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 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 smart person can't help but be a rogue.
When he talks about high honesty,
Some kind of demon inspires:
Eyes bloody, face 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 “dexterous 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 “rampage” 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."
“Woe from Wit” is a truly brilliant work, which forever made its author a great classic of Russian literature. This satirical play literally immediately fell apart catchphrases, quotes and expressions even when it was not yet so well known to the general public. Griboyedov very truthfully portrayed the life of the Moscow nobility and accurately described the characters of the heroes, inherent in people that century. And most importantly, he gave so much wisdom and magnificent satire that now, for almost two centuries, we have been learning from all this to understand the world of our ancestors.
"Woe from Wit." Comedy A.S. Griboedova
The main characters of the work “Woe from Wit” very clearly show that in secular society early XIX century, a split formed between the young, advanced generation with progressive views, represented in the image of Chatsky, and the fixated conservatives of the old generation in the image of Famusov. “Woe from Wit” is a comedy where these two main characters are shown very brightly and colorfully, and each is principled and adamant in his truth. However, there is also minor characters comedies that also add their own colors to the plot. They can be divided into three types: “Famusovs”, those who pretend to be “Famusovs”, and “Famusovs-losers”.
Zagoretsky, “Woe from Wit.” Characteristics of this hero
Among the invited guests in Famusov's house in the third act, Anton Antonovich Zagoretsky appears - a “slick socialite” who represents the “Famusovs are losers” type. He has no ranks or titles, everyone considers him “an out-and-out swindler and a rogue,” “a liar, a gambler and a thief.”
Expanding the theme “Zagoretsky, “Woe from Wit.” Characteristics,” we can say that in Famusov’s society he defined for himself the role of a universal pleaser and servant, who is always looking for an opportunity to please with his behavior and flattery and, even better, unexpected gifts, and therefore this always evokes great sympathy and approval from everyone around him . For example, he got Khlestova’s guest two “Arapchenko” at the fair or, most likely, cheated them at cards and Sophia got a ticket to the theater when no one could do it.
Unflattering hero
The character Gorich also constantly speaks unflatteringly about Zagoretsky, but believes that even though everyone scolds him, he is willingly accepted everywhere. This hero really fits into all decent houses in the capital. The image of Zagoretsky is collective image noble society, which began to gradually rot and look extremely immoral. This character is always more comfortable lying about something than remembering the truth. He really is so used to lying that no one pays any attention to his lies.
Zagoretsky, like Repetilov, is given a special place in the comedy “Woe from Wit”. Although critics classify them as one, they are not its defenders. However, it is with their tacit consent the fate of other people can be decided.
Role in society
Returning to the topic “Zagoretsky, “Woe from Wit.” Characteristics,” we will even express the opinion that Zagoretsky is a person “close to a political detective” in character. And this is not at all accidental. This idea is suggested by quotes from Zagoretsky, who say that if he received the position of censor, he would first of all “lean” on fables where eternal ridicule of lions and eagles reigns: “Although they are animals, they are still kings.”
Zagoretsky quickly and passionately conducts conversations, he loves to exaggerate everything and can inflate any rumor to incredible proportions. And he does not react angrily to harsh statements about himself, but simply reduces them to an ordinary joke.
Gorich in once again talks about him: “an original, grumpy, but without the slightest malice.”
Griboyedov assigns him the role of a man who spreads false rumors about Chatsky. Zagoretsky still didn’t really understand who he was talking about, but different versions of madness were already born in his head. Khlestova said about Chatsky that he drank a lot “in large bottles,” Zagoretsky adds that he drank in “forty barrels.”
Off-stage images
Zagoretsky is one of the off-stage characters and an innovative technique of playwright Griboyedov. Such heroes reveal the picture of the “past century” even wider and outline its values and ideals. The role of off-stage characters is that they help to better understand and reveal the behavior of the main characters and everything Famusov society. It is the figure of Zagoretsky that shows the immoral behavior of noble society. By the way, we also learn from Gorich that Zagoretsky is an informer. And Chatsky immediately receives a warning from Gorich that it is better not to speak openly in front of him.
In conclusion to the theme “Zagoretsky, “Woe from Wit.” Characteristics”, it is important to note that the status of a nobleman in Russia was protected by this very fact, and if he followed traditions and foundations, he had good prospects for making a successful career and getting rich due to this. The main thing is not to be such losers and crazy people-pleasers like Zagoretsky, who knows everything about everyone and follows the precepts of his father “to please everyone without exception.”
Platon Mikhailovich
Platon Mikhailovich is one of the most memorable secondary characters in the comedy “Woe from Wit”; Famusov's guest and Chatsky's old friend. Platon Mikhailovich Gorich served with Chatsky in the same regiment. Now he has retired, married and lives in Moscow. Chatsky notices the change that occurred in his comrade after marriage, and is ironic about this. At the same time, he sympathizes with him, because Natalya Dmitrievna took full patronage over her husband.
In Chatsky’s eyes, this is a typical version of the development of relations in “Famus society.” Platon Mikhailovich gradually turned into a husband-servant, a husband-boy. The same thing could have happened to Chatsky if not for his willpower and love of freedom. Platon Mikhailovich himself admits to a friend: “Now, brother, I’m not the same.” And the “speaking” surname of the hero speaks for itself. Natalya Dmitrievna does not allow her husband to open his mouth, training him like a dog. Chatsky had already seen such a couple at the ball. This is the princely couple of the Tugoukhovskys.
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Each of the characters in the play fulfills its artistic function. Episodic characters highlight and complement the features of the main characters. The off-stage characters, although they do not act directly, play an important role: they indicate that Chatsky is opposed by a powerful and effective reactionary force. All the heroes, taken together, create a bright, full-blooded picture of Moscow noble society. At Famusov's ball, people who make up the elite of noble Moscow gather. They have many faces, but they all have common features : serfdom views, ignorance, veneration, greed. Episodic characters appear in comedy, replacing each other. Let's look at them in the order in which they are depicted in the comedy. The first of the guests to appear at the ball are the Gorich couple. This is a typical Moscow married couple. Chatsky knew Platon Mikhailovich before the latter’s marriage. He was a cheerful, lively person, but after his marriage to Natalya Dmitrievna, he changed a lot: he fell under the heel of his wife, became “a boy-husband, a servant-husband.” Natalya Dmitrievna does not even allow her husband to “open his mouth”: she answers Chatsky’s questions for him, talks to him in an orderly tone: “Listen once, dear, fasten your buttons.” Gorich understands his situation very well and has already come to terms with it. He bitterly says to Chatsky: “Now, brother, I’m not the same.” In general, the motive of the husband’s subordination to his wife runs through the entire work. Griboedov draws a parallel between Platon Mikhailovich and Silent Others. Natalya Dmitrievna’s husband says: “There is still something to do: / On the flute I repeat a duet / A-prayer.” With this phrase, the author refers the reader to the beginning of the comedy, when Molchalin and Sophia play a duet on the piano and flute behind the stage. Sophia gives preference to Molchalin, although she could choose Skalozub or Chatsky. Molchalin earned her love because he is “the enemy of insolence.” Sophia was brought up in the Famus spirit, and she needs a husband like Gorich - a “husband-boy”, “husband-servant”. Lackey Petrusha hardly speaks in the comedy; he is ordered by Famusov, who orders him: “Go,” “Go, hurry up.” And he obeys. However, Lizanka says about him: “How can you not fall in love with the bartender Petrusha?” Petrusha knows how to obey, and that’s what he likes too: Lizanka fell in love with him. The Tugoukhovsky family also comes to the ball. The princess is very concerned about finding suitors for her daughters. The reader understands this almost from her first words. As soon as she sees Chatsky and learns that he is not married, she sends her husband, the same “husband-boy”, “husband-servant”, to invite a potential groom to her place. But as soon as she finds out that Chatsky is not rich and does not have a high rank, she “at the top of her lungs” shouts: “Prince, prince! Back!" The figure of Princess Tugoukhovskaya helps to better understand Famusov’s character. Pavel Afanasyevich wants to marry his daughter to a rich, powerful, prominent person in society. Princess Tugoukhovskaya pursues the same selfish goals. Through the figure of Princess Griboedov, he emphasizes such traits in Famusov’s character as self-interest and veneration for rank. In Famus society, grooms are chosen for rich brides according to the following principle: * Be inferior, but if there are two thousand family souls, * He is the groom, and also “Whoever is poor is not a match for you.” The Khryumina countesses appear at the ball. This is completely embittered the world around us Hrymnna-granddaughter with her half-deaf grandmother. Khryumina the granddaughter cannot find a worthy groom and therefore is dissatisfied with everything that happens around her. As soon as she arrives at the ball, she regrets that she arrived too early. Leaving the ball, the countess-granddaughter speaks of it this way: “Well, the ball!.. And there is no one to talk to, and no one to dance with!” She is angry that at the ball she did not meet anyone she could marry. Khryumina’s granddaughter shows her admiration for everything foreign and discovers a passion for “fashionable shops.” She often uses French words, even says several entire phrases in French, which no one else does in comedy. In her person, Griboedov ridicules another characteristic feature of the nobility of that time: admiration for everything foreign. Chatsky in his monologue talks about a “Frenchman from Bordeaux” who feels like a “little king” in Russia, although he left his country “with fear and tears.” This Frenchman not only did not meet “barbarians” in Russia, but also heard his native language everywhere and saw that ladies wore the same dresses as in France. Using the image of a “Frenchman from Bordeaux,” Griboyedov shows that noble society imitates French morals and customs so much that Russian nobles cannot be distinguished from the French - they have become “Frenchized.” Zagoretsky more than others episodic characters"involved" in comedy. This is perhaps the most vicious person present at Famusov’s ball. Everyone openly says about him: “He’s a notorious swindler, a rogue,” “He’s a liar, a gambler, a thief.” But, despite such a destructive characteristic, he is accepted in the world, the doors of Famusov’s house are open for him, even Khlestova said about him kind word: “God bless him!” Zagoretsky pays off with his helpfulness; he tells Sophia that no one would have served her like that, that he “knocked everyone off their feet,” while getting tickets to the performance, he confesses that he “has already kidnapped him by force.” This phrase reveals the baseness of Zagoretsky’s character. He will do anything to please to the right person at the right time. When the old woman Khlestova wanted “from him even the door to be locked,” he served her by giving her a little arap, which he, apparently, got in some dishonest way, thereby winning her over. Characteristic feature one of the main characters of the comedy - Molchalin - coincides with the main character trait of Gorodetsky. Molchalin says: “My father bequeathed to me: First, to please all people without exception.” Chatsky expresses his opinion about Molchalin: “In him, Zagoretsky did not die.” Indeed, Griboedov shows Zagoretsky as a “notorious swindler”, “liar”, “cheat” in order to more clearly reveal the same baseness of soul in Molchalin - the future Zagoretsky. The sixty-year-old lady Khlestova also comes to the ball. This is a serf woman, imperious and willful, according to Goncharov, “a remnant of Catherine’s century.” In the image of Khlestova, Griboedov reveals the cruelty of serfdom, in which people are treated like dogs. Khlestova takes “a blackamoor girl and a dog” with her to the ball. For her, a serf is like a dog. She asks Sophia: “Tell them to feed them, my friend,” and immediately forgets about them. In the comedy there is invisibly another character who treats the people under his control like dogs. Chatsky talks about him, calling him “Nestor of noble scoundrels.” This man exchanged his faithful servants, who saved his life and honor, for hunting dogs. The image of “Nestor” also demonstrates how cruelly people in power treat those who are subordinate to them. In a conversation with Sophia, Chatsky mentions several people with whom he knew before leaving abroad. He recalls a man who lives off his artists (“he himself is fat, his artists are skinny”) and only has fun. Chatsky says about him: “On his forehead it is written: “Theater and masquerade.” He remembered this “Theater and Masquerade” because at some ball he hid a person in the “secret room” so that he would “click the nightingale.” Then Chatsky talks about a man who drove children “stolen” from their parents to a “serf ballet” and “made all of Moscow marvel at their beauty,” and then sold them one by one. This is how Griboyedov reveals social inequality, in which children can be separated from their parents. Another acquaintance of Chatsky “settled in the academic committee” and protested “with a cry” against education. This character reveals the ignorance and lack of education of Famus society. The very last one to attend the ball is Repetnlov. This character in Griboedov’s portrayal is a man who vulgarizes and discredits the ideas of the time; he, with his “secret union” and “secret meetings on Thursdays”, where they only “make noise” and “drink champagne to kill”, appears as a good-for-nothing person , a talker for whom all advanced ideas are nothing more than a fashionable hobby. Re-peshlov names Chatsky some people who are authoritative in the “most secret union,” but the reader understands that all these people cannot bring real renewal to society: one is distinguished by the fact that he “speaks through gritted teeth,” the other by the fact that that he sings, two more are simply “wonderful guys,” and Ippolit Markelych Udushev is a “genius” because he wrote in the magazine “an excerpt, a look and something.” In the image of Repetilov, Griboyedov makes fun of random people in the circles of progressive society. There are many other representatives of Famus society at the ball. Griboyedov did not even give them full names. Such, for example, are Messrs. N. and B. The author does not say anything about them, but they participate in spreading gossip about Chatsky’s madness. Mister ^. doesn't believe it, but is interested in what others say about it. Sophia knew this whole mechanism very well, and as soon as she said a few words to the two “gentlemen”, the entire Famus society began to speak loudly about Chatsky’s madness. In the images of these petty gossips, Griboedov shows what noble society does: spreading gossip and rumors.
The comedy “Woe from Wit” reflected the confrontation between new ideas and old ones. Griboedov showed the clash of two ideologies: “the present century” and the “past century.”
At Famusov's ball, people who make up the elite of noble Moscow gather. They have many faces, but they all have one thing in common: serfdom, ignorance, veneration for rank, and selfishness.
Before the guests arrive, the most welcome guest for the owner, Skalozub, appears in Famusov’s house. This typical martinet, who can be called a blind performer, thinks only of a military career. He, like Famusov, is a staunch supporter of the old order.
The reason for coming to the ball is to find a rich bride. Famusov sees Skalozub worthy of his daughter Sophia, because he is “both a golden bag and aims to be a general.”
The first of the guests to appear at the ball are the Gorich couple. This is a typical Moscow married couple. Chatsky knew Platon Mikhailovich before he married - they were comrades in the service. He was a cheerful, lively person, but after his marriage to Natalya Dmitrievna, he changed a lot: he fell under the heel, became “a boy-husband, a servant-husband.” Natalya Dmitrievna does not even allow her husband to “open his mouth”; Gorich understands his situation very well and has already come to terms with it. He bitterly says to Chatsky: “Now, brother, I’m not the same.”
The Tugoukhovsky family also comes to the ball. The princess is very concerned about finding grooms for her daughters, she pushes the old prince around, as soon as she sees Chatsky and learns that he is not married, she sends her husband to invite a potential groom to her place. But as soon as she realizes that Chatsky is not rich and does not have a high rank, she shouts at the top of her lungs: “Prince, prince! Back!". In Famus society, grooms are chosen for rich brides according to the following principle:
Be inferior, but if there are two thousand family souls, he will be the groom.
The Khryumina countesses appear at the ball. This is Khryumina’s granddaughter, embittered at the whole world around her, with her half-deaf grandmother. Khryumina the granddaughter cannot find a worthy groom and therefore is dissatisfied with everything that happens around her. As soon as she arrives at the ball, she regrets that she arrived too early. She says: “Well, the ball!.. And there is no one to talk to, and no one to dance with!” She is angry that she has not met anyone here who she could marry. Khryumina’s granddaughter expresses her admiration for everything foreign and discovers a passion for “fashionable shops.” The arrogance of Khryumina the granddaughter outrages Chatsky:
Unlucky ones! Should there be reproaches from wannabe milliners? For daring to prefer originals to lists!
Zagoretsky is perhaps the most vicious person present at Famusov’s ball. Everyone talks about him openly
He is a notorious swindler, a rogue, he is a liar, a gambler, a thief.
But, despite such a destructive characteristic, he is accepted in the world, the doors of Famus’s house are open to him.
Zagoretsky pays off with his helpfulness, this is his baseness. He will do everything to serve the right person at the right time. Chatsky could not help but express his opinion:
And it would be funny for you to be offended; Besides honesty, there are many joys: They scold you here and thank you there.
The sixty-year-old lady Khlestova also comes to the ball. She always has her own opinion, knows her worth, and at the same time she is rude and tyrannical with the serfs. Khlestova takes “a blackamoor girl and a dog” with her to the ball. For her, a serf is the same as a dog. Chatsky was able to annoy even such an imperious and headstrong lady with his remark:
Such praise would make one ill at ease, and Zagoretsky himself could not stand it and disappeared.
The very last one to attend the ball is Repetilov. This man, who vulgarizes and discredits the ideas of the time, he, with his “secret union” and “secret meetings on Thursdays”, where they only “make noise” and “drink champagne to kill”, appears as a good-for-nothing sick person. Tun, for whom all advanced ideas are nothing more than a fashionable hobby. Repetilov uses the favor of authoritative people in the “most secret union,” but all these people cannot bring real renewal to society. Material from the site
There are many other representatives of Famus society at the ball. Griboyedov did not even give them full names. Such, for example, are Messrs. N and D. They participate in spreading gossip about Chatsky’s madness. They don't believe it themselves. But they are interested in what others have to say about it. The images of petty gossips show the goals and interests of Famus society: career, honors, wealth, rumors, gossip.
Chatsky compares favorably with Famus society. His image reflected typical features Decembrists. Chatsky is ardent, dreamy, and freedom-loving. He rebels against serfdom, the dominance of foreigners, the magical power of women in society, sycophancy, and serving persons rather than business. He realized true values that crowd in whose circle I spent only one day - and lost hope of finding like-minded people.
Before leaving Moscow, Chatsky angrily throws out to the entire Famus society:
He will come out of the fire unharmed, Whoever manages to spend a day with you, Breathe the same air, And his sanity will survive.
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