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Chatsky - the image of the “new man”

Chatsky begins a new century - and this is his whole meaning and his whole mind.

I. A. Goncharov

The comedy "Woe from Wit" by A. S. Griboedov played an outstanding role in the socio-political and moral education of several generations of Russian people. She armed them to fight violence and tyranny, meanness and ignorance in the name of freedom and reason, in the name of the triumph of advanced ideas and true culture. We, like our fathers and grandfathers, admire the artistic perfection of "Woe from Wit", the brilliance of the language, the amazingly vivid depiction of life and customs, and the realistic accuracy of Griboedov's images.

Chatsky's parents died early, and he was brought up in the house of Famusov, a friend of his late father. Chatsky is not only smart, but also a developed person, with feeling, or as the maid Liza recommends him: Yes, sir, so to speak, he is eloquent, but not painfully cunning; But be a military man, be a civilian, Who is so sensitive, and cheerful, and sharp, Like Alexander Andreich Chatsky! In "Woe from Wit" all of Famusov's guests slavishly copy the customs, habits and outfits of French milliners and rootless visiting crooks who made a living on Russian bread. They all speak “a mixture of French and Nizhny Novgorod” and are dumb with delight at the sight of any visiting “Frenchman from Bordeaux.” Through the lips of Chatsky, Griboedov with the greatest passion exposed this unworthy servility to others and contempt for one’s own:

May the Lord destroy this unclean spirit

Empty, slavish, blind imitation;

So that he would plant a spark in someone with a soul,

Who could, by word and example

Hold us like a strong rein,

From the pitiful nausea on the stranger's side.

Chatsky passionately loves his homeland, but not the state of kings, landowners and officials, but people's Russia, with its mighty forces, cherished traditions, intelligence and hard work. This genuine love for the homeland turned into ardent hatred of all kinds of slavery and oppression of the people - social, political, spiritual. The nobles of Famusov's circle value rank and wealth in people, and Chatsky is sincere, witty, he laughs at Famusov, sharply jokes about Moscow nobles, their lives and pastimes:

Aren't these rich in robbery?

They found protection from court in friends, in kinship,

Magnificent building chambers,

Where they spill out in feasts and extravagance.

And who in Moscow didn’t have their mouths covered?

Lunches, dinners and dances?

Famusov tries to teach Chatsky:

“Brother, don’t mismanage your property.

And most importantly, serve.”

Chatsky despises people who are ready

The patrons yawn at the ceiling,

Show up to be quiet, shuffle around, have lunch,

Bring up a chair and pick up the scarf.

Chatsky's personal drama is his unrequited love for Sophia. Sophia, for all her good spiritual inclinations, still entirely belongs to Famus’s world. She cannot fall in love with Chatsky, who opposes this world with all his mind and soul. He loves seriously, seeing Sophia as his future wife. Meanwhile, Chatsky had to drink the bitter cup to the bottom, not finding “living sympathy” in anyone, and left, taking with him only “a million torments.” Ah, tell love the end, Who goes far away for three years!

One of the main distinguishing properties of Chatsky is the fullness of feelings. It manifested itself both in the way he loves and in the way he is angry and hates. In everything he shows true passion, he is always warm-hearted. He is ardent, sharp, smart, eloquent, full of life, impatient. He is the embodiment of good youth, honesty, gullibility, and youthful boundless faith in himself and his capabilities. These qualities make him open to mistakes and vulnerable.

He has like-minded people: we learn about them thanks to off-stage characters (those who are talked about in the play, but who are not directly involved in the action). These are, for example, professors of the Pedagogical Institute, who, according to Princess Tugoukhovskaya, “practice in schisms and lack of faith,” these are “mad people” inclined to study, this is the princess’s nephew, Prince Fyodor, “a chemist and a botanist.” Chatsky in the comedy represents the young thinking generation of Russian society, its best part.

A. I. Herzen wrote about Chatsky: “The image of Chatsky, sad, restless in his irony, trembling with indignation, devoted to a dreamy ideal, appears at the last moment of the reign of Alexander I, on the eve of the uprising on St. Isaac's Square. This is the Decembrist, this is the man who ends the era of Peter the Great and is trying to discern, at least on the horizon, the promised land...” Griboyedov’s comedy is still filled with the breath of life, calling people forward, into the present and future, and sweeping away everything old and outdated from its path.

Bibliography

To prepare this work, materials from the site http://ilib.ru/ were used

Chatsky - the image of the “new man”

Chatsky begins a new century - and this is his whole meaning and his whole mind.

I. A. Goncharov

May the Lord destroy this unclean spirit

Empty, slavish, blind imitation;

So that he would plant a spark in someone with a soul,

Who could, by word and example

Hold us like a strong rein,

From the pitiful nausea on the stranger's side.

Aren't these rich in robbery?

They found protection from court in friends, in kinship,

Magnificent building chambers,

Where they spill out in feasts and extravagance.

And who in Moscow didn’t have their mouths covered?

Lunches, dinners and dances?

Famusov tries to teach Chatsky:

“Brother, don’t mismanage your property.

And most importantly, serve.”

Chatsky despises people who are ready

The patrons yawn at the ceiling,

Show up to be quiet, shuffle around, have lunch,

Bring up a chair and pick up the scarf.

Chatsky - the image of the “new man”

Chatsky begins a new century - and this is his whole meaning and his whole mind.

I. A. Goncharov

May the Lord destroy this unclean spirit

Empty, slavish, blind imitation;

So that he would plant a spark in someone with a soul,

Who could, by word and example

Hold us like a strong rein,

From the pitiful nausea on the stranger's side.

Aren't these rich in robbery?

They found protection from court in friends, in kinship,

Magnificent building chambers,

Where they spill out in feasts and extravagance.

And who in Moscow didn’t have their mouths covered?

Lunches, dinners and dances?

Famusov tries to teach Chatsky:

“Brother, don’t mismanage your property.

And most importantly, serve.”

Chatsky despises people who are ready

The patrons yawn at the ceiling,

Show up to be quiet, shuffle around, have lunch,

Bring up a chair and pick up the scarf.

Bibliography

To prepare this work, materials from the site http://ilib.ru/ were used

Chatsky - the image of a “new man” Chatsky begins a new century - and this is his whole meaning and his whole mind.

I. A. Goncharov A. S. Griboyedov’s comedy “Woe from Wit” played an outstanding role in the matter of socio-political and moral
Chatsky begins a new century - and this is his whole meaning and his whole mind.
I. A. Goncharov
The comedy "Woe from Wit" by A. S. Griboedov played an outstanding role in the socio-political and moral education of several generations of Russian people. She armed them to fight violence and tyranny, meanness and ignorance in the name of freedom and reason, in the name of the triumph of advanced ideas and true culture. We, like our fathers and grandfathers, admire the artistic perfection of "Woe from Wit", the brilliance of the language, the amazingly vivid depiction of life and customs, and the realistic accuracy of Griboedov's images.
The comedy shows the struggle between the new and the old, which flared up more and more, penetrating into different spheres of life, reflected in art and literature. Observing this struggle in life, Griboedov showed it in his comedy from the point of view of a leading person of his time, close in views to the Decembrists.
In the image of Chatsky, Griboyedov for the first time in Russian literature showed a “new man”, inspired by sublime ideas, rebelling against a reactionary society in defense of freedom, humanity, intelligence and culture, cultivating a new morality, developing a new view of the world and human relations.
Alexander Andreevich Chatsky is a young man, a nobleman. Chatsky's parents died early, and he was brought up in the house of Famusov, a friend of his late father. Chatsky is not only smart, but also a developed person, with feeling, or as the maid Lisa recommends him:
Yes, sir, so to speak, he is eloquent, but not very cunning;
But be a military man, be a civilian,
Who is so sensitive, and cheerful, and sharp,
In "Woe from Wit" all of Famusov's guests slavishly copy the customs, habits and outfits of French milliners and rootless visiting crooks who made a living on Russian bread. They all speak “a mixture of French and Nizhny Novgorod” and are dumb with delight at the sight of any visiting “Frenchman from Bordeaux.” Through the lips of Chatsky, Griboedov with the greatest passion exposed this unworthy servility to others and contempt for one’s own:
May the Lord destroy this unclean spirit
Empty, slavish, blind imitation;
So that he would plant a spark in someone with a soul,
Who could, by word and example
Hold us like a strong rein,
From the pitiful nausea on the stranger's side.
Chatsky passionately loves his homeland, but not the state of kings, landowners and officials, but people's Russia, with its mighty forces, cherished traditions, intelligence and hard work. This genuine love for the homeland turned into ardent hatred of all kinds of slavery and oppression of the people - social, political, spiritual.
The nobles of Famusov's circle value rank and wealth in people, and Chatsky is sincere, witty, he laughs at Famusov, sharply jokes about Moscow nobles, their lives and pastimes:
Aren't these rich in robbery?
They found protection from court in friends, in kinship,
Magnificent building chambers,
Where they spill out in feasts and extravagance.
And who in Moscow didn’t have their mouths covered?
Lunches, dinners and dances?
Famusov tries to teach Chatsky: “Don’t mismanage your property, brother. And most importantly, do some service.” Chatsky despises people who are ready
The patrons yawn at the ceiling,
Show up to be quiet, shuffle around, have lunch,
Bring up a chair and pick up the scarf.
He believes that it is necessary to serve “the cause, not individuals.” Chatsky defends the right of a person to freely choose his own activities: travel, live in the countryside, “focus his mind” on science or devote himself to “creative, high and beautiful arts,” so Famusov declares Chatsky a dangerous person who does not recognize the authorities.
Chatsky’s personal drama is his unrequited love for Sophia. Sophia, for all her good spiritual inclinations, still belongs entirely to Famus’s world. She cannot fall in love with Chatsky, who opposes this world with all his mind and soul. He loves seriously, seeing Sophia as his future wife. Meanwhile, Chatsky had to drink the bitter cup to the bottom, not finding “living sympathy” in anyone, and left, taking with him only “a million torments.”
Oh, tell love the end,
Who will go away for three years!
A. A. Chatsky is seriously preparing for social activities. “He writes and translates beautifully,” Famusov says about him and goes on and on about his high intelligence. He traveled, studied, read, apparently got to work, had relations with ministers and went his separate ways. It’s not hard to guess why: “I would be glad to serve, - to serve
sickening."
One of the main distinguishing properties of Chatsky is the fullness of feelings. It manifested itself both in the way he loves and in the way he is angry and hates. In everything he shows true passion, he is always warm-hearted. He is ardent, sharp, smart, eloquent, full of life, impatient. He is the embodiment of good youth, honesty, gullibility, and youthful boundless faith in himself and his capabilities. These qualities make him open to mistakes and vulnerable.
Chatsky is the only visibly active positive hero in Griboyedov's comedy. But he cannot be called exceptional and lonely. A thinker, a Decembrist fighter and a romantic are united in him, as they were often united in that era in real people and real life. He has like-minded people: we learn about them thanks to off-stage characters (those who are talked about in the play, but who are not directly involved in the action). These are, for example, professors of the Pedagogical Institute, who, according to Princess Tugoukhovskaya, “practice in schisms and lack of faith,” these are “mad people” inclined to study, this is the princess’s nephew, Prince Fyodor, “a chemist and a botanist.”
Chatsky in the comedy represents the young thinking generation of Russian society, its best part. A. I. Herzen wrote about Chatsky: “The image of Chatsky, sad, restless in his irony, trembling with indignation, devoted to a dreamy ideal, appears at the last moment of the reign of Alexander I, on the eve of the uprising on St. Isaac's Square. This is the Decembrist, this is the man who ends the era of Peter the Great and is trying to discern, at least on the horizon, the promised land..."
Griboedov's comedy is still filled with the breath of life, calling people forward, into the present and future, and sweeping away everything old and outdated from its path.

The comedy shows the struggle between the new and the old, which flared up more and more, penetrating into different spheres of life, reflected in art and literature. Observing this struggle in life, Griboedov showed it in his comedy from the point of view of a leading person of his time, close in views to the Decembrists. In the image of Chatsky, Griboyedov for the first time in Russian literature showed a “new man”, inspired by sublime ideas, rebelling against a reactionary society in defense of freedom, humanity, intelligence and culture, cultivating a new morality, developing a new view of the world and human relations. Alexander Andreevich Chatsky is a young man, a nobleman. Chatsky's parents died early, and he was brought up in the house of Famusov, a friend of his late father. Chatsky is not only smart, but also a developed person, with feeling, or as the maid Liza recommends him: Yes, sir, so to speak, he is talkative, but not painfully cunning; But be a military man, be a civilian, Who is so sensitive, and cheerful, and sharp, Like Alexander Andreich Chatsky!

In "Woe from Wit" all of Famusov's guests slavishly copy the customs, habits and outfits of French milliners and rootless visiting crooks who made a living on Russian bread. They all speak “a mixture of French and Nizhny Novgorod” and are dumb with delight at the sight of any visiting “Frenchman from Bordeaux.” Through the lips of Chatsky, Griboedov with the greatest passion exposed this unworthy servility to others and contempt for one’s own:
May the unclean Lord destroy this spirit of Empty, slavish, blind imitation;
So that he would set a spark about someone with a soul,
Who could, by word and example
Hold us like a strong rein,
From the pitiful nausea on the stranger's side.
Chatsky passionately loves his homeland, but not the state of kings, landowners and officials, but people's Russia, with its mighty forces, cherished traditions, intelligence and hard work. This genuine love for the homeland turned into ardent hatred of all kinds of slavery and oppression of the people - social, political, spiritual.
The nobles of Famusov's circle value rank and wealth in people, and Chatsky is sincere, witty, he laughs at Famusov, sharply jokes about Moscow nobles, their lives and pastimes:
Aren't these rich in robbery?
We found protection from court in friends, in kinship,
Magnificent building chambers,
Where they spill out in feasts and extravagance.
And who in Moscow hasn’t had their mouths clamped at lunches, dinners and dances?
Famusov tries to teach Chatsky: “Don’t mismanage your property, brother. And most importantly, do some service.” Chatsky despises people who are ready
Patrons yawn at the ceiling, show up to be silent, shuffle around, have lunch, place a chair, raise a scarf.

He believes that it is necessary to serve “the cause, not individuals.” Chatsky defends the right of a person to freely choose his own activities: travel, live in the countryside, “focus his mind” on science or devote himself to “creative, high and beautiful arts,” so Famusov declares Chatsky a dangerous person who does not recognize the authorities.
Chatsky's personal drama is his unrequited love for Sophia. Sophia, for all her good spiritual inclinations, still entirely belongs to Famus’s world. She cannot fall in love with Chatsky, who opposes this world with all his mind and soul. He loves seriously, seeing Sophia as his future wife. Meanwhile, Chatsky had to drink the bitter cup to the bottom, not finding “living sympathy” in anyone, and left, taking with him only “a million torments.” Ah, tell love the end, Who goes far away for three years!

A. A. Chatsky is seriously preparing for social activities. “He writes and translates beautifully,” Famusov says about him and goes on and on about his high intelligence. He traveled, studied, read, apparently got to work, had relations with ministers and went his separate ways. It’s not hard to guess why: “I’d be glad to serve, but being served is sickening.” One of the main distinguishing properties of Chatsky is the fullness of feelings. It manifested itself both in the way he loves and in the way he is angry and hates. In everything he shows true passion, he is always warm-hearted. He is ardent, sharp, smart, eloquent, full of life, impatient. He is the embodiment of good youth, honesty, gullibility, and youthful boundless faith in himself and his capabilities. These qualities make him open to mistakes and vulnerable.

Chatsky is the only visibly active positive hero in Griboyedov's comedy. But he cannot be called exceptional and lonely. A thinker, a Decembrist fighter and a romantic are united in him, as they were often united in that era in real people and real life. He has like-minded people: we learn about them thanks to off-stage characters (those who are talked about in the play, but who are not directly involved in the action). These are, for example, the professors of the Pedagogical Institute, who, according to Princess Tu-Goukhovskaya, “practice in schisms and lack of faith,” these are “mad people” inclined to study, this is the princess’s nephew, Prince Fyodor, “a chemist and a botanist.”
Chatsky in the comedy represents the young thinking generation of Russian society, its best part. A. I. Herzen wrote about Chatsky: “The image of Chatsky, sad, restless in his irony, trembling with indignation, devoted to a dreamy ideal, appears at the last moment of the reign of Alexander I, on the eve of the uprising on St. Isaac's Square. This is the Decembrist, this is the man who ends the era of Peter the Great and is trying to discern, at least on the horizon, the promised land..."
Griboedov's comedy is still filled with the breath of life, calling people forward, into the present and future, and sweeping away everything old and outdated from its path.
Moscow in A. S. Griboyedov's comedy "Woe from Wit" At the end of the winter of 1824, a rumor spread throughout Moscow that a play had appeared in which Moscow high society was ridiculed, depicted in an evil and caricatured way. The author of this play was Alexander Sergeevich Griboyedov.

It is no coincidence that the talented Russian diplomat and writer chooses Moscow living rooms as the setting for his play. The author's cradle was aristocratic Moscow. Moscow, enlightened and free-thinking, educated his mind and heart. People's and heroic Moscow strengthened his love for everything Russian. The comedy "Woe from Wit" is a harsh denunciation of the world in which serf owners flourish. The play was popular across the country, not only because the issues raised in it were incredibly relevant, but also because the comedy is amazingly realistic. The main character of the play is not even Chatsky, who, of course, expresses thoughts dear to the author, but all of Moscow, all the people inhabiting it. At first, the image of the capital consists of portraits of individual characters, but in the third and fourth acts these portraits come to life in numerous characters, guests at a dinner party in the house of the wealthy Moscow gentleman Pavel Afanasyevich Famusov.

“Everyone from Moscow has a special imprint,” says the owner of the house, who knows how to give people apt characteristics. Indeed, Muscovites are not like residents of other cities. In the monologues of Chatsky and Famusov, descriptions of individual people are given, which indicate for the reader the common features of belonging to the “Moscow people”. Chatsky and Famusov talk about different things in different ways. Famusov is an “old, faithful member” of the English Club, who “has been jumping around at balls all his life.”

Chatsky's tone becomes more and more stern. The next person mentioned by the hero of the play is a lover of the serf theater, whose “house is painted with greenery in the form of a grove,” but he himself is “fat, his actors are skinny.” Chatsky also mentions the educational system adopted in Moscow, when parents strive to recruit for their children “a regiment of teachers, more in number, at a cheaper price.” Muscovites see salvation in the Germans and French, and the result is not only a lack of ideas about national culture, but also a wild “mixture of languages: French with Nizhny Novgorod.”

Chatsky's monologue unfolds before us a colorful gallery of the inhabitants of Moscow. But this is a view from one side. In the second act, Famusov expresses his idea of Muscovites. We see venerable Moscow bars, whom young people should consider role models. Chatsky exclaims: “No, the world is not like that now,” but is that so? It seems to me that the development of the play's action proves the opposite.
In the third act, we meet Muscovites at Famusov’s ball. The basis of the comedy here is, in my opinion, the theme of the enormous power of Moscow ladies.
Famusov also notes:
What about the ladies? - anyone, try to master it; Judges of everything, everywhere, there are no judges above them.
Platon Mikhailovich Gorich, Chatsky’s former comrade, fell under the heel of his wife. Princess Tugoukhovskaya and her six daughters, concerned only with a successful marriage, push the old prince around. One of the most colorful images is the old Moscow lady Khlestova. Probably, Famusov is most afraid of the opinions of such ladies. It is not for nothing that the last words of the comedy are his remark:
Oh! My God! What will Princess Marya Aleksevna say?
Yes, women's power in Moscow is strong.

But Moscow can no longer live without people like Zagoretsky, who know how to serve everyone. A significant place in the comedy is occupied by Repetilov, who represents the image of a person capable of vulgarizing any holy deed. And finally, the main characters. Sophia is a typical Moscow young lady, not stupid, but brought up not on the realities of life, but on French novels.

Skalozub is a typical Arakcheevsky martinet, a man who can be called a blind executor of the will of his superiors. But his image is not only comical. Let us recall Skalozub’s thoughts about his career:
I am quite happy in my comrades.
The vacancies are just open;
Then the elders will turn off others,
The others, you see, have been killed.
Famusov is the personification of the “past century” in all its glory.
He is a convinced supporter of the old order, while he has already reached “known degrees” and only cares about getting his daughter married. All his other affairs come down to remembering to go “for trout,” because, as he himself admits: My custom is this: Signed, off your shoulders. Perhaps the only thing that Famusov and Chatsky agree on is their negative attitude towards the dominance of foreign fashions and tastes among the Russian nobility; Chatsky disappeared from Russian reality for three important years. But during these three years, the post-war rejoicing subsided. And in the last monologue, Chatsky is already shouting about that crowd, “in the love of traitors, in the enmity of the tireless, indomitable storytellers, awkward wise men, crafty simpletons, sinister old women, old men,” which he saw in Moscow. I don’t know if anything has changed in Moscow after Chatsky’s accusatory monologues. Looks like no. But you can be sure that after the appearance of the comedy “Woe from Wit,” Muscovites were able to take a fresh look at everything that surrounded them.
Moscow by A. S. Griboyedov and A. S. Pushkin And, father, admit that there is hardly a capital like Moscow. A. S. Griboyedov Moscow... how much in this sound has merged for the Russian heart! How much resonated with him!

A.S. Pushkin Moscow gave Russia Griboyedov and Pushkin. This is their small homeland, and it is not surprising that the lives of the heroes of their works are connected with Moscow. Today you will be shown the Famusov house, preserved in the city center; today you can drive through the capital along the route that Pushkin’s favorite heroine Tatyana was once taken around Moscow. But it was not the geographic or metropolitan location that interested the word artists. They were interested in Moscow as the highest point of noble civilization after St. Petersburg. What thoughts and feelings does Moscow evoke?

Let's open Griboyedov's comedy "Woe from Wit". We are greeted by a rich Moscow gentleman and prominent dignitary Famusov, based on the author’s own uncle. But this does not exclude his typification: “What kind of aces live in Moscow and die!” This is the keeper of ancient traditions, for whom Uncle Maxim Petrovich, a nobleman of Catherine’s times, serves as an ideal. Famusov likes his arrogant disposition, his magnificent appearance, his role in society and at court. The highest position in society is the main criterion. “Whoever is poor is not a match for you,” he tells Sophia. For him, a son-in-law with ranks and stars is interesting. Here Skalozub is welcome. Inner dignity for ranks and for aces is nothing!
Let him be known as a wise man, but he won’t be included in the family.

Yes, Moscow has its own concepts of honor: “When it is necessary to oblige, and he bent over backwards.” This willingness to play a clownish role on occasion, forgetting one’s age and arrogant disposition, is the key to a high position. Everything else is unimportant, including the service: “It’s signed, off your shoulders.” Famusov demands that those who are “sick of being served” should not be allowed near the capitals within a cannon shot. Moscow aces are opponents of learning. You can’t make them faint with it, but they care about others: crazy people have become divorced from their studies, crazy things are being done. The books must be destroyed. However, Famusov recognizes secular education for young ladies, although he knows that it is expensive. Grumbling about the Kuznetsky Bridge, the center of French fashion, Famusov is completely subservient to such fashion, his house is “open to the invited and the uninvited, especially those from abroad.”

The gentlemen know everything about each other, that’s why they are so afraid of public opinion and so dependent on it. Outwardly everything should be decent, but inside the house - no, no! “What will Princess Marya Aleksevna say? Not only the rootless secretary, but also the owner himself has no judgment. He is used to thinking like everyone else, repeating the common stories of his circle. Famusov is delighted with everything Moscow, boys, ladies, girls. Moscow is satirical in the portrayal of Griboyedov, however, there are good features in Famusov’s character: a fair amount of good nature, broad hospitality, hospitality, which distinguishes Muscovites in general. Although responsiveness, however, is somewhat perverted: “Well, how can one not please one’s own little fellow?” an honest person, even if not - dinner is ready for you, about everyone") is typical for such people.
The image of Famusov reflected the mental inertia and complacency of the old Moscow nobility. And nothing can change people like him.
- Since then, the roads, sidewalks of the House and everything have been in a new way.
- The houses are new, but the prejudices are old...
(From Famusov’s dialogue with Chatsky)

And this is the truth. It is also true that all these Famusovs are good-natured only to a certain extent. As soon as someone seems undesirably dangerous to them, they bristle and show sharp fangs. Crazy! - this is their verdict on an intelligent, fair man. They will expel you and calm down again. Moscow bars love to play benefactors. A person with a life program like Molchalin’s will not be lost and will always find patrons: “We often find patronage there where we don’t look for.” A whole series of representatives of Moscow society: Skalozub, Zagoretsky, Repetilov, Khryumins, Tugoukhovskys - a living gallery of Moscow society of the 20s of the 19th century, with its characteristic ignorance and complete absence of higher interests, aspirations and requests. The idle life of Moscow is filled with balls, dinners, and all sorts of ruinous undertakings, like the serf ballet. They are distinguished by complete contempt for the human dignity of the serf, whom they did not hesitate to exchange for a greyhound dog, feed with dogs, and could take away and sell his children. Gossip and gossip flourish in this society. They are not afraid of bad deeds - they are all too common - but of gossip: “Sin is not a problem...”, “How can you go against everyone!” - exclaim the Tugoukhovskys. Let's take another look at the society gathered at Famusov's: gossip about people and outfits, the confusion of the French language with the Nizhny Novgorod language, the spirit of empty, slavish, blind imitation... Griboedov managed to catch and capture in his comedy that “special imprint” that lies on “ everyone in Moscow."

The fidelity of this picture is supported by its similarity between Griboyedov and the satirical sketches of Moscow life in the seventh chapter of Eugene Onegin. It is no coincidence that Pushkin takes the epigraph from “Woe from Wit” to this chapter: Gone to Moscow! What does it mean to see the light! Where is it better? Where we are not.

At the same time, starting the story about Moscow, Pushkin cannot help but look at it from other positions: a patriot, a true citizen, perhaps a defender. After all, Moscow recently proved the best qualities of Russians:
Napoleon waited in vain... No, my Moscow did not go to him with a guilty head.
And the same nobles, the best of them, driven by a patriotic impulse, became the leaders of the resistance to Napoleon. Moscow was preparing a fire for the Impatient Hero. And yet, for Pushkin, Moscow is the personification of the ossified nobility:
But no change is visible in them; Everything about them is the same as the old model. And it’s not about old caps and makeup, it’s about something more significant:
Lyubov Petrovna lies all the same,
Ivan Petrovich is just as stupid.
In vain does the heroine of the novel “want to listen to the conversations, to the general conversation”:
Everything about them is so pale, indifferent,
They slander even boringly.
Thoughts won't flash for a whole day...
The heart will not tremble even for a joke.
Pushkin, as it were, completed Griboyedov’s satire on the “Moscow nobility.” His “holiday hussars, noted dandies, archival youths with prim looks” are a household name. “Noise, laughter, running, bowing, gallop, mazurka, waltz...” - here it is, the life of Moscow “society.” Here everything is the old fashioned way: they do things the old fashioned way, make a career, get married, make lucrative deals, keep the traditions of the old, almost Catherine's times, nobility. Imposing, hospitable, not in a hurry, the second capital, a rural relative of the first capital - St. Petersburg.
There are two monuments to two Alexander Sergeevichs on Moscow boulevards, and the Moscow crowd flows past them. I wonder what our great poets would write about today's Moscow?
Tore from Wit" as a political comedy The comedy "Woe from Wit" is one of the truly realistic comedies in Russian literature. In the text of the comedy, everything is presented very vividly, unforgettably, and psychologically true. But the modern reader of "Woe from Wit" has difficulty perceiving the work as a comedy This is explained by the fact that its main character, Chatsky, is not a comic character. The reasons for his disagreements with Famus society are too serious, and Chatsky’s monologues, exposing “the meanest traits of his past life,” drown out the comedic sound of the work.

When writing the work, Griboyedov used elements of comedy. This is the presence of a love affair, a sarcastic portrayal of the characters, the comedy of Chatsky’s position in Famusov’s house, and the characters’ dialogues. “Woe from Wit” is a political comedy because it poses the pressing social issues of that time: about public service, about serfdom, about enlightenment, about upbringing, about slavish imitation of everything foreign. The realism of "Woe from Wit" is also revealed in the principles of depicting the characters. All of Griboyedov’s characters are characters true to the truth of life, bright, multi-dimensional. The characters in "Woe from Wit" are not caricatures, but exact likenesses of living people.

Griboyedov, with bitter irony, reveals in the dialogues and monologues of the characters the plight of the people and the country, where the servility of Molchalin, the careerism and stupidity of Skalozub, the bureaucracy and arrogance of Famusov, the idle talk of Repetilov is preferable to the intelligence and sanity of Chatsky.

Most of all, Famusov characterizes the society that opposes Chatsky. It’s not for nothing that we call this society “Famusov’s”. Famusov is a typical Moscow gentleman of the early 19th century with a characteristic mixture of tyranny and patriarchy. In the image of Famusov, the highest bureaucrats, their inactivity in the service, arrogance, and bribery are ridiculed. A striking example of idleness is Famusov’s drawing up of a schedule for the week, where all days are occupied by lunch and dinner parties. The ideal person for Famusov is one who has made a profitable career; at the same time, it does not matter to him by what means this is achieved. His political ideals boil down to the glorification of everything old, established, he lives well, and he does not want any changes. He is afraid of Chatsky and does not like him, because he sees in him a subverter of foundations, a rebel.
What is striking about Famusov is his outright immorality; it is especially dangerous because Famusov, as a noble gentleman, has great power over people. The immorality of power cannot but be terrible and dangerous. Famusov, as Griboedov created him, is not an abstract evil, but a concrete, living one. You believe in its reality - and that’s why it’s especially frightening.

This is also true for Skalozub. Colonel Skalozub reflects the crushing, vulgarization of a military man. His rude soldiery, contempt for culture, and ignorance repel the reader. This is a successful careerist, who is characterized by the surname itself. But his careerism is criminal. It is based on military losses in the army: “Some, look, were killed.” The author ridicules Skalozub as a stupid and thoughtless officer of the Arakcheev era, an opponent of freedom and enlightenment.
Pseudo-liberalism is revealed in the image of Repetilov. “Young” liberal ideas give this part of the nobility the opportunity to “make some noise” in the club. They cover up their activities with idle talk. With exceptional satirical force, the comedy exposes the empty and vulgar fuss, noise and shouting that discredits and slows down the liberal movement.
In terms of all his character traits, Molchalin also belongs to Famus society. To the reader he seems like a nonentity: he is afraid to say an extra word, he is a servitor, he has no opinion of his own, but these are precisely the qualities that are the key to his future success in Famus’s world.
Famus society is represented in the comedy widely and diversely. These are not only many main characters, but also minor, episodic ones. For example, Khlestova is an important Moscow lady, rude, domineering, accustomed to not holding back her words. Zagoretsky is a necessary companion of all Famusovs and Khlestovs. “He’s a liar, a gambler, a thief... / I even locked the doors from him; / Yes, he’s a master at serving...” - Khlestova says about him.

Chatsky is an exposer of all the vices of society. His monologue "Who are the judges?" sounds like a verdict on the political system and moral principles of Famus society. Most of all, he hates despotism and slavery, stupidity and dishonor, mental and moral deafness. He castigates the meanness of the serf-owners * He cannot remain silent, because it is painful and painful for him to see evil and injustice around him, he hates everything bad, because he loves goodness and truth.

Chatsky is also a problem. The problem of misunderstood and ridiculed intelligentsia, the problem of trampled patriotism and oppressed culture. This is not even a problem, but a whole aspect of problems that were not seen by an indifferent society and, as a result, resulted in the Decembrist uprising of 1825. Chatsky is a prototype of the Decembrists, the overthrowers of the old era.

The comedy "Woe from Wit" made a great impression on his contemporaries and had an equally strong impact later - right up to our time. She was admired by N.V. Gogol and F.M. Dostoevsky, M.E. Saltykov-Shchedrin and many other Russian writers and readers. The comedy has not lost its relevance today. The image of Chatsky will live as long as one era is replaced by others, and he will always “begin a new century.”

My attitude towards Chatsky and Molchalin A. S. Griboedov’s comedy “Woe from Wit” is a realistically written broad picture of life in Russia after the Patriotic War of 1812. In the rich gallery of images given in the comedy, the bureaucratic world, high-ranking nobility, feudal landowners, and people holding progressive views are masterfully represented. The comedy touches on all the pressing political and social issues of that time: about serfdom, about service, about education, about noble education; disputes about jury trials, boarding schools, institutes, mutual education, censorship, etc. were reflected.
The main character of the comedy is Chatsky. In his image, Griboedov sang “the most brilliant era of Russia at that time, the era of hope and sublime youth,” as A. I. Herzen said thirty years later.
Chatsky grew up in Famusov’s house; as a child, he was raised and studied with Sophia. We know that he is an educated man, was engaged in literary work, was in military service, had connections with ministers, and was abroad for three years. Staying abroad enriched Chatsky with new impressions, broadened his horizons, but did not make him a fan of everything foreign. Chatsky was protected from this groveling before Europe, so typical of Famus society, by his inherent qualities: genuine patriotism, love for his homeland, for its people, a critical attitude towards the surrounding reality, independence of views, a developed sense of personal and national dignity.
Returning to Moscow, Chatsky found in the life of noble society the same vulgarity and emptiness that characterized it in previous years. He found the same spirit of moral oppression and suppression of personality, so Chatsky’s clash with Famus society was inevitable. This clash gradually takes on an increasingly fierce character; it is complicated by Chatsky’s personal drama - his hopes for personal happiness are crumbling.
Griboedov's comedy talks about a person's grief, and this grief stems from his mind. The problem of “mind” in Griboyedov’s time was very topical, and “mind” was understood broadly - as intelligence, enlightenment, and culture in general. The concept of “smart” was then associated with the idea of a person who was not just smart, but free-thinking, a person of advanced political convictions, a bearer of new ideas. The ardor of such “clever men” turned into “madness” and “woe from the mind” in the eyes of ordinary people. An example of this is the declaration of Chaadaev as crazy.

Molchalin became so accustomed to the society in which he moved, he so wanted to be “one of his own” in it, that he adopted many of the manners, tone, and habits of its representatives. Knowing that Chatsky is condemned by those whom Molchalin slavishly serves, he allows himself a condescending and patronizing tone towards Chatsky.
Molchalin has a certain program of action, he follows it without thinking about what means can be used to achieve the goal. “Moderation and accuracy” are two “talents” that he takes credit for.

Molchalin does not disdain the patronage of Foma Fomich, Tatyana Yuryevna, he looks at service as a means to make a career, he suggests that Chatsky do the same: “Well, really, why would you serve with us in Moscow? And win awards, and have fun?” Without hesitation, he openly says that he does not dare to pronounce his “judgment,” because he is in small ranks, so “you have to depend on others.”
Molchalin is fully revealed in the last act of the comedy. He looks at his relationship with Sophia as a means to get settled in life, portrays a lover, fearing only one thing: that Famusov might find out about their relationship. His self-exposure is especially powerful. It contains all of Molchalin, his morals, the principles that he follows. His tone and behavior change when he sees that Sophia knows everything about his meanness: he humiliates himself, wriggles like a worm, crawls at her feet.
Molchalin understands perfectly well what is required of an official if he wants to make a career. He has only been in Famusov’s service for three years, and he has already managed to “receive three awards,” become the right person for Famusov, and enter his house. Therefore, Chatsky, who is well familiar with the type of such official, predicts Molchalin the possibility of a brilliant career:
However, he will reach the known levels, Because nowadays they love the dumb.

Molchalin has all the potential to later become an important official: the ability to serve influential people, complete indiscriminateness in the means to achieve a goal, the absence of any moral rules. N.V. Gogol wrote about Molchalin: “Molchalin... a wonderful type. This face is aptly captured, silent, low, while silently making its way among people...”

The more carefully I look at the faces and listen to the conversations of the characters, the more persistently the question arises before me: is this comedy immortal? Isn't it about our life today? And perhaps about the future?

Why are silent people blissful in the world? The silent ones flourish where there is inertia, selfishness, the cult of sycophancy, and mutual responsibility. The higher the level of development of our society, the more sophisticated the silent ones should become, striving to gain trust, adapt, and settle into any situation. Silent creatures are able to repaint themselves, they are difficult to see, identify, or bring to light.
Here we have two people who understand life and their place in it differently. Chatsky is smart, educated, but also simple-minded, open, naive; Molchalin is limited, but cunning, dexterous, and secretive. The first one openly expresses his opinion without fear of judgment from others; the second fawns, fawns, but in his heart he treats people badly.
Who would Famus society prefer to have as its friend? Of course, Molchalina. What about modern society? I am sure that Molchalina too, otherwise there would be more worthy people in the current “warm places”.
Two characters, two types of behavior, two life paths... Which path should a person follow in order to achieve success, but also not to bend his soul, not to make a deal with his conscience? Each of us makes our own choice, but such wonderful works as A. S. Griboedov’s comedy “Woe from Wit” can also help in this. I see the playwright’s skill precisely in the fact that he saw and reflected universal human phenomena that are not subject to fashion and time. Reflected and made me think