Select material from additional literature image of a prostakov. Rereading the classics: the image of Prostakova and her role in Fonvizin's comedy "Undergrowth

characteristics of Mrs. Prostakova?

1. A noblewoman, lives in the countryside, has serfs, in a word, a typical example of the wife of a Russian landowner. She is the mistress of the house and keeps everything under her control - from household trifles to her own husband, who does not dare to argue with her in any way.
   Prostakova is illiterate and uneducated and considers literacy an unnecessary luxury that can only spoil a person. The concepts of conscience and honesty are not familiar to the heroine. Prostakova strives to look no worse than other landowners and wants to give her son Mitrofan, who is Prostakova's main joy, an education worthy of a nobleman, hires him a German teacher. But she does this only because of the metropolitan fashion and does not care about how and what her son will be taught.
   The main thing for Prostakova is her own well-being and the well-being of her son. She will go to any deceit and meanness, using all the tricks and tricks, just so as not to lose her well-being. She lives according to her established principles, the main of which is unscrupulousness.
2. PROSTAKOVA the heroine of the comedy by D. I. Fonvizin Undergrowth (1781). The plot of Fonvizin's play is built around the events taking place in the village where the entire Prostakov-Skotinin family lives in anticipation of the wedding conspiracy of Taras Skotinin with a distant relative of the Prostakovs Sophia. A story familiar to Fonvizin's contemporaries in the average, petty-bourgeois genre of literature, which brought its characters closer to the real life of Russian wealthy nobles and petty bourgeois. Mrs. P. lives like thousands of her compatriots in the Russian expanses: manages the household, beats her husband, keeps the courtyards in horror, brings up her son Mitrofanushka, prepares him for people. Now I scold, now I fight, and that is how the house is kept, P. herself ingenuously admits. The stage life of the heroine Fonvizin is replete with turbulent events. The intrigue of the play is mainly driven by her: she conspires with her brother without the consent of the bride Sophia, but, having learned from the letter of Uncle Starodum that Sophia has become a rich bride, she decides to marry Mitrofan to her. Changing tactics and pacifying the raging Skotinin, P., in the heat of a fight, discovers in his house Starodum, who had come for Sophia. Having learned that he already has a groom for his niece in mind, he tries to forcefully marry Sophia with Mitrofan, for which he organizes the kidnapping of the girl. The house jailer, an evil fury in relations with her husband and brother, P. recklessly, actively creates the history of the house in the image that was laid into her being by the worldly skills of the great and ancient family of Pri-plodin-Skotinins. V. O. Klyuchevsky calls the sodom of untidy instincts that way of life that reproduces P. Her power given to her by law, the power of wild self-affirming impudence, is not opposed in public morality. She, outrageous in the house, manages to remain within the framework of the tacitly accepted norms of behavior: Am I not powerful in my people. The curbing of P. that happened in the final was an accident, which was immediately understood by Fonvizin's contemporaries, and partly by the characters of the comedy. Even Eremeevna, betrayed by Prostakov with all her heart, peering at the unconscious hostess, clasping her hands, says: She will wake up, my father, she will wake up. There is only one line in the plot, which has a deep dramatic content for P.. This is her relationship with Mitrofan: mother's son, just like herself, without neglecting any means, achieves the fulfillment of her desires, consisting in gluttony and idleness. He, seeing that the mother's plans have collapsed and everything is going to hell, in response to her impulse: You alone stayed with me, declares: Get rid of it And the evil fury faints from shock. Waking up, in despair, P. exclaims: I have no son.
3. The central character of the play is Mrs. Prostakova. She manages the household, beats her husband, keeps the courtyards in horror, and brings up her son Mitrofan. "I scold, then I fight, and that's how the house is kept." No one dares to oppose her power: "Am I not powerful in my people?".
   The speech characteristic is the main way to create the character of Prostakova. The heroine's language changes depending on who she is addressing. Mrs. Prostakova calls the servants "thieves", "canals", "beast", "dog's daughter". Mitrofan is addressed: "my friend of the heart", "darling". Guests are greeted with respect: "I recommend you a dear guest", "you are welcome."
   There are also tragic elements in the image of Prostakova. This ignorant and greedy "despicable fury" loves and sincerely cares for her son. At the end of the play, rejected by Mitrofan, she becomes humiliated and pitiful.

- Miss Prostakova. The playwright portrays her vividly and realistically. Before us is a living face, we see Prostakova, we understand all her simple primitive psychology, we understand why and how the character of this “despicable fury”, as Pravdin calls her, has developed. The first thing that catches your eye when you read "Undergrowth", or see the production of this comedy, is the extraordinary rudeness of Mrs. Prostakova: the first act begins with the fact that she scolds the tailor Trishka, calling him "cattle, thieves' mug and blockhead" . The same rudeness is visible in her words addressed to her husband, to her brother. But in the treatment of servants, not only rudeness is visible, but also inhuman cruelty. Upon learning that the girl Palashka fell ill, fell ill and was delirious, Prostakova exclaims: “Ah, she is a beast! Lies! Delirious, you bastard! Like she's noble!" She tells her husband to punish Trishka the tailor because, in her opinion, the caftan that he sewed for Mitrofan does not fit well. "Rogues! the thieves! scammers! beat everyone to death!" she shouts at the people. Prostakova considers ill-treatment of servants not only her right, but also her duty: “I manage everything myself, father,” she says to Pravdin, “from morning to evening, as if hanging by the tongue, I don’t rest my hands: I scold, then I fight, That's how the house holds up!" She completely ruined her serfs with dues, and she herself says this: “since we robbed everything that the peasants had, we can’t tear anything off.” Her brother, Skotinin, does the same with his peasants: “No matter how much the neighbors offended me, no matter how much damage they did,” he says, “I didn’t hit anyone with my forehead: and any loss, than to go after him, I’ll tear off their own peasants, so ends up in the water.

Heroes of "Undergrowth" Fonvizin

Brother and sister received the same education, which partly explains the roughness of their morals. Prostakova herself says that their father had eighteen brothers and sisters, but, except for her and her brother, they all “tried on”; it is clear that the children grew up without any supervision: “some of the dead were pulled out of the bath; three, having sipped milk from a copper pot, died; two of the Saint fell from the bell tower; but the ones who got to the ground weren’t standing by themselves…” The children weren’t taught anything at home. The father got angry when "kind people" persuaded him to send his son to school, and shouted: "I will curse the child who learns something from the infidels, and if it weren't for Skotinin, who wants to learn something."

In a conversation with Starodum, Prostakova completes a portrait of her father: “The dead father,” she says, “was a governor for fifteen years, and with that he deigned to die because he did not know how to read and write, but he knew how to earn enough and save. He used to always receive petitioners while sitting on an iron chest. After each, the chest will open and put something. At the same time, he was a great "economist", in other words, a miserly miser. “A dead man, light,” Prostakov ends his story, “lying on a chest with money, he died, so to speak, of hunger.” The example of such a father and the upbringing given to his children was reflected in the character and views of Prostakova.

Fonvizin. Undergrowth. Performance of the Maly Theater

However, agreeing with her father that “people live and lived without science,” Prostakova tries to give her son Mitrofanushka some kind of education. Following the requirements of the time, she even herself says to Mitrofan: "live for a century, learn for a century." She understands that now you won’t get big ranks without a diploma. Therefore, for the third year now, the seminarian Kuteikin has been teaching Mitrofan to read and write, the retired soldier Tsyfirkin - arithmetic, and the German Vralman, who enjoys special honor in the house, as a foreigner, all the sciences. Prostakova spares nothing in order to bring Mitrofanushka to the people, but, herself not understanding anything in the sciences, she interferes in the lessons, stupidly prevents teachers from doing their job and indulges Mitrofan's laziness.

Prostakova's insane love for her son is the only good feature of her character, although, in essence, this is a primitive, rude feeling; Prostakova herself compares her love for her son with the natural attachment of a dog to his puppy. But love for her son, whatever it may be, takes first place in all the actions and thoughts of Mrs. Prostakova. Mitrofan is the center and meaning of her life. For his sake, she is ready to commit a crime, trying to take Sophia away and forcibly marry her to Mitrofan. Therefore, when all her atrocities are revealed, when Pravdin takes custody of her estate for inhuman treatment of servants and threatens to bring her to justice, seeing that her power and strength have been taken away from her, she rushes to her adored son: “You alone remained with me , my heart friend, Mitrofanushka! - And when Mitrofan, in response to this cry of her mother's heart, rudely pushes her away: "Yes, get rid of it, mother, how you imposed it!" - she can not stand her grief and with the words: “And you! And you're leaving me!" loses his senses. At this moment, one involuntarily feels sorry for Madame Prostakov; the author managed to portray her really, like a living person. Pointing to her, Starodum says the well-known final words of the comedy: “Here are worthy fruits of malevolence!”

Prostakov.

The ideological plan determined the composition of the characters of the "Undergrowth". The comedy depicts typical feudal landlords (Prostakovs, Skotinin), their serf servants (Eremeevna and Trishka), teachers (Tsyfirkin, Kuteikin and Vralman) and contrasts them with such advanced nobles as, according to Fonvizin, all Russian nobility should be: in the public service (Pravdin), in the field of economic activity (Starodum), in military service (Milon).

The image of Sophia, an intelligent and enlightened girl, contributes to a more complete disclosure of Prostakova's willfulness and ignorance; Sophia is connected with all the struggle that takes place in the "comedy".

The main face of the comedy is the landowner Prostakova. - rough and unbridled nature. She is impudent when she meets no resistance, and at the same time she is cowardly when she encounters strength. Merciless to those who are in her power, she humiliates herself, ready to wallow at her feet, begging for forgiveness from someone who is stronger than her (the scene with Pravdin at the end of the comedy), she is ignorant simpleton. She is hostile to enlightenment; from her point of view, education is superfluous: “Without the sciences, people live and lived,” she says. Only in obedience to necessity, wanting to "bring to the people" Mitrofan, she hires teachers for him, but she herself interferes with his teaching. In relations with people, she is guided only by rough calculation, personal gain. Such, for example, is her attitude towards Starodum and Sophia. For the sake of personal gain, she is even capable of committing a crime (an attempt to kidnap Sophia in order to forcibly marry her to Mitrofan).

Prostakova has no moral concepts: a sense of duty, philanthropy, a sense of human dignity.

A staunch inveterate serf-owner, she considers serfs to be her complete property: she can do whatever she pleases with them. No matter how hard her servants and peasants strain at work, they cannot please their ferocious owner. The illness of a serf infuriates her “Lies! Oh, she's a beast! Lies! As if noble!.. Delirious, beast! As if noble! Even Eremeevna, devoted to her, Mitrofan's nanny, who is trying in every possible way to please her, Prostakova calls nothing more than an "old witch", "a dog's daughter" and a "bad mug".

Prostakova believes that it is possible to manage the economy only with the help of swearing and beatings. She herself tells Pravdin about this, naively believing that the methods of her management are worthy of all praise: That's how the house is kept, my father. She completely robbed the peasants, squeezed everything she could out of them. “Since everything,” she lamented to her brother, “whatever the peasants had, we have taken away, we can’t rip anything off. Such a disaster!

Prostakova is despotic and rude not only in relation to the serfs. She does not put a dull, timid and weak-willed husband in anything and pushes him around as she wants. Teachers Mitrofan, Kuteika-nu and Tsyfirkin, do not pay salaries for a year.

Only Prostakova treats her son Mitrofan differently. She loves him, is tender to him) Caring for his happiness and well-being is the main content of her life. “One of my concerns, one of my joys is Mitrofanushka,” she says. She compares her motherly love to a dog's affection for her puppy. Therefore, her blind, unreasonable, ugly love for her son brings neither Mitrofan nor herself anything but harm.

The character of Prostakova, the degree of her mental development, the position of a landowner and sovereign mistress in the house, her attitude towards people around her - all this is expressively and vividly reflected in her speech.

So, she calls Trishka "a swindler, a thief, a slot, a thieves' mug, a blockhead", Eremeevna - a "beast". Her dismissive attitude towards her husband is expressed both in mockery of him: "You yourself are baggy, smart head," and in rude shouts: "Why are you so delusional today, my father?" "The whole century, sir, you walk, I weigh my ears." She calls her husband a "freak", "dead". But her speech becomes different in appeals to her son: “Mitrofanushka, my friend; my friend of the heart; son", etc.

At first, Prostakova treats Sophia roughly tyrannically: "No, ma'am, these are your inventions, in order to intimidate us with your uncle, so that we give you freedom." “Oh, mother! I know that you are a craftswoman, but dashing, I don’t really believe you. When she finds out that Sofya has become a rich heiress, the tone of her speech changes dramatically: “Congratulations, Sofyushka! Congratulations, my soul!

Prostakova's lack of culture is reflected in her use of vernacular: first - instead of the first, looking - instead of more, girls - instead of the girl.

But Prostakova is a landowner; in her midst, she also heard the speech of people of that time close to the literary language. Therefore, in her speech there are (albeit rarely) bookish-literary words and phrases, although somewhat distorted: “amorous writing”; “this is from the officer who was looking to marry you”; "I recommend you our dear guest, Mr. Pravdin"

Ingratiatingly, flatteringly, she turns to Starodum: “Our priceless guest! Would it really be necessary to meet our own father, on whom we have all hope, who we have alone, like gunpowder in the eye.

The image of Prostakova, vividly and truthfully drawn, acquires even greater persuasiveness, vitality, especially because Fonvizin shows the conditions under the influence of which her character was formed and took on such ugly forms. Prostakova grew up in a family characterized by extreme ignorance. Neither father nor mother gave her any education, did not instill any moral rules, did not lay anything good in her soul from childhood, but the conditions of serfdom - her position as the sovereign owner of serfs - influenced her even more strongly. Unrestrained by any moral foundations, full of consciousness of her unlimited power and impunity, she turned into an "inhuman mistress", a tyrant-fiend.

Prostakov, whose characteristics are the subject of this review, is a minor character in the well-known comedy by D. I. Fonvizin "Undergrowth". He is interesting in that he sets off the character traits of his wayward wife, who occupies a prominent place in the work. He is the father of the protagonist Mitrofanushka, and his personality partly explains the disposition of the young man, who is described by the author as a spoiled young man of a narrow mind.

Personality

When analyzing this play, special attention should be paid to the role that Prostakov plays in the development of the plot. The characterization of this hero will allow students to understand the lifestyle that this noble family led. Schoolchildren need to point out the character's last name, which from the very beginning gives readers a hint of what to expect from this person.

Indeed, Prostakov is very simple-hearted by nature, he almost never thinks about anything, allowing his wife to run the household and raise his son. He is timid and even downtrodden: anyone can be rude to him, for example, his wife is often rude to him and does not hesitate in expressions, allowing herself rather sharp, contemptuous and mocking remarks about her husband.

Hero Image

Prostakov, whose characterization must necessarily include an analysis of the degree of his education, judging by the reviews of others, is a man of a narrow mind. This explains the fact that his wife seized all power in the house and estate in her own hands. He does not have his own opinion, he completely provided his wife with a solution to domestic problems. The hero periodically emphasizes that he relies on her in everything, and this once again proves that she is the real mistress in the house.

Obviously, Fonvizin in this case plays on the contrast: a timid husband and a cruel wife. Prostakov, whose characterization is impossible without comparison with the image of his wife, under the pen of a talented playwright looks like her complete opposite. In general scenes, this difference between the characters is especially striking to the reader. The author created a comedy of situations in which each character is the bearer of some kind of shortcoming, and at the same time criticized the social reality of his contemporary time, when the landowners led an idle lifestyle.

Social overtones

The characterization of Prostakov should include an analysis of his social position: without this, it will be impossible to understand the author's idea. The fact is that Fonvizin created a work that was relevant for his time. Therefore, all of his characters are very recognizable, situations typical of Russian reality in the second half of the 18th century.

The hero is a nobleman, a landowner, i.e., a representative of that estate, which at the time in question was privileged and considered dominant. These people enjoyed all the privileges that the government gave them. Under Catherine II, they were exempted from compulsory military and civil service, which from now on became voluntary. Therefore, many remained in the countryside, on their estates, doing household chores or spending their time idly.

Mitrofanushka's father also belongs to the latter category. But Mrs. Prostakova took care of the house. The characteristic of this heroine shows the image of a cruel, but outstanding woman. She does housework and takes care of raising her son, while her husband does nothing at all. Rather, he resembles a child who also needs care and attention. So the author ridiculed many noble landowners who did not bother with any obligations and refused to serve. Therefore, the play turned out to be especially relevant, lively and recognizable.

Appearance

Prostakov's characterization should also include a brief overview of his behavior and appearance. Judging by the remarks of his wife and those around him, the hero looks like a confused and absent-minded person. He is inattentive, slow, sluggish. Often he cannot find an answer, stutters and finds words with difficulty. The hero is somewhat baggy, his clothes, judging by the comments of his wife, do not sit well on him.

Mrs. Prostakova, whose characterization reveals her as an imperious woman, but not devoid of some taste, takes care of the costume for her husband. Obviously, he has no sense of style, and he does not care at all how he looks in public and in society. The hero obviously doesn't have what she called good, social manners. He does not know how to receive guests according to etiquette and is only somewhat lost in the presence of outside visitors.

Hero Comparison

As a rule, the characterization of the Prostakovs does not cause great difficulties for students. "Undergrowth" is a play which, as mentioned above, is a comedy of positions and characters. All characters are revealed both through their own remarks and through the statements and comments of others. The Prostakovs were no exception in this regard. Despite the striking difference in their characters, both have one thing in common - this is their blind love for their son. Mitrofanushka's father, like his mother, understands all his shortcomings: laziness, stupidity and short-sightedness, but does not make any attempts to correct the young man. Perhaps this is the main mistake of both characters.

Spouses relationship

In the analysis of the play under consideration, the characterization of the Prostakovs occupies an important place. "Undergrowth" is a work in which the author convexly and vividly depicted representatives of the nobility, as well as the emerging intelligentsia. The protagonist's parents are quite recognizable by their relationship to each other, as well as to their son. Mrs. Prostakova does not respect her husband and does not perceive him as the owner of the estate. In turn, the latter puts up with the role assigned to him. However, this character is interesting because he says everything he thinks. Thus, the characterization of Prostakov from the comedy "Undergrowth" allows us to better understand the image of his wife, who occupies the main place in the whole work.

He is frank in his statements, naive and simple-hearted, which causes great irritation in his wife, who prefers to go to various tricks and tricks in order to achieve her goal. Often the reader sees what is happening through his eyes. He wants to believe, because he is so good-natured that he is incapable of lying.

He described non-trivial characters in the work, whose names are used today as common nouns to describe characteristic types. Mrs. Prostakova is the mother of the protagonist. She is one of the negative heroes of the comedy. A cruel serf-owner, everywhere showing despotism, she is greedy and contemptible. Sometimes her actions provoke ridicule. The characteristic of this image is thought out by Fonvizin to the smallest detail, and the character is distinguished by psychologism.

History of creation

The idea of ​​​​creating a play originated with Fonvizin in 1778, and the work was completed in 1782. At this time came the era of government. The heroes of the work became the personification of typical representatives of the then society. At that time, the cult of an enlightened monarchy and an upsurge in scientific and cultural development reigned in the country. The empress herself condoned that the townspeople and nobles followed the propagandized idea of ​​enlightenment.

Working on comedy, Fonvizin shared the ideas inherent in the representative of his social status. In comedy, he reflected the real state of affairs, demonstrating the weaknesses of the implemented policy. The play has become an example of classical dramaturgy. The work uses "speaking" surnames, which also allows us to classify it as an example of classicism. The positive characters in the story include Sophia, and Milon, and the negative ones - Prostakov, and himself. The names of the characters reveal the dominant feature in their images. So, for example, Pravdin becomes the bearer of morality in comedy.

Role in the play "Undergrowth"

The work clearly demonstrates how the upbringing and morals instilled in the family shape the personality and traits of its character. Prostakova grew up in a landowner's family, where a penchant for education was not encouraged. Material wealth in her family was valued higher, so cruelty towards serfs is inherent in the landowner at the genetic level, out of a thirst to cash in. It is worth recalling that she was one of eighteen children. Only two children survived in the family. Even taking into account the mortality statistics, this fact is horrific.

The biography of Prostakova was not conducive to broadening her horizons. Her husband was not burdened with knowledge and ambition. The husband could not positively influence her, since stupidity and passivity characterized him too. They were flavored with cowardice and unwillingness to take responsibility. The need to take on the role of mistress of the house and head of the family made Prostakova rude, strengthened her negative qualities.

At the same time, the landowner, who is perceived only as an evil fury, is a caring mother. Mitrofanushka is her only love. The son, like the husband, does not appreciate the efforts of a woman. Grief falls on the landowner when Mitrofan decides to leave her, and her husband does not come to the defense of Prostakova.

The son of a despotic mistress was no different from his mother. He was narrow-minded, greedy and rude. At the age of 16, he was known as an infantile fellow, incapable of independence. The lazy man had fun, not knowing the worries and hardships of real life. His mother raised him in love, protecting him from labor, so the young man grew up as a "sissy".

Mitrofan obeys his mother in everything and, like her, does not recognize the effect of education. When the question of marrying Sophia arises, it turns out that he does not understand the meaning of marriage, because he simply has not grown up to it. Marriage becomes a means of improving the well-being of the family. The young man's refusal from his mother is natural, because she herself instilled disrespect for the family, dependence on money and power. Pravdin, as the owner, is of greater interest to Mitrofan than his mother. The lack of father's authority and lack of education led to a situation in which Prostakova is deprived of the most important thing that she has.

Prostakova is opposed to Pravdin and Starodum, who stand up for enlightenment, reproaching the outdated way practiced by the landowners. Like Prostakova, Starodum is the father of a representative of a new generation, but his attitude to education differs from the rules established in the house of a future relative. The landowner instills in Sophia a love of learning, a craving for knowledge and reflection.

He nurtures personality. The views of the heroes on the management of the estate differ, as well as the views on the relationship with the serfs. Enlightener Pravdin saves the peasants of Prostakova, saving them from the usual cruelty of the landowner.

Contrasting two radically different points of view, the author of the work emphasized the need for social reforms. With all the stupidity and severity, Prostakova represents the nobility, whose foundations have become obsolete, and a disappointed woman who dramatically lost everything she had. Contrary to the dramatic canons, the negative character, the landowner, evokes pity and sympathy. The psychologism inherent in the image makes it innovative.

Quotes

Illustration for the play "Undergrowth"

The speech of the landowner Prostakova characterizes the approach to managing the peasants and the usual way of life. The phrases that she uses in the dialogues eloquently describe the disastrous situation in which the serfs found themselves because of the stupidity of the mistress and her lack of interest in education.

“...everything that the peasants had, we took away, we can’t rip anything off. Such a disaster! - clearly demonstrates the stinginess, greed and despotism of Prostakova, who is ready to rob her own peasants naked.

The woman treats the serfs as if they were plebeians, scolding them without hesitation, what the world stands on.

“... And you, cattle, come closer...”, she says to the tailor Trishka, humiliating him.

Prostakova considers constant showdowns with serfs a job that takes time and effort. Although her appearance does not suggest that a woman can get into a fight with ordinary men, in reality it turns out differently:

“... From morning to evening, as if hanged by the tongue, I don’t lay my hands on: either I scold, or I fight; That's how the house is kept, my father! - Prostakova complains.

Greed, inability to competently manage, lack of interest in the right approach in communication fully characterize Prostakova.