The play "Woe from Wit", written by Alexander Griboedov, was not immediately published, and its appearance on the stage was long in coming. Griboyedov's comedy did not escape the difficult relationship with censorship, since at that time the play carried a rather sharp character and bold content.
In the comedy, the author touches upon the pressing problems of society, which have matured by the beginning of the 19th century. However, the moral, fundamental conflict, which is determined by the relationship with the overdue split in the society of the nobles, is correlated with the problem of perception of each other among the old and new views on the social order.
In Griboedov's play, such phenomena as "the present century" and "the past century" are revealed. Between them, a misunderstanding arises, which cannot be resolved. Famusov Pavel Afanasyevich - the paramount preacher of the "past century", acting as his main defender.
Characteristics of the hero
One of the characters in the famous comedy "Woe from Wit" by Alexander Griboyedov is Pavel Afanasyevich Famusov. The hero of the play, the main representative of the so-called Famus society, is a nobleman, a well-known landowner. In his circles, given the numerous acquaintances and connections, Famusov is a more than recognizable resident of Moscow, who serves as a manager in a government place. It is impossible to describe Famusov without mentioning his boastfulness, inherent in all noble representatives of the nobility. In addition, Pavel Afanasyevich is quite hospitable, sociable, you can call him a lover of a beautiful life "in a big way." He is indifferent to any discussion and gossip in the direction of his personality. For himself, Famusov defined his life credo as the ability to please in the right situations, as well as curry favor with those who can be useful to him. The ideal for Pavel Famusov is his uncle, Maxim Petrovich, whom his nephew strives to imitate in every possible way.
(The image of the Famus society with a characteristic noble pastime in the 19th century of that time)
Despite the fact that Famusov's wife is not alive, he also allows himself cheeky behavior, although he creates the appearance of a respectable widower. Famusov not only shows interest in the maid, but is also closely connected with the doctor.
Pavel Afanasyevich has a daughter, Sophia, whom Famusov endlessly loves and cherishes. And every opportune moment is an opportunity to remind you how much effort was invested in raising her daughter. However, it is impossible to define the image of Famusov as one-sidedly negative, because he is capable of compassion and kindness. This is confirmed by the death of his friend, whose son Famusov took to his own upbringing and treated him no worse than his own daughter. According to Famusov, marriage between people can only be possible if their combination can bring a decent financial income. Based on this, his goal is to ensure Sophia's future with a successful marriage to a rich groom.
Famusov works only with the desire to get more money, to earn recognition and subsequent titles. All the work for him is done by his secretary, and he himself does just that, putting his signature on the prepared papers.
Famusov, an avid Moscow gentleman of the 20s of the 19th century, can be attributed to ardent supporters of serfdom.
The image of the hero in the work
In the comedy play, Pavel Afanasyevich Famusov plays the role of a true opponent of educational activities, opposes all kinds of innovations, since, in his opinion, this entails a threat to his calm and prosperous life.
He motivates the dissolute behavior of Sophia's adult daughter by constantly reading books. However, reading is not the only reason that encourages this behavior.
Famusov asserts with confidence that both foreign teachers and interest in studying the arts - all this will only harm noble children, they do not need education at all, since family life does not force and does not imply its presence.
Famusov considers her own father to be the best example of his daughter, no matter how conceited it may sound.
To the image of Pavel Famusov and his society, Griboedov tried to give the most outdated views and opinions of the landowners, their failure, and also to emphasize the deep-rooted habits that had settled so deeply in their minds.
It is in this vein that the role of Famusov is staged on the pages of the play by A.S. Griboyedov "Woe from Wit".
A.S. Griboyedov’s comedy “Woe from Wit” can boast of its unique images. One of the central images of the work is the image of Famusov.
Pavel Afanasyevich Famusov, an aged man, buried his wife, the mother of his daughter, Sophia, whom he brings up with the help of governesses, but loves endlessly. He lives in Moscow and, despite his age, Pavel is quite energetic, serves as a manager at a state enterprise, where he arranged for almost all of his relatives to work. He regularly gives them awards, ranks, almost the entire enterprise is occupied exclusively by Famusov's relatives.
Pavel Afanasyevich took Chatsky to his upbringing when his parents died. It is important for him what they say about him, he is dependent on the opinions of others, he likes to spread rumors. Famusov is hypocritical, often fussy, witty and resourceful, likes to flatter people, evaluates people by their rank (honoring rank). He does not notice anything around, likes to put himself above everyone else, always defends his point of view, because of which he talks a lot, often interrupts everyone, often gets angry, likes to swear with or without his servants. The author also notes the loud voice of Paul.
Famusov considers education an unnecessary waste of time. He also considers himself hospitable and attaches importance to visits. It can often be seen at all important events in the city, at balls, christenings and so on. Pavel Afanasyevich believes that Chatsky cannot marry his daughter Sofya, because he has no money, and his father demanded an exceptionally rich groom, despite his non-poor financial situation, he was not averse to intermarry with the young Colonel Skalozub. Plus, according to Famusov, Chatsky could only expect trouble and disruption of order. Pavel and Chatsky were opposites of each other, during a dispute, each defends his point of view, they do not hear each other.
In the person of Famusov, Griboedov expresses a typical Russian nobleman, and in the person of his retinue and friends, he expresses a typical Russian society. Everyone is having fun, but under this lies selfish goals: to find a profitable party, make new acquaintances, find patronage. All the guests of Famusov and himself are united by the search for personal gain, hypocrisy. In such a society, sincerity is considered bad form or madness, where everyone tries to make a good impression on each other, forgetting about their inner world.
Essay about Famusov
From the work “Woe from Wit” we learn about the situation that prevailed in Russia at that time, describing in detail people, and their thoughts and experiences.
The author introduces us to many colorful characters that draw the reader into the story. From the generation of the old, we get acquainted with Famusov, a man of advanced years, who has his own position in society, and cherishes him very much. He is a person who always thinks about what others think of him, a person who is a conservative who rejects everything new and innovative. Being a conservative by nature, this man tries to reject science and education, blaming his daughter for reading, supposedly it corrupts the girl’s young mind, but in the work we see that Famusov is by no means a saint, because he often flirts with his maid Lisa.
From all of the above, we see that Famusov is a person, closed in his cocoon of stability, not wanting anything new, and even being afraid of the new, as he worries that this is new, he can take away his old life, to which he is so accustomed and does not want lose. In part, Famusov can be understood, he is a person of a different generation, and everything that is normal for the new generation is savagery and complete tactlessness for him. So it was and always will be, so to condemn him for this would be very stupid. Griboyedov shows us this image to show that struggle between the old and the new and innovative. It is the unwillingness of the old world to fade into the background, due to its unwillingness to lose power.
It is also clear through Famusov that the author made him the personification of conservatism, unwilling to let anything new into this world that could lead to changes, since Famusov himself is afraid of changes, fearing to lose his old life, which he loved so much and to which he is so accustomed.
In the nineteenth century, many events took place in Russia, which we can learn about from the works of Russian classics. Many of them described various events that in one way or another influenced the state of our homeland, and definitely influenced the people of that time.
Many works by such an author as Griboyedov can be called works that provoke people to change, and possibly to resist. Therefore, his works were often subjected to censorship, and often his works were not allowed to be published. One of these works was his provocative comedy "Woe from Wit".
3 option
Comedy A.S. Griboyedov's "Woe from Wit" raises many acute social issues that have become aggravated after the foreign campaigns of the Russian army. All the characters in this work personify representatives of Russian society of that period. To a greater extent, the author focuses on the nobles and high-ranking personalities. All, with the exception of Chatsky, act as negative characters. Pavel Afanasyevich Famusov stands apart among them. What is the image of this character?
Famusov is a landowner, the leader of the so-called “Famus Society”, which is distinguished by conservative views on life. Pavel Afanasyevich is a rather elderly man, as evidenced by his protruding gray hair. Despite his venerable age, he is very active and cheerful. Famusov occupies a high position in society, working as a manager in a state-owned house. Almost all of his work colleagues are relatives who got their jobs thanks to nepotism. Famusov was married, but his wife died. From the marriage, the widower had a daughter, Sophia, whom he brings up on his own, trying to instill in her his own rules.
Pavel Afanasyevich's attitude to life expresses the opinion of all noble circles of that time. Famusov despises education and enlightenment, because it can harm his well-being. He strongly disapproves of the education of his daughter, who is studying science and art with the help of professional teachers from European countries. Famusov himself is an uneducated person who prefers to lead a luxurious lifestyle.
Despite the large number of work responsibilities, he devotes a lot of time to entertainment, especially going to restaurants. In the house of Pavel Afanasyevich, you can almost always meet guests. Famusov is preparing thoroughly for their arrival. He values his reputation and tries to impress people he knows, fearing condemnation or criticism from society. Nevertheless, his attitude to the interlocutor depends on the official position of the person. Thanks to his ability to flatter, this character quickly climbed the career ladder.
In the image of Famusov, Griboyedov wanted to demonstrate all the vices and shortcomings of the conservative society of the nobility. Pavel Afanasyevich personifies the negative qualities of the human soul, which is manifested in his attitude to various issues and his approach to solving problems. The author calls on people like Famusov to change and become representatives of the advanced stratum of the then nobility, which was in the minority and could not radically change outdated values.
Sample 4
Griboyedov's work "Woe from Wit" shows the main problems in the society of the 19th century and the problem that remains eternal, the conflict of generations. The author divides the two generations into "the past century" and "the present century". Each century has its own representative, which reflects the essence of that time.
One of the main characters, Pavel Afanasyevich Famusov, belongs to the past century. He occupies a place of honor in Moscow, a nobleman. Famusov manager in the government house. Famusov is not alone, he has a family consisting only of his daughter. Daughter Sofia at the age of seventeen. Famusov brings her up alone, no wife, she died.
Famusov has a negative attitude towards any changes in life. They are driven by fear and the unknown. Will it be good after the changes, or was it worth not touching anything and leaving it in its place? It is these thoughts of Famusov that the author conveys to us.
From the first lines of the work, the image of the protagonist is clearly visible. Do not forget that Famusov is presented as a whole generation belonging to the past century.
Changes in life are not the only thing that Pavel Afanasyevich denies. He is also against education. He considers it evil. He calls his daughter dissolute when he sees Sophia with Molchalin. He justifies this licentiousness by the fact that Sophia reads a lot of books. It is from them that all the harm and all the troubles. Famusov himself behaves like a monk and considers himself an example for his daughter. Although everyone who is not blind sees the opposite, Famusov does not lead his life as a monk. Shortly before talking with his daughter, Pavel Afanasyevich flirted with the maid Lisa.
Famusov is very dependent. Namely, we are dependent on public opinion, it is important for him what they think about him and what they say. He worries that he will be talked badly about in society. Pavel Afanasyevich always thinks what impression he will make on others. It's true what they say "don't judge a book by its cover". But Famusov does everything exactly the opposite. Appearance is important to him, and not those qualities and virtues that are inside a person and actually what he consists of.
Someone is ashamed to curry favor and humiliate himself in front of people, but Famusov thinks completely differently. He considers it normal. In the first place in his life is the rank and condition.
Character traits are clearly visible in communication with other people. In communication with everyone, he is looking only for profit. People who cannot give Famusov anything are completely useless individuals.
Some interesting essays
In order to answer this question, let's analyze the character of the hero. On the one hand, Alexander Andreevich Chatsky is a wrestler. He is devoted to his ideas, not shy of anyone, openly and without any embarrassment boldly
The wonderful work of Ivan Sergeevich Turgenev "Mumu" tells us about the difficult fate of a peasant - a serf. About how the political system changes the human essence, breaking his personality.
This comedy), stands Famusov, a representative of the bureaucratic nobility. (See also the article Image of Famusov.) Griboedov himself in one of his letters (to Katenin) says that in the person of Famusov he portrayed his uncle, a famous Moscow gentleman. “What kind of aces in Moscow live and die,” says Famusov himself; it is precisely such an "ace" that he himself depicts. His large, lively figure inspires some sympathy for his liveliness, everyday typicality and integrity; but, listening to his words, delving into the meaning of his speeches, you immediately see his equally large negative features. Famusov, apparently, occupies a prominent place in the public service, has a high rank. But how does he feel about his position, how does he look at the service in general? Under him is the secretary Molchalin, whom Famusov keeps "because (he) is businesslike"; Molchalin sorts things out, brings papers for the report to his boss, but Famusov has one concern:
"I'm afraid, sir, I'm deadly alone,
So that many do not accumulate them;
Give free rein to you - it would have settled down,
And I have - what's the matter, what's not the case,
My custom is this:
Signed, so - off your shoulders».
Famusov, Sophia, Molchalin, Lisa. Illustration by D. Kardovsky for Griboedov's comedy "Woe from Wit"
It is evident that he does not delve into the matter, the solution of which depends on him, but only hurries to sign and get rid of worries. Service for Famusov does not represent the performance of any duties, but is a way and a way to achieve personal gain, wealth and fame. In contrast to Chatsky, who believes that one must serve "the cause, not the persons", Famusov finds that "serving the persons" is necessary in order to achieve nobility. He sets as an example (the monologue “That's it, you are all proud”) his uncle, Maxim Petrovich, who, already being himself a noble nobleman, -
(“Not on silver, on gold, I ate;
One hundred people at your service; all in orders") -
managed to earn the grace of the Empress (Catherine II) with a buffoon's trick.
“And uncle! What is your prince, what is a count!
Serious look, arrogant disposition!
When do you need to serve?
And he folded over."
Here is Famusov's ideal! Creepiness is the surest way to achieve ranks, and Famusov calls “proud” the one who does not want to follow this beaten path. Not even wanting to listen and ponder over the heated objections of Chatsky, Famusov sure in his rightness, because the way he was thought and "made by the fathers" has been the custom since ancient times. He speaks quite frankly about these low and ugly methods of the bureaucratic world; just as simply admits that he always tries to arrange his relatives in advantageous places, not caring about whether they are able to fulfill the duties assigned to them:
"How do you represent
To the cross or to the town,
Well, how not to please your own little man.
Famusov expresses his cynical confessions with naive innocence.
Woe from the mind. Performance by the Maly Theatre, 1977
Famusov's views on the upbringing of children and on education in general are noteworthy. He sees nothing good in books:
"In reading, the use is not great,"
he says in response to Liza's words that his daughter Sophia "read the whole night" in French. “She can’t sleep from French books,” he continues, “but Russians make me sleep painfully.”
In teachings, in books, he sees the cause of all freethinking and disorder:
“Learning is the plague, learning is the cause,
What is now more than ever,
Crazy divorced people and deeds and opinions.
“... if the evil is stopped, -
Collect all the books and burn them."
However, contrary to this opinion, Famusov hires foreign teachers to Sophia, contemptuously calling them "tramps", but he does this because "everyone" does it, and Famusov's main principle is to follow the general trend. He gives Sophia an education, but does not bother to delve into the moral qualities of her educators: Madame Rosier, "the second mother, the old woman of gold", to whom Famusov entrusted the upbringing of his daughter,
“For extra five hundred rubles a year
I allowed myself to be seduced by others."
What principles could such an educator teach? Obviously, Famusov, like many other parents of secular society, sought for his daughter to recruit "teachers of the regiment, more in number, at a cheaper price." Personally, he does not praise the general enthusiasm for foreigners:
"Kuznetsky bridge and the eternal French,
he is angry
But it is clear that he scolds the French precisely because he considers them "destroyers of pockets", and does not see the difference between a "book" and a "biscuit" shop.
Famusov's concern for his daughter boils down to giving her an external upbringing that is consistent with the generally recognized requirements of society, and marrying her to a suitable person; he tries to convince Sophia that he
"who is poor, he (she) is not a couple."
In his eyes, the ideal husband for Sophia is Skalozub, since he is "both a golden bag and aims for generals." And the fact that Skalozub is disgusting to his daughter does not bother the "caring" father in the least. What is more important for Famusov: for Sophia to choose a husband according to her heart, or for the society to say that she made a brilliant match? Of course, the last one! Public opinion, then, "what Princess Marya Alekseevna will say," this is the spring and engine of all the words and deeds of Famusov.
And yet in this person there are, if not positive, then at least partly sympathetic features. His hospitality, characteristic of all truly Russian natures, is sympathetic; his house is open:
"The door is open to the invited and the uninvited,
Especially for foreign;
Though an honest person, though not -
It’s even for us - dinner is ready for everyone. ”
But even in these words (from the monologue “Taste, father, excellent manner”), we see, in addition to hospitality, Famusov’s well-known moral promiscuity: he amuses himself with his hospitality, and the moral qualities of his guests are completely indifferent to him. Sympathetic in him is a sincere love for everything of his own, Russian, Moscow; how he admires Moscow aces, old men, ladies, boys and girls! The good nature of Famusov is also sympathetic, rather, the innocence that shines through in all his speeches. Griboyedov depicted a truly living person, with personal features that distinguish him. “Obese, restless, quick,” Sophia characterizes him; he is quick-tempered, but also quick-tempered - "often angry for no reason", but also good-natured.
Speaking of Famusov, one cannot fail to mention the famous artists who played his role. Woe from Wit was first staged in 1831 after Griboedov's death; the remarkable actor Shchepkin was then known in the role of Famusov. In the first half of the 20th century, this role was played with extraordinary talent by the famous director and founder of the tradition of the Moscow Art Theater - Stanislavsky; the role of Chatsky was incomparably performed by Kachalov.
The comedy "Woe from Wit" was written 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 images created by Griboedov 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 Alexander Sergeevich Griboyedov 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.
The representative of the old nobility, Pavel Afanasyevich Famusov, becomes the character in whose house all the events of the comedy develop.
The image and characterization of Famusov in the comedy "Woe from Wit" help to present and understand the ideology of the society of that time, the essence of the conflict of generations.
Description of the appearance and character of Famusov
Pavel Afanasyevich Famusov is a widower raising his daughter Sophia. The master is proud of his widowhood. A rich man did not begin to tie himself up with new bonds of marriage, because his mother was windy. Freedom is compared to power. Famusov, "his own master", does not want to depend on women's whims. This position does not make him a person who shuns the opposite half. The nobleman flirts with the maid. Words are heard from the speech that help to imagine how the owner of the house behaves when no one sees him:- cuddles;
- flirting;
- indulges;
- changes facial expressions.
The rich man is aged, but he looks cheerful and fresh: he shows off his strong physique. Behavioral features also speak about his health:
- fussy;
- quick;
- restless.
Positive features
Reality is confirmed by a number of negative and positive personality traits.Good nature. Positively characterizes Pavel Afanasyevich's attitude towards Chatsky. After the death of Chatsky's father, Famusov took him to his house and began to raise him as a son. This could only be done by a kind and caring father of the family, a true friend. This is how he is presented in relation to his daughter and childhood friend. Good feelings are also visible in relation to some courtiers, to Secretary Molchalin.
Hospitality. Many scenes confirm this quality of Famusov: the arrival of Chatsky, the ball, the arrival of Skalozub. It should only be understood that hospitality in the house is only for the rich. There is no place for the poor and the ignorant.
Love for the past. All old people cherish past events in their memory. The owner of the house protects the past, is afraid of criticism. Everything that has passed is his fate. Preserving the past is the task of his generation.
Negative personality traits
Obesity. The nobleman, the owner of the house, behaves like a bourgeois. Uselessly angry and often in the mood when he is dissatisfied with everything. He hurries, grumbles and scolds the courtiers. It's amazing that a man himself knows about this property. But it only gives him a lot of pleasure. It seems that swearing is his usual state.Coarseness. In dealing with those who serve him, the owner of the house does not hesitate in expressions. Such rudeness was inherent in all the nobles of the conservative part of society. Rudeness and power in this case are synonymous. For Famusov, servants are donkeys, blockheads, lazy grouse. Rudeness disappears when Famusov is surrounded by people of his circle or higher status. There is balance and modesty here.
Loud intonations. The loudness of the owner scares the tenants. He is heard everywhere. The voice is compared to trumpets. The master does not try to speak quietly. His position: I am the owner and have the right to shout.
Madness. A father can do such things that they call him crazy. Famusov is a true representative of the ruling part. Choosing expressions, changing behaviors is not in his rules.
Flattery. Pavel Afanasyevich flatters and is ready to please those from whom benefit is possible. Several scenes of his conversation with Colonel Skalozub give a clear example of this behavior: he changes in posture, speech and manner of speaking.
False business. At the time of Famusov, this quality was called differently - a businessman. Any means is good to achieve your goals. He will do everything that will help him achieve the desired rank and reward.
Patterns of life and ideological principles
Famusov serves as a manager in a state-owned state institution, like most Moscow nobles. Arranges for the service of relatives, near and far. Gives them awards, promotes them up the career ladder. Family ties are above all for him. “He is happy” in front of his relatives, realizing that the status of the entire family depends on him. Wealth and title explain the desire of Pavel Afanasyevich to find a rich husband for his daughter. It is desirable that the groom be noble, have awards and strive for promotion.Famusov is a member of a club that is considered prestigious for the elite of the Moscow nobility. The English club allowed itself to be presented as politically educated and advanced.
The master is worried when events occur that can change attitudes towards him. Afraid of gossip, human rumor and gossip.
Speech features of the hero
Pavel Afanasyevich speaks pure Russian, confirming that he is a true nobleman. There are many colloquial phrases and expressions in his speech: - "no urine";
- "kill";
- "vegetated";
- "accidentally";
- "beat the buckets."
The original speech of the nobleman allows us to believe that Pavel Afanasyevich loves and honors the traditions of his country, the Russian people. Famusov's speech cannot be called poor. The nobleman speaks clearly, competently expressing his thoughts. There are no scientific terms in the vocabulary. So, the master is still limited in education. It is understandable, therefore, his attitude to learning. He did not need to study, others do not need it either. Learning is a disease comparable to a plague that strikes quickly and irrevocably. Books are evil, which is better to destroy, burn, so that there is no trace left. But the father understands that scholarship has taken its place in society, so the daughter, as expected, has teachers. Knows Famusov and foreign words, but uses them very rarely.
The image of one of Famusov's characters made it possible to characterize a whole society of nobles. Their conservatism, worship of wealth and rank, causes a sarcastic grin. The task set by the author has become achievable.
