Portrait description of Prostakova in the comedy “Minor. Characteristics and image of the simpleton in the comedy ignorant fonvizin essay Qualities of the simpleton from the comedy ignoramus

Mrs. Prostakova is Mitrofanushka’s mother, one of the main characters of the comedy. She was born into a family with many children, but only she and her brother survived. Prostakova's father was a military servant, after which, being illiterate, he became rich, but he was so greedy that one day he died lying on a chest that was completely filled with gold coins. Prostakova and her brother Skotinin also grew up greedy and rich.

Fonvizin speaks of Prostakova as a wild animal that is capable of “doing bad things to others,” and this is what her maiden name says - the same as that of her brother - Skotinin. She is rude to her peasants, in addition, she took away everything they had. But not only the servants are afraid of their mistress, but also her husband. Prostakova treats him like a servant, forcing him to obey her; his opinion means nothing to her and she pushes him around as she wants, considering herself the mistress of this estate.

She has the only treasure - her sixteen-year-old son Mitrofanushka. The only happiness for Prostakova is the well-being of her son, because she considers it her main parental duty not to deny him anything. But even though Prostakova believes that studying is harmful and even dangerous to health, she still hires foreign teachers for him, considering it “fashionable.”

The landowner Prostakova humiliates and insults all her servants. For example, she accuses Mitrofanushka’s nanny, Eremeevna, of greed because she is worried about Mitrofan overeating buns at lunch. And she calls Trishka a “fraudster” only because he made her son’s caftan the wrong size.

She approaches Starodum with flattery, since he possessed a large sum of money, which he bequeathed to his niece Sofyushka, and Prostakova wanted to marry her Mitrofanushka to her. But because of her selfishness and greed, all her plans collapsed, and she was left with nothing.

Thus, throughout her life, Prostakova’s character was disfigured. Prostakova grew up in a family that was characterized by extreme ignorance, greed and ingratitude. Her parents did not give her or her brother a good upbringing and did not instill any good qualities in her soul. But most of all, the conditions of serfdom affected her - she was the full owner of the serfs. She did not follow any rules and was aware of her complete power over everyone, so she turned into an "inhuman mistress tyrant."

Option 2

Prostakova is not as simple as it seems. Behind the smiles and kind words addressed to the people she needs, there is a lot of anger, envy and cruelty.

It reveals itself in communication with forced people. The serfs suffer from her unfair abuse, from cruel beatings... She does what she wants. And when she is reprimanded (almost judged) she does not understand why she cannot be the mistress of her own home. It’s strange to her that a good master doesn’t swear at his servants. And she doesn’t want, for example, to quarrel with her neighbors; she’d rather take away their money and land from the peasants. That is, so as not to be at a loss. It's the same with nerves, I think. Prostakova will not quarrel with important people, but she needs to “drain” the negativity on someone. And these are her poor servants. She doesn't hear any excuses. For example, at the very beginning she scolds the tailor for a good caftan. The tailor says that he never learned to sew. Prostakova laughs, like, do you really need to study for this?

She pushes her husband around. Doesn't respect him at all. He treats his brother a little better, but also laughs at his simplicity. When poor Sophia is needed as a groom, then he communicates well with him; when she has assigned her son as a groom to a rich woman, then the brother is no longer needed. And she is ready to use everyone to her advantage.

Her politeness does not come from the heart. A good attitude depends on benefits. She offended Sophia, but as soon as she got rich, she became a “darling.” Her politeness (bows, kisses) is unnecessary. Starodub, a rich uncle, also notices this. That is, he is practically nobody to them, they are all seeing him for the first time, but he is already everyone’s “father.” When Sophia's engagement is announced, Prostakova does not stop. She's organizing a bride kidnapping! It turns out that she is ready to do almost anything for the sake of her goals, which are often all fixated on her son.

She is even proud of the fact that she was not taught anything at the time. Believes that education is not necessary for a good life. But he already understands that the “child” needs to be given a good (visible) education.

She loves only her son, Mitrofanushka. Blind maternal love. My son is good to everyone: smart, educated, and kind... But in reality, everything is wrong! And in the end, the spoiled Mitrofanushka is ready to abandon his own mother. This is the worst blow for her. She did everything for this boy, and he is a traitor. In principle, he behaves the same way as she does.

Image, characterization of Prostakova in the comedy Nedorosl

I think that everyone is scolding Prostakov so much in vain! She already got it in comedy. Everyone considers her a stupid, evil, hypocritical woman. In principle, this is how it seems... But you need to look at the reasons for her strange behavior.

She just loves her son too much. And Mitrofanushka only uses this shamelessly - for her own benefit. Prostakova almost forgot herself for the sake of her son. She is at the mercy of feelings. So she could love her husband, brother, father... or ice cream. That is, its main thing is to love someone or something, to do everything for its good.

And she just doesn’t understand a lot of things. As a child, as we understand, she was not taught anything. She doesn't know many sciences. For example, she believes that only the coachman needs geography. But on the other hand, she is not so wrong! People often fill their heads with unnecessary information and know everything superficially. And there must be specialists in each field. Now, if mathematics doesn’t suit me, then there’s no point in bothering me with it.

Prostakova still believes that servants need to be scolded, that they need to be beaten, but they don’t understand any other way. (Maybe this is partially true.) If you remember the hero from Chekhov’s funny story “The Intruder,” it’s useless to talk to this guy! And one more thing - she doesn’t want to spoil relations with neighbors, with relatives, and says that she would rather take it all out on the serfs. It's terrible, yes. But then serfs (like black slaves) were practically not considered people. They were hitting simulators for her, just like dolls are now in offices. And if in a hundred years they start talking about the rights of dolls, we will also turn out to be cruel.

In the finale, she screams that she is dead - there is no more power (literally) or a son (figuratively). The son turned out to be a real traitor. In general, Prostakova is a close-minded mother hen; she cannot be entirely blamed for her terrible behavior. Perhaps she will even repent and reform.

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Composition

In the comedy Nedorosl Fonvizin depicts the vices of his contemporary society. His heroes are representatives of different social strata: statesmen, nobles, servants, self-proclaimed teachers. This is the first socio-political comedy in the history of Russian drama.

The central character of the play is Mrs. Prostakova. She manages the household, beats her husband, keeps the servants in terror, and raises her son Mitrofan. Now I scold, now I fight, and that’s how the house holds together. No one dares to resist her power: Am I not powerful in my people. But there are also tragic elements in the image of Prostakova. This ignorant and selfish overripe fury loves and sincerely cares for her son. At the end of the play, rejected by Mitrofan, she becomes humiliated and pitiful:

You are the only one left with me.

Let go...

I don't have a son...

The main way to create Prostakova’s character is speech characterization. The heroine's language changes depending on who she is addressing. Mrs. Prostakova calls her servants thieves, scoundrels, beasts, and a dog's daughter. Addresses Mitrofan: my dear friend, darling. Greets guests with respect: I recommend you, dear guest, you are welcome.

The image of Mitrofan in the play is associated with the idea of ​​education, which is very important for educational literature. Mitrofan is an ignoramus, a slacker, his mother’s favorite. He inherited arrogance and rudeness from his mother. He addresses Eremeevna, who is sacredly devoted to him: old Khrychovka. Mitrofan's upbringing and education corresponds to the fashion of the time and the understanding of his parents. He is taught French by the German Vralman, exact sciences by retired sergeant Tsyfirkin, who has a little knowledge of arithmetic, and grammar by seminarian Kuteikin, dismissed from all teaching. Mitrofanushka's knowledge of grammar and his desire not to study, but to get married are ridiculous. But his attitude towards Eremeevna, his willingness to accept people, his betrayal of his mother evokes different feelings. Mitrofanushka becomes an ignorant and cruel despot.

The main technique for creating satirical characters in a play is zoologization. Getting ready to get married, Skotinin declares that he wants to have his own piglets. It seems to Vralman that, living with the Prostakovs, he lived like a fairy with little horses. Thus, the author emphasizes the idea of ​​​​the animal lowlands of the surrounding world.

Despite the fact that the genre of the play Nedorosl is a comedy, Fonvizin is not limited only to exposing social vices and creating satirical characters. The author draws a number of positive characters Starodum, Pravdin, Sophia, Milon. These heroes openly express the views of an honest person on noble morality, family relationships and even the civil system. This dramatic technique truly signifies a revolution in Russian educational literature from. criticism of the negative aspects of reality to the search for ways to change the existing system.

Reflecting current problems of his time, Fonvizin was a talented psychologist, thinker, and artist. His comedy has universal significance, it lives on for centuries and does not leave the stages of modern theaters.

The action takes place on the Prostakov estate. The unlimited hostess is Mrs. Prostakova. It is interesting to note that in the list of characters, only she is given the title “Madam”; the rest of the characters are named only by last name or first name. She really dominates the world under her control, she dominates brazenly, despotically, with complete confidence in her impunity. Taking advantage of Sophia's orphanhood, Prostakova takes possession of her estate. Without asking the girl’s consent, he decides to marry her off. However, the full nature of this “fury” is revealed in its treatment of serfs. Prostakova is deeply convinced of her right to insult, rob and punish peasants, whom she views as beings of a different, lower Breed.

Prostakova’s well-being rests on the shameless robbery of serfs. “Since then,” she complains to Skotinin, “we took away everything the peasants had, and we can’t take anything back.” Order in the house is restored through abuse and beatings. “From morning to evening, Prostakova again complains, it’s like being hanged by the tongue, I don’t give up: I scold, then I fight.” Eremeevna, when asked how much salary she is entitled to, replies with tears: “Five rubles a year, up to five slaps a day.”

Prostakova's primitive nature is clearly revealed in sharp transitions from arrogance to cowardice, from complacency to servility. She is rude to Sophia while she feels her power over her, but upon learning of Starodum’s return, she instantly changes her tone and behavior. When Pravdin announces the decision to put Prostakova on trial for inhumane treatment of the peasants, she humiliatingly lies at his feet. But, having begged for forgiveness, he immediately hurries to deal with the sluggish servants who let Sophia go: “I forgive you! Ah, father! Well! Now I will give the dawn to my people. Now I’ll take them all one by one.” Prostakova's brother Skotinin is related to her not only by blood, but also by spirit. He exactly repeats the serfdom practice of his sister. “If I weren’t Taras Skotinin,” he declares, “if I’m not guilty of every fault. In this, sister, I have the same custom as you... and any loss... I will rip off my own peasants, and the ends will be in the water.”

The presence of Skotinin in the play emphasizes the wide distribution of nobles like Prostakova and gives it a typical character. It is not for nothing that at the end of the play Pravdin advises to warn the other Skotinins about what happened on the Prostakov estate. Many nobles are so low in mental and civic development that they can only be likened to animals. Cattle possessing people—this is the painful problem that was posed with great courage by D.I. Fonvizin.

He gave the characters distinctly Russian names, surrounded them with familiar surroundings, and preserved Russian customs on stage. Mrs. Prostakova nee Skotinina is always compared to a dog, Skotinin to pigs. They themselves persistently call themselves cattle, animals. “Have you ever heard of a bitch giving away her puppies?” asks Prostakova. “Oh me, a dog’s daughter!” she states elsewhere. Skotinin’s base spiritual appearance is revealed in his passion for “pigs.” “I love pigs... he admits, and in our neighborhood there are such large pigs that there is not a single one of them that, standing on its hind legs, would not be taller than each of us by a whole head.” “No, sister,” he declares to Prostakova, I want to have my own piglets.” And Mitrofan, according to his mother, “was raised by the same hunter before pigs... Sometimes, when he saw a pig, he would tremble with joy.” “I am cattle,” Mitrofan reads from the Book of Hours, not a man.”

Fonvizin made a real revolution in the field of comedy language. The speech of many of his characters is pre-determined. digital image. In “The Minor,” the speeches of Prostakova, Skotinin, and Eremeevna are especially colorful. Fonvizin retains all the irregularities in the language of his ignorant heroes: “pervo-et” instead of the first one, “robenka” instead of a child, “golovushka” instead of little head, “kotoro” instead of which. Proverbs and sayings were successfully used. Prostakova’s rude, dissolute nature is well revealed by the vulgarisms she uses: “And you, beast, were dumbfounded, but you didn’t bite your brother’s mug, and you didn’t tear his snout over his ears.” Swear words never leave Prostakova’s tongue: cattle, mug, rascal, old witch. The news of the illness of the yard girl Palashka infuriates her: “Oh, she’s a beast! Lying down. As if noble!”

Throughout the comedy, the Skotinins and Prostakovs emphasize that they are unusually smart, especially Mitrofanushka. In fact, Prostakova, her husband and her brother do not even know how to read. Moreover, they are deeply convinced of the uselessness and unnecessaryness of knowledge. “People live and have lived without science,” Prostakova confidently declares. Their social ideas are just as wild. High positions exist, in their deep conviction, only for enrichment. According to Prostakova, her father “was a commander for fifteen years... did not know how to read and write, but he knew how to make a living.” They see the advantages of the “noble” class in the opportunity to insult and rob people dependent on them. The cause of “evil morality” can also be bad mentors. Mitrofan's training is entrusted to the half-educated seminarian Kuteikin, the retired soldier Tsyfirkin and the former coachman, the German Vralman. Mitrofan is one of the main characters in the comedy. Using techniques of speech characterization, D. I. Fonvizin portrayed Mitrofan as the greatest lazy person. But it’s not just the teachers; Mitrofan’s character and behavior are a natural result of the living examples with which he is surrounded in his parents’ house. The most destructive influence was on Mitrofan Prostakov. After all, his name, translated from Greek, means “like a mother,” that is, “representing a mother.” From Prostakova, Mitrofan adopted rudeness, greed, and contempt for work and knowledge. The upbringing that the mother wanted to give her son was a bestial upbringing, an upbringing of animal needs.

Slavery corrupts masters and landowners, depriving them of their human traits. They turned their peasants into cattle, but they themselves became cattle, losing honor and conscience, forgetting about human and family attachments. Fonvizin managed to create truly typical images that became household names and survived their time. The names of Mitrofanushka, Skotinin, and Prostakova became immortal.

Other works on this work

Prostakov, whose characterization is the subject of this review, is a minor character in the famous comedy by D. I. Fonvizin “The Minor.” He is interesting because he sets off the character traits of his wayward wife, who occupies a prominent place in the work. He is the father of the main character Mitrofanushka, and his personality partly explains the disposition of the young man, who is described by the author as a spoiled young man of limited intelligence.

Personality

When analyzing this play, you should pay special attention to the role that Prostakov plays in the development of the plot. The characteristics of this hero will allow students to understand the lifestyle that this noble family led. Schoolchildren need to point out the telling surname of the character, which from the very beginning gives readers a hint of what to expect from this person.

Indeed, Prostakov is very simple-minded by nature; he never thinks about anything, allowing his wife to run the household and raise their 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 mince words, allowing herself rather harsh, 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 those around him, is a man of limited intelligence. This explains the fact that his wife seized all power in the house and estate into her own hands. He has no opinion of his own and completely left the solution to domestic problems to his wife. The hero periodically emphasizes that he relies on her for everything, and this once again proves that she is the real mistress of 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 sitcom in which each character is a bearer of some kind of shortcoming, and at the same time criticized the social reality of his time, when landowners led an idle lifestyle.

Social implications

A 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 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 the class that 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 was henceforth made voluntary. Therefore, many remained in the village, on their estates, doing housework or spending their time idly.

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

Appearance

The characterization of Prostakov should 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, he stammers and has difficulty finding words. The hero is somewhat baggy, and his clothes, judging by his wife’s comments, don’t fit him well.

Mrs. Prostakova, whose characterization reveals her as a powerful woman, but not without some taste, takes care of a suit for her husband. He obviously has no sense of style and doesn't care at all about how he looks in public or in society. The hero obviously does not have what she called good, secular manners. He does not know how to receive guests according to etiquette and is only somewhat at a loss in the presence of outside visitors.

Comparison of heroes

As a rule, the characteristics of the Prostakovs do not cause much difficulty for students. “The Minor” is a play that, as mentioned above, is a comedy of situations 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 differences in their characters, both have one thing in common - 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 precisely the main mistake of both characters.

Spouse relationship

When analyzing the play in question, the characterization of the Prostakovs occupies an important place. “The Minor” is a work in which the author vividly and vividly depicted representatives of the noble class, as well as the emerging intelligentsia. The main character's parents are very 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. At the same time, this character is interesting because he says everything he thinks. Thus, the characterization of Prostakov from the comedy “The Minor” allows us to better understand the image of his wife, who occupies the main place in the entire work.

He is frank in his statements, naive and simple-minded, which greatly irritates his wife, who prefers to use various tricks and tricks to get her way. Often the reader sees what is happening through his eyes. You want to believe him, because he is so good-natured that he is incapable of lying.

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Mrs. Prostakova is the main character of the comedy “The Minor” by Fonvizin. The author endowed this image with exclusively negative qualities. Prostakova’s ignorance, lack of education and bad manners can make everyone around her unhappy, including Prostakova’s beloved Mitrofanushka.

Personality characteristics

Mrs. Prostakova comes from an old noble family. Apparently, her family was neither rich enough nor respected enough among other aristocrats - Prostakova was not an educated woman, and her thirst for power gave her many complexes. It is likely that Prostakova does not even know how to read - she asks Sophia to act as her reader. The fact of her lack of education is also confirmed by the woman’s indignant comment that the parents never taught her or her brother (Taras Skotinin) anything, while now it is necessary to teach Mitrofanushka completely useless sciences.

In general, we can say that Mrs. Prostakova’s parents were not the best - their inattention to children and negligence caused the death of some of them - “There were eighteen of us children; Yes, except for me and my brother, everyone, according to the power of the Lord, tried on. Some of the dead were pulled out of the bathhouse. Three, after sipping milk from a copper cauldron, died. Two fell from the bell tower about Holy Week; and the rest did not stand on their own.”

Prostakova’s family actually lives in communicative isolation - except with Uncle Skotinin, there is no communication with any of the nobles.

Mrs. Prostakova herself has a complex character. She is very demanding of those around her, but her demandingness is selective.

She is ready to find fault with the peasants over little things, but at the same time not take into account even the most significant mistakes in the behavior and development of her son Mitrofan.
In parallel with this quality, another one manifests itself - the lack of a sense of proportion.

Prostakova essentially does not have a single positive quality - she is cruel and merciless. Prostakova does not know how and does not even try to look at the world and those around her positively. In any situation, Prostakova tries to see only the negative.

Prostakova’s speech exposes her bad manners and lack of education. She often distorts words. The word “first” is missing from her vocabulary; instead she uses “pervoet”, “searching” - in the role of another, deushki - instead of girl, and “eorgafia” - instead of geography.

In Prostakova’s speech one can rarely find bookish literary expressions. They first appear in addresses to Starodub - in such an image the landowner tries to create the appearance of courtesy: “Our priceless guest! Would it really be necessary to meet our own father, on whom we have all our hope, who is the only one we have, like gunpowder in the eye.”

Along with her assertive character, Prostakova is endowed with cowardice. Realizing that Starodub will not silently observe her actions, but intends to resist her, moreover, that this opposition will not be just an appearance, Prostakova throws herself at Starodub’s feet with forgiveness.

Prostakova is driven by a sense of personal gain, for the sake of which she is ready to do any act, even criminal. So, for example, she tries to force Sophia to marry Mitrofan in order to get the girl’s money.

Attitude towards others

The ability to find a common language with others and to be on good terms with them is a great talent that Ms. Prostakova, unfortunately, does not possess.
Her negative perception of reality does not allow her to establish a communication process with anyone.

The attitude of landowners towards peasants has always been complex - despite the absence of an official division into social castes, formal distribution into estates in Russia at that time was commonplace and, naturally, serfs did not have a place of honor in this hierarchy system.

Many nobles treated their serfs worse than animals - Mrs. Prostakova was one of these landowners.

We bring to your attention an article written by Denis Fonvizin.

She had long ago taken from the peasants everything that could be taken away, and constantly kept the serfs in fear - according to Prostakova herself, she was not used to indulging the peasants, and therefore cruelly punishes them even for the smallest offenses.

Eremeevna, Mitrofanushka’s nanny, especially gets it. The landowner often calls her names and scolds her for everything, including the fact that she burst into tears, unable to bear the reproaches. Prostakova point-blank does not notice Eremeevna’s attempts to please and generously rewards the woman for high-quality work with curse words like “old witch” and “dog’s daughter.”

Analyzing the conflict situations that arose between Prostakova and her serfs, we can conclude that in relation to the servants, Prostakova acts as a tyrant - it always seems to her that the serfs are behaving inappropriately. The landowner considers bickering and swearing to be the only effective lever for running a household. She proudly tells her husband about how hard she scolded the servants all day: “From morning to evening, like being hanged by the tongue, I don’t lay down my hands: I scold, then I fight; This is how the house holds together, my father.”

The woman doesn't behave much better towards Sonya. As long as Prostakova thinks that Sonya is a poor landowner girl and behaves rudely, she rarely even observes the rules of decency towards the girl. However, after Starodum made the girl a rich heiress, the situation changes dramatically - courtesy awakens in Prostakova. Now Sonya in her eyes is not a poor relative demanding a roof over her head, but a promising bride, and therefore she no longer addresses her sarcastically (“madam”, “mother”), but shows good manners and tenderness (“Congratulations, Sofyushka! Congratulations, soul my!")

Prostakova’s relationship with her husband is also not ideal - the landowner does not perceive her husband as a person worthy of her attention and tenderness - she constantly insults him, including in the presence of other people. Prostakova never takes into account her husband’s opinion and always operates exclusively on her personal opinion.

Since Prostakova has a low opinion of the role of education and does not see the point in it, then, accordingly, she does not appreciate the work of Mitrofan’s teachers. She has not paid them a salary for about a year and finds this acceptable.

The problem of education

The problem of education is inherently connected with the image of Mrs. Prostakova. Mitrofan was the only and long-awaited child in the family. And therefore spoiled. Prostakova is ready to forgive Mitrofan for any offense. She constantly pampers him and does not make any demands on him.

Prostakova hires Mitrofanushka teachers because, by decree of Peter I, all nobles are required to be educated, otherwise they will not be allowed to serve. Prostakova does not understand the role of education and accepts science as a meaningless torment. She instills the same idea in her son, willy-nilly - Mitforan does not realize the importance of education and therefore does not even try to learn anything.

- Mrs. 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” developed, as Pravdin calls her. The first thing that catches your eye when you read “The Minor” or see the production of this comedy is the extraordinary rudeness of Mrs. Prostakova: the first act begins with her scolding the tailor Trishka, calling him “a beast, a thief, and a blockhead.” . The same rudeness is visible in her words addressed to her husband, to her brother. But in the treatment of the servants one can see not only rudeness, but also inhuman cruelty. Having learned that the girl Palashka is sick, ill and delirious, Prostakova exclaims: “Oh, she is a beast! Lying down! He's delusional, you beast! It’s like she’s noble!” She tells her husband to punish Trishka the tailor because, in her opinion, the caftan he sewed for Mitrofan does not fit well. “Rogues! the thieves! scammers! beat everyone to death!” - she shouts to people. Prostakova considers mistreatment of servants not only her right, but also her duty: “I manage everything myself, father,” she says to Pravdin, “from morning to evening, like being hanged by the tongue, I don’t lay down my hands: I scold, I fight, That’s how the house stays together!” She completely ruined her serfs with quitrents and says it herself: “since we robbed everything that the peasants had, we can no longer rip off anything.” Her brother, Skotinin, does the same with his peasants: “No matter how much the neighbors offended me, no matter how much loss they caused,” he says, “I didn’t hit anyone with my forehead: and any loss, how to go about it, I’ll tear it off.” their own peasants, and they end up in the water.”

Heroes of Fonvizin's "Undergrowth"

Brother and sister received the same upbringing, which partly explains the rudeness of their morals. Prostakova herself says that her father had eighteen brothers and sisters, but, except for her and her brother, everyone “fitted in”; it is clear that the children grew up without any supervision: “some were pulled out of the bathhouse dead; three, after sipping milk from a copper cauldron, died; two of the Holy One fell from the bell tower; and the rest did not stand on their own...” The children at home were not taught anything. The father got angry when “good people” persuaded him to send his son to school, and shouted: “I will curse the child who learns anything from the infidels, and be it not Skotinin who wants to learn something.”

In a conversation with Starodum, Prostakova completes the portrait of her father: “The dead father,” she says, “was a commander for fifteen years, and with that he deigned to die because he did not know how to read and write, but knew how to make and save enough. He always received petitions while sitting on an iron chest. After everything, he will open the chest and put something in.” At the same time, he was a great “economist”, in other words, a stingy miser. “Dead man, light,” Prostakova ends her story, “lying on a chest with money, he died, so to speak, of hunger.” The example of such a father and the upbringing he gave to his children was reflected in Prostakova’s character and views.

Fonvizin. Minor. Maly Theater performance

However, agreeing with her father that “people live and have lived without science,” Prostakova is trying to give her son Mitrofanushka some kind of education. Following the demands of the time, she even herself says to Mitrofan: “live forever, learn forever.” She understands that now you can’t get high ranks without a diploma. Therefore, the seminarian Kuteikin has been teaching Mitrofan literacy for three years now, the retired soldier Tsyfirkin has been teaching arithmetic, and the German Vralman, who enjoys special honor in the house as a foreigner, has been teaching all sciences. Prostakova spares nothing in order to bring Mitrofanushka into the public eye, but, not understanding anything about science herself, she interferes in lessons, stupidly prevents teachers from doing their job and indulges Mitrofan’s laziness.

Prostakova's mad love for her son is the only good trait of her character, although, in essence, it is a primitive, rude feeling; Prostakova herself compares her love for her son with the natural affection of a dog for its 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, tries 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 inhumane treatment of the servants and threatens to put her on trial, seeing that power and strength have been taken away from her, she rushes to her adored son: “You are the only one left with me.” , my dear friend, Mitrofanushka!” - And when Mitrofan, in response to this cry of his mother’s heart, rudely pushes her away: “Get off, mother, how you imposed yourself!” – she cannot stand her grief and says: “And you! And you leave me!” faints. At this moment one involuntarily feels sorry for Mrs. Prostakova; the author managed to portray her truly as a living person. Pointing at her, Starodum says the famous final words of the comedy: “These are the worthy fruits of evil!”