Natalya Dmitrievna - the wife of Platon Mikhailovich Gorich in Griboyedov's comedy "Woe from Wit"; a vivid example of the embodiment of female power. Chatsky knew Platon Mikhailovich long before this meeting at the Famusovs' ball. They served in the regiment together and were good friends. Therefore, the changes that took place in the character of a friend after marriage could not be hidden from his penetrating eyes.
Natalya Dmitrievna completely subjugated her husband, treated him like a child every now and then, intrusively caring for him. With her excessive concern for the health of Platon Mikhailovich, she killed in him the excitement of life, that enthusiasm that Chatsky had previously seen in his eyes. Now he has become an absolutely weak-willed person and a boring conversationalist. Natalya Dmitrievna is young. She belongs to the nobility. Outwardly, she is attractive, good-looking, although a little overweight.
Like many young ladies, she loves balls and parties. The same cannot be said about her wife, but he tries to please her in everything, so he patiently travels with her to all social events. From a conversation with the princesses Tugoukhovsky, it becomes clear that Natalya Dmitrievna loves to discuss expensive outfits. She does not allow her husband to open his mouth, in every possible way training like a dog. Judging by her false worries about the health of Platon Mikhailovich, we can say that this heroine is full of sugary sentimentality.
“Woe from Wit” is a truly brilliant work that forever made its author a great classic of Russian literature. This satirical play literally immediately broke into catchphrases, quotations and expressions even when it was not yet so well known to the general public. Griboyedov very truthfully depicted the life of the Moscow nobility and accurately described the characters of the heroes inherent in the people of that century. And most importantly, he gave so much wisdom and magnificent satire that now, for almost two centuries, we have been learning from all this to know the world of our ancestors.
"Woe from Wit". Comedy A.S. Griboyedov
The main characters of the work “Woe from Wit” very clearly show that in the secular society of the early 19th century a split formed between the young, progressive generation with progressive views, represented in the image of Chatsky, and the obsessed conservatives of the old generation in the image of Famusov. “Woe from Wit” is a comedy where these two main characters are shown very brightly and colorfully, and each of them is principled and adamant in his truth. However, there are also minor comedy characters who also bring their own colors to the plot. They can be divided into three types: "Famusovs", those who claim to be "Famusovs", and "Famusovs-losers".
Zagoretsky, Woe from Wit. Characteristics of this hero
Among the invited guests in Famusov's house in the third act, Anton Antonovich Zagoretsky appears - "a clever man of the world", who represents the type "Famusovs are losers." He has no ranks and titles, everyone considers him a "notorious swindler and rogue", "a liar, a gambler and a thief."
Revealing the theme "Zagoretsky," Woe from Wit. Characteristics”, it can be said that in Famusov’s society he defined for himself the role of a universal saint and servant, who is always looking for an opportunity to please with his behavior and flattery and, even better, with unexpected gifts, therefore, this always causes great sympathy and approval from the whole environment . For example, he got two “Arapchenkos” for the guest Khlestova at the fair or, most likely, swindled them into cards and Sofya got a ticket to the theater when no one could do it.
Unflattering hero
The character Gorich also constantly speaks unflatteringly about Zagoretsky, but he believes that although everyone scolds him, they are willingly accepted everywhere. This hero really enters into all decent houses of the capital. The image of Zagoretsky is a collective image of a noble society, which gradually began to rot and look extremely immoral. It is always more convenient for this character to lie something than to remember the truth. He really is so used to lying that no one pays any attention to his lies.
Zagoretsky, like Repetilov, has a special place in the comedy Woe from Wit. Although critics attribute them to, they are not his defenders. However, it is with their tacit consent that the fate of other people can be decided.
Role in society
Returning to the topic “Zagoretsky, “Woe from Wit”. Characteristics”, let’s even express the opinion that Zagoretsky is a person who is “close to a political detective” by nature. And this is not at all accidental. This idea is suggested by Zagoretsky’s quotes, which say that if he had received the position of censor, he would first of all “lean” on fables, where eternal ridicule reigns over lions and eagles: “Although animals, but still kings.”
Zagoretsky quickly and with "heat" conducts conversations, he loves to exaggerate everything and any rumor can be inflated to incredible proportions. And he does not react angrily to harsh statements about his person, but simply reduces them to an ordinary joke.
Gorich once again talks about him: "the original, obese, but without the slightest malice."
Griboedov assigns him the role of a person who spreads false rumors about Chatsky. Zagoretsky still did not really understand who he was talking about, but different versions of madness were already born in his head. Khlestova said about Chatsky that, they say, he drank a lot of "very large bottles", Zagoretsky adds that he drank "barrels of forties."
off-stage images
Zagoretsky is one of the off-stage characters and an innovative device of the playwright Griboyedov. Such heroes reveal the picture of the "past century" even more widely and outline its values and ideals. The role of off-stage characters is that they help to better understand and reveal the behavior of the main characters and the entire Famus society. It is the figure of Zagoretsky that shows the immoral behavior of the noble society. By the way, we also learn from Gorich that Zagoretsky is an informer. Yes, and Chatsky immediately receives a warning from Gorich that it is better not to speak frankly in his presence.
In conclusion, the topic "Zagoretsky," Woe from Wit. Characteristics ”it is important to note that the status of a nobleman in Russia was protected by this very fact, and if he followed traditions and customs, he had good prospects for making a successful career and enriching himself due to this. The main thing is not to be such losers and crazy saints as Zagoretsky, who knows everything about everyone and follows the precepts of his father "to please everyone without exception."
Each of the characters in the play performs its artistic function. Episodic characters set off and complement the features of the main characters. Off-stage characters, although they do not act directly, play an important role: they testify to the fact that Chatsky is opposed by a powerful and effective reactionary force. All the heroes, taken together, create a vivid, full-blooded picture of the Moscow noble society. At the ball at Famusov's, people who make up the elite of noble Moscow gather. They are many-sided, but they all have common features: feudal views, ignorance, servility, greed. Episodic characters appear in comedy, replacing each other. Consider them in the order in which they are depicted in the comedy. The first guests at the ball are the Gorichs. This is a typical Moscow married couple. Chatsky knew Platon Mikhailovich before the latter's marriage. He was a cheerful, lively person, but after marrying Natalya Dmitrievna, he changed a lot: he fell under the heel of his wife, became "a husband-boy, a husband-servant." Natalya Dmitrievna does not even let her husband “open her mouth”: she answers Chatsky’s questions for him, speaks to him in an orderly tone: “Listen once, dear, fasten up quickly.” Gorich perfectly understands his position and has already come to terms with it. He bitterly says to Chatsky: "Now, brother, I'm not the one." In general, the motive of the husband's subordination to his wife runs through the whole work. Griboyedov draws a parallel between Platon Mikhailovich and Silent Other. The husband of Natalya Dmitrievna says: “There is still an occupation: / On the flute I repeat a duet / A-molny.” With this phrase, the author refers the reader to the beginning of the comedy, when Molchalin and Sophia play a duet on the piano and flute behind the scenes. Sofya prefers Molchalin, although she could have chosen Skalozub or Chatsky. Molchalin earned her love by being "an enemy of insolence." Sofya was brought up in the Famus spirit, and she needs the same husband as Gorich - “husband-boy”, “husband-servant”. The footman Petrusha hardly speaks in the comedy; And he obeys. However, Lizanka says about him: “But how not to fall in love with the barman Petrusha?” Petrusha knows how to obey, and this also pleases him: Lizanka fell in love with him. The Tugoukhovsky family also comes to the ball. The princess is very concerned about finding suitors for her daughters. The reader understands this almost from her first words. As soon as she sees Chatsky in learning that he is not married, she sends her husband, the same “husband-boy”, “husband-servant”, to invite a potential groom to her place. But as soon as she finds out that Chatsky is not rich and he does not have a high rank, she “shouts with all her might”: “Prince, prince! Back!" The figure of Princess Tugoukhovskaya helps to better understand the character of Famusov. Pavel Afanasyevich wants to marry his daughter to a rich, powerful person, prominent in society. Princess Tugou-khovskaya pursues the same selfish goals. Through the figure of the princess, Griboyedov emphasizes such traits in Famusov's character as self-interest and servility. In the Famus society, grooms are chosen for rich brides according to the following principle: * Be inferior, but if there are two thousand family souls, * He is the groom, and also “Who is poor is not a match for you.” Countess Hryumina appears at the ball. This is Khryumna-granddaughter, embittered at the whole world around her, with her half-deaf grandmother. Khryumina-granddaughter cannot find a worthy groom and therefore is dissatisfied with everything that happens around her. As soon as she arrives at the ball, she regrets that she arrived too early. Leaving the ball, the Countess-granddaughter speaks of him like this: “Well, the ball! .. And there is no one to talk to, and no one to dance with!” She is angry that at the ball she did not meet anyone to marry. Khryumina, the granddaughter, shows her admiration for everything foreign, and reveals her predilection for "fashion shops." She often uses French words, even saying a few whole phrases in French, which no one else does in comedy. In her face, Griboedov ridicules another characteristic feature of the nobility of that time: admiration for everything foreign. Chatsky, in his monologue, talks about the "Frenchman from Bordeaux", who feels like a "little king" in Russia, although he left his country "with fear and tears." This Frenchman not only did not meet “barbarians” in Russia, but also heard his native language everywhere, saw that the ladies wear the same dresses as in France. With the help of the image of a "Frenchman from Bordeaux", Griboedov shows that the society of the nobility imitates French customs and customs so much that it is impossible to distinguish Russian nobles from the French - they have become "Frenchized". Zagoretsky is more than other episodic heroes "involved" in comedy. This is perhaps the most vicious person of those present at the ball at Famusov. Everyone frankly speaks about him: "A notorious swindler, a rogue", "He is a liar, a gambler, a thief." But, despite such a devastating characterization, he is accepted in the world, the doors of the Famusov house are open for him, even Khlestova said a kind word about him: “God bless him! Zagoretsky pays off with his helpfulness, he tells Sofya that no one would have served her like that, that he “knocked everyone down”, getting tickets for the performance, confesses that he “already kidnapped by force”. This phrase reveals the meanness of Zagoretsky's character. He will do everything to serve the right person at the right time. When the old woman Khlestova wanted “from him and the door to be locked”, he served her by giving a little black boy, whom he, apparently, got in some dishonest way, thereby endearing her to him. The characteristic feature of one of the main characters of the comedy - Molchalin - coincides with the main property of Gorodetsky's character. Molchalin says: “My father bequeathed to me: First, to please all people without exception.” Chatsky expresses his opinion about Molchalin: "Zagoretsky did not die in him." Indeed, Griboedov shows Zagoretsky as a "notorious swindler", "liar", "rogue", in order to more clearly reveal the same baseness of the soul in Molchalin - the future Zagoretsky. The sixty-year-old lady Khlestova also comes to the ball. This is a serf-owner, imperious and self-willed, according to Goncharov, "a remnant of the Catherine's age." In the image of Khlestova, Griboyedov reveals the cruelty of serfdom, in which people are treated like dogs. Khlestova takes with her to the ball "a girl and a dog". For her, a serf is like a dog. She asks Sophia: "Tell them to feed already, my friend" - and immediately forgets about them. In the comedy, there is invisibly another character who treats people subject to him like dogs. Chatsky tells about him, calling him "Nestor of noble villains." This man changed his faithful servants, who saved his life and honor, for hunting dogs. The image of "Nestor" also testifies to how cruelly people in power treat those who are subordinate to them. In a conversation with Sofia, Chatsky mentions several people with whom he was familiar before leaving abroad. He recalls a man who lives at the expense of his artists ("he is fat, his artists are skinny"), only having fun. Chatsky says about him: “It is written on the forehead:“ Theater and masquerade ”. He remembered this "Theatre and Masquerade" because at some ball he hid a man in a "secret room" so that he "clicked the nightingale." Then Chatsky tells about a man who drove children, “torn away” from their parents, to the “fortress ballet”, and “made all of Moscow marvel at their beauty”, and then sold them one by one. So Griboedov reveals social inequality, in which children can be separated from their parents. Another acquaintance of Chatsky "settled in the scientific committee" and "shoutingly" protested against education. This character reveals the ignorance and lack of education of the Famus society. The very last, to the "Hat analysis", Repetnlov is at the ball. This character in the image of Griboyedov is a person who vulgarizes and discredits the ideas of the time, he, with his “secret union” and “secret meetings on Thursdays”, where they only “make noise” and “drink champagne to kill”, acts as a good-for-nothing person , a talker for whom all advanced ideas are nothing more than a fashion fad. Re-pe'shlov calls Chatsky some people who are authoritative in the "secret alliance", but the reader understands that all these people cannot bring real renewal to society: one is distinguished by the fact that he "speaks through his teeth", the other - by the fact that that he sings, two more are simply “wonderful guys”, and Ippolit Markelych Udushyev is a “genius”, because he wrote in the magazine “an excerpt, a look and something”. In the image of Repetilov, Griboyedov makes fun of random people in the circles of progressive society. There are many other representatives of the Famus society at the ball. Griboedov did not even give them full names. Such, for example, are gentlemen N. and B. The author does not say anything about them, but they participate in the spread of gossip about Chatsky's madness. Mister ^. does not believe it, but he is interested in what others say about it. Sophia knew this whole mechanism very well, and as soon as she said a few words to the two "masters", the entire Famus society spoke in a loud voice about Chatsky's madness. In the images of these petty gossips, Griboedov shows what the nobility is engaged in: spreading gossip and rumors.
Platon Mikhailovich
Platon Mikhailovich - one of the most memorable secondary characters in the comedy "Woe from Wit"; Famusov's guest and Chatsky's old friend. Platon Mikhailovich Gorich served with Chatsky in the same regiment. Now he has retired, married and lives in Moscow. Chatsky notices the change that has taken place in his comrade after his marriage, and is ironic about this. At the same time, he sympathizes with him, because Natalya Dmitrievna took full patronage of her husband.
In the eyes of Chatsky, this is a typical variant of the development of relations in the “famus society”. Platon Mikhailovich gradually turned into a servant-husband, a boy-husband. The same could have happened to Chatsky, if not for his willpower and love of freedom. Platon Mikhailovich himself confesses to a friend: "Now, brother, I'm not the one." And the “speaking” name of the hero speaks for itself. Natalya Dmitrievna does not allow her husband to open his mouth, training him like a dog. Chatsky had already seen such a couple at the ball. This is the princely couple of the Tugoukhovskys.
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Here he is, on tiptoe and not rich in words. Silencers are blissful in the world. AS Griboyedov One of the favorite themes of the great writers of the 19th century is the formation of a young man, his choice of a life path. The diversity of human destinies is depicted by such world-famous novels as Pushkin's "Eugene Onegin", "An Ordinary History" and "Oblomov" by I. A. Goncharov, "Red and Black" by Stendhal, "The Human Comedy" by Balzac and many others. Among these immortal books is Griboedov's Woe from Wit, not a novel, but a "high" comedy, in which, in my opinion, there is very little funny, except for some situations, but the most important socio-political and moral problems are posed, many of which concern us today. What should be a person? How does he navigate his life path? What can you afford and what should never be allowed along the way? What is more important - human dignity or career? These and many other questions are answered by the author of the comedy in the image of Alexei Stepanovich Molchalin. By origin and social status, he does not belong to the capital's nobility. “He warmed up the bezrodny and introduced him into his family, gave him the rank of assessor and took the Moscow ace Famusov as secretary. The surname of Molchalin is justified by his behavior: he is a modest young man, handsome, silent, insinuating. He plays the flute, loves sentimental rhymes, tries to please everyone. It would seem that there is nothing wrong with that. But, reading a comedy, we are convinced that Molchalin's decency is a skillfully chosen mask that hides a vile, hypocritical, false person. In a moment of frankness, he admits that he is guided in life by his father's covenant "to please all people without exception", even the janitor's dog. The purpose of Molchalin's life is to make a career, preferably a brilliant one, to achieve rank, wealth. He sees the highest happiness, his ideal of life, in "taking rewards and having fun." On the way to this goal, all means are good for him. At the same time, Molchalin chooses the surest way to curry favor - flattery, cringing, servility. He is respectful and helpful with Famusov, pleases the influential lady Khlestova in every possible way, does not leave the rich old people, plays cards with them. A flatterer and a hypocrite, he pretends to be in love with Sophia (of course, because she is the daughter of his all-powerful boss) and immediately tells Lisa that he loves the master's daughter "by position". His life "principles" are simple and shameless. This is a rejection of one's human dignity, of one's own opinion, self-abasement: "After all, one must depend on others" or: "At my age, one should not dare to have one's own judgment." Molchalin does not know what honor, honesty, sincerity are, and is mean just like that, just in case. This behavior brought him a certain success: the insignificant secretary not only lives in the house of his patron, but is also accepted in his society. Moreover, "moderation and accuracy" has already provided him with "three awards" in the service, the location and support of influential gentlemen. The reader of the comedy also understands something else: Molchalin's life "experience" is a sentence not only for him, but also for the society that approves and supports him. The people who organized the persecution of the sincere, honest Chatsky, who declared him, an intelligent, educated person, crazy, do not consider it shameful to communicate with a dishonest scoundrel, to patronize him, and this perfectly characterizes them. “Molchalins are blissful in the world,” is one of the most bitter conclusions of Chatsky after a day of communication with the Famus society. Molchalin is not helpless and not funny - in my opinion, he is terrible. The role of this hero in comedy is determined by two circumstances. Firstly, we have before us a person who, living in a Famus society, will certainly "reach the known levels." Even exposure will not ruin him, because, bowing humbly and crawling on his knees, the "business" secretary will again find a way to the heart of his boss: after all, Famusov needs him, and there is someone to intercede! No, Molchalin is unsinkable. Secondly, talking about the “formation” of Molchalin, the author exposes the Moscow nobility (and it, in turn, represents the social system of Famusov’s Russia), the “tormentor crowd”, who are afraid of people with progressive views and strong, unbending characters and accepting as their numerous silent. "Great ability to please" many in this unscrupulous society brought to the people. Griboyedov also convinces of what he does not directly say: he needs the tactics chosen by Molchalin only for the time being. Having achieved his goal, he will throw off the mask of modesty and respect - and woe to those who stand in his way. Unfortunately, this human type is not a thing of the past. And today, under the guise of decency and modesty, modern Molchalin can be hidden, who knows how to please everyone, does not disdain any means to achieve his goals. The author of the immortal comedy teaches to understand people, to see under the mask, if it is worn, the true face of a person.
