Episodic characters are woeful. Off-stage and episodic characters and their role in A. S. Griboyedov’s comedy “Woe from Wit”

Collection of essays: Off-stage and episodic characters and their role in A. S. Griboyedov’s comedy “Woe from Wit”

“Woe from Wit” is a realistic work in which the author gives a generalized picture of the life of noble Moscow in the 20s of the 19th century. A large number of characters, representing Moscow noble society, is supplemented by off-stage characters, that is, characters who do not appear on stage, but about whom we learn from the stories of the main characters. In order to expand the scope of the work, strengthen generalization and typification, off-stage characters are introduced. This is an innovative technique of Griboedov the playwright.

The characters who help to outline the ideals, principles and values ​​of the “past century” are Maxim Petrovich, whom Famusov recalls with reverence (“Then it was not the same as now: he served Catherine under the Empress”).

Foma Fomich, Kuzma Petrovich, Tatyana Yuryevna, “Nestor of the noble scoundrels,” Princess Marya Alekseevna and others - they all occupy a fairly high social position: officials, nobles, dignitaries - “aces”.

Other heroes, close in spirit and worldview to Chatsky, as if repeating his world, thoughts, behavior, are Prince Fedor, and a chemist, and a botanist, and Skalozub’s cousin.

The role of off-stage characters is to create, within the limited framework of the play, a broad picture of the entire life of Russia at that time. These heroes not only expand the scope of the work, but also help to better understand and appreciate the characters.

Unlike off-stage characters, secondary characters appear on stage, but do not play a leading role in the development of the conflict. Like other characters, minor characters clearly characterize Famus society. Among them, the most prominent are Zagoretsky and Repetilov, necessary companions of this society. It is the figure of Zagoretsky who proves that noble society is deeply immoral. Khlestova characterizes Zagoretsky this way: “he is a liar, a gambler, a thief,” but he is a master of service, so doors are open for him everywhere. From Gorich we learn that he is also an informer (“he can endure it”), Gorich warns Chatsky to speak openly in front of Zagoretsky.

Repetilov is, as it were, a parody of Chatsky; in his image, people who distort and vulgarize high ideas are condemned. Repeaters will exist forever; the type of imitator has always arisen at turning points. People like Repetilov try to be called advanced and progressive, but in fact, behind this lies emptiness: “We’re making noise, brother, we’re making noise!”

But the most interesting is the role of Lisa in the comedy “Woe from Wit”. From the very beginning of the play we see that Lisa is an extraordinary person, she has a lively mind, cunning, and insight, which help her to understand people well. She gives apt characteristics to other characters : Skalozub ("speaking, but painfully not cunning"), Chatsky ("who is so sensitive, and cheerful, and sharp). true face. Famusov, who is “known for his monastic behavior,” quietly trails after the maid. He is silent, loving the young lady “by his position,” and is also not averse to hitting on Liza. It seems to me that the image of Lisa is, as it were, the engine of the entire play; if it had not been there, the outcome would have been completely different. So, Lisa plays an important role in the development of the plot of the comedy. All the minor and off-stage characters made the play more interesting and rich. Thanks to them, as Goncharov noted, in a group of a small number of people, all the previous

The events depicted in the play take place in post-war years(after the War of 1812), when two opposing camps begin to unfold. These are advanced nobles and conservatives. In the play, Chatsky represents the progressive nobles, and all the conservatives

Conflict

The private conflict reflected an epoch-making conflict. But the public would not have become so significant if it had not been associated with specific individuals, albeit fictitious ones. An intelligent and honest, open young man fights against the vicious age of the past.

There are two storylines: love and social. The comedy begins with a love affair. Chatsky, who had been absent for three years, arrives at Famusov’s house and is met by the owner’s daughter, Sophia. "Woe from Wit" presents love story. Chatsky is in love and expects reciprocity from the girl. Further love line intertwined with the public.

Chatsky and Famusov embodied two opposing camps in society. Alexander Andreich's conflict with the past century becomes inevitable as soon as Chatsky crosses the threshold of Famusov's house. With his honest views and ideas, he encounters depravity, mustiness and servility.

Speech of heroes and speaking names

If we talk about the speech of comedy characters, it quite clearly characterizes their characteristics. For example, Skalozub often uses military vocabulary, which indicates his profession. Khlestova uses rich, rich vocabulary. Main character Chatsky is a master of Russian speech, which is worth only in his monologues, filled with such liveliness and beauty (“And who are the judges?”). Chatsky is not only a young man in love, he is, first of all, an ardent denouncer of the vices of Famus society. Only with words and nothing else does the truth-seeking Chatsky stigmatize those around him. Many phrases put into the mouth of the main character became catchphrases. Chatsky’s speech, on the one hand, was close to Radishchev’s language, on the other, it was very original. A.S. Griboyedov fundamentally abandoned book speech and foreign words in comedy in the monologues of the main character.

The names of the characters can be safely called telling. Molchalin in the comedy “Woe from Wit” (from the word “to be silent”) is a taciturn, quiet young man. This list can be supplemented with such surnames as Tugoukhovsky, Repetilov, Skalozub.

Skalozub

The writer considered the main task of the comedy to depict the images of Famus society. There are no unnecessary characters in the work. All images are important for characterizing both the main characters and their entire environment.

Skalozub is a rude lout with characteristic manners and appearance. The speech reveals the ignorance, stupidity and spiritual impoverishment of this person. This typical representative of Famus society opposes science and education as such. Naturally, Sergei Sergeich Skalozub is a welcome guest of the Famusov family and others like him. In addition, it is in the image of Skalozub that Griboyedov shows the type of careerist who does not disdain any means when moving up the career ladder.

Prince and Princess Tugoukhovsky, Khlestova

The Tugoukhovskys are shown in a satirical manner. Prince Tugoukhovsky is a typical henpecked wife. He hears practically nothing and only obeys the princess unquestioningly. The prince represents Famusov in the future. His wife is an ordinary representative of the surrounding society: stupid, ignorant, and has a negative attitude towards education. In addition, both are gossips, since they are the first to spread rumors that Chatsky has gone crazy. No wonder critics divided everyone minor characters into three groups: Famusov, candidate for Famusov, Famusov-loser.

Khlestova is presented as a smart lady, however, she is also subject to the general opinion. In her opinion, a person’s honesty and intelligence directly depend on social status and wealth.

Repetilov and Zagoretsky

Repetilov is the type of Famusov the loser in the comedy “Woe from Wit.” A character who has absolutely no positive traits. He is quite stupid, careless, and loves to drink. He is a superficial philosopher, a kind of parody of Chatsky’s line. The author made Repetilov into a parody double of the main character. He also promotes social ideas, but this is just following fashion and nothing more.

Another Famusov loser is A.A. Zagoretsky. In the characteristics given to him by the other characters, one can see several times words synonymous with the term “fraudster.” For example, Gorich says: “An out-and-out swindler, rogue: Anton Antonich Zagoretsky.” However, all his fraud and lies remain within the confines of everyday life, otherwise he is a completely law-abiding citizen. In Zagoretsky there is even more from Molchalin than from Famusov. Everyone needs him, despite the fact that he is a gossip and a liar. He not only picks up the rumor about Chatsky’s madness, but also complements it with his own fantasies.

The character for whom Griboedov showed a little sympathy is Gorich. “Woe from Wit” brings onto the stage Chatsky’s friend, who arrived at Famusov’s ball with his wife. He a kind person, soberly assessing surrounding reality. It is not included by the author in any group. Chatsky’s friend and ally earlier, now, having heard about his “illness,” does not believe it. But it is not without its shortcomings. Having a gentle character, after marriage Gorich became henpecked by his wife and forgot his beliefs. His image is that of a servant husband.

In other words, in the comedy “Woe from Wit” this character and a number of others personify the “past” century with its rules, ideals and habits. All of these are individuals limited in their development, who are categorically against everything new, and most importantly, against the open truth.

The difference between comedy and literature of the 18th century

The huge and fundamental difference between Griboyedov’s comedy and the works of the 18th century is that almost all the characters in it are not just positive or negative types, they are shown in many ways. In “Woe from Wit,” the character of Famusov is depicted not only as a person who is in spiritual stagnation; Famusov - good father his family, a real gentleman. Chatsky is very passionate and sensitive, at the same time witty and intelligent.

Chatsky in the comedy “Woe from Wit” leaves, disappointed in the object of his love. To the question of who he is - a winner or a loser, one can answer this way: Chatsky was broken by the amount of old power, but he won last century the quality of new strength.

This is how the social typification of characters manifests itself. If here the author departs from classicism, then in the love affair, on the contrary, he tries to comply with the laws of this particular direction. There is a heroine and two lovers, an unsuspecting father and a maid covering for her mistress. But otherwise there is no similarity with the classic comedy. Neither Chatsky nor Molchalin are suitable for the role of the first lover. In the comedy "Woe from Wit" there are no heroes-lovers from classicism: the first one loses, the second one is not a positive hero in all respects.

Cannot be called ideal heroine and Sophia. “Woe from Wit” presents to our attention a girl who is not stupid, but is in love with the worthless Molchalin. He's convenient for her. He is someone who can be pushed around for the rest of his life. She does not want to listen to Chatsky and is the first to spread the rumor about his madness.

Lisa in to a greater extent a reasoner rather than a soubrette. Among other things, the comedy traces a second, comic love line and a third, related to the relationship between Liza, Molchalin, Petrusha and Famusov.

Off-stage characters

In addition to the main and minor characters, with a skillful hand the writer introduced non-stage characters into the work. They are needed in order to increase the scale of the conflict of two centuries. These characters embody both the past and the present century.

Just remember the chamberlain Kuzma Petrovich, who was rich himself and was married to a rich woman. These are Tatyana Yuryevna and Praskovya, narrow-minded foreigners who came to Russia to earn money. These images and a number of others lead the reader to the idea of ​​the large-scale conflict presented vividly in the play “Woe from Wit.” The character who shows the reader that Chatsky is not alone, behind him there are those who will promote ideas that support him, is also presented, and not in one way, but in several. For example, the comedy mentions Skalozub’s cousin from the village, a relative of Princess Tugoukhovskaya.

The main task that the writer performed when portraying the characters in the play was to show their views on society, and not to reveal them psychological characteristics. Griboyedov is first and foremost a writer-educator, therefore in each image he clearly outlines certain moral qualities or lack thereof. He typifies character traits and qualities and immediately individualizes them.

Chatsky has surpassed his age in everything. That is why he became a model of sincerity and nobility, and Famusov and Skalozub became a symbol of vulgarity and stagnation. Thus, using the example of 20 individuals, the writer reflected the fate of an entire generation. Chatsky's views are the views of the entire progressive movement of future Decembrists. Chatsky and Famusov are representatives of two generations, two centuries: the enlightened century and the obsolete century.

IN Russian classics Griboyedov is known as the author of the first comedy, combining examples of classicism and realism, although he had other comedies created earlier. Previously created plays included the beginnings of a combination various styles to found a new, but the true result of the innovative genre, was Griboyedov’s work “Woe from Wit.” The author came up with the idea for the play in 1820; the writer received significant assistance in describing the characters from the stories of his longtime friend, E. B. Grekhova. Griboedov’s comedy is considered the height of poetic dramaturgy; lines from the play instantly turned into quotes that are still used in our lives.

Characteristics of the heroes “Woe from Wit”

Main characters

Minor characters

In "Woe from Wit" the heroes, one of whom is Chatsky, show the conflict of generations. This play also contains off-stage characters, the list of which includes representatives of Moscow society. The main characters of "Woe from Wit", except for Chatsky, have no prototypes; some minor characters express the features of the author's contemporaries from literary society. This table, which gives characteristics of the heroes, can help in presenting summary plays.

Work test

Published by him in 1825. It is a satire on the society of aristocrats. It contrasts two radically different positions for the nobility: liberal and conservative. Famusov is a typical nobleman who perceives himself as a representative of the upper class; government official. The second side is represented by Chatsky - new type a nobleman, aimed at more humanistic views, obtaining an excellent level of education, and not at satisfying selfish needs and exploiting the labor of others.

Characters from “Woe from Wit”

We will present a brief description of the heroes of Griboyedov’s comedy in the table:

A little bit more detailed descriptions heroes of the comedy “Woe from Wit” with speech characteristics Let's look at it further.

Woe from Wit: Brief Description of the Main Characters

Chatsky

Picturesque main character , who challenged the society that Famusov prefers. At the same time, he was brought up in this family, since Chatsky’s parents died, but were friends with Pavel Afanasyevich. Alexander Andreevich received a good education, traveled and became a member of the English Nobles' Club. He returned to his native land because he was in love with Sofya Famusova, but was disappointed with the morals of the local secular society and Pavel Afanasyevich in particular.

Eloquent, attracts attention. He is similar to Sophia in his level of education and wit, but if he does not strive to humiliate a person, but only to show him the truth about himself, then Sonya simply emphasizes his superiority over others. If at first she seems to Alexander to be open to everything new, lively and sensual, like him, then she later finds out the true state of affairs and is severely disappointed.

Chatsky is a contrast to each of the heroes described in Griboyedov’s comedy. He is independent, impatient with human stupidity and therefore goes into open conflict with the characters surrounding Famusov, in each of whom Alexander sees flaws and exposes them.

Chatsky's views:

1. About military service and bureaucratic service: “Of the young people, there will be an enemy of quest, // Without demanding either places or promotion to rank, // He will focus his mind on science, hungry for knowledge; // Or God himself will arouse the heat in his soul // To creative, high and beautiful arts...” (Griboedov).
2. He advocates for the movement of the nobility forward, advocates its development and liberation from previous attitudes towards the ownership of serfs, hypocrisy towards each other.
3. Calls for a patriotic attitude towards one's nation, and not for following the fashion of France and Germany. Does not approve of the desire to copy Western traditions, excessively worship everything foreign.
4. Emphasizes that a person should be assessed not for his origin and belonging to a certain family, but only for his own actions, qualities, ideas.

Pavel Famusov

A controversial hero. Quite active for his age, he pesters the maid and, in principle, is not particularly delicate with the servants, but he treats his family and friends with respect. He is looking for a profitable match for Sophia. Conservative and grouch. Knows how to flatter to the right people, adapt, but in everyday life it’s tough.

Famusov's views, features:

Characteristics of Famusov based on quotes from “Woe from Wit”:

Sofia Famusova

She is 17, she is of noble blood, comprehensively developed and with a good dowry, an enviable bride. Sonya likes Molchalin until Chatsky arrives. She can dance and loves music.

Sophia is frank, but at the same time naive. Molchalin uses her feelings for himself for his own purposes, but she believes him, and not Chatsky, who is sincere with her to the end. Famusov’s daughter is simultaneously perceived as a romantic nature, creative, laughing at the vices of noble society, but also an example of immorality (her secret connection with Molchalin), narrow-mindedness and limited interests. Sonya is proud and selfish, does not notice her shortcomings.

Famusova is a flighty girl, fickle in choosing a groom. Which confirms quotation description Sophia:

...I may have acted very carelessly, / And I know, and I’m guilty; but where did it change?..

Sonya's father adds fuel to the fire when he convinces his daughter to think in her own terms when choosing a husband:

...Whoever is poor is not a match for you...

Molchalin

Cold, emotionless man who is only interested in his career. He is pedantic, strives to teach Chatsky, to guide him on the “right path.” He meets Sophia for personal gain; he himself is hardly capable of deep feelings.

• Silent (as indicated by his speaking surname): “not rich in words”, “after all, nowadays they love the dumb.”
• Gives monosyllabic answers, constantly thinking about what to say depending on the situation and the person addressing him.
• Concerned material well-being and achieving high status.
• Restrained and moderate in everything.
• Absolutely no position on morality, love, civic duty, honor.

Colonel Skalozub

Potential groom, considered by Famusov for Sonya. A wealthy officer, but a rather limited person in interests and views. Tough, follows certain rules in life, does not allow any deviations from what is planned. He leads a wild lifestyle and dreams only of advancement in the service. He honestly and regularly fulfills his military duty, has awards, and in society supports fashionable trends in clothing. However, he opposes the development of education and does not recognize books.

Characteristics of minor characters

There are many heroes in the comedy “Woe from Wit”, we will briefly highlight the remaining minor ones.

So, we got acquainted with the characters of the comedy “Woe from Wit” by Griboyedov. The author put several shortcomings into each of them, showing through them his attitude towards the former nobility and serfdom. The work contains farcical situations, but at the same time it is filled with the depth and severity of the experiences of the main characters.

The comedy by A. S. Griboyedov “Woe from Wit” is a kind of “encyclopedia of Russian life” of the first half of the 19th century century. Having significantly expanded the scope of the narrative due to many minor and off-stage characters, Griboyedov outlines magnificent human types contemporary Moscow.

As O. Miller notes, almost all minor characters in comedy come down to three types: “Famusovs, candidates for Famusovs and Famusovs-losers.”

The first of them to appear in the play is Colonel Skalozub, a “fan” of Sophia. This is “Famusov in an army uniform,” but at the same time, Sergei Sergeich is “much more limited than Famusov.”

Skalozub has characteristic appearance(“three fathoms daredevil”), gestures, manners, speech, in which there are many military terms (“division”, “brigadier general”, “sergeant major”, “distance”, “line”).

The character traits of the hero are just as typical. Griboyedov emphasizes rudeness, ignorance, mental and spiritual limitations in Skalozub. Rejecting his “potential suitor,” Sophia notes that he “hasn’t uttered a smart word in his life.” Being not very educated, Skalozub opposes science and education, against the “new rules.” “You can’t faint with your learning...” he confidently declares to Repetilov.

In addition, the author emphasizes another feature in Skalozub - careerism, “a crudely expressed passion for crosses” (N.K. Piksanov). Sergei Sergeich, with barely conscious cynicism, tells Famusov about the reasons for his promotion:

I am quite happy in my comrades,

The vacancies are just open;

Then the elders will turn off others,

The others, you see, have been killed.

In Famusov’s house, Skalozub is a welcome guest: Pavel Afanasyevich considers him a suitable groom for Sophia. However, Sophia, like Chatsky, is far from delighted with the “merits” of Sergei Sergeich. Old woman Khlestova also supports her niece in her own way:

Wow! I definitely got rid of the noose;

After all, your father is crazy:

He was given three fathoms of daring, -

He introduces us without asking, is it pleasant for us, isn’t it?

Finally, Lisa very aptly characterizes Skalozub: “And the golden bag, and aims to become a general.”

The image of Skalozub has comic elements. The very name of the hero hints at this. Lisa talks about Skalozub’s jokes in the comedy.

And Skalozub, as he twirls his crest,

He will tell the story of fainting, add a hundred embellishments;

He’s also good at making jokes, because nowadays who doesn’t joke!

Sergei Sergeich’s speech is often comical. So, about Moscow he notes: “Distances of enormous size,” about his relationship with Nastasya Nikolaevna - “We didn’t serve together,” about Molchalin’s fall from a horse - “Look at how he cracked - chest or sideways?”

N.K. Piksanov considered the image of Skalozub insufficiently developed and unfinished. It is not clear to the reader whether Skalozub is going to marry Sophia, and whether he guessed about her affair with Molchalin after seeing Sophia’s reaction to Molchalin’s fall from his horse. However, despite some incompleteness, the image of Skalozub very organically entered the circle of characters created by Griboyedov.

Almost all the characters in the comedy are depicted just as vividly and vividly.

Prince and Princess Tugoukhovsky are among the first to come to Famusov. They hope to find rich suitors for their daughters at the ball. Chatsky suddenly comes into their sight, but, having learned that he is not rich, they leave him alone.

The Tugoukhovsky couple are depicted satirically by Griboyedov. Prince Tugoukhovsky (as indicated by the surname itself) hears almost nothing. His speech consists of separate exclamations: “Oh-hmm!”, “I-hmm!” He unquestioningly follows all his wife’s instructions. This hero embodies the aged Famusov. Princess Tugoukhovskaya is distinguished by a rather evil disposition and causticity. So, she sees the reason for the arrogant behavior of the countess-granddaughter in her “unfortunate fate”: “She’s evil, she’s been around girls for a whole century, God will forgive her.” Like all of Famusov’s guests, Princess Tugoukhovskaya does not see the benefit of education and believes that science poses a threat to society: “in St. Petersburg, the pedagogical institute, I think, is called that: there professors practice schism and unbelief!” The Tugoukhovskys quickly pick up the gossip about Chatsky’s madness and even try to convince Repetilov of this.

Among the guests are Famusova and Countess Khryumina with her granddaughter, who are also happy to believe in Chatsky’s madness. The countess-granddaughter tells the news to Zagoretsky. The Grandmother Countess, suffering from deafness, interprets everything she hears in her own way. She declares Alexander Andreevich a “damned Voltairian” and a “pusurman.”

Famusov’s guests are also joined by his sister-in-law, old woman Khlestova. S. A. Fomichev calls this heroine Famusov for the female half of society. Khlestova is a self-confident lady, intelligent, experienced, and insightful in her own way. Just look at the description given to her by Zagoretsky:

He's a liar, a gambler, a thief...

I left him and locked the doors;

Yes, the master will serve: me and sister Praskovya

I got two little blacks at the fair;

He bought tea, he says, and cheated at cards;

And a gift for me, God bless him!

She is also skeptical towards Skalozub and Repetilov. With all this, Khlestova shares the opinion of Famusov’s guests about science and education:

And you will really go crazy from these, from some

From boarding schools, schools, lyceums, you name it,

Yes from lancard mutual training.

Khlestova here has in mind the Lancastrian system of education, however, for her age and lifestyle, this confusion of concepts is quite forgivable and very realistic. In addition, it is worth noting that this statement does not contain the belligerence that is characteristic of Famusov and Skalozub’s speeches about enlightenment. Rather, here she is simply keeping the conversation going.

In Khlestova’s mind, the human dignity of those around her is inextricably fused with theirs. social status, wealth and rank. So, she notes about Chatsky: “He was a sharp man, he had three hundred souls.” Her intonations in conversations with Molchalin are condescending and patronizing. However, Khlestova perfectly understands the “place” of Alexei Stepanych and does not stand on ceremony with him: “Molchalin, there’s your closet,” she declares, saying goodbye.

Like many of Famusov’s guests, Khlestova loves to gossip: “I don’t know other people’s estates!” She instantly picks up the rumor about Chatsky’s madness and even puts forward her version of events: “Tea, he drank beyond his years.”

The image of Repetilov in the comedy is caricatured. This is exactly the type of “Famusov the loser”. This is an absurd, careless, stupid and superficial person, a visitor to the English Club, a lover of drinking and carousing, philosophizing in noisy companies. This character sets the theme of “ideological fashion” in the comedy, as if parodying Chatsky’s social line.

As O. Miller and A. Grigoriev note, “Repetilov... failed to achieve any real professional benefit from marrying the daughter of the influential von Klock, and so he fell into liberal rhetoric....”

Repetilov tries to captivate Chatsky with “free-thinking” and describes to him “secret meetings” in the English Club, where they talk “about Beiron”, “about important mothers”. Repetilov tells Chatsky about “smart youth,” including the “true genius” Ippolit Udushev. This description sounds like frank satire:

Night robber, duelist,
He was exiled to Kamchatka, returned as an Aleut,
And the hand is unclean;
Yes, an intelligent person cannot help but be a rogue.
When he talks about high honesty,
Some kind of demon inspires:
My eyes are bloody, my face is burning,
He cries himself, and we all cry.

This is what Pushkin wrote about this image: “...What is Repetilov? it has 2, 3, 10 characters. Why make him ugly? It’s enough that he is flighty and stupid with such simplicity; It’s enough that he admits every minute to his stupidity, and not to his abominations. This humility is extremely new in the theater; has any of us ever felt embarrassed while listening to penitents like him?”

Repetilov in the comedy is a kind of parody of Chatsky; he is a double character who comically reduces the ideas of the main character. Repetilov’s literary “brothers” are Grushnitsky from Lermontov’s novel “A Hero of Our Time,” Sitnikov from Turgenev’s novel “Fathers and Sons,” Lebezyatnikov from Dostoevsky’s novel “Crime and Punishment.”

Among Famusov’s guests is the “slick socialite” Anton Antonich Zagoretsky. This is also the “Famusov-loser” type. Having failed to obtain ranks and titles, he remains a petty swindler and ladies' man. Gorich gives him an exhaustive description:

Outspoken swindler, rogue:

Anton Antonich Zagoretsky.

With it, beware: endure too much,

And don’t play cards, he’ll sell you.

Old woman Khlestova also joins Platon Mikhailovich: “He’s a liar, a gambler, a thief,” she says to Sophia. However, all of Zagoretsky’s “riot” is limited to the everyday sphere. In the “ideological” sense, he is completely “law-abiding”:

What if, between us,
I was appointed censor
I would lean on fables; Oh! fables are my death!
Eternal mockery of lions! over the eagles!
Whatever you say:
Although they are animals, they are still kings.

As O. Miller and A. Grigoriev note, Zagoretsky is a candidate for Famusov, but his circumstances turned out differently, and he took on a different role - a universal servant, a pleaser. This is a kind of Molchalin, necessary for everyone.

Zagoretsky is a notorious talker and liar. Moreover, his lies in comedy are practically groundless. He, too, is happy to support the gossip about Chatsky, without even remembering who he is talking about: “His uncle, the rogue, put him in the madhouses... They grabbed him, put him in the yellow house, and put him on a chain.” However, he puts forward a different version to Countess Khryumina: “In the mountains he was wounded in the forehead, he went crazy from the wound.”

Visiting Famusov and the Gorich couple. Gorich is an old friend of Chatsky from the days military service. Perhaps this is the only comedy character written by Griboyedov with a touch of sympathy. It seems that we cannot classify this hero as one of the types described earlier (Famusovs, candidates for Famusovs, Famusovs-losers). Gorich is a kind and decent person who has no illusions about the morals of secular society (remember the characterization that Gorich gives to Zagoretsky). This is the only hero who seriously doubts after hearing gossip about Chatsky’s madness. However, Platon Mikhailovich is too soft. He lacks Chatsky’s confidence and conviction, his temperament, and courage. Submitting to his wife in everything, he became “weak in health,” “calm and lazy,” and out of boredom he amuses himself by playing the flute. “A boy-husband, a servant-husband, one of the wife’s pages”—it is this type that is represented in the image of Gorich.

Gorich's behavior illustrates in the comedy the theme of men's submission to their domineering wives. Prince Tugoukhovsky is also submissive and silent “before his wife, this efficient mother.” Molchalin is also timid, quiet and modest during his dates with Sophia.

So, Skalozub, Prince and Princess Tugoukhovsky, Countess Khryumina. old woman Khlestova, Repetilov and Zagoretsky, Gorichi... - “all these are types created by hand true artist; and their speech, words, address, manners, way of thinking, breaking out from under them - brilliant painting...". All these images are bright, memorable, original. Griboedov's heroes embody the leisurely “past century”, with its life traditions and moral rules. These people are afraid of new trends, they are not too fond of science and enlightenment, courage of thoughts and judgments. Thanks to these characters, as well as off-stage heroes, Griboyedov creates a wide panorama of Russian life. “In a group of twenty faces, reflected like a ray of light in a drop of water, the whole of the former Moscow, its drawing, its then spirit, historical moment and morals."