Composition Griboyedov A.S. The moral character and life ideals of the Famus society What are the moral ideals of the Famus society

The comedy "Woe from Wit" was enthusiastically received by the revolutionary-minded nobles. It reflected the life of Russia, the spirit of the era, exposed the state of Russian society. Griboedov's comedy was based on the clash of the views of the Decembrists with the reactionary mass of the nobility. In his work, Griboyedov posed a number of important problems: the problem of serfdom and the relationship between noble landowners and serfs, the problem of public service, education and culture, false and true patriotism. 5ga issues gave the comedy a sharp political character.

“A bunch of freaks of society, each of whom caricatured some opinion, rule, thought, perverting their legitimate meaning in their own way ...” (Gogol).

Griboyedov, a realist, brought a whole crowd of inhabitants of noble Moscow onto the stage. These are "aces", as they proudly call themselves, rich and noble nobles. They are famous not only for their merits in the service field, not for the excellent performance of civic duty, not for orders and wounds received on the battlefields. No! We know that a certain Tatyana Yurievna is respected here because she

Balls can not be richer
From Christmas to Lent
And summer holidays in the country.

Drawing for himself the ideals of a person from whom one should learn to live, Famusov says:

He's not on silver
I ate on gold, a hundred people at the service,
All in orders, he always drove in a train.
Wealth for them is the main thing,
Be poor, but if you get
Souls of a thousand two tribal
That and the groom.

They treated people poorer than themselves with contempt. They can “allow” the poor to themselves if they need him, but they will never miss an opportunity to arrogantly reproach him:

“He warmed up the bezrodny and introduced him into my family.
Gave the rank of assessor and took secretary
Transferred to Moscow through my assistance,
And if it wasn't for me, you would have smoked in Tver" -

reminds Famusov Molchalin.

The Moscow nobility is a circle of closely connected acquaintances. Connections help them do business, get new ranks and positions. Here they help out, but only a “native person”, here they go to visit Tatyana Yuryevna, but more because

Officials and officials -
All her friends and all her family.

They are promoted here only to

And take rewards and have fun.

With enthusiasm, Famusov tells young people about the nobleman Maxim Petrovich, who served under Catherine. This is the ideal of the entire noble society. Maxim Petrovich, seeking a place at court, did not show any business merit or talent, but only, as Chatsky wittily remarks, "bravely sacrificed the back of his head", that is, he fell to please the empress, and became famous for the fact that he often "bent neck" in bows.

And many visitors to Famusov's house create honor and wealth for themselves in the same way as this old nobleman.

“Whoever needs it, so arrogant in the dust,
And for those who are higher, flattery, like lace, was woven.

For example, Repetilov, in order to take his place in society, also used workarounds:

"Baron von Klaz to ministers methyl,
And I -
I went straight to him as a son-in-law.

And Skalozub? From his story we learn that in August 1813 he "sat down in a trench", i.e. apparently, he was holed up in a shelter. After such a "brilliant" military feat, Skalozub not only received an order "on the neck", but is about to be promoted to general. And here he hopes not for his own merits, but for completely different reasons:

"The vacancies are just open,
Then the elders will be turned off by others,
Others, you see, are killed.

The Moscow higher nobility lives monotonously and is not interesting. Let's go to Famusov's house. Guests gather here every day. What are they busy with? Dinner, playing cards, talking about money and clothes, gossip. Everyone here knows about others: they envy successes, gloatingly celebrate failures. Chatsky has not yet appeared, and here they are already slandering about his failures in the service. Princess Tugoukhovskaya is jealous of Princess Khryumina, and Countess Khryumina is "evil to the whole world", Khlesgova starts a quarrel with Famusov and Skalozub.

With what pleasure these bored gossips seized on Sophia's invention about Chatsky's madness. The rumor instantly spreads through the rooms, gossip is picked up and inflated by people who do not even know, who have not seen Chatsky.

Here are their small thoughts and ridiculous inventions. Turns out he's crazy because

I went after my mother, after Anna Alekseevna,
The deceased went crazy 8 times.

He allegedly drank champagne in "glasses", "bottles-s" and large and "forties" barrels. And what awareness in other people's affairs is shown by these bored loafers! A lively conversation turns into an argument - but about what? Yes, of course, about the wealth of Chatsky. How many fortress souls does he have? Enraged Khlestova minted:

“No, three hundred - I don’t know other people’s estates!”

Is there any other information in their heads besides other people's wealth? No, none of them read newspapers, and if they come across a printed word, how many evil thoughts it will cause!

Enlightenment for them is a plague, a danger that threatens the usual ways of life. Famusov speaks with hatred:

“Learning is the plague, learning is the cause,
What is now more than ever,
Crazy divorced people, and deeds and opinions, ”-

and ends his thought with a categorical demand:

"...No! so if you do not stop:
Collect all the books and burn them!”

Moscow nobles are arrogant and arrogant. He treats people poorer than himself with condescension. But especially contempt is heard in the remarks addressed to the serfs. They are "filki", "fomki", "chumps", "lazy grouse". One conversation with them

“To work you! Settle you!”

Nobles do not see people like themselves in their servants. Moreover, this applies to people of a different race. Talking about her purchase, Khlesgova forgets that she did not buy a small animal, but a person:

“What kind of arapka do I have for services:
Curly! Hump ​​of the shoulder blade!
Angry! All cat tricks!
After all, the Lord created such a tribe!
Damn it."

And in the monologue “Who are the judges?” Chatsky indignantly tells how the nobles, “overflowing in feasts and extravagance,” manage the lives of their serfs. Here is a portrait of a serf-owner:

“That Nestor of noble villains,
Crowd surrounded by servants
Zealous, they are in the hours of wine and fight
And honor and life saved him, suddenly
He traded three greyhounds for them!!!”

Moscow nobles boast of their patriotism, their love for their native city, for their country Famusov enthusiastically tells Skalozub about "a special imprint on all Moscow." But we notice that there is not enough Russian, simple and natural in them. On the contrary, everything in them, starting from their semi-Russian language, outfits “with taffeta, marigold and smoke” and their attitude towards their people, is deeply alien to Russian. Girls sing French romances, read French books, Russian names in a foreign way in Moscow.

"The door is open to the invited and the uninvited,
Especially from foreign ones.

In close formation, the Famusites oppose everything new, advanced. Here Skalozub tells with irritation about his cousin, who

“I firmly gained some new rules,
The rank followed him, he suddenly left the service,
In the village he began to read books.

This behavior is "not correct" according to Famusov and Skalozub. They themselves can be liberal, but they are afraid of fundamental changes:

“It’s not that novelties are introduced - never,
Save us, God! No".

And when Chatsky dared to "publicly" declare five or six thoughts "sensible", how frightened the old gentleman Famusov! He called Chatsky a "dangerous person", and his thoughts were "slanderous ideas." For him, brought up in the spirit of the Maximov Petrovichs, in the past 18th century, the 19th century seems like a dangerous time. In every person who looks like him, Famusov sees a "carbonara", a "farmason", a "Voltairian".

There are many members of the Famus society, each of them has their own personal traits, but all of them are united in one camp by the ideals “And take rewards and have fun”, “And a golden bag and aims for generals!”, Conservatism, inertia, fear of the new, fear in front of leading people.

In the comedy Woe from Wit, Griboedov portrayed the life of Russia after the Patriotic War of 1812. Close in his views to the Decembrists, Griboedov showed the clash of two camps in Russian public life: advanced Decembrist and old serfdom, "the present century" and "the past century". Depicting the "past century", Griboyedov brought a whole crowd of inhabitants of noble Moscow onto the stage. These are rich and noble nobles - "aces", as they proudly call themselves. They are famous not for their merits in the service field, not for their excellent performance.

Civic duty, not orders and wounds received on the battlefield, No! The main thing for them is wealth. “Be poor, but if there are two thousand well-born souls, that is the groom,” Famusov says in a conversation with Skalozub. And a certain Tatyana Yuryevna is respected here only because she "gives balls cannot be richer." With choking enthusiasm, Famusov tells young people about the nobleman Maxim Petrovich, who served under Catherine and, seeking a place at court, did not show any business qualities or talents, but only “bravely sacrificed the back of his head” and became famous for the fact that he often “bent neck" in bows. And many visitors to Famusov's house create honor and wealth for themselves in the same way as this old nobleman. The Moscow high nobility, depicted in Griboedov's comedy, lives monotonous and uninteresting. Let's go to the Famusovs' house. Guests gather here every day. What are they busy with? Dinner, playing cards, talking about money, clothes, gossip. Here everyone knows about others, they envy successes, they gleefully celebrate failures. Chatsky has not yet appeared, and here they are already slandering about his failures in the service. They don't read books or newspapers. Enlightenment for them is a "plague". How much hatred in Famusov's words:

“Learning is the plague, learning is the reason, What is more dense now than before, Crazy divorced people, and deeds, and opinions.” Moscow nobles are arrogant and arrogant, They treat people poorer than themselves with contempt. But a special arrogance is heard in the remarks addressed to the serfs. They are "cockerels", "crowbars", "chumps", "lazy grouse". There is only one conversation with them: “Get you to work! Settle you!” Moscow nobles boast of their patriotism, their love for their native country. Famusov enthusiastically tells Skalozub about "a special imprint on all Moscow." But there is very little Russian, simple and natural in them. On the contrary, everything in them, from the semi-Russian language and outfits with "taffeta, marigold and smoke" to the attitude towards their people, is deeply alien to Russian. The girls sing French romances, read French books, distort Russian names in a foreign way. In close formation, the Famusites oppose everything new, advanced. They can be liberal, but they are afraid of radical changes like fire: “It’s not that novelties are introduced - God never save us! No". And when Chatsky dared to "publicly announce five or six healthy thoughts," how frightened the old gentleman Famusov! He called Chatsky a "dangerous person", and his thoughts - "slanderous ideas." Members of the Famus society are united in one camp by ideals (“Take rewards and live happily”), inertia, fear of the new, fear of advanced people. Unfortunately, many of our compatriots almost do not differ from the Famusites. But it seems to me that ignorance and militant stupidity will be defeated by new generations, when not only rank and money, but intelligence and bright minds will be valued.

Alexander Sergeevich Griboyedov became famous thanks to one work, about which Pushkin said: "His handwritten comedy Woe from Wit produced an indescribable effect and suddenly put him along with our first poets." Contemporaries argued that "Woe from Wit" is "a picture of morals and a gallery of living types." Since then, comedy continues to captivate readers and viewers who perceive its characters as living people.

Characters plays not only live, go to the ball, love, are jealous. Each of them shares with the viewer and reader his own point of view on the world, which he has endured and suffered through. In comedy, there is a tense dialogue of life philosophies and worldviews. On the one hand, it is led by Chatsky, an advanced man of his time, on the other hand, by Famusov and those who are close to him, the Famus society.

Famusov is a typical representative of the lordly and bureaucratic Moscow of the first quarter of the 19th century, but the past century of "submission and fear" is his ideal. He praises the dead uncle for the fact that he knew how to serve, bending over backwards, dressing up as a jester to be noticed. He admires a certain Kuzma Petrovich, who himself was rich, married favorably, and left his children not only a solid inheritance, but also positions. And Famusov himself takes care of his relatives, placing them in warm, profitable places. And all this in order to fill the purse tighter. In his opinion, he is not a bridegroom for his daughter, Who does not have the souls of two thousand serfs. And if a person does not serve, manages the estate in his own way,

He preaches free views, he, like Chatsky, falls into the category of freethinkers,

Dangerous people. Famusov sees danger for himself and his kind in teachings, books,

Dreaming of "collecting all the books and burning them", so that other "people and deeds, and

A more sinister figure appears before us Colonel skalozub, a soulless careerist, because behind him is the power of the military machine. Although he is promoted not on merit, but by chance, using "many channels", he does not become less scary. Arakcheevshchina simply reeks of him, you can’t confuse him with scholarship, and he prefers the sergeant major and the three-line formation to Voltaire.

Molchalin is a figure of a different kind, quiet, wordless. But, nevertheless, "The silent ones are blissful in the world," because they humiliate themselves, flatter and love by calculation. They may well reach "to the known levels", stroking the pugs and looking ingratiatingly into the eyes of Tatyana

Yurievna.

Very similar to Molchalin Anton Antonovich Zagoretsky, this is also noted by Chatsky. But Zagoretsky is more frank than Molchalin. He frank a saint, a liar, a card sharper, and on occasion a scammer, it is not without reason that Gorich warns him of this quality.

No, it’s not without reason that Griboyedov draws Zagoretsky, who came from the whirlpool of social life, as well as another hero who appears at the end of the play, Repetilov. In his confused

The story before us passes through many Moscow and St. Petersburg types, "the smartest

People" who actually turn out to be empty talkers, like Repetilov himself, who vulgarizes

The gallery of typical images of the Famus society is also represented by the old woman Khlestova, an old Moscow lady, a despotic serf-owner, peremptory in her

estimates, and the family of Prince Tugoukhovsky, busy chasing rich suitors, and

The elderly, stupid Countess Khryumina with her arrogant granddaughter, and Natalya Dmitrievna, a capricious coquette who crushes her husband under the heel, and a whole number of people who do not directly participate in the comedy, but are mentioned in fluent and well-aimed characterizations.

As you can see, there are quite a lot of representatives of the Famus society, the society of the old, obsolete, in the play. And so the main character is broken by its quantity, but not by its quality. After all, laughter and mockery permeate the whole play, and the ridiculed vice is no longer terrible. Laughter conquers the environment, teeming with silent, pufferfish, zagoretskshsi, -

An obsolete Famus society.

Alexander Sergeevich Griboyedov became famous thanks to one work, about which Pushkin said: “His handwritten comedy “Woe from Wit” produced an indescribable effect and suddenly put him along with our first poets.” Contemporaries argued that "Woe from Wit" is "a picture of morals and a gallery of living types." Since then, comedy continues to captivate readers and viewers who perceive its characters as living people.

The characters in the play not only live, go to the ball, love, are jealous. Each of them shares with the viewer and reader his own point of view on the world, which he has endured and suffered through. In comedy, there is a tense dialogue of life philosophies and worldviews. On the one hand, it is led by Chatsky, an advanced man of his time, on the other hand, by Famusov and those who are close to him, the Famus society.

Famusov is a typical representative of the lordly and bureaucratic Moscow of the first quarter of the 19th century, but the past century of “submission and fear” is his ideal. He praises the dead uncle for the fact that he knew how to serve, bending over backwards, dressing up as a jester to be noticed. He admires a certain Kuzma Petrovich, who himself was rich, married favorably, and left his children not only a solid inheritance, but also positions. And Famusov himself takes care of his relatives, placing them in warm, profitable places. And all this in order to fill the purse tighter. In his opinion, he is not a bridegroom for his daughter, Who does not have the souls of two thousand serfs. And if a person does not serve, manages the estate in his own way, preaches free views, he, like Chatsky, falls into the category of freethinkers, dangerous people. Famusov also sees a danger for himself and his kind in teachings, books, dreaming of “collecting all the books and burning them” so that other “people and deeds and opinions” do not get divorced.

A more sinister figure appears before us Colonel skalozub, a soulless careerist, because behind him is the power of the military machine. Although he is promoted not on merit, but by chance, using "many channels", he does not become less scary. Arakcheevshchina simply reeks of him, you can’t confuse him with scholarship, and he prefers the sergeant major and the three-line formation to Voltaire.

Molchalin is a figure of a different kind, quiet, wordless. But, nevertheless, “The silent ones are blissful in the world,” because they humiliate themselves, flatter and love by calculation. They may well reach “to the known levels”, stroking the pugs and looking ingratiatingly into the eyes of Tatyana Yuryevna.

Very similar to Molchalin Anton Antonovich Zagoretsky, this is also noted by Chatsky. But Zagoretsky is more frank than Molchalin. He is an obvious saint, a liar, a card cheat, and on occasion a scammer, not without reason that Gorich warns him of this quality.

No, it’s not without reason that Griboyedov draws Zagoretsky, who came from the whirlpool of social life, as well as another hero who appears at the end of the play, Repetilov. In his confused story, we see before us a multitude of Moscow and St. Petersburg types, “the smartest
people”, who in fact turn out to be empty talkers, like Repetilov himself, who vulgarizes ideas dear to the author’s heart.

The gallery of typical images of the Famus society is also represented by the old woman Khlestova, an old Moscow lady, a despotic serf-owner, peremptory in her

estimates, and the family of Prince Tugoukhovsky, busy chasing rich suitors, and the elderly, stupid Countess Khryumina with an arrogant granddaughter, and Natalya Dmitrievna, a capricious coquette, crushing her husband under the heel, and a number of people who are not directly involved in the comedy, but are mentioned in fluent and well-aimed characteristics.

As you can see, there are quite a lot of representatives of the Famus society, the society of the old, obsolete, in the play. And so the main character is broken by its quantity, but not by its quality. After all, laughter and mockery permeate the whole play, and the ridiculed vice is no longer terrible. Laughter conquers the environment, teeming with silent, pufferfish, zagoretskshsi, -

obsolete Famus society.

Autumn is the most beautiful time of the year. It is not for nothing that Alexander Sergeevich Pushkin made autumn the most beloved season of the year. It is impossible not to admire the beauty that autumn gives us. And how beautiful it is in the autumn in the forest! Sometimes just words are not enough to describe all this splendor, only an artist can convey the autumn landscape. It is very beautiful in mid-September, when the leaves of the trees turn yellow. At this time, everything is in gold, and you don’t want to leave the park, because there are such picturesque landscapes around. And how cool it is in a birch grove, it seems that gold coins are weighed on young birch trees, and when the wind starts to blow, their ringing is heard.

It occupies a certain place in the history of underwater navigation, since Jules Verne was able to correctly outline the paths for its further development and stimulated the work of inventive thought ... Many submarine designers, as well as inventors of diving equipment, were grateful to the science fiction writer. Diving suits - what: they were in the time of Jules Verne, how he "improved" and what they became later, one could1 devote a separate essay. The novel "Twenty Thousand Leagues Under the Sea" is perhaps the most striking, but far from the only, case: a close coincidence of fiction with history.

The main work of Dante Alighieri, which brought him worldwide fame, is the poem "The Divine Comedy". It became a kind of bridge between the culture of the Middle Ages and the Renaissance. The poet himself called it simply - "Comedy". In the Middle Ages, it was customary to understand this term as any work with a sad beginning and a happy ending. The epithet divine was added by critics later, but not to indicate its religious orientation, but as an expression of exceptional poetic perfection. Dante was one of the first in Western European literature to make depictions the subject of poetry.

In the poem "Dead Souls" Nikolai Vasilyevich Gogol, along with an expressive gallery of portraits of landowners, describes in detail the hero of the new time - Pavel Ivanovich Chichikov. This is a big scammer. He anticipates the birth of a new system - capitalism and is already ready for its conditions. Chichikov puts money above everything in the world, and will worship, serve, and devote his life to capital formation. He perfectly remembered his father’s testament to “save a penny”, for everyone can betray, only a “penny” will help and save ... Pavel Ivanovich from childhood begins to make capital, reselling rolls and crumpets to his friends ... Sweat

Sword and Morozka are two heroes of A. Fadeev's novel "Rout". Their acquaintance takes place in a very extreme situation: Frost saves Mechik from death. And then there is conflict between the characters. The sword begins to be strongly liked by Morozka's wife, Varya. But in fact, the clash of heroes is much deeper. It lies in their different social status, upbringing, life experience, moral ideals. Morozka is a working, hereditary miner. Life did not spoil him: from the age of twelve, Ivan Morozov knew the hard work of a miner, and in the eighteenth year, together with his wife Varya, he went to "defend the Soviets." Freezing

How does Molchalin reveal himself during a dialogue with Chatsky? How does he behave and what gives him the right to behave this way?

Molchalin is cynical and frank with Chatsky about his life views. He talks, from his point of view, with a loser (“You weren’t given ranks, were you unsuccessful in your service?”), Gives advice to go to Tatyana Yuryevna, is sincerely surprised by Chatsky’s harsh reviews about her and Foma Fomich, who “under three ministers was the head of the department ". His condescending, even instructive tone, as well as the story of his father's will, are explained by the fact that he does not depend on Chatsky, that Chatsky, with all his talents, does not enjoy the support of the Famus society, because their views differ sharply. And, of course, a considerable right to behave this way in a conversation with Chatsky gives Molchalin his success with Sophia. The principles of Molchalin's life may seem only ridiculous ("to please all people without exception", to have two talents - "moderation and accuracy", "after all, one must depend on others"), but the well-known dilemma "Is Molchalin ridiculous or terrible?" in this scene it is decided - scary. Molchalin spoke and expressed his views.

What are the moral and life ideals of the Famus society?

Analyzing the monologues and dialogues of the characters in the second act, we have already touched on the ideals of the Famus society. Some principles are expressed aphoristically: “And to take awards, and have fun”, “I just wish I could become a general!”. The ideals of Famusov's guests are expressed in scenes of their arrival at the ball. Here is Princess Khlestova, knowing well the price of Zagoretsky (“He is a liar, a gambler, a thief / I was from him and the door was locked ...”), accepts him, because he is a “master of pleasing”, got her a black-haired girl as a gift. Wives subjugate their husbands to their will (Natalya Dmitrievna, a young lady), the husband-boy, the husband-servant becomes the ideal of society, therefore, Molchalin also has good prospects for entering this category of husbands and making a career. All of them seek kinship with the rich and noble. Human qualities are not valued in this society. The true evil of noble Moscow was gallomania.

Why did gossip about Chatsky's madness arise and spread? Why are Famusov's guests so willing to support this gossip?

The emergence and spread of gossip about Chatsky's madness is a series of phenomena that is very interesting from a dramatic point of view. Gossip appears at first glance by chance. G.N., catching Sophia's mood, asks her how she found Chatsky. "He has a screw loose". What did Sophia mean, being under the impression of the conversation with the hero that had just ended? It is unlikely that she put a direct meaning into her words. But the interlocutor understood exactly that and asked again. And here in the head of Sophia, insulted for Molchalin, an insidious plan arises. Of great importance for explaining this scene are the remarks to Sophia's further remarks: "after a pause, she looks at him intently, to the side." Her further remarks are already aimed at the conscious introduction of this idea into the head of secular gossips. She no longer doubts that the rumor spread will be picked up and overgrown with details.

He is ready to believe!

Ah, Chatsky! you love to dress up everyone in jesters,

Would you like to try on yourself?

Rumors of madness are spreading with astonishing speed. A series of “little comedies” begins, when everyone puts their own meaning into this news, tries to give their own explanation. Someone speaks with hostility about Chatsky, someone sympathizes with him, but everyone believes, because his behavior and his views are inadequate to the norms accepted in this society. In these comedy scenes, the characters of the characters that make up the Famus circle are brilliantly revealed. Zagoretsky supplements the news on the go with an invented lie that his rogue uncle put Chatsky in the yellow house. The countess-granddaughter also believes, Chatsky's judgments seemed insane to her. Ridiculous is the dialogue about Chatsky, the Countess-grandmother and Prince Tugoukhovsky, who, due to their deafness, add a lot to the rumor launched by Sophia: “the accursed Voltairian”, “crossed the law”, “he is in pusurmans”, etc. Then the comic miniatures are replaced by a mass scene (act three, phenomenon XXI), where almost everyone recognizes Chatsky as a madman.

Explain the meaning and determine the meaning of Chatsky's monologue about the Frenchman from Bordeaux.

The monologue "The Frenchman from Bordeaux" is an important scene in the development of the conflict between Chatsky and Famusovsky society. After the hero had conversations separately with Molchalin, Sofya, Famusov, his guests, in which a sharp opposition of views was revealed, here he delivers a monologue to the whole society gathered at the ball in the hall. Everyone has already believed in the rumor about his madness and therefore they expect obviously delusional speeches and strange, perhaps aggressive, actions from him. It is in this vein that the guests perceive Chatsky's speeches condemning the cosmopolitanism of the noble society. It is paradoxical that the hero expresses sound, patriotic thoughts (“slavish blind imitation”, “our smart, cheerful people”; by the way, the condemnation of gallomania sometimes sounds in Famusov’s speeches), they take him for a madman and leave him, stop listening, diligently spin in a waltz , the old people disperse on the card tables.