Article menu:
In Griboedov's comedy "Woe from Wit", there are many characters. Most of them are used by the author as a background or confirmation of certain principles of a secular society.
The main characters of the comedy
Despite the large number of heroes, the main action in the comedy is centered around four characters - Chatsky, Famusov, Sofya, Molchalin.
Alexander Andreevich Chatsky
Alexander Chatsky
This is a young nobleman who was left an orphan at an early age. His upbringing was handled by a family friend, Famusov. Having matured, Chatsky begins an independent life.
He spent three years abroad and, after returning from a trip, visits his tutor Famusov and his daughter Sonya, for whom he has tender feelings and with whom he hopes to marry.
We suggest that you familiarize yourself with which Alexander Griboyedov wrote.
However, the picture he saw greatly discouraged him - Famusov was far from that childhood memory of his teachers.
Thanks to a trip abroad, Chatsky was able to learn about excellent relationships between people and their goals in life, so the corrupt aristocracy, mired in clichés and empty, meaningless actions, disgusts Chatsky. Attempts to explain his position and convince others of the opposite Chatsky do not lead to success - at the end of the work he leaves Moscow, because he sees no other way out.
Pavel Afanasyevich Famusov
Famusov is the tutor of Alexander Chatsky. At the time of the story, he is the manager of a state institution. His wife died long ago, leaving him a daughter, Sophia. The image of Famusov is very controversial, on the one hand, he is a person who is not devoid of positive qualities of character - for example, he takes Alexander up after the death of his parents and treats him like his son. On the other hand, he is a dishonest and hypocritical person. The main measure of success and decency of a person for him is financial security and a high position. Famusov is a bribe taker and a deceiver, which is why he has a conflict with his pupil.
Sofia Famusova
Sophia is the daughter of Pavel Afanasyevich Famusov. In the comedy, she is already depicted as an adult - a girl of marriageable age.
Despite the fact that she is not so mired in the aristocratic swamp, the girl is still partly a negative character - her disregard for true feelings repels this character.
The girl loves to be pleased, and she cares little for the fact that such behavior looks humiliating.
Alexey Stepanovich Molchalin
Molchalin is Famusov's personal secretary, although officially he is an archive worker at the state institution where Famusov works. Molchalin is a simple person by origin, therefore, for the sake of the title and the right to belong to high society, he is ready for anything. Molchalin pleases Famusov and his daughter in every way to make his dream come true. In fact, this is a hypocritical, stupid and dishonest person.
Minor characters
This category includes characters who have a significant influence on the formation of the plot of a comedy, but they are not active characters. In addition, this also includes heroes who have too generalized and vague character traits, such as Lisa.
Repetilov
Repetilov is an old friend of Famusov. During his youth, he led a dissolute and stormy life, indulging himself in balls and social pastimes. Due to absent-mindedness and lack of concentration, he was unable to ensure his career growth.
We offer you to get acquainted with the comedy "Woe from Wit", written by Alexander Griboyedov.
Sergei Sergeevich Skalozub
Puffer is a rich officer. By nature, he is a prominent person, but stupid and uninteresting. Puffer is too obsessed with military service and his career and sees no point in anything else.
Lisa
Lisa is a young girl, a servant in the Famusov house. She has an attractive appearance, which in her case turns into a negative feature - Famusov and Molchalin pester her. Life in Famusov's house in the case of Lisa is also complicated by a difficult relationship with Sophia - Famusov's daughter from time to time draws Lisa into her love affairs, because of which the latter may have serious problems.
Third party characters
The largest number of characters in the comedy, whose action takes a fragmentary, episodic period of time. However, it cannot be said that their presence in the text is unjustified - in fact, they play a very important role. With their help, the image of the main types of personalities of an aristocratic society and the main negative qualities of representatives of this stratum takes place.
Anton Antonovich Zagoretsky
Zagoretsky became famous in society as a rogue and a deceiver - he has an extraordinary passion for playing cards, but always plays in a dishonest way. In addition, Anton Antonovich prefers to lead an active social life - he is a regular person in theaters, at balls and dinner parties.
Anfisa Nilovna Khlestova
Anfisa Nilovna is Famusov's relative. At the time of the story, she is already an old woman. Khlestova was once a maid of honor, but now, in her old age, she has become useless to anyone.
Because of this dissatisfaction with life, the old woman has acquired a bad temper and is an extremely unpleasant person.
Her house is full of young girls whom she has adopted and dogs - such company makes her seem important and necessary and entertains the old woman in her hours of despondency.
Platon Mikhailovich Gorich
Not all representatives of the aristocracy are people with leveled qualities. An example of people who have retained their moral character is Platon Mikhailovich Gorich. He is a kind and sincere person, with a sound mind and the ability to reflect, however, he has a too soft character, which made him a confident henpecked.
Natalya Dmitrievna Gorich
Natalya Dmitrievna is Platon Mikhailovich's wife. A woman is much younger than her husband, and in contrast to him, she has a special love for secular life, which terribly burdens her husband, but Gorich cannot resist the desires of his wife.
Pyotr Ilyich Tugoukhovsky
The surname of Pyotr Ilyich fully corresponds to his essence, or rather to his physical defect. The prince is terribly hard of hearing, which greatly complicates his life. Hearing problems have become the reason that Pyotr Ilyich is rarely in public, and his wife has become the commander of her husband and their life in general.
Maria Alekseevna Tugoukhovskaya
Marya Alekseevna is Pyotr Ilyich's wife. They had 6 daughters in marriage. They are all unmarried girls, at the time of the story. The prince and princess are forced to constantly appear with their daughters in public in order to successfully marry off their daughters, but so far the hopes of these nobles have not been justified.
Countess Hryumina
Under the name of the Countess Khryumins, the grandmother and granddaughter are hiding. The main emphasis in the comedy of the two of them is on the granddaughter, who remained an old maid, and therefore she is always angry and offended by the whole world.
The Grandmother Countess is a decrepit old woman who can no longer afford dinner parties and balls, but she still tries to attend them, apparently in order to find a husband for her granddaughter.5 (100%) 1 vote
In the comedy "Woe from Wit" by A. S. Griboedov, the author conveys his attitude to the characters through speaking names and surnames. Quotes of heroes give a complete description of their images.
Famusov Pavel Afanasyevich - the surname is formed from fama-rumor and famous-noble, Pavel is small, and Athanasius is immortal. It turns out - a noble nobleman who is afraid of rumors, a small person who will always be.
A widower, he raised his daughter alone: "Free, widow, I am my master."
Noble nobleman - ". Like all Moscow, your father is such", "bureaucrat", rich: "Who is poor, he is not a couple for you." Afraid of gossip and curled from the opinions of others:. Ah! My God! what will he say / Princess Marya Aleksevna!
"Well, how not to please your own little man!" - Attaches relatives to "bread places".
Unprincipled, only the goal is important, and all means are good for him: "A low-flyer and a businessman."
Dissolute, uneducated gentleman: "Learning is the plague, learning is the cause" Madcap "After all, your father is crazy." and worshiper "sir father, you are passionate about ranks."
Sofia Pavlovna Famusova-Sofya-wise, Pavlovna-small, Famusova-associated with rumors. The meaning of the name is a little wise girl who spreads rumors, rumors.
Sophia, a young, attractive Moscow noblewoman: "you blossomed charmingly, inimitably, and you know it," a rich and "enviable bride": To please the daughter of such a person.
Received a home education: "Isn't it about yours, About education! From the cradle!"
Follows the fashion, "Everything is in French, aloud, reads locked up" and loves music: "And dancing! and singing! and tenderness! and sighs! As if we are preparing buffoons for their wives."
A naive, narrow-minded and fickle girl: "I'm very windy, perhaps I did, And I know, and I'm guilty; but where did I change?"
Not a timid ten, resolute: "However, I will say about myself, That I am not a coward."
She behaves inappropriately, which causes her father's anger: "Daughter, Sofya Pavlovna! A stray!"
Molchalin Aleksey Stepanovich is a constantly silent person, Aleksey is an assistant, Stepan is a ring, a wreath. The meaning of the name is an eternal assistant who has no word and prospects, silent and helpful.
"He lives in the house here, great misfortune!"
An obscure young man, without much intelligence: "Why not a husband? There is only little intelligence in him."
Cautious, obliging and petty man: "Here he is on tiptoe" "Helpful, modest."
He achieves everything through pleasing: "My father bequeathed to me: First, to please all people without exception."
Secretive, on his mind: "God knows what secret is hidden in him."
False, cunning and two-faced: "But who would have thought that he was so cunning!"
Uses Sophia, seeking a position in society: "I don't see anything in Sofya Pavlovna."
Chatsky Alexander Andreevich-fumes, that is, he scares others with his opinion, Alexander is the protector of people, Alexei is courageous. The meaning of the name is a courageous protector of people, with progressive views on life.
A young nobleman - "" - had about three hundred souls. - Four hundred, please understand", educated, very eloquent: "... What he says! and speaks as he writes! .. "
Sharp on the tongue and does not hide his views: "Laughing, look at that, Chatsky will raise you"
Smart, with progressive thoughts and ideas: "Sharp, smart, eloquent."
A freethinker and a thinking person who speaks the truth and does not tolerate deceit: "Why should I deceive myself," "he is simply a Jacobin."
The patriot and freethinker was rejected by society and recognized as crazy:
"Insane you glorified me with all the chorus."
Noble, a man of honor: "I would be glad to serve, it's sickening to serve."
Puffer- bares his teeth, grins - constantly obsequiously laughs, but is stupid and does not have intelligence.
A rich nobleman, walks through the ranks: "Colonel Skalozub: And a golden bag, and aims for generals."
Outwardly, he is not bad, he follows fashion and his appearance: "a wheezy is a dapper army officer who speaks in a hoarse bass."
A narrow-minded and boring person: "He never uttered a clever word."
Careerist: "and aims for generals." Opponent of education, does not like to read: "books will be kept like this: for big occasions."
Lisa, Elizabeth is God's help, fidget and cheerful disposition. "Lizanka, a maid" in the Famusovs' house, a serf. Lisa is a pretty girl, funny and lively: "You are a cheerful creature! Alive!"
Sharp on the tongue and truthful: "You and the young lady are modest, but from the maid's rake? She is to him, and he is to me."
She is quick-witted and knows how to express her thoughts: "Happy hours do not watch."
Not stupid, but trying to be modest: "You are my stupid judgment. You never complain."
You can’t buy her, she’s not selfish: “You know that I’m not flattered by interests,” but she loves not for rank, but for human qualities: “How can you not fall in love with the barman Petrusha!”
Griboyedov's contemporaries admired the language of the comedy Woe from Wit. Pushkin also wrote that half of the play's verses would become proverbs. Then N.K. Piksanov noted the peculiar speech coloring of Griboedov's comedy, the "liveness of the colloquial language", the characteristic speech of the characters. Each of the characters in Woe from Wit is endowed with a special speech characteristic of his position, lifestyle, features of his inner appearance and temperament.
So, Famusov is an old Moscow gentleman, a state official who defends the vital values of the "past century" in a comedy. The social position of Pavel Afanasyevich is stable, he is a smart man, very confident, respected in his circle. His opinion is listened to, he is often invited "for name days" and "for burial." Famusov is gentle by nature, he is hospitable and hospitable in Russian, values family ties, and is insightful in his own way. However, Pavel Afanasyevich is not alien to a certain self-interest, on occasion he can be cunning, he is not averse to dragging himself behind the maid. The social position of this character, his psychological appearance, his character and life circumstances correspond in the play to his speech.
Famusov's speech, according to A. S. Orlov, resembles the speech of the old Moscow nobility, with its folk, colloquial manner, colorful, figurative and well-aimed. Pavel Afanasyevich is prone to philosophizing, didacticism, witty remarks, brevity of formulations and conciseness. His speech manner is unusually mobile, lively, emotional, which indicates the hero's intellect, his temperament, insight, and a certain artistry.
Famusov reacts to the situation instantly, he expresses his “momentary opinion”, and then begins to talk on this topic more “abstractly”, considering the situation in the context of his life experience, knowledge about human nature, about secular life, in the context of the “century” and time . Famusov's thought is prone to synthesis, to philosophical generalizations, to irony.
Upon arrival, Chatsky asks why Pavel Afanasyevich is unhappy - Famusov immediately finds a well-aimed answer:
Oh! father, I found a riddle,
I'm not cheerful! .. In my years
You can't swear by me!
Finding his daughter with Molchalin early in the morning, Famusov becomes paternally strict, well-intentioned:
And you, madam, just jumped out of bed,
With a man! with the young! "A job for a girl!"
Pavel Afanasyevich can also analyze the situation, tracing cause-and-effect relationships in it:
All night reading fables,
And here are the fruits of these books!
And all the Kuznetsk bridge, and the eternal French,
Destroyers of pockets and hearts!
In comedy, the hero appears in a variety of guises - a caring father, an important gentleman, an old red tape, etc. Therefore, the intonations of Pavel Afanasyevich are the most diverse, he perfectly feels his interlocutor (N.K. Piksanov). With Molchalin and Liza, the servants, Famusov speaks in his own way, without ceremony. With his daughter, he maintains a strictly good-natured tone, didactic intonations appear in his speech, but love is also felt.
It is characteristic that the same didacticism, parental intonations appear in Pavel Afanasyevich's dialogues with Chatsky. Behind these moralizing, paradoxically, there is a special, paternal attitude towards Chatsky, who grew up with Sophia in front of Famusov. "Brother" and "friend" - this is how Famusov refers to his former pupil. At the beginning of the comedy, he is sincerely glad for the arrival of Chatsky, trying to instruct him in a paternal way. “That’s it, you are all proud! Would you ask how the fathers did? - Famusov perceives Chatsky not only as an inexperienced young man, but also as a son, not at all excluding the possibility of his marriage to Sophia.
Famusov often uses folk expressions: “a potion, a spoiled woman”, “fell all of a sudden”, “grief”, “neither give nor take”.
Remarkable in its imagery and temperament is Pavel Afanasyevich's monologue about Moscow, his indignation at the dominance of everything foreign in the upbringing of Moscow young ladies:
We take the tramps, and into the house, and by tickets,
To teach our daughters everything, everything,
And dancing! and foam! and tenderness! and sigh!
As if we are preparing buffoons for their wives.
Many of Famusov’s statements became aphorisms: “What a commission, creator, to be a father to an adult daughter!”, “Learning is a plague, learning is the reason”, “Signed, so off your shoulders.”
The speech of the old woman Khlestova is close to Famusov's speech. As N.K. Piksanov notes, Khlestova speaks "in the most restrained, most colorful language." Her speech is figurative, well-aimed, her intonations are confident. In the language of Famusov's sister-in-law there are a lot of folk expressions: "I rode for an hour", "a daring man gave him three fathoms", "a sop came down from dinner".
Skalozub's speech is also unusually characteristic - primitive, abrupt, rough in meaning and intonation. In his lexicon there are many military terms: "sergeant major", "divisions", "brigade general", "rank", "distance", "corps" - which are often used out of place. So, sharing Famusov's admiration for Moscow, he says: "The distances are huge." Hearing about the fall of Molchalin from a horse, he declares:
The reins were tightened. Well, what a miserable rider.
Look at how it cracked - in the chest or in the side?
Sometimes Skalozub does not understand what the interlocutor is talking about, interpreting what he heard in his own way. An exhaustive description of the hero's speech is given by Sophia: "He did not utter a clever word."
As A.I. Revyakin notes, Skalozub is tongue-tied. He does not know Russian well, confuses words, does not follow grammar rules. So, he says to Famusov: "I am ashamed, as an honest officer." Skalozub's speech, thus, emphasizes the mental limitations of the hero, his rudeness and ignorance, narrowness of outlook.
Molchalin's speech also corresponds to his inner appearance. The main features of this character are flattery, sycophancy, humility. Molchalin's speech is characterized by self-deprecating intonations, words with diminutive suffixes, obsequious tone, exaggerated courtesy: "two-s", "still-s", "sorry, for God's sake", "little face", "angel". Molchalin is mostly laconic, "eloquence" in him wakes up only in a conversation with Lisa, to whom he reveals his true face.
Among the characters of Famusov's Moscow, Repetilov, a "member of a secret alliance", stands out with his colorful speech. This is an empty, frivolous, disorderly person, a talker, a drinker, a regular at the English Club. His speech is endless stories about himself, about his family, about the "most secret alliance", accompanied by ridiculous oaths and derogatory confessions. The speech manner of the hero is conveyed by only one phrase: "We make noise, brother, we make noise." Chatsky comes to despair from Repetilov's "lies" and "nonsense".
As A. S. Orlov noted, “Repetilov’s speech is very interesting for the diversity of its composition: it is a mixture of salon chatter, bohemianism, circleism, theater and vernacular, which was the result of Repetilov’s wandering around different strata of society.” This character is characterized by both vernacular and expressions of high style.
It is worth noting the originality of the speech manner of the countess-grandmother. As V. A. Filippov notes, this heroine is not at all tongue-tied. Her “wrong”, non-Russian accent is due to her nationality. The old woman Khryumina is a German who never mastered the Russian language, the Russian pronunciation.
The speech of Chatsky differs from the speech of all the characters, who, to a certain extent, is a reasoning hero who expresses the author's views in the comedy. Chatsky is a representative of the "current century", criticizing all the vices of Moscow society. He is smart, educated, speaks the correct literary language. His speech is characterized by oratorical pathos, publicism, imagery and accuracy, wit, energy. It is characteristic that even Famusov admires the eloquence of Alexander Andreevich: "he speaks as he writes."
Chatsky has a special manner of speaking, which differs from the manner of other characters. As A. S. Orlov noted, “Chatsky recites as if from the stage, according to the satirical didacticism of the author. Chatsky's speeches take the form of monologues even in conversation, or are expressed in the shortest remarks, as if shots at the interlocutor.
Often in the speeches of this character irony, sarcasm, parodic intonations sound:
Oh! France! There is no better place in the world! —
Two princesses decided, sisters, repeating
A lesson that they have learned from childhood.
Remarkable in the play is Chatsky's monologue, in which he, with all his fervor and noble indignation, falls upon public order, the bureaucracy of officials, bribery, serfdom, the inertness of the views of modern society, the soullessness of public morality. This ardent, freedom-loving speech vividly characterizes the inner appearance of the hero, his temperament, intellect and erudition, worldview. Moreover, Chatsky's speech is very natural, vitally truthful, realistic. As I. A. Goncharov wrote, “it is impossible to imagine that another, more natural, simple, more taken from life speech could ever appear.”
Many of Chatsky’s statements became aphorisms: “And the smoke of the fatherland is sweet and pleasant to us”, “The legend is fresh, but hard to believe”, “Houses are new, but prejudices are old”, “Who are the judges?”
Sofya also speaks in a fairly correct literary language in the play, which indicates her good education, erudition, intelligence. Like Famusov, she is prone to philosophizing: "Happy hours do not watch." Sophia's expressions are labeled, figurative, aphoristic: "Not a man, a snake", "The hero is not my novel." However, the heroine's speech was greatly influenced by the French language. As N.K. Piksanov notes, in Sophia’s speech “there are whole tirades, replicas stated in an unclear, heavy language, with a non-Russian arrangement of the members of the sentence, with direct syntactic incorrectness”:
But every little thing in others scares me,
Although there is no great misfortune from
Though unfamiliar to me, this does not matter.
Lisa speaks in an unusually lively, lively language in the play. It has both vernacular and high-style words. Lisa's statements are also apt and aphoristic:
Bypass us more than all sorrows
And the lord's anger, and the lord's love.
The comedy "Woe from Wit" is written in a simple, light and at the same time bright, figurative, juicy and expressive language. Each word of her, according to Belinsky, breathes "comic life", strikes with "quickness of mind", "originality of turns", "poetry of samples".
Speech characteristics of characters in Griboyedov's comedy "Woe from Wit"
MKOU "Mogilno-Poselskaya secondary school"
Teacher of Russian language and literature
Sobolkova Natalya Vladimirovna
1. A list of aphoristic expressions of comedy characters
Chatsky
A little light - already on your feet! and I am at your feet.
- ... And the smoke of the Fatherland is sweet and pleasant to us.
And yet, he will reach the known degrees,
After all, today they love the dumb.
Wanted to travel around the world
And did not go round a hundredth.
I would be glad to serve, it is sickening to serve.
Fresh legend, but hard to believe.
Houses are new, but prejudices are old.
Rejoice, they will not exterminate
In addition to honesty, there are many joys:
They scold here, but there they thank.
So! I sobered up completely
Dreams out of sight - and the veil fell.
Get out of Moscow! I don't come here anymore.
I'm running, I won't look back, I'll go looking around the world,
Where there is a corner for the offended feeling ...!
Carriage for me, carriage!
Empty, slavish, blind imitation.
Listen, lie, but know the measure;
- Women shouted: hurrah!
And they threw caps into the air.
Pardon me, we are not guys,
Why are other people's opinions only holy?
We used to believe
That we have no salvation without the Germans.
Reason contrary, contrary to the elements.
It's good where we're not.
Mind and heart are not in harmony.
Molchalin
Oh! evil tongues are worse than a gun.
I dare not advise you.
In my summers must not dare
Have your own opinion...
Moderation and prudence.
Sofia
Happy hours are not observed.
The hero is not my novel.
Lisa
Bypass us more than all sorrows
And the lord's anger and the lord's love.
Well, people in this side!
She to him, and he to me ...
And the golden bag, and marks the generals. (About Skalozub)
Puffer
You can't fool me with learning.
The distance is huge.
I don't know, sir, it's my fault;
We did not serve together.
Famusov
No other sample needed
When in the eyes of an example of a father.
Who is poor, he is not a couple for you.
Don't read like a sexton.
And with feeling, with sense, with arrangement.
That's it, you are all proud!
Would you ask how the fathers did?
What a father and son honor.
Learning is the plague, learning is the cause.
Well, how not to please your own little man.
If evil is to be stopped:
Ba! all familiar faces.
There are strange dreams, but in reality it is stranger.
To the village, to the wilderness, to Saratov!
You, the current ones, come on!
All Moscow ones have a special imprint.
Well, how not to please your dear little man?
Signed, so off your shoulders.
2. Life position of the hero
Famusov is a typical Moscow gentleman of the 19th century, with a characteristic mixture of tyranny and patriarchy. (That's it, you are all proud! Would you ask how the fathers did it?). His political ideals boil down to the glorification of everything old, established: he lives well, and he does not want any changes. The ideal person for Famusov is one who has made a profitable career; it does not matter to him by what means this is achieved. Subservience and meanness is also a good way for him, as long as it leads to the desired result. The careerist Famusov does not even think about the fact that the service is not only “signed, so off his shoulders”, but also care for the people, the state. It is in education that he sees the reason for the madness of a young man, considers education an evil and offers a radical means of ridding the country of this evil:
If evil is to be stopped:
Take away all the books and burn them.
The puffer is all in external, humanly insignificant, soulless: noisy, pulled into a uniform, preoccupied only with military exercises by dancing. This is a typical Arakcheev officer: stupid and thoughtless, an opponent of any free thought and enlightenment. (“You won’t fool me with learning”).
Molchalin is a petty official who tries to please all people, spending his time with old people in order to be noticed and distinguished. He wants to be noble, rich, accepted in the "high society". The ideal of his life for him is as follows: "And take the award, and live happily." Therefore, Molchalin is engaged in sycophancy and hypocrisy, which help him advance his career. He already has awards and is Famusov's indispensable assistant, although Molchalin, in his own words, has only two talents - moderation and accuracy.
Sophia is a typical Moscow young lady, not stupid, brought up on French novels. Having read sentimental novels, she dreams of a timid, quiet, tender beloved, whom she will marry and make of him a "boy-husband", a "boy-servant".
Chatsky is a true patriot, ready to give all his strength and talents to the happiness of his native country: (“And the smoke of the Fatherland is sweet and pleasant to us ...”). He returns to Russia with a desire to change the life of Russian society for the better, but he sees that no changes have taken place during his absence. The country is dominated by the same conservative mores:
Houses are new, but prejudices are old.
Rejoice, they will not exterminate
Neither their years, nor fashion, nor fires.
Chatsky has a lot of virtues, but he does not serve anywhere. The reason is the unwillingness to engage in hypocrisy and sycophancy, as the hero’s words clearly speak of: “I would be glad to serve, it’s sickening to serve.” Chatsky always defends his own opinion, he is an enemy of all authorities. Most of all, he hates despotism and slavery, stupidity and dishonor, mental and moral deafness. ("Empty, slavish, blind imitation").
3. The commonality of the worldview of representatives of the Famus society
The images of Moscow nobles in comedy have many common features. These are reactionary-minded people, persecutors of everything advanced. The first characteristic of the representatives of the Famus society is given by the names of the heroes of the comedy. Continuing the traditions of Fonvizin, Griboyedov uses the technique of "speaking surnames".
The people gathered in Famusov's house are staunch supporters of the autocratic-serf system. The past, the "golden age" of the Russian nobility is dear to them:
Then not what it is now:
Under the Empress, he served Catherine.
This society is afraid of everything new. Famusov and his guests are liberal, they speak directly and proudly of their commitment to the “gone century”:
Not that novelties were introduced - never,
Save us God! Not…
The personal qualities of a person, his soul are not of interest to these people. Here everyone is judged by wealth and origin. Everything is determined by money, medals and the number of serfs:
Be poor, yes, if you get enough
Souls of a thousand two tribal,
That and the groom.
Understanding that the number of serfs determines the place of a nobleman in society, Famusov's guests do not see people in the peasants. Serfs are sold, exchanged for dogs. Khlestova, for example, comes to the Famusovs with a dog and a “black-haired girl” and asks the owner’s daughter, Sofya:
Tell them to feed them, already, my friend.
From supper we sent a handout.
For this Moscow lady, a dog and a living person are equivalent. Famusov, angry with the servants, threatens:
To work you! to the settlement!
The purpose of the life of these gentlemen is a career, honors, wealth. Maxim Petrovich, "a nobleman in the event" under Catherine, chamberlain Kuzma Petrovich - these are role models. Hypocritical, stupid, but rich and noble people. Famusov dreams of marrying his daughter to Skalozub only because he "And the golden bag, and aims for the generals." Service Moscow nobles consider as a source of income, a means of achieving ranks. Protection, nepotism is a common occurrence in the world of these people. Nobles care about the interests of the country, but about personal gain.
The ignorant nobility is an ardent persecutor of science and education and is not ashamed of it. Such people were the stronghold of the reaction in the struggle with the mind.
The upbringing received by the Moscow barchuks makes them alien to their people. They do not know their native language, they bow to everything foreign. The nobility is cut off from the people's soil.
4. Manifestation in aphorisms of the social position of Molchalin, his dependence on influential representatives of lordly Moscow
Rootless Molchalin is obsequious and modest. He lives according to the covenant of his father: "to please all people without exception", never to express his opinion:
In my summers must not dare
Have your own opinion...
Molchalin is sensitive to any changes and, although not far off intellect, is well oriented in the social structure. He is very cunning, quirky, always able to find the “key” to every influential person:
There the pug will stroke in time,
Here at the right time the card will be rubbed ...
He considers “moderation and accuracy” his main talent.
The purpose of Molchalin's life is to go up the career ladder, slowly but surely. He dreams of becoming rich and powerful. He is not even ashamed of the fact that he will humiliate himself a lot in order to achieve his goal.
5. How is the conflict between the “current century” and the “past century” reflected in the aphorisms of Chatsky and his ideological opponents
"The main role, of course, is the role of Chatsky, without which there would be no comedy, but there would, perhaps, be a picture of morals." I. A. Goncharov One cannot but agree with Goncharov that the figure of Chatsky determines the conflict of comedy - the conflict of two eras. It arises because people with new views, beliefs, goals begin to appear in society. Such people do not lie, do not adapt, do not depend on public opinion. Therefore, in an atmosphere of servility and servility, the appearance of such people makes their clash with society inevitable. The problem of mutual understanding of the “current century” and the “past century” was relevant for the time when Griboyedov created the comedy “Woe from Wit”, it is still relevant today. So, at the center of the comedy is the conflict between "one sane person" (according to Goncharov) and the "conservative majority".
Chatsky perfectly understands his incompatibility with the world of the Famusovs and Molchalins. His aphorisms are sharp and firm: “I would be glad to serve, it’s sickening to serve,”
“Houses are new, but prejudices are old. Rejoice, neither their years, nor fashion, nor fires will destroy them ... ". These refined remarks of Chatsky, as it were, outline the boundary between him and the “gone century”, but not yet obsolete, not dead.
Chatsky opposes the society of ignoramuses and feudal lords. He fights against noble villains and sycophants, swindlers, rogues and scammers. In his famous monologue "Who are the judges..." he tore the mask off the vile and vulgar Famus world, in which the Russian people turned into an object of purchase and sale, where landowners changed serfs who saved "both honor and life ... more than once” to “borzoi three dogs”. Chatsky defends a real person, humanity and honesty, intelligence and culture. He protects the Russian people, his Russia from the bad, the inert and the backward. Chatsky wants to see a literate, cultured Russia. He defends this in disputes, conversations with all the characters in the comedy "Woe from Wit", directing all his mind, wit, evil, irascibility and determination to this.
Chatsky's speech is somewhat bookish (“he speaks like he writes”), which indicates his great erudition and education, but the precarious position of his ideas in this mundane society. In syntactical terms, Chatsky's speech is more complicated than the speech of other characters. She has features of a journalistic style, especially in his accusatory monologues, written as angry satires. He uses a lot of exclamations and rhetorical questions, this is also explained by the fact that the hero is young and in love, his speech is passionate and passionate:
And who are the judges?
Where? show us, Fathers of the Fatherland,
which we are to take as models?
Suddenly
He traded three greyhounds for them!!!
That Nestor of noble scoundrels...
In the sciences, he will stick the mind, hungry for knowledge ...
Chatsky's speech is most characteristic of aphorism and wit:
BUT , however, he will reach known degrees,
After all, now they love the dumb ...
And the smoke of the Fatherland is sweet to us and pleasant!
6. How is the aphoristic style connected with the artistic method of the author and the poetic form of comedy
The author put all the power of his poetic talent into comedy, creating a play filled with deep content, but unusually easy to read, remember and perceive by the viewer. Comedy owes this property to Griboedov's witty and lively language. The play reflects the era that came after the Patriotic War of 1812. Griboyedov portrays the Moscow nobility of this period. Both the language and the style of the play reflect precisely this era and this society.
Features of the language of comedy are associated, firstly, with the innovation of the method and genre of comedy. Recall that comedy in the era of classicism was considered a low genre, in which colloquial language reduced to rudeness was allowed. Griboyedov partially preserves and partially violates this tradition: the play was indeed written in a different colloquial language, but nonetheless literate and literary, harmoniously fitting into the poetic form; the language is not reduced to rudeness and is as close as possible to literary colloquial speech.
The language of the play, if possible, is freed from borrowed foreign words, as well as from archaisms, Church Slavonicisms, characteristic of the book speech of the past century, which noticeably "facilitates" it, makes it accessible and easy to understand.
Griboyedov believed that the basis of the literary language should be a living folk speech. He protested ardently against the clogging of the Russian language with foreign words and expressions. He fulfilled these requirements in his comedy. The language of the play is simple, colloquial, replete with well-aimed expressions.
Griboedov showed himself to be a master of aphorisms. The word for him was a smashing weapon, and many expressions from the play, thanks to their accuracy and strength, became winged - they moved from the pages of comedy to live speech and enriched it.
There are a lot of winged expressions. They serve as one of the means of characterizing the actors. Often, in the mouth of one character, the author puts a description of another: “And a golden bag, and aims for generals” (Liza about Skalozub).
Pushkin, having read Woe from Wit, was delighted with the language and verse of the comedy. "I'm not talking about poetry: half of it should become a proverb," he wrote to Bestuzhev.
Griboyedov took over from Krylov the experience of using colloquial speech in poetry. The comedy is written in iambic six-foot, which is often interspersed with shorter lines. In the very first four verses of the comedy we observe this diversity:
It's getting light! Oh! how soon the night passed! (5)
Yesterday asked to sleep - refusal. (four)
"Waiting for a friend." - Need an eye and an eye, (4)
Don't sleep until you roll off your chair. (6)
Elsewhere, the four-foot iambic is replaced by a one-foot one:
... Let me make sure;
Then..
Such is the verse of comedy, conveying the rhythm of lively speech in all its variety of shades.
Griboedov also handles rhyme freely, using different ways and order of rhyming. All this gives the language of comedy a lively, colloquial character. In this freedom and diversity lies the charm of the free verse "Woe from Wit". “It is impossible to imagine,” Goncharov wrote in the article “A Million of Torments,” “that another, more natural, simple, more taken from life speech could ever appear. The rose and the verse merged into something inseparable, then, it seems, so that it would be easier to keep them in memory and put back into circulation all the mind, humor, joke and anger of the Russian mind and language collected by the author.
Literature:
A.S. Griboyedov "Woe from Wit"
I.A. Goncharov "A million torments"
History of Russian literature of the XIX century. Bibliographer. index M - L. 1962.
Kichikova B.Ya. Genre originality of "Woe from Wit" by Griboyedov. // Russian literature. - 1996.
Characteristics The current century The past century Attitude to wealth, to ranks “Protection from court in friends was found, in kinship, building magnificent chambers, where they overflow in feasts and extravagance, and where foreign clients of a past life will not resurrect the meanest traits”, “And for those, whoever is taller, flattery, wove like lace ... "" Be inferior, but if you have enough, two thousand generic souls, that is the groom" one uniform! He is in their former life [...]
