opposite is the master's son, an ignoramus and mediocrity, who completely lacks normal, human qualities.

Due to the fact that the girl has real friends, she manages to avoid an unsuccessful marriage and escape from the clutches of Prostakova to freedom, forgetting everything that happens to her like a bad dream.

Other materials on the comedy "Undergrowth"

The image of Sophia in Fonvizin's comedy "Undergrowth"

Sophia is the key character in Denis Fonvizin's comedy "Undergrowth", the intrigue of the play is built around her. The unexpected inheritance of the girl, the arrival of her uncle Starodum, the failed kidnapping and three suitors at once, who compete with each other, form the basis of the plot.

Sophia received a good education, was brought up in a family of deeply decent and noble people. She became an orphan early.

Since her uncle Starodum lives in distant Siberia, Mrs. Prostakova, as a relative, takes Sophia into her house and manages her small inheritance.

Without a twinge of conscience, she robs the ward and seeks to marry her to her brother in order to finally take over all the girl's property.

Prostakova knows that Sophia has a fiancé - officer Milon. Young people love each other, but this imperious landowner does not care at all. She was not accustomed to let go of even a small benefit. Prostakova manages to cover her tracks in such a way that Milon searches in vain for six months until she accidentally meets her in this house.

Upon learning that Sophia has become a rich heiress, the landowner decides to marry her to her son.

Now she courts the girl in every possible way, behaves kindly and considerately, although before she did not stand on ceremony with the orphan.

When Prostakova's plans collapse, she plots the insidious kidnapping of Sophia in order to pass her off as Mitrofan by force. All the positive characters of the play stand up for the girl and save her from a cruel fate.

It was no coincidence that Fonvizin called his heroine Sophia, which in Greek means "wisdom". The girl is quite smart and reasonable. She also has a wise and kind heart. Sofya forgives Prostakov for the offenses caused, and in the final scene she is the first to rush to the aid of the landowner.

The girl is faithful to her fiancé Milon and does not succumb to the persuasion of the Skotinins, although she does not openly protest.

When Milon tries to blame the girl for this fact, Sophia explains that at that time she was in the complete power of Prostakova, it would be stupid to annoy the evil relative in vain.

When Sophia is dragged by force to the crown, the prudent girl does not look like a frightened sheep. She fights back and calls for help.

At the same time, the girl is ready to submit to the will of her uncle when choosing a groom: “Uncle! Do not doubt my obedience." Sofya deeply respects Starodum, appreciates his advice. She is reading a French book on the education of girls and asks: "Give me the rules that I must follow."

Sophia's reasoning about moral values ​​is interesting. She believes that the heart is enough only when the conscience is calm, strictly observing the rules of virtue, a person can achieve happiness.

The girl strives to win the respect of worthy people and at the same time worries that the unworthy will become embittered when they find out about her unwillingness to communicate with them. She wants to avoid any bad thoughts about herself and believes that wealth should be earned honestly, and being born into a noble family does not make a person noble.

After talking with his niece, Starodum is delighted with her honesty and understanding of true human qualities.

In the image of a patient, modest and meek heroine, Denis Fonvizin probably portrayed his ideal woman. Starodum teaches Sophia that she should not only be a friend to her husband, but also follow him in everything: “It is necessary, my friend, that your husband obey reason, and you your husband, and both will be completely prosperous.” The girl sincerely agrees with her uncle.

Everyone is captivated by the lively character of Sophia. She can joke and even make her lover jealous. Her language is refined and bookish, which adds to the contrast with the rude and ignorant statements of the Skotinins.

In the image of Sophia, the author presented to us the result of the correct principles of raising Starodum, as opposed to Mitrofanushka, who was raised by Prostakova. These two characters are exactly the opposite. As far as the girl is smart, so the son of the landowner is stupid.

Sofya is grateful to her guardian, while Mitrofan pushes her mother away when she needs support.

The girl is always kind and merciful, appreciates honesty and decency in people, a minor is very often cruel and selfish, respects only strength and wealth.

Contrasted in comedy and two main female images: Sophia and Prostakova. The despotic landowner personifies outdated ideas about the role of women in society.

She believes that a decent girl should not be able to read, be interested in many things. Marriage for Prostakova is a means of obtaining power and material wealth. She does not put her husband in anything, she even beats him.

Marriage for the young heroine is a union of two hearts, sealed with mutual respect and understanding.

To this day, the image of Sophia remains the embodiment of the best human qualities.

Based on the work: "Undergrowth"

According to the writer: Fonvizin Denis Ivanovich

“Undergrowth”: analysis of the work of Fonvizin, images of heroes

Fonvizin's contemporaries highly valued The Undergrowth, he delighted them not only with his amazing language, the clarity of the author's civic position, and the innovation of form and content.

Genre features

By genre, this work is a classic comedy, it complies with the requirements of the “three unities” inherent in classicism (place, time, action), the heroes are divided into positive and negative, each of the heroes has his own role (“resonator”, “villain”, etc.). however, it also contains deviations from the requirements of the classic aesthetics, and serious deviations.

So, the comedy was only supposed to amuse, it could not be interpreted ambiguously, there could not be ambiguity in it - and if we recall “Undergrowth”, then we cannot help but admit that, raising the most important social issues of his time in the work, the author resolves them by means, far from comical: for example, in the finale of the work, when, it would seem, “the vice is punished,” the viewer cannot help but sympathize with Mrs. Prostakova, who is rudely and cruelly repelled by the ungrateful Mitrofanushka, preoccupied with her own fate: “Get off, mother, how imposed ... ”- and the tragic element imperiously invades the comedy, which was unacceptable .. And with the “unity of action”, everything is also not so simple in comedy, it has too many storylines that do not “work” in any way to resolve the main conflict, but create a broad social background that determines the characters of the actors. Finally, Fonvizin's innovation also affected the language of the comedy "Undergrowth", the speech of the characters is very individualized, it contains folklorisms, vernacular, and high style (Starodum, Pravdin), which also violates the classic canons of creating speech characteristics of characters. It is possible, summing up, to conclude that Fonvizin’s comedy “Undergrowth” became a truly innovative work for its time, the author pushed the boundaries of the aesthetics of classicism, subordinating it to the solution of the task set before him: to angrily ridicule the vices of his contemporary society, to rid him of “malice” ”, capable of destroying both the human soul and public morality.

Image system

Let us analyze the system of images of the comedy "Undergrowth", which, as required by the aesthetics of classicism, represents two directly opposite "camps" - positive and negative characters.

Here you can also notice a certain deviation from the canons, it manifests itself in the fact that it carries a duality, it is almost impossible to attribute them purely to positive or purely negative characters. Let us recall one of Mitrofanushka's teachers, Kuteikin.

On the one hand, he suffers humiliation from Mrs. Prostakova and his student, on the other hand, he does not mind, if the opportunity arises, “to snatch his piece”, for which he is ridiculed.

Or “Mitrofan’s mother” Eremeevna: the hostess vilifies and humiliates her in every possible way, she dutifully endures, but, forgetting herself, rushes to protect Mitrofanushka from her uncle, and does this not only out of fear of punishment ...

The image of Prostakova in the comedy "Undergrowth"

As already noted, Fonvizin innovatively depicts his main character, Mrs. Prostakova. From the very first scenes of the comedy, we have before us a despot who does not want to reckon with anyone or anything.

She rudely imposes her will on everyone, suppresses and humiliates not only the serfs, but also her husband (how can one not recall Mitrofan’s “dream in the hand” about how “mother” beats “father”? ..), she tyrannizes Sophia, she wants to force her to marry first his brother Taras Skotinin, and then, when it turns out that Sophia is now a rich bride, for his son.

Being herself an ignorant and uncultured person (with what pride she declares: “Read it yourself! No, madam, I, thank God, have not been brought up like that.

I can receive letters, but I always order someone else to read them!), she despises education, although she tries to teach her son, but she does it only because she wants to ensure his future, and what is the value of Mitrofan’s “education”, as it is presented in comedy? True, his mother is convinced: “Believe me, father, that, of course, that is nonsense, which Mitrofanushka does not know” ...

Cunning and resourcefulness are inherent in Mrs. Prostakova, she stubbornly stands her ground and is convinced that “we will take our own” - and is ready to commit a crime, kidnap Sophia and, against her will, marry a man from the “Skotinin family”.

When she meets a rebuff, she simultaneously tries to beg for forgiveness and promises punishment to those of her people, due to whose mistake the “enterprise” fell through, in which Mitrofanushka is ready to actively support her: “To be taken for people?”

Striking is the “transformation” of Mrs. Prostakova, who just on her knees humbly begged to forgive her, and, having received a petition, “jumping up from her knees”, promises with fervor: “Well! Now I will give dawn to the canals to my people. Now I'm going to take them all one by one. Now I'm trying to figure out who let her out of her hands.

No, scammers! No, thieves! I won’t forgive a century, I won’t forgive this mockery.” How much voluptuousness is in this triple “now”, and how truly scary it becomes from her request: “Give me a period of at least three days (Aside) I would let myself know ...”.

However, as already noted, there is a certain duality in the image of Prostakova. She deeply and devotedly loves her son, is ready for anything for him.

Is she guilty of the fact that she compares her love for him with the love of a dog for puppies “Have you heard that a bitch gave out her puppies?”? After all, we must not forget that she is from the Skotinin-Priplodin family, where such semi-animal love was the only possible one, how could she be otherwise? So she disfigures Mitrofan’s soul with her blind love, her son pleases her in every possible way, and she is happy that he “loves” her ... Until he throws her away from him, because now he does not need her, and even those people who have just condemned Mrs. Prostakova sympathize with her in her maternal grief ...

The image of Mitrofan

The image of Mitrofan created by Fonvizin is also not quite traditional. The "underage" who likes to be "small", who diligently takes advantage of his mother's attitude towards himself, is not so simple and stupid as it might seem at first glance.

He has learned to use his parents' love for himself for his own benefit, he knows well how to achieve his goal, he is convinced that he has the right to everything he wants.

Mitrofanushka's egoism is the driving force behind his actions, but the hero also has cruelty (remember his remark about "people"), and resourcefulness (which is worth his reasoning about the "door"), and lordly contempt for people, including his mother, from whom he seeks help and protection on occasion. And his attitude to education is so dismissive only because he does not see any real benefit from it.

Probably, when he "serves", he - if it will be profitable - will change his attitude towards education, potentially he is ready for anything: "According to me, where they are told." Consequently, the image of Mitrofan in the comedy "Undergrowth" also has a certain psychologism, as well as the image of Prostakova, which is Fonvizin's innovative approach to creating negative images that were supposed to be only "villains".

positive imagery

In creating positive images, the playwright is more traditional. Each of them is an expression of a certain idea, and as part of the approval of this idea, an image-character is created.

Practically positive images are devoid of individual features, these are images-ideas inherent in classicism; Sophia, Milon, Starodum, Pravdin are not living people, but exponents of a “certain type of consciousness”, they represent an advanced system of views for their time on relations between spouses, social structure, the essence of the human personality and human dignity.

The image of Starodum

At the time of Fonvizin, the image of Starodum in the comedy "Undergrowth" evoked special sympathy among the audience.

Already in the very “speaking” name of the character, the author emphasized the opposition of “the current century to the past century”: in Starodum they saw a person of the era of Peter I, when “In that century, the courtiers were warriors, but the warriors were not courtiers” Starodum’s thoughts about education, about the ways in which a person can achieve fame and prosperity, about how a sovereign should be evoked a warm response from a significant part of the audience, who shared the advanced convictions of the author of the comedy, while the fact that he not only proclaimed these advanced ideas caused special sympathy for the image of the hero - according to the play it turned out that with his own life he proved the correctness and advantageousness of such behavior for a person. The image of Starodum was the ideological center around which the positive heroes of the comedy united, who opposed the dominance of morality by the Skotinins-Prostakovs.

The image of Pravdin

Pravdin, a state official, embodies the idea of ​​statehood, which protects the interests of education, the people, which seeks to actively change life for the better.

Guardianship of the Prostakova estate, which Pravdin appoints by the will of the Empress, inspires hope that the ruler of Russia is able to defend those of her subjects who need this protection most, and the decisiveness with which Pravdin carries out transformations should have convinced the viewer, that the supreme power is interested in improving the life of the people. But how then to understand the words of Starodum in response to Pravdin's call to serve at court: "It is in vain to call a doctor to the sick is incurable"? It is likely that the System was behind Pravdin, which confirmed its unwillingness and inability to carry out real transformations, and Starodum represented himself, an individual person in the play, and explained why the image of Starodum was perceived by the audience with much more sympathy than the image of the “ideal official” .

Milon and Sophia

The love story of Milon and Sophia is a typically classic love story of two noble heroes, each of whom is distinguished by high moral qualities, which is why their relationship looks so artificial, although, against the background of the “Skotinin’s” attitude towards the same Sophia (“My friend, my heart! if now, without seeing anything, I have a special peck for each pig, then I’ll find a light for my wife”) she really is an example of a high sense of moral, educated, worthy young people, opposed to the “fertility” of negative heroes.

The meaning of the comedy "Undergrowth"

Pushkin called Fonvizin "a bold ruler of satire", and the comedy "Undergrowth", which we analyzed, fully confirms this assessment of the writer's work.

In it, the author's position of Fonvizin is expressed quite unambiguously, the writer defends the ideas of enlightened absolutism, he does it extremely talentedly, creating convincing artistic images, significantly expanding the scope of the aesthetics of classicism, innovatively approaching the plot of the work, to creating images-characters, some of which are not simply represents the expression of certain socio-political ideas, but has a pronounced psychological individuality, expresses the inconsistency of human nature. All this explains the great importance of Fonvizin's work and the comedy "Undergrowth" for Russian literature of the 18th century, the success of the work among contemporaries and its significant influence on the subsequent development of Russian dramaturgy.

Characteristics of Sophia in the comedy "Undergrowth" by Fonvizin - a description of her image

In "Undergrowth" the central characters are Sophia and Mitrofan. In addition to the fact that both of them are the youngest images of the play, the heroes also appear in the play as antipodes.

Sofia and Prostakova

The image of Sophia in "Undergrowth" is also opposed to the second main female image of the play - Prostakova. The girl and the landowner personify two diametrically opposed views on the role of women in the family and society.

Prostakova acts as the bearer of the values ​​​​and foundations of the long-obsolete Domostroy, according to the norms of which a woman does not need to be educated, understand high matters and talk about serious things, instead, she should only deal with housekeeping and children, mired in daily household routine. The image of Sophia is innovative for Russian literature, as it embodies new, enlightening views on the role of women in society. In the work, she acts as the bearer of true wisdom, kindness, honesty, cordiality and human warmth. The reader is presented not with a peasant woman or a cook, but with an educated girl who has her own views and opinions. A comparative description of Sophia in The Undergrowth makes it clear that in her image Fonvizin portrayed his own ideal of a renewed, enlightened, harmonious personality of enlightenment.

Sophia's characterization in the comedy "Undergrowth"

Fonvizin's work "Undergrowth" was written during the reign of Catherine II, when the issues of social relations, upbringing and education of young people were especially relevant. In the play, the author not only raises the acute problems of contemporary society, but also illustrates the ideological concept with vivid collective images. One of these characters in comedy is Sophia.

Fonvizin's "Undergrowth" is, first of all, a classic comedy that illuminates the enlightening ideas of humanism. In the image of Sophia, the author portrayed a perfect example of a Russian woman of the Enlightenment - educated, smart, short, kind and modest.

The girl respects her parents, treats older and more authoritative people with respect, is open to receiving true moral guidelines.

According to the plot of the play, Sophia had a difficult fate. Even at a young age, the girl's father died, and half a year before the events described in the work, her mother.

Since her uncle, Starodum, was

while serving in Siberia, Sophia, by the will of fate, falls into the care of the rude, cruel and stupid Prostakova. The landowner is going to marry the girl without her knowledge to her brother Skotinin.

However, the news about Sophia's inheritance radically changes Prostakova's plans - the woman decides to woo her underage son Mitrofan in order to receive her share of the inheritance.

The apogee of the marriage story is the kidnapping of Sophia on the orders of the landowner, while the issue of the girl’s marriage has already been resolved - Starodum approved Sophia’s choice to marry the honest and kind Milon. However, the ending of the comedy is happy for the girl - she remains with her loved one.

Sofia and Mitrofan

In "Undergrowth" the central characters are Sophia and Mitrofan. In addition to the fact that both of them are the youngest images of the play, the heroes also appear in the play as antipodes.

Sofya is an orphan who has to take care of herself, while Mitrofan is a spoiled sissy.

The girl strives for knowledge, takes her future seriously, develops as a person with her own opinion, while the young man is a weak-willed, stupid, obeying Prostakov in everything and an infantile character.

In the play, the author pays special attention to the issue of education of each of the characters, pointing out that good, correct education is the basis for the development of a strong independent personality. This becomes clear when analyzing the images of Sophia and Mitrofan within the storyline.

The girl was brought up in an enlightened noble family, where the most important value was respect and love for parents, good manners, honesty, justice and mercy to those in need, which formed the basis of Sophia's virtuous nature.

Mitrofan, on the other hand, was brought up by the despotic, cruel, deceitful Prostakova and weak-willed Prostakov, having adopted all the negative traits from them. In comedy, Sophia is a symbol of purity, modesty, inner beauty and virtue.

She is just such a person, whom Starodum speaks of in his instructions, and whom the author himself admires.

Sofia and Prostakova

The image of Sophia in "Undergrowth" is also opposed to the second main female image of the play - Prostakova. The girl and the landowner personify two diametrically opposed views on the role of women in the family and society.

Prostakova does not love and does not respect her husband, she can scold him or even hit him - the wedding itself for her was more of an opportunity to get a large household into her possession. For Sophia, marriage is an important thoughtful step, the union of two people who love and respect each other, fully accomplished and congenial personalities.

The girl has long loved Milon, remains faithful to him, while the young man serves his homeland, is honest and open before him. In marriage, for Sophia, not material wealth is important, but warm relationships, well-being and understanding.

Prostakova acts as the bearer of the values ​​​​and foundations of the long-obsolete “Domostroy”, according to the norms of which a woman does not need to be educated, understand high matters and talk about serious things, instead, she should only deal with housekeeping and children, mired in daily household routine. The image of Sophia is innovative for Russian literature, as it embodies new, enlightening views on the role of women in society. In the work, she acts as the bearer of true wisdom, kindness, honesty, cordiality and human warmth. The reader is presented not with a peasant woman or a cook, but with an educated girl who has her own views and opinions. A comparative description of Sophia in "Undergrowth" makes it clear that in her image Fonvizin portrayed his own ideal of a renewed, enlightened, harmonious personality of enlightenment.

As several centuries ago, and in our time, Sophia remains a model of the best human qualities. This image teaches modern readers to listen to their own hearts, to be honest and kind to others, revealing the brightest sides of their personality.

In Fonvizin's comedy "Undergrowth" there are many demonstrative characters. Despite the variety of characters, two heroes stand at the head of the play - the undersized Mitrofan and his complete opposite Sophia.

Sophia is the only positive female character, which suggests that it is in her that the image of the ideal female upbringing that Fonvizin imagined is contained. In comparison with Mitrofan, such qualities of Sophia as a craving for knowledge, good breeding, respect for elders, kindness, and modesty clearly stand out. It is these qualities, according to the author, that a well-behaved girl should have.

The fate of Sophia brought her many misfortunes. She grew up without a father, and when she grew up, she lost her mother. Since there was no news from her uncle Starodum, who was in Siberia, for a long time, she fell under the care of the Prostakovs. The Prostakov family, led by the eccentric Mrs. Prostakova, gave Sophia a very difficult life. They forcibly stopped her communication with Milon, a young man for whom Sophia had sincere and mutual feelings. She was constantly watched, reproached with a piece of bread and limited in everything. But despite this treatment, Sophia never complained and always treated the Prostakovs respectfully.

Sophia is also inherent in loyalty. Despite the fact that she did not see her chosen one for half a year and did not receive news from him, she did not change her feelings. All this time she continued to love him. When it turned out that Starodum was not only alive, but also earned a large fortune in the North, of which he made Sonya the heiress, everyone around fussed. They tried to force her to marry both Skotinin and Mitrofan, but she was not going to give up her feelings.

Sophia more than once acts as a very educated girl. Her speech is very respectful and literate, and she prefers to spend her free time reading instructive literature. Having met his niece for the first time in a long time, Starodum was pleased with both her upbringing and her disposition. He notes with pleasure that Sophia grew up exactly the way he wanted to see her, and even chose the chosen one, whom he himself had found for her.

Sophia is opposed to both Mitrofan and Mrs. Prostakova. She is the standard of female virtue, an example for the noblewomen of that era. In it, Fonvizin concluded all the virtues that he considered important and key for girls.

An essay about Sophia in the story of Fonvizin

Sophia is the only and beloved niece of Starodum. In addition, when she lost her parents, he was also her guardian. At the time of his departure from the city, the Prostakovs take the girl to their estate. But they do this not out of their kindness, but only because they want to take everything that Sophia has from Sophia. But only their plan is too obvious and simple for her. Sophia immediately opens it and looks at all this with irony and a smile. Sophia is a smart and cunning girl, but besides that, she is also smart and reasonable.

The main character is one of the positive characters in this comedy, where there is a lot of irony and ridicule. In addition, she attracts other goodies to her, such as Starodum or Pravdin. The heroine is a bright image, endowed not only with sensitivity and understanding, but also with the ability to think wisely and sensibly.

Throughout the comedy, Sofyushka's character remains unchanged: she is faithful to Milon all the time, honors her uncle Starodum and respects Pravdin. The girl immediately understands that the landowner Prostakova is affectionate with her for a reason, she first wanted to marry the girl to her brother Skotinin, but as soon as she found out that she had received a rich inheritance from her uncle, she decided to marry her beloved son Mitrofanushka.

Consequently, three men immediately claimed the girl’s hand: Skotinin, Mitrofan and Milon, but only the latter loved Sophia sincerely, and wanted to marry her, and not her inheritance.

When Starodum wants to pass Sophia off as a young man she does not know, she is embarrassed and says that the choice of the groom also depends on her. Starodum agrees with the girl, and she immediately calms down, saying that she loves only Milon and plans to marry him.

Despite the fact that Sophia's uncle almost did not participate in her upbringing, these two heroes have many similarities - honesty, nobility, sincerity, kindness and good breeding, and they both had their own point of view on life. Starodum sees that Sophia is drawn to knowledge and is constantly trying to find moral directions in books that could later help her in later life.

Thus, we can conclude that Sofya, as a heroine, performs the main function - it helps to reveal the true character of Mrs. Prostakova, her negative sides, and also all the best qualities of a person are embodied in the image of Sofyushka - intelligence, honesty, sincerity, nobility, kindness and many others that the author appreciated so much.

Some interesting essays

• Analysis of Turgenev's story Khor and Kalinich

  The story “Khor and Kalinich” is included in the cycle of stories “Notes of a Hunter”, and is one of the most famous stories by I.S. Turgenev. It was from this story, published in 1847, that the whole cycle began.

• The history of the creation of the novel Oblomov (Goncharov)

  Ivan Goncharov's novel "Oblomov" together with the works "Ordinary History" and "Cliff" forms a trilogy. The author has been creating the work for more than ten years. The novel "Oblomov" has a long history of creation.

• Why did Tolstoy call Leskov the writer of the future? (6th grade composition)

  Tolstoy appreciated the works of Leskov and spoke positively about him. However, Nikolai Semenovich owes such assessments not to the fact that he became an imitator of the style of the author of War and Peace.

• Analysis of the novel Vasilyeva was not on the list

  It is difficult to talk about the war as something useful and really worthwhile. In my opinion, a person, if he takes his own life responsibly, can develop in peaceful conditions and even better.

• Heroes of the story Son of Kataev's regiment