Characteristics of the characters from the play Woe from Wit. Characters of Griboedov's comedy "Woe from Wit"

Griboyedov's contemporaries admired the language of the comedy Woe from Wit. Pushkin also wrote that half of the play's verses would become proverbs. Then N.K. Piksanov noted the peculiar speech coloring of Griboedov's comedy, the "liveness of the colloquial language", the characteristic speech of the characters. Each of the characters in Woe from Wit is endowed with a special speech characteristic of his position, lifestyle, features of his inner appearance and temperament.

So, Famusov is an old Moscow gentleman, a state official who defends the vital values ​​​​of the "past century" in a comedy. The social position of Pavel Afanasyevich is stable, he is a smart man, very confident, respected in his circle. His opinion is listened to, he is often invited "for name days" and "for burial." Famusov is gentle by nature, he is hospitable and hospitable in Russian, values ​​family ties, and is insightful in his own way. However, Pavel Afanasyevich is not alien to a certain self-interest, on occasion he can be cunning, he is not averse to dragging himself behind the maid. The social position of this character, his psychological appearance, his character and life circumstances correspond in the play to his speech.

Famusov's speech, according to A. S. Orlov, resembles the speech of the old Moscow nobility, with its folk, colloquial manner, colorful, figurative and well-aimed. Pavel Afanasyevich is prone to philosophizing, didacticism, witty remarks, brevity of formulations and conciseness. His speech manner is unusually mobile, lively, emotional, which indicates the hero's intellect, his temperament, insight, and a certain artistry.

Famusov reacts to the situation instantly, he expresses his “momentary opinion”, and then begins to talk on this topic more “abstractly”, considering the situation in the context of his life experience, knowledge about human nature, about secular life, in the context of the “century” and time . Famusov's thought is prone to synthesis, to philosophical generalizations, to irony.

Upon arrival, Chatsky asks why Pavel Afanasyevich is unhappy - Famusov immediately finds a well-aimed answer:

Oh! father, I found a riddle,
I'm not cheerful! .. In my years
You can't swear by me!

Finding his daughter with Molchalin early in the morning, Famusov becomes paternally strict, well-intentioned:

And you, madam, just jumped out of bed,

With a man! with the young! "A job for a girl!"

Pavel Afanasyevich can also analyze the situation, tracing cause-and-effect relationships in it:

All night reading fables,

And here are the fruits of these books!

And all the Kuznetsk bridge, and the eternal French,

Destroyers of pockets and hearts!

In comedy, the hero appears in a variety of guises - a caring father, an important gentleman, an old red tape, etc. Therefore, the intonations of Pavel Afanasyevich are the most diverse, he perfectly feels his interlocutor (N.K. Piksanov). With Molchalin and Liza, the servants, Famusov speaks in his own way, without ceremony. With his daughter, he maintains a strictly good-natured tone, didactic intonations appear in his speech, but love is also felt.

It is characteristic that the same didacticism, parental intonations appear in Pavel Afanasyevich's dialogues with Chatsky. Behind these moralizing, paradoxically, there is a special, paternal attitude towards Chatsky, who grew up with Sophia in front of Famusov. "Brother" and "friend" - this is how Famusov refers to his former pupil. At the beginning of the comedy, he is sincerely glad for the arrival of Chatsky, trying to instruct him in a paternal way. “That’s it, you are all proud! Would you ask how the fathers did? - Famusov perceives Chatsky not only as an inexperienced young man, but also as a son, not at all excluding the possibility of his marriage to Sophia.

Famusov often uses folk expressions: “a potion, a spoiled woman”, “fell all of a sudden”, “grief”, “neither give nor take”.

Remarkable in its imagery and temperament is Pavel Afanasyevich's monologue about Moscow, his indignation at the dominance of everything foreign in the upbringing of Moscow young ladies:

We take the tramps, and into the house, and by tickets,

To teach our daughters everything, everything,

And dancing! and foam! and tenderness! and sigh!

As if we are preparing buffoons for their wives.

Many of Famusov’s statements became aphorisms: “What a commission, creator, to be a father to an adult daughter!”, “Learning is a plague, learning is the reason”, “Signed, so off your shoulders.”

The speech of the old woman Khlestova is close to Famusov's speech. As N.K. Piksanov notes, Khlestova speaks "in the most restrained, most colorful language." Her speech is figurative, well-aimed, her intonations are confident. In the language of Famusov's sister-in-law there are a lot of folk expressions: "I rode for an hour", "a daring man gave him three fathoms", "a sop came down from dinner".

Skalozub's speech is also unusually characteristic - primitive, abrupt, rough in meaning and intonation. In his lexicon there are many military terms: "sergeant major", "divisions", "brigade general", "rank", "distance", "corps" - which are often used out of place. So, sharing Famusov's admiration for Moscow, he says: "The distances are huge." Hearing about the fall of Molchalin from a horse, he declares:

The reins were tightened. Well, what a miserable rider.
Look at how it cracked - in the chest or in the side?

Sometimes Skalozub does not understand what the interlocutor is talking about, interpreting what he heard in his own way. An exhaustive description of the hero's speech is given by Sophia: "He did not utter a clever word."

As A.I. Revyakin notes, Skalozub is tongue-tied. He does not know Russian well, confuses words, does not follow grammar rules. So, he says to Famusov: "I am ashamed, as an honest officer." Skalozub's speech, thus, emphasizes the mental limitations of the hero, his rudeness and ignorance, narrowness of outlook.

Molchalin's speech also corresponds to his inner appearance. The main features of this character are flattery, sycophancy, humility. Molchalin's speech is characterized by self-deprecating intonations, words with diminutive suffixes, obsequious tone, exaggerated courtesy: "two-s", "still-s", "sorry, for God's sake", "little face", "angel". Molchalin is mostly laconic, "eloquence" in him wakes up only in a conversation with Lisa, to whom he reveals his true face.

Among the characters of Famusov's Moscow, Repetilov, a "member of a secret alliance", stands out with his colorful speech. This is an empty, frivolous, careless person, a talker, a drinker, a regular at the English Club. His speech is endless stories about himself, about his family, about the "most secret alliance", accompanied by ridiculous oaths and derogatory confessions. The speech manner of the hero is conveyed by only one phrase: "We make noise, brother, we make noise." Chatsky comes to despair from Repetilov's "lies" and "nonsense".

As A. S. Orlov noted, “Repetilov’s speech is very interesting for the diversity of its composition: it is a mixture of salon chatter, bohemianism, circleism, theater and vernacular, which was the result of Repetilov’s wandering around different strata of society.” This character is characterized by both vernacular and expressions of high style.

It is worth noting the originality of the speech manner of the countess-grandmother. As V. A. Filippov notes, this heroine is not at all tongue-tied. Her “wrong”, non-Russian accent is due to her nationality. The old woman Khryumina is a German who never mastered the Russian language, the Russian pronunciation.

The speech of Chatsky differs from the speech of all the characters, who, to a certain extent, is a reasoning hero who expresses the author's views in the comedy. Chatsky is a representative of the "current century", criticizing all the vices of Moscow society. He is smart, educated, speaks the correct literary language. His speech is characterized by oratorical pathos, publicism, imagery and accuracy, wit, energy. It is characteristic that even Famusov admires the eloquence of Alexander Andreevich: "he speaks as he writes."

Chatsky has a special manner of speaking, which differs from the manner of other characters. As A. S. Orlov noted, “Chatsky recites as if from the stage, according to the satirical didacticism of the author. Chatsky's speeches take the form of monologues even in conversation, or are expressed in the shortest remarks, as if shots at the interlocutor.

Often in the speeches of this character irony, sarcasm, parodic intonations sound:

Oh! France! There is no better place in the world! —

Two princesses decided, sisters, repeating

A lesson that they have learned from childhood.

Remarkable in the play is Chatsky's monologue, in which he, with all his fervor and noble indignation, falls upon public order, the bureaucracy of officials, bribery, serfdom, the inertness of the views of modern society, the soullessness of public morality. This ardent, freedom-loving speech vividly characterizes the inner appearance of the hero, his temperament, intellect and erudition, worldview. Moreover, Chatsky's speech is very natural, vitally truthful, realistic. As I. A. Goncharov wrote, “it is impossible to imagine that another, more natural, simple, more taken from life speech could ever appear.”

Many of Chatsky’s statements became aphorisms: “And the smoke of the fatherland is sweet and pleasant to us”, “The legend is fresh, but hard to believe”, “Houses are new, but prejudices are old”, “Who are the judges?”

Sofya also speaks in a fairly correct literary language in the play, which indicates her good education, erudition, intelligence. Like Famusov, she is prone to philosophizing: "Happy hours do not watch." Sophia's expressions are labeled, figurative, aphoristic: "Not a man, a snake", "The hero is not my novel." However, the heroine's speech was greatly influenced by the French language. As N.K. Piksanov notes, in Sophia’s speech “there are whole tirades, replicas stated in an unclear, heavy language, with a non-Russian arrangement of the members of the sentence, with direct syntactic incorrectness”:

But every little thing in others scares me,

Although there is no great misfortune from

Though unfamiliar to me, this does not matter.

Lisa speaks in an unusually lively, lively language in the play. It has both vernacular and high-style words. Lisa's statements are also apt and aphoristic:

Bypass us more than all sorrows

And the lord's anger, and the lord's love.

The comedy "Woe from Wit" is written in a simple, light and at the same time bright, figurative, juicy and expressive language. Each word of her, according to Belinsky, breathes "comic life", strikes with "quickness of mind", "originality of turns", "poetry of samples".

In Russian classics, Griboedov is known as the author of the first comedy, combining examples of classicism and realism, although he had other comedies created earlier. Previously created plays included the beginnings of a combination of different styles to found a new, but the true result of an innovative genre was Griboyedov's work "Woe from Wit". The author came up with the idea of ​​the play in 1820, significant help in describing the characters was provided by the stories of his long-time girlfriend, E. B. Grekhova.

Characteristics of the heroes "Woe from Wit"

Main characters

Minor characters

In Woe from Wit, the characters, one of which is Chatsky, show the conflict of generations. Also in this play there are off-stage characters, the list of which includes representatives of Moscow society. The main characters of "Woe from Wit", except for Chatsky, have no prototypes, in some minor characters the features of the author's contemporaries from the literary society are expressed. This table, in which the characteristics of the heroes are given, may help in presenting summary plays.

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

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Characters of "Woe from Wit"

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

Slightly more detailed descriptions of the heroes of the comedy "Woe from Wit" with speech characteristics will be considered further.

Woe from Wit: a brief description of the main characters

Chatsky

colorful main character, who challenged the society favored by Famusov. At the same time, he was brought up in this family, since Chatsky's parents died, but were friends with Pavel Afanasyevich. Alexander Andreevich received a good education, traveled and became a member of the English Nobility Club. He returned to his native land, as he was in love with Sofia Famusova, but was disappointed with the mores of the local secular society and Pavel Afanasyevich in particular.

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

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

Chatsky's views:

1. On military service and bureaucratic service: “Among young people, there is an enemy of searches, / Without demanding either places or promotions, / In science, he will put his mind, hungry for knowledge; // Or in his soul God himself will excite the heat // To the creative, high and beautiful arts ... ”(Griboyedov).
2. He stands up for the movement of the nobility forward, stands for its development and liberation from the previous attitudes towards the ownership of serfs, hypocrisy towards each other.
3. He calls for a patriotic attitude towards his nation, and not following the fashion of France, Germany. He does not approve of the desire to copy Western traditions, to overly worship everything foreign.
4. Emphasizes that a person should be evaluated not for his origin and belonging to a certain genus, but only for his own actions, qualities, ideas.

Pavel Famusov

Controversial hero. Quite mobile for his age, sticks to the maid and, in principle, is not particularly delicate with the servants, but he treats his relatives and friends with respect. For Sophia, he is looking for a profitable party. Conservative and curmudgeon. Knows how to flatter the right people, adjust, but in everyday life hard.

Famusov's views, features:

Characteristics of Famusov according to the quotes "Woe from Wit":

Sofia Famusova

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

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

Famusova - windy girl, fickle in choosing a groom. What confirms the quotation of Sophia:

... I am very windy, perhaps I did, / And I know, and I am guilty; but where did you change?

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

... Who is poor is not a couple for you ...

Molchalin

Cold, impassive person who is only interested in a career. Pedantic, seeks to teach Chatsky, direct to the "right path." He meets Sophia for personal gain, he himself is hardly capable of deep feelings.

• Silent (which is also indicated by his speaking surname): "not rich in words", "because now they love the wordless."
• Gives monosyllabic answers, constantly thinking about what to say depending on the situation and the person who turned to him.
• Concerned about material well-being and achieving high status.
• Restrained and moderate in everything.
• Absolutely no position regarding morality, love, civic duty, honor.

Colonel Puffer

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

Characteristics of secondary characters

There are many heroes in the comedy "Woe from Wit", we will briefly cover the remaining secondary ones.

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

The main male and only positive character in the comedy. He was left an orphan quite early, and was brought up in the house of his father's friend, Famusov. The patron gave him an excellent education, but could not instill in Chatsky his worldview. Growing up, Chatsky began to live separately. Subsequently, he quit military service, but did not serve as an official.

One of the main characters in comedy. If the surname Famusov is translated from Latin, then it will mean "famous, enjoying fame." Famusov lives on the estate, but judging by his many friends, he is a very famous person in his circle. He likes to brag that he belongs to noble nobles. Famusov is hospitable, sociable, a lover of living in a big way.

The central female character of the comedy. Events unfold around her. Sophia is 17 years old, she was raised by her father and old Rosier. She lost her mother when she was very young. Sophia is very beautiful, smart, witty and quick-witted, but due to reading French novels, she is a bit sentimental and romantic.

The worst character in comedy. He does not belong to the upper strata of society, he comes from the common people. Came to work from Tver. Lives in Famusov's house, works as a secretary and takes care of his daughter Sophia. Strives to make a career. The purpose of his life is the highest ranks and wealth.

A secondary, but very important character in the comedy, a cheerful, young servant who lives and works in Famusov's house. She is a typical soubrette who helps her mistress Sophia in love affairs. We can say that Lisa is smart and very quick-witted.

A minor character, a wealthy colonel who wants to become a general, and Famusov sees in him the ideal groom for his daughter. Although Khlestova did not like him, he had weight in society. Skalozub's whole life is connected with the army. He is rude and ignorant, having been raised in the barracks.

A minor character in a comedy, one of the first guests at a ball in Famusov's house; a typical representative of the "famus society", henpecked and a hypocrite. Pyotr Ilyich appears at the ball not alone, but with his whole family - with his malicious and caustic wife Marya Alekseevna and six marriageable daughters.

A minor character in a comedy, who appears the very last at Famusov's ball. He is an old friend of Chatsky, which can be judged by the words with which he meets him: “Heart friend! Dear friend! On the other hand, very soon it becomes clear that this character is just an empty talker and a superficial person.

One of the most memorable secondary heroines of the comedy, with whom the author introduces the reader at a party at Famusov's; domineering and rude mistress-serf. The full name of the heroine is Anfisa Nilovna Khlestova. She is Famusov's sister-in-law, and, accordingly, Sophia's aunt.

Minor character in comedy. He appears at a dinner party in Famusov's house and perfectly complements the assembled society. This is a man of the world, well known in wide circles. He loves to go to the theater, attend balls and parties. At the same time, everyone knows that Zagoretsky is a notorious swindler, gambler and rogue.

One of the most memorable supporting characters in comedy; Famusov's guest and Chatsky's old friend. Platon Mikhailovich Gorich served with Chatsky in the same regiment. Now he has retired, married and lives in Moscow. Chatsky notices the change that has taken place in his comrade after his marriage, and is ironic about this.

Wife of Platon Mikhailovich Gorich in comedy; a vivid example of the embodiment of female power. Natalya Dmitrievna completely subjugated her husband, treated him like a child every now and then, intrusively caring for him. With her excessive concern for the health of Platon Mikhailovich, she killed in him the excitement of life, that enthusiasm that Chatsky had previously seen in his eyes.

Molchalin Alexey Stepanych- Famusov's secretary, who lives in his house, as well as Sophia's admirer, who despises her in his soul. M. translated by Famusov from Tver. The hero's surname expresses his main feature - "wordlessness". It was for this that Famusov made M. his secretary. In general, the hero, despite his youth, is a full-fledged representative of the “past century”, since he has assimilated his views and lives by his principles. M. strictly follows the covenant of his father: "to please all people without exception - the owner, the boss, his servant, the janitor's dog." In a conversation with Chatsky, M. sets out his life principles - "moderation and accuracy." They are that "at my age one should not dare to have one's own judgment." According to M., you need to think and act as is customary in the "famus" society. Otherwise, they will gossip about you, and, as you know, "evil tongues are worse than pistols." M.'s romance with Sophia is also explained by his willingness to please everyone. He obediently plays the role of an admirer, ready to read love stories with Sophia all night long, listen to the silence and trills of nightingales. Sophia does not like M., but he cannot refuse to please the daughter of his boss.

Skalozub Sergey Sergeyevich- in his image, the “ideal” Moscow groom is bred - rude, uneducated, not too smart, but rich and pleased with himself. Famusov reads S. as her daughter's husband, but she considers him "not the hero of her novel." At the time of his first visit to Famusov's house, S. talks about himself. He participated in the war of 1812, but he received the order "on the neck" not for military exploits, but on the occasion of military celebrations. S. "aims at the generals." The hero despises bookish wisdom. He speaks derogatoryly of his cousin who reads books in the countryside. S. tries to embellish himself externally and internally. He dresses in army fashion, "tightening" with straps so that his chest is a wheel. Having understood nothing in Chatsky's accusatory monologues, he, nevertheless, joins his opinion, saying all sorts of nonsense and nonsense.

Sofia Pavlovna Famusova- Famusov's 17-year-old daughter. After the death of her mother, she was brought up by "Madame", an old Frenchwoman Rosier. S.'s childhood friend was Chatsky, who also became her first love. But over the 3 years of Chatsky's absence, S. has changed a lot, as her love has changed. The formation of S. was influenced, on the one hand, by Moscow habits and customs, on the other hand, by the books of Karamzin and other sentimentalist writers. The girl imagines herself the heroine of a "sensitive" novel. Therefore, she rejects the caustic and bold Chatsky, as well as Skalozub - stupid, but rich. S. chooses Molchalin for the role of a Platonic admirer. In his house, S. does not have the opportunity to develop mentally. The only thing she can do is to imagine herself as the heroine of the novel and act according to this role. Either she invents a dream in the spirit of Zhukovsky’s ballads, or she pretends to faint, etc. But the “Moscow” upbringing also makes itself felt. During the ball, it is she who spreads the rumor about Chatsky's madness. The romantic behavior of the heroine turned out to be just a mask, her true essence is this nature of a Moscow young lady. At the end of the comedy, S. is punished. She learns about the “treason” of Molchalin, who flirts with Liza and speaks impartially about S. In addition, Famusov, having learned about his daughter’s affair with his secretary, decides to remove S. from Moscow “to the village, to my aunt, to the wilderness, to Saratov” .

Famusov Pavel Afanasyevich- Moscow gentleman, "manager in a government house." Sophia's father, friend of Chatsky's father. The events of the play take place in his house. F. - one of the brightest representatives of the "past century." In one of his monologues, F. praises Moscow customs, unchanged from century to century. Here, according to the father, "and honor to the son"; here who has "two thousand family souls, He and the bridegroom." Moscow ladies can be sent to "command in the Senate", so they are "informed" about everything; Moscow daughters “simply cling to the military”, allegedly “because they are patriots”; Moscow old men, called to solve serious cases, "argue, make some noise ... and disperse." In the "famus" society, everything is based on connections: "well, how not to please your dear little man." This model of life seems ideal to F. and other members of Moscow society, they consider it the only correct one and do not want any changes. F. is two-faced. He claims that he is "known for his monastic behavior", but at the same time hits on the maid Lisa. F. is afraid of all new trends. During a conversation with Chatsky, he plugs his ears so as not to hear bold speeches. Main enemy F. - teaching, as it makes changes to the calm Moscow life. The hero's dream is "to take all the books and burn them." Like a typical Moscow gentleman, F. is deceived by everyone who is not lazy. And daughter Sophia, and secretary Molchalin, and maid Lisa. The last appearance of the hero on stage is timed to coincide with the final meeting of Sofia and Molchalin. Seeing young people together, F. is horrified. He accuses the “dissolute” of his daughter of the “new” Moscow, which is infected with free ideas and the “spirit of the Kuznetsk bridge” (that is, Paris). At first, F. threatens to publicize this shameful incident (“I will give it to the Senate, the Ministers, the Sovereign”), but then he recalls that his daughter will be gossiped in all the houses of Moscow. In tearful horror, F. exclaims: “What will Princess Marya Alekseevna say !!!” The opinion of this princess means more to F. than the opinion of the tsar himself, because in the "famus" society she occupies one of the main places.

Chatsky Alexander Andreevich- A young gentleman Representative of the present century. Progressive person, well educated, with broad free views; true patriot. After a 3-year absence, Ch. again comes to Moscow and immediately appears in Famusov's house. He wants to see Sophia, whom he loved before leaving and with whom he is still in love. But Sophia meets Chatsky very coldly. He is perplexed and wants to find the reason for her coldness. Staying in Famusov's house, the hero is forced to fight with many representatives of the "Famus" society (Famusov, Molchalin, guests at the ball). His passionate accusatory monologues are directed against the order of the age of "submission and fear", when "he was famous for whose neck bent more often." When Famusov offers Molchalin as an example of a worthy person, Ch. utters the famous monologue “Who are the judges?” In it, he denounces the moral patterns of the "past century", mired in hypocrisy, moral slavery, etc. Ch. considers many areas in the life of the country: public service, serfdom, education of a citizen, education, patriotism. Everywhere the hero sees the prosperity of the principles of the "past century". Realizing this, Ch. experiences moral suffering, experiences "woe from the mind." But to no lesser extent, the hero also experiences "woe from love." Ch. finds out the reason for Sophia's coldness towards him - she is in love with the insignificant Molchalin. The hero is offended by the fact that Sophia preferred him to this "pathetic creature." He exclaims: "Silents rule the world!" Very upset, Ch. goes to a ball in the Famusov's house, where the flower of Moscow society has gathered. All these people are a burden to Ch. Yes, and they can not stand the "stranger". Sophia, offended by Molchalin, spreads a rumor about the hero's madness. The whole society gladly picks it up, putting forward the hero's free-thinking as the main charge against Ch. At the ball, Ch. utters a monologue about the "Frenchman from Bordeaux", in which he exposes the slavish admiration for everything foreign and the contempt of Russian traditions. In the finale of the comedy, Ch. reveals the true face of Sophia. He is disappointed in her just like in the rest of the "famus" society. The hero has no choice but to leave Moscow.