The main representatives of the Famus society and their characteristics. Composition: The Famus Society in Comedy A
Famus Society. They have features that are common to many other people, and others to the whole human race A. S. Griboedov
In 1824, Griboedov created the immortal comedy Woe from Wit, which is a reflection of the acute political struggle that took place in the 20s of the 19th century between the reactionary serf-owners and the still small, but already emerging progressive nobility, from whose midst the the heroes of Senate Square are the Decembrists.
The reactionaries strove in everything to preserve the autocratic serf system and the inveterate aristocratic life, seeing this as the basis of their well-being. The progressive nobles fought against the "past century" and opposed it to the "present century". The clash between the "age of the past" and the "age of the present" is the main theme of the comedy.
"The current century", according to Griboedov, was the product of revolutionary sentiments in noble circles. From the progressive nobles came the Decembrists, the first to try to implement their revolutionary ideas.
The Moscow nobility is diverse in composition: there are counts and princes, high and middle officials, military men, landowners, empty talkers like Repetilov, "liars, gamblers and thieves" like Zagoredky, gossips and empty "burners. ki: shi". Before us is a crowd of idle, empty, soulless and vulgar people:
In the love of traitors, in the enmity of the tireless,
Indomitable storytellers,
Clumsy wise men, crafty simpletons,
Sinister old women, old men,
Decaying over fiction, nonsense.
These people are cruel serf-owners, merciless torturers. The dignitary Famusov threatens his servants with terrible punishments for the slightest offense. “To work you, to settle you!” he shouts. The Moscow master is ready to send the serfs he dislikes to a military settlement. Chatsky speaks indignantly about the landowner, who:
He drove to the fortress ballet on many wagons
From mothers, fathers of rejected children
Made all of Moscow marvel at their beauty,
But the debtors did not agree to the postponement:
Cupids and Zephyrs are all SOLD OUT!!!
The landowners do not consider their serfs to be people. Old Khlestova, for example, puts her maid on a par with a dog:
Out of boredom, I took a girl and a dog with me.
The serf ideology determines all the relationships between the representatives of Famusov's Moscow, they even look for a groom by the number of serfs:
Be poor, yes if you get it
Souls of a thousand two tribal,
That and the groom.
Serfdom was a normal phenomenon for the Famus society, it fully corresponded to the interests of the nobility, it was a source of wealth and profit. Representatives of the Moscow nobility think only of rank, wealth and high connections. They treat the service formally, bureaucratically, as a source of enrichment and advancement. “If only I could get into the generals,” says Colonel Skalozub, an Arakcheev campaigner, a narrow-minded and rude person. The purpose of his service in the army is to receive ranks, orders and medals by any means:
Yes, in order to get ranks, there are many channels.
And Famusov does not hide his attitude to the service:
And I have what's the matter, what's not the case.
My custom is this:
Signed, so off your shoulders.
Like a gentleman, he looks at any work with disdain, he accepts only relatives for service.
With me, employees of strangers are very rare;
More and more sisters, sister-in-law children;
How will you introduce to the christening?
to the place
Well, how not to please your own little man!
Famusov does not serve the cause, but the persons, since the service for the people of his circle is a source of ranks, awards and income. The surest way to achieve these benefits is servility to the superior.
It is not for nothing that Famusov's ideal is Maxim Petrovich, who, while currying favor, "bent over", "bravely sacrificed the back of his head", but was treated kindly at court, "knew respect before everyone." Molchalin does not even have his own opinion:
At my age, one should not dare to have His judgment.
However, he keeps up everywhere:
There Moska will stroke in time;
Here it is just right to insert a card.
And he has a career:
... will reach known degrees,
After all, today they love the dumb.
And these people ran the state. Chatsky speaks of them indignantly:
Where, show us, fathers of the fatherland,
Which should we take as samples?
Are not these rich in robbery?
Enlightenment, science, movement towards progress cause special hatred among people of the Famusov circle. Famusov gives his daughter an education in which the possibility of true enlightenment is excluded in advance:
To teach our daughters everything -
And dancing! and foam! and tenderness! and sigh! Famusov himself is not distinguished by education and does not find any use in reading. He explains the reasons for free-thinking as follows:
Learning is the plague, learning is the cause
What is now more than ever,
Crazy divorced people, and deeds, and opinions.
And his final word about enlightenment and education and Russia is "to take away all the books, but burn them." Consequently, in enlightenment, the Moscow gentleman Famusov sees a danger threatening the entire state system of Russia of that period.
Colonel Skalozub, the personification of martinet stupidity and ignorance, who "had never uttered a word of wisdom", like Famusov, an enemy of enlightenment and everything advanced. He hurries to please Famusov's guests with the fact that there is a project about lyceums, schools, gymnasiums. “They will only teach in our way: one, two. And the books will be kept like this, for big occasions. This hatred for everything advanced is quite understandable, the noble society was afraid of losing their privileges.
Famus society is alien to national culture, Russian customs, admiration for foreign has become a fashion, it comes to ridiculous, Chatsky says that society "gave everything in exchange":
And customs, and language, and holy antiquity,
And stately clothes on another According to the clownish model.
Chatsky notes that among the nobility "a mixture of languages dominates: French with Nizhny Novgorod."
Eminent Muscovites give a joyful welcome to any foreigner. According to a Frenchman from Bordeaux, he
Came and found that caresses have no end,
Neither the sound of a Russian, nor a Russian face I did not meet.
The main thing in this society is "balls, dinners, cards, gossip." Yesterday there was a ball, and tomorrow there will be two.
Famusov spends time in idleness, idleness, empty entertainment, conversations, at dinner parties. Tatyana Yurievna Famusova, an acquaintance, gives balls from Christmas to Lent and holidays in the summer at the dacha. This society cannot do without gossips, because gossip is one of its main features. Here they know the ins and outs of every nobleman and they will say who is rich, who is poor, and how many serf souls Chatsky has:
"Four hundred" - "No! three hundred".
And Khlestova offendedly adds:
“I don’t know other people’s estates!”
Among the Moscow aces, the “notorious swindler, rogue Anton Antonych Zagoretsky” finds his place, who is accepted only because he is “a master of obsequiousness”. Famus society is characterized by Repetilov, in which empty phrase-mongering, ostentatious free-thinking are emphasized.
Thus, in each of the heroes and off-stage characters, the author was able to find a certain type of representative of the Moscow nobility, and the name of each type is hidden in the name of the hero representing him.
So, representatives of the Famus society are characterized by the absence of highly moral feelings, the predominance of selfish interests, the ideal of an idle life, a view of service as a means of achieving personal benefits, moral promiscuity in people, obsequiousness to "higher" people and a despotic attitude towards "lower": peasants, servants , - low level of education, passion for French culture, fear of genuine enlightenment.
Griboyedov very aptly defined the ideals of this society. They are simple: "to take awards and have fun." The Famus society is the face of all noble Russia of those years. As an advanced man of his time, Griboedov not only ridicules this society, but mercilessly condemns the feudal system and calls for its destruction - this is the revolutionary significance of comedy. That is how the Decembrists and all the progressive people of Russian society understood it.
The comedy "Woe from Wit" was written by Griboyedov in 1824. It gives a general picture of all Russian life in the 10-20s of the 19th century, reproduces the eternal struggle between the old and the new, which unfolded with particular force at that time not only in Moscow, but throughout Russia between two camps: advanced, Decembrist-minded people "of the present century" and the feudal lords, representatives of the "past century".
All images of the comedy are deeply realistic. Famusov, Skalozub, Molchalin, Khlestova, the rogue Zagoretsky - all of them are a reflection of reality. These people are stupid and mercenary, afraid of enlightenment and progress, their thoughts are directed only to the acquisition of honors and titles, wealth and finery, they form a single camp of reaction that tramples on all living things.
Famus society is traditional. His life foundations are such that one must study, “looking at the elders”, destroy free-thinking thoughts, serve with obedience to the authorities, and most importantly, be rich. The ideals of this society are presented in Famusov's monologues:
...here is an example:
The deceased was a respectable chamberlain,
With the key, and he knew how to deliver the key to his son;
He was rich and was married to a rich woman;
Married children, grandchildren;
He passed away and everyone remembers him sadly.
Kuzma Petrovich! Peace be upon him! -
What aces live and die in Moscow!..
Famusov, an old Moscow nobleman, deserved a general favor in the metropolitan circles. He is affable, courteous, witty, cheerful. But this is only the outer side. The author reveals the image of Famusov comprehensively. This is not only a hospitable host, but also a staunch serf-owner, a fierce opponent of enlightenment. “Take away all the books and burn them,” he says.
Chatsky, on the other hand, a representative of the “current century,” dreams of “putting a mind hungry for knowledge into science.” He is outraged by the rules established in the Famus society, since it regards a person by his origin and the number of serf souls. Famusov himself dreams of marrying off his daughter Sophia more profitably and tells her: “Ah! mother, do not finish the blow! Who is poor, he is not a couple for you. And then he adds: “Here, for example, we have been saying from time immemorial that honor is due to father and son; be poor, but if there are souls of two thousand family members - that and the groom. Unlike representatives of the Famus society, Chatsky longs for "sublime love, before which the whole world is dust and vanity."
In the relationship between Chatsky and the Famus society, the views of the "past century" on career, service, what is most valued in people are revealed. Famusov takes only relatives and friends to his service. He respects flattery and servility. He wants to convince Chatsky to serve, "looking at the elders", "to substitute a chair, raise a handkerchief." Chatsky objects to this: “I would be glad to serve, it’s sickening to serve.” He takes his job very seriously. And if Famusov treats it formally, bureaucratically (“signed, so off his shoulders”), then Chatsky says: “When I’m in business, I hide from fun, when I’m fooling around, I’m fooling around, and mixing these two crafts is the darkness of craftsmen, I don’t from among them."
Famusov worries about the affairs of only one side, fearing mortally, "so that a lot of them do not accumulate." He does not consider his servants to be people, he treats them rudely, he can sell them, exile them to hard labor. He calls them donkeys, chumps, calls Petrushka, Filka, Fomki. Thus, representatives of the Famus society treat service as a source of personal benefits, service to “persons”, and not to “cause”.
Chatsky, on the other hand, seeks to serve the fatherland, "the cause, not the individuals." He despises Silent, who is accustomed to "pleasing all people without exception - the owner, where I happen to live, the boss, with whom I will serve, his servant who cleans dresses, the porter, the janitor, to avoid evil, the janitor's dog, so that he is affectionate." Everything in Molchalin: both behavior and words - emphasize the cowardice of the immoral careerist. Chatsky bitterly speaks of such people: "The silent ones are blissful in the world!" It is Molchalin who suits his life best of all. He is also talented in his own way. He earned the favor of Famusov, the love of Sophia, received awards. He values \u200b\u200btwo qualities of his character most of all: "moderation and accuracy." For Famusov and his circle, the opinion of the world is sacred and infallible, the most terrible thing is “what Princess Marya Aleksevna will say!”
Skalozub is another prominent representative of the Famus society. It was such a son-in-law that Famusov dreamed of having. After all, Skalozub is "and a golden bag, and aims for generals." This character contained the typical features of a reactionary of the Arakcheev time. “A wheezing, a strangled man, a bassoon, a constellation of maneuvers and mazurkas,” he is the same enemy of education and science as Famusov. “You won’t fool me with learning,” says the colonel.
It is quite obvious that the very atmosphere of the Famus society makes the representatives of the younger generation show their negative qualities. So, Sophia uses her sharp mind for outright lies, unwittingly spreads the rumor about Chatsky's madness. Sophia fully corresponds to the morality of the "fathers". And although she is a smart girl, with a strong, independent character, a warm heart, a dreamy soul, all the same, a false upbringing instilled in Sophia many negative qualities, made her a representative of generally accepted views in this circle. She does not understand Chatsky, does not appreciate his sharp mind, his criticality. She did not understand Molchalin, who "loves her according to her position." It is not her fault that Sophia has become a typical young lady of the Famusov environment. The society in which she was born and lived is to blame, “she is ruined, in stuffiness, where not a single ray of light, not a single stream of fresh air penetrated” (I. A. Goncharov. “A Million of Torments”).
One more character of the comedy is very interesting. This is Repetition. He is a completely unprincipled person, an "idle", but he was the only one who considered Chatsky a "high mind" and, not believing in his madness, called the pack of Famusov's guests "chimeras" and "game". Thus, he was at least one step above them all.
"So! I sobered up completely, ”says Chatsky at the end of the comedy. What is it - defeat or enlightenment? Yes, the finale of the comedy is far from cheerful, but Goncharov is right when he said this: “Chatsky is broken by the amount of old strength, inflicting a mortal blow on it with the quality of fresh strength.” And I fully agree with Goncharov, who believes that the role of all the Chatskys is “passive”, but at the same time always “winning”. Chatsky opposes the society of ignoramuses and feudal lords. He fights against noble villains and sycophants, swindlers, rogues and scammers. In his famous monologue “And who are the judges? ..” he denounces the vile and vulgar Famus world, in which the Russian people have become an object of purchase and sale, where landowners even exchanged serfs for dogs:
That Nestor of noble villains,
Crowd surrounded by servants;
Zealous, they are in the hours of wine and fight
And honor and life saved him more than once: suddenly
He traded three greyhounds for them!!!
Chatsky defends real human qualities: humanity and honesty, intelligence and culture. He defends the Russian people, his Russia, from everything inert and backward. Chatsky wants to see a literate, enlightened Russia. He defends his point of view in disputes, conversations with all the characters in the comedy "Woe from Wit", directing all his mind and determination to this. Therefore, the environment takes revenge on Chatsky for the truth, for trying to disrupt the usual way of life. The "past century", that is, the Famus society, is afraid of people like Chatsky, because they encroach on the way of life, which is the basis of their well-being. The last century, which Famusov admires so much, Chatsky calls the century of "submission and fear."
The Famus society is strong, its principles are firm, but Chatsky also has like-minded people. This is the cousin of Skalozub ("The rank followed him: he suddenly left the service, began to read books in the village"), the nephew of Princess Tugoukhovskaya. Chatsky himself constantly says “we”, “one of us”, thus speaking not only on his own behalf. So A. S. Griboedov wanted to hint to the reader that the time of the “past century” is passing, it is being replaced by the “current century”, strong, intelligent, educated.
In the comedy "Woe from Wit" A.S. Griboyedov, the main element of the image is the mores of the Moscow conservative nobility. It is the denunciation of outdated, obsolete aristocratic views on acute social issues that is the main task of this play. All the negative traits of the landowners-serfs of the early 19th century were concentrated in numerous representatives of the "past century" in comedy - in the Famus society.
The image of Famusov in the comedy "Woe from Wit"
The main defender of the ideas of the "past century" in the play is Pavel Afanasyevich Famusov. He occupies an influential post, rich and noble. It is in his house that the action of the comedy takes place. The Society of Conservative Nobles is named after him in the play. The image of this character reflected the features of the entire Moscow aristocracy of the early 19th century.
In the work “Woe from Wit”, the Famus society is depicted as a camp of people who value in a person only a high rank, money and connections. Personal qualities in the world have no weight. Famusov strictly and categorically declares to his daughter: "He who is poor is not a match for you."
He, "like all Moscow ones," wants to see a rich and noble person in his sons-in-law. At the same time, money and ranks in the landlord society are considered as the highest value of a person: “Be inferior, but if there are two thousand family souls, that is the groom.”
The image of Famusov also reflected the habit of the nobles to spend their lives "in feasts and in extravagance." In Famusov's calendar, which he reads with his servant in the second act, only dinner parties, commemorations and christenings are planned. And he treats his business affairs formally. Famusov signs the documents without looking: “But I have, what’s the matter, what’s not the case, my custom is like this, signed, so off my shoulders.”
In the comedy Woe from Wit, the habit of the Moscow nobility to arrange people for profitable jobs is also condemned not by their business qualities, but based on family ties. Famusov admits: “With me, employees of strangers are very rare: more and more sisters, sister-in-law, children.”
In the person of Famusov, Griboyedov portrays the Famus society as a whole. It appears before the reader as a society of people who feel contempt for the humble and poor and bow before rank and money.
Colonel Skalozub as the ideal of a nobleman in the Famus society
For himself, Famusov sees Colonel Skalozub, who is presented in the comedy as an extremely stupid martinet, as the most desirable son-in-law for himself. On the other hand, he is worthy of the hand of Sophia, Famusov's daughter, only because he "both a golden bag and aspires to become a general." His title was obtained in the same way that any rank is obtained in Moscow - with the help of connections: “To get ranks, there are many channels ...”
Skalozub, like Famusov, provides patronage to his relatives and friends. For example, thanks to the efforts of Skalozub, his cousin "received a lot of benefits in the service." But, when a high rank followed him, he left the service and went to the village, where he began to lead a calm and measured life. Neither Famusov nor Skalozub are capable of treating this act with understanding, because both of them have a passionate love for ranks and position in society.
The role of Molchalin in the play "Woe from Wit"
Among the representatives of the Famus society, nobles of not too high ranks must necessarily be present, but those striving for them, who will express a servile attitude towards the older generation, try to curry favor with him. This is the role of Molchalin in the play "Woe from Wit"
At the beginning of the play, this hero appears before the reader as Sophia's silent and modest lover. But as soon as the girl fails to restrain her feelings for Molchalin in public, his true face begins to be revealed. He, like Famusov, is very afraid of people's rumors: "Evil tongues are worse than a gun." He has no feelings for Sophia, but portrays her lover in order to please the daughter of "such a person." Molchalin was taught from childhood to “please ... the owner, where he happens to live”, the “boss”, with whom he will be in the service.
Molchalin is silent and helpful only because he does not yet have a high rank. He is forced to "depend on others." Such people are "blissful in the world", because the aristocratic society is only waiting for admiration and obligingness in their address.
Off-stage comedy characters
The Famus society in the comedy "Woe from Wit" is quite numerous. In addition, its boundaries are also expanding due to the introduction of off-stage characters into the play.
Noteworthy in this regard is the image of Maxim Petrovich, Famusov's uncle, who is admired by the feudal landlords for his ability to "serve". Famusov does not consider his desire to amuse the imperial court by exposing himself to ridicule as a humiliation. For him, this is a manifestation of intelligence. But Maxim Petrovich was "all in orders" and had "a hundred people at his service."
Famusov also remembers the late Kuzma Petrovich. His main characteristic is “rich and was married to a rich woman”.
The influential Tatyana Yurievna is mentioned in the play. It is very beneficial to be on good terms with her, because "officials and officials are all her friends and all relatives."
Off-stage characters helped Griboedov to give a more vivid and memorable description of the Famus society.
conclusions
The Moscow aristocratic society in the comedy "Woe from Wit" is presented as a society that is afraid of everything new, progressive, advanced. Any change in the views of the nobility threatens their personal well-being, their usual comfort. At the time of writing the play, the ideals of the “age of the past” were still very strong. But in the society of the nobles, contradictions have already matured, which will later lead to the replacement of old views and values with new ones.
A brief description of the Famus society and a description of the ideals of its representatives will help 9th grade students when writing an essay on the topic “The Famus Society in the comedy Woe from Wit”
Artwork test
The comedy Woe from Wit was written between 1815 and 1824. The content of the play is closely connected with historical events. At that time, defenders of feudalism and serfdom ruled in Russian society, but at the same time, a progressively thinking, advanced nobility also appeared. Thus, two centuries collided in comedy - the "current century" and the "past century".
"The past century" personifies the Famus society. These are acquaintances and relatives of Pavel Afanasyevich Famusov, a rich, noble gentleman, in whose house the action of the comedy takes place. These are Prince and Princess Tugoukhovsky, the old woman Khlestova, the Gorichi spouses, Colonel Skalozub. All these people are united by one point of view on life. In their environment, human trafficking is considered normal. The serfs sincerely serve them, sometimes saving their honor and life, and the owners can exchange them for greyhounds. So, at a ball in Famusov's house, Khlestova asks Sophia to give a sop from dinner for her arapka - a girl and a dog. Khlestova sees no difference between them. Famusov himself yells at his servants: “To your work, to your settlements!” Even Famusov's daughter Sophia, who was brought up on French novels, says to her maid Lisa: “Listen, don't take too many liberties!”
The main thing for the Famus society is wealth. Their ideals are people in ranks. Famusov cites the example of Chatsky Kuzma Petrovich, who was "a respectable chamberlain", "with a key", "rich and was married to a rich woman." Pavel Afanasyevich wants for his daughter such a groom as Skalozub, because he is "a golden bag and aims for generals."
Famus society is also distinguished by indifference to the service. Famusov - "manager in a government place." He does things very reluctantly. At the insistence of Molchalin, Famusov signs the papers, despite the fact that "there is a contradiction in them, and a lot of them every week." Pavel Afanasyevich believes: "Signed, so off your shoulders." In Famus society, it is customary to keep only relatives in the service. Famusov says: “With me, employees of strangers are very rare ...”
These people are not interested in anything but lunches, dinners and dancing. During these amusements, they slander and gossip. They are "low-worshippers and businessmen", "flatterers and sycophants". Pavel Afanasyevich recalls his uncle Maxim Petrovich, a great nobleman: "When it is necessary to serve, and he bent over backwards." Famusov also meets with great reverence the prospective fiancé of his daughter Skalozub, he says: “Sergei Sergeyevich, come here, sir, I humbly ask ...”, “Sergei Sergeyich, dear, put down your hat, take off your sword ...”
All representatives of the Famus society are united by their attitude to education and enlightenment. Like Famusov, they are sincerely convinced that “learning is the plague, learning is the reason that today, more than ever, there are crazy divorced people, deeds, and opinions.” And Colonel Skalozub, who is not distinguished by intelligence, talks about a new project for schools, lyceums, gymnasiums, where they will teach drill by step, and books will be kept only "for big occasions." The Famus society does not recognize Russian culture and language. They are closer to French culture, they bow before it and before the French language. Chatsky in his monologue says that the Frenchman from Bordeaux did not find here "neither the sound of a Russian, nor a Russian face."
They all have the same attitude towards Chatsky, who is the representative of everything new and advanced. They do not understand his ideas and progressive views. The hero tries to prove his case, but it ends tragically for him. A rumor is spreading about his insanity, as society does not want to look at the world around him differently. So Griboyedov reflected the conflict between the two camps: the supporters of serfdom and the advanced thinkers of that time.
Speaking about the system of characters in Woe from Wit, one should first of all note the opposition of Chatsky - a lone fighter - to the many-sided Famus society.
The Famus Society is the conservative-minded Moscow nobility in Griboyedov's satirical portrayal.
Famusov and his entourage are distinguished by the following common features.
First, it's careless service. As you know, the main purpose of the nobility was to serve the fatherland. Service was considered an honorable duty of a nobleman. However, representatives of the Moscow nobility depicted in the comedy (Famusov, Skalozub, Molchalin) refer to the service exclusively as a source of ranks and awards.
Secondly, this despotism towards servants. It is known that many nobles owned serf souls. Serfdom created the ground for tyranny and violence against the person. Famusov, Khlestova, a number of non-stage comedy characters are shown as wayward serfs.
In addition, all representatives of the Famus society are distinguished by a sharp rejection of enlightenment, education.
ostentatious patriotism Famusov and his guests combined with the blind admiration for everything foreign, thoughtless passion for French fashion.
The Moscow nobility in the image of Griboyedov is also distinguished by such universal human vices as idleness, gluttony, vanity, idle talk, gossip, and meaningless pastime (for example, playing cards).
Pavel Afanasyevich Famusov – one of the central characters comedy "Woe from Wit", a middle-aged man, a widower. His role in comedy - father of the bride
Famusov is a major official, "manager in a government place." At the same time, this is a wayward feudal lord, autocratically treating his servants.
As an official, Famusov is characterized by indifference to the case. “Signed, so off your shoulders!” he says to Molchalin. The hero is distinguished by nepotism in the service. He tells Skalozub:
How will you begin to introduce to the baptism whether, to the town,
Well, how not to please your own little man!
With Lisa, Famusov behaves like a petty tyrant. At first, he flirts with her, and then threatens to send "for the birds to go." He is ready to send other guilty servants "to the settlement."
A sharp temper distinguishes Famusov not only in relation to the servants, but also in relation to his own daughter. Suspecting Sofya of secret meetings with Chatsky, Famusov is going to send her "to the village, to my aunt, to the wilderness, to Saratov."
At the same time, Famusov is also distinguished by sincere love for her daughter, concern for her future; he tries with all his might to find a profitable groom for her. The rejection of Chatsky and Molchalin as Sophia's unworthy suitors and pleasing Skalozub, a worthy suitor, clarify Famusov's life priorities. “He who is poor is not a couple for you,” Famusov teaches Sophia.
The hero is distinguished by such positive qualities as hospitality, hospitality.
The door is open to the invited and the uninvited,
Especially from foreign ones;
Whether an honest person or not
It’s equal for us, dinner is ready for everyone, -
Famusov declares in his monologue about Moscow in the second act of the comedy.
Famusov's ideals in the past, in the past century. In the monologue that opens the second act of the comedy, the hero admires the virtues of the "venerable chamberlain" Kuzma Petrovich. In another monologue, Famusov bows before the "exploits" of Catherine's nobleman Maxim Petrovich. Famusov's idea of a true mind is firmly connected with this off-stage character. "A? How do you think? In our opinion, smart. / He fell painfully, got up great, ”Famusov notes about the falls of Maxim Petrovich in front of Catherine II.
Famusov, like other representatives of the Moscow nobility, is an enemy of enlightenment. He made harsh judgments about books, for example:
If evil is stopped,
Take away all the books and burn them.
He considers science to be madness:
Learning is the plague, learning is the cause
What is now more than ever,
Crazy divorced people, and deeds, and opinions.
In an ideological conflict Famusov plays - the main opponent of Chatsky.
Puffer
Sergei Sergeevich Skalozub another bright representative of the Famus society. This is an Arakcheev officer. If Famusov personifies the century of nobles and hospitable Moscow bars that is fading into the past, then Colonel Skalozub is new type Russian life, formed after the war of 1812.
We note some personality traits, as well as the life principles of Skalozub.
The hero sees the main goal of his life not in feats of arms, but in successful promotion. Skalozub says to Famusov:
Yes, in order to get ranks, there are many channels;
About them as a true philosopher I judge:
I just want to be a general.
The hero is strongly disposed towards freethinkers. He says to Repetilov:
I am Prince Gregory and you
Feldwebel in Voltaire ladies.
Skalozub personifies the despotic tendencies in the state life of Russia in the last years of the reign of Alexander I. It is no coincidence that Famusov is drawn to Skalozub, he reads him as Sophia's suitor. Famusov sees in Skalozub a real force that can keep the old social foundations unchanged.
Molchalin
Collegiate Assessor Alexey Stepanovich Molchalin also one of the central figures in comedy.
Molchalin, like Skalozub, - new phenomenon in Russian life. This type of bureaucrat gradually ousting the rich and all-powerful nobles from the state and public spheres.
Like Famusov, Molchalin refers to the service as a way to receive ranks and awards.
As I labor and strength,
Since I've been listed in the Archives,
Received three awards
Molchalin says to Chatsky. His view of the service is also expressed in the words: "And take awards, and have fun."
The main life principles of Molchalin - "moderation and prudence". Molchalin will no longer bang the back of his head, like Maxim Petrovich. His flattery is more subtle.
Pleasing the right people, especially the powerful of this world, corresponds to the hero's ideas about the true mind. Stupid from the positions of Chatsky, Molchalin is not so stupid in his own way. The main features of the worldview the hero is revealed in the fourth act, in a monologue about his father's will:
My father bequeathed to me
First, to please all people without exception:
The owner, where he happens to live,
The boss with whom I will serve,
To his servant who cleans dresses,
Doorman, janitor, to avoid evil,
The janitor's dog, so that it was affectionate.
Meanwhile, the humility of Molchalin, his pleasing neighbors are fulfilled hypocrisy And falsehood. The true essence of Molchalin is revealed in his attitude towards Sophia and Lisa.
We also note such a trait of Molchalin as simulated sentimentality. Molchalin perfectly mastered the fashion for "sensitive" pieces, for playing the flute. Sentimentality becomes for the hero an important tool for achieving a solid position in society, where all-powerful ladies rule the show, greedy for flattery and exquisite compliments.
Molchalin plays an important role not only in an ideological conflict, but also in a love affair: he first lover! Perfectly aware of the importance of his own role, Molchalin admits to Lisa:
And here's the lover I assume
To please the daughter of such a person.
The hero successfully copes with his role until the moment of exposure. It is no coincidence that Molchalin, and not Chatsky, becomes Sophia's chosen one. "The silent ones are blissful in the world!" Chatsky exclaims.
Creating the images of Molchalin and Skalozub, Griboyedov expressed his point of view regarding the immediate future of Russia. Unlike Chatsky, the author of Woe from Wit does not idealize the prospects for liberalism in the "current century." It seems to Chatsky that "everyone breathes more freely." Griboyedov thinks otherwise. The playwright is aware that the immediate future of Russia is not for Chatsky, but for Skalozub and Molchalin. These heroes stand firmly on their feet, their positions in life are stronger, despite all their cynicism.
Sofia
Famusov's daughter Sofia- the central female character of the comedy. This rich and noble bride.
The character of Sophia is ambiguous. Pushkin also noted: "Sophia is not clearly inscribed."
On the one hand, we see in Sophia, according to I. A. Goncharov, "strong inclinations of a remarkable nature." It is distinguished by natural mind(the name-characteristic "Sophia" means in Greek "wisdom"), worldly prudence, the ability to sincere feelings.
In addition, Sophia is peculiar independence of life position: having shown disobedience to her father, Sophia fell in love with an unequal person.
On the other hand, Sophia lives by the values of the Famus society. Lies and slander not alien to her nature.
Perhaps it was the lack of high moral principles that led the heroine to the fact that she was not able to immediately recognize the low and vile nature of Molchalin.
Sophia turns out to be a key character in the plot of the comedy, in a love affair. Sophia's attitude towards Molchalin and Chatsky reflects the priorities that have been firmly established among the Moscow nobility. The ideal of Sophia, according to Chatsky, is "a husband-boy, a husband-servant, from the wife's pages."
Chatsky, with his mind, is rejected by the heroine. “Will such a mind make a family happy?” Sophia exclaims, referring to Chatsky's liberal ideas and wit. The heroine not only turns away from her childhood friend, to whom she once had sympathy, but also becomes the initiator of the spread of slander about his madness. At the same time, as a result, she herself turns out to be deceived, she herself suffers grief from her “mind”, becomes a victim of the meanness of Molchalin, as well as her own self-confidence.
The image of Sophia is set off by the image of a maid Lisa.
The aristocratic Sophia is opposed by a simple girl - witty, smart, endowed with a lively mind, self-esteem. So, Lisa rejects the courtship of Famusov and Molchalin. She is weary of her role as Sophia's confidante. Lisa appears in the comedy as a victim of the lord's affection and lord's wrath.
Bypass us more than all sorrows
And the lord's anger, and the lord's love, -
says Lisa.
Minor characters
In Woe from Wit, a significant number of secondary, episodic characters are representatives of the Famus society. Secondary characters allow Griboyedov to show the views, ideals, and customs of the Moscow nobility more widely and deeper.
Natalya Dmitrievna Gorich- secular coquette. Her unfulfilled dream in relation to her husband is the position of the Moscow commandant.
Myself Platon Mikhailovich Gorich in previous years he served, was a comrade of Chatsky, probably shared his oppositional views.
Now he is entirely “under the heel” of his wife, “husband-boy, husband-servant”, the A-molny duet repeats on the flute. “A commendation sheet for you, you are behaving properly,” Chatsky addresses Platon Mikhailovich with irony.
Gorich is burdened by idle pastime in secular salons, but he cannot do anything. “Captivity is bitter,” Gorich (a “speaking” surname) remarks about his position.
Platon Mikhailovich personifies the degradation of the individual in the Famus society.
Prince Tugoukhovsky the same "henpecked" as Gorich, only in years. His deafness (which is also emphasized by the "speaking" surname) symbolizes the inability of the hero to independent thoughts and actions.
Princess Tugoukhovskaya busy with how to marry six daughters.
Princess Tugoukhovskaya, like other representatives of the Famus society, is distinguished by harsh judgments about freethinkers. Let us recall the princess's monologue about the Pedagogical Institute:
No, in St. Petersburg the institute
Pe-da-go-gic, that's what they call it:
There they practice in schisms and disbelief
Professors!
Grandmother Countess And granddaughter countess- couple characters.
The countess-grandmother is a “splinter” of the last century. She is full of anger towards freethinkers. Chatsky, in her view, is a “cursed Voltairian”.
The granddaughter countess embodies the admiration of Moscow ladies for the French. This trait of hers is ridiculed by Chatsky.
Old woman Khlestova- lady-serf. So, she says:
Out of boredom, I took with me
Arapka-girl and dog...
Khlestova, like Princess Tugoukhovskaya, is distinguished by a dislike for enlightenment:
And really you will go crazy from these, from some
From boarding schools, schools, lyceums, as you put them,
Yes, from lancard mutual teaching.
Zagoretsky- the embodiment of baseness, dishonesty. Here is what Platon Mikhailovich Gorich says about him:
He is a man of the world
Notorious swindler, rogue...
Meanwhile, the dishonest Zagoretsky is "accepted everywhere." Chatsky, an honest, decent man, was declared a madman and expelled from society.
All named characters, including two unnamed pair characters, Mr.N. and Mr. D., are rapidly spreading slander about Chatsky. Everyone agrees that the cause of the hero's madness lies in such properties of his mind as education and liberal ideas. This is especially evident in the scene of general condemnation of Chatsky (the 21st appearance of the third act).
Special mention should be made of the shape Repetilova.
This character was introduced by Griboedov into the late edition of the comedy. He appears only in the fourth act of the work.
The "speaking" surname "Repetilov" is derived from the French word "répéter" - "to repeat".
Repetilov is a type of empty talker who is carried away by liberal ideas and thoughtlessly spreads them.
Griboyedov, creating the image of Repetilov, sought to express his ambiguous attitude towards the liberal nobility. On the one hand, with the help of the image of Repetilov, Griboyedov sets off the loneliness of Chatsky. It turns out that Chatsky's "associates" are empty talkers like Repetilov; at the same time, Chatsky himself is a significant, outstanding and lonely figure among pseudo-liberals.
On the other hand, creating the image of Repetilov, Griboyedov sought to show his skepticism towards the opposition-minded nobility as a whole. In this regard, Repetilov is Chatsky's "twin". Therefore, denouncing Repetilov, Griboyedov argues with the main character of his work.
Chatsky
Alexander Andreevich Chatsky – main character"Woe from the mind" the main ideological opponent of the Famus society.
This is a young nobleman who lost his parents early and was brought up in Famusov's house.
Facts from the past Chatsky, mentioned in the play, remind us of the fate of many liberal-minded nobles, including future Decembrists. So, according to ideological convictions, Chatsky first left the military, then the civil service. “I would be glad to serve, it’s sickening to serve,” the hero declares. It is possible that Chatsky tried to carry out liberal transformations in his estate. It is not for nothing that Famusov says to Chatsky: “Do not mismanage your estate, brother.” Probably, Chatsky took part in the reform initiatives of Alexander I, then became disillusioned with them. Molchalin speaks about these facts, referring to the words of Tatyana Yurievna about Chatsky's "connection" and "break" with the ministers. Chatsky traveled, was abroad. Perhaps it was there that he joined the educational ideas of the West.
Consider the most important aspects hero personality. In Chatsky we find the features of an educated nobleman of that time, a man honest, noble. He is distinguished by such character traits as moral purity, chastity, the ability to sincere feelings. For Chatsky, love for Sophia is by no means a manifestation of the “science of tender passion”; Chatsky wants to marry Sophia.
Chatsky has active nature, which, according to I.A. Goncharov, distinguishes him from Pushkin's Onegin.
At the same time, Chatsky is characterized by such qualities as high opinion of oneself, sharpness and categorical in expressing one's own position, intolerance for other people's opinions, the habit of judging others, mocking everyone. All this causes hostility on the part of other actors, especially Sophia.
Particular attention should be paid to the edges crazy Chatsky.
First of all, we note hero's natural abilities their knowledge of languages. Famusov says about Chatsky: “... he is small with a head; / And he writes and translates well.
In addition, Chatsky has critical mind. The hero is distinguished wit, the ability to find comic features in the surrounding society. Lisa says about Chatsky:
Who is so sensitive, and cheerful, and sharp,
Like Alexander Andreevich Chatsky!
Sophia also recognizes these qualities in the hero. “Sharp, smart, eloquent,” she remarks about Chatsky. At the same time, Sophia evaluates these qualities of the hero negatively. “Not a man is a snake,” she says, not accepting Chatsky's mockery of Molchalin.
The mind of Chatsky is freethinking, freethinking, that is, those properties of his worldview that cause sharp hostility on the part of the Famus society. It is no coincidence that what Chatsky considers intellect, in the perception of Famusov and his guests is madness.
Chatsky expresses educational ideas, which remind us of the ideology of the Decembrists.
First, this protest against the extremes of serfdom. Let us recall Chatsky’s monologue “Who are the judges?”, where the hero speaks of “Nestor of noble scoundrels”, who traded his faithful servants for “three greyhounds”, about the owner of a serf theater who sold out his actors one by one.
Secondly, this love for freedom.“Everyone breathes more freely,” says Chatsky, referring to “the current century.” “He wants to preach freedom,” says Famusov about Chatsky.
Chatsky is close to the idea service to the fatherland. At the same time he performs against servility, servility, admiration for the uniform. Chatsky sympathizes with those "who serve the cause, not individuals."
Chatsky appears before us as hot champion of education, denouncer of ignorance. In the monologue "Who are the judges?" he speaks with sympathy of a young man who “will put his mind into the sciences, hungry for knowledge” and, because of this, will be known in a conservative society as a dangerous dreamer.
Finally, Chatsky defends idea of national identity Russia, performs against foreign domination. This idea is especially clearly expressed in the monologue about the Frenchman from Bordeaux. The hero exclaims:
Will we ever be resurrected from the foreign power of fashion?
So that our smart, cheerful people
Although the language did not consider us Germans.
Chatsky becomes the main participant in the ideological conflict that defines the socio-political meaning of comedy. The storyline, reflecting Chatsky's conflict with Famusov and with all the conservative Moscow nobility, ends with the hero's break with society. Chatsky wins a moral victory over the Famus society, but at the same time, according to I.A. Goncharov, he is “broken by the amount of the old force.”
At the same time Chatsky - one of the key figures in a love affair. He plays the role unfortunate lover. The plot line, reflecting the development of a love affair, allows the author of the comedy to show the inner world of the hero, his experiences. “A million torments” by Chatsky is largely due to the fact that the hero is rejected by his beloved.
Off-stage characters
In addition to the secondary (episodic) ones, in Woe from Wit there are also off-stage characters who do not appear on the stage, but are only mentioned in the monologues and replicas of the characters.
Thus, the mention of a number of persons in Chatsky’s monologue about Moscow in the first act of the comedy (“black-faced, on crane legs”, “three of the boulevard faces”, “consumptive ... books enemy”, Aunt Sophia, Guillaume the Frenchman) helps Griboyedov to draw a satirical picture of Moscow customs.
In the monologues of Famusov in the second act, two representatives of the “past century” are named: “venerable chamberlain” Kuzma Petrovich and favorite of Catherine II Maxim Petrovich- the embodiment of servility and servility.
In Famusov’s monologue about Moscow in the second act (“Taste, father, excellent manner ...”) are named all-powerful ladies shaping public opinion
Command before the front!
Be present send them to the Senate!
Irina Vlasevna! Lukerya Alexevna!
Tatyana Yuryevna! Pulcheria Andreevna!
In the monologue "Who are the judges?" Chatsky denounces the cruel feudal lords. Here are named " Nestor of noble villains", who traded his faithful servants for "three greyhounds", and castle theater owner, who sold out his actors one by one.
In the third act, in a conversation with Chatsky, Molchalin mentions influential people - Tatyana Yurievna And Foma Fomich. These off-stage characters allow the viewer to better understand the essence of Molchalin - "a low worshiper and a businessman", as well as to feel the general atmosphere of servility that prevails in society.
« Frenchie from Bordeaux”(from Chatsky’s monologue at the end of the third act) symbolizes the admiration of the Moscow nobility for everything foreign.
Persons mentioned in Repetilov's monologues in the fourth act ( Prince Grigory, Evdokim Vorkulov, Ippolit Markelych Udushyev, Alexey Lakhmotiev and others), allow Griboyedov to recreate the atmosphere of empty liberalism that reigns in the English Club.
In his last remark, Famusov recalls " Princess Marya Aleksevna". The comic effect is enhanced by the fact that this person is named here for the first time. The image of Marya Aleksevna symbolizes Famusov's fear of the opinion of all-powerful ladies.
Most off-stage characters are representatives of the Famus society. However, two characters are possible associates of Chatsky. This is, firstly, cousin of Rocktooth, of which the latter says:
But I firmly picked up some new rules.
The rank followed him - he suddenly left the service,
Secondly, this is the nephew of Princess Tugoukhovskaya - Prince Fedor, who studied at the Pedagogical Institute in St. Petersburg and learned liberal ideas there. Freethinkers include professors the same institute.
The role of off-stage characters in Griboyedov's comedy is extremely great.
Off-stage characters allow you to better understand the characters and life principles of the main characters in the play.
Finally, off-stage characters complement the general picture of the life of the Russian nobility, recreated by Griboyedov in Woe from Wit.
