The play "Woe from Wit" - famous work A. S. Griboedova. In the process of its creation, the author moved away from the classical canons of writing “high” comedy. The heroes in "Woe from Wit" are ambiguous and multifaceted images, and not caricature characters endowed with one characteristic feature. This technique allowed Alexander Sergeevich to achieve stunning verisimilitude in depicting the “picture of morals” of the Moscow aristocracy. This article will be devoted to the characteristics of representatives of such a society in the comedy “Woe from Wit”.
Issues of the play
In "Woe from Wit" there are two plot-forming conflicts. One of them concerns the personal relationships of the heroes. Chatsky, Molchalin and Sofia participate in it. The other represents the socio-ideological confrontation between the main character of the comedy and all the other characters in the play. Both storylines strengthen and complement each other. Excluding love line it is impossible to understand the characters, worldview, psychology and relationships of the heroes of the work. However, the main one, of course, is Chatsky and Famus society confront each other throughout the entire play.
"Portrait" character of the comedy
The appearance of the comedy "Woe from Wit" caused a lively response in literary circles of the first half of the 19th century. Moreover, they were not always laudatory. For example, a longtime friend of Alexander Sergeevich, P. A. Katenin, reproached the author for the fact that the characters in the play are too “portrait-like,” that is, complex and multifaceted. However, Griboedov, on the contrary, considered the realism of his characters to be the main advantage of the work. In response to critical remarks, he replied that “...caricatures that distort the real proportions in the appearance of people are unacceptable...” and argued that there was not a single one in his comedy. Having managed to make his characters alive and believable, Griboedov achieved a stunning satirical effect. Many unwittingly recognized themselves in the comedy characters.
Representatives of the Famusov society
In response to comments about the imperfection of his “plan,” he stated that in his play there were “25 fools for one sane person.” Thus, he spoke quite harshly to the capital’s elite. It was obvious to everyone who the author portrayed under the guise of comedy characters. Alexander Sergeevich did not hide his negative attitude towards Famusov’s society and opposed it to the only smart person- Chatsky. Rest characters the comedies represented typical images of that time: the well-known and influential Moscow “ace” (Famusov); a loud and stupid careerist martinet (Skalozub); a quiet and dumb scoundrel (Molchalin); a domineering, half-mad and very rich old woman (Khlestova); eloquent talker (Repetilov) and many others. Famus Society in comedy it is motley, varied and absolutely unanimous in its resistance to the voice of reason. Let us consider the character of its most prominent representatives in more detail.
Famusov: a staunch conservative
This hero is one of the most influential people in Moscow society. He is a fierce opponent of everything new and believes that one must live as his fathers and grandfathers bequeathed. For him, Chatsky’s statements are the height of freethinking and debauchery. And in ordinary human vices (drunkenness, lies, servility, hypocrisy) he sees nothing reprehensible. For example, he declares himself to be “known for his monastic behavior,” but before that he flirts with Lisa. For Famusov, a synonym for the word “vice” is “learnedness.” For him, condemning bureaucratic servility is a sign of madness.
The question of service is the main one in Famusov’s system. In his opinion, any person should strive to make a career and thereby ensure a high position in society. For him, Chatsky is a lost man, as he ignores generally accepted norms. But Molchalin and Skalozub are businesslike, reasonable people. Famusov's society is an environment in which Pyotr Afanasyevich feels accomplished. He is the embodiment of what Chatsky condemns in people.
Molchalin: a dumb careerist
If Famusov in the play is a representative of the “past century,” then Alexei Stepanovich belongs to the younger generation. However, his ideas about life completely coincide with the views of Pyotr Afanasyevich. Molchalin makes his way “into the people” with enviable tenacity, in accordance with the laws dictated by Famus society. He does not belong to the noble class. His trump cards are “moderation” and “accuracy,” as well as lackey helpfulness and boundless hypocrisy. Alexey Stepanovich is very dependent on public opinion. The famous remark about evil tongues, which " scarier than a pistol“belongs to him. His insignificance and unprincipledness are obvious, but this does not prevent him from making a career. In addition, thanks to his boundless pretense, Alexei Stepanovich becomes the happy rival of the protagonist in love. “Silent people dominate the world!” Chatsky notes bitterly. He can only use his own wit against Famus society.
Khlestova: tyranny and ignorance
The moral deafness of Famus society is brilliantly demonstrated in the play "Woe from Wit." Griboedov Alexander Sergeevich entered the history of Russian literature as the author of one of the most topical and realistic works of his time. Many aphorisms from this comedy are very relevant today.
Famus society in A.S. Griboyedov’s comedy “Woe from Wit” - what is it like?
The comedy “Woe from Wit” was written during the years of intense struggle between the old, reactionary nobility and the revolutionary youth, who saw the country’s disaster in the serfdom. This struggle between the past and the future was main theme comedies. “Woe from Wit” describes both camps - the outdated, feudal Famus society and its opponents (Chatsky with a few supporters).
A bright representative of the “past century” is the so-called Famus society. These are acquaintances and relatives of Pavel Afanasyevich Famusov, a rich, noble gentleman. This includes Prince and Princess Tugoukhovsky, old woman Khlestova, the Gorichi spouses, and Colonel Skalozub. All these people are united by one point of view on life: they are all rigid serf owners. They consider human trafficking to be normal. The serfs sincerely serve them, sometimes saving their lives, and the owners can even exchange the peasants for greyhounds... The main thing for Famus society is wealth. Their ideals are people in ranks.
People in this circle are also characterized by an indifferent attitude towards affairs. Famusov is a “manager in a government place”, during the whole day he addresses matters only once: at the insistence of Molchalin, the official signs the papers, not paying attention to the fact that there are “contradictions in them, and many of them are weekly.”
Another feature that united all the “fathers” was admiration for everything Western, in particular French. They believe that there is no better country in the world than France; they sincerely believe that they have “no salvation” without foreigners. Representatives of the “old world” try to adopt the language and cultural customs of the French, without realizing how absurdly they are doing it.
So, people in Famus’s circle are selfish and selfish. They spend all their time in social entertainment. During these amusements, they slander and gossip, and act hypocrites in front of each other. They are sycophants and businessmen, flatterers and sycophants. Famusov recalls his uncle Maxim Petrovich, a great nobleman: “When it was necessary to serve, he bent over backwards.”
The biggest fear for Famus society is education. Famusov believes that scholarship is a “plague” and assures that we should “take away all the books and burn them,” and Skalozub dreams of a school where “books will be saved for big occasions.”
The main question for the Famus society - the question of service. Everyone in this circle dreams of “reaching known degrees” and ensuring a comfortable existence for themselves. Famusov treats people who succeed in this, for example, Skalozub, with approval. And Chatsky, according to his scale of values, is a “lost” person who deserves only contemptuous regret: after all, although he has good data for a successful career, he does not serve. “But if you wanted, it would be businesslike,” notes Famusov.
Famus society is a society with its own ideological ideas and views on life. They are sure that there is no other ideal than wealth, power and universal respect. “After all, only here they value the nobility,” says Famusov about lordly Moscow. Griboyedov exposes the reactionary nature of feudal society and thereby shows where the dominance of the Famusovs is leading Russia.
The comedy "Woe from Wit" was written between 1815 and 1824. The content of the play is closely related to historical events. At this time, Russian society was ruled by defenders of feudalism and serfdom, but at the same time, progressive-minded, progressive nobility also appeared. Thus, two centuries collided in comedy - the “present century” and the “past century.”
“The Past Century” personifies Famus society. These are acquaintances and relatives of Pavel Afanasyevich Famusov, a rich, noble gentleman in whose house the comedy takes place. These are Prince and Princess Tugoukhovsky, old woman Khlestova, the Gorichi couple, 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 blackamoor - a girl and a dog. Khlestova does not see any difference between them. Famusov himself shouts at his servants: “To work you, to settlements!” Even Famusov’s daughter Sophia, raised on French novels, says to his maid Lisa: “Listen, don’t take unnecessary liberties!”
The main thing for Famus society is wealth. Their ideals are people in ranks. Famusov uses Kuzma Petrovich as an example to Chatsky, who was a “venerable chamberlain,” “with a key,” “rich and was married to a rich woman.” Pavel Afanasyevich wants a groom like Skalozub for his daughter, because he is “a golden bag and aims to be a general.”
Famus society is also distinguished by indifference to 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 are “contradictions in them, and a lot of them are wrong.” Pavel Afanasyevich believes: “It’s signed, off your shoulders.” In Famus society, it is customary to keep only relatives in the service. Famusov says: “With me, strangers’ employees are very rare...”
These people are not interested in anything except lunches, dinners and dances. During these amusements, they slander and gossip. They are “sycophants and businessmen”, “flatterers and sycophants”. Pavel Afanasyevich recalls his uncle Maxim Petrovich, a great nobleman: “When you need to curry favor, he bent over backwards.” Famusov also greets his daughter Skalozub’s supposed fiancé with great reverence, he says: “Sergei Sergeich, come here, sir, I humbly ask...”, “Sergei Sergeich, dear, put down your hat, take off your sword...”
All representatives of Famus society are united by their attitude to education and enlightenment. Like Famusov, they are sincerely confident that “learning is the plague, learning is the reason that now, more than ever, there are more crazy people, and deeds, and opinions.” And Colonel Skalozub, who is not distinguished by intelligence, talks about a new project for schools, lyceums, and gymnasiums, where they will teach marching and books will be kept only “for big occasions.” Famus society does not recognize Russian culture and language. French culture is closer to them, they admire it and the French language. Chatsky in his monologue says that the Frenchman from Bordeaux found “neither the sound of a Russian nor a Russian face” here.
They all have the same attitude towards Chatsky, who is a representative of everything new and advanced. They do not understand his ideas and progressive views. The hero tries to prove that he is right, but it ends tragically for him. Rumors of his madness spread, as society does not want to look at the world around him differently. This is how Griboedov reflected the conflict between two camps: supporters of serfdom and progressive thinkers of the time.
The comedy "Woe from Wit" was written by Griboyedov in 1824. She gives big picture throughout Russian life of the 10-20s of the 19th century, reproduces the eternal struggle between old and new, which unfolded with particular force at that time not only in Moscow, but throughout Russia between two camps: the progressive, Decembrist-minded people of the “present century” and serf owners, representatives of the “past century.”
All comedy images are deeply realistic. Famusov, Skalozub, Molchalin, Khlestova, the rogue Zagoretsky - they are all a reflection of reality. These people are stupid and selfish, afraid of enlightenment and progress, their thoughts are focused only on acquiring honors and titles, wealth and outfits, they form a single camp of reaction that tramples all living things.
Famus society is traditional. His principles of life are such that he must learn, “looking at his elders,” destroy free-thinking thoughts, serve with obedience to his superiors, and most importantly, be rich. The ideals of this society are presented in Famusov’s monologues:
...here's an example:
The deceased was a venerable chamberlain,
With the key, he knew how to deliver the key to his son;
He was rich and married to a rich woman;
Married children, grandchildren;
He died, everyone remembers him sadly.
Kuzma Petrovich! Peace be upon him! -
What kind of aces live and die in Moscow!..
Famusov, an old Moscow nobleman, earned general favor in capital circles. He is friendly, courteous, witty, cheerful. But this is only the external side. The author reveals the image of Famusov comprehensively. This is not only a hospitable host, but also a convinced serf owner, a fierce opponent of enlightenment. “They would take all the books and burn them,” he says.
Chatsky, a representative of the “present century,” dreams of “injecting a mind hungry for knowledge into science.” He is outraged by the rules established in Famus society, since it evaluates a person by his origin and the number of serf souls. Famusov himself dreams of marrying off his daughter Sophia at a better price and says to her: “Ah! Mother, don’t finish the blow! Anyone who is poor is not a match for you.” And then he adds: “For example, we have had it since ancient times that honor is given to father and son; be bad, but if there are two thousand family souls, that’s the groom.” Unlike representatives of Famus society, Chatsky longs for “sublime love, before which the whole world is dust and vanity.”
In the relationship between Chatsky and Famus society, the views of the “past century” on careers, on service, on what is most valued in people are revealed. Famusov takes only relatives and friends into his service. He respects flattery and sycophancy. He wants to convince Chatsky to serve, “looking at the elders,” “putting up a chair, raising a handkerchief.” To this Chatsky objects: “I would be glad to serve, but being served is sickening.” He takes service very seriously. And if Famusov treats it formally, bureaucratically (“signed, off your shoulders”), then Chatsky says: “When in business, I hide from fun, when fooling around, I’m fooling around, and mixing these two crafts is a darkness of artificers, I don’t from among them."
Famusov worries about affairs only on one hand, fearing to death “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, send them to hard labor. He calls them donkeys, blockheads, calls them Parsleys, Filkas, Fomkas. Thus, representatives of Famus society treat service as a source of personal benefits, service to “persons”, and not to “cause”.
Chatsky strives to serve the fatherland, “the cause, not the persons.” 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 doorman, the janitor, to avoid evil, the janitor’s dog, so that it is affectionate.” Everything in Molchalin: both behavior and words - emphasize the cowardice of the immoral careerist. Chatsky speaks bitterly about such people: “Silent people are blissful in the world!” It is Molchalin who arranges his life best of all. He is also talented in his own way. He earned Famusov's favor, Sophia's love, and received awards. He values 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!”
Another prominent representative of the Famus society is Skalozub. This is exactly the kind of son-in-law Famusov dreamed of having. After all, Skalozub is “both a golden bag and aims to be a general.” This character contains typical features reactionary of Arakcheev's time. “A wheeze, a strangled man, a bassoon, a constellation of maneuvers and a mazurka,” he is as much an enemy of education and science as Famusov. “You can’t faint with your learning,” says the colonel.
It is quite obvious that the very atmosphere of Famus society forces representatives younger generation show your negative qualities. So, Sophia uses her sharp mind to outright lie, unwittingly spreading the rumor about Chatsky’s madness. Sophia fully corresponds to the morality of the “fathers”. And although she is an intelligent girl, with a strong, independent character, a warm heart, and a dreamy soul, her false upbringing still instilled in Sophia many negative qualities and made her a representative of the generally accepted views in this circle. She does not understand Chatsky, does not appreciate his sharp mind, his criticality. She also did not understand Molchalin, who “loves her because of his position.” It is not her fault that Sophia has become a typical young lady in Famus’ circle. The society in which she was born and lived is to blame, “she was ruined, in the stuffiness, where not a single ray of light, not a single stream of fresh air penetrated” (I. A. Goncharov. “A Million Torments”).
Another comedy character is very interesting. This is Repetilov. He is a completely unprincipled person, an “idle talker,” but he was the only one who considered Chatsky “ highly intelligent“and, not believing in his madness, called Famus’s pack of guests “chimeras” and “game.” Thus, he was at least one step above them all.
"So! I’ve completely sobered up,” says Chatsky at the end of the comedy. What is this - defeat or insight? Yes, the ending of the comedy is far from cheerful, but Goncharov is right when he said: “Chatsky is broken by the amount of old power, having inflicted on it in turn death blow quality of fresh strength." And I completely agree with Goncharov, who believes that the role of all Chatskys is “suffering”, but at the same time always “victorious”. Chatsky opposes the society of ignoramuses and serf owners. He fights against noble scoundrels and sycophants, swindlers, cheats and informers. In his famous monologue “And who are the judges?..”, he denounces the vile and vulgar world of Famus, in which the Russian people turned into an object of purchase and sale, where landowners even exchanged serfs for dogs:
That Nestor of noble scoundrels,
Surrounded by a crowd of servants;
Zealous, they are in the hours of wine and fights
And his honor and life saved him more than once: suddenly
He traded three greyhounds for them!!!
Chatsky protects the real ones human qualities: humanity and honesty, intelligence and culture. He protects the Russian people, his Russia from everything inert and backward. Chatsky wants to see Russia literate and enlightened. He defends his point of view in disputes and conversations with all the characters in the comedy “Woe from Wit,” directing all his intelligence 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, Famus society, is afraid of people like Chatsky, because they encroach on the order of life that is the basis of their well-being. Chatsky calls the past century, which Famusov admires so much, the century of “humility and fear.”
The Famus society is strong, its principles are firm, but Chatsky also has like-minded people. This cousin Skalozub (“The rank followed him: he suddenly left his service and began reading books in the village”), nephew of Princess Tugoukhovskaya. Chatsky himself constantly says “we,” “one of us,” thus speaking not only on his own behalf. So A. S. Griboyedov wanted to hint to the reader that the time of the “past century” is passing, it is being replaced by the “present century”, strong, smart, educated.
Numerous comedy characters who represent the capital noble society, successfully supplemented with off-stage characters. We do not see them on stage, but we know about their existence from the stories of other heroes. Such off-stage images include Maxim Petrovich, as well as Tatyana Yuryevna, Kuzma Petrovich, Princess Marya Alekseevna and many others. All of them belong to Famus society. Thanks to them, Griboedov expands the scope of the comedy far beyond the borders of Moscow, and also includes courtiers in the work.
It is precisely because of the presence of off-stage characters that the work becomes the play that gives the most detailed picture of life in Russia in the 20s of the 19th century. “Woe from Wit” realistically shows the social situation that was brewing at that time, the struggle that unfolded throughout the country between the Decembrists, revolutionary-minded people and adherents of serfdom, defenders of the old system.
Let's consider first conservative nobility, the so-called supporters of antiquity. This rather large group is the Famus society. How does Griboyedov describe him?
1. These people, especially the older generation, are convinced serf owners, supporters of autocracy, and avid defenders of the old structure of society. They value the past and long-standing traditions of building social relationships. They like the times of Catherine II, because this era is famous for its special strength, the power of the noble landowners. Famusov attaches reverence and respect to the memories of the queen’s court. He draws a parallel, compares the current court circle and the court of Catherine, citing as an example the personality of the nobleman Maxim Petrovich.
Later, Famusov speaks out that the old people are dissatisfied with the new trends in politics and the actions of the young tsar, who is too liberal in their opinion. Defenders of the old way of life are opposed to everything new, they are afraid of any changes that could destroy the world they are familiar with. Many old officials left their posts at the very beginning of the reign of Alexander I. They did this on purpose, as a sign of protest, because they considered that the young people with whom the king surrounded himself were too free-thinking. For example, Admiral Shishkov, quite famous statesman, returned to service only at the moment when government policy changed direction to a sharply reactionary one. And there were many such Shishkovs, especially in Moscow. They determined the course public life, and therefore Famusov was convinced that it was precisely such people who would continue to influence politics.
2. The old society stubbornly defends its noble interests. In Famus’s circle, a person is evaluated based on his origin and financial situation, and they do not pay any attention to personal qualities. For example, Princess Tugoukhovskaya ceases to be interested in Chatsky as soon as it becomes clear that he is far from being a chamberlain cadet, and is not at all rich. Khlestova, in a dispute with Famusov, proving that she is right about the presence of one or another number of serfs at Chatsky, claims that she knows all the estates inside out, since this is the most important thing.
3. Nobles like Famusov do not see serfs as people and treat them cruelly. Chatsky shares his memory that one landowner exchanged his servants for three dogs, but they saved his honor and life many times. Khlestova puts her maid and dog on the same line: when she comes to Famusov, she orders them to be fed, sending the leftovers from dinner. Famusov himself constantly yells at the servants and threatens the doorman to send him to work in the village.
4. The main life goal for people of Famus society is career, wealth, honors. They consider the nobleman Maxim Petrovich and the chamberlain of the court Kuzma Petrovich, who once served under Catherine, as models for general imitation. Famusov courtes Skalozub because he wants to give his daughter to him. This desire is dictated only by the fact that Skalozub is rich and has had a successful career. Old people consider service in society as a source of profit, income, material enrichment, and a means for obtaining ranks. No one is doing things the right way, for real. For example, Famusov at the service only signs the papers given to him by secretary Molchalin. But everyone is happy to use their official position. Famusov constantly employs various relatives at his place of work. Nepotism and patronage are the most common and widespread practice here. The Famusovs do not care about the interests of the state, they are only concerned about personal benefit and benefit. And this applies not only to the civil service, but also to the military. Anyone can become a successful soldier if they are supported, promoted, and favored.
5. In the image of Molchalin, the author wanted to show the main features of the world of officials characteristic of that time. This is sycophancy, careerism, dumbness, and the ability to please superiors. Molchalin was a commoner or minor nobleman. He began his service in Tver, but then transferred to Moscow, which Famusov contributed to. In Moscow, Molchalin quickly rises through the ranks. He understands perfectly what needs to be done if you want to make a career. Only three years passed, and Molchalin managed to become needed by Famusov, receive several thanks and enter the house of his benefactor. Chatsky predicts to him brilliant career, since I am well acquainted with this type of officials. It was precisely such secretaries at that time who could become noble people and achieve high positions. Molchalin has all the necessary data. This is the ability to curry favor, gain the trust of influential people, indiscriminateness in means when achieving a goal, accuracy, and lack of moral principles.
6. The skeletal, conservative society of serf-owners is very afraid of everything progressive. These people perceive any innovations with hostility, since it may threaten their position and dominance. Famusov and his guests are surprisingly unanimous in condemning Chatsky’s ideas. They instantly rallied in the fight against views that they consider freethinking. They consider enlightenment to be the source of all liberties, and therefore oppose educational institutions, sc. The Famus Society offers a radical method of combating such evil. Khlestova and Princess Tugoukhovskaya also have a negative attitude towards schools, boarding schools, and lyceums.
7. Representatives of the old regime society are alien to their people, since they received a certain education in their time. Chatsky is outraged by this system, in which the upbringing of noble children is entrusted to foreigners. As a result, young nobles grew up cut off from everything national and Russian; their speech became mixed with a foreign language. From childhood, they were instilled with the imaginary need to imitate the Germans or French.
This is how Famus society appears before us, depicted by Griboyedov with special care. The author of the comedy depicted the characteristic, typical features of the serf-dominated nobles of that era. The nobility is in fear of the liberation movement, and therefore opposes Chatsky, who is the personification of progressive people. Griboedov shows this society through individualized images, each of which is a living person with his own features, character, and special speech.
