Famus Society. General characteristics
Plan
1) Genre “Woe from Wit” (socio-political comedy, comedy of manners).
2) Criticism of the conservative nobility is one of the leading themes of the work.
3) Characteristics of the Famusov society:
veneration of rank (Molchalin, Maxim Petrovich);
the power of authorities (Famusov, Molchalin);
careerism (Skalozub, Molchalin);
admiration for the foreign;
ignorance;
"nepotism";
women's power.
4) Conclusion.
Griboyedov's comedy "Woe from Wit" was created in 1822 - 1824. It reflected the author’s contemporary situation in society. Through an everyday story, Griboedov showed not only the moral state of the Russian nobility, he painted a portrait of the socio-political life of the country.
One of the leading themes of the work is the exposure of the vices of the conservative nobility. In the play, such nobility is represented by Pavel Afanasyevich Famusov and his entourage. Griboyedov shows that this Famus society is vicious and doomed to extinction. Its foundations, laws and principles are built on lies, hypocrisy, ignorance, and the power of money.
One of the most important laws of Famus society is veneration of rank. An example to follow here is Maxim Petrovich. His career this man? Only for veneration. It doesn't matter whether a person is good or bad. If he is higher in rank than you, then you need to respect him, smile respectfully at him, “bend over.”
In Famus society, the power of authorities and public opinion reigns. It is this that is the main judge, the main punishment and reward. In all life situations the main thing is what “Princess Marya Aleksevna will say!”
The example of Maxim Petrovich serves as a guide to action for the younger generation, in particular for Molchalin. He always turns out to be in the right place at the right time and is irreplaceable in Famusov’s house: “There he will pet a pug in time, here he will wipe a card at the right time...”
Molchalin is a man who is ready to endure any humiliation in order to achieve power and wealth. His life principle: “At my age I should not dare to have my own judgment.” He follows it successfully and moves up the career ladder. This hero subordinated his entire life to veneration. He even takes care of Sophia, because she is the daughter of his owner.
From the vice of honoring rank follows another “sin” of Famus society - cynical careerism. This is especially noticeable in the image of Molchalin, as well as Colonel Skalozub. This “valiant warrior” thinks only about his own career advancement, no matter which way. “Yes, to get rank, there are many channels,” he says to Famusov:
I'm pretty happy in my comrades,
The vacancies are just open;
Then the elders will turn off others,
The others, you see, have been killed.
There is nothing Russian in Famus society. He is distinguished by his admiration for everything foreign, especially French: ““empty, slavish, blind imitation.” Therefore, it is not surprising that the Frenchman from Bordeaux, who went to Famusov’s ball, enjoyed enormous success; they didn’t even pray for him.
Contempt for everything Russian is combined in Famus society with colossal ignorance. It permeates him from top to bottom. In Moscow society there is contempt and fear for education and science. All his authorities speak in unison about the danger of books and propose radical measures: “collect all the books and burn them.”
In addition, “nepotism” flourishes in Famus society. Famusov himself adheres to the principle - “well, how can you not please your loved one!” High positions are occupied not by worthy people, but by familiar ones.
It is interesting that in Famus society women rule. Men turn into “husband boys” under the thumb of their wives. Fathers are looking for their daughters not only a noble or rich husband, but also a submissive one. Young people choose their wife based on wealth, forever forgetting about their hearts. Let us at least remember Molchalin or Skalozub.
Thus, in his comedy, Griboyedov “dismantled” Famus’s society in detail, exposing all its vices. “Woe from Wit” became the basis and impetus for subsequent writers. So, for example, A.S. Pushkin continued his criticism in the novel “Eugene Onegin” secular society in the spirit of Griboyedov's comedy. This line was picked up by N.V. Gogol in “The Inspector General” and A.N. Ostrovsky in his comedies.
The play "Woe from Wit" - famous work A. S. Griboedova. 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 caricature 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 strengthen and complement each other. Excluding 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, Griboedov, 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 in his comedy. Having managed to make his characters alive and believable, Griboyedov 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 opposed him to the only smart 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 comedy it 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 he sees nothing reprehensible in ordinary human vices (drunkenness, lies, servility, hypocrisy). 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.
Famus Society
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: the progressive, Decembrist-minded people of the "century" present" and serf-owners (people of the "past century").
All the images created by G-dov in the comedy are deeply realistic. Famusov, Skalozub, Molchalin, Khlestova, the rogue Zagoretsky and all the others are a reflection of reality. These people, 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. “The Past Century” in the comedy is represented by a number of bright types. These are Famusov, Skalozub, Repetilov, and Molchalin.
F-th 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 persons standing a step higher, and most importantly, be rich. The ideal of this society is in Famusov's monologues Uncle Maxim Petrovich and Kuzma Petrovich: ... here is an example: The deceased was a respectable chamberlain, With a key, and he knew how to deliver the key to his son; Rich, and married to a rich woman; Married children, grandchildren; Died; everyone remembers him sadly. Kuzma Petrovich! Peace be upon him! - What kind of aces live and die in Moscow!..
At the head of the entire society is the figure of Famusov, an old Moscow nobleman who has earned general favor in the capital's 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 the f-th society, since it evaluates a person by his origin and the number of serf souls he has. Famusov himself dreams of marrying off his daughter Sophia at a better price and says to her: “Oh, mother, don’t finish the blow! Whoever is poor is not a match for you.” And then he adds: “For example, from time immemorial it has been the practice among us that honor is given to father and son: be poor, but if there are two thousand souls from the family, he is the groom.” Unlike the representatives of the f-th society, Chatsky longs for “sublime love, before which the whole world is dust and vanity.”
In the relationship between Chatsky and the f-go society, the views of the “past century” on careers, on service, on what is most valued in people are revealed and ridiculed. In other words, Chatsky despises them. 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, it’s sickening to be served.” Chatsky takes service very seriously. And if Famusov treats it formally, bureaucratically (“it’s 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 experts, I don’t from among them." Famusov worries about affairs only on one hand, mortally afraid, “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 scolds them as donkeys, logs, calls them Parsleys, Filkas, Fomkas. Thus, representatives of the f-go society treat service as a source of personal benefits, service to individuals, and not to business.
Chatsky strives to serve the fatherland, “the cause, not the persons.” He despises Molchalin, 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 youthfulness of an immoral person making a career. Chatsky speaks bitterly about such people: “Silent people are blissful in the world!” It is Molchalin who arranges his life better than anyone else. He is also talented in his own way. He earned Famusov's favor, Sophia's love, and received three 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 f-th 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 be fooled by your learning,” says Skalozub. It is quite obvious that the very atmosphere of the f-th society forces representatives of the younger generation to show their negative qualities.
So, Sophia uses her sharp mind to outright lie, spreading rumors 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, she has not grown up to him, to his sharp mind, to his logical, merciless criticism. She also does not understand Molchalin, who “loves her because of his position.” It is not her fault that Sophia has become a typical young lady of the f-th society. 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” (Goncharov “A Million Torments”).
Another comedy character is very interesting. This is Repetilov. He is a completely unprincipled person, a “cracker,” 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 have completely sobered up,” says Chatsky at the end of the comedy. What is this - defeat or insight? Yes, the end of this work is far from cheerful, but Goncharov is right when he said about the ending this way: “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 “passive”, 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 “And who are the judges?..” he tore off the mask from the vile and vulgar Famus world, 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 saved his honor and life more than once during the hours of wine and fights: suddenly he traded three greyhounds for them!!!
Chatsky defends a real person, humanity and honesty, intelligence and culture. He protects the Russian people, his Russia from a bad, inert and backward society. Chatsky wants to see Russia literate and cultural. He defends this in arguments, conversations with everyone actors comedy "Go", directing all his intelligence, wit, evil, temper and determination to this. Therefore, those around him take revenge on Chatsky for the truth, which stings his eyes, for his attempt to disrupt the usual way of life. The “past century,” that is, the society, is afraid of people like Chatsky, because they encroach on the order of life that is the basis of the well-being of this society. Chatsky calls the past century, which Famusov admires so much, the century of “humility and fear.” The community is strong, its principles are firm, but Chatsky also has like-minded people. These are the persons mentioned: Skalozub's cousin ("The rank followed him: he suddenly left his service and began reading books in the village."), nephew of Princess Tugoukhovskaya. Chatsky himself constantly says “we,” “one of us,” thus speaking not only on his own behalf. So ASG-dov 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.
References
To prepare this work, materials from the site http://ilib.ru/ were used
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 his 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 supposed fiancé with great reverence, he says: “Sergei Sergeich, come here, sir, 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 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 at the beginning of the twentieth century. At that time, the country was ruled by nobles like Famusov and his entourage, but advanced people like Chatsky began to appear among the nobles. And so two centuries collided - “the present century” and the “past century.”
“The Past Century” represents the Famus society, which includes: P.A. Famusov, in the house where the action takes place, the Tugoukhovskys, Khlestova, Gorichi, Skalozub and other acquaintances of Famusov. Trade in serfs is considered normal among people. So “Nestor of the noble scoundrels” exchanged his faithful servants for three greyhounds, despite the fact that the serfs served him faithfully and sometimes saved his life. In Famus society, serfs are equated to animals; just remember the words of old woman Khlestova: “Tell them to feed... they got a handout from dinner.” Famusov can send his servants “to settlements” because they did not keep an eye on Sophia, who met at night, as Famusov thinks, with Chatsky. The countess-granddaughter, leaving, said to the countess-grandmother, “Well, the ball!” Well Famusov! He knew how to name guests! Some freaks from the other world!” - and how well she teamed up with the “freaks” against Chatsky. There is no sincerity in their society, Sophia deceives her father, Lisa is forced to lie, covering up for her mistress, Molchalin deceives everyone, covering his true face with a mask. Their relationship has long lost its sincerity and warmth. They all bow to those who are richer and can promote them. In turn, they demand the same attitude towards themselves from those who are lower in rank.
Famus society is characterized by indifference to service. They practically do not perform any official duties. And where can they find time to work, because they only gossip, have fun at balls, go to dinner parties and lunches. At Molchalin’s insistence, Famusov signs some papers, despite the fact that “there are contradictions in them, and many of them are unrelated.” “My custom is this: it’s signed, off your shoulders,” said Famusov. He has only relatives in his service, with the exception of Molchalin. In their midst, in order to gain rank, one must not serve the cause, but “serve,” as Molchalin does. Pavel Afanasyevich remembers his uncle, an important man who served under Empress Catherine, about whom he says: “When you need to serve someone, he bent over backwards.” So this uncle became a jester for a while to amuse the empress.
All of them are hostile towards people who are engaged in science and creativity. They are all sure that books are evil: “If evil is to be stopped, all the books would be taken away and burned.” Famusov believes that “learning is a plague, learning is the reason that today, even more than ever, there are more crazy people, deeds, and opinions.” Princess Tugoukhovskaya remembers her nephew Prince Fyodor, who “does not want to know the ranks.” And all because “he is a chemist, he is a botanist.”
To Famusov’s house, “the door is unlocked for those invited and uninvited, especially those from abroad.” Famus society blindly imitates foreigners, especially the French, in everything and everywhere. Chatsky recalls that the “Frenchman from Bordeaux” did not find “neither a Russian sound nor a Russian face” in Famusov’s house. This “Frenchman” feels in Russia like at home, because here he important person and everyone is welcome to him, no matter who he was in France. It is accepted that if a person inserts French words and phrases into his speech, then he is considered well-mannered.
Goncharov in his article “A Million Torments” wrote about “Woe from Wit” - that it “all lives its own imperishable life, will survive many more eras and will not lose its vitality.” I completely share his opinion. After all, the writer painted a real picture of morals and created living characters. So alive that they have survived to our times. It seems to me that this is the secret of the immortality of A. S. Griboedov’s comedy. After all, our Famusovs, silents, and skalozubs still make our contemporary Chatsky experience grief from his mind.
