Family values of Chatsky and Famusov.
From the play by A. S. Griboyedov. Also on this page you will find a video famous play"Woe from Wit". Enjoy watching!
Famusov, servant.
Parsley, you are always with a new thing,
With a broken elbow. Get out the calendar;
Don't read like a sexton, *
And with feeling, with sense, with arrangement.
Wait. - On a sheet, draw on a notebook,
Against next week:
To Praskovya Feodorovna's house
On Tuesday I am called for trout.
How wonderful is the light!
Philosophize - the mind will spin;
Then you take care, then lunch:
Eat for three hours, and in three days it will not be cooked!
Mark it, same day... No, no.
On Thursday I was called to the funeral.
Oh, the human race! fell into oblivion
That everyone himself must climb there,
In that casket, where neither to stand nor sit.
But the memory itself intends to leave someone
A commendable life, here is an example:
The deceased was a respectable chamberlain,
With the key, and he knew how to deliver the key to his son;
Rich, and was married to a rich woman;
Married children, grandchildren;
Died; everyone remembers him sadly.
Kuzma Petrovich! Peace be upon him! -
What aces live and die in Moscow! -
Write: on Thursday, one to one,
Maybe Friday, maybe Saturday
I have to baptize at the widow's, at the doctor's.
She did not give birth, but by calculation
In my opinion: should give birth ...
That's it, you are all proud!
Would you ask how the fathers did?
Would study, looking at the elders:
We, for example, or the dead uncle,
Maxim Petrovich: he is not on silver,
I ate on gold; one hundred people at your service;
All in orders; he drove forever in a train;
A century at the court, but at what court!
Then not what it is now
Under the Empress, he served Catherine.
And in those days, everything is important! forty pounds ...
Bow - do not nod dumbly.
The nobleman in the case - even more so,
Not like the other, and drank and ate differently.
And uncle! what is your prince? what is Count?
Serious look, haughty disposition.
When do you need to serve?
And he leaned over:
At the courthouse he happened to step in;
He fell, so much so that he almost hit the back of his head;
The old man groaned, his voice hoarse;
He was granted the highest smile;
Were you to laugh; how is he?
He got up, recovered, wanted to bow,
Fell suddenly in a row - on purpose, -
And the laughter is louder, it is the same for the third time.
A? how do you think? in our opinion - smart.
He fell painfully, got up great.
But, it happened, who is more often invited to whist?
Who hears a friendly word at court?
Maxim Petrovich! Who knew respect before everyone?
Maxim Petrovich! Joke!
Who gives ranks and gives pensions?
Maxim Petrovich! Yes! You, the current ones, - come on!
Monologue of Famusov's phenomenon 2 act 5 "Woe from Wit"
Taste, father, excellent manner;
For all their laws there are:
Here, for example, we have been doing from time immemorial,
What is the honor of the father and son:
Be bad, yes if you get it
Souls of a thousand two tribal, -
That and the groom.
The other, at least be quicker, puffed up with all swagger,
Let yourself be a wise man
They won't be included in the family. Don't look at us.
After all, only here they value the nobility.
Is this one? take you bread and salt:
Who wants to welcome us, if you please;
The door is open to the invited and the uninvited,
Especially from foreign ones;
Though fair man, though not
It’s equal for us, dinner is ready for everyone.
Take you from head to toe
All Moscow ones have a special imprint.
Take a look at our youth
For young men - sons and grandchildren.
We chew them, and if you make out, -
At fifteen, teachers will be taught!
What about our old people? How will the enthusiasm take them,
They will judge about deeds, that the word is a sentence, -
After all, pillar * everything, they don’t blow anyone’s mustache;
And sometimes they talk about the government like that,
What if someone overheard them ... trouble!
Not that novelties were introduced - never,
Save us God! No. And they will find fault
To this, to this, and more often to nothing,
They will argue, make some noise, and ... disperse.
Direct chancellors * retired - on the mind!
I'll tell you, you know, the time is not ripe,
But that without them the matter will not do. -
And the ladies? - put someone in, try, master;
Judges of everything, everywhere, there are no judges over them;
Behind the cards when they rise in a general riot,
God grant patience - after all, I myself was married.
Command before the front!
Be present send them to the Senate!
Irina Vlasevna! Lukerya Alexevna!
Tatyana Yuryevna! Pulcheria Andreevna!
And whoever has seen daughters, hang your head ...
His Majesty the King was Prussian here,
He did not marvel at the Moscow girls,
Their good manners, not their faces;
And for sure, is it possible to be more educated!
They know how to dress themselves up
Tafttsa, marigold and haze, *
They won’t say a word in simplicity, everyone with an antics;
French romances are sung to you
And the top ones bring out the notes,
They cling to military people.
Because they are patriots.
I will say emphatically: hardly
Another capital is found, like Moscow.
Woe from Wit (Maly Theater 1977) - video
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He speaks seriously, but we turn his words into a joke.
- How about a second wind? - laughing, we ask each other. And he laughs with us.
We go all the way. The sun that shone in the face of the lamas remains behind us. In its true light we see each other. Faces were haggard, darkened, lips were chapped, eyes were reddened...
But suddenly, at the turn, at the very outskirts of a quiet village, we see a a car. This is the machine of the commander and commissar. Colonel Alyoshin is not visible, Rakitin is standing by the road and saluting us.
He does not stretch in a military manner, and an embarrassed smile wanders on his tired, kind face. But still, there is no other way to interpret his posture - he salutes us. The whole regiment walks past him, which must go on for quite some time, and he stands with his hand on the visor of his cap, and there is not a man in the regiment who does not understand what this means.
The colonel meets us in the village itself.
He is standing in the middle of the street, with one hand behind his belt, waiting for us. In the last hours of the march, our column was very upset. We do not go in ranks, but in groups, and only when we see the colonel, we begin to look around and reorganize along the way.
It is very difficult to understand the Colonel's expression. He's definitely looking into the...
- Hello, well done! - he said, when we, lining up in ranks, pulling ourselves up and even making an attempt to "give a leg", pass him. - Wrap it up here, second company! Here for you it is boiled-baked. In one boiler and dinner and breakfast at once. Hurry up, otherwise the cook is nervous, worried that everything will stop!
The colonel gestures hospitably towards the gate. We pass him, he carefully looks around our tired ranks. He knows perfectly well that a hot dog is needed in order to restore strength and recover after a seventy-verst march. Having sent us to breakfast, he again looks at the road, waiting for the next, third company.
Daytime. We settled down in the wide school yard. It has recently rained here, calm puddles are filled to the top and are full of blue skies and wet clouds. All over the yard, people are sleeping on the grass. One sprawled out, another curled up, but rifles stand in a pyramid above every dozen heads. We sleep in sections, in platoons and companies, to get up and go west again.
We sleep until dinner, we sleep after dinner, we would sleep longer, but we need to continue the hike. Walking is difficult at first, the legs are worn out and bandaged, but the pain subsides, you don’t think about it. The legs parted. From the resounding asphalt we turned onto a soft dirt road, which again took us into the forest. It's still Moscow. It is forbidden to cut trees here. The forests are getting thicker. Sometimes the forest parted, and arable land crossed by rivers is visible.
... The sun is setting again, which day we follow him! Here is a large village, and you can see how our army enters it from the forest along several roads ...
We cross the street and with our movement delay the herd. Huge, milk-smelling cows moo displeasedly. We prevented them from reaching the farm, the carved ridge of which is visible from the side. Young milkmaids in white bring us morning milk. Here we were allowed to rest longer, and we have time to look back. Among the huts rose two new white two-story houses. The roadsides are lined with turf. The windows of the school are clear. Socialist abundance in every detail, and in everything the mature fullness of an unprecedented, socialist, already developed system of life.
In 1928-1929 I visited the Comintern commune in the Dnieper Tauride steppes. The large wasteland overgrown with weeds in the place of the landowner's house was then not yet built up, and the coals of the fire of the eighteenth year crunched underfoot. This commune was like a drawing of a talented child. The hand is uncertain, the perspective is confused, but the main strokes were outlined even then with brilliant fidelity. Five thousand hectares were plowed up by the commune, built sheds similar to hangars, erected silos ... The poor were kindergarten and mangers, but how clean the tarpaulins in the children's beds are!
At the center of Griboedov's play Woe from Wit lies the clash between "lordly Moscow" and "new" people with progressive views. The representative of these "new" people in comedy is one Chatsky. By this the author emphasizes the exceptional position of people like him. “In my comedy,” wrote Griboedov, “twenty-five fools per sane person.” The figure of Chatsky, getting a special place in the play, becomes large, strong.
And most prominent representative retrogrades in "Woe from Wit" is Famusov. His image, in comparison with other characters of Moscow society, is written out by the author more clearly. Good-natured and hospitable Famusov, as he may seem in a conversation with Skalozub at the beginning of the play, is rude to his family, picky, stingy and petty. For real he does not care about the fate of his daughter, nor official affairs. This hero is afraid of only one thing in his life: “What will Princess Marya Aleksevna say!”. Thus, in the person of Famusov, the author denounced the servility of the Moscow “light”.
Each conversation between Famusov and Chatsky ends with the inevitable "disorder" of the first. So, in the second act (phenomenon 2), the characters are left alone, and they manage to talk. Famusov has not seen Chatsky for a long time, so he still does not know what the boy he once knew became.
First, in their conversation, the heroes touch on the issue of service. Chatsky immediately notes: "I would be glad to serve, it's sickening to serve."
Famusov, not understanding what Alexander Andreevich means, is trying to teach him how to achieve "both places and promotions." Famusov's mouth speaks at this moment all the lordly Moscow:
And uncle! What is your prince? What is Count?
When to Serve
And he folded over:
On the kurtag, he happened to walk around ...
He was granted the highest smile;
He got up, recovered, wanted to bow,
He fell suddenly in a row - on purpose ...
This and only this way of serving, as Famusov says, can bring glory and honor. So it was in the era of Catherine. But times have changed. This is what Chatsky points out when he answers Famusov in an ironic and somewhat evil manner:
But meanwhile, whom the hunt will take,
Though in the most ardent servility,
Now to make people laugh
Is it brave to sacrifice the back of your head?
Further, Chatsky, in the most apt and witty expressions, stigmatizes the "age of the past." He argues that now is a new time, that people no longer fawn over patrons (“the patrons yawn at the ceiling”), but achieve everything only with the help of their abilities and mind:
No, today the world is not like that.
Everyone breathes freely
And not in a hurry to fit into the regiment of jesters.
All this the hero says with such ardor that he does not notice that Famusov has not listened to him for a long time: he plugged his ears. Thus, in my opinion, the conversation between the two characters is a farce. Griboedov uses this technique specifically to describe the situation of the Chatskys even more clearly - they simply do not listen to their arguments, since there is nothing to oppose them. The only way Famusov can secure the old familiar life is -
I would strictly forbid these gentlemen
Drive up to the capitals for a shot.
We also hear one of Famusov's exclamations: “What does he say! And he speaks as he writes! This applies to Chatsky's speeches and is among his characteristics, such as: " a dangerous person”, “Yes, he does not recognize the authorities!”, “Carbonari”. Why, from Famusov's point of view, is it so terrible? Later, in the third apparition, Famusov will declare that the reason for Chatsky's madness is "learning" that all books must be burned.
For the age of servility, learning, its own own opinion were really dangerous, because then they were punished for it. But even now, when there is no longer the reign of Catherine, Famusov is still afraid. And the worst thing is that people like him still held high positions in society and were role models.
Thus, the conflict between Chatsky and his opponents, led by Famusov, is an expression of the struggle between the crowd and the heroic personality who wants to change life, live better, more honestly and justly. This struggle is stubborn and lengthy, but the victory of the new is inevitable.
The comedy "Woe from Wit" reflects the brewing split in the society of the nobility. The change of one century by another, the ended war of 1812, required the landowners to reassess their values and change their view of public life. In this regard, there are nobles who want to improve the position of Russia by increasing the value human personality and civic consciousness. The struggle between the two groups of nobles is designated in the play as a clash between the "current century" and the "past century". In the comedy Woe from Wit, Chatsky and Famusov are the main opponents.
The problem of the mind in comedy
A.S. Griboyedov wrote about his work: "In my comedy there are 25 fools for one sane person." Under the "sane person" Griboyedov means the main character of the comedy - Alexander Andreyevich Chatsky. But in the process of analyzing the work, it becomes clear that Famusov cannot be called a fool either. Since Griboyedov put his own thoughts and ideals into the image of Chatsky, the author is completely on the side of the protagonist. However, both Chatsky and Famusov have their own truth, which each of the heroes defends. And each of them has his own mind, just the mind of Chatsky and the mind of Famusov differ in quality.
The mind of a nobleman who adheres to conservative views and ideals is aimed at protecting his comfort, his warm place from everything new. The new is hostile to the old way of life of the feudal landlords, because it threatens its existence. Famusov adheres to such views.
Chatsky, on the other hand, is the owner of an efficient, flexible mind, aimed at building a new world, in which the main values will be the honor and dignity of a person, his personality, and not money and position in society.
Values and ideals of Chatsky and Famusov
The views of Chatsky and Famusov sharply diverge on all issues related to the way of life of a nobleman. Chatsky is a supporter of education, enlightenment, he himself is “sharp, smart, eloquent”, “writes and translates nicely”. Famusov and his society, on the contrary, consider excessive "scholarship" harmful to society and are very afraid of the appearance in their midst of people like Chatsky. The Chatskys threaten Famusov's Moscow with the loss of her usual comfort and the opportunity to spend her life "in feasts and in extravagance."
The dispute between Chatsky and Famusov also flares up around the attitude of the nobles to the service. Chatsky "does not serve, that is, he does not find any benefit in that." Main character comedy explains it this way: "I would be glad to serve - it's sickening to serve." But conservative noble society it is arranged in such a way that without “serving” it is impossible to achieve anything here. Chatsky wants to serve “the cause, not the individuals.”
But Famusov and his supporters have a completely different view on the issue of service.
Famusov's ideal is his late uncle Maxim Petrovich. He earned the respect of the Empress herself by the fact that once at a reception he behaved like a jester. Having stumbled and fallen, he decided to turn this awkward situation in his favor: he fell a few more times on purpose to make the audience and Empress Catherine laugh. This ability to "serve" brought Maxim Petrovich great wealth and weight in society.
Chatsky does not accept such ideals, for him this is a humiliation. He calls this time the age of "submissiveness and fear", which clamps down on human freedom. The hero's comparison of the "current century" and the "past century" does not turn out in favor of the latter, because now "everyone breathes more freely and is in no hurry to fit into the regiment of jesters."
Family values of Chatsky and Famusov
The clash between Famusov and Chatsky also occurs over the difference in their views on family values. Famusov believes that when creating a family, the presence of love is completely unimportant. “He who is poor is not a match for you,” he says to his daughter. Both in society and in the family, money is at the forefront. wealth for Famus Society is the same as happiness. Personal qualities do not matter either in society or in the family: “Be poor, but if there are two thousand family souls, that is the groom.”
Chatsky, on the other hand, is a supporter of a living feeling, which is why he is terrible for Famus' Moscow. This hero puts love above money, education above position in society. Therefore, the conflict between Chatsky and Famusov flares up.
conclusions
A comparative description of Chatsky and Famusov reveals all the meanness and immorality of Famusov and his supporters. But Chatsky's time in the society described in the comedy "Woe from Wit" has not yet come. The protagonist is expelled from this environment, declaring him insane. Chatsky is forced to retreat due to the numerical superiority of the "past century." But he leaves Moscow not as a loser, but as a winner. Secular Moscow was frightened by his speeches. His truth is terrible for them, it threatens their personal comfort. His truth will triumph, so the replacement of the old by the new is historically natural.
The clash between Famusov and Chatsky is a dispute between two generations, two different worlds. The arguments and causes of the conflict described in this article can be used by students in grade 9 while writing an essay on the topic “Characteristics of Chatsky and Famusov in the comedy “Woe from Wit””
Artwork test
Works on Literature: Dialogue between Famusov and Chatsky..
The comedy "Woe from Wit" holds itself apart in literature and is distinguished by its youthfulness, freshness and stronger vitality from other works of the word.
I. A. Goncharov.
Assessing Griboedov's comedy Woe from Wit, Belinsky wrote that it laid "a solid foundation for new Russian poetry, new Russian literature ... She, as a work of strong talent, a deep and independent mind, was the first Russian comedy in which there is nothing imitative, no false motives and unnatural colors, but in which the whole, and the details, and the plot, and characters, and passions, and actions, and opinions, and language - everything is thoroughly imbued with the deep truth of Russian reality.
Continuing Belinsky's thought, we can say that any part of the comedy, even if it is somehow isolated, taken out of the scope of the work, will in itself be an "encyclopedia of Russian life" in miniature.
The second phenomenon from the second act, replacing the previous events, introduces us to the essence of the emerging conflict between Famusov and Chatsky, representatives of the "past century" and the "current century".
From the very beginning of the action, which develops in a leisurely rhythm, the conflict is already anticipated, figuratively speaking, it "hangs in the air" like an impending thunderstorm.
Already initially annoyed:
Ugh, God forgive me! five thousand times
Says the same thing!
Chatsky instantly catches this mood and, having heard the word “serve”, gives him the necessary interpretation - “serve”.
This was enough for Famusov to burst into a lengthy monologue about what he thinks about the younger generation. Yes, in the face of Chatsky, he sees "proud", "wise men" who are ready to destroy the established, comfortable world of "fathers".
Realizing that Chatsky is ready to marry, Famusov puts forward one condition: "to serve", as the elders served, and gives many examples to follow. In this monologue - the whole essence of the representative of the "past century". His ideals boil down to the glorification of everything old, established: a model of a person for Famusov is one who has made a profitable career, no matter what means. Subservience and meanness for him too good way if it leads to the desired result. Here, for example, is the dead uncle, Maxim Petrovich:
Serious look, haughty disposition.
When do you need to serve?
And he leaned over...
Famusov's monologue is so offensive that Chatsky cannot help but defend himself.
The meaning of his behavior is not that "he wants to preach freedom." In the presence of Famusov, Chatsky admits: “It is not my desire to prolong quarrels.” Loving Sophia, Chatsky is forced to enter into communication with Famusov. Talking to him, he cannot help defending his position, not starting from the morality that is being imposed on him. This is how Chatsky's monologue appears. This is not an exercise in eloquence, not an attempt to “enlighten” Famusov, this is a forced and passionate defense of those beginnings of life that are dear to him and which he cannot refuse. Of course, Chatsky is young, hot and passionate about what he talks about. Perhaps, in some ways, he is still naive, he considers the "past century" to have departed. Chatsky believes that the "current age" has already made its conquests.
Although there are hunters to scoff everywhere,
Yes, now laughter scares and keeps shame in check.
Chatsky is not going to “challenge” at all yet, in fact there is no sedition in his monologue, and even Maxim Petrovich, in order not to irritate Famusov, he does not touch (“I’m not talking about your uncle about yours”). He does not at all paint idyllic pictures of the "current century" in contrast to Famusov's emotion of the "past century". And this century is also far from ideal, but still time irreversibly moves forward. Chatsky does not expose yet, he just agrees. Why does Famusov react so violently to his speech, interrupting it at the end at almost every word?
Chatsky's monologue for a long time brought Famusov out of balance. Here is the conclusion:
Oh! My God! he's carbonari!
…A dangerous person!
So, we can say that the 2nd phenomenon from the 2nd act is built on contrast: the contrast of the characters, their monologues. This is not Griboedov's only artistic technique. Take, for example, Famusov's monologue. A special "scope" of his narrative is given by hyperbole: ("a hundred people at the service", "all in orders", "... everyone is important! Forty pounds"). The idyllic coloring of the monologue is given by memories of signs and customs that have gone into the past and remain in several archaisms: “riding in a train, stupid, kurtag”. The difference in the views, culture, morality of Chatsky and Famusov is clearly manifested in the speech of these heroes. Chatsky is an educated person, his speech is literary, logical, rich in intonations, figurative, it reflects the depth of his feelings and thoughts. Here are examples of this: “The legend is fresh, but hard to believe”, “The age of humility and fear was direct ...”, “Yes, now laughter scares and keeps shame in check ...”
Famusov’s speech betrays in him a person who is not very educated (“to serve”, “out of line”, “almost hit the back of the head”), a smart, cunning, domineering gentleman (“they would learn by looking at their elders”), accustomed to consider himself infallible. In the comedy "Woe from Wit" Griboedov showed himself to be a master of aphorisms. In the 2nd act there are enough of them: “I would be glad to serve, it’s sickening to serve”, “The legend is fresh, but hard to believe”, “He fell painfully, got up great.”
As for the syntactic construction of monologues, it is necessary to note the abundance of exclamatory and interrogative sentences. Here is Famusov:
That's it, you are all proud!
Would you ask how the fathers did?
Everything betrays in him unusual excitement and indignation.
No less emotional, although more reasonable Chatsky:
Knocked on the floor without regret!
... Now, to make people laugh,
Is it brave to sacrifice the back of your head?
Comparing the syntactic structure of Famusov's and Chatsky's monologues, one can come to the conclusion that in Chatsky's speech the syntax is more complex, complex ones predominate both with the allied and unionless bond. And this is no coincidence. Logic, weight of evidence and Chatsky's arguments cannot be compared with Famusov's pompous attacks.
So, at the end of the 2nd Apparition of the 2nd Chapter, the heroes disperse. Chatsky says:
It's not my desire to prolong arguments.
Yes, the dispute is over. But Griboedov so skillfully showed the beginning of the conflict between the representatives of the “old” and “new” that, without even reading the comedy further, one can guess that it will develop and reach its logical end.
