Famus Society for the Comedy Woe from Wit (A. S. Griboyedov)
The play "Woe from Wit" is a famous work by A. S. Griboedov. In the process of its creation, the author moved away from the classical canons of writing “high” comedy. The heroes in "Woe from Wit" are ambiguous and multifaceted images, and not caricatured characters endowed with one characteristic feature. This technique allowed Alexander Sergeevich to achieve stunning verisimilitude in depicting the “picture of morals” of the Moscow aristocracy. This article will be devoted to the characteristics of representatives of such a society in the comedy “Woe from Wit”.
Issues of the play
In "Woe from Wit" there are two plot-forming conflicts. One of them concerns the personal relationships of the heroes. Chatsky, Molchalin and Sofia participate in it. The other represents the socio-ideological confrontation between the main character of the comedy and all the other characters in the play. Both storylines reinforce and complement each other. Without taking into account the love line, it is impossible to understand the characters, worldview, psychology and relationships of the heroes of the work. However, the main one, of course, is Chatsky and Famus society confront each other throughout the entire play.
"Portrait" character of the comedy
The appearance of the comedy "Woe from Wit" caused a lively response in literary circles of the first half of the 19th century. Moreover, they were not always laudatory. For example, a longtime friend of Alexander Sergeevich, P. A. Katenin, reproached the author for the fact that the characters in the play are too “portrait-like,” that is, complex and multifaceted. However, Griboyedov, on the contrary, considered the realism of his characters to be the main advantage of the work. In response to critical remarks, he replied that “...caricatures that distort the real proportions in the appearance of people are unacceptable...” and argued that there was not a single one of these in his comedy. Having managed to make his characters alive and believable, Griboedov achieved a stunning satirical effect. Many unwittingly recognized themselves in the comedy characters.
Representatives of the Famusov society
In response to comments about the imperfection of his “plan,” he stated that in his play there were “25 fools for one sane person.” Thus, he spoke quite harshly to the capital’s elite. It was obvious to everyone who the author portrayed under the guise of comedy characters. Alexander Sergeevich did not hide his negative attitude towards Famusov’s society and contrasted it with the only intelligent person - Chatsky. The remaining characters in the comedy were images typical of that time: the well-known and influential Moscow “ace” (Famusov); a loud and stupid careerist martinet (Skalozub); a quiet and dumb scoundrel (Molchalin); a domineering, half-mad and very rich old woman (Khlestova); eloquent talker (Repetilov) and many others. Famus society in the comedy is motley, diverse and absolutely unanimous in its resistance to the voice of reason. Let us consider the character of its most prominent representatives in more detail.
Famusov: a staunch conservative
This hero is one of the most influential people in Moscow society. He is a fierce opponent of everything new and believes that one must live as his fathers and grandfathers bequeathed. For him, Chatsky’s statements are the height of freethinking and debauchery. And in ordinary human vices (drunkenness, lies, servility, hypocrisy) he sees nothing reprehensible. For example, he declares himself to be “known for his monastic behavior,” but before that he flirts with Lisa. For Famusov, a synonym for the word “vice” is “learnedness.” For him, condemning bureaucratic servility is a sign of madness.
The question of service is the main one in Famusov’s system. In his opinion, any person should strive to make a career and thereby ensure a high position in society. For him, Chatsky is a lost man, as he ignores generally accepted norms. But Molchalin and Skalozub are businesslike, reasonable people. Famusov's society is an environment in which Pyotr Afanasyevich feels accomplished. He is the embodiment of what Chatsky condemns in people.
Molchalin: a dumb careerist
If Famusov in the play is a representative of the “past century,” then Alexei Stepanovich belongs to the younger generation. However, his ideas about life completely coincide with the views of Pyotr Afanasyevich. Molchalin makes his way “into the people” with enviable tenacity, in accordance with the laws dictated by Famus society. He does not belong to the noble class. His trump cards are “moderation” and “accuracy,” as well as lackey helpfulness and boundless hypocrisy. Alexey Stepanovich is very dependent on public opinion. The famous remark about evil tongues that are “more terrible than a pistol” belongs to him. His insignificance and unprincipledness are obvious, but this does not prevent him from making a career. In addition, thanks to his boundless pretense, Alexey Stepanovich becomes the protagonist's happy rival in love. "Silent people dominate the world!" - Chatsky notes bitterly. He can only use his own wit against Famus society.
Khlestova: tyranny and ignorance
The moral deafness of Famus society is brilliantly demonstrated in the play "Woe from Wit." Griboyedov Alexander Sergeevich entered the history of Russian literature as the author of one of the most topical and realistic works of his time. Many aphorisms from this comedy are very relevant today.
The comedy "Woe from Wit" was written between 1815 and 1824. The content of the play is closely related to historical events. At this time, Russian society was ruled by defenders of feudalism and serfdom, but at the same time, progressive-minded, progressive nobility also appeared. Thus, two centuries collided in comedy - the “present century” and the “past century.”
“The Past Century” personifies Famus society. These are acquaintances and relatives of Pavel Afanasyevich Famusov, a rich, noble gentleman in whose house the comedy takes place. These are Prince and Princess Tugoukhovsky, old woman Khlestova, the Gorichi couple, Colonel Skalozub. All these people are united by one point of view on life. In their environment, human trafficking is considered normal. The serfs sincerely serve them, sometimes saving their honor and life, and the owners can exchange them for greyhounds. So, at a ball in Famusov’s house, Khlestova asks Sophia to give a sop from dinner for her blackamoor - a girl and a dog. Khlestova does not see any difference between them. Famusov himself shouts at his servants: “To work you, to settlements!” Even Famusov’s daughter Sophia, raised on French novels, says to her maid Lisa: “Listen, don’t take unnecessary liberties!”
The main thing for Famus society is wealth. Their ideals are people in ranks. Famusov uses Kuzma Petrovich as an example to Chatsky, who was a “venerable chamberlain,” “with a key,” “rich and was married to a rich woman.” Pavel Afanasyevich wants a groom like Skalozub for his daughter, because he is “a golden bag and aims to be a general.”
Famus society is also distinguished by indifference to service. Famusov - “manager in a government place.” He does things very reluctantly. At the insistence of Molchalin, Famusov signs the papers, despite the fact that there are “contradictions in them, and a lot of them are wrong.” Pavel Afanasyevich believes: “It’s signed, off your shoulders.” In Famus society, it is customary to keep only relatives in the service. Famusov says: “With me, strangers’ employees are very rare...”
These people are not interested in anything except lunches, dinners and dances. During these amusements, they slander and gossip. They are “sycophants and businessmen”, “flatterers and sycophants”. Pavel Afanasyevich recalls his uncle Maxim Petrovich, a great nobleman: “When you need to curry favor, he bent over backwards.” Famusov also greets his daughter Skalozub’s prospective fiancé with great reverence, he says: “Sergei Sergeich, come here to us, I humbly ask...”, “Sergei Sergeich, dear, put down your hat, take off your sword...”
All representatives of Famus society are united by their attitude to education and enlightenment. Like Famusov, they are sincerely confident that “learning is the plague, learning is the reason that now, more than ever, there are more crazy people, and deeds, and opinions.” And Colonel Skalozub, who is not distinguished by his intelligence, talks about a new project for schools, lyceums, and gymnasiums, where they will teach marching and books will be kept only “for big occasions.” Famus society does not recognize Russian culture and language. French culture is closer to them, they admire it and the French language. Chatsky in his monologue says that the Frenchman from Bordeaux found “neither the sound of a Russian nor a Russian face” here.
They all have the same attitude towards Chatsky, who is a representative of everything new and advanced. They do not understand his ideas and progressive views. The hero tries to prove that he is right, but it ends tragically for him. Rumors spread about his madness, as society does not want to look at the world around him differently. Thus, Griboyedov reflected the conflict between two camps: supporters of serfdom and progressive thinkers of the time.
In the comedy “Woe from Wit” by A.S. Griboyedov's main element of the image is the morals of the Moscow conservative nobility. It is precisely the denunciation of outdated, outdated aristocratic views on pressing social issues that is the main task of this play. All the negative traits of the feudal landowners of the early 19th century were concentrated in numerous representatives of the “past century” in comedy - in Famus society.
The image of Famusov in the comedy “Woe from Wit”
The main defender of the ideas of the “past century” in the play is Pavel Afanasyevich Famusov. He occupies an influential position, is rich and noble. It is in his house that the comedy takes place. A society of conservative nobles is named after him in the play. The image of this character reflected the features of the entire Moscow aristocracy of the early 19th century.
In the work “Woe from Wit,” Famus society is depicted as a camp of people who value in a person only high rank, money and connections. Personal qualities have no weight in the world. Famusov strictly and categorically declares to his daughter: “Whoever is poor is not a match for you.”
He, “like all Moscow people,” wants to see a rich and noble person in his son-in-law. At the same time, money and ranks in the landowner society are considered as the highest value of a person: “Be inferior, but if there are two thousand family souls, that’s the groom.”
The image of Famusov also reflected the habit of the nobles to spend their lives “in feasts and extravagance.” In Famusov's calendar, which he reads with his servant in the second act, only dinner parties, funerals and christenings are planned. And he treats his work at work formally. Famusov signs the documents without looking: “And for me, whatever is the matter, what is not the matter, that’s my custom, it’s signed, off my shoulders.”
The comedy “Woe from Wit” also condemns the habit of the Moscow nobility to place people in profitable positions not based on their business qualities, but on the basis of family ties. Famusov admits: “With me, strangers’ employees are very rare: more and more sisters, sisters-in-law and children.”
In the person of Famusov, Griboyedov portrays Famusov’s society as a whole. It appears before the reader as a society of people who have contempt for the ignorant and the poor and bow down to rank and money.
Colonel Skalozub as an ideal nobleman in Famus society
Famusov sees Colonel Skalozub as his most desired son-in-law, who is presented in the comedy as an extremely stupid martinet. But he is worthy of the hand of Sophia, Famusov’s daughter, only because he is “both a golden bag and aims to be a general.” His title was obtained in the same way that any rank in Moscow is obtained - with the help of connections: “To get a rank, there are many channels...”
Skalozub, like Famusov, provides protection to his family and friends. For example, thanks to the efforts of Skalozub, his cousin “received tons of benefits in his career.” But, when a high rank followed him, he left the service and went to the village, where he began to lead a calm and measured life. Neither Famusov nor Skalozub are capable of understanding this act, because both of them have a passionate love for rank and position in society.
The role of Molchalin in the play “Woe from Wit”
Among the representatives of Famus society there must necessarily be nobles of not very high ranks, but those who aspire to them, who will express an obsequious attitude towards the older generation, try to curry favor with them. This is the role of Molchalin in the play “Woe from Wit”
At the beginning of the play, this hero appears before the reader as Sophia’s silent and modest lover. But as soon as the girl fails to contain her feelings for Molchalin in public, his true face begins to reveal itself. He, like Famusov, is very wary of people’s rumors: “Evil tongues are worse than a pistol.” He has no feelings for Sophia, but pretends to be her lover in order to please the daughter of “such a person.” From childhood, Molchalin was taught to “please... the owner where he happens to live,” the “boss” for whom he will serve.
Molchalin is silent and helpful only because he does not yet have a high rank. He is forced to “depend on others.” Such people are “blessed in the world,” because aristocratic society is only waiting for admiration and helpfulness towards them.
Off-stage comedy characters
The Famus society in the comedy “Woe from Wit” is quite numerous. In addition, its boundaries are expanding due to the introduction of off-stage characters into the play.
Notable in this regard is the image of Maxim Petrovich, Uncle Famusov, who evokes admiration among the serf-owners for his ability to “curry favor.” Famusov does not consider his desire to amuse the imperial court by exposing himself to ridicule as humiliation. For him, this is a manifestation of intelligence. But Maxim Petrovich was “all decorated” and had “a hundred people at his service.”
Famusov also remembers the late Kuzma Petrovich. His main characteristic is “rich and was married to a rich person.”
The influential Tatyana Yuryevna is mentioned in the play. It is very beneficial to be on good terms with her, because “officials and officials are all her friends and all her relatives.”
Off-stage characters helped Griboedov give a more vivid and memorable characterization of Famus society.
conclusions
Moscow aristocratic society in the comedy “Woe from Wit” is presented as a society that fears everything new, progressive, and advanced. Any changes in the views of the nobility threaten their personal well-being and usual comfort. At the time the play was written, the ideals of the “past century” were still very strong. But in the society of the nobles, contradictions have already matured, which will later lead to the replacement of old views and values with new ones.
A brief description of the Famus society and a description of the ideals of its representatives will help 9th grade students when writing an essay on the topic “Famus society in the comedy “Woe from Wit””
Work test
“In a group of twenty people there was reflected...
all the old Moscow...”
I.A. Goncharov
The comedy “Woe from Wit” belongs to those few works that do not lose their value in our time.
A.S. Griboyedov shows a broad picture of life in the 10-20s of the 19th century, reproducing the social struggle that unfolded between progressive, Decembrist-minded people; and the conservative mass of the nobility. This group of nobles makes up the Famus society.
People in this circle are staunch supporters of the autocratic-serf system. The age of Catherine II is dear to them, when the power of the noble landowners was especially strong. In the famous “ode to lackeyism,” Famusov admires the nobleman Maxim Petrovich, who “ate not only on silver, but on gold.” He achieved honor, fame, accumulated wealth, showing servility and servility. This is what Famusov credits him with and considers him a role model.
Representatives of the Famusov society live in the past, “deriving their judgments from forgotten newspapers from the times of the Ochakovskys and the conquest of the Crimea.” They sacredly protect their selfish interests, value a person by his origin, rank, wealth, and not by his business qualities. Famusov says: “... we have had it since ancient times that honor is given to father and son.” Countess Tugoukhovskaya loses interest in Chatsky as soon as she finds out that he is not a chamber cadet and is not rich.
Famusov and his like-minded people treat their serfs cruelly, do not consider them to be people, and dispose of their destinies at their own discretion. So, for example, Chatsky is indignant at the landowner who exchanged his faithful servants, who more than once saved “both his honor and his life,” for “three greyhounds.” And the noble lady Khlestova, who came to the ball, “out of boredom, took a blackamoor - a girl and a dog.” She makes no difference between them and asks Sophia: “Tell them to feed, my friend, they got a handout from dinner.”
The author of the comedy notes that for Famusov and his friends, service is a source of income, a means of achieving ranks and honors. Famusov himself takes his business carelessly: “My custom is this: it’s signed, then off your shoulders.” He saves a cushy place for his relatives and helps them move up the career ladder. Colonel Skalozub also pursues personal, not state interests. For him, all means are good, just “if only he could become a general.”
Careerism, sycophancy, sycophancy, servility - all these qualities are inherent in the officials depicted in the comedy. They are most clearly manifested in the image of Molchalin, Famusov’s secretary, a “business man” who, thanks to his “helpfulness” and “silence”, “received three awards.”
It should be noted that Famusov and his guests are ardent enemies of enlightenment, since they believe that all evil comes from it. Famusov states:
Learning is the plague, learning is the cause.
What is worse now than before,
There have been crazy people, deeds, and opinions...
Skalozub, Khlestova, and Princess Tugoukhovskaya share the same opinion.
The conservative society of noble landowners, depicted by A.S. Griboyedov, is afraid of progress, which threatens its dominant position. That is why they so unanimously condemn Chatsky and his views and consider him a conductor of “crazy deeds and opinions.”
The comedy “Woe from Wit” was written by Griboyedov at the beginning of the twentieth century. At that time, the country was ruled by nobles like Famusov and his entourage, but advanced people like Chatsky began to appear among the nobles. And so two centuries collided - “the present century” and the “past century.”
“The Past Century” represents the Famus society, which includes: P.A. Famusov, in the house where the action takes place, the Tugoukhovskys, Khlestova, Gorichi, Skalozub and other acquaintances of Famusov. Trade in serfs is considered normal among people. So “Nestor of the noble scoundrels” exchanged his faithful servants for three greyhounds, despite the fact that the serfs served him faithfully and sometimes saved his life. In Famus society, serfs are equated to animals; just remember the words of old woman Khlestova: “Tell them to feed... they got a handout from dinner.” Famusov can send his servants “to settlements” because they did not keep an eye on Sophia, who at night met, as Famusov thinks, with Chatsky. The countess-granddaughter, leaving, said to the countess-grandmother, “Well, the ball!” Well Famusov! He knew how to name guests! Some freaks from the other world!” - and how well she teamed up with the “freaks” against Chatsky. There is no sincerity in their society, Sophia deceives her father, Liza is forced to lie, covering up for her mistress, Molchalin deceives everyone, covering his true face with a mask. Their relationship has long lost its sincerity and warmth. They all bow to those who are richer and can promote them. In turn, they demand the same attitude towards themselves from those who are lower in rank.
Famus society is characterized by indifference to service. They practically do not perform any official duties. And where can they find time to work, because they only gossip, have fun at balls, go to dinner parties and lunches. At Molchalin’s insistence, Famusov signs some papers, despite the fact that “there are contradictions in them, and many of them are unrelated.” “My custom is this: it’s signed, off your shoulders,” said Famusov. He has only relatives in his service, with the exception of Molchalin. In their midst, in order to gain rank, one must not serve the cause, but “serve,” as Molchalin does. Pavel Afanasyevich remembers his uncle, an important man who served under Empress Catherine, about whom he says: “When you need to serve someone, he bent over backwards.” So this uncle became a jester for a while to amuse the empress.
All of them are hostile towards people who are engaged in science and creativity. They are all sure that books are evil: “If we were to stop evil, we would take all the books and burn them.” Famusov believes that “learning is a plague, learning is the reason that today, more than ever, there are more crazy people, and deeds, and opinions.” Princess Tugoukhovskaya remembers her nephew Prince Fyodor, who “does not want to know the ranks.” And all because “he is a chemist, he is a botanist.”
To Famusov’s house, “the door is unlocked for those invited and uninvited, especially those from abroad.” Famus society blindly imitates foreigners, especially the French, in everything and everywhere. Chatsky recalls that the “Frenchman from Bordeaux” did not find “neither a Russian sound nor a Russian face” in Famusov’s house. This “Frenchman” feels in Russia like at home, because here he is an important person and everyone is happy to see him, regardless of who he was in France. It is accepted that if a person inserts French words and phrases into his speech, then he is considered well-mannered.
Goncharov in his article “A Million Torments” wrote about “Woe from Wit” - that it “all lives its own imperishable life, will survive many more eras and will not lose its vitality.” I completely share his opinion. After all, the writer painted a real picture of morals and created living characters. So alive that they have survived to our times. It seems to me that this is the secret of the immortality of A. S. Griboyedov’s comedy. After all, our Famusovs, silents, and skalozubs still make our contemporary Chatsky experience grief from his mind.
