The meaning of names in the drama thunderstorm. Speaking surnames in the work of A.N. Ostrovsky. Sergei Sergeevich Paratov

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The disclosure of the meaning of names and surnames in the plays of A.N. Ostrovsky helps to comprehend both the plot and the main images. Although surnames and names cannot be called “speaking” in this case, since this is a feature of the plays of classicism, they are speaking in the broad - symbolic - sense of the word.

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Wild in the northern Russian regions meant "stupid, crazy, insane, half-witted, crazy", and wild - "fool, beat, go crazy." Initially, Ostrovsky intended to give the hero the patronymic Petrovich (from Pyotr - “stone”), but there was no strength, firmness in this character, and the playwright gave Diky the patronymic Prokofievich (from Prokofy - “successful”). This was more suitable for a greedy, ignorant, cruel and rude person who at the same time was one of the richest and most influential merchants in the city. Actor M. Zharov

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Martha - "mentor", Ignatius - "unknown, who put himself." The nickname of the heroine could be formed from two words that equally deeply correspond to the essence of her character, either - a wild ferocious pig, or a boar - a block of ice. Cruelty, ferocity and coldness, indifference of this heroine are obvious. Kabanova is a wealthy widow; this description has both social and psychological meaning. Actress V. Pashennaya

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Wild, self-willed characters, except for the Wild, are represented in the play by Barbara (she is a pagan, a “barbarian”, not a Christian and behaves accordingly). Her name means "rough" in Greek. This heroine is really quite simple spiritually, rude. She knows how to lie when necessary. Its principle is “do whatever you want, as long as it’s sewn and covered.” Varvara is kind in her own way, loves Katerina, she helps her, as it seems to her, find love, arranges a date, but does not think about what consequences all this may have. This heroine is in many respects opposed to Katerina - according to the principle of contrast, scenes of a date between Kudryash and Varvara, on the one hand, and Katerina and Boris, on the other, are built. Actress O. Khorkaova

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"Self-taught mechanic", as the hero presents himself. Kuligin, in addition to the well-known associations with Kulibin, also evokes the impression of something small, defenseless: in this terrible swamp he is a sandpiper - a bird and nothing more. He praises Kalinov as a sandpiper praises his swamp. P.I. Melnikov-Pechersky, in his review of The Thunderstorm, wrote: “... Mr. Ostrovsky very skillfully gave this man the famous name of Kulibin, who brilliantly proved in the past century and at the beginning of this century what an unlearned Russian person can do with the power of his genius and unbending will.” Artist S. Markushev

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Larisa Dmitrievna - “girl; dressed richly but modestly. Larisa in Greek means "white seagull". Actress L. Guzeeva

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Larisa in “Dowry” is not surrounded by “animals”. But Mokiy is “blasphemous”, Vasily is “king”, Julius is, of course, Julius Caesar, and even Kapitonych, that is, living with his head (kaput - head), or maybe striving to be the main one.

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Moky Parmenych Knurov - the name of this hero sounds vulgar, heavy, "inelegant" (unlike Sergei Sergeevich Paratov), and the surname Knurov comes, according to Dahl's dictionary, from the word knur - "boar, boar, boar". Actor A. Petrenko

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Vasily Danilych Vozhevatov - the name and patronymic of this merchant are quite common, and the surname comes from the word vozhevaty - "a cheeky, shameless person." Actor A. Pankratov-Cherny

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Julius Kapitonych Karandyshev - the combination of the name and patronymic of the hero sounds unusual, grotesque - the name of the Roman emperor and the common people's patronymic. With such an unusual combination, the author immediately emphasizes the complexity and inconsistency of the hero. The surname Karandyshev can be interpreted by looking into Dahl's dictionary. Pencil means "short, short". Actor A. Myagkov

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And finally, Harita - the mother of three daughters - is associated with the Kharites, the goddesses of youth and beauty, of which there were three, but she also destroys them (remember the terrible fate of the other two sisters - one married a cheater, the other was stabbed to death by a Caucasian husband). Harita Ignatievna Ogudalova - "a middle-aged widow, dressed elegantly, but boldly and beyond her years." Harita - a name meaning "charm" (charites - the goddess of grace); In the 19th century, a gypsy was called Ignat in general, like, for example, Vanka - a cabman, like Fritz - a German during World War II, etc. Thus, the gypsy theme, so important in this play, begins literally with a poster. Actress L. Freindlich

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http://www.settlerbears.ru/?a=tags&id=852&type=post http://piterbooks.ru/read.php?sname=litertura&articlealias=groza http://author-ostrovsky.ru/index.php?wh =s00046&pg=2 http://www.ostrovskyi06.sitecity.ru/ www.uchcomplekt.ru http://www.spisano.ru/essays/files.php?269100 http://www.stavcur.ru/sochinenie_po_literature/ 1376.htm www.syzran-small.net http://forum.mamka.ru/lofiversion/index.php?t27290-50.html http://magnetida.ru/film.php?type=show&code=4102 http: //portal.mytischi.net/archives/23747

Plays by A. Ostrovsky are full of various symbols. First of all, these are symbols associated with the natural world: forest, thunderstorm, river, bird, flight. The names of the characters also play a very important role in the plays, most often the names of ancient origin: ancient Greek and Roman. The motives of the ancient theater in the works of Ostrovsky have not yet been sufficiently studied, so it is difficult to take into account all the semantic overtones of Greek and Roman names here. It is clear, however, that these names were not at all randomly chosen by the author, their sound composition, imagery and their meaning in the Russian language are very important. We will dwell on these points in more detail.

Yu. Olesha admired the names of Ostrovsky's heroes. Paratov is both a parade and a pirate. One can add to Olesha's observations the unconditionally suggestive comparison of Paratov with a “horned” beast, that is, powerful, predatory, strong and merciless. Mother leader, for example. His predatory behavior in the play is best described by this surname.

The names of Dikoy and Kabanov do not need to be commented on. But let's not forget that Dikoi is not only the all-powerful Savel Prokofievich, but also his nephew, Boris. After all, Boris's mother "could not get along with her relatives", "it seemed very wild to her." So, Boris is Wild by his father. What follows from this? Yes, it follows that he failed to defend his love and protect Katerina. After all, he is the flesh of the flesh of his ancestors and knows that he is entirely in the power of the “dark kingdom”. Yes, and Tikhon - Kabanov, no matter how "quiet" he is. So Katerina is rushing about in this dark forest among animal-like creatures. She chose Boris almost unconsciously, the only difference between him and Tikhon is his name (Boris is Bulgarian for “fighter”).

Wild, masterful characters, except for Wild, are represented in the play by Varvara (she is a pagan, a “barbarian”, not a Christian and behaves accordingly) and Kudryash, on whom the corresponding Shapkin is located, reasoning with him. Kuligin, in addition to the well-known associations with Kulibin, also evokes the impression of something small, defenseless: in this terrible swamp he is a sandpiper, a bird - and nothing more. He praises Kalinov as a sandpiper praises his swamp.

Women's names in Ostrovsky's plays are very bizarre, but the name of the main character almost always extremely accurately characterizes her role in the plot and fate. Larisa - “seagull” in Greek, Katerina - “clean”. Larisa is a victim of Paratov's pirate trade deals: he sells "birds" - "Swallow" (steamboat) and then Larisa - a seagull. Katerina is a victim of her purity, her religiosity, she could not bear the split of her soul, because she loved - not her husband, and severely punished herself for this. It is interesting that Kharita and Martha (in "Dowry" and in "Thunderstorm", respectively) are both Ignatievnas, that is, "ignorant" or, scientifically, "ignoring". They stand, as it were, aloof from the tragedy of Larisa and Katerina, although both, of course, are to blame (not directly, but indirectly) for the death of their daughter and daughter-in-law.

Larisa in “Dowry” is not surrounded by “animals”. But these are people with great ambitions, playing with it like a thing. Mokiy - “blasphemous”, Vasily - “king”, Julius is, of course, Julius Caesar, and even Kapitonych, that is, living with his head (kaput - head), or maybe striving to be the main one. And everyone looks at Larisa as a stylish, fashionable, luxurious thing, as an unprecedented high-speed steamer, as a luxurious villa. And what Larisa thinks or feels about herself is the tenth thing, which does not interest them at all. And the chosen one of Larisa, Sergey Sergeevich Paratov - “highly venerated”, from a kind of arrogant Roman patricians, evokes associations with such a famous tyrant in history as Lucius Sergius Catilina.

And finally, Kharita - the mother of three daughters - is associated with the Kharites, the goddesses of youth and beauty, of which there were three, but she also destroys them (remember the terrible fate of the other two sisters - one married a cheater, the other was stabbed to death by a Caucasian husband).

In the play "Forest" Aksyusha is completely alien to this world of evil spirits. The forest can be understood as a new "dark kingdom". Only not merchants live here, but kikimoras like Gurmyzhskaya and Julitta. Aksyusha is a stranger because her name means in Greek “foreigner”, “foreigner”. In light of this, the questions that Aksyusha and Peter ask each other are noteworthy: “Are you yours or someone else’s?” - “Whose are you? Is it yours?”

But the name Gurmyzhskaya (Raisa - in Greek “careless”, “frivolous”) is very suitable for her, it just seems to be an overly delicate characteristic for this witch. Ulita (Julia) is again related to the Julii family, famous in Rome, but this name may hint more directly at her depraved nature. After all, in the old Russian story “On the Beginning of Moscow”, Ulita is the name of the criminal wife of Prince Daniel, a traitor and a deceiver.

The names of the actors Schastlivtsev and Neschastlivtsev (Arkady and Gennady) justify their pseudonyms and behavior. Arkady means “happy”, and Gennady means “noble”. Milonov, of course, has something in common with Manilov and Molchalin, and Bodaev, both by name and manner, is Sobakevich's heir.

So, revealing the meaning of names and surnames in Ostrovsky's plays helps to comprehend both the plots and the main images. Although surnames and names cannot be called “speaking” in this case, since this is a feature of the plays of classicism, they are speaking in the broad - symbolic - sense of the word.

Speaking surnames in the drama "Thunderstorm" The work was performed by a student of 10 "A" class CNG, Kutkina Vladislava "Talking" surnames in literature are surnames that are part of the characterization of a character in a work of art, emphasizing the most striking feature of the character's character

Kabanikha Marfa Ignatyevna Kabanova (Kabanikha) Marfa Ignatyevna Kabanova (Kabanikha) The nickname of the heroine could be formed from two words that correspond to the essence of her character - a wild ferocious pig or a wild boar. Cruelty, ferocity and coldness, indifference of this heroine are obvious. The nickname of the heroine could be formed from two words that correspond to the essence of her character - a wild ferocious pig or a wild boar. Cruelty, ferocity and coldness, indifference of this heroine are obvious. Martha is a "teacher". Interestingly, in translation from Aramaic, the name Martha is translated as "lady." Martha is a "teacher". Interestingly, in translation from Aramaic, the name Martha is translated as "lady." Ignatius - "unknown, who staged himself" Ignatius - "unknown, staged himself" Varvara Osipovna Massalitinova Russian Soviet theater and film actress Dead Souls Korobochka Undergrowth Prostakova Woe from Wit Khlestov Thunderstorm Kabanikh 1934Thunderstorm

Wild Wild in the northern Russian regions meant "stupid, crazy, insane, half-witted, crazy", and to dictate - "to fool, beat, go crazy." Wild in the northern Russian regions meant "stupid, crazy, insane, half-witted, crazy," and dictate - "fool, beat, go crazy." Initially, Ostrovsky intended to give the hero the patronymic Petrovich (from Peter - "stone"), but there was no strength, firmness in this character and the playwright gave the patronymic Prokofievich (from Prokofy - "successful"). This was more suitable for a greedy, ignorant, cruel and rude person who at the same time was one of the richest and most influential merchants in the city. Initially, Ostrovsky intended to give the hero the patronymic Petrovich (from Peter - "stone"), but there was no strength, firmness in this character and the playwright gave the patronymic Prokofievich (from Prokofy - "successful"). This was more suitable for a greedy, ignorant, cruel and rude person who at the same time was one of the richest and most influential merchants in the city. Mikhail Mikhailovich Tarkhanov Russian and Soviet theater and film actor, director, teacher.Soviet "Inspector General" Luka Lukich Khlopov "Inspector General" "Woe from Wit" Platon Mikhailovich Gorich "Woe from Wit" "Dead Souls" Mikhail Semyonovich SobakevichDead Souls

Katerina and Varvara “Katerina” means “pure” in Greek. “Katerina” means “pure” in Greek. The name "Barbara" means "rough". This heroine is in many ways opposed to Katerina. Indeed, it is quite simple spiritually, rude. She knows how to lie when necessary. The name "Barbara" means "rough". This heroine is in many ways opposed to Katerina. Indeed, it is quite simple spiritually, rude. She knows how to lie when necessary. Polina Antipievna Strepetova Shcherbinia Lyudmila Nikolaevna Pashkova Lyudmila Anatolyevna

Kuligin "Self-Taught Mechanic", as the hero presents himself. "Self-taught mechanic", as the hero presents himself. P.I. Melnikov wrote: “... To this man, Mr. Ostrovsky very skillfully gave the famous name of Kulibin, who brilliantly proved in the past century and at the beginning of this century what an unlearned Russian person can do with the power of his genius and unbending will.” P.I. Melnikov wrote: “... To this man, Mr. Ostrovsky very skillfully gave the famous name of Kulibin, who brilliantly proved in the past century and at the beginning of this century what an unlearned Russian person can do with the power of his genius and unbending will.” Ivan Petrovich Kulibin Nizhny Novgorod mechanic-inventor from the middle class. Nizhny Novgorod inventor

Plays by A. Ostrovsky are full of various symbols. First of all, these are symbols associated with the natural world: forest, river, bird, flight. The names of the characters also play a very important role in the plays, most often the names of ancient origin: ancient Greek and Roman. The motives of the ancient theater in Ostrovsky's plays have not yet been sufficiently studied, so it is difficult to take into account all the semantic overtones of Greek and Roman names in Ostrovsky's plays. It is clear, however, that these names were not at all randomly chosen by the author; their sound composition, imagery and their meaning in the Russian language are very important. We will dwell on these points in more detail.

Yu. Olesha admired the names of Ostrovsky's heroes. Paratov is both a parade and a pirate. To Olesha's observations, one can add, of course, the obvious comparison of Paratov with a “paraty” beast, that is, powerful, predatory, strong and merciless. Mother leader, for example. His predatory behavior in the play is best described by this surname.

Surnames and Kabanova do not need to comment. But let's not forget that Dikoi is not only the all-powerful Savel Prokofievich, but also his nephew, Boris. After all, Boris's mother "could not get along with her relatives", "it seemed very wild to her." So Boris is Wild by his father. What does this mean? Yes, that means that he will not be able to defend his love and protect Katerina. After all, he is the flesh of the flesh of his ancestors and knows that he is entirely in the power of the “dark kingdom”. Yes, and Tikhon - Kabanov, no matter how "quiet" he is. So Katerina is rushing about in this dark forest among animal-like creatures. She chose Boris almost unconsciously, the only difference between him and Tikhon is his name (Boris is Bulgarian for “fighter”).

Wild, masterful characters, except for Wild, are represented in the play by Varvara (she is a pagan, "barbarian", not a Christian and behaves accordingly) and Kudryash, on whom the corresponding Shapkin is located, reasoning with him. Kuligin, in addition to the well-known associations with Kulibins, also evokes the impression of something small, defenseless: in this terrible swamp he is a sandpiper - a bird and nothing more. He praises Kalinov as a sandpiper praises his swamp.

Women's names in Ostrovsky's plays are very bizarre, but the name of the main character almost always extremely accurately characterizes her role in the plot and fate. Larisa - "seagull" in Greek, Katerina - "clean". Larisa is a victim of Paratov's pirate trade deals: he sells "birds" - "Swallow" (steamboat) and then Larisa - a seagull. Katerina is a victim of her purity, her religiosity, she could not bear the split of her soul, because she loved - not her husband, and severely punished herself for this. It is interesting that Kharita and Martha (in "Dowry" and in "Thunderstorm") are both Ignatievnas, that is, "ignorant" or, scientifically, "ignoring". They stand, as it were, aloof from the tragedy of Larisa and Katerina, although both, of course, are to blame (not directly, but indirectly) for the death of their daughter and daughter-in-law.

Larisa in "Dowry" is not surrounded by "animals". But these are people with great ambitions, playing with it like a thing. Mokiy - "blasphemous", Vasily - "king", Julius - this, of course, is Julius Caesar, and even Kapitonych, that is, living with his head (kaput - head), or maybe striving to be the main one. And everyone looks at Larisa as a stylish, fashionable, luxurious thing. Like a steamship of unprecedented speed, like a luxurious villa. Which of them, in modern terms, is "cooler"? And what Larisa thinks or feels about herself is the tenth thing, which does not interest them at all. And the chosen one of Larisa, Paratov, Sergei Sergeevich - "highly venerated", from a kind of arrogant Roman patricians, evokes associations with such a famous tyrant in history as Lucius Sergius Catilina.

But the name Gurmyzhskaya (Raisa - in Greek "careless", "frivolous") is very suitable for her, it just seems to be an overly delicate characteristic for this witch. Ulita (Julia) is again related to the Julii family, famous in Rome, but this name may hint more directly at her depraved nature. Indeed, in the old Russian story “On the Beginning of Moscow”, Ulita is the name of the criminal wife of Prince Daniel, a traitor and a deceiver.

The names of the actors Schastlivtsev and Neschastlivtsev (Arkady and Gennady) justify their pseudonyms and behavior. Arkady means happy, and Gennady means noble. Milonov, of course, has something in common with Manilov and Molchalin, and Bodaev, both by name and manner, is Sobakevich's heir.

So, revealing the meaning of names and surnames in Ostrovsky's plays helps to comprehend both the plot and the main images. Although surnames and names cannot be called “speaking” in this case, since this is a feature of the plays of classicism, they are speaking in the broad – symbolic – sense of the word.

A person controls his own destiny. A. N. Ostrovsky

A remarkable play of the late period of A. N. Ostrovsky's work is the drama "". Conceived in 1874, it was completed in 1878 and staged in Moscow and St. Petersburg the same year. The best actors of the capital's theaters - M. Yermolova, M. Savina, and later V. Komissarzhevskaya took up the role of Larisa Ogudalova. Why did this heroine captivate them so much?

The heroine of Ostrovsky is distinguished by truthfulness, sincerity, directness of character. In this respect, she is somewhat reminiscent of Katerina from Thunderstorm. According to Vozhevaty, in Larisa Dmitrievna "there is no trick." With the heroine of "Thunderstorm" brings her and high poetry. She is attracted by the trans-Volga distance, the forests across the river, the Volga itself beckons with its expanse. Knurov notes that in Larisa "the earthly, this worldly is not." And in fact: it is all as if raised above the dirt of reality, above the vulgarity and baseness of life. In the depths of her soul, like a bird, a dream of a beautiful and noble, honest and quiet life beats. And yes, she does look like a bird. It is no coincidence that her name is Larisa, which means "seagull" in Greek.

What attracts me to Ostrovsky's heroine is her musicality. She plays the piano and the guitar, besides, she sings beautifully, she deeply experiences what she performs, so that she awes and delights her listeners. Gypsies are close to her, in whom she appreciates the thirst for will and a penchant for an exciting song. he portrayed Larisa in his play in such a way that in the mind of the reader her image is inextricably merged with the romance:

Do not tempt me unnecessarily With the return of your tenderness! The disappointed are alien to All the seductions of former days!

Larisa, however, is still far from disappointed (this will come to her later), but she has many “seductions”, “temptations”. She, in her words, "stands at a crossroads", is in front of a "choice".

Shouldn't you prefer your mother's lifestyle? Harita Ignatievna, left a widow with three daughters, is constantly cunning and cunning, flattering and fawning, begging from the rich and accepting their handouts. She set up a real noisy “gypsy camp” in her house to create the appearance of beauty and splendor of life. And all this in order to trade as living goods under the cover of this tinsel. She had already ruined two daughters, now it was the turn of the third to trade. But Larisa cannot accept this way of life of her mother, it is alien to her. The mother tells her daughter to smile, but she wants to cry. And she asks her fiancé to tear her out of this "bazaar" surrounding her, where there are a lot of "all sorts of rabble", to take her away, beyond the Volga.

From the point of view of the phenomenon of speaking names we are considering, a lot of new, remarkable material can be found in the plays of this great playwright. Let us touch upon only the most interesting moments of the use of this literary device in Ostrovsky's most famous plays.

For example, in the play "Thunderstorm" there are no random names and surnames. Tikhonya, weak-willed drunkard and sissy Tikhon Kabanov fully justifies his name. The nickname of his "mother" - Kabaniha has long been rethought by readers as a name. No wonder the creator of "Thunderstorm" already in the poster presents this heroine in this way: "Marfa Ignatievna Kabanova (Kabanikha), a rich merchant's wife, a widow." By the way, her old, almost sinister name, paired with Savel Prokofievich Diky, quite definitely speaks of their characters, lifestyle, and morals. Interestingly, in translation from Aramaic, the name Martha is translated as "lady."

The surname Dikoy also contains a lot of curious things. The fact is that the ending -oy in the corresponding words is now read as -y (-y). For example, Pushkin's "desert sower of freedom" (in the current pronunciation - "desert") means "lonely." Thus, Wild is nothing but a "wild man", simply a "savage".

Names and surnames also have a symbolic meaning in the play "Dowry". Larisa - translated from Greek - a seagull. The surname Knurov comes from the dialect word knur - boar, boar, wild boar. Paratov is etymologically connected with the adjective porous - lively, strong, hefty, zealous. Vozhevatov comes from the phrase "tough people", which means cheeky, shameless. In the name, patronymic and surname of Larisa's mother, Harita Ignatievna Ogudalova, everything turns out to be significant. Gypsies from the choir were called Charites (from the Greek charis - grace, charm, beauty), and every Gypsy was called Ignat in Moscow. Hence the comparison of Larisa's house with a gypsy camp. The surname comes from the word ogudat - to deceive, seduce, inflate. Julius Kapitonovich Karandyshev, in contrast to the name and patronymic with the surname, already contains the image of this person in the grain. Julius - the name of the noble Roman emperor Caesar, Kapiton - from the Latin capitos - head, Karandyshev - from the word pencil - short, short, a man with exorbitant and unfounded claims. So psychologically polyphonic human characters emerge from the very first pages of the play.

Surprisingly interesting from the point of view of the study of the semantics of speaking names is the play "Hot Heart", in which there is a whole constellation of the most curious surnames, names and patronymics of the characters. Here, by the way, as V. Lakshin writes about this in the article “Ostrovsky's Poetic Satire”: “Perhaps the most striking and caustic figure in the political sense of comedy is Serapion Mardarevich Gradoboev. Well, Ostrovsky invented a name for him! Serapion is easily changed into a “scorpion”, as the rude Matryona calls him, Mardariy sounds next to the dissonant word “muzzle”, and even Gradoboev is a surname filled to the brim with ironic semantics: not only crops beaten by hail, but also a battle imposed on the city " . By the way, Gradoboev is none other than the mayor of the city of Kalinov (remember "Thunderstorm", "Forest"), who is not very almondy with the townsfolk.

There is also a merchant Kuroslepov in the Hot Heart, who, either from drunkenness or from a hangover, suffers from something like night blindness: he does not see what is happening under his nose. By the way, his clerk, the favorite of Madame Kuroslepova, has a characteristic name - Narkis.

If you look through the works of A.N. Ostrovsky, you can find many characters with telling names. These are Samson Silych Bolshov, a wealthy merchant, and Lazar Elizarich Podkhalyuzin, his clerk (the play "Our people - we will settle"); Egor Dmitrievich Glumov from the drama "Enough Stupidity for Every Wise Man", who really mocks those around him; an actress of the provincial theater Negina from "Talents and Admirers" and a lover of delicate treatment, the merchant Velikatov.

In the play "The Forest" Ostrovsky persistently names the characters with names associated with the concepts of "happiness and misfortune", as well as with "paradise, arcadia". No wonder the name of the landowner Gurmyzhskaya is Raisa. Yes, and the root of the surname of Raisa Pavlovna leads to certain reflections. A.V.Superanskaya and A.V.Suslova write about this: “The name of Raisa Gurmyzhskaya, a rich landowner, in Russian is consonant with the word “paradise”. The clue to her last name can be found in another play by Ostrovsky - “The Snow Maiden” - In the words of Mizgir, who tells about the wonderful island of Gurmyz in the middle of the warm sea, where there are a lot of pearls, where there is heavenly life.

And about the stage names of the provincial actors Schastlivtsev and Neschastlivtsev, the same authors write as follows: “Ostrovsky remains an unsurpassed master of names and surnames. So, in the play "Forest" he shows the provincial actors Schastlivtsev and Neschastlivtsev. Yes, not just Schastlivtseva, but Arcadia (cf. Arcadia - the legendary happy country inhabited by shepherdesses and shepherdesses). Gennady Neschastlivtsev (Gennady - Greek noble) is a noble tragic actor. And their common fate seems especially tragic against the background of these names.

So, one of Ostrovsky's methods of forming surnames is metaphorization (figurative meaning). So, the surname Berkutov (“Wolves and sheep”) and Korshunov (“Poverty is not a vice”) are formed from the names of birds of prey: the golden eagle is a strong mountain eagle, sharp-sighted, bloodthirsty; a kite is a weaker predator, capable of grabbing smaller prey. If the character with the surname Berkut is from the breed of "wolves" (which is emphasized by the title of the play) and "swallows" a large fortune, then Korshunov in the play dreams of stealing, like a chicken, from his father's house a weak, fragile creature (Lyubov Gordeevna).

Many of Ostrovsky's surnames are formed from common words (names of animals, birds, fish) with a pronounced negative meaning: they seem to characterize people according to the properties that are inherent in animals. Baranchevsky and Pereyarkov are stupid as sheep; Lisavsky is cunning, like a fox; Kukushkina is selfish and heartless, like a cuckoo...

The surname of Ostrovsky can also indicate the appearance of a person: Puzatov, Borodavkin, Pleshakov, Kurchaev, Belotelova; in the manner of behavior: Gnevyshev, Gromilov, Lyutov, Groznov; on lifestyle: Baklushin, Pogulyaev, Dosuzhaev; on the social and financial situation: Bolshov, Velikatov ... And the names Goltsov, Mykin, Tugina, Kruchinina indicate the difficult, full of need and deprivation, the life of their bearers.

Almost a third of all the surnames in the playwright’s works are of dialect origin: Velikatov (“Talents and Admirers”) from Velaty, that is, “stately, prominent, important, swaggering, proud, polite, able to treat people, inspiring respect for himself”; Lynyaev (“Wolves and Sheep”) from shirking, that is, “shirking, evading business” (V.I. purchase and sale”, Zhadov (“Profitable place”) from to wait - in the old meaning: “to experience a strong desire”.

Ostrovsky’s plays are rich in funny surnames: Razlyulyaev (“Poverty is not a vice”), Malomalsky (“Don’t get into your sleigh”), Nedonoskov and Nedorostkov (“Jokers”) ...

As a "building material" for the formation of the names of the characters, Ostrovsky does not often, but uses distorted foreign words: Paratov ("Dowry") from the French "parade" (does everything for show, likes to show off, splurge. In the theater A.N. Ostrovsky, the speaking names are so precise and significant that it is time to talk about the virtuoso, phenomenal mastery of this technique by the playwright.

2.5. Parody names in the work of M.E. Saltykov - Shchedrin, Kozma Prutkov

It is well known that when some phenomenon or phenomenon of culture reaches a certain level, becomes universally known and popular, they begin to parody it. So it is with speaking names. We have already partly touched on the fact that Gogol parodied some noble families. By the way, M.E. has many such surnames. Saltykov-Shchedrin: Interception-Zalikhvatsky from "The History of a City", Serpukhov-Catch up, Uryupinsky-Dezzhay from "Abroad", Peresvet-Toad from "Satire in Prose". However, in this case, we were dealing with a rather social, political, and only then a literary phenomenon.

In the full sense, parodic names and, accordingly, heroes appear in the work of Kozma Prutkov, created by the friendly efforts of A.K. Tolstoy and the Zhemchuzhnikov brothers. Is it any wonder that the heroes of the comedy "Fantasy" are completely parodic names. So, the hero, whom the authors present as a “decent person”, bears the surname Kutilo-Zavaldaisky; “a shy person”, of course, is called Shameless. "The Man Selling Soap" in this comedy turns out to be Prince Kasyan Rodionovich Batog-Batyev. In this double surname, both Baty and the Batogs found a place for themselves. An obvious roll call with the name of Manilov's son is the name of Femistocles Miltiadovich Razorvaki. And in the drama "Love and Silin" Kozma Prutkov brings General Kislozvezdova, "a dumb but voluptuous widow", and Silva-don-Alonzo-Bastard, "a visiting Gishpanets", onto the stage.

No less parodic and funny are the names of the comedy "Skulls, that is, a phrenologist." Here is Shishkengolm, “a phrenologist, a cheerful old man, bald, with a knobby skull,” here is Vikhorin, “a civil official. Shaved face, bald, in a wig. Know, because he and Vikhorin.

Parody always co-exists in parallel with what it makes fun of.

It can be assumed that the playwrights of later eras had to change the speaking names of the characters. The work of Anton Pavlovich Chekhov is a vivid confirmation of this.