Griboedov grief from the mind man and society. The problem of the mind in the comedy "Woe from Wit
In the comedy "Woe from Wit" the main task of A.S. Griboyedov was to reflect the morals of the Moscow conservative nobility of the first decades of the 19th century. The main idea of this play is to reveal obsolete, outdated aristocratic views on important social problems, the eternal struggle of the old with the new is reflected.
That's what it is Famus Society- last century. It includes: the rich, noble gentleman Famusov Pavel Afanasyevich, as well as his relatives, such as the Gorichi spouses, Prince and Princess Tugoukhovsky, Colonel Skalozub, old woman Khlestova. They are united by a common outlook on life, a common interest - wealth. People in ranks are ideal for the Famusov circle of personalities. They are ruthless serfs. It is considered normal for them to traffic people.
Famus society has its own fears. The biggest one is education. Famusov believes that education is a "plague", and he is sure that it is necessary to collect all the books and burn them. Personal qualities and learning play no part in his life. He is guided by a cunning calculation, the ability to climb higher up the career ladder.
People of the Famusov circle are indifferent to work. Pavel Afanasyevich, being in the service of a manager in a state-owned place, takes on work only once for the whole day. Also, without looking, he signs the papers, fully showing his indifference. In addition, people of this circle bow to the West. They are convinced that the best place in the world is France. Chatsky reports that "a Frenchman from Bordeaux" did not find "neither the sound of a Russian, nor a Russian face" in Famusov's house. Representatives of the old system stupidly and illiterately try to borrow the customs, culture, and even the language of the French.
So, people of the Famus circle are greedy and very selfish, they crave power. They spend all their time having fun at balls, dinner parties, social events. During this they gossip, slander, hypocrisy.
The Famus society has the main and only goal in life - this is career advancement. That is why Famusov praises Skalozub, considers him the best over others. And Chatsky, on the contrary, despises, although he notices in him an excellent potential for a career.
Thus, Griboyedov's comedy shows us the way of life and customs of Russian society, its different cultural strata with old conservative views and new revolutionary ideas.
Option 2
The immortal comedy of the great writer Alexander Sergeevich Griboedov “Woe from Wit” reveals many acute social conflicts of that time. One of the main themes against which the entire conflict unfolds is the clash of the present and past centuries. If the current century is represented by the progressive innovator Chatsky, who glorifies the ideals of freedom and universal equality, then the so-called Famus society, consisting of several people of noble blood, acts as the century of the past. What ideals does it glorify and does it still exist?
The Famus society can be called ardent conservatives, defending the ideals of true exploiters and slave owners, who have thousands of serfs with them. Their views on many issues accurately convey the spirit of the time when human rights were worth nothing. The basis of the life of the members of the Famusov society is made up of holidays, gambling and a huge number of other entertainments. They do not recognize the work and are constantly looking for reasons to shirk their duties. Suffice it to recall the schedule of the working week of Famusov himself. He works 2-3 hours, then goes to dinner at the best restaurants, and then goes to the funeral by invitation.
Separately, it is worth noting the attitude of these conservatives to education. They only care about availability, not quality. They are ready to increase the number of teachers who do not have teaching skills. The consequences of such training can be seen in the example of Skalozub, who can only hold conversations on military topics. This person is a classic person who received a high position not for his own merits.
The indifference of the Famus society to ordinary person noticed immediately after reading the first act. Famusov shows no respect for his servant Petrushka. But the chaos reaches its peak at the ball. Mrs. Khlestova brought Arapka with her, which she kept on a leash. She equates low-class people with animals, not seeing any difference.
Undoubtedly, the Famus Society exists in modern world but not on such a scale. Its representatives continue to promote the wrong priorities in life. But a liberal and advanced society must oppose such people in order to achieve universal equality throughout the world.
Famus Society
A.S. Griboyedov was a versatile and talented person. But the play "Woe from Wit" made him a famous playwright. The author himself attributed his creation to the genre of social comedy. Critics and contemporaries doubted the humorous form of the work.
The book gives us a wide polyphony of images. But the plot revolves around four characters: Chatsky, Famusov, his daughter Sophia and secretary Molchalin. These personalities are most revealed by the author. The main conflict of the work is in the confrontation between the foundations of the "famus society" and modern, European ideas of Chatsky.
Among the representatives of the "past century" are not only old people, nobles living out their lives. There is a youth infected, soaked through and through with these ideas, spoiled by an idle, empty life. Education and science are not in honor here. Famusov considers teaching evil, poison, he is sure that all books should be burned. Despite this, he is “happy” about raising his daughter “from the cradle”, hiring foreign teachers for her. Not because it will bring results, but simply because it is accepted in this environment.
In this society, one does not need to be respectable, honest, noble, educated. It only matters to appear so. Low worship and servility are the main virtues here. You can be a good military man, a diplomat, an official who does his job properly, but never get a high position. But those "whose neck often bent" with ranks.
Marriages here are concluded only by calculation, there can be no talk of love. “Let him be poor,” but so that there are at least two thousand souls in the family estate. Let him not shine with intelligence, eloquence, but "with ranks, but with the stars." Another son-in-law will not be accepted into the family. So Famusov is looking for a future spouse for his only daughter.
For everyone, Pavel Afanasyevich's uncle, Maxim Petrovich, is set as an example. He rose to the "bread" position by being a jester under Catherine. And he knew how to make the wayward empress laugh with the help of ridiculous falls. Therefore, he "ate on gold", "promoted to ranks, gave pensions."
Sophia is as if between two fires throughout the play. This is a brave, determined girl who is ready to love, rumor has no authority for her. But in the end, she is ruined by the influence of “Famus Moscow”, in which she grew up and was brought up.
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“In a group of twenty faces reflected ...
all former 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. Griboedov shows a broad picture of life in the 10-20s of the 19th century, reproducing the social struggle that unfolded between advanced, Decembrist-minded people; and the conservative masses of the nobility. This group of nobles makes up the Famus society.
The people of this circle are staunch supporters of the autocratic-feudal 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 servility”, Famusov admires the nobleman Maxim Petrovich, who “ate not only on silver, but on gold”. He achieved honor, fame, accumulated wealth, showing servility, servility. This is what Famusov credits him with and considers him a role model.
Representatives of the Famus society live in the past, their “judgments are drawn from the forgotten newspapers of 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 business qualities. Famusov says: "... we have long been saying that honor is due to father and son." Countess Tugoukhovskaya loses interest in Chatsky as soon as she finds out that he is not a chamber junker and is not rich.
Famusov and his like-minded people are cruel to their serfs, do not consider them to be people, dispose of their destinies at their own discretion. So, for example, Chatsky is outraged by 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 black-haired girl and a dog.” She does not make any difference between them and asks Sofya: “Tell them to feed them, my friend, a handout came down 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 treats his business in a careless manner: “My custom is this: signed, so off your shoulders.” He saves a warm place for his relatives and promotes their promotion through the ranks. Colonel Skalozub also pursues personal, not state interests. For him, all means are good, only "if only he got into the generals."
Careerism, servility, 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”, “lack of words”, “received three awards”.
It should be noted that Famusov and his guests are bright enemies of education, since they believe that all evil comes from him. Famusov says:
Learning is the plague, learning is the cause.
What is now more than ever,
Crazy divorced people, and deeds, and opinions ...
The same opinion is shared by Skalozub, Khlestova, Princess Tugoukhovskaya.
The conservative society of noble landlords, depicted by A. S. Griboedov, is afraid of progress, which threatens its dominant position. That is why they so unanimously condemn Chatsky and his views, consider him a conductor of "crazy deeds and opinions."
Essay on literature on the topic: The Famus Society in the comedy “Woe from Wit”
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The main problem of Russian literature is the problem of “Personality and Society”, as well as the search for ways to reorganize society on a more humane, democratic basis, “how a person can achieve happiness and prosperity” (L.N. Tolstoy) and why he does not achieve it.
For the first time, the comedy of A.S. Griboyedov "Woe from Wit", a novel in verse by A.S. Pushkin "Eugene Onegin" and the novel by M.Yu. Lermontov "A Hero of Our Time". Their heroes turn out to be unclaimed by society, “superfluous”. Why is this happening? Why are three different authors considering the same problem almost at the same time? Does this problem belong only to the 19th century? And finally, what is the main way to solve this problem?
1. Time: his hero and anti-hero.
To better understand the ideological content of the comedy "Woe from Wit", its socio-political issues, it is necessary to assess the characteristic features of the historical era reflected in the play.
The heroic war of 1812 is over. And the people who won in it, who obtained freedom for the Fatherland with their blood, are still enslaved and oppressed in this Fatherland. Dissatisfaction with the injustice of state domestic policy is ripening in Russian society. In the minds of honest citizens, the idea of the need to protect not only their own rights, but also the rights of the lower class is growing stronger. And in 1816 (the estimated date of the start of work on the comedy), the first secret organization of the future Decembrists, the Union of Salvation, was created in Russia. It included people who believed that the restoration of social justice was their historical and moral duty.
Thus, Russian society has taken the step that causes a huge force of inertial movement. But no real changes took place in Russia, and the strong authoritarian power, the Russian absolute monarchy, acted as the main brake on the path of transformation.
This form of government was perceived by Europe and enlightened Russians as an anachronism. It is no coincidence that the demand to limit the autocracy, to bring it within the framework of the law, the constitution was voiced at the European Seimas in 1818, where Emperor Alexander I was present. The tsar gave solemn assurances. Europe expected changes in Russia. But Russian society, already tired of believing, was skeptical about the sovereign's promises.
The emperor was terribly afraid of the penetration of revolutionary ideas into Russia - the “French infection”. He could make promises in the European Sejm, but at home he did not reach real steps. Moreover, domestic politics took on repressive forms. And the dissatisfaction of the advanced Russian public gradually matured, for the firm hand of Arakcheev brought external order to the country. And this order, this pre-war prosperity, of course, was joyfully welcomed by people like Famusov, Skalozub, Gorichi and Tugoukhovsky.
2. Chatsky and time.
The comedy is constructed in such a way that only Chatsky speaks about the “current century”, about the ideas of socio-political transformations, about new morality and striving for spiritual and political freedom on stage. He is the one "new Human", which carries the "spirit of the times", the idea of life, the goal of which is freedom. His ideological convictions were born by the spirit of change, by that "current century" that the best people of Russia were trying to bring closer. “His ideal of a free life is decisive: it is freedom from all ... the chains of slavery that fetters society, and then freedom - to stare into the sciences“ a mind hungry for knowledge ”, or freely indulge in“ creative arts, high and beautiful ”, - freedom to serve or not serve, live in the countryside or travel…” – this is how I.A. explains. Goncharov in the article “A Million of Torments”, what content Chatsky and people ideologically close to him put into the concept of “freedom”.
The image of Chatsky reflected the delight that Russian society experienced, feeling like a historical figure, the winner of Napoleon himself. This is something new that has appeared in the social life of Russia, which has become the key to future transformations.
Chatsky not only connects all the lines of confrontation in the play, he becomes the very reason for its movement and development. His personality and fate are fundamentally important for Griboyedov, because the story of Chatsky is a story about what is the fate of truth, sincerity, true life in the world of substitutions and ghosts.
2.1. Alexander Andreevich CHATSKY
The image of Chatsky reflects the features of the Decembrist of the era of 1816-18.
The son of a late friend of Famusov, Chatsky grew up in his house, in childhood he was brought up and studied with Sophia under the guidance of Russian and foreign teachers and tutors. The framework of the comedy did not allow Griboedov to tell in detail where Chatsky studied further, how he grew and developed. First of all, he wanted to fulfill his duty to the Fatherland, he wanted to serve him honestly. But the state, it turns out, does not need selfless service, it only requires serving. Three years before the events described in the comedy, Chatsky, “drenched in tears,” broke up with Sophia and went to St. Petersburg. But the brilliantly started career was cut short: “I would be glad to serve, it’s sickening to serve.” And Chatsky leaves the capital. He tries to serve the Fatherland in a different way: "he writes and translates nicely." But in a totalitarian state, the question of "to serve or not to serve, to live in the countryside or to travel" goes beyond the problem of personal freedom. The personal life of a citizen is inseparable from his political convictions, and the desire to live in his own way, contrary to the norm, is in itself a challenge. For three years Chatsky was abroad (obviously, as part of the Russian army). Staying abroad enriched Chatsky with new impressions, expanded his mental horizons, but did not make him a fan of everything foreign. From this servility to Europe, so typical of the Famus society, Chatsky was protected by his inherent qualities: love for the Motherland, for its people, a critical attitude towards the reality around him, independence of views, a developed sense of personal and national dignity.
Returning to Moscow, Chatsky found in the life of the noble society the same vulgarity and emptiness that characterized him before. He found the same spirit of moral oppression, the suppression of the individual, which reigned in this society even before the war of 1812.
Chatsky's position in relation to the most acute and significant problems of our time is not at all determined by the desire to destroy, destroy something - just as he did not come to Famusov's house to denounce. The hero came to people who have always been his family, returned with a desire to love and be loved - but as he is, cheerful and mocking, sharp and not always "comfortable", but he is no longer needed here.
2.2. Chatsky's first monologues
After a long absence, Chatsky is back at Famusov's house and meets Sophia. He had been waiting for this date for a long time. The excitement is so great that he does not immediately find the right words to express his feelings, and a literary cliché comes to mind: "... I am at your feet." Chatsky is so excited that he even admits some faux pas. He says that Sophia did not meet him the way he expected. He tries to explain the coldness of the meeting by the suddenness of his appearance. Chatsky is in a hurry to find out whether Sophia was waiting for him, whether she thought about him.
In the abundance of verbs, questions, exclamations, the confusion of the hero's feelings, the depth of his experiences are conveyed. Thought runs into thought, speech is confused and intermittent. From the present, Chatsky refers to those joyful and near days when he and Sophia were together. These memories Chatsky lived during his travels. However, the coldness of the meeting cannot temper Chatsky's delight. Sophia is in front of him. She is beautiful. And he will tell her about how he was waiting for this meeting:
More than seven hundred miles swept - wind, storm;
And he was all confused, and fell how many times -
And here is the reward for the feats!
In this monologue - the openness of the hero, his sincerity, youthful excitement, the strength of feelings, the high culture that we feel in speech. Chatsky knows folk speech very well: hence colloquial vernacular and idioms in his language. At the same time, Chatsky's speech is saturated with literary expressions. This organic fusion of folk and bookish speech gives special expressiveness and flexibility to his language.
2.3. Chatsky and the Famus Society
While Chatsky traveled for three years, society did not stand still. It did not just return with relief to the cares and joys of a peaceful life. It developed in itself "resistance" to those ripening changes that threatened to crush this peaceful life.
The Famus world has become a dense wall on the path of real transformations, the inhabitants of which “cherish” only their own “little man” and see “a hundred people at service”, “an enviable rank” and similar benefits as the ultimate dream. Yes, Chatsky, endowed with the temperament of a fighter, actively opposes the Famus society. But does he see his real opponent when he denounces Famusov, Skalozub, the ballroom crowd?
Chatsky understands well who he is dealing with, but he cannot but speak: he is forced to such a conversation, he responds to a “blow”. Monologue "Who are the judges?"- this is one of those scenes that make the comedy closest to the ideology of the Decembrists. She takes the reader out of the narrow circle of the Famus world and points out what happened in Russian society during the “dead pause” of the reign of Alexander 1, between 1812 and 1825, she talks about the “transformations” that took place in Russian society during this time.
One of these transformations is grinding, vulgarization of the military human. The army for Chatsky is the most important force, designed to defend the freedom and independence of the Fatherland. Such an army makes a person who belongs to it truly strong and whole, proud of his consciousness of belonging to a common cause. Such were once Chatsky recalls their army occupations, recalls the time “when from the guards, others from the court came here for a while ...”, the time of his own “tenderness” to the military uniform - that is, directly following the victories of the Russian army over Napoleon. The current army of parades cannot evoke other feelings in the hero, except for shame even for his then childhood passion.
Another transformation is strengthening women's power. The “dead pause” in the reign of Alexander 1 after the Patriotic War of 1812, when they expected a response to the victory of the heroic people, primarily the destruction of slavery, was filled in Moscow with a semblance of female power” (Yu. Tynyanov).
And one more transformation: the heroic war of 1812, in which Griboedov took part, was over, its immediate tasks were over. Expectations that in response to the exploits of the people the fall of slavery did not come true. A transformation has come: businesslike, insinuating, timid Molchalin has already appeared to replace the heroes of 1812.
Chatsky is unable to take him and his "talents" seriously. And meanwhile, this "wretched creature" is not so insignificant. During the absence of Chatsky, Molchalin took his place in the heart of Sophia, it is he who is the happy rival of the protagonist. And this is just the beginning. Chatsky's personal defeat does not exhaust his future drama. The words thrown by him “The Silent Ones are blissful in the world!” turn out to be prophetic.
Mind, cunning, resourcefulness of Molchalin, the ability to find the “key” to every influential person, absolute unscrupulousness - these are the defining qualities of this hero. Qualities that make him the anti-hero of the play, the main opponent of Chatsky. His attitudes, beliefs, the whole system of moral values is opposed to the moral code, ideas and ideals of Chatsky. And in this Molchalin is no different from the entire Famus society. It is distinguished by something else: strength.
In his assessments of civic duty, service, the army, serfdom, education and upbringing, the authorities of the past, patriotism and imitation of foreign models, Chatsky, in essence, opposes only one thing: the substitution of the actual content of such concepts as Fatherland, duty, patriotism, heroism, moral ideal, free thought and word, art, love their pathetic imitation. He is against all possible forms of depersonalization of a person: serfdom, “uniform”, foreign fashion, outdated concepts of “the times of Ochakov and the conquest of Crimea”, “submission and fear”.
2.4. gossip about madness
The guests are just gathering, and Chatsky is already suffocating among them. Once next to Sophia, Chatsky reports on the new low qualities of her chosen one Molchalin and leaves "into that room", because there is no more strength to restrain himself.
Sophia, once again offended by Molchalin, inflicts the most terrible blow on Chatsky: "He is out of his mind." These words instantly become not just the property of the Famusov society, Famusov and his guests immediately believed the rumor, because they were prepared for this. Sophia spreads a rumor carefully, deliberately, in order to make Chatsky a laughing stock, to avenge him for his arrogance, barbs towards others (including Molchalin), because, in her opinion, he is “not a man, a snake!”. Starting a rumor about Chatsky, she perfectly represents the reaction of society to him, given the public mood. Chatsky is rejected by society as something alien, incomprehensible, not merging with it. The gloating with which the news is discussed is an indicator of the public mood, thanks to hearing, the moral conflict of the play is revealed. Griboedov masterfully paints the process itself - fleeting, growing, avalanche-like, taking concrete forms: the first to whom Sophia informs about Chatsky's madness is a certain G.N.; he conveys the news to the equally faceless G.D.; the last - to the famous talker Zagoretsky. Unlike G.N. and G.D., who received the news with some doubt, Zagoretsky, without hesitating for a second, immediately declares:
A! I know, I remember, I heard
How could I not know, an exemplary case came out;
His rogue uncle hid him in the insane ...
They seized me, into the yellow house, and put me on a chain.
G.D. shocked by such a blatant lie. Zagoretsky, in turn, tells the news to the Countess-granddaughter, who, it turns out, “she herself noticed” signs of insanity in Chatsky, and then to the Countess’s grandmother, who is passing the verdict: “Ah! damned Voltairian!" Khlestova is struck by the irreverence of the hero, Molchalin is strange in his judgments about the service, for Natalya Dmitrievna it seems crazy "advice ... to live in the countryside."
An empty, absurd rumor spreads "quickly" as everyone finds their own justification for this "nonsense".
And that's what everyone is talking about. To the question of Platon Mikhailovich Gorich: “Who was the first to divulge?” - his wife Natalya Dmitrievna replies: "Ah, my friend, that's it!" (True, Famusov attributes this "discovery" to himself). And since that’s all, it means that this is already the so-called. public opinion:
Fools believed, they pass it on to others,
Old women instantly sound the alarm -
And here is the public opinion!
It rules the ball. At the end of the play, Famusov, having caught Sophia in the company of Chatsky and Lisa, pours out his anger on his daughter with a maid, and Chatsky is threatened with further consequences of the rumor:
... and this is your last feature,
That tea for everyone the door will be locked:
I will try, I, I will strike the alarm,
I'll make trouble around the city,
And I will announce to all the people:
I will submit to the Senate, to the ministers, to the sovereign.
After all, the version of Chatsky's madness should distract "Princess Marya Aleksevna" from another rumor - about his daughter Sophia. Famusov has well mastered the ancient custom of spreading rumors, fables in order to divert attention from another event (“ringing bells”). The phrase "lost your mind" varies in different meanings. Sophia said: "He's out of his mind" - in the sense in which Chatsky himself said earlier that he was going crazy with love. Mr. N. gave it a direct meaning. Sofya picks up this idea and approves it in order to take revenge on Chatsky. And Zagoretsky reinforces: "He's crazy." But when the signs of Chatsky's madness are called, another meaning of this phrase is revealed: crazy, that is, a freethinker.
And then the causes of madness are established. A special role in the spread of gossip belongs to Zagoretsky - he translates the conversation about the causes of Chatsky's madness into the realm of fabulous assumptions. Gradually, the gossip becomes more and more widespread and reaches the grotesque.
Countess grandmother:
What? To the farmazons in the club? Did he go to the Pusurmans?
The arguments in favor of Chatsky's insanity, which are put forward by Famusov and his guests, make them ridiculous themselves, since facts are given that actually prove his normality.
About what? About Chatsky, or what?
What is doubtful? I am the first, I opened.
I've been wondering for a long time how no one will tie him up!
Try about the authorities, and who knows what!
Bow a little low, bend over with a ring,
Even in front of the monarch's face,
So he will call a scoundrel.
Thus, the main sign of Chatsky's "madness", in the understanding of Famusov and his guests, is his free-thinking.
While gossip about his madness was spreading, Chatsky ran into a Frenchman from Bordeaux and the princesses in the next room.
Excited by this fight, Chatsky appears in the living room at the moment when the development of gossip has reached its climax.
2.5. Monologue "There's an insignificant meeting in that room..."
What is Chatsky talking about in this monologue? About a Frenchman from Bordeaux, about Russians exclaiming: “Ah! France! There is no better land in the world! ”, About “so that the unclean Lord destroys this spirit of empty, slavish, blind imitation”, about the fact that “our north has become worse a hundred times since it gave everything in exchange for a new way - and manners, and language, and holy antiquity, and stately clothes on another according to the clownish model, ”and just like at a meeting of a secret society, he asks - he exclaims:
Will we ever be resurrected from the foreign power of fashion?
So that our smart, cheerful people
Although the language did not consider us Germans ...
Again, these are the very thoughts for which he was just declared insane...
While Chatsky is talking, everyone is gradually dispersing. The last phrase of the monologue remains unfinished: Chatsky looks around and sees that everyone is circling in a waltz with the greatest zeal ...
The world of Famus put up against Chatsky everything that he had at his disposal: slander and complete disregard for him as a person - an intelligent person is denied the mind.
2.6. Denouement - monologue “I don’t understand, I’m guilty ...”
In the last monologue, as nowhere before, Chatsky's public and personal dramas, his "Million of Torments", merged into one. He will heartily speak about the strength of his feelings for Sophia, which in him "neither distance cooled, nor entertainment, nor a change of place." With these feelings he “breathed”, “lived”, “was constantly busy”. But everything is crossed out by Sophia ..
Chatsky finds scourging biting words about Sophia’s environment, in which being in a place is detrimental to an honest and thinking person: “He will come out of the fire unharmed, whoever has time to stay with you for a day, breathes the air alone, and his mind will survive!”
The literary critic Fomichev sees the meaning of Chatsky’s last monologue in the fact that the hero “finally realized his opposition to the Famus world and broke with it: “Enough! .. I am proud of my break with you.”
3. A new type of person in Russian literature.
Chatsky is a new type of person acting in the history of Russian society. His main idea is civil service. Such heroes are called upon to contribute to public life meaning, lead to new goals.
For Russian critical thought, which has always represented literary work as an illustration to the history of the liberation movement - this is a socially significant person, devoid of a field of activity.
Griboedov was the first in Russian literature to show the "superfluous person", the mechanism of his appearance in society. Chatsky is the first in this row. Behind him - Onegin, Pechorin, Beltov, Bazarov.
One can imagine the further fate of such a hero in society. Two paths are most likely for him: revolutionary and philistine.
Chatsky could have been among those who went out on December 14, 1825 to Senate Square, and then his life would have been a foregone conclusion for 30 years ahead: those who took part in the conspiracy returned from exile only after the death of Nicholas I in 1856.
But it could have been something else - an irresistible disgust for the "abominations" of Russian life would have made him an eternal wanderer in a foreign land, a man without a homeland. And then - longing, despair, acrimony and, what is the worst thing for such a hero - a fighter and enthusiast - forced idleness and inactivity.
The problem of the "new man" in Griboyedov's comedy "Woe from Wit"
Consider, for example, a comedy by A.S. Griboyedov "Woe from Wit", which played an outstanding role in the socio-political and moral education of several generations of Russian people. She armed them to fight violence and arbitrariness, meanness and ignorance in the name of freedom and reason, in the name of the triumph of advanced ideas and true culture. In the image of the protagonist of the comedy Chatsky, Griboedov for the first time in Russian literature showed a “new man”, inspired by lofty ideas, revolting against a reactionary society in defense of freedom, humanity, mind and culture, cultivating a new morality, developing A New Look on the world and on human relations.
The image of Chatsky - a new, intelligent, developed person - is opposed to the "famus society". In "Woe from Wit" all Famusov's guests simply copy the customs, habits and outfits of French milliners and rootless visiting rogues who got rich on Russian bread. All of them speak "a mixture of French and Nizhny Novgorod" and go dumb with delight at the sight of any visiting "Frenchman from Bordeaux." Through the mouth of Chatsky, Griboyedov, with the greatest passion, exposed this unworthy servility to a stranger and contempt for his own:
So that the Lord destroyed 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 pathetic nausea, on the side of a stranger. , page 57
Chatsky loves his people very much, but not the "famus society" of landowners and officials, but the Russian people, hardworking, wise, powerful. Distinctive feature Chatsky as a strong person in contrast to the prim Famus society lies in the fullness of feelings. In everything he shows true passion, he is always ardent in soul. He is hot, witty, eloquent, full of life, impatient. At the same time, Chatsky is the only open positive hero in Griboedov's comedy. But it is impossible to call it exceptional and lonely. He is young, romantic, ardent, he has like-minded people: for example, professors of the Pedagogical Institute, who, according to Princess Tugoukhovskaya, “practice in splits and disbelief”, these are “crazy people”, prone to learning, this is the nephew of the princess, Prince Fedor, “ chemist and botanist. Chatsky defends the rights of a person to freely choose his occupation: to travel, live in the countryside, "fix his mind" in science or devote himself to "creative, high and beautiful arts."
Chatsky defends the "folk society" and ridicules the "famus society", his life and behavior in his monologue:
Are not these rich in robbery?
They found protection from court in friends, in kinship.
Magnificent building chambers,
Where they overflow in feasts and prodigality. , page 73
It can be concluded that Chatsky in 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 a Decembrist, this is a man who completes the era of Peter the Great and tries to see, at least on the horizon, the promised land ... ", p. 11.
Analysis of the comedy "Woe from Wit"
Analysis of the comedy "Woe from Wit"
Griboedov's comedy hero speech "For more than 150 years, Griboedov's immortal comedy Woe from Wit has been attracting readers, each new generation rereads it anew, finding in it consonance with what worries them today"...
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The comedy Woe from Wit was written between 1815 and 1824. The content of the play is closely connected with historical events. At that time, defenders of feudalism and serfdom ruled in Russian society, but at the same time, a progressively thinking, advanced nobility also appeared. Thus, two centuries collided in comedy - the "current century" and the "past century".
"The past century" personifies the Famus society. These are acquaintances and relatives of Pavel Afanasyevich Famusov, a rich, noble gentleman, in whose house the action of the comedy takes place. These are Prince and Princess Tugoukhovsky, the old woman Khlestova, the Gorichi spouses, 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 arapka - a girl and a dog. Khlestova sees no difference between them. Famusov himself yells at his servants: “To your work, to your settlements!” Even Famusov's daughter Sophia, who was brought up on French novels, says to her maid Lisa: “Listen, don't take too many liberties!”
The main thing for the Famus society is wealth. Their ideals are people in ranks. Famusov cites the example of Chatsky Kuzma Petrovich, who was "a respectable chamberlain", "with a key", "rich and was married to a rich woman." Pavel Afanasyevich wants for his daughter such a groom as Skalozub, because he is "a golden bag and aims for generals."
Famus society is also distinguished by indifference to the 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 is a contradiction in them, and a lot of them every week." Pavel Afanasyevich believes: "Signed, so off your shoulders." In Famus society, it is customary to keep only relatives in the service. Famusov says: “With me, employees of strangers are very rare ...”
These people are not interested in anything but lunches, dinners and dancing. During these amusements, they slander and gossip. They are "low-worshippers and businessmen", "flatterers and sycophants". Pavel Afanasyevich recalls his uncle Maxim Petrovich, a great nobleman: "When it is necessary to serve, and he bent over backwards." Famusov also meets with great reverence the prospective fiancé of his daughter Skalozub, he says: “Sergei Sergeyevich, come here, sir, I humbly ask ...”, “Sergei Sergeyich, dear, put down your hat, take off your sword ...”
All representatives of the Famus society are united by their attitude to education and enlightenment. Like Famusov, they are sincerely convinced that “learning is the plague, learning is the reason that today, more than ever, there are crazy divorced people, deeds, and opinions.” And Colonel Skalozub, who is not distinguished by intelligence, talks about a new project for schools, lyceums, gymnasiums, where they will teach drill by step, and books will be kept only "for big occasions." The Famus society does not recognize Russian culture and language. They are closer to French culture, they bow before it and before the French language. Chatsky in his monologue says that the Frenchman from Bordeaux did not find here "neither the sound of a Russian, nor a Russian face."
They all have the same attitude towards Chatsky, who is the representative of everything new and advanced. They do not understand his ideas and progressive views. The hero tries to prove his case, but it ends tragically for him. Rumors are spreading that he is insane, as society does not want to look at the world differently. So Griboyedov reflected the conflict between the two camps: the supporters of serfdom and the advanced thinkers of that time.
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