The age of the heroes is woe. Minor characters of the comedy “Woe from Wit. Characteristics of the heroes “Woe from Wit”
Alexander Griboedov is an outstanding playwright of the first half of the nineteenth century, whose work discussed below was included in the classics of Russian literature. Griboedov served in the diplomatic service, but remained in history as the author of a brilliant masterpiece - the comedy "Woe from Wit", the characteristics of the heroes of which are studied within the framework 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. List 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 hero’s social position, secondly, about his character traits, and thirdly, about his system of views and values.
Pavel Afanasyevich Famusov is a well-born nobleman and landowner holding a high bureaucratic 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 in rank and title. Famusov is a cordial and hospitable host; guests are often received in his house. A caring father, loves his daughter, wants to marry her off successfully. Pavel Afanasyevich does not accept any changes in society, he is an opponent of progress. He considers the customs and lifestyle of the old Moscow nobles to be an ideal.
What characterization of the heroes of “Woe from Wit” can be done without describing the main female character? 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 has a good understanding of people, judging by her precise and apt statements addressed to her father’s guests. Sofia is not only mocking, but also vengeful: she does not forgive Chatsky for his contemptuous attitude towards Molchalin, with whom she is in love. It is she who starts an 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 mistakes a pathetic flatterer and a silent saint for the hero in love. The young lady, who had read a lot of novels, imagined nobility, modesty and chivalry behind his silence.
Molchalin fully justifies his famous surname. He comes from Tver, is not a nobleman, but he makes big plans, because he does not consider the rank of assessor and the service of a home secretary to be the peak of his career. Thanks to his hypocrisy and ability to serve, this friend of the “sofa dogs” “on tiptoes” hopes to climb high up the career ladder. Sofia's falling in love gives the pathetic "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 are the characteristics of the heroes of “Woe from Wit” without the main character? Without Alexander Andreevich Chatsky? 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. Sofia initially gives him flattering characteristics, noting his sharp mind and eloquence. But the merciless criticism he undertook of the morals and way of life of the Moscow nobility was 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, inherent in few others in his contemporary Russia.
Sofia was not happy with the passionate feeling that Chatsky had for her. She herself said that she “reluctantly” drove him crazy. It seems that this thought became the impetus for her stupid prank, which threw the ardent Chatsky into the abyss of “a million torments” and made him become disappointed and leave Moscow.
The comedy was written in 1823, but every generation of readers, schoolchildren and critics who describe the characters, “Woe from Wit” is viewed through the prism of contemporary realities. And it seems that the characters created by Griboedov will never lose their relevance.
Briefly:
The idea for the comedy "Woe from Wit" dates back to 1816. During the author's lifetime, despite his efforts, the caesura did not allow the publication of this work. Only small excerpts from the comedy appeared in print. Despite this, “Woe from Wit” was well known in society because it was distributed in lists. Only in 1831 did censorship allow the incomplete text of the comedy to be printed. The most “unreliable” parts of it were excluded. In the same year, the play was staged in St. Petersburg and then in Moscow.
The conflict in comedy is social in nature; its main character is tormented not only unrequited love, but also the impossibility of living in this crazy society. The comedy carries the features of classicism - the unity of action, place and time, the characters are endowed with characteristic names - Chatsky - from the word “child”, Famusov - from the English word “famous”, Molchalin - wordless, Repetilov - retelling the thoughts of others, etc. But behind these external signs of classicism lies realism, which is expressed in the true-to-life characters of the characters, in their ambiguity, characteristic of living people. The deep realism of the comedy is matched by its bright, figurative language. Here living people speak a living language. The language of each character characterizes the image; for example, the accurate and sharp tongue of the maid Liza, the harmonious and logical speech of Chatsky. Repetilov's monologues do not have a core; he constantly jumps from one topic to another. Many expressions from the comedy have become “winged”, people still use them today, for example, “and the smoke of the fatherland is sweet and pleasant to us”, “happy people do not watch the clock”, etc. ( Detailed analysis For the characters in the comedy, see the article “I. A Goncharov").
This work had a great influence on the further development of Russian literature. Almost fifty years after writing the comedy, I. A. Goncharov dedicated a critical essay to it, entitled “A Million Torments,” written as if the comedy had recently been completed.
Source: Student's Quick Guide. Russian literature / Author-comp. I.N. Agekyan. - Mn.: Modern writer, 2002
More details:
"Woe from Wit" (1824) became the first Russian realistic comedy; this work became a landmark for the establishment of realism in Russian drama. However, precisely because it was the first realistic work, one can distinguish in it the influence of the aesthetics of romanticism (even the image of Chatsky, generally realistic, is very similar to the images of romantic heroes, contrasted with circumstances and other heroes), and even the influence of classicism - here is the observance the requirements of “three unities”, and the “speaking” names of the heroes. However, it can be said that Griboedov, in the comedy “Woe from Wit,” creatively reworked all the best that had been created in Russian literature before him, managing on the basis of this to create a qualitatively new work, and this novelty is determined primarily by new principles of creating characters, new approach to understanding the essence of images-characters.
Griboedov's heroes are heroes whose images are socially motivated; they are such because they belong to a certain time and certain strata of society, although this does not mean that they are schematic heroes. It’s just that in each of them the main character traits are formed by the environment, each of them expresses this environment, while remaining an individual.
The language of the comedy "Woe from Wit"
Also fundamentally new for Russian literature was the language of the comedy "Woe from Wit", language characteristics the characters are presented to the reader each of them in such a way that, for example, Sophia’s speech cannot be confused with the speech of Princess Tugoukhovskaya, and Molchalin and Skalozub differ in both their characters and their speech. The extreme individualization of the speech characteristics of the characters, the brilliant command of the Russian language, the aphorism of the characters’ remarks, the sharpness of polemics in dialogues and monologues - all this makes the language of Griboedov’s comedy “Woe from Wit” a unique phenomenon in Russian literature of the 20s of the 19th century, and the fact that many phrases from it became “catchphrases”, confirming that it belonged not only to its time.
Comedy conflicts
The conflicts of comedy are very interesting. The external conflict is obvious: this is a confrontation between a leading man of his time (Chatsky) and a society living in the past and striving to keep this life unchanged. In other words, the conflict between old and new is, in general, a banal conflict. However, it is most closely connected with the internal conflict of comedy, with the contradiction of Chatsky’s image. How could he, the smartest man, not understand that Sophia loves another after she herself told him about it and named this person’s name? Why does he so passionately prove his point of view to people whose value he knows very well, just as he knows that they will not only disagree with him, but will not even be able to understand him? Here it is, the internal conflict of the comedy "Woe from Wit" by Griboyedov. Chatsky deeply and sincerely loves Sophia, and this feeling makes him so incomprehensible and even funny - although can someone who loves be funny, no matter how funny he may seem?.. In some ways, the internal and external conflicts of comedy coincide, although love Sophia’s relationship with Molchalin is not socially conditioned in terms of motivation, rather, on the contrary, but the romantic view of Famusov’s daughter on the latter is also characteristic of the society in which they live.
Famusov's image
Famusov’s world is the world of the Moscow nobility, who live according to the norms of the “Times of Ochakov and the conquest of the Crimea” and do not want to change anything in their lives. “A manager in a government place” Famusov deals with things carelessly (“It’s signed, off your shoulders”...), but he succeeds in organizing his life with all sorts of conveniences, not excluding “monastic behavior”... He knows for sure that for his daughter, “Whoever is poor is not a match for you,” he is well versed in secular gossip and everything that concerns other people’s estates, he can, on occasion, remind Molchalin to whom he owes his current position, and he is undisguisedly servile with Skalozub, seeing in him an advantageous suitor for his daughter... In a conversation with Chatsky, not understanding half of what the interlocutor is saying, he is mortally frightened, believing that he is talking with a “carbonari” (that is, a rebel) who “wants to preach freedom” and “does not recognize the authorities,” demands: “I would strictly forbid these gentlemen to approach the capitals for a shot.” He is not at all that stupid, Famusov, so he is ready to fight by any means to preserve his position and his way of life, he defends his right to see life this way and live exactly this way. His danger lies in the fact that he is ready for just about anything, or maybe he is still very much, for now he and others like him are the true masters of life, and only one person opposes them - Chatsky, who is very lonely in this society, that no matter what they talk about “nephews” and others who supposedly profess other ideals, in Famusov’s house Chatsky is truly alone.
The image of Chatsky in the comedy "Woe from Wit"
The image of Chatsky was perceived by contemporaries as the image of an advanced person defending the ideals of a new life, which was supposed to replace the dominance of “Famusism”. He was seen as a representative of the younger generation, an intelligent, educated, decent person who ardently defended the need to change life and, it seems, was taking some steps in this direction, although the author talks about this in passing. What is indisputable is that Chatsky is a thinking and gifted man, it is not without reason that his judgments about public service and duty frighten Famusov so much; they express ideas government system, undermining the foundations of the existence of Famusov and others like him: “I would serve the cause, not individuals...”, “I would be glad to serve, it’s sickening to be served,” “And indeed, the world has begun to become stupid.”
There was a lot of debate about whether the image of Chatsky in “Woe from Wit” can be considered the image of the Decembrist in literature, but there is no doubt that the hero’s ideas are close to the ideas of the Decembrists, to whom the author of the comedy treated with great sympathy. However, Chatsky is not just an exponent of the advanced ideas of his time, in the opinion of the comedy author. This is a living person, he is sincere and deep in his experiences, his actions are determined by the feeling of great love that he feels for Sophia. He is in love, he remembers Sophia as a young girl who, judging by the fact that she makes excuses to Lisa, showed him unambiguous signs of attention, and now he wants to see the same Sophia in her, not wanting to see that dramatic changes have happened to her. Chatsky’s irritation and even some embitterment are caused by the fact that Sophia has changed her attitude towards him, and this prevents the hero from really perceiving circumstances, from seeing them as they are. The hero’s mind and feelings are too busy with love for him to control himself, for him now the whole world is concentrated in Sophia, so everything else and everyone else simply irritates him: Famusov irritates, to whom he still shows a certain respect as Sophia’s father; irritates Skalozub, in whom he is ready to see Sophia’s possible groom; Molchalin is annoyed, who, “with such a soul,” cannot (as he believes!) be loved by the same Sophia.
Chatsky's persistent attempts to find out the truth about Sophia's attitude towards himself border on pathology, and his stubborn reluctance to accept this truth could seem like blindness if it were not for love... However, the scene that he witnesses in the last act gives him the final answer to the most important question for him now is that he receives irrefutable evidence that Sophia not only does not love, but also betrays him, therefore Chatsky’s last monologue is the cry and pain of an insulted soul and an insulted feeling, but here Famus’ society is also murderously accurately described, which took away from the hero the most precious thing in his life - love. Chatsky leaves Moscow, and his departure seems to indicate that he is defeated. True, there is a well-known idea by I.A. Goncharov that “Chatsky is broken by the amount of old strength, inflicting a mortal blow on it with the quality of fresh strength,” but how can this undoubted victory of the hero help him when his heart is breaking with pain?.. Therefore, we can say that that the ending of the comedy is close to tragic - for him, the “eternal accuser”, for whom neither his brilliant mind nor the ability to “make everyone laugh” could help him find ordinary human happiness...
Molchalin
The comedy’s image system is constructed in such a way that the author gives us the opportunity to see Chatsky’s “anti-doubles”: these are the images of Molchalin and Repetilov. Molchalin is Chatsky’s happy rival in love; in his own way, he is a very strong personality who manages to achieve a lot in life. But - at what cost? He sacredly observes his father’s behest: “My father bequeathed to me: First, to please all people without exception...”. He pleases, even with “our deplorable krala” (he calls Sophia) his nights “respectfully”, because she is “the daughter of such a person”! Of course, we can say that for Molchalin such behavior is the only possible one from the point of view of achieving “known degrees,” but surely it’s not possible to achieve them at the cost of losing self-esteem?
Repetilov
The image of Repetilov was perceived by contemporaries as an obvious parody of the Decembrists, which may seem strange - if you remember the attitude of the comedy author towards them and their ideas. However, Repetilov is very similar to... Chatsky, only to Chatsky, deprived of his intelligence, his self-esteem, his ability to behave as his honor requires. The comic double of the main character helps to better understand the image of Chatsky in the comedy “Woe from Wit”, to see his strengths and appreciate them, while remaining an original and original artistic image, ridiculing those of the supporters of the Decembrists who preferred “words, words, words..."
Sophia
The image of Sophia in the comedy turned out to be complex and contradictory. She created for herself a romantic image of Molchalin and fell in love with her “creation”, ready to defend her loved one from the unfair, as she is convinced, attacks of Chatsky and succeeded a lot in this (remember, it was with her “suggestion” that gossip began to spread from Chatsky’s madness!), who became an unwitting witness to how the person she loves mocks her and her love - this is what the heroine of the comedy has to go through, and at the end of the work she cannot but evoke sympathy in the viewer. Sophia is both smart and knows people well - how brilliantly she gives a hint about Chatsky’s imaginary madness to the social gossip G.N., there is nothing to reproach her for on occasion! However, like Chatsky, she was blinded by love, and, bringing suffering to Chatsky, she herself suffers no less from the betrayal of a person whom she believed and for whose love she made certain sacrifices.
"Theme of the Mind"
The “theme of the mind” occupies a special place in comedy. The “grief” that his undoubted intelligence brought to Chatsky is aggravated by the fact that in Famusov’s world a different idea of “intelligence” prevails: here, the one who knows how to achieve ranks and money is valued, so Famusov’s uncle, endlessly falling in front of those who “ranks” gives", is revered as a model of wisdom, and the smart Chatsky is declared crazy... To be thinking person in the circle of those who do not understand the difference between intelligence and cunning - this is Chatsky’s lot.
Author's position
The image of the author, the author's position in the comedy "Woe from Wit" is manifested primarily in the creation of character images and the main conflict of the comedy. Chatsky is depicted with great sympathy, his moral superiority, his victory over the world of Famusov speak about whose side the author is on. Satirical image the world of old Moscow, his moral condemnation also indicate the author's position. Finally, the ending of a comedy, when it turns into a tragicomedy (this was discussed above), from the point of view of expressing the author’s position, also clearly tells the viewer which side the author is on. In Griboyedov's comedy, the author's principle is expressed both in the stage directions and in the speech characteristics of the characters; the unique personality of the author of one of the greatest comedies in Russian literature is visible in everything.
As already noted, the “catchphrases” from “Woe from Wit” have firmly entered both Russian literature and the Russian language. The work itself also took its place in Russian culture, which gives reason to talk about the folk character of Griboyedov’s comedy.
Molchalin Alexey Stepanych- Famusov’s secretary, living in his house, as well as an admirer of Sophia, who despises her in his heart. M. was transferred by Famusov from Tver. The hero's surname expresses his main trait - “wordlessness.” It was for this that Famusov made M. his secretary. In general, the hero, despite his youth, is a full-fledged representative of the “past century”, since he has adopted its views and lives by its principles. M. strictly follows his father’s behest: “to please all people without exception - the owner, the boss, his servant, the janitor’s dog.” In a conversation with Chatsky M. sets out his life principles- “moderation and accuracy.” They consist in the fact that “at my age I should not dare to have my own judgment.” According to M., you need to think and act as is customary in “Famus” society. Otherwise they will gossip about you, and, as you know, “evil tongues are worse than pistols.” M.'s romance with Sophia is also explained by his willingness to please everyone. He obediently plays the role of an admirer, ready to read romance novels with Sophia all night long, listen to the silence and trills of nightingales. M. doesn’t like Sophia, but he can’t refuse to please his boss’s daughter.
Skalozub Sergey Sergeich- in his image, the “ideal” Moscow groom is depicted - rude, uneducated, not very smart, but rich and pleased with himself. Famusov reads S. as his daughter’s husband, but she considers him “the hero of a novel that is not hers.” At the moment of his first arrival at Famusov’s house, S. talks about himself. He took part in the War of 1812, but received the order “on the neck” not for military exploits, but on the occasion of military celebrations. S. “aims to become a general.” The hero despises book wisdom. He makes disparaging remarks about his cousin reading books in the village. S. tries to embellish himself externally and internally. He dresses in army fashion, using belts to make his chest look like a wheel. Having understood nothing in Chatsky’s accusatory monologues, he, nevertheless, joins his opinion, saying all sorts of nonsense and nonsense.
Sofia Pavlovna Famusova– Famusov’s 17-year-old daughter. After the death of her mother, she was raised by “Madame”, an old Frenchwoman, Rosier. S.'s childhood friend was Chatsky, who became her first love. But during the 3 years of Chatsky’s absence, S. has changed a lot, as has her love. S.'s formation was influenced, on the one hand, by Moscow habits and morals, and on the other hand, by the books of Karamzin and other sentimentalist writers. The girl imagines herself as the heroine of a “sensitive” novel. That’s why she rejects the sarcastic and brave Chatsky, as well as Skalozub, stupid but rich. S. chooses Molchalin for the role of a platonic admirer. In his home, S. does not have the opportunity to develop mentally. The only thing she is capable of is to imagine herself as the heroine of a novel and act according to this role. Either she comes up with a dream in the spirit of Zhukovsky’s ballads, then she pretends to faint, etc. But her “Moscow” upbringing also makes itself felt. During the ball, it is she who spreads the rumor about Chatsky’s madness. The romantic behavior of the heroine turned out to be just a mask; her true essence is this nature of a Moscow young lady. At the end of the comedy, S. is punished. She learns about the “betrayal” of Molchalin, who flirts with Lisa and speaks impartially about S. In addition, Famusov, having learned about his daughter’s affair with his secretary, decides to remove S. from Moscow “to the village, to her aunt, to the wilderness, to Saratov” .
Famusov Pavel Afanasyevich- Moscow gentleman, “manager in a government house.” Sophia's father, friend of Chatsky's father. The events of the play take place in his house. F. is one of the brightest representatives of the “past century”. In one of his monologues, F. praises Moscow morals, unchanged from century to century. Here there is “honour” for father and son; here who has “two thousand ancestral souls, He and the groom.” Moscow ladies can be sent “to command the Senate,” they are so “informed” about everything; Moscow daughters “simply cling to the military”, allegedly “because they are patriots”; Moscow old men, called upon to solve serious matters, “will argue, make some noise... and go their separate ways.” In the “Famus” society, everything rests on connections: “well, how can you not please your loved one.” This model of life seems ideal to F. and other members of Moscow society; they consider it the only correct one and do not want any changes. F. is two-faced. He claims that he is “known for his monastic behavior,” but at the same time he hits on the maid Lisa. F. is afraid of all new trends. During a conversation with Chatsky, he plugs his ears so as not to hear bold speeches. F.'s main enemy is learning, since it makes changes to the calm Moscow life. The hero's dream is "to take all the books and burn them." Like a typical Moscow gentleman, F. is deceived by everyone who is not lazy. And daughter Sophia, and secretary Molchalin, and maid Lisa. The hero's last appearance on stage is timed to coincide with the final date between Sofia and Molchalin. Seeing young people together, F. is horrified. He blames the “new” Moscow for his daughter’s “licentiousness,” which is infected with free ideas and the “spirit of Kuznetsky Most” (that is, Paris). At first, F. threatens to make this shameful incident public (“I will submit it to the Senate, to the Ministers, to the Emperor”), but then he remembers that his daughter will be gossiped about in all the houses of Moscow. In tearful horror, F. exclaims: “What will Princess Marya Alekseevna say !!!” The opinion of this princess means more to F. than the opinion of the tsar himself, because in “Famus” society she occupies one of the main places.
Chatsky Alexander Andreich- a young nobleman. Representative of the “present century”. A progressive person, well educated, with broad, free views; true patriot. After a 3-year absence, Ch. comes to Moscow again and immediately appears at Famusov’s house. He wants to see Sophia, whom he loved before leaving and with whom he is still in love. But Sophia greets Chatsky very coldly. He is perplexed and wants to find the reason for her coldness. Remaining in Famusov's house, the hero is forced to enter into a fight with many representatives of "Famusov's" society (Famusov, Molchalin, guests at the ball). His passionate accusatory monologues are directed against the order of the century of “obedience and fear,” when “he was the one whose neck was most often bent.” When Famusov offers Molchalin as an example of a worthy person, Ch. pronounces the famous monologue “Who are the judges?” In it, he denounces the moral examples of the “past century”, mired in hypocrisy, moral slavery, etc. Ch. examines many areas in the life of the country: civil service, serfdom, education of a citizen, education, patriotism. Everywhere the hero sees the prosperity of the principles of the “past century.” Realizing this, Ch. experiences moral suffering, experiences “woe from the mind.” But to no lesser extent the hero experiences “grief from love.” Ch. finds out the reason for Sophia’s coldness towards him - she is in love with the insignificant Molchalin. The hero is offended that Sophia chose him over this “most pitiful creature.” He exclaims: “The silent ones dominate the world!” Very upset, Ch. ends up at a ball in Famusov’s house, where the cream of Moscow society gathered. All these people are a burden to Ch. And they cannot stand the “stranger.” Sophia, offended by Molchalin, spreads a rumor about the hero’s madness. The whole society happily picks it up, putting forward the hero’s free-thinking as the main accusation against Ch. At the ball, Ch. pronounces a monologue about the “Frenchwoman from Bordeaux,” in which he exposes the slavish admiration for everything foreign and the contempt for Russian traditions. At the end of Ch.'s comedy, Sophia's true face is revealed. He is disappointed in her just as in the rest of “Famus” society. The hero has no choice but to leave Moscow.
The main male and only positive character of the comedy. He was left an orphan quite early, and was brought up in the house of his father’s friend, Famusov. The patron gave him an excellent education, but could not instill in Chatsky his worldview. Having matured, Chatsky began to live separately. Subsequently, he quit military service, but did not serve as an official.
One of the main characters of the comedy. If you translate the surname Famusov from Latin, it will mean “famous, famous.” Famusov lives on the estate, but judging by his many friends, he is very a famous person in your circle. He likes to brag that he belongs to the noble nobility. Famusov is hospitable, sociable, and loves to live large.
The central female character of the comedy. Events unfold around her. Sophia is 17 years old, she was raised by her father and old lady Rosier. She lost her mother when she was very young. Sophia is very beautiful, smart, witty and quick-witted, but due to reading French novels, she is a little sentimental and romantic.
The most negative character in comedy. He does not belong to the upper strata of society, he comes from the common people. Came to work from Tver. Lives in Famusov's house, works as a secretary and takes care of his daughter Sophia. Strives to make a career. The goal of his life is the highest ranks and wealth.
A minor but very important character in the comedy is a cheerful, young maid who lives and works in Famusov’s house. She is a typical soubrette who helps her mistress Sophia in love affairs. We can say that Lisa is smart and very smart.
A minor character, a rich colonel who wants to become a general, and Famusov sees in him the ideal groom for his daughter. Although Khlestova did not like him, he had weight in society. Skalozub's whole life is connected with the army. He is rude and ignorant, having been raised in the barracks.
A minor character in the comedy, one of the first guests at the ball in Famusov’s house; a typical representative of the “Famus society”, henpecked and hypocrite. Pyotr Ilyich appears at the ball not alone, but with his whole family - with his malicious and sarcastic wife Marya Alekseevna and six daughters of marriageable age.
A minor character in the comedy who appears last at Famusov's ball. He is an old friend of Chatsky, as can be judged by the words with which he greets him: “Dear friend! Dear friend! On the other hand, it soon becomes clear that this character is just an empty talker and a superficial person.
One of the most memorable secondary heroines of the comedy, with whom the author introduces the reader at Famusov’s party; an imperious and rude serf lady. Full name heroine - Anfisa Nilovna Khlestova. She is Famusov’s sister-in-law, and accordingly Sophia’s aunt.
A minor character in a comedy. He appears at a party in Famusov's house and perfectly complements the assembled society. This is a secular man, well known in wide circles. He loves to go to the theater, attend balls and parties. At the same time, everyone knows that Zagoretsky is a notorious swindler, gambler and rogue.
One of the most memorable supporting characters in comedy; 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 occurred in his comrade after marriage, and is ironic about this.
Wife of Platon Mikhailovich Gorich in the comedy; a striking example of the embodiment of female power. Natalya Dmitrievna completely subjugated her husband, treating him like a child every now and then, annoyingly caring for him. With her excessive concern for Platon Mikhailovich’s health, she killed his passion for life, that enthusiasm that Chatsky had previously seen in his eyes.
Published by him in 1825. It is a satire on the society of aristocrats. It contrasts two radically different positions on the nobility: liberal and conservative. Famusov is a typical nobleman who perceives himself as a representative of the upper class; government official. The second side is represented by Chatsky - a new type of nobleman, aimed at more humanistic views, obtaining an excellent level of education, and not at satisfying selfish needs and exploiting someone else's labor.
In contact with
Characters from "Woe from Wit"
We will present a brief description of the heroes of Griboyedov’s comedy in the table:
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A little bit more detailed descriptions heroes of the comedy "Woe from Wit" with speech characteristics will be considered further.
Woe from Wit: a brief description of the main characters
Chatsky
colorful main character, challenging the society that Famusov prefers. At the same time, he was brought up in this family, since Chatsky’s parents died, but were friends with Pavel Afanasyevich. Alexander Andreevich received a good education, traveled and became a member of the English Club of Nobles. He returned to his native land because he was in love with Sofya Famusova, but was disappointed by the morals of the local secular society and Pavel Afanasyevich in particular.
Eloquent, attracts attention. He is similar to Sophia in his level of education and wit, but if he does not strive to humiliate a person, but only to show him the truth about himself, then Sonya simply emphasizes his superiority over others. If at first she seems to Alexander to be open to everything new, lively and sensual, like him, then she later finds out the true state of affairs and is severely disappointed.
Chatsky is a contrast to each of the heroes described in Griboyedov’s comedy. He is independent, impatient with human stupidity and therefore goes into open conflict with the characters surrounding Famusov, in each of whom Alexander sees flaws and exposes them.
Chatsky's views:
- ABOUT military service and bureaucratic: “Of the young people, there will be an enemy of quest, // Without demanding either places or promotion to rank, // He will focus his mind on science, hungry for knowledge; // Or God himself will arouse the heat in his soul // To creative, high and beautiful arts...” (Griboedov).
- He advocates for the movement of the nobility forward, advocates its development and liberation from previous attitudes towards the ownership of serfs, hypocrisy towards each other.
- Calls for a patriotic attitude towards one's nation, and not for following the fashion of France and Germany. Disapproves of the desire to copy Western traditions and excessively worship everything foreign.
- Emphasizes that a person should be assessed not for his origin and belonging to a certain family, but only for his own actions, qualities, ideas.
Pavel Famusov
A controversial hero. Quite mobile for his age, sticks to the maid and, in principle, is not particularly delicate with the servants, but treats his relatives and friends with respect. He is looking for a profitable match for Sophia. Conservative and grouch. Knows how to flatter to the right people, adapt, but in everyday life it’s tough.
Famusov's views, features:
Characteristics of Famusov based on quotes from “Woe from Wit”:
Sofia Famusova
She is 17, she is of noble blood, comprehensively developed and with a good dowry, an enviable bride. Sonya likes Molchalin until Chatsky arrives. She can dance and loves music.
Sophia is frank, but at the same time naive. Molchalin uses her feelings for herself for her own purposes, but she believes him, and not Chatsky, who is sincere with her to the end. Famusov's daughter is simultaneously perceived as a romantic nature, creative, laughing at the vices of noble society, but is also a model of immorality (her secret connection with Molchalin), narrow-mindedness and limited interests. Sonya is proud and selfish, does not notice her shortcomings.
Famusova is a flighty girl, fickle in choosing a groom. This is confirmed by Sophia’s quotation:
...I may have acted very carelessly, / And I know, and I’m guilty; but where did you change?
Sonya's father adds fuel to the fire when he convinces his daughter to think in her own terms when choosing a husband:
...Whoever is poor is not a match for you...
Molchalin
Cold, emotionless man who is only interested in his career. He is pedantic, strives to teach Chatsky, to guide him on the “right path.” He meets Sophia for personal gain, he himself is hardly capable of deep feelings.
- Silent (as indicated by his speaking surname): “not rich in words”, “after all, nowadays they love the dumb.”
- Gives monosyllabic answers, constantly thinking about what to say depending on the situation and the person who turned to him.
- Concerned with material well-being and achieving high status.
- Restrained and moderate in everything.
- Absolutely no position regarding morality, love, civic duty, honor.
Colonel Puffer
Potential groom, considered by Famusov for Sonya. A wealthy officer, but a rather limited person in interests and views. Rigid, follows certain rules in life, does not allow any deviations from the intended. He leads a wild lifestyle and dreams only of advancement in the service. He honestly and regularly fulfills his military duty, has awards, and in society he supports fashion trends in clothing. However, he opposes the development of education and does not recognize books.
Characteristics of minor characters
There are many heroes in the comedy "Woe from Wit", we will briefly highlight the remaining minor ones.
So, we got acquainted with the characters of the comedy “Woe from Wit” by Griboyedov. The author invested in each of them several shortcomings, showed through them his attitude towards the former nobility, serfdom. The work contains farcical situations, but at the same time it is filled with the depth and severity of the experiences of the main characters.
