In the first thirds of the XIX centuries in Russian literature a type of superfluous person is emerging. These heroes, among whom the most famous are Pechorin, Onegin, Oblomov, are not like most people of their time. Superfluous people, whose minds are inquisitive and deep, “suffer from the disease of the century”: the problems of the world around them, vices and “ulcers” are obvious to them. modern society. Unsatisfied with life, these heroes are most unhappy from the inability to fix anything. The uncertainty of the high ideals that torment them is caused not by knowledge of the ways to realize them, but by the lack of specific goals and activities that could satisfy their high demands on themselves and on life - passivity and inactivity, the helplessness of existence.
Let's compare Chatsky, the hero of Griboedov's comedy “Woe from Wit,” with the image extra person.
Seeing the vices Famusov society, rejecting his inert foundations, mercilessly denouncing the veneration of rank, the patronage reigning in official circles, the stupid imitation of French fashion, the lack of real education, Chatsky turns out to be an outcast among the counts Khryumin, Khlestov and Zagoretsky. He is considered “strange”, and in the end he is even recognized as crazy. So Griboyedov’s hero, like extra people, comes into conflict with the imperfect world around him. But if the latter only suffer and are inactive, then “in the embittered thought” of Chatsky “one can hear a healthy urge to action...”. “He feels what he is dissatisfied with,” because his ideal of life is completely defined: “freedom from all the chains of slavery that bind society.” Chatsky’s active opposition to those “whose enmity towards free life nlrimirima”, allows us to believe that he knows ways to change life in society. In addition, Griboyedov’s hero, having passed long haul quest, having traveled for three years, finds a goal in life - “to serve the cause”, “without demanding either places or promotion to rank”, “to focus the mind hungry for knowledge into science.” The hero’s desire is to benefit the fatherland, to serve for the benefit of society, which is what he strives for.
Thus, Chatsky is undoubtedly a representative of an advanced society, people who do not want to put up with relics, reactionary orders and are actively fighting against them. Superfluous people, unable to find a worthy occupation for themselves, to realize themselves, do not join either conservatives or revolutionary-minded circles, keeping in their souls disappointment in life and wasting unclaimed talents.
The wonderful comedy “Woe from Wit” was written at the beginning of the 19th century by the great Russian writer Griboyedov. In this work, Griboedov touches on the most important problems of our time: political, social and everyday. But the main conflict of the comedy is relationships...
The comedy "Woe from Wit" gives big picture throughout Russian life of the 10-20s of the 19th century, reproduces the eternal struggle between old and new, which unfolded with great force at that time throughout Russia, and not just in Moscow, between two camps:...
Comedy A.S. Griboedov's "Woe from Wit" was created by the author over 8 years (1816-1824). This was a period when Russian literature developed rapidly and actively. In less than half a century, she went from classicism to sentimentalism, romanticism, realism....
In A.S. Griboyedov’s comedy “Woe from Wit” there is not a single pale, weak image. On the contrary, all the characters are sharply defined, each hero, even the most minor one, has his own unforgettable appearance. Famusov and Molchalin occupy one of the central characters among the characters...
In the first third of the 19th century, the type of superfluous person took shape in Russian literature. These heroes, among whom the most famous are Pechorin, Onegin, Oblomov, are not like most people of their time. Superfluous people, whose minds are inquisitive and deep, “suffer from the disease of the century”: the problems of the surrounding world, the vices and “ulcers” of modern society are obvious to them. Unsatisfied with life, these heroes are most unhappy from the inability to fix anything. The uncertainty of the high ideals that torment them is caused not by knowledge of the ways to realize them, but by the lack of specific goals and activities that could satisfy their high demands on themselves and on life - passivity and inactivity, the helplessness of existence.
Let’s compare Chatsky, the hero of Griboyedov’s comedy “Woe from Wit,” with the image of an extra person.
Seeing the vices of Famus society, rejecting its inert foundations, mercilessly denouncing the veneration of rank, the patronage reigning in official circles, the stupid imitation of French fashion, the lack of real education, Chatsky turns out to be an outcast among the counts Khryumin, Khlestov and Zagoretsky. He is considered “strange”, and in the end he is even recognized as crazy. So Griboyedov’s hero, like extra people, comes into conflict with the imperfect world around him. But if the latter only suffer and are inactive, then “in the embittered thought” of Chatsky “one can hear a healthy urge to action...”. “He feels what he is dissatisfied with,” because his ideal of life is completely defined: “freedom from all the chains of slavery that bind society.” Chatsky’s active opposition to those “whose hostility to free life is unrelenting” allows us to believe that he knows ways to change life in society. In addition, Griboyedov’s hero, having gone through a long path of quest, traveling for three years, finds a goal in life - “to serve the cause,” “without demanding either places or promotion to rank,” “to focus his mind, hungry for knowledge, on science.” The hero’s desire is to benefit the fatherland, to serve for the benefit of society, which is what he strives for.
Thus, Chatsky is undoubtedly a representative of an advanced society, people who do not want to put up with relics, reactionary orders and are actively fighting against them. Superfluous people, unable to find a worthy occupation for themselves, to realize themselves, do not join either conservatives or revolutionary-minded circles, keeping in their souls disappointment in life and wasting unclaimed talents.
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Evgeny Onegin and Alexander Andreevich Chatsky open the theme of the “superfluous man” in Russian literature of the 19th century. They are two completely different people. Chatsky - the hero of the comedy A.S. Griboyedov's "Woe from Wit", and Onegin is the hero of the novel in verse by A.S. Pushkin "Eugene Onegin". The authors showed in their works completely different characters, but both heroes, Chatsky and Onegin, turned out to be “superfluous”. Chatsky is a leading man of his time, sharp and quick-tongued, full of ambition. Onegin is an educated man, born and raised among the nobility, an “intelligent useless person” who has lost his place in society. When we read these two works, we find not only some differences between these two heroes, but also similarities, which we will discuss later.
To some extent, the theme of the “extra person” is the opposite of the theme “ little man" If in the theme of the “little man” one sees a justification for everyone’s fate, here, on the contrary, there is a categorical impulse “one of us is superfluous,” which can both relate to the hero and come from the hero. The superfluous person most often turns out to be the one who denounces everyone. "Extra person" is a certain literary type, which includes a set of characters close in their worldview, occupation and spiritual appearance. Literary scholars of the 20th century call Onegin, Pechorin, Chatsky, Oblomov, etc. “superfluous people.” Declaring someone superfluous is not a Russian tradition at all. Brought up on Orthodox soil, our writers could not help but feel this, which went against their public positions. One can assume that there are no superfluous people in this world and in literature, then all that remains is the hero’s awareness of himself as superfluous. We can say that there is a certain stereotype of the “extra person”. After all, both Onegin and Chatsky can be considered not only as “superfluous” people, but also as individuals! This suggests that under the stereotype of an extra person one can unite a variety of heroes, who, however, have common problem. They cannot find their place in society, so it’s not a matter of social position, but of the hero’s inner conviction. The theme of the “superfluous man” was especially relevant in the times of Chatsky and Onegin, when Western innovations were already beginning to appear in Russia, but it still remained a “backward” country by government standards. In modern society, we can also often meet “Chatskys” and “Onegins”. After all, a “superfluous person” is a person who has not found his path in life, an incomplete, one might even say impoverished, personality. For example, according to Goncharov: “The Chatskys are inevitable with every change of one century to another... The Chatskys live and are not transferred in a society where the struggle of the fresh with the outdated, the sick with the healthy continues... That’s why Griboyedov’s has not grown old until now and is unlikely to ever grow old Chatsky, and with him the whole comedy.” We live in an advanced society in which many may not keep up with the pace of growth of science and culture, while others can do the opposite. With such trends, people get lost, don’t know who they should be, what views to follow through life and, in the end, become superfluous to society.
Purpose of the work: compare two heroes - Chatsky and Onegin. Analyze all aspects of their life. In connection with this goal, the main objectives of the work have been set: to define the term “superfluous person”, to answer the question: “Are Chatsky and Onegin “superfluous people”?”
The character, fate, relationships with people of Evgeny Onegin and Alexander Andreevich Chatsky are determined by the totality of circumstances of modern reality, extraordinary personal qualities and the range of “eternal” problems that they face.
“Eugene Onegin” was written by Pushkin over many years, during which the author experienced a variety of events, including exile in Mikhailovskoye and the Decembrist uprising. All this provided very good ground for thought, which led to the creation of probably the most realistic image of the secular young man of that time, which absorbed enormous historical, literary, social and everyday meaning. Eugene Onegin is a hero of the time, which reflected “that premature old age of the soul, which became the main feature younger generation of that time." The image of Onegin is constantly developing, his views change throughout the novel. Onegin languishes, suffocates in his environment and does not know what he really wants.
The disease whose cause
It's time to find it,
Similar to English with p l i n u,
In short: Russian kh a n d r a
I mastered it little by little;
He will shoot himself, thank God,
I didn't want to try
But he completely lost interest in life.
Pushkin emphasizes Onegin’s negative attitude towards environment: “sharp, chilled mind”, “jokes with bile in half”; speaks of the anger of the “gloomy epigrams”, of the “caustic” dispute. All this shows that Onegin was one of those who “lived and thought.” I just want to say that Onegin is the rightful owner own life, but, alas, this is only an illusion. He is equally bored in St. Petersburg and in the countryside. He was never able to overcome his mental laziness and dependence on the opinion of society, in which fashion plays a huge role. Onegin's office is full of all sorts of fashionable things, through which the appearance of a secular young man of that time is recreated.
Everything for a plentiful whim
London trades scrupulously
And on the Baltic waves
He brings us lard and timber...
Amber on the pipes of Constantinople,
Porcelain and bronze on the table,
And, a joy to pampered feelings,
Perfume in cut crystal,
Combs, steel files,
Straight scissors, curved
And brushes of thirty kinds
For both nails and teeth.
No matter how deep his feelings were, he could not overcome the barrier built on public opinion. Onegin did not become an outcast in his society, like Chatsky, he could calmly exist among his surroundings. At that time, people like him were welcomed in any home - wealthy, educated, moderately witty, talented young people. But, of course, as soon as Onegin did things that were inappropriate for people of their circle, they began to treat him with caution and caution. Society assessed Onegin all the time, assessed his every action.
“Our neighbor is ignorant; crazy;
He's a farmazon, he drinks one
A glass of red wine;
He doesn't suit ladies' arms;
Everything is yes and no; won't say yes
Or no, sir!” That was the general voice.
The comedy “Woe from Wit” was conceived and written during the active Decembrist movement, when young people like Chatsky brought new ideas and moods to society. Chatsky’s monologues and remarks expressed the spirit of freedom and free life. Heroes like Chatsky are called upon to bring meaning to public life and lead to new goals. Chatsky, like Onegin, is a hero of his time, possessing characteristic features a person who not only received a superficial education, but an intelligent, passionate person, a person who is afraid to openly express his opinion.
After the war, two political camps emerged in society: the camp of advanced noble youth and the conservative feudal-serf camp. Their clash was embodied in the conflict between the “present century” and the “past century,” that is, between Chatsky (for example, critic A.A. Grigoriev wrote that “Chatsky is the only hero, that is, the only one who is positively fighting in that environment, where fate and passion have thrown him.”) and the entire Famus society.
In Chatsky’s character one can notice insolence and irreconcilability towards indifferent or conservative people. The author inspires us to love free man with his aspirations for happiness, for “creative, high and beautiful arts”, with his right “without demanding either places or promotion to rank” “to focus his mind, hungry for knowledge, into science.” Chatsky loves and respects his homeland, speaks about it with warmth: “When you travel, you return home, and the smoke of the Fatherland is sweet and pleasant to us.” He has a high opinion of his people, “smart” and “cheerful,” when Onegin is infinitely far from him. Chatsky’s most important desire is to serve the fatherland, “the cause, not the people.” Chatsky actively defends freedom of thoughts and opinions, recognizes that every person has his own opinions and beliefs, and expresses them openly. That is, he has a positive attitude towards society, but he cannot stand hypocrisy, lies, sycophancy, and in the noble circle he becomes “sick and disgusted.” Such a philosophy of life puts this hero outside the society gathered in Famusov’s house. In the eyes of these people, accustomed to living in the old way, Chatsky - dangerous man, “carbonarius”, disrupting the harmony of their existence. Now we can notice that not only Onegin was followed by society. Chatsky was declared not only a madman, like Onegin, but a madman, condemned for disrespect for elders and ladies, for drunkenness:
He drank glasses of champagne.
- - Bottles, and big ones.
- - No, with forties barrels.
Onegin is considered a farmazon, Chatsky a carbonari, and both are freethinkers. One can also notice another textual coincidence in society’s assessment of heroes - the word “farmazon”: “What? To the pharmazones in the club? He went to Pusurmans?“Now we see that society gives the same assessment to some of the actions of Onegin and Chatsky. Chatsky does not set himself the task of humiliating these people, he simply sincerely wishes them well, wants to tell them about the best things that he himself recently learned about, to wean them from stupid feudal-serf habits. But Pushkin correctly noted: “Everything he says is very smart. But to whom is he telling all this? Famusov? Moscow grandmothers? Molchalin? Skalozub? No, such a society will never understand Chatsky’s beliefs, because they, Chatsky and Famusov’s society, have two completely different life path, and there’s no way you can change that. Thus, Chatsky, against the backdrop of an unshakable conservative majority, gives the impression of a lone hero, a brave “madman” who rushed to storm a powerful stronghold.
Chatsky, unlike Onegin, appears before us immediately as he is, he is a hero with established views and beliefs, which is why it is more difficult for him to exist in this environment. Onegin grew up in it and, despite all attempts, was unable to get out of it, and Chatsky, having got out, returned and became superfluous in it.
The upbringing and education of Eugene Onegin was no different from the upbringing and education of all secular people of that time.
We all learned a little bit
Something and somehow...
Onegin was born into a rich but impoverished noble family. His childhood was spent in complete isolation from the people, from everything Russian and national; he was raised by the French.
First Madame I followed him
After Monsieur replaced her
The child was harsh, but sweet.
Monsieur l"Abby, poor Frenchman
So that the child does not get tired,
I taught him everything jokingly,
I didn’t bother you with strict morals...
This, typical of most metropolitan nobles, Onegin’s upbringing was superficial and did not prepare him for work or real life. Onegin was impatiently waiting for the moment when he could enter the world. Home education was more than useful in social life. Onegin is a “fun and luxurious child” who lives a “monotonous and motley” life for eight years. The life of a “free” nobleman, not burdened with service, is vain, carefree, full of entertainment and romance novels could be done in one tediously long day. Young Onegin strives to fully meet the ideal of a secular man: wealth, luxury, enjoyment of life, brilliant success among women - that’s what attracts him. The author notes that the only thing in which Onegin “was a true genius,” that “he knew more firmly than all sciences,” was the “science of tender passion,” that is, the ability to love without loving, to portray feelings while remaining cold and calculating. He leads a life typical of golden youth: balls, restaurants, walks along Nevsky Prospect, visiting theaters. All this made him for secular society a man who is original in his own way, witty, a “learned fellow,” “smart and very nice,” but still obediently following the secular, “decent” crowd. B.S. Meilakh says about this period of Onegin’s life: “In the first chapter, Onegin’s lifestyle approaches the dominant ideal, the norm of society of that time.” This is how Onegin spent his childhood and youth in luxury and bliss.
At first, Chatsky’s upbringing and education did not differ from Onegin’s, that is, from the upbringing and education of the entire capital’s nobility.
Our mentor, remember his cap, robe,
Index finger, all signs of learning
How our timid minds were disturbed,
As we have been accustomed to believe since early times,
That without the Germans we have no salvation...
Chatsky, unlike Onegin, from childhood seriously prepared for activities for the benefit of the fatherland. He studied with pleasure, dreamed of serving and admired the Russian people. What is most interesting is that he spent his childhood in the house of his ideological opponent Pavel Afanasyevich Famusov, good friend his father. There he met and became friends with his future love Sophia. His Moscow lordly life was, as it should be, calm and measured. It could only be discharged fun games with Sophia.
Where is the time? Where is that innocent age?
When it used to be a long evening
You and I will appear, disappear here and there,
We play and make noise on chairs and tables.
Soon he left for St. Petersburg to serve, which he dreamed of, but was disappointed in it.
It does not serve, that is, he does not find any benefit in it,
But if you wanted to, it would be businesslike.
It's a pity, it's a pity, he's too small in the head
And he writes and translates well.
Then he went abroad to seek knowledge and adventure. His stay there only broadened his horizons, and did not make him a fan of everything foreign.
Unfortunately, we can learn too little about the childhood and youth of this unique hero from the text of the comedy, but general idea This is what we get about him: a playful, quick, dreaming young man - this is how we see him in his youth.
Let us recall that Eugene Onegin was fed up with a secular, idle life. The melancholy, which Onegin experiences with such acuteness, raises him above those around him and shows the significance and depth of his experiences. Onegin, as an extraordinary person with a sharp critical mind, is looking for a place in which he can feel free. Onegin is constantly in this search, and nothing seduces him, he has only one desire, which he cannot bring to life. Onegin does not need anything - this is his tragedy. He doesn’t need Tatyana’s love, Lensky’s friendship, or the pleasures of an idle life. “From the very beginning,” writes I. Semenko, “Onegin was conceived by Pushkin as an expression of the significant and deep experiences of the generation... Onegin can be fully imagined as a member of the “Green Lamp”, which Pushkin so often recalled in the first years of exile as close to himself elements (but “ green lamp"-branch of the Union of Prosperity"). Secular image Onegin's life not only does not refute this, but, on the contrary, confirms... The fact that Onegin is alien to politics in the novel does not mean at all that Pushkin wanted to portray a hero devoid of political interests. Onegin’s blues, like Pushkin’s blues, ... is by no means a sign of “coldness” towards politics, but a sign of “coldness” towards the social system, the subject of discontent of the progressive nobility.”
Having broken with the light (“overthrowing the burden of the conditions of light”), Onegin took up self-education.
He lined the shelf with a group of books,
I read and read, but to no avail...
Speaking about reading Onegin, we need to remember the books that he brought to the village. Pushkin names here, first of all, Byron (“The Singer of Giaour and Juan”), famous for his freedom-loving views on life. Pushkin repeatedly points out that Byron is Onegin's favorite poet; in his office: “Lord Byron’s portrait.” Byron George Gordon is an English poet. His work, personality and life itself - aristocracy, pride, love of freedom, partly forced, partly voluntary exile, the fight for the rights of English workers, for the national independence of Ireland, Italy, Greece, his death for his ideals - became the most complete and complete manifestation of English high romanticism of the first quarter of the 19th century. In all his actions, and even in his choice of literature, one could feel a struggle with himself and some attempts to get out of the routine. In the village, he even replaces corvée with quitrent, thereby trying to make life easier for the peasants, but he only meets with the disapproval of his neighbors and, again, does not find himself in this.
He is the yoke of the ancient corvée
I replaced it with easy quitrent;
And the slave blessed fate
But in his corner he sulked,
Seeing this as terrible harm,
His calculating neighbor;
That he is a most dangerous weirdo.
Commentators explain this act differently, to the point that Onegin, “who once read Adam Smith, agrarian reform carried out the interests of the new class, the young bourgeoisie.” Traditionally, this act of Onegin is associated with Pushkin’s Decembrist sympathies and, in particular, with his communication with N.I. Turgenev. I analyze stanza 5 of the second chapter, B.P. Gorodetsky notes: “Pushkin, conveying this situation, reproduced here not an isolated incident showing Onegin’s unsociability, but gave a deep artistic description the relations that were developing by that time between representatives of the old and the new in Russian life at that time.” Onegin's aspirations here remind us very much of Chatsky's aspirations. Only, if Chatsky brought all his affairs to the end, then Onegin did everything in fits and starts, without particularly delving into the importance of his affairs. Pushkin drops an important remark in passing:
Alone among his possessions,
Just to pass the time,
Our Evgeniy first conceived
Establish a new order.
These words prove that advanced public views Onegin’s ideas had not yet been suffered and thought through to the end. We see that the influence of light and the views, norms of morality and behavior accepted in the noble circle are overcome by Onegin. But this process is complex and could not be quick. The prejudices of the world, fixed by the entire course of life, the conditions of upbringing and youthful life Onegin, were strong in his soul, they could be overcome only by life’s trials, mental suffering for himself and for people, only by close contact with real life people, and Pushkin shows in the novel the contradictions in Onegin’s thinking and behavior, testing him with more and more new life circumstances.
If at the beginning and throughout almost the entire novel Onegin does not have clearly expressed goals and desires in life, then at the end we see a transformed, in love Eugene. He has an insane desire to return Tatyana’s love, but now she is not free as before, she is married, she is now a society lady. Onegin receives a refusal and is again left without a specific goal in life, again he is devastated and does not know what to do next.
The image of Chatsky is full of goals, desires, and his own advanced views on life. Chatsky seems to me taller and smarter than Onegin. He is full of bright ideas for transforming society; he angrily denounces the vices of “old” Moscow. His deep mind gives him faith in life and high ideals. In the comedy, two plot conflicts are closely intertwined: a love conflict, the main participants of which are Chatsky and Sophia, and a socio-ideological conflict, in which Chatsky faces conservatives gathered in Famusov’s house. For the hero himself, the paramount importance is not the socio-ideological conflict, but the love conflict. After all, Chatsky came to Moscow after three years of wandering with the sole purpose of seeing Sophia, finding confirmation of his former love and, perhaps, getting married.
It's barely light and you're already on your feet! and I am at your feet.
And meanwhile, without remembering, without a soul,
I'm forty-five hours, without squinting my eyes,
More than seven hundred versts flew by - wind, storm;
And I was completely confused, and fell so many times -
And here is the reward for your exploits.
It is interesting to trace how the hero’s love experiences exacerbate Chatsky’s ideological confrontation with Famus society. At the beginning of the work main character Because of her great love and interest in the changed seventeen-year-old Sophia, she does not notice the usual vices of noble society, but sees only the comic sides in it.
I'm eccentric to another miracle
Once I laugh, then I forget...
But when Chatsky becomes convinced that Sophia has long forgotten him, that she preferred someone else to him, everything in Moscow begins to irritate him. His remarks and monologues become impudent, sarcastic, he angrily denounces what he previously laughed at without malice. It is from this moment that the image of Chatsky begins to unfold before our eyes; he delivers monologues that touch on all the most current problems, contemporary era: the question of what true friendship is, problems of enlightenment and education, serfdom, national identity. These convictions of his were born of the spirit of change, that “present” century, which many sensible people who were ideologically close to Chatsky tried to bring closer. The most important issue In Griboyedov's contemporary Russia, there was a question of serfdom, which underlay the economic and political structure of the state. The author's attitude to serfdom cannot be judged based on the text of the comedy. Chatsky and Famusov are contrasted in the comedy by no means according to the principle “the enemy is an ardent defender of serfdom.” It must be admitted that Chatsky was not for the abolition of serfdom; he acted as an ardent opponent of the abuse of serfdom. Even for serfs, he recognized the right to life without eternal reproaches and punishments. After all, Famus’s circle did not value their serfs at all, and sometimes even treated them cruelly.
That Nestor of noble scoundrels,
Surrounded by a crowd of servants;
Zealous, they are in the hours of wine and fights
And his honor and life were suddenly saved more than once
He traded three greyhounds for them!!!
Or that one over there, which is for tricks
He drove to the serf ballet on many wagons
From mothers, fathers, rejected children?!
Myself immersed in mind in Zephyrs and Cupids
Made all of Moscow marvel at their beauty!
But the debtors did not agree to a deferment:
Cupids and Zephyrs all
Sold out individually!!!
All discussions about the cruelty of serfdom do not touch the representatives of Famus society - after all, the entire well-being of the nobility was built on serfdom. And how easy it is to manage and push around completely powerless and defenseless people! This is clearly visible in the house of Famusov, who pesters Lisa, scolds the servants, and is free to punish them all when and how he pleases. This is evidenced by Khlestova’s behavior: she orders her dog and the blackamoor girl to be fed in the kitchen. Chatsky is outraged by such standards of life; he does not understand how one can treat people like this, even though they are serfs. Famusov simply does not respond to Chatsky’s angry attacks. Chatsky, like Griboyedov, is convinced that the dignity of a nobleman is not in being a serf owner, but in being a faithful servant of the Fatherland. To Famusov’s advice to serve, he reasonably replies: “I would be glad to serve, it’s sickening to be served.” Chatsky is a truly noble man, for him service is the goal of his whole life, but service in Russia, where people only care about their well-being, becomes torment. Here everyone only wants money, and the work is often done carelessly, as evidenced by Famusov’s words:
And for me, what matters and what doesn’t matter,
My custom is this:
Signed, off your shoulders.
Chatsky treats each of his endeavors with great attention.
When I'm in business, I hide from the fun,
When I'm fooling around, I'm fooling around...
For representatives of Famus society, service is a means of achieving personal well-being, and the ideal is an idle life for pleasure. As we have already said, Chatsky would be happy to serve “the cause, not persons,” but this widespread veneration of rank and hypocrisy irritates Chatsky.
Uniform! one uniform! he is in their former life
Once decorated, embroidered and beautiful,
Their weakness, their poverty of mind...
Where? show us, fathers of the fatherland,
which we must accept
for samples?
Aren't these rich in robbery?
The relationship between the national and the European was an important problem for that time. National identity is the ideal of the Decembrists. The people gathered in Famusov’s house bow to everything foreign, which cannot but infuriate Chatsky - true patriot Russia.
I sent wishes away
Moderate, however, out loud,
So that the unclean Lord destroys this spirit
Empty, slavish, blind imitation...
Will we ever be resurrected from the alien power of fashion?
So that our smart, cheerful people
Although, based on our language, he didn’t consider us Germans.
Chatsky, as a spokesman for the progressive ideas of his time, cannot agree with Famusov’s views on education. He cannot look at the Moscow nobles’ neglect of science and true education.
Oh! Let's move on to education.
That now, just as in ancient times,
The regiments are busy recruiting teachers,
More in number, cheaper in price?
The sad result of such an education system, which Chatsky foresees, can be observed in the third act:
Oh! France! There is no better region in the world!
The two princesses, sisters, decided, repeating
A lesson that was taught to them from childhood.
It is because of his advanced ideas that Chatsky begins to feel lonely in this circle, just like Onegin, only Onegin for a completely different reason, and it is because of such views that he is declared crazy, and he becomes “superfluous.”
The complexity and inconsistency of Onegin's character is revealed, first of all, in his relationship with Tatyana. In the image of Tatyana, Pushkin portrays the ideal of a Russian woman, “sweet,” gentle, kind and sincere. Pushkin devotes an entire chapter of the novel to Tatiana, in which she falls in love with Onegin, which we immediately learn from the epigraph: “Elle etait fille, elle etait amoureuse.” Translated, the epigraph means: “She was a girl, she was in love.” Onegin goes to the Larins' house to see his friend's beloved Olga. It cannot be denied that Onegin immediately noticed Tatiana and understood the essence of both sisters:
“Are you really in love with the smaller one?”
And what? - “I would choose another,
If only I were like you, a poet!”
This is what proves his interest in Tatyana, albeit small, but still he asks Lensky not about Olga, whom he went to meet, but about Tatyana! At that moment, two people met who could give each other happiness. We met, noticed each other and could fall in love. But Onegin himself pushes this possibility away from himself: he does not believe in love, does not believe in happiness, does not believe in anything, because he does not know how to believe. Tatyana doesn't know Onegin at all. She herself endows him with the features of a hero from a book novel, read to the gills. She only knew that he was different from all the men she knew in her province, which is why she was so attracted to him. She was no longer able to contain her feelings. To stop languishing in ignorance, she takes a very daring step, she writes Eugene a letter declaring her love. first. Any person Tatyana knew would have despised her for being the first to write him a letter. Anyone - but not Onegin! Inexperienced Tatyana understands people better with her feelings than with her mind, she knows: Onegin is not like everyone else, the laws of the world are not so important to him, he will not judge her, he will not despise her - after all, it is this very unusualness of Onegin that attracted her to him. Let's go back to youth Onegin's life.
He is in his first youth
Was a victim of stormy delusions
and unbridled passions.
But the years lived in a false world were not in vain. The “eternal murmur of the soul” was replaced by indifference to both people and feelings.
He no longer fell in love with beauties
And somehow he was dragging his feet;
They will refuse - I was instantly consoled
They will change - I was glad to relax.
Sincere hobbies gave way to games; the hopes and dreams of youth seemed naive and unrealizable; disbelief came, and with it indifference to life. After eight years in a society in which you would never meet sincere feeling Onegin could not have been as sincere and gentle as Tatyana. This explains his tragic misunderstanding of his own feelings.
But, having received Tanya’s message,
Onegin was very touched:
The language of girlish dreams
In it he disturbed his thoughts in a swarm;
And he remembered Tatiana cute
Both pale in color and dull in appearance;
And into a sweet, sinless sleep
He was immersed in his soul.
Perhaps old feeling ardor
Them for a minute mastered;
But he didn't want to deceive
The gullibility of an innocent soul.
What prevented Onegin from surrendering to feelings? Why does he push away, shake off the “sweet, sinless dream”? Yes, because he doesn’t believe himself, because, while killing eight years of his life, he himself did not notice how he killed the high in himself, and now, when this high is ready to resurrect, he was afraid. Frightened by the excitement of love, shocks of suffering and even too great joys, frightened - he preferred cold peace.
Everything good, pure, bright in his soul, everything not clouded by light and secular morality, awoke in Onegin.
I love your sincerity
She got excited
Feelings that have long been silent.
Onegin undertakes to teach Tatyana about life, reads her a gentle sermon about how to relate to feelings. Thinking that he is protecting Tatyana, Onegin himself, with his own hands, kills his future happiness, just as he killed eight years of his life, his dreams, his sincere feelings. The depth and significance of Tatyana’s spiritual appearance, the sincerity and strength of her feelings were understood and appreciated by Onegin, they gave birth in his soul to the same pure reciprocal feeling.
I love you with the love of a brother
And maybe even more tender...
Later he admits:
Noticing a spark of tenderness in you,
I didn't dare believe her:
I didn’t give in to my dear habit,
I didn’t want to lose my hateful freedom...
I thought: freedom and peace
Substitute for happiness.
Indifference to life, passivity, desire for “peace,” indifference and inner emptiness then came into conflict in Onegin’s soul with a young, warm and sincere feeling - and won, suppressed it.
And many years later, when he met Tatyana, he couldn’t believe his eyes.
Is it really the same Tatyana...
... That girl... is this a dream?
He no longer saw the sweet girl who had once evoked so much tenderness in him, but a reserved, cold society lady. Onegin was attracted to Tatyana now precisely by this cold restraint, her position in the world. The ostentatious passions of his youth did not disturb his soul, did not make him think or dream. Not so now. Now he, like any lover, is constantly busy with her. But the trouble is, failure awaits him again. She's married! Now she is not ready to forget everything in the world for the sake of love; now she, just like he once, depends on public conversations.
And again Evgeniy is out of place, and again he is broken by life.
Chatsky, not like Onegin, he knew from the very beginning what love was. He knew all the advantages of sincere feelings, he knew how to love. Let us remind you why Chatsky is leaving Moscow? He becomes disillusioned with Moscow life. But then why, for what purpose does he return to the house that he hates so much? Of course, the reason is the beautiful Sofia. Chatsky is a passionate man, but not of fleeting feelings. After three years spent abroad, he does not forget Sophia, he returns to Moscow with even greater love, reinforced by separation, with a passionate desire to see his former love. In his first conversations with Famusov, he repeats only one thing: he cannot sit still, at that moment these gross shortcomings of the world did not exist for him, then everything seemed only absurd. “How Sofya Pavlovna has become prettier for you!” All his thoughts are only about her. Love for him is not “the science of tender passion,” as for Onegin. Chatsky loves Sophia seriously, seeing her as his future wife.
What about Sophia? She not only fell out of love with Chatsky, but also found herself another companion. Chatsky’s freedom-loving thoughts, caustic and caustic ridicule towards the people of her circle, especially Molchalin, now irritate Sophia: “Not a man - a snake!” she says about him. And Chatsky feels sincere, ardent love for her. He declares his love to her at his first appearance. There is no secrecy, no falsehood in him. The strength and nature of his feelings can be judged by his words about Molchalin:
But does he have that passion? that feeling? That ardor?
So that, besides you, he has the whole world
Did it seem like dust and vanity?
But can you blame Sophia for her action? I think that Sophia cannot be condemned for her love for Molchalin. Chatsky leaves abroad on some whim of his own, without saying goodbye, without saying a word. Moreover, Chatsky did not write her a single letter from abroad, there was not a single message from him, not a single hint that he would return, that he still loved her. Love for Molchalin is her bitter reaction to her love for Chatsky, from which she is left only with a feeling of disappointment, resentment, insult. Molchalin may not be as bright as Chatsky, but you can rely on his feelings. Chatsky, by his own admission, “is not in harmony with his mind.” His mind tells him that he needs to leave this Famus society, lost in the past, but his heart cannot give up love. And therefore, Chatsky, already hearing how Sophia defends Molchalin, already seeing how worried Sophia is about his fall from his horse, still wants to be convinced again and again of the opposite of what is visible with the naked eye. However, not only the feelings that “give hope,” but also Chatsky’s noble mind cannot come to terms with this absurd love of Sophia for Molchalin.
After all, Sophia is in many ways similar to Chatsky himself. Sophia is much taller than her peers, so poisonously depicted by Griboedov in the person of the six Tugoukhovsky princesses, for whom it is not love that is important, but a rich “husband-boy”, “husband servant”. “Sophia is drawn unclearly...” noted Pushkin. Indeed, in her behavior and moods there is a contradiction between a sober mind and sentimental experiences. In terms of strength of character, passion, and ability to defend her point of view, Sophia is very similar to Alexander Andreevich. That’s why Chatsky was seriously annoyed when he found out that his opponent was Molchalin. This hurt his pride. How was it possible to choose Molchalin, who did not even have his own views on life? Chatsky could not come to terms with this. I understand Sophia very well, because Chatsky hurt her very much with his departure abroad, and here he also speaks so critically, even sarcastically, about her choice. Now Sophia does not want to see Chatsky, he is repulsed by all his sarcastic remarks, to which Chatsky answers her:
I'm strange, but who isn't?
The one who is like all fools
Molchalin, for example...
At the ball, Sophia reaches the peak of her irritation. She is outraged by Chatsky’s behavior, and in a conversation with Mr. N, she involuntarily drops: “He’s out of his mind.” It’s easier for her, it’s more pleasant for her to explain Chatsky’s causticism by the madness of love, which he himself tells her about. Her betrayal becomes a calculated revenge when she sees that they are ready to believe her:
Ah, Chatsky! You love to dress everyone up as jesters,
Would you like to try it on yourself?
And the rumor about Chatsky’s madness spreads with rapid speed. Chatsky is simply beside himself, he is outraged! And here I understand him, just as I understood Sophia. He could not restrain himself and blamed Sophia for everything, he was insanely humiliated, feelings were seething in him.
Blind! In whom I sought the reward of all my labors!
I was in a hurry!.. flying! trembled! this is happiness, I thought
Before whom I just now was so passionate and so low
He was a waster of tender words!
And you! oh my god! who did you choose?
When I think about who you preferred!
Why did they lure me with hope?
Why didn't they tell me directly?
Why did you turn everything that happened into laughter?!
That the memory even disgusts you
Those feelings, in both of us the movements of those hearts,
Which have never cooled in me,
No entertainment, no change of place.
I breathed and lived by them, was constantly busy!
They would say that my sudden arrival was to you,
My appearance, my words, actions - everything is disgusting,
I would immediately cut off relations with you,
And before we part forever,
I wouldn't bother to get there very much,
Who is this dear person to you?..
This monologue reflects so much love, despair, tenderness, it is so bright that we immediately understand how strong Chatsky’s love for Sophia was. Chatsky was much less fortunate in love than Onegin, but Onegin himself pushed her away from himself, while Chatsky was deprived of her gradually and not of his own free will, which made him feel worse and worse.
The clash of “old” and “new” in Onegin’s mind is very tragically revealed in his relationship with Lensky.
Lensky, Onegin’s new friend, is naive, does not know life, but Onegin, of course, is more interested in him than with the rest of the neighbors, who “prudently” talk “about haymaking, about wine, / About the kennel, about their relatives...”.
Onegin and Lensky are so different, but still they became friends.
...Wave and stone,
Poetry and prose, ice and fire
Not so different from each other.
They became friends because everyone else was not at all suitable for friendship, because each was bored in his village, having no serious activities, no real business, because the lives of both of them, in essence, were not filled with anything.
So people (I am the first to repent)
From nothing to do Friends.
Pushkin says about Evgeny: “Eugene was more tolerable than many…” - many people in the world. But, not knowing how to respect another as himself, not knowing how to take responsibility for his relationships with people, he could not find true friends for himself - the kind that Delvig, Kuchelbecker, Pushchin, Zhukovsky, Vyazemsky, Pletnev were for Pushkin... The circle of conversations between the two the young man is serious:
Tribes of past treaties,
The fruits of science, good and evil,
And age-old prejudices,
And the grave secrets are fatal,
Fate and life in their turn,
Everything was subject to their judgment.
These are topics of conversation among thinking people; the same problems were discussed by the Decembrists.
When Lensky challenges Onegin to a duel, Onegin does not think, does not analyze his behavior, but responds with a ready-made, obligatory formula instilled in him by the secular environment. “This is how the secular automaticity of thoughts and actions, the norms of secular morality, came into play.” For which Eugene blamed himself “alone with his soul.”
Had to prove myself
Not a ball of prejudice,
Not an ardent boy, a fighter,
But a husband with honor and intelligence.
Pushkin selects verbs that very fully depict Onegin’s state: “blamed himself,” “should have,” “he could,” “he should have disarmed the young heart...”. But if not for his fear of public opinion, he could still change everything, refuse the duel, but
"...into this matter
The old duelist intervened;
He is angry, he is a gossip, he is loud...
Of course there must be contempt
At the cost of his funny words,
But the whispers, the laughter of fools..."
And here is public opinion!
Spring of honor, our idol!
And this is what the world revolves on!
The line “And here is public opinion!” - direct quote from “Woe from Wit”. The world that killed Chatsky’s soul is now falling with all its weight on Onegin, but unlike Chatsky, he does not have any moral strength to resist this world - he gives up.
And so the duel becomes murder. This is exactly the word Pushkin uses:
“Well then? killed,” the neighbor decided.
Killed!..
Having killed a friend in a duel...
The killer of the young poet...
The murder of Lensky in a duel in the name of secular morality was recognized as a crime primarily by Onegin himself.
The painful tragedy of his conscience began. God, why does he turn out to be superfluous everywhere? Why can't he find himself? After all, he pushes everything away from himself. Here he is - the “extra person” in the flesh.
Chatsky has his own views on friendship in the comedy. In his opinion, friendship should be honest, true and strong. Onegin has no views on friendship; he chooses as his friend the first person who was at least a little interesting to him. Chatsky will never allow himself to pretend and be a hypocrite. Better yet, let him be considered crazy! He has no friends in Famus society. People here will never accept or understand his views. After all, a friend is a person who will share with him not only relaxation and entertainment, but also his outlook on life. At the ball, he meets his old friend Platon Mikhailovich Gorich, with whom he once served, who was the same as he, sought to defend his fatherland, and was full of desires for transformation! And when Chatsky sees what such a society does to extraordinary, thinking people, he sincerely regrets all his acquaintances with whom he once made dreams and plans. He, of course, feels very sorry for his friend, and Famus society becomes even more hateful for him! And Platon Mikhailovich himself understands that he has changed, he himself is disgusted with his life, he feels ashamed in front of Chatsky, because he succumbed to this harmful influence of society. He realizes the absurdity of his position in front of Chatsky: he speaks to his wife “in cold blood,” “with eyes to the sky,” “with a sigh.” It is worth noting that Chatsky constantly uses the pronoun “we”, since he considers himself not alone in the desire for change. His friends may be those who represent the “present century,” but Griboyedov only mentions these people, introducing non-stage characters into the play.
Using these examples, we can once again be convinced that Chatsky cannot find a place for himself in this society, and therefore becomes an “extra person.”
Chatsky Onegin is an extra man
So, having analyzed and compared the lives and views of Onegin and Chatsky, we can define this phenomenon - “an extra person.”
“The extra person” is a socio-psychological type that became widespread in Russian literature of the first half of the 19th century, although in many characters later literature one can detect its typological features: this is, as a rule, a nobleman who has received appropriate education and upbringing, but has not found a place for himself in his environment. He is lonely, disappointed, feels his intellectual and moral superiority over the surrounding society and alienation from it, he feels the gap between “immense forces” and “pity of actions.” His life is fruitless, and he usually fails in love. The hero is in acute conflict with society. Nobody understands him, he feels alone. Those around him condemn him for his arrogance (Onegin. “Everything Yes Yes No; won't tell yes sir or no, sir» . That was the general voice." Chatsky. “Yes, it’s true, it’s not your troubles that are fun for you, / Kill your own father - it’s all the same”).
Already from this description it becomes clear that such a hero could have originated in romantic era and is associated with the conflicts inherent in its hero.
In “Eugene Onegin,” Pushkin captured precisely this moment: describing Onegin’s closeness to the author himself in his youth, he somewhat ironically qualifies the traits that later became the hallmarks of the “superfluous man” (disappointment, skepticism, opposition to society) as elements of a romantic mask, which young people were not averse to wearing at that time.
Having overthrown the burden of the conditions of light,
How does he, having fallen behind the bustle,
I became friends with him at that time
I liked his features
Involuntary devotion to dreams,
Inimitable strangeness
And a sharp, chilled mind.
I was embittered, he was gloomy;
We both knew the game of passion;
Life tormented both of us;
The heat died down in both hearts;
Anger awaited both
Blind fortune and people
In the very morning of our days.
In the image of Chatsky, as well as in the image of Onegin, there are pronounced features of a “superfluous man.” He is unhappy in love, disappointed in his friends, does not understand secular society, and it does not accept him.
Who was it with? Where fate has taken me!
Everyone is driving! everyone curses! Crowd of tormentors
In the love of traitors, in the tireless enmity,
Indomitable storytellers,
Clumsy smart people, crafty simpletons,
Sinister old women, old men,
Decrepit over inventions, nonsense, -
You have glorified me as crazy by the whole choir.
You are right: he will come out of the fire unharmed,
Who will have time to spend a day with you,
Breathe the air alone
And his sanity will survive.
Get out of Moscow! I don't go here anymore.
The theme of the “extra person” attracts with its poignancy and relevance. Now it is almost impossible to question the fact that Chatsky and Onegin are “superfluous people.” The “superfluous person” as a literary type is very common, since people like Chatsky or Onegin are not translated into society. All this speaks to the relevance and special importance of this topic. Each generation carefully studies these works, since they do not die and help readers think in the context of today.
References
- 1. A.S. Pushkin. "Eugene Onegin". Moscow. "Exmo". 2007
- 2. A.S. Griboyedov. "Woe from Wit." Moscow. "Exmo". 2008
- 3. K.M. Azarova. "Text". Moscow. "Prometheus". 1995
- 4. I. A. Goncharov. "Collected Works: in 8 volumes." Moscow. 1995 Volume 8.
- 5. N.A. Demin. “Studying the creativity of A.S. Pushkin in 8th grade." Moscow. "Education". 1986
- 6. V. G. Belinsky. "Woe from Wit." Comedy in four acts, in verse. Essay by A. S. Griboyedov.” Saint Petersburg. "Art-SPB" 2004
- 7. N. Dolinina. “Let’s read Onegin together” Leningrad. "Children's Literature". 1983
- 8. O.N. Petrova. "Principles of Analysis literary text" Moscow. "KDU" 2007
- 9. A.S. Pushkin. "Eugene Onegin". Yu.M. Lotman. "Roman A.S. Pushkin "Eugene Onegin". Comment". Saint Petersburg. "Art-SPB". 2007
- 10. Yu.N. Chumakov. "Eugene Onegin" in the world of the poetic novel." Moscow. "Laida". 2004
- 11. A. I. Ostrovsky. "Alexander Sergeevich Griboyedov." Moscow. "Laida". 2004
In the first third of the 19th century, a type of superfluous person emerged in Russian literature. These heroes, among whom the most famous are Pechorin, Onegin, Oblomov, are not like most people of their time. Superfluous people, whose minds are inquisitive and deep, “suffer from the disease of the century”: the problems of the surrounding world, the vices and “ulcers” of modern society are obvious to them. Unsatisfied with life, these heroes are most unhappy from the inability to fix anything. The uncertainty of the high ideals that torment them is caused not by knowledge of the ways to realize them, but by the lack of specific goals and activities that could satisfy their high demands on themselves and on life - passivity and inactivity, the helplessness of existence.
Let’s compare Chatsky, the hero of Griboyedov’s comedy “Woe from Wit,” with the image of an extra person.
Seeing the vices of Famus society, rejecting its inert foundations, mercilessly denouncing the veneration of rank, the patronage reigning in official circles, the stupid imitation of French fashion, the lack of real education, Chatsky turns out to be an outcast among the counts Khryumin, Khlestov and Zagoretsky. He is considered “strange”, and in the end he is even recognized as crazy. So Griboyedov’s hero, like extra people, comes into conflict with the imperfect world around him. But if the latter only suffer and are inactive, then “they are embittered; thoughts” of Chatsky “one can hear a healthy urge to action...”. “He feels what he is dissatisfied with,” because his ideal of life is completely defined: “freedom from all the chains of slavery that bind society.” Chatsky’s active opposition to those “whose hostility to free life is irreconcilable” allows us to believe that he knows ways to change life in society. In addition, Griboyedov’s hero, having gone through a long path of quest, traveling for three years, finds a goal in life - “to serve the cause,” “without demanding either places or promotion to rank,” “to focus his mind, hungry for knowledge, on science.” The hero’s desire is to benefit the fatherland, to serve for the benefit of society, which is what he strives for.
Thus, Chatsky is undoubtedly a representative of an advanced society, people who do not want to put up with relics, reactionary orders and are actively fighting against them. Superfluous people, unable to find a worthy occupation for themselves, to realize themselves, do not join either conservatives or revolutionary-minded circles, keeping in their souls disappointment in life and wasting unclaimed talents.
The problem of “superfluous” people in society is reflected in the works of many Russian writers. For example, in the comedy A.S. Griboyedov "Woe from Wit".
Alexander Chatsky is an image advanced man 10 - 20 years of the 19th century, which in its beliefs and views is close to the future Decembrists. According to moral principles Decembrists, a person must perceive the problems of society as his own, have an active civic position, which is noted in Chatsky’s behavior. He expresses his opinion on various issues, coming into conflict with many representatives of the Moscow nobility.
First of all, Chatsky himself is noticeably different from all the other heroes of the comedy. This is an educated person with an analytical mind; he is eloquent, gifted imaginative thinking, which elevates him above the inertia and ignorance of the Moscow nobility. Chatsky’s clash with Moscow society occurs on many issues: this is the attitude to serfdom, to public service, To national science and culture, to education, national traditions and language. For example, Chatsky says that “I would be glad to serve, but being served is sickening.” This means that he will not please, flatter his superiors, or humiliate himself for the sake of his career. He would like to serve “the cause, not persons” and does not want to look for entertainment if he is busy with business.
Moscow nobles are irritated by those qualities of the protagonist’s personality that are precisely positive: his education and desire for knowledge, the ability to think independently and thirst for justice, the desire to serve the Fatherland, but with benefit for progress and with the goal of reforming the existing socio-political system. And the “Famus society” did not want to allow transformations, so people like Chatsky were considered dangerous, they were not wanted to be seen in high society, and they became “superfluous people.”
Chatsky is alone in the crowd of Famusov’s guests, representing Moscow society, where “empty, slavish, blind imitation” of everything foreign reigns and one hears “a mixture of languages: French with Nizhny Novgorod.” Chatsky is a patriot, he would like to be proud of his country and people, but in the morals of the nobles, in their way of life, the hero notes the degeneration of everything Russian, national.
Undoubtedly, patriotism is one of the most worthy qualities of a person, and Chatsky’s spiritual image deserves high praise. But there are some features that somewhat violate the integrity positive image. Perhaps, due to inexperience, youth and ardor, the hero does not understand that it is inappropriate to pronounce accusatory monologues at Famusov’s reception. Moreover, no one wants to listen to Chatsky’s opinion, no one cares about his experiences. He calls negative emotions among others, since mutual understanding with them is not facilitated by direct condemnation of the morals and beliefs of officials and landowners. The hero should have understood that Famusov and his guests are not a society where it is worth revealing your soul and sharing thoughts about modern reality. Sophia, like her father, easily classifies Chatsky as crazy, wanting to take revenge on him for ridiculing Molchalin. The hero is forced to leave the Famusovs' house, where his mind, his critical views on life were so unpleasant to those around him. He did not make friends or like-minded people here, but only experienced disappointment, felt insulted and was ready to flee from here in order to muffle his mental pain.
Was there such a place in Russia where Griboyedov’s hero could find “a corner for offended feelings”? Probably, Chatsky should go to where secret societies of future Decembrists already existed, where they valued smart people, ready to use their knowledge and strength for urgent transformations in the Fatherland. In the understanding of the advanced nobles, the mind should be free, “free”, which means that freethinking for the Decembrists was not a dirty word or a definition of a vice, a dangerous illness, but vice versa. It is clear that Griboyedov’s courage was highly appreciated by his contemporaries with progressive beliefs, since his hero Chatsky was close in spirit to the future Decembrists. He aroused sympathy because he felt the need to fight inertia, ignorance, cruelty, injustice and other vices, and wanted to participate in reforms. When communicating with representatives of the Moscow nobility, he saw a misunderstanding, a hostile attitude towards himself, in addition, his situation was complicated by a tragedy in love and loneliness. Therefore, A.S. Griboyedov defined Chatsky’s condition as “woe from mind,” since the hero felt “superfluous” in the society of Moscow nobles.
Related information.
Who is Chatsky: an “extra” person or a person who has not found his place in life?
Artist P. Sokolov
teacher of Russian language and literature
GBOU No. 1794 of Moscow
A.S. Griboyedov. We are preparing for the Unified State Exam in Literature.
1.Who is an “extra” person?
2. Image of Chatsky:
a) portrait of a hero;
b) a person of new views;
c) “the present century” and
"past century" in the face
Chatsky and
Famusov society.
3. Chatsky is still “superfluous”
but your place in life
he has: to serve the cause.
N. Kuzmin
Who is the “extra” person?
“The superfluous person”, a socio-psychological type embodied in Russian literature of the 1st half of the 19th century; its main features: alienation from official Russia, from his native environment (usually the nobility), a feeling of intellectual and moral superiority over it and at the same time - mental fatigue, deep skepticism, discord between word and deed.
The name “Extra Person” came into general use after “The Diary of an Extra Person” (1850) by I. S. Turgenev; the type itself was formed earlier.
Portrait of a hero. Who is so sensitive, and cheerful, and sharp... Sharp, smart, eloquent, Especially happy with friends. He knows how to make everyone laugh very well. What he says, and says as he writes! You appear to be quite generous: To the misfortune of your neighbor you are so indifferent Chatsky is a man of new views Oh, my God! He's a carbonari! He wants to preach freedom! Yes, he does not recognize the authorities! I would be glad to serve, but being served is sickening. Those who serve the cause, not individuals... Those who are in need: those who are arrogant, they lie in the dust, and for those who are higher, they wove flattery like lace. “The present century” and the “past century” represented by Chatsky and the Famusov society. What new will Moscow show me? Yesterday there was a ball, and tomorrow there will be two. Who are the judges? For the antiquity of years to a free life, their enmity is irreconcilable ... "The fools believed it, they passed it on to others, the old women instantly sounded the alarm - and here is public opinion! The houses are new, but the prejudices are old, rejoice, neither years, nor fashion, nor fires will destroy them. Conclusion The hero’s views contradict the worldviews of Famus society, where ignorance reigns, aversion to science, admiration for ranks and dependence on public opinion. Chatsky does not find support and understanding in the city, where “the houses are new, but the prejudices are old.” But Chatsky can hardly be called a person who has not found his place in life.D. Kardovsky
“A carriage for me, a carriage!”
He didn’t find it only in Famusov’s Moscow, but in life he decided to serve the cause.
Chatsky is an extra person because he is doomed to society’s misunderstanding of his ideas and beliefs and to loneliness.
D. Kardovsky
Illustrations for comedy
"Woe from Wit."
List of sources used
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- http://hallenna.narod.ru/griboedov_portrety.html
- https://yandex.ru/images/search?text=view%20Moscow%20times%20Griboyedov&stype
- https://yandex.ru/images/search?text=monuments%20%20Griboyedov