Julia KUVSHINOV

Yulia Sergeevna KUVSHINOVA (1982) - teacher of Russian language and literature. Lives in the Moscow region.

Speech characteristics of the heroes of the comedy D.I. Fonvizin "Undergrowth"

Turning to this topic will allow us to consider many others raised in comedy.

During the conversation, you can repeat the theoretical and literary concepts.

Name the features of drama as a kind of literature.

How is drama different from epic and poetry?

What are the genres of drama?

The play was staged in St. Petersburg in 1782, published in 1783, and went through four editions during the author's lifetime.

"Undergrowth" is the pinnacle of Fonvizin's work, the first Russian comedy created during the time of Russian classicism.

Name the features of classicism as a literary movement.

The educational orientation of literature (the writers sought to influence the mind of a person in order to correct the vices of society), the doctrine of the three “calms”, the speaking names of the heroes, their division into positive and negative, the trinity of place, time and action - all these are the main features and rules of classicism.

In his comedy, Fonvizin deviates to a large extent from these rules, although he builds it in accordance with the norms of classicism.

Undoubtedly the merit of Fonvizin in creating the spoken language of comedy. Fonvizin's true innovation lay in the widespread use of colloquial speech, in the principles of its selection, in the mastery of individualization. All this is all the more important because in the second half of the 18th century a common Russian literary language was being formed, and Fonvizin actually acted as an active participant in this process.

A clear division of heroes into positive and negative by all comedians of that time entailed the need to differentiate the speech of heroes. The language of goodies, bearers of abstract virtues, is bookish and literary, saturated with Slavic vocabulary, many paraphrases, and complex syntactic constructions.

The images of goodies in Fonvizin's comedy "Undergrowth" at first glance were created in the same traditions. The language of Sophia, Milon, Pravdin is bookish, colloquial vocabulary is almost never used.

However, Fonvizin's comedy differs sharply from others.

In Fonvizin, we not only see the actions of positive heroes, but also recognize their moral ideal - honest service to the Fatherland, intolerant attitude towards vice, injustice. The educated, progressively thinking heroes of Fonvizin express the innermost thoughts of the author, who was close to the noble opposition during the reign of Catherine II - this is the main ideological and artistic function of positive heroes. Therefore, the high syllable of their speech is psychologically motivated. And this distinguishes their speech from the speech of abstract goodies in other comedies - wise fathers, honest, devoted friends, and so on.

The foregoing should first of all refer to Starodum. This is the author's favorite hero, his second "I". The desire for realism, which characterizes the comedy of Fonvizin, clearly affected the creation of the speech characteristics of Starodum.

The speech of Starodum is first of all speaker's speech. He, according to Fonvizin, should convey new ideas to the reader, interpret them. That's why his speech is figurative, aphoristic.

An ignoramus without a soul is a beast; It is much more honest to be bypassed without guilt than to be granted without merit; Have a heart, have a soul, and you will be a man at all times; Cash is not cash denominations; Golden blockhead - everything is a blockhead; Enlightenment elevates one virtuous soul; Sincere respect is worthy only of those who are in ranks not according to money, but in the nobility not according to ranks.

In the speech of Starodum, Fonvizin consistently shows how the choice of a word depends on the speech situation, which was typical for the colloquial speech of educated people of the second half of XVIII century. So, when he has nothing to talk about with his interlocutor (for example, with the ignorant Prostakova), his remarks become monosyllabic, he is ironic, often using such colloquial words as conceive, this, the master of interpretation, bah! I have tea; postpositive particles (think about it). He seems to adapt to the vocabulary of his interlocutor.

In addition, using the example of Starodum's speech, Fonvizin showed for the first time that the older generation of educated nobles spoke more simply than the younger ones, his speech is closer to the colloquial one. So, Starodum uses if(Milon - will), nonche, survived, help, stagger in the front, just now, rich man, get out("leave"), rubles.

Unlike other playwrights, Fonvizin creates individual speech characteristics of positive characters. So, the speech of Starodum is simpler, more concrete, more figurative than the speech of Pravdin, Milon. Starodum plays a peculiar role of an interpreter, an intermediary between the feudal lords and his truth-seeking friends. It is he who can explain himself to Skotinin, “laughing” to find a common language with him, while Milon is only able to exclaim about Skotinin’s remarks:

What impudence... I can hardly restrain myself... What a bestial comparison!

It is Starodum who knows how to understand the peculiar logic of Mitrofan, who reveals his “knowledge” in the field of grammar: “So that’s why you have the word fool as an adjective, because it is attached to a stupid person?” (To which Mitrofan replies: “And it’s known.”) When Prostakova asks Pravdin and Starodum to explain to her what “eorgafia” is, Pravdin gives an answer that Prostakova does not understand: “Description of the earth”, and Starodum explains to her in such a way that she immediately understands ( and defines his attitude to geography as follows: “Science is not noble.” Condemning Prostakova, Starodum, unlike Milon and Pravdin, does not philosophize, does not suppress her with abstractions, but simply says in response to her exclamation that she is a person, not an angel:

I know, I know that a person cannot be an angel. And you don't have to be black.

In the first dialogue between Pravdin and Starodum, there is even some opposition between the speech manner of one and the way the other expresses himself. The courtly phrases of Pravdin, not only a noble, but also an exquisitely polite person, differ quite sharply from Starodum’s replicas with his appeals to “you”, his habit of interrupting the interlocutor’s speech. It seems that the nobleman of the Catherine's era is talking with the close associate of Peter I, the nobility of the first is clothed in exquisite forms, the wisdom of the second is simple and unsophisticated, quite in the style of the great sovereign.

Pravdin. As soon as they got up from the table, and I went to the window and saw your carriage, then, without telling anyone, I ran out to meet you to hug you with all my heart. My heartfelt respect to you...

Starodum. It is precious to me. Believe me.

Pravdin. Your friendship with me is all the more flattering because you cannot have it with others, except for such ...

Starodum. What are you. I speak without ranks. The ranks begin - it stops ...

Pravdin. Your walk...

Starodum. Many people laugh at him. I know it...

But such opposition is only hinted at. Starodum’s “Peter’s” style is not sustained to the end, and in many scenes the difference between him and Truthful, Milon is erased. In the same dialogue, Starodum departs from the style of simplicity and artlessness, speaking almost the same way as Pravdin.

Starodum. I did not know how to guard against the first movements of my irritated piety. Fervor did not allow me then to judge that a downright pious person is jealous of deeds, and not of ranks ...

If a sense of humor sometimes affects Starodum's speech, then Pravdin and Milon speak quite seriously, not allowing or understanding jokes. This is how it should be: their word is inflexible, unambiguous, it expresses a thought, but does not convey semantic nuances. For example, the jokes of Sophia, who supposedly sympathetically talks about Mitrofan, “torment” Milon, cause jealousy in him, and even when he finally realized that she was joking, he still reproaches her: how can you joke with such a passionate, serious and virtuous human?

All this, in the understanding of Fonvizin, does not in the least contradict his plan to present Pravdin and Milon as goodies in a comedy. Their speech should be liked by the severity and classical beauty of the abstractions that make up the harmonious building of the educational program. Abstractions are perceived and experienced by positive characters emotionally: such, for example, a word as virtue, causes them ecstasy, excitement.

Starodum. ... I caress that my ardor does not deceive me, that virtue ...

Sophia. You filled all my senses with it. (Rushing to kiss his hands.) Where is she?

Starodum (kissing her hands). She's in your soul...

This is the end of the conversation that not love, but reason and good manners should be the basis of marriage. The bride does not just agree with her uncle - for her this rule was an exciting revelation and a source of stormy joy.

In general, the speech of positive characters is not yet so bright, and this is primarily due to the fact that they practically do not use colloquial, colloquial phrases. The book speech of educated people of that time was characterized by the absence of emotions. Clarity, correctness, uniformity - these are the distinguishing features of the speech characteristics of positive characters. You understand the meaning of what they say from the immediate meaning of the words. For the rest of the characters, the meaning and essence can be caught in the very dynamics of the conversation. The speech of positive characters is used by the author to express his thoughts.

With creating images of negative characters, Fonvizin reproduces a lively, laid-back
speech.

For bad guys characteristic is the use of folk proverbs, sayings, phraseological turns, which gives the landowner a national flavor.

Ms. Prostakova (behind the scenes). Rogues! The thieves! Fraudsters! All nail command to death!

I'm sorry! Ah, father .. Well! Now something I will let you know channels to my people...

(On my knees). Ah, my fathers a fault confessed is half redressed. My sin! Don't ruin me. (To Sofya.) You are my own mother, forgive me. Have mercy on me (pointing to her husband and son) and on the poor orphans.

There are few vernacular and vernacular words in comedy, and these are mostly words that are widely used in everyday speech. Fonvizin carefully selects “reduced” vocabulary; we will not find words in him that are rarely used and therefore attract attention as an alien interspersed in the fabric of the narrative.

He uses colloquial and “reduced” vocabulary to create vivid speech characteristics.

Let's take speech as an example. Prostakova. The impression of Prostakova's ignorance is created primarily by the inclusion in her lexicon of the words colloquial-vernacular, but neutral in an expressive sense: he, de, ba, to the article whether, dostalnye, where, nowhere, looking for("yet"), I have tea, indulge, maybe, intimidate, now, bye, sweat, look, if only, not a little. It is this vocabulary, devoid of expressive load, designed to emphasize the word in speech, to highlight it - this vocabulary creates a “common” background of speech characteristics. Sounding against this background swear words (snout, swindler, thief, thieves' mug, cattle, blockhead, beast, freak, deadhead, canal, mug, witch, countless fool) sharper convey the rudeness, unbridledness, cruelty of Prostakova.

Ms. Prostakova (behind the scenes). Rogues! The thieves! Fraudsters! I order everyone to be beaten to death!

Oh me dog daughter! What have I done!

Insatiable soul! Kuteikin! What is it for?

Note, however, that in the dictionaries of the second half of the 18th century, not all of the indicated words are qualified as stylistically reduced. For example, words like talker, fool, game, mug, mug, kill, stagger, gape are stylistically unlimited. Were quite common in colloquial speech and forms where, nowhere, dosty, baby. The colloquial nature of these words is indicated by their absence in official letters, business documents; in Fonvizin (except for "Undergrowth") they are found in the comedy "Brigadier", in translations of fables, in letters to relatives.

Prostakova's speech reflects dialect features: dialect unions; use of the postpositive term.

Ms Prostakova. I'm sorry! Ah, father!.. Well! Now- then I will let the canals open to my people. Now- then I will take them all one by one. Now- then I'll try to find out who let her out of her hands. No, scammers! No, thieves! I will not forgive a century, I will not forgive this ridicule.

Not free! The nobleman, when he wants, and the servants are not free to flog; yes, what is the order given to us from about the liberty of the nobility?

And with debt then get rid of it?.. Underpaid to teachers...

Prostakova uses book expressions in her speech (“fair fiction”, “amorous letter”).

Most playwrights, reproducing the speech of servants, peasants, local nobles, created a kind of conditional language that differed from living everyday speech by a deliberate concentration of colloquial elements.

Unlike most of his contemporaries, Fonvizin creates the language of comic characters by means of the literary language, using elements of colloquial speech very precisely. By this, he achieves the full plausibility of the speech of Prostakova and other "low" comedy characters. The reader gets the impression that the speech of these heroes reflects the real speech practice of the provincial nobility, servants, and so on.

Obviously, it was this way of creating the speech characteristics of everyday, comic comedy characters that was fruitful - the use of the speech practice of the writer himself, the wide inclusion of colloquial vocabulary and phraseology used in the circle of educated people. Other comedians, contemporaries of Fonvizin, set themselves a similar task, but it was brilliantly resolved only by Fonvizin, who carried it out more fully and more decisively.

The speech of Mitrofan and Skotinin is also replete with proverbs, sayings, jokes, funny puns: I have ... all guilt is to blame; you won’t go around the betrothed by a horse; live happily ever after; a fun feast for the wedding(Skotinin); guilty without guilt(Prostakov); overeat henbane, shoot them, take them, remember their names, stuck with a knife to the throat(Mitrofan).

Prostakov. ...After all, Sofyushkino's real estate cannot be moved to us.

Skotinin. And although the movable has been put forward, I am not a petitioner.

Mitrofanushka even rhymes some words. Worried after a cool conversation with Skotinin, he declares to his mother that he is not able to read hours with Kuteikin.

- Yes! that and look what is from uncle's task; and there from his fists and for the watch book.

The conversations of positive characters are inaccessible to the understanding of Prostakovs and Skotinin, but often they pick up one or another word they know, expressing an abstract concept in the language of Pravdin and Milon, and, comprehending this word in their own way, return it to its original specific meaning. For example:

Pravdin. When only cattle can be happy among you, then your wife will be thin from them and from you. peace.

Skotinin. Bad peace! Ba! bah! bah! do I have enough lights? For her alone I will give coal with a stove bench.

It is clear that Pravdin has in mind peace - a “state of mind”, and Skotinin, understanding it differently, speaks of a room, a room (chambers).

From the very first scene, when Ms. Prostakova scolds her husband, to whom the narrow, in her opinion, caftan seemed baggy (“you yourself are baggy, smart head”), and right up to the last words in the comedy, negative characters, as they say, behind the word don't fit in your pocket.

But all the methods of expressiveness that enliven the speech of Prostakovs and Skotinin, in Fonvizin's poetics, are not methods of creating any attractive image. The reader or viewer, referring to The Undergrowth, judges its negative characters together with the author of the comedy, completely condemning, despite the objectively valuable features of their language.

What are the unattractive features in the language of Fonvizin's feudal lords, compromising them in accordance with the author's intentions? First of all, this an abundance of vulgarisms, harsh and rude words. This is especially evident in the treatment of the Prostakovs with servants and teachers, in comparisons of negative characters with animals - dogs, pigs.

“I want to have my own piglets” (Skotinin wants to have children); “Have you heard that a bitch gave out her puppies” (Prostakova explains her intercession for Mitrofan).

Such parallels and all sorts of vulgarisms serve satirical debunking of heroes- in Fonvizin's comedy they perform exactly this role.

Fonvizin's individualization of speech reaches a high level of perfection: each comic character differs in the nature of his sayings.

Let's say about the language of teachers and servants. The features of their speech are determined by the social position of these characters, the nature of past and present occupations, professions, nationality (Vralman), and so on. First of all, this applies to teachers - Church Slavonic sayings, Kuteikin's book words.

Kuteikin. The call was bykh and came; Would you like to let go? Yes, first of all, let's clear up ... Shamed, accursed.

Vladyko, meal, consistory, battle - soldier's words and "arithmetisms" of Tsyfirkin.

Tsyfirkin (to Pravdin). What will be the order, your honor?

So: for those ten rubles I wore out my boots in two years. We and the tickets.

My pleasure. I served the sovereign for more than twenty years. I took money for the service, I didn’t take it in an empty way and I won’t take it.

What are you complaining about, your honor?

AND! Your honor. I'm a soldier.

Vralman's affectionate speech with the owners is impudently arrogant with the servants.

Vralman (to Pravdin). Fashé fysoko-and-plakhorotie. Did they send me to the sepa to pry? ..

(Recognizing Starodum). Ay! ouch! ouch! ouch! ouch! It's you, my gracious master! (Kissing the floor of the Starodum.) Are you old-fashioned, my father, poshifat isfoly?

Hey no, my darling! Shiuchi with stench hospots, it concerned me that I am a fse with horses.

The speech of the characters in the play is a derivative of social and everyday realities, it is an important means of creating a comic, as well as psychological characteristics of the characters.

Thus, the author manages to overcome the contradiction: on the one hand, his comedy is connected with the traditions of classicism, so all the characters wear speech masks; on the other hand, in the speech characteristics of the characters, he manages to achieve their individualization, which gives the "Undergrowth" the features of realism.

For independent work students can be invited to write an essay "Speech characteristics of Mitrofan and Eremeevna."

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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 bright collective images. One of these characters in comedy is Sophia. Fonvizin's "Undergrowth" is, first of all, a classic comedy that illuminates educational ideas 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. Besides the fact that they are both the most youthful images plays, 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 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 framework of storyline. The girl was brought up in an enlightened noble family, where the most important value was respect and love for parents, good temper, 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 the weak-willed Prostakov, having adopted everything from them. negative traits. 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 household chores 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. Comparative characteristics Sophia in "Undergrowth" makes it clear that in her image Fonvizin portrayed his own ideal of a renewed, enlightened, harmonious personality of enlightenment.

The intrigue of the play is built around it. 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 fall apart, she plots an 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 irritate 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."

Interesting reasoning Sophia about moral values. 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 Sofya 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.

Sofia- 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 (case 2, phenom. V), meekness and obedience to elders are decent for a girl, but she can and must defend her love. When Starodum, not yet knowing Milon, wants to pass S. off as a certain young man, S. is “embarrassed” and believes that the choice of the 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 from 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.