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 Fyodor, 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.
Famus Society
The comedy "Woe from Wit" was written by Griboyedov in 1824. It gives a general picture of the whole Russian life of 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 "century present" and feudal lords (people of the "past century").
All the images created by G-dov in comedy are deeply realistic. Famusov, Skalozub, Molchalin, Khlestova, the rogue Zagoretsky and all others are a reflection of reality. These people, 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. "The past century" in comedy is represented by a number of bright types. This is Famusov, and Skalozub, and Repetilov, and Molchalin.
F-th about-in traditionally. His life foundations are such that one must study, "looking at the elders", destroy free-thinking thoughts, serve with humility those who are a step above, and most importantly - be rich. The ideal of this society is in the monologues of Famusov's uncle Maxim Petrovich and Kuzma Petrovich: ... here's an example: The deceased was a respectable chamberlain, With a 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 kind of aces in Moscow live and die! ..
At the head of the entire f-th society is the figure of Famusov, an old Moscow nobleman who has earned a general location in 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 f-th ob-ve, since it regards a person by his origin and the number of serf souls he has. Famusov himself dreams of marrying off his daughter Sophia more profitably and tells her: "Ah, mother, do not complete the blow! Whoever is poor is not a match for you." And then he adds: "Here, for example, it has been said from time immemorial that honor is due to father and son: be poor, but if there are two thousand family souls, that is the groom." Unlike representatives of the f-th society, Chatsky longs for "sublime love, before which the whole world is dust and vanity."
In the relationship between Chatsky and the Faculty of Society, the views of the "past century" on career, service, what is most valued in people are revealed and ridiculed. In other words, Chatsky despises them. Famusov takes only relatives and friends to his service. He respects flattery and cringing. He wants to convince Chatsky to serve, "looking at the elders," "turning up a chair, picking up a handkerchief." Chatsky objects to this: "I would be glad to serve, it's sickening to serve." Chatsky is very serious about the service. 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 affairs only on the one hand, fearing deathly, "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 scolds them with donkeys, blockheads, calls Petrushka, Filka, Fomka. Thus, representatives of the f-th society treat service as a source of personal benefits, service to individuals, and not to business.
Chatsky, on the other hand, strives to serve the fatherland, "the cause, not the persons." He despises Molchalin, 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 youthfulness of an immoral person making a career. 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 three awards. He values the two 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 f-th 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 Skalozub. It is quite obvious that the very atmosphere of the f-th society makes the representatives of the younger generation show their negative qualities.
So, Sophia uses her sharp mind for outright lies, 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, she has not grown up to him, to his sharp mind, to his logical merciless criticism. Nor does she understand Molchalin, who "loves her ex officio." It is not her fault that Sophia has become a typical young lady of the f-th society. 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" (Goncharov "Million of Torments").
One more character of the comedy is very interesting. This is Repetilov. 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 a pack of Famusov's guests "chimeras" and "game". Thus, he was at least one step above them all. "So! I sobered up in full," says Chatsky at the end of the comedy. What is it - defeat or enlightenment? Yes, the end of this work is far from cheerful, but Goncharov is right when he said this about the finale: "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 tore off the mask from the vile and vulgar world of Famus, in which the Russian people turned into an object of purchase and sale, where the landowners even exchanged serfs for dogs: That Nestor of noble scoundrels, Surrounded by a crowd of servants; Zealous, during the hours of wine and fights, And they saved his honor and life more than once: all of a sudden, he exchanged three greyhounds for them !!!
Chatsky defends a real person, humanity and honesty, intelligence and culture. He defends the Russian people, his Russia, from a bad, inert and backward society. Chatsky wants to see a literate, cultured Russia. He defends this in disputes, conversations with all the characters in the comedy "Go", directing all his mind, wit, evil, irascibility and determination to this. Therefore, the environment takes revenge on Chatsky for the truth that pricks his eyes, for trying to break the usual way of life. The "past century", that is, the f-th society, is afraid of people like Chatsky, because they encroach on that system of life, which is the basis of the well-being of this society. The past century, which Famusov so admires, Chatsky calls the century of "submission and fear." The society is strong, its principles are firm, but Chatsky also has like-minded people. These are the persons mentioned: 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 ASG-dov 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.
Bibliography
For the preparation of this work, materials from the site http://ilib.ru/
“In a group of twenty faces reflected ...
all the old Moscow...”
I.A. Goncharov
The comedy "Woe from Wit" belongs to those few works that do not lose their value in our time.
AS Griboyedov shows a broad picture of life in the 10-20s of the 19th century, reproducing the social struggle that unfolded between advanced, Decembrist-minded people; and the conservative masses of the nobility. This group of nobles makes up the Famus society.
The people of this circle are staunch supporters of the autocratic-feudal system. The age of Catherine II is dear to them, when the power of the noble landowners was especially strong. In the famous “ode to servility”, Famusov admires the nobleman Maxim Petrovich, who “ate not only on silver, but on gold”. He achieved honor, fame, accumulated wealth, showing servility, servility. This is what Famusov credits him with and considers him a role model.
Representatives of the Famus society live in the past, their “judgments are drawn from the forgotten newspapers of the times of the Ochakovskys and the conquest of the Crimea.” They sacredly protect their selfish interests, value a person by his origin, rank, wealth, and not by business qualities. Famusov says: “... we have long been saying that honor is due to father and son.” Countess Tugoukhovskaya loses interest in Chatsky as soon as she finds out that he is not a chamber junker and is not rich.
Famusov and his like-minded people are cruel to their serfs, do not consider them to be people, dispose of their destinies at their own discretion. So, for example, Chatsky is outraged by the landowner, who exchanged his faithful servants, who more than once saved “both his honor and his life”, for “three greyhounds”. And the noble lady Khlestova, who came to the ball, “out of boredom took a black-haired girl and a dog.” She does not make any difference between them and asks Sofya: “Tell them to feed them, my friend, a handout came down from dinner.”
The author of the comedy notes that for Famusov and his friends, service is a source of income, a means of achieving ranks and honors. Famusov himself treats his business in a careless manner: “My custom is this: signed, so off your shoulders.” He saves a warm place for his relatives and promotes their promotion through the ranks. Colonel Skalozub also pursues personal, not state interests. For him, all means are good, only "if only he got into the generals."
Careerism, servility, sycophancy, servility - all these qualities are inherent in the officials depicted in the comedy. They are most clearly manifested in the image of Molchalin, Famusov's secretary, a “business man”, who, thanks to his “helpfulness”, “lack of words”, “received three awards”.
It should be noted that Famusov and his guests are bright enemies of education, since they believe that all evil comes from him. Famusov says:
Learning is the plague, learning is the cause.
What is now more than ever,
Crazy divorced people, and deeds, and opinions ...
The same opinion is shared by Skalozub, Khlestova, Princess Tugoukhovskaya.
The conservative society of noble landowners, depicted by A.S. Griboyedov, is afraid of progress, which threatens its dominant position. That is why they so unanimously condemn Chatsky and his views, consider him a conductor of "crazy deeds and opinions."
The comedy "Woe from Wit" was written by Griboyedov at the beginning of the 20th century. At that time, nobles like Famusov and his entourage ruled the country, but advanced people like Chatsky began to appear among the nobles. So two centuries collided - "the current century" and "the past century".
"The Past Century" represents the Famus society, which includes: P.A. Famusov, in the house where the action takes place, Tugoukhovsky, Khlestova, Gorichi, Skalozub and other acquaintances of Famusov. In the environment, it is considered normal to trade in serfs. So "Nestor noble scoundrels" exchanged his faithful servants for three greyhound dogs, despite the fact that the serfs faithfully served him, and sometimes saved his life. In the Famus society, serfs are equated with animals, it is enough to recall the words of the old woman Khlestova: “Tell them to feed them ... they got a handout from dinner.” Famusov can send his servants "to settlements" because they did not keep track of Sophia, who at night met, as Famusov thinks, with Chatsky. The Countess-granddaughter, leaving, said to the Countess-grandmother, "Well, ball! Well Famusov! Know how to call guests! Some freaks from the other world! - and how well she teamed up with the "freaks" against Chatsky. There is no sincerity in their society, Sophia deceives her father, Liza is forced to lie, covering up the hostess, Molchalin deceives everyone, covering his true face with a mask. Their relationship has long lost sincerity and warmth. They all bow to those who are richer and can promote them. In turn, they demand the same attitude towards themselves from those who are lower in ranks.
Famus society is distinguished by indifference to the service. They practically do not perform any official duties. Yes, and where to find time for work, because they only gossip, have fun at balls, go to dinner parties and lunches. At the insistence of Molchalin, Famusov signs some papers, despite the fact that there is “contradiction” in them, and a lot of it every week. “My custom is this: signed, so off your shoulders,” said Famusov. He has only relatives in his service, with the exception of Molchalin. In their midst, in order to win the rank, one must not serve the cause, but “serve”, as Molchalin does. Pavel Afanasyevich recalls his uncle, an important person who served under Empress Catherine, about whom he says: “When you need to serve, and he bent over.” So this uncle became a jester for a while in order to amuse the empress.
All of them are hostile towards people who are engaged in science and creativity. All of them are sure that books are evil: “If evil is to be stopped: take away all the books and burn them.” Famusov believes that “learning is the plague, learning is the reason that today, more than ever, crazy people divorced, and deeds, and opinions.” Princess Tugoukhovskaya recalls her nephew, Prince Fyodor, who "does not want to know the ranks." And all because "he is a chemist, he is a botanist."
In Famusov's house, "the door is open for the invited and the uninvited, especially from foreigners." Famus society in everything and everywhere blindly imitates foreigners, especially the French. Chatsky recalls that "a Frenchman from Bordeaux" did not find "neither the sound of a Russian, nor a Russian face" in Famusov's house. This “Frenchman” feels at home in Russia, because here he is an important person and everyone is happy with him, regardless of who he was in France. It is accepted that if a person inserts French words, phrases into his speech, then he is considered well-educated.
Goncharov in his article "A Million of Torments" wrote about "Woe from Wit" - that it "everything lives its imperishable life, will survive many more epochs and everything will not lose its vitality." I fully share his opinion. After all, the writer painted a real picture of morals, created living characters. So alive that they survived to our times. It seems to me that this is the secret of the immortality of the comedy of A. S. Griboyedov. After all, our famusovs, taciturns, pufferfish still make modern Chatsky feel grief from the mind.
