In the comedy “Woe from Wit” by A.S. Griboedov's main element of the image is the morals of the Moscow conservative nobility. It is precisely the denunciation of outdated, outdated aristocratic views on pressing social issues that is the main task of this play. All the negative traits of the feudal landowners of the early 19th century were concentrated in numerous representatives of the “past century” in comedy - in Famus society.
The image of Famusov in the comedy “Woe from Wit”
The main defender of the ideas of the “past century” in the play is Pavel Afanasyevich Famusov. He occupies an influential position, is rich and noble. It is in his house that the comedy takes place. A society of conservative nobles is named after him in the play. The image of this character reflected the features of the entire Moscow aristocracy of the early 19th century.
In the work “Woe from Wit,” Famus society is depicted as a camp of people who value in a person only high rank, money and connections. Personal qualities have no weight in the world. Famusov strictly and categorically declares to his daughter: “Whoever is poor is not a match for you.”
He, “like all Moscow people,” wants to see a rich and noble person in his son-in-law. At the same time, money and ranks in landowner society are considered as highest value person: “Be poor, but if there are two thousand family souls, that’s the groom.”
The image of Famusov also reflected the habit of the nobles to spend their lives “in feasts and extravagance.” In Famusov's calendar, which he reads with his servant in the second act, only dinner parties, funerals and christenings are planned. And he treats his work at work formally. Famusov signs the documents without looking: “And for me, whatever is the matter, what is not the matter, that’s my custom, it’s signed, off my shoulders.”
The comedy “Woe from Wit” also condemns the habit of the Moscow nobility to place people in profitable positions not based on their business qualities, but on the basis of family ties. Famusov admits: “With me, strangers’ employees are very rare: more and more sisters, sisters-in-law and children.”
In the person of Famusov, Griboyedov portrays Famusov’s society as a whole. It appears before the reader as a society of people who have contempt for the ignorant and the poor and bow down to rank and money.
Colonel Skalozub as an ideal nobleman in Famus society
Famusov sees Colonel Skalozub as his most desired son-in-law, who is presented in the comedy as an extremely stupid martinet. But he is worthy of the hand of Sophia, Famusov’s daughter, only because he is “both a golden bag and aims to be a general.” His title was obtained in the same way that any rank in Moscow is obtained - with the help of connections: “To get a rank, there are many channels...”
Skalozub, like Famusov, provides protection to his family and friends. For example, thanks to the efforts of Skalozub, his cousin“I received tons of benefits from my career.” But, when a high rank followed him, he left the service and went to the village, where he began to lead a calm and measured life. Neither Famusov nor Skalozub are capable of understanding this act, because both of them have a passionate love for rank and position in society.
The role of Molchalin in the play “Woe from Wit”
Among the representatives of Famus society there must necessarily be nobles of not very high ranks, but those who aspire to them, who will express an obsequious attitude towards the older generation, try to curry favor with them. This is the role of Molchalin in the play “Woe from Wit”
At the beginning of the play, this hero appears before the reader as Sophia’s silent and modest lover. But as soon as the girl fails to contain her feelings for Molchalin in public, his true face begins to reveal itself. He, like Famusov, is very afraid of people’s rumors: “Evil tongues scarier than a pistol" He has no feelings for Sophia, but pretends to be her lover in order to please the daughter of “such a person.” From childhood, Molchalin was taught to “please... the owner where he happens to live,” the “boss” for whom he will serve.
Molchalin is silent and helpful only because he does not yet have a high rank. He is forced to “depend on others.” Such people are “blessed in the world,” because aristocratic society is only waiting for admiration and helpfulness towards them.
Off-stage comedy characters
Famus Society in the comedy "Woe from Wit" there are quite a few. In addition, its boundaries are expanding due to the introduction of off-stage characters into the play.
Notable in this regard is the image of Maxim Petrovich, Uncle Famusov, who evokes admiration among the serf-owners for his ability to “curry favor.” Famusov does not consider his desire to amuse the imperial court by exposing himself to ridicule as humiliation. For him, this is a manifestation of intelligence. But Maxim Petrovich was “all decorated” and had “a hundred people at his service.”
Famusov also remembers the late Kuzma Petrovich. His main characteristic- “rich and was married to a rich person.”
The influential Tatyana Yuryevna is mentioned in the play. It’s very beneficial to be in a relationship with her. good relations, because “officials and officials are all her friends and all her relatives.”
Off-stage characters helped Griboedov give a more vivid and memorable characterization of Famus society.
Conclusions
Moscow aristocratic society in the comedy “Woe from Wit” is presented as a society that fears everything new, progressive, and advanced. Any changes in the views of the nobility threaten their personal well-being and usual comfort. At the time the play was written, the ideals of the “past century” were still very strong. But in the society of the nobles, contradictions have already matured, which will later lead to the replacement of old views and values with new ones.
A brief description of the Famus society and a description of the ideals of its representatives will help 9th grade students when writing an essay on the topic “Famus society in the comedy “Woe from Wit””
Work test
In the comedy “Woe from Wit” by A.S. Griboedov's main element of the image is the morals of the Moscow conservative nobility. It is precisely the denunciation of outdated, outdated aristocratic views on pressing social issues that is the main task of this play. All the negative traits of the feudal landowners of the early 19th century were concentrated in numerous representatives of the “past century” in comedy - in Famus society.
The image of Famusov in the comedy “Woe from Wit”
The main defender of the ideas of the “past century” in the play is Pavel Afanasyevich Famusov. He occupies an influential position, is rich and noble. It is in his house that the comedy takes place. A society of conservative nobles is named after him in the play. The image of this character reflected the features of the entire Moscow aristocracy of the early 19th century.
In the work “Woe from Wit,” Famus society is depicted as a camp of people who value in a person only high rank, money and connections. Personal qualities have no weight in the world. Famusov strictly and categorically declares to his daughter: “Whoever is poor is not a match for you.”
He, “like all Moscow people,” wants to see a rich and noble person in his son-in-law. At the same time, money and ranks in the landowner society are considered as the highest value of a person: “Be inferior, but if there are two thousand family souls, that’s the groom.”
The image of Famusov also reflected the habit of the nobles to spend their lives “in feasts and extravagance.” In Famusov's calendar, which he reads with his servant in the second act, only dinner parties, funerals and christenings are planned. And he treats his work at work formally. Famusov signs the documents without looking: “And for me, whatever is the matter, what is not the matter, that’s my custom, it’s signed, off my shoulders.”
The comedy “Woe from Wit” also condemns the habit of the Moscow nobility to place people in profitable positions not based on their business qualities, but on the basis of family ties. Famusov admits: “With me, strangers’ employees are very rare: more and more sisters, sisters-in-law and children.”
In the person of Famusov, Griboyedov portrays Famusov’s society as a whole. It appears before the reader as a society of people who have contempt for the ignorant and the poor and bow down to rank and money.
Colonel Skalozub as an ideal nobleman in Famus society
Famusov sees Colonel Skalozub as his most desired son-in-law, who is presented in the comedy as an extremely stupid martinet. But he is worthy of the hand of Sophia, Famusov’s daughter, only because he is “both a golden bag and aims to be a general.” His title was obtained in the same way that any rank in Moscow is obtained - with the help of connections: “To get a rank, there are many channels...”
Skalozub, like Famusov, provides protection to his family and friends. For example, thanks to the efforts of Skalozub, his cousin “received tons of benefits in his career.” But, when a high rank followed him, he left the service and went to the village, where he began to lead a calm and measured life. Neither Famusov nor Skalozub are capable of understanding this act, because both of them have a passionate love for rank and position in society.
The role of Molchalin in the play “Woe from Wit”
Among the representatives of Famus society there must necessarily be nobles of not very high ranks, but those who aspire to them, who will express an obsequious attitude towards the older generation, try to curry favor with them. This is the role of Molchalin in the play “Woe from Wit”
At the beginning of the play, this hero appears before the reader as Sophia’s silent and modest lover. But as soon as the girl fails to contain her feelings for Molchalin in public, his true face begins to reveal itself. He, like Famusov, is very wary of people’s rumors: “Evil tongues are worse than a pistol.” He has no feelings for Sophia, but pretends to be her lover in order to please the daughter of “such a person.” From childhood, Molchalin was taught to “please... the owner where he happens to live,” the “boss” for whom he will serve.
Molchalin is silent and helpful only because he does not yet have a high rank. He is forced to “depend on others.” Such people are “blessed in the world,” because aristocratic society is only waiting for admiration and helpfulness towards them.
Off-stage comedy characters
The Famus society in the comedy “Woe from Wit” is quite numerous. In addition, its boundaries are expanding due to the introduction of off-stage characters into the play.
Notable in this regard is the image of Maxim Petrovich, Uncle Famusov, who evokes admiration among the serf-owners for his ability to “curry favor.” Famusov does not consider his desire to amuse the imperial court by exposing himself to ridicule as humiliation. For him, this is a manifestation of intelligence. But Maxim Petrovich was “all decorated” and had “a hundred people at his service.”
Famusov also remembers the late Kuzma Petrovich. His main characteristic is “rich and was married to a rich person.”
The influential Tatyana Yuryevna is mentioned in the play. It is very beneficial to be on good terms with her, because “officials and officials are all her friends and all her relatives.”
Off-stage characters helped Griboedov give a more vivid and memorable characterization of Famus society.
Conclusions
Moscow aristocratic society in the comedy “Woe from Wit” is presented as a society that fears everything new, progressive, and advanced. Any changes in the views of the nobility threaten their personal well-being and usual comfort. At the time the play was written, the ideals of the “past century” were still very strong. But in the society of the nobles, contradictions have already matured, which will later lead to the replacement of old views and values with new ones.
A brief description of the Famus society and a description of the ideals of its representatives will help 9th grade students when writing an essay on the topic “Famus society in the comedy “Woe from Wit””
Work test
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.
Numerous characters comedies that 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 serf-owning 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.
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, Griboyedov, 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, Griboyedov 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. The remaining characters in the comedy were images typical 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 the comedy is motley, diverse 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 Alexey Stepanovich belongs to 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 are “more terrible than a pistol” belong 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, Alexey Stepanovich becomes the protagonist's happy rival 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." Griboyedov 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.
