The attitude of the Famus society to the way of life. Famus Society

Numerous characters of the comedy, who represent the capital's noble society, are successfully complemented by off-stage characters. We do not see them on stage, but we know about their existence from the stories of other heroes. Such non-stage images include Maxim Petrovich, as well as Tatyana Yurievna, Kuzma Petrovich, Princess Marya Alekseevna and many others. All of them belong to the Famus society. Thanks to them, Griboyedov pushes the scope of the comedy far beyond Moscow, including courtiers in the work.

It is because of the presence of non-stage characters that the work becomes the play that gives the most detailed picture of the life of Russia in the 20s of the XIX century. In Woe from Wit, the social situation that was ripe at that time, the struggle that unfolded throughout the country between the Decembrists, revolutionary-minded people and adherents of serfdom, defenders of the old system, is realistically shown.

Consider first the conservative nobility, the so-called antiquities. This rather large group is the Famus society. How does Griboyedov describe him?

1. These people, especially the older generation, are convinced feudalists, supporters of autocracy, avid defenders of the old structure of society. They value the past, long-standing traditions of building social relations. They like the times of Catherine II, because this era is famous for its special strength, the power of the noble landowners. Famusov with reverence and respect is attached to the memories of the court of the queen. He draws a parallel, compares the current court circle and the court of Catherine, citing as an example the personality of the nobleman Maxim Petrovich.

Later, Famusov expresses that the old people are dissatisfied with the new trends in politics, the actions of the young tsar, who, in their opinion, is too liberal. Defenders of the old way of life are opposed to everything new, they are afraid of any changes that could destroy the world they are used to. Many old officials left their posts at the very beginning of the reign of Alexander I. They did this on purpose, in protest, as they thought that the young people with whom the tsar surrounded himself were excessively free-minded. For example, Admiral Shishkov, a fairly well-known statesman, returned to service only at the moment when the government's policy changed direction to a sharply reactionary one. And there were many such Shishkovs, especially in Moscow. They determined the course of public life, and therefore Famusov was convinced that it was precisely such people who would influence politics in the future.

2. The old society stubbornly stands in defense of its noble interests. In the Famusian circle, a person is assessed based on his origin and financial situation, and no attention is paid to his personal qualities. For example, Princess Tugoukhovskaya ceases to be interested in Chatsky, as soon as it becomes clear that he is far from being a chamber cadet, and not at all rich. Khlestova in a dispute with Famusov, proving her innocence about the presence of this or that number of serfs at Chatsky, claims that she knows all the estates in every way, since this is the most important thing.

3. Such nobles as Famusov do not see serfs in them, they treat them cruelly. Chatsky shares his recollection that one landowner exchanged his servants for three dogs, and in fact they saved him not only honor, but also his life many times. Khlestova puts her maid and her dog on the same line: when she comes to Famusov, she tells them to feed both of them, sending the leftovers from dinner. Famusov himself constantly shouts at the servants, threatens the doorman to send him to work in the village.

4. The main life goal for the people of Famus society is career, wealth, honor. They consider the nobleman Maxim Petrovich and the chamberlain of the court Kuzma Petrovich, who once served under Catherine, as models for general imitation. Famusov courting Skalozub, as he wants to give his daughter for him. This desire is dictated only by the fact that Skalozub is rich and has made a successful career. Old people regard service in society as a source of profit, income, material enrichment, a means for obtaining ranks. Nobody really does things the right way. For example, Famusov in the service only signs the papers handed over to him by the secretary Molchalin. But everyone is happy to use their official position. Famusov constantly employs various relatives at his place of work. Nepotism, patronage are the most common and widespread business here. Famusovs do not care about the interests of the state, they are only concerned about personal benefits and benefits. And this applies not only to the civil service, but also to the military environment. Anyone can become a successful military man if he is supported, promoted, favored.

5. In the image of Molchalin, the author wanted to show the main features of the world of officials, characteristic of that time. This is servility, careerism, wordlessness, the ability to please the authorities. Molchalin was a commoner or a petty nobleman. He began his service in Tver, but then transferred to Moscow, which was facilitated by Famusov. In Moscow, Molchalin quickly rises through the ranks. He perfectly understands what needs to be done if you want to make a career. Only three years passed, and Molchalin managed to become necessary for Famusov, receive several thanks and enter the house of his benefactor. Chatsky predicts a brilliant career for him, as he is well acquainted with this type of officials. It was such secretaries at that time who could become noble people, achieve high posts. Molchalin has all the necessary data. This is the ability to curry favor, to gain confidence in influential people, indiscriminate means in achieving the goal, accuracy, lack of moral principles.

6. The bone, conservative society of serfs is very afraid of everything progressive. These people perceive any innovations with hostility, since it can threaten their position, domination. Famusov, his guests are surprisingly unanimous in condemning Chatsky's ideas. They instantly rallied in the fight against the views, which they consider to be free-thinking. They consider education to be the source of all liberties, and therefore oppose educational institutions and sciences. The Famus Society offers a radical method of dealing with such an evil. Khlestova, Princess Tugoukhovskaya are also negatively disposed towards schools, boarding schools, lyceums.

7. Representatives of the old-regime society are alien to their people, since they received a certain upbringing in their time. Chatsky is outraged by this system, in which the upbringing of noble children is entrusted to foreigners. As a result, young noblemen grew up divorced from everything national, Russian, their speech became mixed with a foreign language. From childhood, they were instilled with the imaginary need to imitate the Germans or the French.

This is how the Famusian society appears before us, outlined by Griboyedov with special care. The author of the comedy depicted the characteristic, typical features of the serf-nobility of that era. The nobility is seized with fear of the liberation movement, therefore it opposes Chatsky, who is the personification of progressive people. Griboyedov shows this society through individualized images, each of which is a living person with its own features, character, and special speech.

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 XIX century, reproduces the eternal struggle of the old and the new, which unfolded with particular force at this time not only in Moscow, but throughout Russia between two camps: advanced, Decembrist-minded people "The present century" and the serf-owners, representatives of the "past century."

All images of the comedy are deeply realistic. Famusov, Skalozub, Molchalin, Khlestova, the rogue Zagoretsky - all of them are a reflection of reality. These are stupid and selfish people, afraid of enlightenment and progress, their thoughts are directed only to the acquisition of honors and titles, wealth and clothes, they constitute a single camp of reaction, trampling on all living things.

Famus society is traditional. His life foundations are such that it is necessary to study, "looking at the elders", to destroy free-thinking thoughts, to serve with obedience to the authorities, and most importantly - to be rich. The ideals of this society are presented in Famusov's monologues:

... here's an example:

The deceased was a venerable chamberlain,

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

He was rich and married to a rich man;

Survived children, grandchildren;

He died, everyone remembers him sadly.

Kuzma Petrovich! Peace be upon him! -

What aces live and die in Moscow! ..

Famusov, an old Moscow nobleman, earned a general affection in metropolitan circles. He is friendly, courteous, witty, cheerful. But this is only the outer 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. “I would have to take all the books and burn them,” he says.

Chatsky, a representative of the "present century", dreams of "sticking a mind hungry for knowledge into science." He is outraged by the order established in Famus society, since it regards a person by his origin and the number of serf souls. Famusov himself dreams of marrying off his daughter Sophia more profitably and says to her: “Ah! mother, do not finish the blow! He who is poor is not your match. " And then he adds: “Here, for example, we have it from olden times that honor is due to father and son; be bad, but if there are two thousand family souls, he is the groom. " Unlike representatives of Famus society, Chatsky longs for "sublime love, before which the whole world is dust and vanity."

In the relationship between the Chatsky and Famus society, the views of the "past century" on a career, on service, on what is most valued in people are revealed. Famusov takes only relatives and friends to his service. He respects flattery and adulation. He wants to convince Chatsky to serve, "looking at the elders," "substitute a chair, raise a handkerchief." To this Chatsky objects: "I would be glad to serve, it is sickening to serve." He takes the service very seriously. And if Famusov refers to her formally, bureaucraticly (“signed, so 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 the darkness of artisans, I don’t from among them ".

Famusov worries about the affairs of only one side, fearing deathly, "so that many of them do not accumulate." He does not consider his servants to be people, treats them rudely, can sell them, send them to hard labor. He calls them donkeys, blockheads, calls them Petrushka, Filki, Fomki. Thus, representatives of the Famus society regard service as a source of personal benefits, service to "persons", and not to "business."

Chatsky, on the other hand, seeks to serve the fatherland, "the cause, not the individuals." He despises Silent, accustomed to "pleasing all people without exception - the owner where I will 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 she is affectionate." Everything in Molchalin: both behavior and words - emphasize the cowardice of an immoral careerist. Chatsky bitterly says about such people: "The silent people are blissful in the world!" It is Molchalin who best suits his life. In his own way, he is also talented. He earned the favor of Famusov, the love of Sophia, and received awards. He values ​​two qualities of his character most of all: "moderation and accuracy." For Famusov and his circle, the opinion of the world is sacred and infallible, the worst thing is "what Princess Marya Aleksevna will say!"

Another prominent representative of the Famus society is Skalozub. Famusov dreamed of having such a son-in-law. After all, Skalozub is "both a golden bag and marks the generals." This character embodied the typical features of a reactionary of the Arakcheev era. "Hrypun, strangled, bassoon, constellation of maneuvers and mazurkas", he is the same enemy of education and science, like Famusov. “You can't faze me with scholarship,” says the colonel.

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

Another comedy character is very interesting. This is a rehearsal. He is a completely unprincipled person, a "chatterbox", but he was the only one who considered Chatsky a "high mind" and, not believing in his madness, called the pack of Famus guests "chimeras" and "game". Thus, he was at least one step higher than all of them.

"So! I was sober in full, ”says Chatsky at the end of the comedy. What is this - defeat or epiphany? Yes, the ending of the comedy is far from funny, but Goncharov is right when he says: "Chatsky is broken by the amount of old power, inflicting a mortal blow on it with the quality of fresh power." And I completely agree with Goncharov, who believes that the role of all the Chatskys is "passive", but at the same time is always "victorious." Chatsky opposes the society of ignoramuses and serf-owners. He fights against noble villains and sycophants, swindlers, rogues and informers. In his famous monologue "Who are the judges? .." he denounces the vile and vulgar world of Famus, in which the Russian people turned into an object of purchase and sale, where landowners even exchanged serfs for dogs:

That Nestor of the noble scoundrels,

A crowd surrounded by servants;

Zealous, they are in the hours of wine and fight

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

He exchanged three greyhounds for them !!!

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

A strongly Famus society, its principles are firm, but Chatsky also has like-minded people. This is Skalozub's cousin (“The rank followed him: he suddenly left the service, he began to read books in the village”), the nephew of Princess Tugouhovskaya. Chatsky himself constantly says "we", "one of us", thus speaking not only on his own behalf. So A. S. Griboyedov wanted to hint to the reader that the time of the "past century" is passing, it is being replaced by the "present century", strong, intelligent, educated.

Famus Society... They have features that are common to many other people, and others to the whole human race A.S. Griboyedov

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

The reactionaries strove in everything to preserve the autocratic-serf system and the inveterate lordly life, seeing in this the basis of their well-being. Progressive nobles, on the other hand, fought against the "past century" and opposed the "present century" to it. The collision of the "past century" and the "present century" is the main theme of the comedy.

"The present century", according to Griboyedov, was the product of revolutionary sentiments in noble circles. From the progressive nobility came the Decembrists, who were the first to try to implement their revolutionary ideas.

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

In the love of traitors, in the enmity of the tireless,

The indomitable storytellers

Ungainly clever, crafty simpletons,

Sinister old women, old men,

Decreased over inventions, nonsense.

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

I drove to the serf ballet in many wagons

From mothers, fathers of rejected children

Made all of Moscow marvel at their beauty,

But the debtors did not agree to the postponement:

Cupids and Zephyrs are all Sold out separately !!!

The landlords do not consider their serfs to be people. The old woman Khlestova, for example, puts her servant on a par with the dog:

Out of boredom, I took with me a little girl and a dog.

Serf ideology determines all relationships between representatives of Famus' Moscow, they even look for a groom by the number of serfs:

Be inferior, but if you have enough

There are two thousand generic souls,

He and the groom.

Serfdom was a normal phenomenon for Famus society, fully corresponded to the interests of the nobility, and was a source of wealth and profit. Representatives of the Moscow nobility think only about ranks, wealth and high connections. They treat the service formally, bureaucratically, as a source of enrichment and promotion. “I just wanted to be a general,” says Colonel Skalozub, an Arakcheev campaigner, a narrow-minded and rude man. The purpose of his service in the army comes down to receiving ranks, orders and medals by any means:

Yes, to get ranks, there are many channels.

And Famusov does not hide his attitude to the service:

And I have something that does not matter.

My custom is this:

Signed, off your shoulders.

As a master, he looks dismissively at any work, he accepts only relatives for service.

In my presence, foreign employees are very rare;

More and more sisters, sister-in-law of the child;

How will you begin to imagine for a cross,

to the place,

Well, how not to please a dear little man!

Famusov serves not the cause, but the persons, since the service for the people of his circle is a source of ranks, awards and income. The sure way to achieve these benefits is servility before a superior.

It is not without reason that the ideal of Famusov is Maxim Petrovich, who, currying favor, "bent forward," "courageously sacrificed the back of his head," but was treated kindly at court, "he knew honor before everyone." Molchalin does not even have his own opinion:

In my years one should not dare to have His own judgment.

However, he keeps up everywhere:

There Pug will stroke him in time;

He'll rub the card right here.

And he is guaranteed a career:

... will come to the known degrees,

After all, nowadays they love the dumb.

And these people ran the state. Chatsky indignantly says about them:

Where, show us, fatherland fathers,

Which ones should we take for samples?

Aren't they rich in robbery?

The people of the Famus circle are especially hated by enlightenment, science, movement towards progress. Famusov gives his daughter an upbringing in which the possibility of true enlightenment is excluded in advance:

To teach our daughters everything -

And dancing! and singing! and tenderness! and sighs! Famusov himself is not distinguished by education and does not find any use in reading. He explains the reasons for free-thinking as follows:

Learning is the plague, learning is the reason

What's more important now than when,

Insane divorced people, and deeds, and opinions.

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

Colonel Skalozub, the personification of the soldier's stupidity and ignorance, who “never uttered a clever word”, like Famusov, is an enemy of enlightenment and everything advanced. He hurries to please the guests of Famusov by the fact that there is a project about lyceums, schools, gymnasiums. “They will only teach in our way: one, two. And the books will be kept so for big occasions. " This hatred of everything advanced is quite understandable, the noble society was afraid of losing its privileges.

Famus society is alien to national culture, Russian customs, admiration for foreign things has become a fashion, it comes to the ridiculous, Chatsky says that society "gave everything in exchange":

And manners, and language, and holy old times,

And stately clothes for another On the clownish model.

Chatsky notes that among the nobility "a mixture of languages ​​prevails: French and Nizhny Novgorod."

Eminent Muscovites are happy to welcome any foreigner. According to a Frenchman from Bordeaux, he

I came and found that there is no end to caresses,

I never met the sound of a Russian or a Russian face.

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

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

"Four hundred" - "No! three hundred".

And Khlestova offended adds:

“I don’t know someone else’s estates!”

Among the Moscow aces finds his place "notorious swindler, rogue Anton Antonich Zagoretsky", who is accepted only because "a master to serve." The Famus society is characterized by Repetilov, in which empty phrase-mongering and ostentatious free-thinking are emphasized.

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

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

Griboyedov very aptly defined the ideals of this society. They are simple: "to take awards and have fun." The Famus society is the face of the entire noble Russia of those years. As an advanced man of his time, Griboyedov not only ridicules this society, but mercilessly condemns the serf system and calls for its destruction - this is the revolutionary meaning of comedy. This is how the Decembrists and all the progressive people of Russian society understood it.

In the comedy "Woe from Wit" A.S. Griboyedov's main element of the image is the mores of the Moscow conservative nobility. It is precisely the denunciation of outdated, obsolete aristocratic views on acute social issues that is the main task of this play. All the negative features of the feudal landlords of the early 19th century were concentrated in the numerous representatives of the “past century” in comedy - in the Famus society.

The image of Famusov in the comedy "Woe from Wit"

The main defender of the ideas of the "past century" in the play is Pavel Afanasevich Famusov. He holds an influential position, rich and distinguished. It is in his house that the comedy takes place. The society of conservative nobles is named after him in the play. The image of this character reflected the features of the entire Moscow aristocracy of the early 19th century.

In the work "Woe from Wit," the Famus society is depicted as a camp of people who value only high rank, money and connections in a person. Personal qualities have no weight in the world. Famusov strictly and categorically declares to his daughter: "He who is poor is not a match for you."

He, “like everyone in Moscow,” wants to see a rich and noble person in his sons-in-law. At the same time, money and ranks in landlord society are considered as the highest value of a person: "Be inferior, or if you have a soul of two thousand family members, that is the groom."

Famusov's character also reflected the nobility's habit of spending their lives "in feasts and in extravagance." In the calendar of Famusov, which he reads in the second act with his servant, only dinner parties, commemoration and christenings are planned. And he treats his work in the service formally. Famusov signs the documents without looking: "And I have, what is it, what is not business, my custom is such, signed, so off your shoulders."

The comedy "Woe from Wit" also condemns the habit of the Moscow nobility to arrange people for profitable places of service not for their business qualities, but on the basis of family ties. Famusov confesses: "When I have employees, strangers are very rare: more and more sisters, sister-in-law of the child."
In the person of Famusov, Griboyedov portrays the Famus society as a whole. It appears to the reader as a society of people who have contempt for the ignorant and the poor and who worship ranks and money.

Colonel Skalozub as the ideal of a nobleman in Famus society

Famusov sees Colonel Skalozub as the most desirable son-in-law for himself, who is presented in the comedy as an extremely stupid soldier. But he is worthy of the hand of Sophia, the daughter of Famusov, only because he "is both a golden bag and marks the generals." His title is obtained in the same way as any rank is obtained in Moscow - with the help of connections: "To get ranks, there are many channels ..."

Skalozub, like Famusov, protects his relatives and friends. For example, thanks to the efforts of Skalozub, his cousin "received the darkness in the service." But, when he was followed by a high rank, he left the service and went to the village, where he began to lead a calm and measured life. Neither Famusov nor Skalozub are capable of understanding this act, because both of them have a passionate love for ranks and position in society.

The role of Molchalin in the play "Woe from Wit"

Among the representatives of the Famus society, there must necessarily be nobles of not too high ranks, but those who strive for them, who will express a servile attitude towards the older generation, try to curry favor with them. This is the role of Molchalin in the play "Woe from Wit"

At the beginning of the play, this hero appears before the reader as Sophia's silent and modest lover. But as soon as the girl fails to contain her feelings for Molchalin in public, his true face begins to open. He, like Famusov, is very afraid of the rumor of people: "Evil tongues are worse than a pistol." He has no feelings for Sophia, but portrays her lover in order to please the daughter of “such a person”. From childhood, Molchalin was taught to "please ... the owner where he will live", the "boss" with whom he will be in the service.

Molchalin is silent and helpful only because he does not yet have a high rank. He is forced to "depend on others." Such people “are blissful in the world”, because the aristocratic society is just waiting for admiration and servility in its address.

Off-stage comedy characters

Famus society in the comedy "Woe from Wit" is quite numerous. In addition, its boundaries are expanding due to the introduction of non-stage characters into the play.
Notable in this respect is the image of Maxim Petrovich, Famusov's uncle, who arouses admiration among the feudal landlords for his ability to "serve up". Famusov does not consider his desire to amuse the imperial court by exposing himself to ridicule as humiliation. For him, this is a manifestation of intelligence. But Maxim Petrovich was "all in orders" and had "a hundred people at his service."
Famusov also remembers the late Kuzma Petrovich. His main characteristic is “he was rich and he was married to a rich one”.

The influential Tatyana Yurievna is mentioned in the play. It is very beneficial to be on good terms with her, because "officials and officials are all her friends and all relatives."
The off-stage characters helped Griboyedov to give a more vivid and memorable characterization of the Famus society.

conclusions

The Moscow aristocratic society in the comedy "Woe from Wit" is presented as a society that is afraid of everything new, progressive and progressive. Any changes in the views of the nobility threaten their personal well-being, their usual comfort. At the time of this writing, the ideals of the “bygone age” were still very strong. But in the society of the nobles, contradictions have already matured, which will lead later to the replacement of old views and values ​​with new ones.

A brief description of the Famus society and a description of the ideals of its representatives will help pupils of the 9th grade when writing an essay on the topic "Famus society in the comedy" Woe from Wit "

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Famus Society in the comedy Woe from Wit

The ideological and thematic content of the comedy is revealed in its images and in the development of the action.

A large number of actors representing the Moscow noble society are complemented by so-called off-stage images, i.e. ( This material will help you to write competently and on the topic of the Famus Society in the comedy Woe from Wit. The summary does not make it possible to understand the whole meaning of the work, therefore this material will be useful for a deep understanding of the work of writers and poets, as well as their novels, stories, stories, plays, poems.) that is, such characters who do not appear on the stage, but which we learn about from the stories of the characters. So, such non-stage characters as Maksim Petrovich, Kuzma Petrovich, “Nestor of the noble villains”, a ballet lover landowner, Tatyana Yurievna, Princess Marya Alekseevna and many others belong to the Famus society. These images allowed Griboyedov to expand the framework of the satirical picture outside Moscow, to include in the play and court circles. Thanks to this, "Woe From Wit" grows into a work that gives the broadest picture of the entire Russian life of the 10-20s of the XIX century, faithfully reproducing the social struggle that unfolded with great force at that time throughout Russia, and not only in Moscow , between two camps: progressive, Decembrist-minded people and serf-owners, a stronghold of antiquity.

Let us first dwell on the defenders of antiquity, on the conservative mass of the nobility. This group of nobles constitutes the Famus society. How does Griboyedov characterize him?

1. People of the Famus circle, especially the older generation, are staunch supporters of the autocratic-serf system, inveterate reactionaries-feudal owners. The past, the age of Catherine II, is dear to them, when the power of the noble landowners was especially strong. Famusov remembers with awe about the queen's court. Speaking about the nobleman Maxim Petrovich, Famusov opposes the court of Catherine to the new court circle:

Then not what it is now:

Served under the Empress Catherine.

And in those days, everyone is important! forty poods ...

Bow down stupidly do not nod.

A nobleman, even more so,

Not like the other, and drank and ate differently.

The same Famusov, a little later, speaks of the dissatisfaction of the old people with the new times, the policy of the young tsar, which seems liberal to them.

And our old people? - How they will be taken with enthusiasm, They will condemn the deeds, that the word is a sentence, - After all, the pillars do not blow anyone in the mustache, And sometimes they talk about the government so, What if someone overheard them ... trouble! Not that they introduced novelties - never, God save us! .. No ...

It is just the novelty that these "direct retired chancellors in mind" are afraid of, enemies of a free life, who "draw their judgments from forgotten newspapers from the times of Ochakov and the conquest of the Crimea." At the first stages of the reign of Alexander I, when he surrounded himself with young friends, who seemed to these old people to be free-thinkers, they left the service in protest. This was done by the famous Admiral Shishkov, who returned to state activity only when the government's policy took a sharply reactionary direction. There were especially many such Shishkovs in Moscow. They set the top of life here; Famusov is convinced that "business will not do without them", they will determine the policy.

2. Famusovskoe society tightly protects its noble interests. A person is valued here only for his origin and wealth, and not for personal qualities:

For example, we have been doing it from time immemorial,

What honor is there for father and son; Be inferior, but if you have enough

There are two thousand generic souls,

He and the groom.

Be another at least quicker, inflated with all sorts of arrogance,

Let yourself be reputed to be a wise man,

And they will not be included in the family, do not look at us,

After all, only here they also value the nobility.

This is what Famusov says. Princess Tugoukhovskaya is of the same opinion. Having learned that Chatsky is not a chamber junker and is not rich, she ceases to be interested in him. Arguing with Famusov about the number of serf souls in Chatsky's, Khlestova resentfully declares: “I don’t know someone else’s estates!”

3. The nobles of the Famus circle do not see people in the peasants and cruelly deal with them. Chatsky recalls, for example, one landowner who exchanged his servants, who more than once saved his honor and life, for three greyhounds. Khlestova comes to Famusov's for the evening, accompanied by a "little arap girl" and a dog, and asks Sophia: "Tell them to feed them too, my friend, they got a handout from dinner." Angry with his servants, Famusov shouts to the doorman Filke: “Get to work for you! to settle you! "

4. The goal in life for Famusov and his guests is career, honor, wealth. Maxim Petrovich, nobleman of Catherine's time, Kuzma Petrovich, chamberlain of the court - these are the role models. Famusov takes care of Skalozub, dreams of marrying his daughter to him only because he "is both a golden bag and marks the generals." Service in Famus society is understood only as a source of income, a means of achieving ranks and honors. They do not deal with matters on the merits, Famusov only signs papers, which are presented to him by his "business" secretary Molchalin. He himself admits this:

And I have, what is the case, what is not the case.

My custom is this: Signed, off your shoulders.

Occupying the important post of "manager in a state place" (probably the head of the archive), Famusov places his relatives in his house:

In my presence, other people's servants are very rare:

More and more sisters, sister-in-law of the child. ... ...

How will you begin to imagine to a cross, to a place,

Well, how not to please a dear little man!

Protection and nepotism are common in the world of the Famusovs. The Famusovs care not about the interests of the state, but about personal benefits. This is the case in the civil service, but we see the same among the military. Colonel Skalozub, as if echoing Famusov, declares:

Yes, to get ranks, there are many channels;

As a true philosopher, I judge about them:

; I just wanted to be a general.

He makes his career quite successfully, frankly explaining this not by his personal qualities, but by the fact that circumstances are favorable to him:

I'm quite happy in my comrades,

Vacancies are just open:

Then the elders will turn off others,

Others, you see, are killed.

5. Careerism, groveling, obsequiousness to the authorities, dumbness - all the characteristic features of the bureaucratic world of that time are especially fully revealed in the image of Molchalin.

Having begun his service in Tver, Molchalin, either a petty nobleman or a commoner, was transferred to Moscow thanks to the patronage of Famusov. In Moscow, he confidently promoted his career. Molchalin understands perfectly well what is required of an official if he wants to make a career. He has been in the service of Famusov for only three years, and has already managed to “receive three awards”, become the right person for Famusov, and enter his house. That is why Chatsky, who is well familiar with the type of such an official, predicts the possibility of a brilliant career for Molchalin:

However, it will reach the degrees of the known, | After all, nowadays they love the dumb.

Such dexterous secretaries in that "age of obedience and fear", when they served "persons, not the cause," went out to noble people, reached high positions in the service. Repetilov talks about his father-in-law's secretaries:

His secretaries are all boors, all corrupt,

Little fellows writing creature

Everyone came out to know, everyone is important today.

Molchalin has all the data to become an important official later: the ability to curry favor with influential persons, complete promiscuity in the means to achieve his goal, the absence of any moral rules and, in addition to all this, two "talents" - "moderation and accuracy."

6. The conservative society of the Femusov-serf-owners, like fire, is afraid of everything new, progressive, everything that may threaten its dominant position. Famusov and his guests show a rare unanimity in the struggle to suppress the ideas and views of Chatsky, who seems to them to be freethinking, a preacher of "crazy deeds and opinions." And since they all see the source of this "liberty" and revolutionary ideas in education, then they act as a common front against the sciences, educational institutions, and education in general. Famusov teaches:

Learning is the plague, learning is the reason, What is more so now than when, Mad people, and deeds, and opinions are divorced.

He offers a decisive way to combat this evil:

If you stop evil:

Take all the books and burn them.

Famusov echoes.

Skalozub:

I will please you: everyone's rumor,

That there is a project about lyceums, schools, gymnasiums, -

There they will only teach in our way: one, two,

And the books will be kept like this: for big occasions.

Both Khlestova and Princess Tugoukhovskaya oppose the hotbeds of enlightenment - "boarding houses, schools, lyceums", a pedagogical institute, where "professors are exercising in schisms and lack of faith".

7. The upbringing that the representatives of Famus society receive makes them alien to their people. Chatsky is outraged by the educational system that reigns in the noble houses of Moscow. Here the upbringing of children from a very young age was entrusted to foreigners, usually Germans and French. As a result, the nobles broke away from everything Russian, their speech was dominated by "a mixture of French and Nizhny Novgorod languages", from childhood the conviction was instilled that "there is no salvation for us without the Germans", "this impure spirit of empty, slavish, blind imitation" of everything foreign was instilled. "Frenchman from Bordeaux", having arrived in Russia, "did not meet the sound of a Russian or a Russian face."

This is the kind of Famus society that Griboyedov brought out with such artistic skill in his comedy and in which the typical features of the entire mass of noble serf-owners of that time are displayed. This nobility, imbued with fear of the growing liberation movement, rallied against the progressive people, of which Chatsky is a representative.)

This society is shown in the wonderful comedy of Griboyedov in vivid individualized images. Each of them is a truly drawn face, with peculiar character traits and peculiarities of speech.

In his article On Plays, Gorky wrote: “The characters in the play are created exclusively and only by their speeches, that is, by purely speech language, not descriptive. This is very important to understand, because in order for the figures of the play to acquire on the stage, in the depiction of its artists, artistic value and social convincingness, it is necessary that the speech of each figure be strictly unique, extremely expressive ... Let's take, for example, the heroes of our beautiful comedies: Famusov, Skalozub, Molchalin, Repetilov, Khlestakov, Gorodnichy, Rasplyuev, etc. - each of these figures was created with a small number of words and each of them gives a completely accurate idea of ​​its class, of its era. "

Let's see how Griboyedov sketches the individual heroes of his comedy.