“Woe from Wit” is one of the most topical works of Russian drama. The problems posed in the comedy continued to excite Russian literature many years after the play appeared. The comedy shows the clash of the “present century” with the “past century”, presented by Chatsky and Famusovsky society. The play depicts the struggle of progressive forces against the feudal reaction.
The world of the Famusovs consists not only of feudal aces like Famusov and Skalozub, but also of the silent, sycophantic officials who serve them.
Who is Molchalin? This is a young man who, from childhood, learned his father’s behest:
First, please all people without exception -
The owner, where he will live,
The boss with whom I will serve,
To his servant who cleans dresses,
To a doorman, a nobleman, to avoid evil,
To the janitor's dog, so that it is affectionate.
Fulfilling his father’s behest - to please everyone - helped Molchalin to “win awards and live happily.” If, for example, Maxim Petrovich earned honor at the court of Catherine II by “bravely sacrificing the back of his head,” then Molchalin acts more cunningly and subtly. Molchalin, in his words, has two talents: “moderation and accuracy.” Secondly, he understood the spirit of the Moscow nobility and its demands (“after all, nowadays they love the dumb”). This helps him become the right person, right hand his master Famusov. Sophia even idealizes her hero: “The enemy of insolence, always shyly, timidly...”; “yielding, modest, quiet, not a shadow of anxiety in his face”; “The old people won’t set foot on the threshold.” In fact (and Chatsky understands this very well) Molchalin is a cunning, hypocritical, flattering, two-faced person. His idea of happiness is associated only with a successful career, a prominent position in society, and wealth. He likes the maid Lisa, and he takes care of Sophia, since she is the daughter of a rich boss.
For the time being, Sophia cannot see Molchalin in his true light. And he great master It is beneficial to show yourself in the eyes of others. Only two characters have the opportunity to look into true face Molchalina. This is Chatsky and Lisa. To Lisa, he himself reveals his “soul”, his credo. Frankness with Lisa is safe for him, since she will not betray him. But Chatsky is dangerous, but Molchalin believes that his rules are decent: “At my age I should not dare to have my own judgment”; “... after all, you have to depend on others,” etc.
Molchalin is not petty, pathetic. An invisible figure. This is an insidious, cunning, vile liar who will sell anyone in his name. It is not for nothing that Griboyedov, through the mouth of Chatsky, points out to the reader: “The Molchalins are blissful in the world!” Imperceptibly, quietly, people like Molchalin reach “famous degrees,” make their way to power and become the arbiters of the destinies of decent people.
At the end of the comedy, Griboyedov forces the exposed Molchalin to run cowardly and thereby deal with him contemptuously. The playwright wrote: “Every age has its silent ones... Take a closer look: you are surrounded by silent ones.” Molchalin became a household word for meanness and lackeyness. His last name speaks about this. Molchalin became a symbol of slavish silence, to which first Arakcheev, and then Nicholas I, sought to accustom Russia. Saltykov-Shchedrin defined the danger of the silent people as follows: “Oh happy, oh hundredfold blessed silent people! They silently, slowly crawl from one period of history to another.”
Modern Molchalins are dangerous because they are difficult to discern, “Having served, modest, quiet,” he imperceptibly incriminates, carefully and quietly informs, sells and betrays. And “having reached known degrees,” the Molchalins “are blissful in the world.”
"Woe from Wit" is one of the most topical works of Russian drama. The problems posed in the comedy continued to excite Russian literature many years after the play appeared. The comedy shows the clash of the “present century” with the “past century”, represented by Chatsky and Famusov society. The play depicts the struggle of progressive forces against the feudal reaction.
The world of the Famusovs consists not only of feudal aces like Famusov and Skalozub, but also of the silent, sycophantic officials who serve them. Who is Molchalin? This is a young man who, from childhood, learned his father’s behest:
First, please all people without exception -
The owner, where he will live,
The boss with whom I will serve,
To his servant who cleans dresses,
To a doorman, a nobleman, to avoid evil,
To the janitor's dog, so that it is affectionate.
Fulfilling his father's behest - to please everyone - helped Molchalin to "win awards and live happily." If, for example, Maxim Petrovich earned honor at the court of Catherine II by “bravely sacrificing the back of his head,” then Molchalin acts more cunningly and subtly. Molchalin, in his words, has two talents: “moderation and accuracy.” Secondly, he understood the spirit of the Moscow nobility and its demands (“after all, nowadays they love the dumb”). This contributes to the fact that he becomes the right person, the right hand of his master Famusov. Sophia even idealizes her hero: “The enemy of insolence, always shy, timid...”; “yielding, modest, quiet, not a shadow of anxiety in his face”; "The old people won't set foot on the threshold." In fact (and Chatsky understands this very well) Molchalin is a cunning, hypocritical, flattering, two-faced person. His idea of happiness is associated only with a successful career, a prominent position in society, and wealth. He likes the maid Lisa, and he takes care of Sophia, since she is the daughter of a rich boss.
For the time being, Sophia cannot see Molchalin in his true light. And he is a great master of presenting himself favorably in the eyes of others. Only two characters have the opportunity to look into Molchalin's true face. This is Chatsky and Lisa. To Lisa, he himself reveals his “soul,” his credo. Frankness with Lisa is safe for him, since she will not betray him. But Chatsky is dangerous, but Molchalin believes that his rules are decent: “At my age I should not dare to have my own judgment”; “... after all, you have to depend on others,” etc.
Molchalin is not petty, pathetic. An invisible figure. This is an insidious, cunning, vile liar who will sell anyone in his name. It is not for nothing that Griboedov, through the mouth of Chatsky, points out to the reader: “The Molchalins are blissful in the world!” Imperceptibly, quietly, people like Molchalin reach “famous degrees,” make their way to power and become the arbiters of the destinies of decent people.
At the end of the comedy, Griboyedov forces the exposed Molchalin to run cowardly and thereby deal with him contemptuously. The playwright wrote: “Every age has its silent ones... Take a closer look: you are surrounded by silent ones.” Molchalin became a household word for meanness and lackeyness. His last name speaks about this. Molchalin became a symbol of slavish silence, to which first Arakcheev, and then Nikolai I, sought to accustom Russia. Saltykov-Shchedrin defined the danger of the silent people as follows: “Oh happy, oh a hundred times blessed silent people! They silently, slowly crawl from one period of history to another.” .
Modern Molchalins are dangerous because they are difficult to discern, “Having served, modest, quiet,” he discreetly incriminates, carefully and quietly informs, sells and betrays. And “having reached known degrees,” the Silencers “are blissful in the world.”
“Woe from Wit” is one of the most topical works of Russian drama. The problems posed by the comedy continued to excite Russian literature many years after the play appeared. The comedy shows the clash of the “present century” with the “past century”, represented by Chatsky and Famusov’s society. The play depicts the struggle of progressive forces against the feudal reaction.
The world of the Famusovs consists not only of feudal aces like Famusov and Skalozub, but also of the sycophantic officials who serve them, the Molchalins. Who is Molchalin? This is a young man who, from childhood, learned his father’s behest: First, to please 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, To the janitor's dog, so that it is affectionate.
Fulfilling his father’s behest - to please everyone - helped Molchalin to “win awards and live a happy life.” If, for example, Maxim Petrovich earned honor at the court of Catherine II by “bravely sacrificing the back of his head,” then Molchalin acts more cunningly and subtly. Molchalin, in his words, has two talents: “moderation and accuracy.” Secondly, he understood the spirit of the Moscow nobility and its demands (“after all, nowadays they love the dumb”). This contributes to the fact that he becomes the right person, the right hand of his master Famusov. Sophia even idealizes her hero: “The enemy of insolence, always shyly, timidly...”; “yielding, modest, quiet, not a shadow of anxiety in his face”; “The old people won’t set foot on the threshold.” In fact (and Chatsky understands this very well) Molchalin is a cunning, hypocritical, flattering, two-faced person. His idea of happiness is associated only with a successful career, a prominent position in society, and wealth. He likes the maid Lisa, and he takes care of Sophia, since she is the daughter of a rich boss.
For the time being, Sophia cannot see Molchalin in his true light. And he is a great master of presenting himself favorably in the eyes of others. Only two characters have the opportunity to draw Molchalin into his true face. This is Chatsky and Lisa. To Lisa he reveals his “soul”, his credo. Frankness with Lisa is safe for him, since she will not betray him. But with Chatsky it is dangerous, but Molchalin believes that his rules are very decent: “At my age I should not dare to have my own judgment”; “...after all, you have to depend on others,” etc.
Molchalin is not a small, pathetic, inconspicuous figure. This is an insidious, cunning, vile liar who will sell anyone for his own benefit. It is not for nothing that Griboyedov, through the mouth of Chatsky, points out to the reader: “The silent ones are blissful in the world!” Imperceptibly, quietly, people like Molchalin reach “famous degrees,” make their way to power and become the arbiters of the destinies of decent people.
At the end of the comedy, Griboyedov forces the exposed Molchalin to flee cowardly and thereby contemptuously deals with him. The playwright wrote: “Every age has its silent ones... Take a closer look: you are surrounded by silent ones.” Molchalin became a household word for meanness and lackeyness. His last name speaks about this. Molchalin became a symbol of slavish silence, which first Arakcheev, and then Nikolai Saltykov-Shchedrin tried to accustom Russia to, defined the danger of the silent people in this way: “Oh happy, oh hundredfold blessed silent people! They silently, slowly crawl from one period of history to another.”
Modern Molchalins are dangerous because they are difficult to see. “Helpful, modest, quiet,” he imperceptibly acts insolently, carefully and quietly informs, sells and betrays. And “having reached known degrees,” the Silencers “are blissful in the world.”
"Woe from Wit" is one of the most topical works of Russian drama. The problems posed in the comedy continued to excite Russian literature many years after the play appeared. The comedy shows the clash of the “present century” with the “past century”, represented by Chatsky and Famusov society. The play depicts the struggle of progressive forces against the feudal reaction.
The world of the Famusovs consists not only of feudal aces like Famusov and Skalozub, but also of the silent, sycophantic officials who serve them. Who is Molchalin? This is a young man who, from childhood, learned his father’s behest:
First, please all people without exception -
The owner, where he will live,
The boss with whom I will serve,
To his servant who cleans dresses,
To a doorman, a nobleman, to avoid evil,
To the janitor's dog, so that it is affectionate.
Fulfilling his father's behest - to please everyone - helped Molchalin to "win awards and live happily." If, for example, Maxim Petrovich earned honor at the court of Catherine II by “bravely sacrificing the back of his head,” then Molchalin acts more cunningly and subtly. Molchalin, in his words, has two talents: “moderation and accuracy.” Secondly, he understood the spirit of the Moscow nobility and its demands (“after all, nowadays they love the dumb”). This contributes to the fact that he becomes the right person, the right hand of his master Famusov. Sophia even idealizes her hero: “The enemy of insolence, always shy, timid...”; “yielding, modest, quiet, not a shadow of anxiety in his face”; "The old people won't set foot on the threshold." In fact (and Chatsky understands this very well) Molchalin is a cunning, hypocritical, flattering, two-faced person. His idea of happiness is associated only with a successful career, a prominent position in society, and wealth. He likes the maid Lisa, and he takes care of Sophia, since she is the daughter of a rich boss.
For the time being, Sophia cannot see Molchalin in his true light. And he is a great master of presenting himself favorably in the eyes of others. Only two characters have the opportunity to look into Molchalin's true face. This is Chatsky and Lisa. To Lisa, he himself reveals his “soul,” his credo. Frankness with Lisa is safe for him, since she will not betray him. But Chatsky is dangerous, but Molchalin believes that his rules are decent: “At my age I should not dare to have my own judgment”; “... after all, you have to depend on others,” etc.
Molchalin is not petty, pathetic. An invisible figure. This is an insidious, cunning, vile liar who will sell anyone in his name. It is not for nothing that Griboedov, through the mouth of Chatsky, points out to the reader: “The Molchalins are blissful in the world!” Imperceptibly, quietly, people like Molchalin reach “famous degrees,” make their way to power and become the arbiters of the destinies of decent people.
At the end of the comedy, Griboyedov forces the exposed Molchalin to run cowardly and thereby deal with him contemptuously. The playwright wrote: “Every age has its silent ones... Take a closer look: you are surrounded by silent ones.” Molchalin became a household word for meanness and lackeyness. His last name speaks about this. Molchalin became a symbol of slavish silence, to which first Arakcheev, and then Nikolai I, sought to accustom Russia. Saltykov-Shchedrin defined the danger of the silent people as follows: “Oh happy, oh a hundred times blessed silent people! They silently, slowly crawl from one period of history to another.” .
Modern Molchalins are dangerous because they are difficult to discern, “Having served, modest, quiet,” he discreetly incriminates, carefully and quietly informs, sells and betrays. And “having reached known degrees,” the Silencers “are blissful in the world.”