"THIS CENTURY" AND "THE PAST CENTURY" IN GRIBOYEDOV'S COMEDY "Woe From Wit"
Plan.
1. Introduction.
"Woe from Wit" is one of the most topical works in Russian literature.
2. The main part.
2.1 Collision of "the present century" AND "the past century".
2.2. Famusov is a representative of the old Moscow nobility.
2.3 Colonel Skalozub - a representative of the Arakcheev army environment.
2.4 Chatsky is a representative of the "current century".
3. Conclusion.
The clash of two eras creates change. Chatsky is broken by the amount of old strength, inflicting a mortal blow on it with the quality of fresh strength.
I. Goncharov
The comedy of Alexander Sergeevich Griboyedov "Woe from Wit" can be called one of the most topical works in Russian literature. Here the author touches upon the acute problems of that time, many of which continue to occupy the minds of the public even many years after the creation of the play. The content of the comedy is revealed through the collision and change of two epochs - "the present century" and "the past century".
After the Patriotic War of 1812, a split occurred in the Russian noble society: two social camps were formed. The camp of feudal reaction in the person of Famusov, Skalozub, and other people of their circle embodies the "past century." The new time, new beliefs and positions of the advanced noble youth are presented in the person of Chatsky. Griboyedov expressed the clash of the "ages" in the struggle of these two groups of heroes.
"The past century" is represented by the author by people of different status and age. These are Famusov, Molchalin, Skalozub, Countess Khlestova, guests at the ball. The worldview of all these characters was formed in the "golden" age of Catherine and has not changed since then. It is this conservatism, the desire to preserve everything “as the fathers did,” that unites them.
Representatives of the "past century" do not accept novelty, and in education they see the cause of all the problems of the present:
Learning is the plague, learning is the cause
What is now, more than ever,
Crazy divorced people, and deeds, and opinions.
Famusov is usually called a typical representative of the old Moscow nobility. He is a convinced feudal lord, he sees nothing reprehensible in the fact that in order to achieve success in the service, young people learn to “bend over backwards”, to serve. Pavel Afanasyevich categorically does not accept new trends. He bows before his uncle, who "ate on gold", and the reader understands perfectly how his numerous ranks and awards were received - of course, not thanks to the faithful service to the Motherland.
Next to Famusov, Colonel Skalozub is "a bag of gold and aims for generals." At first glance, his image is caricatured. But Griboyedov created a completely truthful historical portrait of a representative of the Arakcheev army environment. Skalozub, like Famusov, is guided in life by the ideals of the "past century", but only in a cruder form. The purpose of his life is not to serve the Fatherland, but to achieve ranks and awards.
All representatives of the Famus society are egoists, hypocrites and self-interested people. They are only interested in their own well-being, secular entertainment, intrigue and gossip, and their ideals are wealth and power. Griboedov exposes these people in Chatsky's passionate monologues. Alexander Andreevich Chatsky - humanist; it protects the freedom and independence of the individual. In an angry monologue “And who are the judges?” the hero denounces the hated feudal system, highly appreciates the Russian people, their mind, love of freedom. Kowtow before everything foreign causes a sharp protest in Chatsky.
Chatsky is a representative of the advanced noble youth and the only hero in comedy who embodies the “current century”. Everything says that Chatsky is the bearer of new views: his behavior, lifestyle, speech. He is sure that the "age of humility and fear" should become a thing of the past along with his morals, ideals and values.
However, the traditions of bygone days are still strong - Chatsky is convinced of this very quickly. Society sharply puts the hero in his place for his directness and audacity. The conflict between Chatsky and Famusov only at first glance seems to be an ordinary conflict between fathers and children. In fact, this is a struggle of minds, views, ideas.
So, along with Famusov, Chatsky's peers, Molchalin and Sofya, also belong to the "past century". Sophia is not stupid and, perhaps, in the future her views could still change, but she was brought up in the company of her father, on his philosophy and morality. Both Sophia and Famusov favor Molchalin, and let "there is no such mind in him, / What a genius for others, but for others a plague" ..
He, as expected, is modest, helpful, silent and will not offend anyone. They do not notice that behind the mask of the ideal groom lies deceit and pretense aimed at achieving the goal. Molchalin, continuing the traditions of the "past century", is resignedly ready to "please all people without exception" in order to achieve benefits. But it is him, and not Chatsky, that Sophia chooses. The smoke of the Fatherland is "sweet and pleasant" to Chatsky.
After three years, he returns to his home and at first is very friendly. But his hopes and joys are not justified - at every step he runs into a wall of misunderstanding. Chatsky is alone in his opposition to the Famus society; even his girlfriend rejects him. Moreover, the conflict with society is closely intertwined with Chatsky's personal tragedy: after all, it is with the filing of Sophia in society that conversations about his madness begin.
The "present" century and the "past" century in Griboedov's comedy "Woe from Wit"
The current age and the past
A. S. Griboyedov
"Woe from Wit" is one of the most topical works of Russian dramaturgy. The problems posed in comedy continued to excite Russian social thought and literature many years after its birth.
"Woe from Wit" is the fruit of Griboyedov's patriotic thoughts about the fate of Russia, about the ways of renewal and reorganization of her life. From this point of view, the most important political, moral and cultural problems of the era are covered in the comedy.
The content of the comedy is revealed as a collision and change of two epochs of Russian life - the "present" century and the "past" century. The border between them, in my opinion, is the war of 1812 - the fire of Moscow, the defeat of Napoleon, the return of the army from foreign campaigns. After World War II, two social camps developed in Russian society. This is the camp of feudal reaction in the person of Famusov, Skalozub and others, and the camp of advanced noble youth in the person of Chatsky. The comedy clearly shows that the clash of the ages was an expression of the struggle between these two camps.
In Fvmusov's enthusiastic stories and Chatsky's diatribes, the author creates an image of the 18th, "past" century. The "past" century is the ideal of the Famus society, because Famusov is a staunch serf-owner. He is ready, because of any trifle, to exile his peasants to Siberia, he hates education, crawls before his superiors, cursing himself as best he can to get a new rank. He bows before his uncle, who "ate on gold", served at the court of Catherine herself, walked "all in orders". Of course, he received his numerous ranks and awards not by faithful service to the fatherland, but by currying favor with the empress. And he diligently teaches the youth this infamy:
That's it, you are all proud!
Would you ask how the fathers did?
They would learn by looking at their elders.
Famusov boasts of both his own semi-enlightenment and the entire class to which he belongs; bragging about the fact that the Moscow girls "top bring notes"; that his door is open to everyone, both invited and uninvited, "especially from foreigners."
In the next "ode" of Fvmusov - praise to the nobility, a hymn to the servile and selfish Moscow:
For example, we have been doing for a long time,
What is the honor of the father and son:
Be poor, yes if you get it
Souls of a thousand two tribal - that and the groom!
The arrival of Chatsky alarmed Famusov: expect only trouble from him. Famusov refers to the calendar. This is sacred for him. Having taken up the enumeration of future affairs, he comes into a benevolent mood. In fact, there will be a dinner with trout, the burial of the rich and respectable Kuzma Petrovich, the christening at the doctor's. Here it is, the life of the Russian nobility: sleep, food, entertainment, food again and sleep again.
Skalozub stands next to Famusov in the comedy - "and a golden bag and aims for generals." Colonel Skalozub is a typical representative of the Arakcheev army environment. At first glance, his image is caricatured. But this is not so: historically it is quite truthful. Like Famusov, the colonel is guided in his life by the philosophy and ideals of the "past" century, but in a cruder form. He sees the purpose of his life not in serving the fatherland, but in achieving ranks and awards, which, in his opinion, are more accessible to the military:
I am quite happy in my comrades,
Vacancies are just open:
Then the old ones will be turned off by others,
Others, you see, are killed.
Chatsky characterizes Skalozub as follows:
hoarse, strangled, bassoon,
A constellation of maneuvers and mazurkas.
Skalozub began to make his career from the moment when the heroes of 1812 began to be replaced by stupid and slavishly devoted to the autocracy martinet, led by Arakcheev.
In my opinion, Famusov and Skalozub in the description of aristocratic Moscow belongs to the first place. People of the Famusovsky circle are selfish and greedy. They spend all their time in secular entertainment, vulgar intrigues and stupid gossip. This special society has its own ideology, its own way of life, views on life. They are sure that there is no other ideal than wealth, power and universal respect. "After all, only here they value the nobility," Famusov says about lordly Moscow. Griboyedov exposes the reactionary nature of serf society and in this way shows where the rule of the Famusovs is leading Russia.
He puts his revelations into the monologues of Chatsky, who has a sharp mind, quickly determines the essence of the subject. For friends and for enemies, Chatsky was not just smart, but a "freethinker", belonging to the advanced circle of people. The thoughts that agitated him disturbed the minds of all the progressive youth of that time. Chatsky gets to St. Petersburg when the movement of "liberalists" is born. In this situation, in my opinion, the views and aspirations of Chatsky are formed. He knows literature well. Famusov heard rumors that Chatsky "writes and translates nicely." Such a passion for literature was characteristic of free-thinking noble youth. At the same time, Chatsky is also interested in social activities: we learn about his connection with the ministers. I believe he even managed to visit the village, because Famusov claims that he "blissed out" there. It can be assumed that this whim meant a good attitude towards the peasants, perhaps some economic reforms. These lofty aspirations of Chatsky are an expression of his patriotic feelings, hostility to the aristocratic customs and serfdom in general. I think I will not be mistaken in assuming that Griboedov for the first time in Russian literature revealed the national and historical origins of the Russian liberation movement of the 20s of the 19th century, the circumstances of the formation of Decembrism. It is the Decembrist understanding of honor and duty, the social role of a person that is opposed to the slave morality of the Famusovs. “I would be glad to serve, it’s sickening to serve,” says Chatsky, like Griboyedov.
Just like Griboedov, Chatsky is a humanist, defends the freedom and independence of the individual. He sharply exposes the basis of feudalism in an angry speech "about the judges." Here Chatsky denounces the serf system he hates. He highly appreciates the Russian people, speaks of their mind, love of freedom, and this, in my opinion, also echoes the ideology of the Decembrists.
It seems to me that in comedy there is an idea of the independence of the Russian people. The kowtowing before everything foreign, the French upbringing, usual for the noble environment, cause Chatsky's sharp protest:
I odal sent wishes
Humble, but out loud
So that the Lord destroyed this unclean spirit
Empty, slavish, blind imitation;
So that he would plant a spark in someone with a soul;
Who could by word and example
Hold us like a strong rein,
From pathetic nausea on the side of a stranger.
Obviously, Chatsky is not alone in comedy. He speaks on behalf of the whole generation. A logical question arises: who did the hero mean by the word "we"? Probably the younger generation going the other way. The fact that Chatsky is not alone in his views is also understood by Famusov. "Today, more than ever, crazy divorced people, and deeds, and opinions!" - He exclaims. Chatsky is dominated by an optimistic view of the nature of contemporary life. He believes in a new era. Chatsky says with satisfaction to Famusov:
How to compare and see
The current century and the past century:
Fresh legend, but hard to believe.
Not so long ago " there was a direct age of humility and fear " . Today, a sense of personal dignity is awakening. Not everyone wants to serve, not everyone is looking for patrons. There is public opinion. It seems to Chatsky that the time has come when it is possible to change and correct the existing feudal order through the development of advanced public opinion, the emergence of new humane ideas. The struggle against the Famusovs in comedy has not ended, because in reality it has only just begun. The Decembrists and Chatsky were representatives of the first stage of the Russian liberation movement. Goncharov remarked very correctly: "Chatsky is inevitable when one century changes to another. The Chatskys live and are not translated in Russian society, where the struggle of the fresh with the obsolete, the sick with the healthy" continues.
THE COLLISION OF "THE CURRENT CENTURY" AND THE "PAST CENTURY"
"The main role, of course, is the role of Clear, without which there would be no comedy, but there would, perhaps, be a picture of morals." I.A. Goncharov It is impossible not to agree with Goncharov that the figure. Chatsky defines 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 Griboedov 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". Griboyedov's comedy tells about the grief of a person, and this grief comes from his mind. For the reactionaries considered intelligent people to be freethinkers. It is on this that the internal development of the conflict between Chatsky and the Famus environment surrounding him, the conflict between the "current century" and the "past century" is based. "The past century" in comedy is represented by a number of bright types. This is Famusov, and Skalozub, and Repetilov, and Molchalin, and Liza, and Sophia. In a word, there are many of them. First of all, the figure of Famusov stands out, an old Moscow nobleman who has earned a general location in metropolitan circles. He is friendly, courteous, witty, cheerful, in general, a hospitable host. But this is only the outer side. The author reveals the image of Famusov comprehensively. This is a convinced serf-owner, a fierce opponent of enlightenment. "Collect all the books to burn yes!" he exclaims. 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 order established in the Famus society. If Famusov wants to marry his daughter Sophia more profitably, bluntly telling her (“Whoever is poor, he is not a match for you”), then Chatsky longs for “sublime love, before which the whole world ... is dust and vanity.” Chatsky's desire is to serve the fatherland, "to the cause, not to persons." He despises Molchalin, who is accustomed to pleasing "all people without exception": the Master, where I happen to live, the Chief, with whom I will serve, his Servant, who cleans the dress, the Doorman, the janitor, to avoid evil, the dog of the janitor, so that he was affectionate! Everything in Molchalin: behavior, words - emphasize the cowardice 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 talented in his own way. He earned Famusov's favor, Sophia's love, received three awards. He values the two qualities of his character most of all: moderation and accuracy. In the relationship between Chatsky and the Famus society, the views of the "past century" on career, service, what is most valued in people are revealed and ridiculed. Famusov takes only relatives and friends to his service. He respects flattery and servility. He wants to convince Chatsky to serve, "looking at the elders," "turning up a chair, picking up a handkerchief." To which Chatsky objects: "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," mixing these two crafts is the darkness of craftsmen, I don't of their number". He worries about the affairs of the famuses only on the one hand, fearing mortally, "so that a lot of them do not accumulate." Another representative of the "past century" is Skalozub. aspires to be generals." This character embodies the typical features of a reactionary of the Arakcheev time. "Wheezing, strangled, bassoon. A constellation of maneuvers and mazurkas, "he is the same enemy of education and science as Famusov. "You won't fool me with scholarship," says Skalozub. It is obvious that the very atmosphere of Famus' society makes representatives of the younger generation show their negative qualities. her sharp mind for outright lies, spreading the rumor about Chatsky's madness. Sophia is quite consistent with 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 representative of the views generally accepted in this circle. She does not understand Chatsky, she has not grown up to him, to his sharp mind, to his logical merciless criticism. She does not understand Molchalin, who "loves her ex officio". That Sophia has become a typical young lady of Famus society, she is not to blame.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 Torment"). 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 completely!" - exclaims 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 "Who are the judges" ... he tore off the mask from 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. 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 Famus society, is afraid of people like Chatsky, because they encroach on the way 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 Famus society is strong, its principles are firm, but Chatsky also has like-minded people. These are the mentioned persons: the cousin of Skalozub ("The rank followed him - he suddenly left the service ..."), the nephew of Princess Tugoukhovskaya. Chatsky himself constantly says "we", "one of us", thus speaking not only on his own behalf. So A.S. Griboyedov wanted to hint to the reader that the time of the "past century" is passing, and that it is being replaced by the "current century", strong, intelligent, educated. The comedy "Woe from Wit" was a huge success. It sold thousands of handwritten copies even before it was printed. The advanced people of that time warmly welcomed the appearance of this work, and representatives of the reactionary nobility were outraged by the appearance of the comedy. What is this - a clash of "past century" and "present century"? Of course yes. We value Griboedov's ardent faith in Russia, in his homeland, and absolutely fair words are written on the grave monument of A. S. Griboedova: "Your mind and deeds are immortal in Russian memory."
Plan:
1. Introduction
a) representatives of the "past century";
b) representatives of the "current century".
2. Main body:
a) Chatsky's point of view;
b) Famusov's point of view;
c) conflict resolution.
3. Conclusion.
In the comedy "" A.S. Griboyedov shows the conflict between the “current century” in the person of Chatsky and the “past century” in the person of the “famus society”. This is the main conflict to which the whole play is devoted; not without reason Goncharov in the critical article "A Million of Torments" writes that "Chatsky begins a new century - and this is all his significance and all his "mind". Thus, even the title of the work indicates that, first of all, Griboyedov wanted to show the clash of two centuries.
“The past century” is, of course, the Famusovs. Pavel Afanasyevich Famusov, an elderly nobleman and official with money, and his daughter, Sofia Pavlovna Famusova, an educated and pretty young girl. Here you should also write down a, Colonel Skalozub, as well as almost all the secondary characters of the comedy: the Tugoukhovsky couple, Mrs. Khlestova and others. All together they form a "famus society", the personification of the "past century".
"Current Age" - . Others are fleetingly mentioned, as if heroes similar to him in thinking: Skalozub's cousin, Prince Fyodor - these young people also strive to live a different life, different from the life of the "famus society". However, there is a significant difference between them and Chatsky: Chatsky is an accuser and an implacable fighter, while these characters do not impose their point of view on anyone.
The clash of Famusov and Chatsky inevitably leads to a clash of centuries to which they belong. According to Pavel Afanasyevich, Chatsky should have taken up the service - Famusov sees in the young man good inclinations for a brilliant career, besides, Alexander Andreevich is the son of his friend, so Famusov is extremely friendly towards him. Chatsky is also happy to return home, not yet suspecting how this return will end; he is glad to see Famusov, but is not ready to share his views: “I would be glad to serve, it’s sickening to serve.”
A young nobleman, after traveling around Europe, sees all too clearly all the frightening flaws of the Motherland: serfdom, destructive for human souls, imitation of foreigners, “submissiveness”, stupid and absurd “love for the uniform” ... each of these flaws raises a sincere protest in him, and Chatsky breaks out another fiery tirade. His famous monologues “And for sure, the world began to grow stupid”, “I won’t come to my senses ...”, “And who are the judges?” - a desperate attempt to make people see what false ideals they follow, how they curtain the windows with their own hands from the rays of a brighter future. Famusov is disappointed in Chatsky. "Small with a head" refuses to follow generally accepted traditions, acts as an accuser and even an insult to the values of the "famus society". “Everything has its own laws,” and Chatsky diligently violates these laws, and then scoffs at them.
Of course, a worthy representative of Moscow society cannot tolerate this, and every now and then asks Chatsky to be silent for his own good. Strange as it may seem, the most terrible, decisive clash does not take place between Pavel Afansevich and Chatsky. Yes, they develop the conflict of the centuries, demonstrating different views on the order in society, but it is not Famusov who will put an end to the conflict, but his daughter. , until the last, beloved by Chatsky, not only exchanged him for the helpful hypocritical Molchalin, but also unwittingly became the culprit of his expulsion - it was because of her that Chatsky was considered crazy. Rather, she only wanted to start a rumor in order to avenge him for mocking Molchalin, but the “Famus society” too willingly picked up and believed: after all, a madman is not dangerous, all his accusatory, terrible “gone century” speeches can be attributed to clouding of reason ...
So, the "present century" and the "past century" could not but come into conflict because of too different, contradictory views on the correct structure of society and the behavior of people in it. And although in the comedy Chatsky flees from Moscow, admitting his defeat, the "Famus society" does not have long. Goncharov writes about it this way: "Chatsky is broken by the amount of old strength, inflicting a mortal blow on it with the quality of fresh strength."
In 1824 A.S. Griboyedov finished his comedy Woe from Wit. Written in the era of the Decembrists' "knightly feat" preparation, the play spoke about the moods and conflicts of that tense time. Echoes of pre-Decembrist sentiments were heard in the sharp denunciations of Chatsky, and in the frightened remarks of Famusov and his friends, and in the general tone of the comedy. In the center of the play lies a clash between the supporters of lordly Moscow and a group of "new people". Only Alexander Andreevich Chatsky speaks directly against the old order in comedy. Thus, the author emphasizes the exceptional position of people with progressive views. “In my comedy,” wrote Griboyedov, “twenty-five fools per sane person.” The most prominent representative of the "past century" in the play is Famusov. His image, in comparison with other representatives of Moscow society, is more clearly written out by the author. Good-natured and hospitable Famusov, as he may seem in a conversation with Skalozub at the beginning of the play, is rude to his family, picky, stingy and petty. Here is his understanding of how to value acquaintances, relatives: I am in front of relatives, where I meet, crawling; I will look for her at the bottom of the sea. Truly this hero does not care about either the fate of his daughter or official affairs. Famusov is afraid of only one thing in his life: “What will Princess Marya Aleksevna say!”. Thus, in the face of Famusov, the author denounced the ceremonial worship of the Moscow world. Each conversation between Famusov and Chatsky ends with the inevitable "disorder" of the first. So, in the second act (app. 2), the characters are left alone, and they manage to talk. Famusov has not seen Chatsky for a long time, so he still does not know what the boy he once knew became. In their conversation, the heroes first touch on the issue of service. Chatsky immediately notes: “I would be glad to serve, it’s sickening to serve.” Famusov, not understanding what Alexander Andreevich means, is trying to teach him how to achieve "both places and promotion." Famusova's mouth speaks at this moment all the lordly Moscow: And uncle! What is your prince? What is Count? When it is necessary to serve, And he bends over... Such and only such a way of service, as Famusov says, can bring glory and honor. And so it was in the era of Catherine II. But times have changed. This is what Chatsky points out when he retorts in an ironic and somewhat malicious manner: But in the meantime? whom the hunt will take, Even in the most ardent servility, Now, in order to make the people laugh, To bravely sacrifice the back of the head? Further, Chatsky, in the most apt and witty expressions, stigmatizes the "age of the past." He argues that now is a new time, that people no longer fawn over patrons (“the patrons yawn at the ceiling”), but achieve everything in this life only with the help of abilities and intelligence: No, today the world is no longer like that. Everyone breathes more freely And is in no hurry to fit into the regiment of jesters. All this the hero says in such ardor that he does not notice - Famusov has not listened to him for a long time, he plugged his ears. Thus, the conversation between the two characters is a farce. The author uses this technique specifically to describe the position of the Chatskys even more clearly - they do not listen to their arguments, because it is impossible to oppose them. The only thing that Famusov can protect with the old familiar regime is that I would strictly forbid these gentlemen To drive up to the capitals for a shot. In Chatsky's fair, ardent attacks on Moscow society, Famusov sees danger, liberty. He believes that the reason lies in the fact that they are scouring the world, hitting their thumbs, Returning, expect order from them. We also hear one of Famusov's exclamations: “What does he say! And he speaks as he writes! It refers to the speeches of Chatsky and is among such characteristics of this hero as “a dangerous person”, “Yes, he does not recognize the authorities!”, “Carbonari”. Why is this, from the point of view of Famusov, terrible? Later, in the third phenomenon, Famusov will declare that the reason for Chatsky's madness is "learning", therefore all books
