Who is part of the Famusov society. Famus Society for the Comedy Woe from Wit (Griboedov A

Famus Society. They have traits that are characteristic of many other people, and others that are characteristic of the entire human race A. S. Griboedov

In 1824, Griboyedov created the immortal comedy “Woe from Wit,” which is a reflection of the acute political struggle that took place in the 20s of the 19th century between the reactionary serf-owners and the still small, but already emerging progressive nobility, from whose midst they later emerged the heroes of Senate Square are the Decembrists.

The reactionaries sought to preserve the autocratic-serf system and the ossified lordly way of life in everything, seeing this as the basis of their well-being. Progressive nobles fought against the “past century” and contrasted it with the “present century.” The collision of the “past century” and the “present century” is the main theme of the comedy.

“The present century,” according to Griboedov, was the product of revolutionary sentiments in noble circles. From among the progressive nobles came the Decembrists, who were the first to try to implement their revolutionary ideas.

The Moscow nobility is diverse in composition: there are counts and princes, high and middle officials, military men, landowners, empty talkers like Repetilov, “liars, gamblers and thieves” like Zagoredky, gossips and empty “burners.ki:shi.” Before us is a crowd of idle, empty, soulless and vulgar people:

In the love of traitors, in the tireless enmity,

Indomitable storytellers,

Clumsy smart people, crafty simpletons,

Sinister old women, old men,

Decrepit over inventions and nonsense.

These people are cruel serf owners, merciless torturers. The dignitary Famusov threatens his servants with terrible punishments for the slightest offense. “To work you, to settle you!” - he shouts. The Moscow master is ready to send the serfs he dislikes to a military settlement. Chatsky speaks indignantly about the landowner who:

He drove to the serf ballet on many wagons

From mothers, fathers of rejected children

Made all of Moscow marvel at their beauty,

But the debtors did not agree to a deferment:

Cupids and Zephyrs are all sold out individually!!!

Landowners do not consider their serfs to be people. Old woman Khlestova, for example, puts her maid on an equal footing with a dog:

Out of boredom, I took Arapka the girl and the dog with me.

Serfdom ideology determines all relationships between representatives of Famusov’s Moscow; they even look for a groom based on the number of serfs:

Be bad, but if you get enough

Two thousand ancestral souls,

He's the groom.

Serfdom was a normal phenomenon for Famus society, was fully consistent with the interests of the nobility, and was a source of wealth and profit. Representatives of the Moscow nobility think only about rank, wealth and high connections. They view service formally, bureaucratically, as a source of enrichment and advancement. “I just wish I could become a general,” says Colonel Skalozub, Arakcheev’s campaigner, a narrow-minded and rude man. The purpose of his military service is to obtain ranks, orders and medals by any means:

Yes, to get ranks, there are many channels.

And Famusov does not hide his attitude towards the service:

And what matters to me, what doesn’t matter.

My custom is this:

Signed, off your shoulders.

Like a gentleman, he looks at any work with disdain; he only accepts relatives for service.

When I have employees, strangers are very rare;

More and more sisters, sisters-in-law, children;

How are you going to present yourself to the cross?

to the place

Well, how can you not please your loved one!

Famusov serves not a cause, but people, since service for people in his circle is a source of ranks, awards and income. The surest way to achieve these benefits is groveling before one's superiors.

It is not for nothing that Famusov’s ideal is Maxim Petrovich, who, currying favor, “bent over,” “bravely sacrificed the back of his head,” but was treated kindly at court, “knew honor before everyone.” Molchalin doesn’t even have his own opinion:

At my age I should not dare to have my own judgment.

However, he keeps up everywhere:

There he will stroke Moska in time;

Here the card will fit just right.

And his career is guaranteed:

... will reach the known degrees,

After all, nowadays they love the dumb.

And these people ruled the state. Chatsky speaks indignantly about them:

Where, show us, are the fathers of the fatherland,

Which ones should we take as models?

Aren't these the ones who are rich in robbery?

Education, science, and the movement towards progress are especially hated by people in Famus’s circle. Famusov gives his daughter an upbringing that precludes the possibility of true enlightenment:

To teach our daughters everything -

And dancing! and foam! and tenderness! and sigh! Famusov himself is not well-educated and finds no use in reading. He explains the reasons for freethinking as follows:

Learning is the plague, learning is the reason,

What is worse now than then,

There were crazy people, deeds, and opinions.

And his final word about enlightenment and education and Russia is “to take all the books and burn them.” Consequently, in his enlightenment, the Moscow master Famusov sees a danger threatening the entire political system of Russia of that period.

Colonel Skalozub, the personification of soldier stupidity and ignorance, who “hasn’t uttered a smart word in his life,” like Famusov, is an enemy of education and everything progressive. He hastens to please Famusov’s guests with the fact that there is a project for lyceums, schools, and gymnasiums. “There they will only teach in our way: one, two. And the books will be kept like this, for big occasions.” This hatred of everything progressive is quite understandable; noble society was afraid of losing its privileges.

Famus society is alien to national culture, Russian customs, admiration for foreign ones has become fashionable, it reaches the point of ridiculousness, Chatsky says that society “gave everything in exchange”:

And morals, and language, and holy antiquity,

And majestic clothes for another, according to the jester's model.

Chatsky notes that among the nobility “a mixture of languages ​​dominates: French and Nizhny Novgorod.”

Famous Muscovites provide a joyful welcome to any foreigner. According to a Frenchman from Bordeaux, he

I arrived and found that there was no end to the caresses,

I did not meet a Russian sound or a Russian face.

The main thing in this society is “balls, dinners, cards, gossip.” Yesterday there was a ball, and tomorrow there will be two.

Famusov spends his time in idleness, idleness, empty entertainment, conversations, and at dinner parties. Famusova’s acquaintance Tatyana Yuryevna gives balls from Christmas to Lent and summer holidays at the dacha. This society cannot do without gossipers, because gossip is one of its main features. Here they know the ins and outs of every nobleman and will tell you who is rich, who is poor and how many serf souls Chatsky has:

“Four hundred” - “No! three hundred".

And Khlestova adds offendedly:

“I don’t know other people’s estates!”

Among the Moscow aces, the “notorious swindler, rogue Anton Antonich Zagoretsky” finds his place, who is accepted only because he is “a master at serving.” Repetilov is characteristic of Famus society, in which empty phrase-mongering and ostentatious free-thinking are emphasized.

Thus, in each of the heroes and off-stage characters, the author was able to find a certain type of representative of the Moscow nobility, and the name of each type is hidden in the surname of the hero representing it.

So, representatives of Famus society are characterized by the absence of highly moral feelings, the predominance of selfish interests, the ideal of an idle life, a view of service as a means of achieving personal benefits, moral promiscuity in people, servility to “superior” people and a despotic attitude towards “lower” ones: peasants, servants , - low level of education, passion for French culture, fear of true enlightenment.

Griboyedov very aptly defined the ideals of this society. They are simple: “win awards and have fun.” The Famusov society is the face of the entire noble Russia of those years. As a leading man of his time, Griboedov not only ridicules this society, but mercilessly condemns the serfdom system and calls for its destruction - this is the revolutionary significance of comedy. This is exactly how the Decembrists and all the progressive people of Russian society understood it.

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.

The comedy "Woe from Wit" was written by Griboyedov in 1824. It gives a general picture of the entire Russian life of the 10-20s of the 19th century, reproduces the eternal struggle between old and new, which unfolded with particular force at that time not only in Moscow, but throughout Russia between two camps: progressive, Decembrist-minded people “of the present century” and serf-owners, representatives of the “past century”.

All comedy images are deeply realistic. Famusov, Skalozub, Molchalin, Khlestova, the rogue Zagoretsky - they are all a reflection of reality. These people are stupid and selfish, afraid of enlightenment and progress, their thoughts are focused only on acquiring honors and titles, wealth and outfits, they form a single camp of reaction that tramples all living things.

Famus society is traditional. His principles of life are such that he must learn, “looking at his elders,” destroy free-thinking thoughts, serve with obedience to his superiors, and most importantly, be rich. The ideals of this society are presented in Famusov’s monologues:

...here's an example:

The deceased was a venerable chamberlain,

With the key, he knew how to deliver the key to his son;

He was rich and married to a rich woman;

Married children, grandchildren;

He died, everyone remembers him sadly.

Kuzma Petrovich! Peace be upon him! -

What kind of aces live and die in Moscow!..

Famusov, an old Moscow nobleman, earned general favor in capital circles. He is friendly, courteous, witty, cheerful. But this is only the external side. The author reveals the image of Famusov comprehensively. This is not only a hospitable host, but also a convinced serf owner, a fierce opponent of enlightenment. “They would take all the books and burn them,” he says.

Chatsky, a representative of the “present century,” dreams of “injecting a mind hungry for knowledge into science.” He is outraged by the rules established in Famus society, since it evaluates a person by his origin and the number of serf souls. Famusov himself dreams of marrying off his daughter Sophia at a better price and says to her: “Ah! Mother, don’t finish the blow! Anyone who is poor is not a match for you.” And then he adds: “For example, we have had it since ancient times that honor is given to father and son; be bad, but if there are two thousand family souls, that’s the groom.” Unlike representatives of Famus society, Chatsky longs for “sublime love, before which the whole world is dust and vanity.”

The relationship between Chatsky and Famus society reveals the views of the “past century” on careers, on service, on what is most valued in people. Famusov takes only relatives and friends into his service. He respects flattery and sycophancy. He wants to convince Chatsky to serve, “looking at the elders,” “putting up a chair, raising a handkerchief.” To this Chatsky objects: “I would be glad to serve, but being served is sickening.” He takes service very seriously. And if Famusov treats it formally, bureaucratically (“signed, off your shoulders”), then Chatsky says: “When in business, I hide from fun, when fooling around, I’m fooling around, and mixing these two crafts is a darkness of artificers, I don’t from among them."

Famusov worries about affairs only on one hand, fearing to death “so that a lot of them do not accumulate.” He does not consider his servants to be people, he treats them rudely, he can sell them, send them to hard labor. He calls them donkeys, blockheads, calls them Parsleys, Filkas, Fomkas. Thus, representatives of Famus society treat service as a source of personal benefits, service to “persons”, and not to “cause”.

Chatsky strives to serve the fatherland, “the cause, not the persons.” He despises Silent, who is accustomed to “pleasing all people without exception - the owner where I happen to live, the boss with whom I will serve, his servant who cleans dresses, the doorman, the janitor, to avoid evil, the janitor’s dog, so that it is affectionate.” Everything in Molchalin: both behavior and words - emphasize the cowardice of the immoral careerist. Chatsky speaks bitterly about such people: “Silent people are blissful in the world!” It is Molchalin who arranges his life best of all. He is also talented in his own way. He earned Famusov's favor, Sophia's love, and received awards. He values ​​two qualities of his character most of all: “moderation and accuracy.” For Famusov and his circle, the opinion of the world is sacred and infallible; the most terrible thing is “what Princess Marya Aleksevna will say!”

Another prominent representative of the Famus society is Skalozub. This is exactly the kind of son-in-law Famusov dreamed of having. After all, Skalozub is “both a golden bag and aims to be a general.” This character embodied the typical features of a reactionary of Arakcheev’s time. “A wheeze, a strangled man, a bassoon, a constellation of maneuvers and a mazurka,” he is as much an enemy of education and science as Famusov. “You can’t faint with your learning,” says the colonel.

It is quite obvious that the very atmosphere of Famus society forces representatives of the younger generation to show their negative qualities. So, Sophia uses her sharp mind to outright lie, unwittingly spreading the rumor about Chatsky’s madness. Sophia fully corresponds to the morality of the “fathers”. And although she is an intelligent girl, with a strong, independent character, a warm heart, and a dreamy soul, her false upbringing still instilled in Sophia many negative qualities and made her a representative of the generally accepted views in this circle. She does not understand Chatsky, does not appreciate his sharp mind, his criticality. She also did not understand Molchalin, who “loves her because of his position.” It is not her fault that Sophia has become a typical young lady in Famus’ circle. The society in which she was born and lived is to blame, “she was ruined, in the stuffiness, where not a single ray of light, not a single stream of fresh air penetrated” (I. A. Goncharov. “A Million Torments”).

Another comedy character is very interesting. This is Repeti-lov. He is a completely unprincipled person, an “idler,” but he was the only one who considered Chatsky to be “highly intelligent” and, not believing in his madness, called Famus’s pack of guests “chimeras” and “game.” Thus, he was at least one step above them all.

"So! I’ve completely sobered up,” says Chatsky at the end of the comedy. What is this - defeat or insight? Yes, the ending of the comedy is far from cheerful, but Goncharov is right when he said this: “Chatsky is broken by the amount of old power, having dealt it, in turn, a fatal blow with the quality of fresh power.” And I completely agree with Goncharov, who believes that the role of all Chatskys is “suffering”, but at the same time always “victorious”. Chatsky opposes the society of ignoramuses and serf owners. He fights against noble scoundrels and sycophants, swindlers, cheats and informers. In his famous monologue “Who are the judges?..”, he denounces the vile and vulgar world of Famus, in which the Russian people turned into an object of purchase and sale, where landowners even exchanged serfs for dogs:

That Nestor of noble scoundrels,

Surrounded by a crowd of servants;

Zealous, they are in the hours of wine and fights

And his honor and life saved him more than once: suddenly

He traded three greyhounds for them!!!

Chatsky defends real human qualities: humanity and honesty, intelligence and culture. He protects the Russian people, his Russia from everything inert and backward. Chatsky wants to see Russia literate and enlightened. He defends his point of view in disputes and conversations with all the characters in the comedy “Woe from Wit,” directing all his intelligence and determination to this. Therefore, the environment takes revenge on Chatsky for the truth, for trying to disrupt the usual way of life. The “past century,” that is, Famus society, is afraid of people like Chatsky, because they encroach on the order of life that is the basis of their well-being. Chatsky calls the past century, which Famusov admires so much, the century of “humility and fear.”

The Famus society is strong, its principles are firm, but Chatsky also has like-minded people. This is Skalozub’s cousin (“The rank followed him: he suddenly left his service and began reading books in the village”), 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, it is being replaced by the “present century”, strong, smart, educated.

The content of the play is closely related to historical events. At this time, defenders of feudalism and serfdom ruled in Russian society, 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 Tugo-Ukhovsky, 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 his maid Lisa: “Listen, don’t take unnecessary liberties!” .
The main thing for the Famusov society is
this is wealth. Their ideals are people in ranks. Famusov uses Kuzma Petrovich as an example for 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 many of them are irrelevant.” 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 serve someone, he bent over backwards.” Famusov also greets his daughter Skalozub’s prospective fiancé with great reverence, he says: “Sergey Sergeich, come here to us, sir, I humbly ask...”, “Sergey 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 a 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 pro-
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.

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.