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:
Pass us beyond 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".
The main character of this comedy by Griboyedov is Alexander Chatsky, who eventually suffered from his mind, which gave rise to the name of the comedy. Chatsky is the only comedy hero representing the “current century”.
One of the main features of the comedy "Woe from Wit" by A.S. Griboyedov is the presence in the play of two conflicts that are closely related. One of them is love, the other is public.
Famusov in comedy represents the "past century." In the society of the nobility, to which Griboyedov's satire is directed, only rank and money are valued. His main virtues are "moderation and accuracy." Chatsky is sharply opposed to these heroes. When characterizing the heroes of Woe from Wit, it is most difficult to interpret the image of Sofia Famusova.
Unlike her father and Molchalin, Sofya is not afraid of the opinions of society. The list of characters in "Woe from Wit" is not limited to the main characters. They do not participate in the action of the comedy, but other characters talk about them, which makes it possible to more fully represent the mores of the noble society of that time. Woe from Wit” is one of the most quoted texts in Russian culture. Moliere looks at his hero from above and exposes all his weaknesses and shortcomings.
Griboedov's comedy "Woe from Wit" is, first of all, a dispute with the very idea of Molière's comedy "The Misanthrope". A young man who is in "contradiction" with society is in love with a girl who belongs to this society and does not respond to his feelings. The conflict between man and society is the main problem of both comedies. In order to understand what this conflict is for Alceste and for Chatsky, you need to understand a lot in their characters.
Heroes of the comedy "Woe from Wit". Sofia, Famusov, Molchalin
His ideas and sharp, mocking words cause distrust and repel people from him. This is partly the meaning of the title of the entire comedy. The mind is hostile to itself. The reason for Moliere's dislike for his hero was that the actions and actions of the latter contradicted the settings of the classic consciousness. In order to reduce the pathos of the words of Alceste, hostile to the rules of classicism, Moliere makes the characters surrounding the protagonist respond with a smile to his rantings.
On this occasion, Griboedov wrote in the same letter to Katenin: “I will add one thing about the characters of Molière: “The tradesman in the nobility”, “The Imaginary Sick” - portraits, and excellent ones. In connection with the words of Acaste already cited above, another topic that is important for understanding Molière and Griboyedov arises. This is an attitude towards modern society and predecessors.
However, after all the arguments about the author's attitude towards the heroes and their ancestors, one should return to the comedy "The Misanthrope" itself. This is evidenced by the very location of the characters. Pavel Famusov is Sophia's father, the owner of the mansion in which the action of the comedy takes place, the master and employer of Molchalin. A. S. Griboyedov was close to the Decembrists, and hostility towards serfdom lived in him.
Analysis of the characters of Griboyedov's comedy "Woe from Wit"
Woe from Wit” he ends in 1824, and it is immediately banned by censorship. The roles of the characters are not expressed as clearly as in the classical play. Even Griboedov's typical image has individual features, it is multifaceted and interesting.
A. S. Griboyedov's comedy "Woe from Wit": plot, characters, innovation in the work
It combines "comedy of positions" and "comedy of characters". Previously, comedy and lofty ideas were considered incompatible, but it is the social conflict that becomes the main one in Woe from Wit. A. S. Pushkin called Griboyedov a “comic genius”, quite rightly predicting that half of his poems from comedy would go down in history. Woe from Wit” was the first work with such an accurate and quick response to current events. Chatsky, the protagonist of the comedy that appeared "on the eve of the indignation on St. Isaac's Square", immediately began to be perceived by readers as a reflection in literature of the Decembrist type.
A lot of controversy has accumulated, ambiguous opinions about this comedy, and even more about its main character. The purpose of my essay is to consider, compare all the characteristics of Chatsky. This work provides an overview of all interpretations of the image of the main character, the attitude of his contemporaries, critics and friends of Griboyedov.
This determines the arrangement of the heroes of the comedy "Woe from Wit". The love line is represented by Chatsky, Sofia and Molchalin. But Sophia meets him with extreme restraint, because she is in love with Molchalin. The main feature of the worldview of the conservative nobility is that they do not want any changes, because changes threaten their well-being.
The main characters of Griboedov's comedies "Woe from Wit" and Molière's "The Misanthrope"
And Famusov is no exception. He proudly speaks of his uncle, Maxim Petrovich, who knew how to "serve" and therefore "knew honor before everyone." Molchalin also speaks on behalf of the "past century". Chatsky is the owner of an active, creative mind. He wants to serve “the cause, not the people”, because he highly values the freedom of the individual, honor and dignity. It cannot be attributed either to the “present century”, “nor to the past century”.
V. Belinsky. "Woe from Wit". Comedy in 4 acts, in verse. The composition of A.S. Griboyedov. Second edition of St. Petersburg-burg. 1839
She says so to Molchalin when he asks her to be careful and not show her feelings in public. She makes music, reads books, which Famusov considers superfluous and even harmful. But Sophia is not on the side of Chatsky, since his accusatory monologues threaten not only the comfortable life of the nobles, but also her personal happiness. That is why Sophia starts a rumor that Chatsky is crazy, and society is spreading this gossip so actively.
The protagonist of this comedy - Alceste - is disappointed in people and is obsessed with hatred for secular and any other human society. Sophia, whom he loves, does not understand him and does not respond to his love, preferring the quiet, vile Molchalin. But the main characters of the comedy are Famusov and Chatsky.
At the center of the comedy image system, of course, Chatsky. His views, thoughts, actions, character are revealed not only in monologues, but also in relation to Sofya, Famusov, Skalozub, Molchalin. And they, in turn, manifest themselves in contacts with Chatsky and with each other. So, for the completeness of the idea of Famusov, it is necessary to take into account both his characteristics and relationships with other actors. As a result, there is an idea of a living multifaceted human character. Voltaireans were called at the end of the 18th century. freethinkers, Jacobins - French revolutionaries. The Carbonari are members of a secret revolutionary organization in Italy.
Famusov shown both as a father, and as an important Moscow gentleman, and as a hospitable host. But he has a main feature that gives his image the necessary integrity and unity. He finds support in unshakable foundations, consecrated by antiquity. Famusov is a conservative by conviction, by nature, by habit, finally. Everything that threatens that system threatens him personally. Therefore, Famusov passionately, with conviction, defends not just life and customs, but also the ideas of the old world, defending its indispensable attributes: careerism, servility, servility, unscrupulousness, immorality.
Another direct antagonist of Chatsky is Molchalin. Pushkin, in his well-known review of Woe from Wit, believed that comedy should have a clearer, more unambiguous characterization of characters; therefore, he believed, for example, that "Sofya is not clearly drawn," and "Molchalin is not rather sharply mean." But that was the playwright's intention. The puffer is immediately visible, while Molchalin hides in the shadows for the time being. And Chatsky underestimated the public and social danger of Secretary Famusov. Meanwhile, both Chatsky and Molchalin expressed two diametrically different worldviews, two opposite life positions. Molchalin not at all as petty and insignificant as it sometimes seems. He himself deliberately puts on a mask of insignificance and sycophancy, but for him this is just a way to achieve the goal that he has long set for himself. And in the name of this goal, he is ready for any meanness, cunning, deceit. The open civil position of Chatsky is alien to him, hostile and even ridiculous.
It is no coincidence that in the future, Russian writers with great attention and fear looked at the modifications of the image of Molchalin in life. Dostoevsky in "Winter Notes on Summer Impressions" (1863) wrote that Molchalin had long since left his "jacket" and now had risen so high that "you could not reach him with your hand." And Saltykov-Shchedrin called one of his satires: “In the midst of moderation and accuracy (Lord Molcha-lina)” (1874).
Very important in the system of images of Repetyls, appearing at the very end of the comedy and introducing a new theme into it. This is another parallel to Chatsky, whose position is significantly refined in contrast to Repetilov. Chatsky is amazed and offended; he experiences a feeling of contempt and even anxiety, hearing how Repetilov vulgarizes and humiliates with his chatter those great ideas for which real people (including Chatsky) are ready to sacrifice their lives. Chatsky does not even consider it necessary to seriously argue, to argue with Repetilov. He limits himself to throwing mockingly ironic remarks from time to time, one of which is especially significant: “Make noise to them - and that’s all?”
And this is the world including the typical Arakcheev officer Skalozub, who hates all living things, despises science and education, and the countess-grandmother, and many, many others, this world, having united, declares direct war on Chatsky, calling him, the smartest person, crazy. Sofya was the first to let this gossip go - the one that Chatsky loves and for which he appears in Famusov's house. This is how the conflict of the high mind, the mind, with the darkness, which is afraid of the light, manifests itself. Let us recall that in Pushkin, Salieri called the brilliant Mozart "a madman."
Need to download an essay? Press and save - "Images and characteristics of the main characters of Griboyedov's comedy "Woe from Wit". And the finished essay appeared in the bookmarks.The events depicted in the play take place in the post-war years (after the war of 1812), when two opposing camps begin to unfold. These are advanced nobles and conservatives. In the play, the advanced nobles are represented by Chatsky, and the conservatives are all
Conflict
An epochal conflict was reflected in a private conflict. But the public would not have become so significant if it had not been associated with specific individuals, albeit fictitious ones. A smart and honest, open young man is struggling with the vicious age of the past.
There are two storylines in the work: love and social. The comedy begins with a love story. Chatsky, who had been absent for three years, arrives at Famusov's house, he is met by the owner's daughter Sophia. "Woe from Wit" is a love story. Chatsky is in love and expects reciprocity from the girl. Further, the love line is intertwined with the public one.
Chatsky and Famusov embodied two opposing camps in society. Alexander Andreevich's conflict with the past century becomes inevitable as soon as Chatsky crosses the threshold of Famusov's house. He, with his honest views and ideas, comes across viciousness, mustiness and servility.
The speech of heroes and speaking surnames
If we talk about the speech of the comedy characters, it quite clearly characterizes their features. For example, Skalozub often uses military vocabulary, which speaks of his profession. Khlestova uses a rich, rich vocabulary. The main character Chatsky masterfully speaks Russian, which is worth only his monologues, filled with such liveliness and beauty (“Who are the judges?”). Chatsky is not only a young man in love, he is first of all an ardent exposer of the vices of the Famus society. Only with words and nothing more does the truth-seeker Chatsky stigmatize those around him. Many phrases put into the mouth of the protagonist have become winged. Chatsky's speech, on the one hand, was close to the language of Radishchev, on the other hand, it was very peculiar. A.S. Griboyedov fundamentally refused to comedy in the monologues of the main character from bookish speech and foreign words.
The names of the characters can be safely called speaking. Molchalin in the comedy "Woe from Wit" (from the word "silent") is a laconic, quiet young man. This list can be supplemented with such surnames as Tugoukhovsky, Repetilov, Skalozub.
Puffer
The main task of the comedy was considered by the writer to describe the images of the Famus society. There are no superfluous characters in the story. All images are important for characterizing both the main characters and their entire environment.
Puffer is a rough dork with characteristic mannerisms and appearance. In speech, ignorance, stupidity and spiritual impoverishment of this person are manifested. This typical representative of the Famus society opposes the sciences and education as such. Naturally, Sergey Sergeyevich Skalozub is a welcome guest of the Famusov family and others like him. In addition, it is in the image of Skalozub that Griboyedov shows the type of careerist who does not disdain any means when moving up the career ladder.
Prince and Princess Tugoukhovsky, Khlestova
The Tugoukhovskys are shown in a satirical vein. Prince Tugoukhovsky is a typical henpecked wife. He practically hears nothing and only unquestioningly obeys the princess. The prince represents Famusov in the future. His wife is an ordinary representative of the surrounding society: stupid, ignorant, negative about education. In addition, both are gossips, as they are the first to spread rumors that Chatsky has gone crazy. It is not for nothing that critics divided all the minor characters into three groups: Famusov, a candidate for the Famusovs, Famusov the loser.
Khlestova is represented by an intelligent lady, however, she is also subject to general opinion. In her opinion, honesty, human intelligence directly depend on social status and wealth.
Repetilov and Zagoretsky
Repetilov is the type of Famusov the loser in the comedy Woe from Wit. A character with absolutely no positive traits. He is quite stupid, careless, likes to drink. He is a superficial philosopher, a kind of parody of Chatsky's line. From Repetilov, the author made a parody double of the main character. He also promotes social ideas, but this is just following fashion and nothing more.
Another Famusov-loser is Zagoretsky A.A. In the characteristics given to him by the rest of the heroes, you can see several times synonymous words for the term "swindler". For example, Gorich says: "A notorious swindler, a rogue: Anton Antonych Zagoretsky." However, all his fraud and lies remain within the limits of the surrounding life, otherwise he is a completely law-abiding citizen. In Zagoretsky, there is even more from Molchalin than from Famusov. Everyone needs him, despite the fact that he is a gossip and a liar. Not only picks up the rumor about Chatsky's madness, but also supplements it with his fantasies.
The character for whom Griboyedov showed a little sympathy is Gorich. "Woe from Wit" brings to the stage a friend of Chatsky, who arrived at the ball to Famusov with his wife. He is a kind person who soberly assesses the surrounding reality. It is not included by the author in any group. A friend and colleague of Chatsky earlier, now, having heard about his "illness", does not believe it. But he is not without flaws. Having a soft character, after marriage, Gorich became henpecked by his wife and forgot his beliefs. His image is that of a husband-servant.
In other words, in the comedy "Woe from Wit" this character and a number of others personify the "past" century with its rules, ideals and habits. All these are individuals limited in their development, who are categorically against everything new, and most importantly, against open truth.
The difference between comedy and 18th century literature
The huge and fundamental difference between Griboyedov's comedy and the works of the 18th century is that in it almost all the characters are not just positive or negative types, they are shown in many ways. In Woe from Wit, the character of Famusov is depicted not only as a person who is in spiritual stagnation; Famusov is a good father of his family, a real gentleman. Chatsky is very passionate and sensitive, at the same time witty and intelligent.
Chatsky in the comedy "Woe from Wit" leaves, disappointed in the subject of his love. The question of who he is - the winner or the vanquished, can be answered as follows: Chatsky was broken by the quantity of the old force, but defeated the past century with the quality of the new force.
This is how the social typification of characters manifests itself. If here the author departs from classicism, then in a love affair, on the contrary, he tries to comply with the laws of this particular direction. There is a heroine and two lovers, an unsuspecting father and a maid covering for her mistress. But otherwise there is no resemblance to the classic comedy. Neither Chatsky nor Molchalin are suitable for the role of the first lover. In the comedy "Woe from Wit" there are no heroes-lovers from classicism: the first one loses, the second one is not a positive hero in all respects.
Sophia cannot be called an ideal heroine either. "Woe from Wit" presents to our attention a girl who is not stupid, but in love with the worthless Molchalin. He is comfortable for her. He is someone who can be pushed around for the rest of his life. She does not want to listen to Chatsky and is the first to spread the rumor about his madness.
Lisa is more of a reasoner than a soubrette. Among other things, in the comedy there is a second, comic love line and a third, connected with the relationship between Lisa, Molchalin, Petrusha and Famusov.
Off-stage characters
In addition to the main and secondary characters, off-stage characters were introduced into the work by the skillful hand of the writer. They are needed in order to increase the scale of the conflict of two centuries. These characters embody both the past century and the present.
Recall at least the chamberlain Kuzma Petrovich, who himself is rich, and was married to a rich woman. These are Tatyana Yurievna and Praskovya, narrow-minded foreigners who came to Russia to work. These images and a number of others lead the reader to the idea of the large-scale conflict, which is vividly presented in the play "Woe from Wit". The character who shows the reader that Chatsky is not alone, behind him there are those who will promote ideas of solidarity with him, is also represented, and not in one way, but in several. For example, the comedy mentions Skalozub's cousin from the village, a relative of Princess Tugoukhovskaya.
The main task that the writer performed, portraying the heroes of the play, was to show their views on society, and not to reveal their psychological characteristics. Griboedov is primarily a writer and educator, therefore, in each image, he vividly draws certain moral qualities or their absence. He typifies the traits and qualities of character and immediately individualizes them.
Chatsky overtook his age in everything. That is why he became a model of sincerity and nobility, and Famusov and Skalozub became a symbol of vulgarity and stagnation. So, using the example of 20 faces, the writer reflected the fate of a whole generation. The views of Chatsky are the views of the entire advanced movement of the future Decembrists. Chatsky and Famusov are representatives of two generations, two centuries: the age of the enlightened and the age of the obsolete.
Alexander Griboedov is an outstanding playwright of the first half of the nineteenth century, whose work discussed below has become a classic of Russian literature. Griboyedov served in the diplomatic sector, but remained in history as the author of a brilliant masterpiece - the comedy "Woe from Wit", the characteristics of whose heroes are studied as part of the school curriculum. All the events of the play take place in Moscow during one day, in the house of Pavel Afanasyevich Famusov.
The characterization of the heroes of "Woe from Wit" - a comedy in verse and in four acts - can be carried out according to a certain plan. The list of characters with the author's explanations is given, as a rule, at the beginning of the play.
According to what plan is the characterization of the heroes of "Woe from Wit" carried out? Firstly, it is necessary to talk about the social position of the hero, secondly, about the features of his character, and thirdly, about the system of views and values.
Pavel Afanasyevich Famusov is a well-born nobleman and landowner, holding a high official post. The character is arrogant, domineering. With subordinates and servants, he is rude and strict, but flattering and servilely submissive with those who are higher than him in rank and rank. Famusov is a hospitable and hospitable host; guests are often received in his house. A caring father, loves his daughter, wants to successfully marry her off. Pavel Afanasyevich does not accept any changes in society, he is an opponent of progress. He considers the customs and way of life of the old Moscow nobles to be ideal.
What characteristic of the heroes of "Woe from Wit" can do without a description of the main female image? Famusov's daughter received a traditional noble upbringing: from infancy she was prepared to be a bride. Thanks to her lively mind, strong character and healthy instincts, she is well versed in people, judging by the exact and well-aimed statements addressed to her father's guests. Sofia is not only mocking, but also vindictive: she does not forgive Chatsky for his contemptuous attitude towards Molchalin, with whom she is in love. It is she who starts the unseemly rumor, which grows into a huge gossip about Alexander's madness.
But she herself cannot avoid personal tragedy. The reason was that Sofia Famusova takes a miserable flatterer and silent saint for a hero in love. The young lady, who had read novels, saw nobility, modesty and chivalry behind his silence.
Molchalin fully justifies his speaking surname. He comes from Tver, not a nobleman, but he makes big plans, because he does not consider the rank of assessor and the service of a house secretary to be the peak of his career. Thanks to hypocrisy and the ability to serve, this friend of the "sofa dogs" "on tiptoe" hopes to climb high on the career ladder. Sophia's falling in love gives the miserable "wordless" hope for a successful and profitable marriage, which did not take place. From now on, he will be even meaner, but more careful.
What is the characteristic of the heroes of "Woe from Wit" without the main character? Without Chatsky Alexander Andreevich? He is a young wealthy nobleman. The fact that Chatsky hurried to Sofia, returning after a three-year absence, suggests that he considered the Famusovs close people: he grew up in their house after the death of his father. Sophia initially gives him flattering characteristics, noting a sharp mind and eloquence. But the merciless criticism of the manners and way of life of the Moscow nobility, undertaken by him, is unpleasant to her.
Apparently, Alexander had the opportunity to compare and rethink a lot, which is why he speaks so negatively about the existence of slavery and the lack of freedom in the country. Chatsky is the bearer of a new worldview, which is still inherent in a few in contemporary Russia.
Sophia was not happy with the passionate feeling that Chatsky felt for her. She herself said that she "reluctantly" drove him crazy. It seems that this thought was the impetus for her stupid trick, which threw the ardent Chatsky into the abyss of "a million torments" and made him disappointed and leave Moscow.
The comedy was written in 1823, but Woe from Wit examines each generation of readers, schoolchildren and critics who describe the characters through the prism of contemporary realities. And it seems that the characters created by Griboyedov will never lose their relevance.
