Minor characters in A. S. Griboedov’s comedy “Woe from Wit”

The comedy by A. S. Griboedov “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, Griboedov 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. Griboedov emphasizes rudeness, ignorance, mental and spiritual limitations in Skalozub. Rejecting his “potential suitor,” Sophia notes that he “has never uttered a smart word.” 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 their 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 Alexei’s “place” Stepa-nycha and doesn’t 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 Byron”, “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 unclean hand is strong;

Yes, an intelligent person cannot help but be a rogue.

When he talks about high honesty,

Some kind of demon inspires:

My eyes are bloody, my face is burning,

He cries himself, and we all cry.

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

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 “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 “riot” is limited to the everyday sphere. In the “ideological” sense, he is completely “law-abiding”:

...What if, between us,

I was appointed as a densor,

I would lean on fables; Oh! fables are my death!

Eternal mockery of lions! over the eagles!

Whatever you say:

Although animals, still give.

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 morals 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. Having obeyed 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 the hand of a 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. Griboyedov'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."

Miller O., Grigoriev A. The environment depicted in the comedy “Grief”

from the mind." - In the book: Alexander Sergeevich Griboyedov. His life and writings. Collection of historical and literary articles. Compiled by V. Pokrovsky. M., 1908. P. 51.

Miller O., Grigoriev A. The environment depicted in the comedy “Woe from Wit.” - In the book: Alexander Sergeevich Griboedov. “His life and works.” Collection of historical and literary articles. Compiled by V. Pokrovsky. M., 1908. P. 52.

Pushkin A. S. Letter to A. A. Bestuzhev. - In the book: A. S. Griboyedov in Russian criticism. M., 1958. P. 41.

Nezelenov. Women's society in the comedy "Woe from Wit". - In the book: Alexander Sergeevich Griboyedov. His life and writings. Collection of historical and literary articles. Compiled by V. Pokrovsky. M., 1908. P. 7.

Belinsky V.G. Woe from Wit. - In the book: V. G. Belinsky. A look at Russian literature. M., 1987. P. 241.

Goncharov I. A. A million torments.

one of the characters in the play fulfills his 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.” 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 Griboyedov, 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, as well as “He who is poor is not a match for you.”

Countesses Khryumina appear at the ball. This is completely embittered the world Hrymnna-granddaughter with her half-deaf grandmother. Khryumina's 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, Griboyedov 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 light, the doors Famusovsky house open to 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 for 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 moment. 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 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, Griboyedov 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 tells

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

Conflict

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

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

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

Speech of heroes and speaking names

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

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

Skalozub

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

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

Prince and Princess Tugoukhovsky, Khlestova

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

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

Repetilov and Zagoretsky

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

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

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

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

The difference between comedy and literature of the 18th century

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

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

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

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

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

Off-stage characters

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

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

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

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

Each of the characters in the play performs its own 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 are many-sided, but they all have common features: serfdom, ignorance, veneration, and 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.” 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 Griboyedov, 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.” Countesses Khryumina appear at the ball. This is Khrymna, the granddaughter, embittered at the whole world around her, with her half-deaf grandmother. Khryumina's 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 pronouncing several entire phrases in French, which no one else does in comedy. In her person, Griboyedov 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 is more “involved” in comedy than other episodic characters. 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 devastating characterization, he is accepted in the world, the doors of Famusov’s house are open to him, even Khlestova said a kind word about him: “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,” getting tickets to the performance, he confesses that he “has already kidnapped by force.” This phrase reveals the baseness of Zagoretsky’s character. He will do everything to serve 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. A characteristic feature of one of the main characters of the comedy - Molchalin - coincides with the main property of Gorodetsky’s character. 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, Griboyedov 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 Griboyedov’s portrayal is a man who vulgarizes and discredits the ideas of 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.

Episodic characters in the comedy "Woe from Wit"

Famusov also characterizes other women, episodic characters: “Judges of everything, everywhere, there are no judges above them,” - they can command the army, sit in the Senate - they can do everything. Famus society, despite the existence of the emperor, lives in a state with female rule.

The author introduces readers to no less important and significant ladies who occupy high position in society - Princess Marya Aleksevna and Tatyana Yuryevna. That’s why she advises Chatsky to go to Tatyana Yuryevna, because “officials and officials are all her friends and all her relatives.” And he himself is very worried about “what Princess Marya Aleksevna will say.” For him, a government official, the princess's court is more terrible, because her word is very significant in society. Also, many are afraid of Khlestova’s trial, because her opinion is also public. In addition, she, like many other representatives of Famus society, loves to gossip. The countess-granddaughter is an embittered gossip, since she has been “in girls for a whole century.” She is unhappy that many people go abroad and get married there.

Natalya Dmitrievna greets the princesses in a thin voice, they kiss and look each other up and down, trying to find faults that will be a reason for gossip. Gossip reigns in Moscow bar society. It is the gossip about Chatsky’s madness, started by his beloved Sophia, that makes the hero a social madman, dooms smart person to expulsion.

Among the off-stage characters one can distinguish not only representatives of the “past century”, but also like-minded people of Chatsky. This is Skalozub’s cousin, who is condemned by society because “his rank followed him: he suddenly left his service and began reading books in the village.” He missed the opportunity to receive a rank, and this is unacceptable from the point of view of Famus society, and besides, for them, “learning is a plague.” Or Prince Fyodor, the nephew of Princess Tugoukhovskaya - “he is a chemist, he is a botanist”, “runs away from women”, as well as professors of the Pedagogical Institute, “practicing in schisms and lack of faith.”

It should also be said about Lisa, the servant in Famusov’s house.

She has a practical mind and worldly wisdom. She gives apt descriptions of the heroes: “Like all the Moscow ones, your father is like that,” she says to Sophia about Famusov, who is “known among monks for ignorance” and is not averse to hitting on Liza, and the one after Petrush’s heart. Lisa has a low opinion of Skalozub: “He’s eloquent, but not very cunning.” She is more favorable towards Chatsky: “Who is so sensitive, and cheerful, and sharp.” Lisa is the second reasoner in the comedy, expressing the opinion of the author himself. The characteristics of the characters given by Lisa are additional touches to the portraits created by Griboyedov. It is also interesting that the author gives associative surnames to many of the characters: Repetilov, Tugoukhovsky, Skalozub, Khlestova, Molchalin.

Thus, episodic and off-stage characters help to reveal the characters of the main characters, expand the spatial and temporal framework of the play, and also help create a picture of the life and customs of the life of the Moscow nobility of the 10-20s of the 19th century, contribute to a deeper disclosure of the conflict of the play - the clash of the “century” present" with the "past century".

Thanks to the images of foreign teachers and the “Frenchman from Bordeaux,” one can draw conclusions about the attitude of Famus society to education and upbringing, about the quality of this education, about imitation of everything foreign. “Old Gold Lady” Madame Rosier, despite the “rare rules,” “allowed herself to be lured by others for an extra five hundred rubles a year.” And the dance master, “beaten by the wind,” and the mentor of Chatsky and Sophia with “all the signs of learning” (robe, cap and index finger) produce a rather comical impression. What kind of education could such people give? What could they teach? They only inspired a passion for French pulp novels, far from life, dances and all kinds of order. And in the end - a picture of “empty, slavish, blind imitation” of the external attributes of Western culture, which Chatsky speaks of and which the “Frenchman from Bordeaux” sees in Moscow:

• 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 not surprising that a person from the city of Bordeaux feels like a “little king” in Moscow.

And here are the characters in Chatsky’s accusatory monologues: “Nestor of the noble scoundrels” and the theater landowner. They give us an idea of ​​the serfdom that reigns among the serf owners, of their arbitrariness towards the peasants and servants. “Nestor of the noble scoundrels” exchanged his devoted servants for “three greyhounds,” and the ballet lover sold his “Zephyrs” and “Cupids” one by one to pay off the debt.

As for the jester characters, with their help the author demonstrates the most comical features of Famus society. This is Sophia’s aunt, who “forgot to blacken her hair and turned gray after three days”, having lost her young French lover, and “three of the boulevard faces who have been looking young for half a century,” and a theatergoer holding a man behind the screens who “clicked the nightingale,” and “an enemy of books,” who demanded “an oath so that no one knows or learns to read and write,” and Princess Vlasova, who fell from her horse and is now looking for a husband “for support” - all of them personify the complete absurdity, idleness of the pastime of those who defend outdated traditions "centuries-old".

Among the off-stage characters there are also those who are to some extent alien to the customs of Famusov’s Moscow. For example, Baron von Klotz, who was afraid of “reproach for allegedly being weak towards his relatives,” or the educated Prince Fyodor, a chemist and botanist, who “runs away from women” and “does not want to know officials.”