Characteristics of Famusov's guests at the ball. A

Platon Gorich is another character in "Woe from Wit" by A.S. Griboyedov.
Also not at the time of the story, but in being. A year before the events described in the play in Famusov's house. During the last meeting between Gorich and Chatsky, which the latter mentions at the ball. That is, if the action of the play is November 1823, then the picture shows Gorich in November 1822.
What can we say about him from the words of the characters in the play? Little is revealed, but also something that theater directors do not take into account at all.

In the action of the play, he appears before us as a miserable henpecked man, obeying his young wife in everything and only sighing in response.
But it wasn't always like that! Just a year ago, Chatsky saw him as a dashing officer, hardened, dexterous and despising danger!
The people in the play are generally not stereotyped at all, which is what is remarkable; except perhaps with one exception - Molchalin.
And Goric? Before us is a bright and ambiguous character, only for the sake of wanting to fit into Moscow society, enduring the boredom of family life. For six months now, he has been tolerating her, or a little more. But… how will this patience end??
Platon Mikhailovich is strong both morally and physically. Even the name Griboyedov was chosen to speak: in Greek, “plateau” is a shoulder, “platon” is broad-shouldered, broad-shouldered (I ask you not to quote Mayakovsky).
Gorich is rougher than Skalozub, even though he is deliberately rude. In terms of behavior, Gorich is sharper and more uncompromising than Chatsky himself. So, Zagoretsky, Platon Mikhailovich, already at the meeting, sends away almost with his last words and gives him an extremely unflattering description in front of his friend. Gossip about Chatsky does not accept, throwing in the face of the crowd: "Who was the first to divulge?" So Repetilov eventually agreed with the "opinion of the public", and Gorich remained with his "doubt".
He is silent only in front of his Muscovite wife, being her husband in Moscow, he remains his own. But with such a character, it will not be enough for a long time. Oh, not enough!!
Platon Gorich is somewhat older than Alexander Chatsky, although this circumstance does not prevent them from being bosom buddies. Gorich is retired, which does not surprise anyone, apparently, in terms of seniority, in contrast to the same Chatsky. Platon Mikhailovich is considered a candidate for the commandant of Moscow (!), And this circumstance will also be a prerequisite for seeing him not as a boy, but as a husband.
Most likely, he is not 23-25 ​​years old, but slightly over 30, i.e. he is, in fact, the same age as Sergei Skalozub.
But who are these Gorichi? What kind of family?
We can assert that Griboyedov could not but hear this surname during his military service in the Caucasus.
Because Gorichi is a branch of the princely family of the Begidov Ossetians-Digorians, who lived in Balkaria for a long time, but moved to Dagestan, to Kizlyar, half a century ago. Where they were baptized into Orthodoxy, and being "mountain princes", they received a new surname for themselves.
About them http://kumukia.ru/article-9207.html and http://reftrend.ru/296897.html
In what troops did a guy from Kizlyar with Alano-Slavic-Balkarian roots serve? In the Cossacks - the most likely. Chatsky mentions their common "noisy camp" five years ago, i.e. year in 1818. And we may well not be talking about a regimental camp, but about a divisional, or even an all-army one, where nothing interfered with communication between the Cossacks and the uhlans.
Colonel Skalozub began his service in 1809, which means that Gorich devoted himself to the army at about the same time. And that the Cossack from Kizlyar did not participate in the Persian (1804-1813) or Turkish (1806-1812) wars is unlikely. Therefore, on the St. George ribbon he has an award of 1810, a cross for the capture of the fortress of Bazardzhik (now the regional center of Dobrich in Bulgaria).

On the left, under the pantalère-pantalier of the fox, is the Kulm Cross, a Prussian award from the time of the Napoleonic campaigns for the battle of Kulm in 1813.

In the picture, Platon Mikhailovich is in the form of a chief officer of the Ataman Cossack regiment. The uniform is blue with a blue edging and stripes. Shoulder straps, sash, sewing on cuffs and collar are white.
Powder flask made of elk horn - according to the Polish tradition.

At the bottom, the family sign - an open palm - is copied from a pennant on the family coat of arms of the Gorich-Begidovs.

On the head of a burk is a Balkar everyday hat. With the beginning of the Caucasian War, elements of mountain fashion appeared in the Russian army slowly but surely. And her first guides were just local or half-breeds. Secondly, the month of November is still cool. Thirdly, the meeting with Chatsky took place, most likely, just in the Caucasus. As we know from the play, Alexander Andreevich recently stayed there on the waters, and Platon Mikhailovich could either be seconded or be at the location of the regiment. Fourthly, it is necessary to somehow emphasize the dashing, which Chatsky spoke about not by chance. Burke on Gorich's head is a quite appropriate thing, although he looks more like a Cossack from the time of the Civil in it. But, nevertheless, - Burke!
Checker Caucasian, one of the first in the Russian army. On a harness, blade up. The scabbard is not up to the crosshairs, but up to the apple. Black handle made of violet wood (logwood, in Spanish "bloody"). When processed outdoors, its bright red wood turns purple, and then blackens. Smells like violets.))
Gorich meets an old friend with a bottle of aged Chateau Lafite Rothschild. Here's the expensive one:

Original taken from

Each of the characters in the play performs its artistic function. Episodic characters set off and complement the features of the main characters. Off-stage characters, although they do not act directly, play an important role: they testify to the fact that Chatsky is opposed by a powerful and effective reactionary force. All the heroes, taken together, create a vivid, full-blooded picture of the Moscow noble society. At the ball at Famusov's, people who make up the elite of noble Moscow gather. They are many-sided, but they all have common features: feudal views, ignorance, servility, greed. Episodic characters appear in comedy, replacing each other. Consider them in the order in which they are depicted in the comedy. The first guests at the ball are the Gorichs. This is a typical Moscow married couple. Chatsky knew Platon Mikhailovich before the latter's marriage. He was a cheerful, lively person, but after marrying Natalya Dmitrievna, he changed a lot: he fell under the heel of his wife, became "a husband-boy, a husband-servant." Natalya Dmitrievna does not even let her husband “open her mouth”: she answers Chatsky’s questions for him, speaks to him in an orderly tone: “Listen once, dear, fasten up quickly.” Gorich perfectly understands his position and has already come to terms with it. He bitterly says to Chatsky: "Now, brother, I'm not the one." In general, the motive of the husband's subordination to his wife runs through the whole work. Griboyedov draws a parallel between Platon Mikhailovich and Silent Other. The husband of Natalya Dmitrievna says: “There is still an occupation: / On the flute I repeat a duet / A-molny.” With this phrase, the author refers the reader to the beginning of the comedy, when Molchalin and Sophia play a duet on the piano and flute behind the scenes. Sofya prefers Molchalin, although she could have chosen Skalozub or Chatsky. Molchalin earned her love by being "an enemy of insolence." Sofya was brought up in the Famus spirit, and she needs the same husband as Gorich - “husband-boy”, “husband-servant”. The footman Petrusha hardly speaks in the comedy; And he obeys. However, Lizanka says about him: “But how not to fall in love with the barman Petrusha?” Petrusha knows how to obey, and this also pleases him: Lizanka fell in love with him. The Tugoukhovsky family also comes to the ball. The princess is very concerned about finding suitors for her daughters. The reader understands this almost from her first words. As soon as she sees Chatsky in learning that he is not married, she sends her husband, the same “husband-boy”, “husband-servant”, to invite a potential groom to her place. But as soon as she finds out that Chatsky is not rich and he does not have a high rank, she “shouts with all her might”: “Prince, prince! Back!" The figure of Princess Tugoukhovskaya helps to better understand the character of Famusov. Pavel Afanasyevich wants to marry his daughter to a rich, powerful person, prominent in society. Princess Tugou-khovskaya pursues the same selfish goals. Through the figure of the princess, Griboyedov emphasizes such traits in Famusov's character as self-interest and servility. In the Famus society, grooms are chosen for rich brides according to the following principle: * Be inferior, but if there are two thousand family souls, * He is the groom, and also “Who is poor is not a match for you.” Countess Hryumina appears at the ball. This is Khryumna-granddaughter, embittered at the whole world around her, with her half-deaf grandmother. Khryumina-granddaughter cannot find a worthy groom and therefore is dissatisfied with everything that happens around her. As soon as she arrives at the ball, she regrets that she arrived too early. Leaving the ball, the Countess-granddaughter speaks of him like this: “Well, the ball! .. And there is no one to talk to, and no one to dance with!” She is angry that at the ball she did not meet anyone to marry. Khryumina, the granddaughter, shows her admiration for everything foreign, and reveals her predilection for "fashion shops." She often uses French words, even saying a few whole phrases in French, which no one else does in comedy. In her face, Griboedov ridicules another characteristic feature of the nobility of that time: admiration for everything foreign. Chatsky, in his monologue, talks about the "Frenchman from Bordeaux", who feels like a "little king" in Russia, although he left his country "with fear and tears." This Frenchman not only did not meet the "barbarians" in Russia, but also heard his native language everywhere, saw that the ladies wear the same dresses as in France. With the help of the image of a "Frenchman from Bordeaux", Griboedov shows that the society of the nobility imitates French customs and customs so much that it is impossible to distinguish Russian nobles from the French - they have become "Frenchized". Zagoretsky is more than other episodic heroes "involved" in comedy. This is perhaps the most vicious person present at Famusov's ball. Everyone frankly speaks about him: "A notorious swindler, a rogue", "He is a liar, a gambler, a thief." But, despite such a devastating characterization, he is accepted in the world, the doors of the Famusov house are open for him, even Khlestova said a kind word about him: “God bless him! Zagoretsky pays off with his helpfulness, he tells Sofya that no one would have served her like that, that he “knocked everyone down”, getting tickets for the performance, confesses that he “already kidnapped by force”. This phrase reveals the meanness of Zagoretsky's character. He will do everything to serve the right person at the right time. When the old woman Khlestova wanted “from him and the door to be locked”, he served her by giving a little black boy, whom he, apparently, got in some dishonest way, thereby endearing her to him. The characteristic feature of one of the main characters of the comedy - Molchalin - coincides with the main property of Gorodetsky's character. Molchalin says: “My father bequeathed to me: First, to please all people without exception.” Chatsky expresses his opinion about Molchalin: "Zagoretsky did not die in him." Indeed, Griboedov shows Zagoretsky as a "notorious swindler", "liar", "rogue", in order to more clearly reveal the same baseness of the soul in Molchalin - the future Zagoretsky. The sixty-year-old lady Khlestova also comes to the ball. This is a serf-owner, imperious and self-willed, according to Goncharov, "a remnant of the Catherine's age." In the image of Khlestova, Griboyedov reveals the cruelty of serfdom, in which people are treated like dogs. Khlestova takes with her to the ball "a girl and a dog". For her, a serf is like a dog. She asks Sophia: "Tell them to feed already, my friend" - and immediately forgets about them. In the comedy, there is invisibly another character who treats people subject to him like dogs. Chatsky tells about him, calling him "Nestor of noble villains." This man changed his faithful servants, who saved his life and honor, for hunting dogs. The image of "Nestor" also testifies to how cruelly people in power treat those who are subordinate to them. In a conversation with Sofia, Chatsky mentions several people with whom he was familiar before leaving abroad. He recalls a man who lives at the expense of his artists ("he is fat, his artists are skinny"), only having fun. Chatsky says about him: “It is written on the forehead:“ Theater and masquerade ”. He remembered this "Theatre and Masquerade" because at some ball he hid a man in a "secret room" so that he "clicked the nightingale." Then Chatsky tells about a man who drove children, “torn away” from their parents, to the “fortress ballet”, and “made all of Moscow marvel at their beauty”, and then sold them one by one. So Griboedov reveals social inequality, in which children can be separated from their parents. Another acquaintance of Chatsky "settled in the academic committee" and "shoutingly" protested against education. This character reveals the ignorance and lack of education of the Famus society. The very last, to the "Hat analysis", Repetnlov is at the ball. This character in the image of Griboyedov is a person who vulgarizes and discredits the ideas of the time, he, with his “secret union” and “secret meetings on Thursdays”, where they only “make noise” and “drink champagne to kill”, acts as a good-for-nothing person , a talker for whom all advanced ideas are nothing more than a fashion fad. Re-pe'shlov calls Chatsky some people who are authoritative in the "secret alliance", but the reader understands that all these people cannot bring real renewal to society: one is distinguished by the fact that he "speaks through his teeth", the other - by the fact that that he sings, two more are simply “wonderful guys”, and Ippolit Markelych Udushyev is a “genius”, because he wrote in the magazine “an excerpt, a look and something”. In the image of Repetilov, Griboyedov makes fun of random people in the circles of progressive society. There are many other representatives of the Famus society at the ball. Griboedov did not even give them full names. Such, for example, are gentlemen N. and B. The author does not say anything about them, but they participate in the spread of gossip about Chatsky's madness. Mister ^. does not believe it, but he is interested in what others say about it. Sophia knew this whole mechanism very well, and as soon as she said a few words to the two "masters", the whole Famus society spoke in a loud voice about Chatsky's madness. In the images of these petty gossips, Griboedov shows what the nobility is engaged in: spreading gossip and rumors.

“Woe from Wit” is a truly brilliant work that forever made its author a great classic of Russian literature. This satirical play literally immediately broke into catchphrases, quotations and expressions even when it was not yet so well known to the general public. Griboyedov very truthfully depicted the life of the Moscow nobility and accurately described the characters of the heroes inherent in the people of that century. And most importantly, he gave so much wisdom and magnificent satire that now, for almost two centuries, we have been learning from all this to know the world of our ancestors.

"Woe from Wit". Comedy A.S. Griboyedov

The main characters of the work “Woe from Wit” very clearly show that in the secular society of the early 19th century a split formed between the young, progressive generation with progressive views, represented in the image of Chatsky, and the obsessed conservatives of the old generation in the image of Famusov. “Woe from Wit” is a comedy where these two main characters are shown very brightly and colorfully, and each of them is principled and adamant in his truth. However, there are also minor comedy characters who also bring their own colors to the plot. They can be divided into three types: "Famusovs", those who claim to be "Famusovs", and "Famusovs-losers".

Zagoretsky, Woe from Wit. Characteristics of this hero

Among the invited guests in Famusov's house in the third act, Anton Antonovich Zagoretsky appears - "a clever man of the world", who represents the type "Famusovs are losers." He has no ranks and titles, everyone considers him a "notorious swindler and rogue", "a liar, a gambler and a thief."

Revealing the theme "Zagoretsky," Woe from Wit. Characteristics”, it can be said that in Famusov’s society he defined for himself the role of a universal saint and servant, who is always looking for an opportunity to please with his behavior and flattery and, even better, with unexpected gifts, therefore, this always causes great sympathy and approval from the whole environment . For example, he got two “Arapchenkos” for the guest Khlestova at the fair or, most likely, swindled them into cards and Sofya got a ticket to the theater when no one could do it.

Unflattering hero

The character Gorich also constantly speaks unflatteringly about Zagoretsky, but he believes that although everyone scolds him, they are willingly accepted everywhere. This hero really enters into all decent houses of the capital. The image of Zagoretsky is a collective image of a noble society, which gradually began to rot and look extremely immoral. It is always more convenient for this character to lie something than to remember the truth. He really is so used to lying that no one pays any attention to his lies.

Zagoretsky, like Repetilov, has a special place in the comedy Woe from Wit. Although critics attribute them to, they are not his defenders. However, it is with their tacit consent that the fate of other people can be decided.

Role in society

Returning to the topic “Zagoretsky, “Woe from Wit”. Characteristics”, let’s even express the opinion that Zagoretsky is a person who is “close to a political detective” by nature. And this is not at all accidental. This idea is suggested by Zagoretsky’s quotes, which say that if he had received the position of censor, he would first of all “lean” on fables, where eternal ridicule reigns over lions and eagles: “Although animals, but still kings.”

Zagoretsky quickly and with "heat" conducts conversations, he loves to exaggerate everything and any rumor can be inflated to incredible proportions. And he does not react angrily to harsh statements about his person, but simply reduces them to an ordinary joke.

Gorich once again talks about him: "the original, obese, but without the slightest malice."

Griboedov assigns him the role of a person who spreads false rumors about Chatsky. Zagoretsky still did not really understand who he was talking about, but different versions of madness were already born in his head. Khlestova said about Chatsky that, they say, he drank a lot of "very large bottles", Zagoretsky adds that he drank "barrels of forties."

off-stage images

Zagoretsky is one of the off-stage characters and an innovative device of the playwright Griboyedov. Such heroes reveal the picture of the "past century" even more widely and outline its values ​​and ideals. The role of off-stage characters is that they help to better understand and reveal the behavior of the main characters and the entire Famus society. It is the figure of Zagoretsky that shows the immoral behavior of the noble society. By the way, we also learn from Gorich that Zagoretsky is an informer. Yes, and Chatsky immediately receives a warning from Gorich that it is better not to speak frankly in his presence.

In conclusion, the topic "Zagoretsky," Woe from Wit. Characteristics ”it is important to note that the status of a nobleman in Russia was protected by this very fact, and if he followed traditions and customs, he had good prospects for making a successful career and enriching himself due to this. The main thing is not to be such losers and crazy saints as Zagoretsky, who knows everything about everyone and follows the precepts of his father "to please everyone without exception."

Natalya Dmitrievna - the wife of Platon Mikhailovich Gorich in Griboyedov's comedy "Woe from Wit"; a vivid example of the embodiment of female power. Chatsky knew Platon Mikhailovich long before this meeting at the Famusovs' ball. They served in the regiment together and were good friends. Therefore, the changes that took place in the character of a friend after marriage could not hide from his penetrating eyes.

Natalya Dmitrievna completely subjugated her husband, treated him like a child every now and then, intrusively caring for him. With her excessive concern for the health of Platon Mikhailovich, she killed in him the excitement of life, that enthusiasm that Chatsky had previously seen in his eyes. Now he has become an absolutely weak-willed person and a boring conversationalist. Natalya Dmitrievna is young. She belongs to the nobility. Outwardly, she is attractive, good-looking, although a little overweight.

Like many young ladies, she loves balls and parties. The same cannot be said about her wife, but he tries to please her in everything, so he patiently travels with her to all social events. From a conversation with the princesses Tugoukhovsky, it becomes clear that Natalya Dmitrievna loves to discuss expensive outfits. She does not allow her husband to open his mouth, in every possible way training like a dog. Judging by her false worries about the health of Platon Mikhailovich, we can say that this heroine is full of sugary sentimentality.

Minor characters in A. S. Griboyedov's comedy "Woe from Wit"

A. S. Griboyedov’s comedy “Woe from Wit” is a kind of “encyclopedia of Russian life” of the first half of the 19th century. Significantly expanding the scope of the narrative through many secondary and off-stage characters, Griboedov depicts in it the magnificent human types of contemporary Moscow.

As O. Miller notes, almost all the secondary faces of comedy come down to three types: "Famusovs, candidates for Famusovs and Famusovs-losers."

The first of them to appear in the play is Colonel Skalozub, Sophia's "admirer". This is "Famusov in an army uniform", but at the same time, Sergei Sergeyevich is "much more limited than Famusov."

Skalozub has a characteristic appearance (“three fathoms daring”), gestures, mannerisms, speech, in which there are many military terms (“division”, “brigadier”, “sergeant major”, “distance”, “line”).

The character traits of the hero are just as typical. Griboyedov emphasizes rudeness, ignorance, mental and spiritual limitations in Skalozub. Rejecting his "potential grooming", Sophia remarks that he "didn't utter a word of wisdom." Being not very educated, Skalozub opposes the sciences and education, against the "new rules". “You won’t fool me with learning ...,” he confidently declares to Repetilov.

In addition, the author emphasizes another trait in Skalozub - careerism, "a crudely expressed passion for crosses" (N.K. Piksanov). Sergei Sergeyevich, with hardly conscious cynicism, tells Famusov about the reasons for his promotion:

I am quite happy in my comrades,

Vacancies are just open;

Then the elders will be turned off by others,

Others, you see, are killed.

Skalozub is a welcome guest in Famusov's house: Pavel Afanasyevich considers him a suitable groom for Sophia. However, Sophia, like Chatsky, is far from enthusiastic about the "merits" of Sergei Sergeyich. The old woman Khlestova supports her niece in her own way:

Wow! I definitely got rid of the noose;

After all, your crazy father:

He was given three fathoms, a daring one, -

Introduces, without asking, is it nice for us, isn't it?

Finally, Liza Skalozub very aptly characterizes: "And the golden bag, and aims for the generals."

The image of Skalozub has elements of the comic. The very name of the hero hints at this. Lisa speaks about Skalozub's jokes in the comedy.

And Skalozub, as he twists his crest,

He will tell a faint, add a hundred embellishments;

To joke and he is much, because now who does not joke!

Often the speech of Sergei Sergeyich is also comical. So, about Moscow, he notices: “Distances of enormous size”, about kinship with Nastasya Nikolaevna - “We didn’t serve together”, about Molchalin’s fall from a horse - “Look how he cracked - chest or sideways?”

N.K. Piksanov considered the image of Skalozub to be insufficiently developed, incomplete. It is not clear to the reader whether Skalozub is going to marry Sofya, and also whether he guessed about her affair with Molchalin, having seen Sophia's reaction to Molchalin's fall from the horse. However, despite some incompleteness, the image of Skalozub very organically entered the circle of characters created by Griboyedov.

Almost all the characters in the comedy are depicted just as vividly and vividly.

One of the first to come to Famusov is Prince and Princess Tugoukhovsky. They hope to look after rich suitors for their daughters at the ball. Chatsky unexpectedly falls into their field of vision, but, having learned that he is not rich, they leave him alone.

The Tugoukhovskys are portrayed satirically by Griboyedov. Prince Tugoukhovsky (as the surname itself indicates) hears almost nothing. His speech consists of separate exclamations: “Oh-hm!”, “I-hm!”. He unquestioningly fulfills all the instructions of his wife. This hero embodies the aged Famusov. Princess Tugoukhovskaya is distinguished by a rather evil disposition and causticity. So, she sees the reason for the arrogant behavior of the Countess-granddaughter in her “unfortunate fate”: “Evil, girls have been in it for a century, God will forgive her.” Like all Famusov's guests, Princess Tugoukhovskaya does not see the benefit of education, she believes that science is a threat to society: "in St. Petersburg, the pedagogical institute, it seems, is called: professors practice splits and unbelief there!" The Tugoukhovskys quickly pick up gossip about Chatsky's madness and even try to convince Repetilov of this.

Among the guests are Famusova and Countess Khryumina with her granddaughter, who are also happy to believe in Chatsky's madness. The Countess-granddaughter tells the news to Zagoretsky. The countess-grandmother, suffering from deafness, interprets everything she hears in her own way. She declares Alexander Andreevich a "cursed Voltairian" and a "Pusurman".

Famusov's guests are joined by his sister-in-law, the old woman Khlestova. S. A. Fomichev calls this heroine Famusov for the female half of society. Khlestova is a self-confident lady, not stupid, experienced, insightful in her own way. What is the only characteristic given to her by Zagoretsky:

He is a liar, a gambler, a thief ...

I was from him and the doors were locked;

Yes, the master to serve: me and sister Praskovya

I got two blacks at the fair;

Bought, he says, cheated on the cards;

And a present for me, God bless him!

She is also skeptical about Skalozub and Repetilov. For all that, Khlestova shares the opinion of Famusov's guests about the sciences and education:

And really go crazy from these, from some

From boarding schools, schools, lyceums, as you put them,

Yes, from lancard mutual teaching.

Khlestova here means the Lancastrian system of education, but for her age and lifestyle, this confusion of concepts is quite forgivable and very realistic. In addition, it is worth noting that this statement does not contain the militancy that is typical for the speeches of Famusov and Skalozub about enlightenment. Rather, here she just keeps the conversation going.

In the mind of Khlestova, the human dignity of those around her is inextricably merged with their social status, wealth and rank. So, she remarks about Chatsky: "There was a sharp man, he had about three hundred souls." Condescendingly patronizing her intonations in conversations with Molchalin. However, Khlestova perfectly understands the "place" of Alexei Stepanych and does not stand on ceremony with him: "Molchalin, get out your closet," she says, saying goodbye.

Like many of Famusov's guests, Khlestova loves to gossip: "I don't know other people's estates!" She instantly picks up the rumor about Chatsky's madness and even puts forward her own version of events: "Tea, I drank beyond my years."

The image of Repetilov is caricatured in the comedy. This is just the type of "Famusov the loser." This is an absurd, careless, stupid and superficial person, a visitor to the English Club, a lover of drinking and carousing, philosophizing in noisy companies. This character sets the theme of "ideological fashion" in the comedy, as if parodying the social line of Chatsky.

As O. Miller and A. Grigoriev note, “Repetilov ... failed to achieve any really official use from marrying the daughter of an influential von Klok, and now he fell into liberal rhetoric ...”.

Repetilov tries to captivate Chatsky with “free thinking” and describes to him “secret meetings” in the English Club, where they talk “about Byron”, “about important mothers”. Repetilov tells Chatsky about "smart youth", including the "true genius" Ippolit Udushyev. This description sounds frank author's satire:

Night thief, duelist,

He was exiled to Kamchatka, returned as an Aleut,

And firmly on the hand unclean;

Yes, a smart person can not be a rogue.

When he speaks of high honesty,

We inspire with some kind of demon:

Bloody eyes, burning face

He is crying, and we are all crying.

Here is what Pushkin wrote about this image: “... What is Repetilov? it has 2, 3, 10 characters. Why make it ugly? enough that he is windy and stupid with such innocence; it is enough for him to confess every minute of his stupidity, and not of abominations. This humility is extremely new in the theatre, though which of us has not happened to be embarrassed when listening to such penitents?

Repetilov in the comedy is a kind of parody of Chatsky, this is a double character, comically reducing the ideas of the protagonist. Repetilov's literary "brothers" are Grushnitsky from Lermontov's novel "A Hero of Our Time", Sitnikov from Turgenev's novel "Fathers and Sons", Lebezyatnikov from Dostoevsky's novel "Crime and Punishment".

Among Famusov's guests is Anton Antonych Zagoretsky, a "smart man of the world." This is also the type of Famusov the Loser. Unable to get ranks and titles, he remains a petty swindler and ladies' man. Gorich gives him an exhaustive description:

Notorious swindler, rogue: Anton Antonych Zagoretsky.

Beware with him: endure much,

And do not sit down in the cards, he will sell.

The old woman Khlestova also joins Platon Mikhailovich: “He is a liar, a gambler, a thief,” she says to Sophia. However, all the "violence" of Zagoretsky is limited to the sphere of life. In the "ideological" sense, he is completely "law-abiding":

... And if, between us,

I was appointed Densor,

I would have leaned on fables; Oh! fables - my death!

Eternal mockery of lions! over the eagles!

Whoever says:

Although animals, but still give.

As O. Miller and A. Grigoriev note, Zagoretsky is a candidate for the Famusovs, but his circumstances were different, and he took on a different role - a universal servant, a saint. This is a kind of Molchalin, necessary for everyone.

Zagoretsky is a notorious talker and a liar. Moreover, his lies in comedy are practically unreasonable. He is also happy to support the gossip about Chatsky, without even remembering who he is talking about: “He was hidden in the crazy uncle-rogue ... They grabbed him, into a yellow house, and put him on a chain.” However, he puts forward another version to Countess Hryumina: “He was wounded in the forehead in the mountains, he went crazy from the wound.”

Visiting Famusov and the Gorich couple. Gorich is an old friend of Chatsky's since his military service. Perhaps this is the only comedy character written by Griboyedov with a touch of sympathy. This hero, I think, we cannot classify as one of the types described earlier (Famusovs, candidates for the Famusovs, Famusovs-losers). Gorich is a kind and decent person who has no illusions about the mores of a secular society (recall the description that Gorich gives to Zagoretsky). This is the only hero who seriously doubts when he hears gossip about Chatsky's madness. However, Platon Mikhailovich is too soft. He is deprived of Chatsky's confidence and conviction, his temperament, courage. Having obeyed his wife in everything, he became “poor in health”, “calm and lazy”, out of boredom he has fun playing the flute. "Husband-boy, husband-servant, from the wife's pages" - it is this type that is presented in the image of Gorich.

Gorich's behavior illustrates in the comedy the theme of men's submissiveness to their domineering wives. Prince Tugoukhovsky is just as submissive and voiceless "before his wife, this quick mother." Molchalin is just as timid, quiet and modest during his meetings with Sophia.

So, Skalozub, Prince and Princess Tugoukhovsky, Countess Khryumina, the old woman Khlestova, Repetilov and Zagoretsky, Gorichi ... - “all these are types created by the hand of a true artist; and their speeches, words, appeal, manners, way of thinking, breaking through from under them, is a brilliant painting ... ". All these images are bright, memorable, original. Griboyedov's heroes embody the unhurried "past century", with its life traditions and moral rules. These people are afraid of new trends, they are not too fond of science and enlightenment, courage of thoughts and judgments. Thanks to these characters, as well as off-stage heroes, Griboyedov creates a broad panorama of Russian life. “In a group of twenty faces, like a ray of light in a drop of water, all former Moscow, its drawing, its then spirit, historical moment and customs were reflected.”

Miller O., Grigoriev A. Wednesday depicted by the comedy "Woe

from the mind." - In the book: Alexander Sergeevich Griboyedov. His life and writings. Collection of historical and literary articles. Compiled by V. Pokrovsky. M., 1908. S. 51.

Miller O., Grigoriev A. Wednesday, depicted by the comedy "Woe from Wit". - In the book: Alexander Sergeevich Griboedov. "His life and works". Collection of historical and literary articles. Compiled by V. Pokrovsky. M., 1908. S. 52.

Pushkin A.S. Letter to A.A. Bestuzhev. - In the book: A. S. Griboyedov in Russian criticism. M., 1958. S. 41.

Nezelenov. Sorority in the comedy "Woe from Wit". - In the book: Alexander Sergeevich Griboyedov. His life and writings. Collection of historical and literary articles. Compiled by V. Pokrovsky. M., 1908. S. 7.

Belinsky V. G. Woe from Wit. - In the book: V. G. Belinsky. A look at Russian literature. M., 1987. S. 241.

Goncharov I. A. Million of torments.