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Mrs. Prostakova - main character Comedy "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 looks like something from the ancient times 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 has none 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

Ability to find mutual language with others and being on good terms with them is a great talent that Mrs. 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.

The most vivid and versatile portrayal of Prostakova is given in the comedy “The Minor.” Prostakova is a type of rude landowner-serf. The despotic disposition of this heroine affects, first of all, the family, the home environment. She drove her husband, a weak-willed, timid man, almost to the point of idiocy. He is so downtrodden that he is afraid to express his opinion even on minor issues, obediently declaring to his wife: “Before your eyes, mine see nothing.”

Prostakova’s character is even more pronounced in her attitude towards the serfs. This is a tormentor of serf servants and peasants. The life of the courtyard servants, who are forced to be in front of her all the time, is especially difficult. Servants are not people to her. When the yard woman Palashka falls ill, Prostakova shouts in rage: “He’s lying down!” As if noble..."

The image of Prostakova in the comedy "The Minor" is characterized by the fact that she treats the servants like unresponsive animals. This is how she treats her faithful servant Eremeevna. When asked by Kuteikin what kind of gratitude she receives from Prostakova for her service, Eremeevna replies: “Five rubles a year, and five slaps a day.” The sound of slaps is an everyday, common occurrence in Prostakova’s house.

Naturally, the situation of the peasants in the estate of this “evil fury” was unbearable. We do not see these peasants on stage, but the situation of the fortress village is easy to imagine. Prostakova is an inveterate, convinced serf-owner. She is incorrigible. When Starodum forgives her, she, rising from her knees, exclaims: “Well, now I’ll give the dawn to the channelers, my people!” This is the voice of her nature.

One of the reasons for Prostakova’s wild ideas and rudeness is her ignorance. She doesn’t even know how to read, she’s indignant that “girls can read and write,” she calls geography “geography,” etc. Her stories about the Skotinins’ family and about her father, who threatened with a curse any of the children who learned anything, very expressively characterize the environment that formed the Prostakovs and the Skotinins.

Prostakova’s moral cynicism is noteworthy. In her relationships with others, she is guided by one rough calculation. When it suits her, she prays for Starodum to die, and she then exclaims: “I’m dying, I want to see this venerable old man!” Before the right person she is ready to pretend, and to humiliate herself, and to lie: “I’ve never scolded anyone since I was born,” she crumbles in front of Starodum.

Prostakova has only one warm feeling: love for her son Mitrofanushka. She forgives Mitrofanushka everything. For his sake, she is ready to make both sacrifices and crimes. She has one concern: to “bring Mitrofanushka into the public eye.” She even overcomes her inherited aversion to science and tries to educate him. True, Mitrofanushka’s education system is ugly. The results, as might be expected, are soon revealed. Prostakova's blind, animal love for her son does not make her image more attractive, but it explains her actions well in the comedy.

The expressiveness of Prostakova’s image in the comedy “The Minor” is also facilitated by her language. It is bright and imaginative in its own way. Here is a sample of her speech: “Well... and you, beast, were dumbfounded, you didn’t dig your brother’s mug...” A woman with sharp, sweeping gestures, disheveled, with the face of a fury and evil eyes appears before us. Her language is full of curses and reveals all the rudeness and cruelty of her nature. However, when it is beneficial for her, Prostakova can speak in another language, feignedly affectionate: “Sofyushka, my soul,” she addresses Sophia, and to Starodum: “Our priceless guest!.. Our benefactor!”

The character of this cruel, ignorant, deceitful woman is very well defined at the end of the comedy by Milo: “Both the crime and repentance in her are worthy of contempt.” Her character is a mixture of ignorance and arrogance, cowardice and malice, inhumanity towards the serfs and tenderness towards her son. And the results of her activities are perfectly described in the final words of the comedy: “These are the worthy fruits of evil...”

The comedy by D. Fonvizin “The Minor” tells about the events that took place in the Prostakovs’ house. Their main participants are Mitrofan, the son of the owner of the house, his mother, Mrs. Prostakova, and Starodum with his niece.

Mrs. Prostakova madly loves her son, cares and fusses overly with him, indulging all his whims and whims, which is why Mitrofan grows up as an absolutely dependent person, whose level of development does not at all correspond to his age. But Mrs. Prostakova blindly follows his wishes. She sees her future in her son, repeating all the time: “This son is my only consolation!” And at the same time she does nothing to ensure that her son grows into something worthwhile. Mitrofan is taught literacy by bad teachers, and he himself does not want to learn. However, the mother considers her son the best and most educated, although this lazy fellow has no intelligence or knowledge.

With her husband, Mrs. Prostakova behaves as if she does not consider him a person at all, let alone the head of the family. She decides all issues herself, regardless of his opinion and neglecting it when it comes to Mitrofan.

Mrs. Prostakova is a cruel and unfair mistress towards her servants and peasants. She can severely punish a tailor for sewing a suit incorrectly, and does not pay attention if one of the servants gets sick. Mrs. Prostakova scolds Eremeevna for every “mistake.” For example, if Mitrofanushka ate too many buns at dinner, and Eremeevna showed concern about this, she says: “Do you feel sorry for the sixth bun, you beast? That’s the kind of zeal.” It never occurred to her that overeating would not be good for her son. Prostakova considers all serfs to be her property, practically a thing, so she allows herself to thoughtlessly manage their lives and rip them off like a stick, simply at her whim.

Mrs. Prostakova treats Sophia like an evil mistress. She is always rude and cold. But as soon as she finds out that Starodum, Sophia’s uncle, left his niece a large inheritance, she changes her behavior, becomes hypocritically kind and affectionate, and calls her “dear friend.” Now Prostakova wants to marry her son to Sofia in order to receive all her money as a dowry, refusing this to her brother, although she previously agreed to this marriage. Having learned that Sofia is betrothed to officer Milan and that Starodum agreed to this, Prostakova wants to marry her son to the girl by force and deception. However, her idea failed. By law, the village was taken away from her, depriving her of power.

Mrs. Prostakova was a cruel, headstrong woman who did not take into account the interests and feelings of other people, which is why she lost everything. In the image of Prostakova, Fonvizin reveals the negative traits of a narrow-minded, unscrupulous person with power, who through his actions brings both himself and his loved ones into trouble. The author shows that you can get wealth without losing honor and human face. And people like Prostakova ultimately pay for all the evil caused.

I liked Fonvizin’s comedy “The Minor.” The main topic This work is “the evil of the serf owners.” With the first scene of the comedy, I saw a world in which some people own other people. The main figure of this world is Prostakova. Prostakova was uneducated and uneducated. She, like all ignoramuses, was rude to everyone from whom she did not meet a rebuff. Fonvizin calls Prostakova a “despicable fury.” She extends her despotic power not only to the serfs, but also to her husband, Sophia, Skotinin.

One day, when Prostakova called her husband, he didn’t come. Then she said to Mitrofan: “So go and get him out if you don’t get any good.”

In this remark I saw Prstakova’s rude and dismissive attitude towards her husband. But despite this attitude towards Prostakov, she never scolded her son. Mitrofan was spoiled because his mother allowed him everything, protected him even when he was wrong. Prostakova loved her son dearly and did not allow teachers to bother Mitrofan. By this act, she deprived her son of the opportunity to receive an education. Prostakova did not think about raising her son, under Mitrovan she scolded the serfs, and as a result, her beloved son left her.

At the end of the comedy, the Prostakovs receive a well-deserved punishment - the authorities order to take custody of the estate. The final scene, in which even Mitrovan leaves Prostakova, indicates that a vicious person is preparing a well-deserved punishment for himself through his actions. Prostakova is presented as a domineering, uneducated Russian woman. She is very greedy and in order to grab more of someone else’s things, she often flatters and “puts on” a mask of nobility, but from under the mask every now and then an animalistic grin peeks out, which looks funny and absurd. Prostakova’s speech: rude in addressing the servants (“fraudster,” “cattle,” “thief’s mug” - tailor Trishka; “beast,” “runaway” - nanny Ermeevna), caring and affectionate in conversation with her son Mitrofanushka (“live forever, learn forever, my dear friend,” “darling”). But at the same time, she is not at all worried about raising her son (“It’s very nice to me that Mitrofanushka doesn’t like to step forward...

He's lying, my dear friend. I found the money - don't share it with anyone. Take it all for yourself, Mitrofanushka.

Don't learn this stupid science! "). It is not surprising that Mitrofanushka grew up so spoiled and uncouth. There is another negative character in the play - Prostakova's brother - Skotin. He, like his sister, is cruel and narcissistic.

Self-confidence is heard in every remark of Skotin, who is devoid of any merits. (“You can’t beat your betrothed with a horse, darling! It’s a sin to blame for your own happiness. You will live happily with me. Ten thousand of your income! What happiness has come; yes, I have never seen so many since I was born; yes, I will buy all the pigs from the world with them “Yes, you hear me, I will do that, so that everyone will blow the trumpet: in this neighborhood there are only pigs to live.”) The ignorance and bestiality of Skotin and Prostakova make their vices obvious.

These people are clearly visible, they have nothing to cover up their animality, and they don’t even consider it necessary to do so. Their world wants to subjugate all life, to assign the right of unlimited power over both serfs and noble people. Fonvizin's comedy "The Minor" is the first socio-political comedy in the history of Russian drama. The author exposes in it the vices of his contemporary society.

The heroes of the comedy are representatives of different social strata: statesmen, nobles, servants, self-proclaimed teachers. Central character plays - 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.” Speech characteristics is the main way to create Prostakova’s character.

The heroine's language changes depending on who she is addressing. Mrs. Prostakova calls her servants “thieves”, “rascals”, “beast”, “dog’s daughter”. He addresses Mitrofan: “my dear friend,” “dulyenka.” He greets guests with respect: “I recommend you a dear guest,” “you are welcome.” There are also tragic elements in the image of Prostakova. This ignorant and selfish “despicable fury” loves and sincerely cares about 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 it go...
• - I don’t have a son...

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 “speaks a little of arithmetic,” and grammar by seminarian Kuteikin, dismissed from “all teaching.” Mitrofanushka’s “knowledge” in grammar, his desire not to study, but to get married, are ridiculous. But his attitude towards Eremeevna. the readiness to “take on people”, the betrayal of the mother evokes different feelings. Mitrofanushka becomes an ignorant and cruel despot. Wonderful surnames characters. “Talking” surnames immediately establish the reader’s and viewer’s attitude towards their owners. Psychologically, he already becomes a participant in the action. The opportunity to evaluate the heroes and their actions was taken away from him. From the very beginning, from the names of the characters, the reader was told where the negative characters were and where the positive ones were. And the reader’s role comes down to seeing and remembering the ideal to which one must strive. The language of comedy is interesting. Negative characters and their servants have a common vernacular language. The Skotinins' vocabulary consists mainly of words used in the barnyard. This is well shown by the speech of Skotinin - Uncle Migrofan. It is all filled with words: pig, piglets, barn. The idea of ​​life also begins and ends with the barnyard. He compares his life with the life of his pigs, for example. “I want to have my own piglets.” “If I have... a special barn for each pig, then I’ll find a little light for my wife.” And he’s proud of it: “Well, I’ll be a son of a pig if...” Lexicon his sister Mrs. Prostakova is a little more diverse due to the fact that her husband is a “countless fool” and she has to do everything herself. But Skotinin’s roots also appear in her speech. Favorite curse word: "cattle". To show that Prostakova is not far behind her brother in development, Fonvizin sometimes denies her basic logic. For example, such phrases: “Since we took away everything that the peasants had, we can’t tear off anything anymore,” “So is it really necessary to be like a tailor in order to be able to sew a caftan well?” And, drawing conclusions from what has been said, Prostakova ends the phrase: “What a bestial reasoning.” Regarding her husband, one can only say that he is laconic and does not open his mouth without his wife’s instructions. But this characterizes him as “a fool beyond counting.” , a weak-willed husband who fell under the thumb of his wife. Mitrofanushka is also a man of few words, although, unlike his father, he has freedom of speech, which manifests itself in his ingenuity of curses, “old bastard”, “garrison rat”. in their speech, characteristic signs of the classes and parts of society to which they belong. Eremeevna’s speech is constant excuses and desires to please. Teachers Tsyfirkin is a retired sergeant, Kuteikin is a sexton from Pokrov. And with their speech they show their belonging: one to the military, the other. - to church ministers. The author puts it into effect. whole line 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 order. This dramatic technique truly caused a revolution in Russian educational literature, from criticism negative aspects reality to search for ways to change the existing system. Speech goodies no difference in brightness. This is bookish speech, the speech of educated people of that time, which practically does not express emotions. You understand the meaning of what is said from the direct meaning of the words. For the rest of the characters, the meaning can be grasped in the very dynamics of speech. Milon's speech is almost impossible to distinguish from Pravdin's speech. It is also very difficult to tell anything about Sophia based on her speech. An educated, well-behaved young lady, as Starodum would call her, sensitive to the advice and instructions of her beloved uncle. Starodum's speech is completely determined by the fact that the author put his moral program into the mouth of this hero: rules, principles, moral laws by which a “pious person” should live. Starodum’s monologues are structured in this way: Starodum first tells a story from his life, and then the conclusion

The details of Prostakova’s biography are very interesting. We learn that her father was a commander for fifteen years. And although “he didn’t know how to read and write, he knew how to make and save enough.” From here it is clear that he was an embezzler and a bribe-taker, an extremely stingy person: “lying on a chest of money, he died, so to speak, of hunger.” Her mother's surname - Priplodina - speaks for itself.

Prostakova is presented as a domineering, uneducated Russian woman. She is very greedy and in order to grab more of someone else’s things, she often flatters and “puts on” a mask of nobility, but from under the mask every now and then an animalistic grin peeks out, which looks funny and absurd. Prostakova is a tyrant, despotic and at the same time cowardly, greedy and vile, representing the brightest type of Russian landowner, at the same time revealed as an individual character - the cunning and cruel sister of Skotinin, a power-hungry, calculating wife who tyrannizes her husband, a mother who loves madly his Mitrofanushka.

“This is a “despicable fury, whose hellish disposition brings misfortune to their entire house.” However, the full extent of the disposition of this “fury” is revealed in its treatment of serfs.

Prostakova is the sovereign mistress of her villages and in her house she is selfish, but her selfishness is stupid, wasteful, inhuman: having taken everything from the peasants, she deprives them of their means of subsistence, but she also suffers a loss - it is impossible to take rent from the peasants, there is nothing. Moreover, I feel the full support of the supreme power; she considers the situation natural, hence her confidence, arrogance, and assertiveness. Prostakova is deeply convinced of her right to insult, rob and punish the peasants, whom she views as beings of another, lower breed. Sovereignty has corrupted her: she is angry, capricious, abusive and pugnacious - she gives out slaps in the face without hesitation. Prostakova dominates the world under her control, she dominates brazenly, despotically, with complete confidence in her impunity. They see the advantages of the “noble” class in the opportunity to insult and rob people dependent on them. Prostakova's primitive nature is clearly revealed in sharp transitions from arrogance to cowardice, from complacency to servility. Prostakova is a product of the environment in which she grew up. Neither her father nor her mother gave her any education or instilled any moral rules. But the conditions of serfdom had an even stronger impact on her. She is not restrained by any moral principles. She feels her limitless power and impunity. She treats servants and hired people with rude disdain and insult. No one dares to resist her power: “Am I not powerful in my people?” Prostakova’s well-being rests on the shameless robbery of serfs. “Since then,” she complains to Skotinin, “we took away everything that the peasants had, and she can’t rip off anything anymore. Order in the house is restored with abuse and beatings. “From morning to evening,” Prostakova complains again, how I hang my tongue, I don’t lay down my hands: now I scold, now I fight.”

In her house, Prostakova is a wild, powerful despot. Everything is in her unbridled power. She calls her timid, weak-willed husband a “weeper,” a “freak,” and pushes him around in every possible way. Teachers are not paid a salary for a year. Eremeevna, faithful to her and Mitrofan, receives “five rubles a year and five slaps a day.” She is ready to “grab” her brother Skotinin’s mug, “tear his snout head over heels.”

Prostakova manifests herself not only as a despot, but also as a mother who loves her son with animal love. Even her son’s excessive gluttony first evokes tenderness in her, and only then concerns about her son’s health. Her love for her son is undeniable: it is she who moves her, all her thoughts are directed towards his well-being. She lives by this, this is the main thing for her. She is hostile to enlightenment. But the wild and ignorant Prostakova realized that after Peter’s reforms, a nobleman without education could enter the public service impossible. She was not taught, but she teaches her son as best she can: another century, another time. She cares about Mitrofan’s education not because she understands the benefits of education, but in order to keep up with fashion: “Little child, without studying, go to the same Petersburg; they'll say you're a fool. There are a lot of smart people these days.”

Prostakova’s figure is colorful. Still, it is not for nothing that she is Prostakova: she is all outward, her cunning is ingenuous, her actions are transparent, she declares her goals openly. The wife of a simpleton and a simpleton herself. If we highlight the main thing in Prostakova, then there are two balancing factors: the autocratic mistress of the family and estate; teacher and leader younger generation nobles - Mitrofan.

Even love for her son - Prostakova's strongest passion - is not capable of ennobling her feelings, for it manifests itself in base, animal forms. Her maternal love is devoid of human beauty and spirituality. And such an image helped the writer from a new perspective to expose the crime of slavery, which corrupts human nature and serfs and masters. And this individual characteristic allows us to show all the terrible, human-disfiguring power of serfdom. All great, human, holy feelings and relationships in Prostakova are distorted and slandered.

Where do such wild morals and habits come from? From Prostakova's remark we learn about early childhood her and Skotinin. They grew up amid darkness and ignorance. In these conditions, their brothers and sisters die, grievances and pain are transferred to two living children. The children in the family were not taught anything. “Old people, my father! This was not the century. We weren't taught anything. It used to be that kind people would approach the priest, please him, please him, so that he could at least send his brother to school. By the way, the dead man is light with both hands and feet, may he rest in heaven! It happened that he would deign to shout: I’ll curse the little boy who learns something from the infidels, and be it not Skotinin who wants to learn something.”

It was in this environment that the character formation of Prostakova and Skotinin began. Having become the sovereign mistress of her husband's house, Prostakova received even greater opportunities for the development of all the negative traits of her character. Even the feeling mother's love took on ugly forms in Prostakova.

Mrs. Prostakova received an “enviable upbringing, trained in good manners,” and she is no stranger to lies, flattery and hypocrisy. 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. She is even proud of the fact that she cannot read; she is outraged that girls are taught to read and write (Sofia), because... I am sure that a lot can be achieved without education. “From our surname Prostakovs..., lying on their sides, they fly to their ranks.” And if she had to receive a letter, she would not read it, but would give it to someone else. Moreover, they are deeply convinced of the uselessness and unnecessaryness of knowledge. “People live and have lived without science,” Prostakova confidently declares. “Whoever is smarter than that will be immediately elected by his brothers the nobles to another position.” Their social ideas are just as wild. But at the same time, she is not at all worried about raising her son. It is not surprising that Mitrofanushka grew up so spoiled and uncouth.

Illiterate Prostakova understood that there were decrees by which she could oppress the peasants. Pravdin threw a remark towards the heroine: “No, madam, no one is free to tyrannize,” and received the answer: “Not free!” A nobleman is not free to flog his servants when he wants. Why have we been given a decree on the freedom of the nobility?” 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 forgave! Oh, father! Well! Now I’ll give the dawn to my people. Now I’ll sort them all out one by one.” Prostakova wants her, her family, her peasants to live according to her practical reason and will, and not according to some laws and rules of enlightenment: “Whatever I want, I’ll put it on my own.” For her despotism, cruelty and greed, Prostakova was severely punished. She not only loses uncontrolled landowner power, but also her son: “You are the only one left with me, my dear friend, Mitrofanushka!” But he hears the rude answer of his idol: “Let go, mother, how you imposed yourself...”. At this tragic moment, in the brutal tyrant who raised the soulless scoundrel, truly human traits unhappy mother. A Russian proverb says: “Whoever you mess with, you’ll get rich from.”