Here he is, on tiptoe and not rich in words. Silencers are blissful in the world. AS Griboyedov One of the favorite themes of the great writers of the 19th century is the formation of a young man, his choice of a life path. The diversity of human destinies is depicted by such world-famous novels as Pushkin's "Eugene Onegin", "An Ordinary History" and "Oblomov" by I. A. Goncharov, "Red and Black" by Stendhal, "The Human Comedy" by Balzac and many others. Among these immortal books is A. S. Griboyedov’s Woe from Wit, not a novel, but a “high” comedy, in which, in my opinion, there is very little funny, except for some situations, but the most important socio-political and moral problems are posed, many of which concern us today. What should be a person? How does he navigate his life path? What can you afford and what should never be allowed along the way? What is more important - human dignity or career? These and many other questions are answered by the author of the comedy in the image of Alexei Stepanovich Molchalin. By origin and social status, he does not belong to the capital's nobility. “He warmed up the bezrodny and introduced him into his family, gave him the rank of assessor and took the Moscow ace Famusov as secretary. The surname of Molchalin is justified by his behavior: he is a modest young man, handsome, silent, insinuating. He plays the flute, loves sentimental rhymes, tries to please everyone. It would seem that there is nothing wrong with that. But, reading a comedy, we are convinced that Molchalin's decency is a skillfully chosen mask that hides a vile, hypocritical, false person. In a moment of frankness, he admits that he is guided in life by his father's covenant "to please all people without exception", even the janitor's dog. The purpose of Molchalin's life is to make a career, preferably a brilliant one, to achieve rank, wealth. He sees the highest happiness, his ideal of life, in "taking rewards and having fun." On the way to this goal, all means are good for him. At the same time, Molchalin chooses the surest way to curry favor - flattery, cringing, servility. He is respectful and helpful with Famusov, pleases the influential lady Khlestova in every possible way, does not leave the rich old people, plays cards with them. A flatterer and a hypocrite, he pretends to be in love with Sophia (of course, because she is the daughter of his all-powerful boss) and immediately tells Lisa that he loves the master's daughter "by position". His life "principles" are simple and shameless. This is a rejection of one's human dignity, of one's own opinion, self-abasement: "After all, one must depend on others" or: "At my age, one should not dare to have one's own judgment." Molchalin does not know what honor, honesty, sincerity are, and is mean just like that, just in case. This behavior brought him a certain success: the insignificant secretary not only lives in the house of his patron, but is also accepted in his society. Moreover, "moderation and accuracy" has already provided him with "three awards" in the service, the location and support of influential gentlemen. The reader of the comedy also understands something else: Molchalin's life "experience" is a sentence not only for him, but also for the society that approves and supports him. The people who organized the persecution of the sincere, honest Chatsky, who declared him, an intelligent, educated person, crazy, do not consider it shameful to communicate with a dishonest scoundrel, to patronize him, and this perfectly characterizes them. “Molchalins are blissful in the world,” is one of the most bitter conclusions of Chatsky after a day of communication with the Famus society. Molchalin is not helpless and not funny - in my opinion, he is terrible. The role of this hero in comedy is determined by two circumstances. Firstly, we have before us a person who, living in a Famus society, will certainly "reach the known levels." Even exposure will not ruin him, because, bowing humbly and crawling on his knees, the "business" secretary will again find a way to the heart of his boss: after all, Famusov needs him, and there is someone to intercede! No, Molchalin is unsinkable. Secondly, talking about the "formation" of Molchalin, the author exposes the Moscow nobility (and it, in turn, represents the social system of Famusov's Russia), the "torturers of the crowd", who are afraid of people with progressive views and strong, unbending characters and accepting as their numerous silent. "Great ability to please" many in this unscrupulous society brought to the people. Griboyedov also convinces of what he does not directly say: he needs the tactics chosen by Molchalin only for the time being. Having achieved his goal, he will throw off the mask of modesty and respect - and woe to those who stand in his way. Unfortunately, this human type is not a thing of the past. And today, under the guise of decency and modesty, modern Molchalin can be hidden, who knows how to please everyone, does not disdain any means to achieve his goals. The author of the immortal comedy teaches to understand people, to see under the mask, if it is worn, the true face of a person.
“Woe from Wit” is a truly brilliant work that forever made its author a great classic of Russian literature. This satirical play literally immediately broke into catchphrases, quotations and expressions even when it was not yet so well known to the general public. Griboyedov very truthfully depicted the life of the Moscow nobility and accurately described the characters of the heroes inherent in the people of that century. And most importantly, he gave so much wisdom and magnificent satire that now, for almost two centuries, we have been learning from all this to know the world of our ancestors.
The main characters of the work “Woe from Wit” very clearly show that in the secular society of the early 19th century a split formed between the young, progressive generation with progressive views, represented in the image of Chatsky, and the obsessed conservatives of the old generation in the image of Famusov. “Woe from Wit” is a comedy where these two main characters are shown very brightly and colorfully, and each of them is principled and adamant in his truth. However, there are also minor comedy characters who also bring their own colors to the plot. They can be divided into three types: "Famusovs", those who claim to be "Famusovs", and "Famusovs-losers".
Among the invited guests in Famusov's house in the third act, Anton Antonovich Zagoretsky appears - "a clever man of the world", who represents the type "Famusovs are losers." He has no ranks and titles, everyone considers him a "notorious swindler and rogue", "a liar, a gambler and a thief."
Revealing the theme "Zagoretsky," Woe from Wit. Characteristics”, it can be said that in Famusov’s society he defined for himself the role of a universal saint and servant, who is always looking for an opportunity to please with his behavior and flattery and, even better, with unexpected gifts, therefore, this always causes great sympathy and approval from the whole environment . For example, he got two “Arapchenkos” for the guest Khlestova at the fair or, most likely, swindled them into cards and Sofya got a ticket to the theater when no one could do it.
The character Gorich also constantly speaks unflatteringly about Zagoretsky, but he believes that although everyone scolds him, they are willingly accepted everywhere. This hero really enters into all decent houses of the capital. The image of Zagoretsky is a collective image of a noble society, which gradually began to rot and look extremely immoral. It is always more convenient for this character to lie something than to remember the truth. He really is so used to lying that no one pays any attention to his lies.
Zagoretsky, like Repetilov, has a special place in the comedy Woe from Wit. Although critics attribute them to, they are not his defenders. However, it is with their tacit consent that the fate of other people can be decided.
Returning to the topic “Zagoretsky, “Woe from Wit”. Characteristics”, let’s even express the opinion that Zagoretsky is a person who is “close to a political detective” by nature. And this is not at all accidental. This idea is suggested by Zagoretsky’s quotes, which say that if he had received the position of censor, he would first of all “lean” on fables, where eternal ridicule reigns over lions and eagles: “Although animals, but still kings.”
Zagoretsky quickly and with "heat" conducts conversations, he loves to exaggerate everything and any rumor can be inflated to incredible proportions. And he does not react angrily to harsh statements about his person, but simply reduces them to an ordinary joke.
Gorich once again talks about him: "the original, obese, but without the slightest malice."
Griboedov assigns him the role of a person who spreads false rumors about Chatsky. Zagoretsky still did not really understand who he was talking about, but different versions of madness were already born in his head. Khlestova said about Chatsky that, they say, he drank a lot of "very large bottles", Zagoretsky adds that he drank "barrels of forties."
Zagoretsky is one of the off-stage characters and an innovative device of the playwright Griboyedov. Such heroes reveal the picture of the "past century" even more widely and outline its values and ideals. The role of off-stage characters is that they help to better understand and reveal the behavior of the main characters and the entire Famus society. It is the figure of Zagoretsky that shows the immoral behavior of the noble society. By the way, we also learn from Gorich that Zagoretsky is an informer. Yes, and Chatsky immediately receives a warning from Gorich that it is better not to speak frankly in his presence.
In conclusion, the topic "Zagoretsky," Woe from Wit. Characteristics ”it is important to note that the status of a nobleman in Russia was protected by this very fact, and if he followed traditions and customs, he had good prospects for making a successful career and enriching himself due to this. The main thing is not to be such losers and crazy saints as Zagoretsky, who knows everything about everyone and follows the precepts of his father "to please everyone without exception."
The comedy "Woe from Wit" reflected the opposition of new ideas to the old ones. Griboyedov showed the clash of two ideologies: "the present century" and "the past century".
At the ball at Famusov's, people who make up the elite of noble Moscow gather. They are many-sided, but they all have a common feature: feudal views, ignorance, servility, greed.
Before the guests arrive in Famusov's house, the most welcome guest for the owner appears - Skalozub. This typical martinet, who can be called a blind performer, thinks only of a military career. He, like Famusov, is a staunch supporter of the old order.
The reason for coming to the ball is to find a rich bride. Famusov sees Skalozub as worthy of his daughter Sophia, because he is “both a bag of gold and aspires to be a general.”
The first guests at the ball are the Gorichs. This is a typical Moscow couple. Chatsky knew Platon Mikhailovich before his marriage, they would have been comrades in the service. He was a cheerful, lively person, but after marrying Natalya Dmitrievna, he changed a lot: he fell under the "heel-bow", became "a husband-boy, a husband-servant." Natalya Dmitrievna does not even let her husband “open his mouth”, Gorich understands his situation perfectly and has already come to terms with him. He bitterly says to Chatsky: "Now, brother, I'm not the one."
The Tugoukhovsky family also comes to the ball. The princess is very worried about finding suitors for her daughters, pushing around the old prince, barely seeing Chatsky and learning that he is not married, sends her husband to invite a potential groom to her place. But, as soon as she realizes that Chatsky is not rich and he does not have a high rank, then she screams with all her might: “Prince, prince! Back!". In the Famus society, grooms are chosen for rich brides according to the following principle:
Be poor, but if there are two thousand family souls, - He and the groom.
Countess Hryumina appears at the ball. This is Hryumina-granddaughter, embittered at the whole world around her, with her half-deaf grandmother. Khryumina-granddaughter cannot find a worthy groom and therefore is dissatisfied with everything that happens around her. As soon as she arrives at the ball, she regrets that she arrived too early. She says: “Well, a ball! .. And there is no one to talk to, and no one to dance with!”. She is angry that she has not met anyone here to marry. Khryumina, the granddaughter, expresses her admiration for everything foreign, and reveals her predilection for "fashion shops." The arrogance of Hryumina the granddaughter revolts Chatsky:
Un-happy! Should there be reproaches from imitators of milliners? For daring to prefer the originals to the lists!
Zagoretsky is perhaps the most vicious person present at Famusov's ball. Everyone talks frankly about him.
A notorious swindler, a rogue, He is a liar, a gambler, a thief.
But, despite such a devastating characterization, he is accepted in the world, the doors of the Famusov's house are open for him.
Zagoretsky pays off with his helpfulness, this is his meanness. He will do everything to serve the right person at the right time. Chats-ki could not but express his opinion:
And it would be ridiculous for you to be offended; In addition to honesty, there are many joys: Scold here, and thank you there.
The sixty-year-old lady Khlestova also comes to the ball. She always has her own opinion, knows her worth, and at the same time is rude, despotic with serfs. Khlestova takes with her to the ball "a girl and a dog". For her, a serf is the same as a dog. Even such an imperious and masterful lady Chatsky was able to annoy with his remark:
He will not get well from such praises, And Zagoretsky himself could not stand it, he disappeared.
The very last, to the "hat analysis", Repetilov is at the ball. This man, who vulgarizes and discredits the ideas of the times, with his "most secret alliance" and "secret meetings on Thursdays" where they only "make noise" and "drink champagne to kill", appears as a good-for-nothing bol- tun, for whom all advanced ideas are nothing more than a fashion fad. Repetilov uses the favor of authoritative people in the "most secret union", but all these people cannot bring real renewal to society. material from the site
There are many other representatives of the Famus society at the ball. Griboedov did not even give them full names. Such, for example, are gentlemen N and D. They participate in the spread of gossip about Chatsky's madness. They don't believe it themselves. But they are interested in what others say about it. The images of petty gossips show the goals and interests of the Famus society: career, honors, wealth, rumors, gossip.
Chatsky favorably differs from the Famus society. His image reflected the typical features of the Decembrists. Chatsky is ardent, dreamy, freedom-loving. He rebels against serfdom, the dominance of foreigners, the magical power of women in society, servility, service to persons, and not to the cause. He realized the true values of the crowd, in whose circle he spent only one day - and lost hope of finding like-minded people.
Before leaving Moscow, Chatsky angrily throws to the entire Famus society:
He will come out of the fire unharmed, Who will have time to stay with you for a day, Breathe the same air, And his mind will survive.
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A. S. Griboyedov’s comedy “Woe from Wit” is a kind of “encyclopedia of Russian life” of the first half of the 19th century. Significantly expanding the scope of the narrative through many secondary and off-stage characters, Griboedov depicts in it the magnificent human types of contemporary Moscow.
As O. Miller notes, almost all the secondary faces of comedy come down to three types: "Famusovs, candidates for Famusovs and Famusovs-losers."
The first of them to appear in the play is Colonel Skalozub, Sophia's "admirer". This is "Famusov in an army uniform", but at the same time, Sergei Sergeyevich is "much more limited than Famusov."
Skalozub has a characteristic appearance (“three fathoms daring”), gestures, mannerisms, speech, in which there are many military terms (“division”, “brigadier”, “sergeant major”, “distance”, “line”).
The character traits of the hero are just as typical. Griboyedov emphasizes rudeness, ignorance, mental and spiritual limitations in Skalozub. Rejecting his "potential grooming", Sophia remarks that he "didn't utter a word of wisdom." Being not very educated, Skalozub opposes the sciences and education, against the "new rules". “You won’t fool me with learning ...,” he confidently declares to Repetilov.
In addition, the author emphasizes another trait in Skalozub - careerism, "a crudely expressed passion for crosses" (N.K. Piksanov). Sergei Sergeyevich, with hardly conscious cynicism, tells Famusov about the reasons for his promotion:
I am quite happy in my comrades,
Vacancies are just open;
Then the elders will be turned off by others,
Others, you see, are killed.
Skalozub is a welcome guest in Famusov's house: Pavel Afanasyevich considers him a suitable groom for Sophia. However, Sophia, like Chatsky, is far from enthusiastic about the "merits" of Sergei Sergeyich. The old woman Khlestova supports her niece in her own way:
Wow! I definitely got rid of the noose;
After all, your crazy father:
He was given three fathoms, a daring one, -
Introduces, without asking, is it nice for us, isn't it?
Finally, Liza Skalozub very aptly characterizes: "And the golden bag, and aims for the generals."
The image of Skalozub has elements of the comic. The very name of the hero hints at this. Lisa speaks about Skalozub's jokes in the comedy.
And Skalozub, as he twists his crest,
He will tell a faint, add a hundred embellishments;
To joke and he is much, because now who does not joke!
Often the speech of Sergei Sergeyich is also comical. So, about Moscow, he notices: “Distances of enormous size”, about kinship with Nastasya Nikolaevna - “We didn’t serve together”, about Molchalin’s fall from a horse - “Look how he cracked - chest or sideways?”
N.K. Piksanov considered the image of Skalozub to be insufficiently developed, incomplete. It is not clear to the reader whether Skalozub is going to marry Sofya, and also whether he guessed about her affair with Molchalin, having seen Sophia's reaction to Molchalin's fall from the horse. However, despite some incompleteness, the image of Skalozub very organically entered the circle of characters created by Griboyedov.
Almost all the characters in the comedy are depicted just as vividly and vividly.
One of the first to come to Famusov is Prince and Princess Tugoukhovsky. They hope to look after rich suitors for their daughters at the ball. Chatsky unexpectedly falls into their field of vision, but, having learned that he is not rich, they leave him alone.
The Tugoukhovskys are portrayed satirically by Griboyedov. Prince Tugoukhovsky (as the surname itself indicates) hears almost nothing. His speech consists of separate exclamations: “Oh-hm!”, “I-hm!”. He unquestioningly fulfills all the instructions of his wife. This hero embodies the aged Famusov. Princess Tugoukhovskaya is distinguished by a rather evil disposition and causticity. So, she sees the reason for the arrogant behavior of the Countess-granddaughter in her “unfortunate fate”: “Evil, girls have been in it for a century, God will forgive her.” Like all Famusov's guests, Princess Tugoukhovskaya does not see the benefit of education, she believes that science is a threat to society: "in St. Petersburg, the pedagogical institute, it seems, is called: professors practice splits and unbelief there!" The Tugoukhovskys quickly pick up gossip about Chatsky's madness and even try to convince Repetilov of this.
Among the guests are Famusova and Countess Khryumina with her granddaughter, who are also happy to believe in Chatsky's madness. The Countess-granddaughter tells the news to Zagoretsky. The countess-grandmother, suffering from deafness, interprets everything she hears in her own way. She declares Alexander Andreevich a "cursed Voltairian" and a "Pusurman".
Famusov's guests are joined by his sister-in-law, the old woman Khlestova. S. A. Fomichev calls this heroine Famusov for the female half of society. Khlestova is a self-confident lady, not stupid, experienced, insightful in her own way. What is the only characteristic given to her by Zagoretsky:
He is a liar, a gambler, a thief ...
I was from him and the doors were locked;
Yes, the master to serve: me and sister Praskovya
I got two blacks at the fair;
Bought, he says, cheated on the cards;
And a present for me, God bless him!
She is also skeptical about Skalozub and Repetilov. For all that, Khlestova shares the opinion of Famusov's guests about the sciences and education:
And really go crazy from these, from some
From boarding schools, schools, lyceums, as you put them,
Yes, from lancard mutual teaching.
Khlestova here means the Lancastrian system of education, but for her age and lifestyle, this confusion of concepts is quite forgivable and very realistic. In addition, it is worth noting that this statement does not contain the militancy that is typical for the speeches of Famusov and Skalozub about enlightenment. Rather, here she just keeps the conversation going.
In the mind of Khlestova, the human dignity of those around her is inextricably merged with their social status, wealth and rank. So, she remarks about Chatsky: "There was a sharp man, he had about three hundred souls." Condescendingly patronizing her intonations in conversations with Molchalin. However, Khlestova perfectly understands the “place” of Alexei Stepanych and does not stand on ceremony with him: “Molchalin, get out your closet,” she says, saying goodbye.
Like many of Famusov's guests, Khlestova loves to gossip: "I don't know other people's estates!" She instantly picks up the rumor about Chatsky's madness and even puts forward her own version of events: "Tea, I drank beyond my years."
The image of Repetilov is caricatured in the comedy. This is just the type of "Famusov the loser." This is an absurd, careless, stupid and superficial person, a visitor to the English Club, a lover of drinking and carousing, philosophizing in noisy companies. This character sets the theme of "ideological fashion" in the comedy, as if parodying the social line of Chatsky.
As O. Miller and A. Grigoriev note, “Repetilov ... failed to achieve any really official use from marrying the daughter of an influential von Klok, and now he fell into liberal rhetoric ...”.
Repetilov tries to captivate Chatsky with “free thinking” and describes to him “secret meetings” in the English Club, where they talk “about Byron”, “about important mothers”. Repetilov tells Chatsky about "smart youth", including the "true genius" Ippolit Udushyev. This description sounds frank author's satire:
Night thief, duelist,
He was exiled to Kamchatka, returned as an Aleut,
And firmly on the hand unclean;
Yes, a smart person can not be a rogue.
When he speaks of high honesty,
We inspire with some kind of demon:
Bloody eyes, burning face
He is crying, and we are all crying.
Here is what Pushkin wrote about this image: “... What is Repetilov? it has 2, 3, 10 characters. Why make it ugly? enough that he is windy and stupid with such innocence; it is enough for him to confess every minute of his stupidity, and not of abominations. This humility is extremely new in the theatre, though which of us has not happened to be embarrassed when listening to such penitents?
Repetilov in the comedy is a kind of parody of Chatsky, this is a double character, comically reducing the ideas of the protagonist. Repetilov's literary "brothers" are Grushnitsky from Lermontov's novel "A Hero of Our Time", Sitnikov from Turgenev's novel "Fathers and Sons", Lebezyatnikov from Dostoevsky's novel "Crime and Punishment".
Among Famusov's guests is Anton Antonych Zagoretsky, a "smart man of the world." This is also the type of "Famusov-loser". Unable to get ranks and titles, he remains a petty swindler and ladies' man. Gorich gives him an exhaustive description:
Notorious swindler, rogue:
Anton Antonych Zagoretsky.
Beware with him: endure much,
And do not sit down in the cards, he will sell.
The old woman Khlestova also joins Platon Mikhailovich: “He is a liar, a gambler, a thief,” she says to Sophia. However, all the "violence" of Zagoretsky is limited to the sphere of life. In the "ideological" sense, he is completely "law-abiding":
And if, between us,
I was appointed censor
I would have leaned on fables; oh! fables - my death!
Eternal mockery of lions! over the eagles!
Whoever says:
Although animals, but still kings.
As O. Miller and A. Grigoriev note, Zagoretsky is a candidate for the Famusovs, but his circumstances were different, and he took on a different role - a universal servant, a saint. This is a kind of Molchalin, necessary for everyone.
Zagoretsky is a notorious talker and liar. Moreover, his lies in comedy are practically unreasonable. He is also happy to support the gossip about Chatsky, without even remembering who he is talking about: “He was hidden in the crazy uncle-rogue ... They grabbed him, into a yellow house, and put him on a chain.” However, he puts forward another version to Countess Hryumina: “He was wounded in the forehead in the mountains, he went crazy from the wound.”
Visiting Famusov and the Gorich couple. Gorich is an old friend of Chatsky's since his military service. Perhaps this is the only comedy character written by Griboyedov with a touch of sympathy. This hero, I think, we cannot classify as one of the types described earlier (Famusovs, candidates for the Famusovs, Famusovs-losers). Gorich is a kind and decent person who has no illusions about the mores of secular society (let us recall the description that Gorich gives to Zagoretsky). This is the only hero who seriously doubts when he hears gossip about Chatsky's madness. However, Platon Mikhailovich is too soft. He is deprived of Chatsky's confidence and conviction, his temperament, courage. Having obeyed his wife in everything, he became “poor in health”, “calm and lazy”, out of boredom he has fun playing the flute. "Husband-boy, husband-servant, from the wife's pages" - it is this type that is presented in the image of Gorich.
Gorich's behavior illustrates in the comedy the theme of men's submissiveness to their domineering wives. Prince Tugoukhovsky is just as submissive and voiceless "before his wife, this quick mother." Molchalin is just as timid, quiet and modest during his meetings with Sophia.
So, Skalozub, Prince and Princess Tugoukhovsky, Countess Khryumina. the old woman Khlestova, Repetilov and Zagoretsky, Gorichi ... - “all these types are created by the hand of a true artist; and their speeches, words, address, manners, way of thinking, breaking through from under them, is a brilliant painting ... ". All these images are bright, memorable, original. Griboyedov's heroes embody the unhurried "past century", with its life traditions and moral rules. These people are afraid of new trends, they are not too fond of science and enlightenment, courage of thoughts and judgments. Thanks to these characters, as well as off-stage heroes, Griboyedov creates a broad panorama of Russian life. “In a group of twenty faces, like a ray of light in a drop of water, all former Moscow, its drawing, its then spirit, historical moment and customs were reflected.”
