A.S. Griboyedov’s comedy “Woe from Wit” boasts of its unique images. One of central images The work is the image of Famusov.

Pavel Afanasyevich Famusov is an elderly man who buried his wife, the mother of his daughter, Sophia, whom he raises with the help of governesses, but loves endlessly. He lives in Moscow and, despite his age, Pavel is quite energetic and serves as a manager at state enterprise, where he arranged for almost all of his relatives to work. He regularly gives them awards and ranks; almost the entire enterprise is occupied exclusively by Famusov’s relatives.

Pavel Afanasyevich took Chatsky into his care when his parents died. It is important to him what they say about him, he is dependent on other people’s opinions, and likes to spread rumors. Famusov is hypocritical, often fussing, witty and resourceful, loves to flatter people, evaluates people by rank (honor of rank). He doesn’t notice anything around him, likes to put himself above everyone else, always defends his point of view, which is why he talks a lot, often interrupts everyone, often gets angry, likes to swear at his servants with or without reason. The author also notes Paul’s loud voice.

Famusov considers education an unnecessary waste of time. He also considers himself hospitable and attaches importance to visiting. It can often be seen on everyone important events cities, at balls, christenings and so on. Pavel Afanasyevich believes that Chatsky cannot marry his daughter Sophia because he has no money, and his father demanded an exceptionally rich groom, despite his comfortable financial situation, he was not averse to becoming related to the young Colonel Skalozub. Plus, according to Famusov, one could only expect troubles and disruption of order from Chatsky. Pavel and Chatsky were opposites of each other; during an argument, each defends their point of view, they do not hear each other.

In the person of Famusov, Griboyedov expresses a typical Russian nobleman, and in the person of his retinue and friends - a typical Russian society. Everyone is having fun, but underneath this lies selfish goals: to find a profitable match, make new acquaintances, find patronage. All of Famusov’s guests and himself are united by the search for personal gain and hypocrisy. In such a society, sincerity is considered bad manners or madness, where everyone is trying to make a good impression on each other, forgetting about their inner world.

Essay about Famusov

From the work “Woe from Wit” we learn about the situation that reigned in Russia at that time, describing in detail people and their thoughts and experiences.

The author introduces us to many colorful characters who draw the reader into the story. From the old generation we meet Famusov, a man of advanced years who has his own position in society and values ​​it very much. He is a person who always thinks about what others think about him, a person who is a conservative, rejecting everything new and innovative. Being a conservative by nature, this man tries to reject science and enlightenment, blaming his daughter for reading, supposedly it corrupts the young mind of a girl, but in the work we see that Famusov is by no means a saint, because he often flirts with his maid Lisa.

From all of the above, we see that Famusov is a person closed in his cocoon of stability, not wanting anything new, and even being afraid of the new, because he worries that this new thing can take away his old life, which he is so used to and does not want lose. In part, Famusov can be understood; he is a person of a different generation, and everything that is the norm for the new generation is savagery and complete tactlessness for him. This has always been the case and will always be so, so condemning him for this would be very stupid. Griboyedov shows us this image to show the struggle between the old and the new and innovative. It is the reluctance of the old world to fade into the background, due to its reluctance to lose power.

It is also clear through Famusov that the author made him the personification of conservatism, unwilling to let anything new into this world that could lead to change, since Famusov himself is afraid of change, fearing to lose his old life, which he loved so much and to which he was so accustomed.

In the nineteenth century, many events took place in Russia, which we can learn about from the works of Russian classics. Many of them described various events that in one way or another influenced the state of our homeland, and definitely influenced the people of that time.

Many works by an author like Griboyedov can be called works that provoke people to change, and possibly resistance. Therefore, his works were often subject to censorship, and his works were often not allowed to be published. One of these works was his provocative comedy “Woe from Wit.”

Option 3

Comedy A.S. Griboyedov’s “Woe from Wit” raises many acute social issues that aggravated after the Russian army’s foreign campaigns. All characters of this work represent representatives of Russian society of that period. To a greater extent, the author focuses on nobles and high-ranking personalities. Everyone, with the exception of Chatsky, plays the role of negative heroes. Pavel Afanasyevich Famusov stands apart among them. What is the image of this character?

Famusov is a landowner, leader of the so-called “ Famusovsky Society”, distinguished by conservative views on life. Pavel Afanasyevich is a rather elderly man, as evidenced by his prominent gray hair. Despite his advanced age, he is very active and cheerful. Famusov occupies high position in society, working as a manager in a state-owned house. Almost all of his work colleagues are relatives who got their jobs through nepotism. Famusov was married, but his wife died. From the marriage, the widower has a daughter, Sofia, whom he raises independently, trying to instill in her his own customs.

Pavel Afanasyevich's attitude to life expresses the opinion of all noble circles of that time. Famusov despises education and enlightenment, because it can harm his well-being. He strongly disapproves of teaching his daughter, who studies science and art with the help of professional teachers from European countries. Famusov himself is an uneducated person who prefers to lead a luxurious lifestyle.

Despite a large number of work responsibilities, he devotes a lot of time to entertainment, especially going to restaurants. You can almost always meet guests in Pavel Afanasyevich’s house. Famusov is thoroughly preparing for their arrival. He values ​​his reputation and tries to impress people he knows, fearing condemnation or criticism from society. Nevertheless, his attitude towards the interlocutor depends on official position person. Thanks to his ability to flatter, this character quickly climbed the career ladder.

In the image of Famusov, Griboyedov wanted to demonstrate all the vices and shortcomings of the conservative society of nobles. Pavel Afanasyevich personifies negative qualities human soul, which is manifested in his attitude towards various issues and his approach to solving problems. The author calls on people like Famusov to change and become representatives of the advanced stratum of the then nobility, which was in the minority and could not radically change outdated values.

Sample 4

Griboyedov's work "Woe from Wit" shows the main problems in society of the 19th century and the problem that remains eternal, the conflict of generations. The author divides two generations into the “past century” and the “present century.” Each century has its own representative, who reflects the whole essence of that time.

One of the main characters, Pavel Afanasyevich Famusov, belongs to last century. Occupies a place of honor in Moscow, a nobleman. Famusov is a manager in a state house. Famusov is not alone; he has a family consisting only of a daughter. Daughter Sofia at the age of seventeen. Famusov is raising her alone, his wife is not there, she died.

Famusov has a negative attitude towards any changes in life. He is driven by fear and the unknown. Will it be good after the changes or should I not touch anything and leave it in its place? It is precisely these thoughts of Famusov that the author conveys to us.

From the first lines of the work, the image of the main character is clearly visible. Do not forget that Famusov is presented as a whole generation belonging to the last century.

Changes in life are not the only thing that Pavel Afanasyevich denies. He is also against enlightenment. He considers it evil. He calls his daughter dissolute when he sees Sophia with Molchalin. She justifies this promiscuity by the fact that Sophia reads a lot of books. It is from them that all the harm and all the troubles come. Famusov himself behaves like a monk and considers himself an example for his daughter. Although everyone who is not blind sees the opposite, Famusov does not lead his life like a monk. Shortly before the conversation with his daughter, Pavel Afanasyevich was flirting with the maid Lisa.

Famusov is very dependent. Namely, we depend on public opinion, what matters to him is what they think about him and what they say. He worries that people will talk badly about him in society. Pavel Afanasyevich always thinks what impression he will make on others. It's true what they say, "don't judge a book by its cover." But Famusov does everything exactly the opposite. He cares appearance, and not those qualities and virtues that are inside a person and, in fact, what he consists of.

Some people are ashamed to curry favor and humiliate themselves in front of people, but Famusov thinks completely differently. He considers this the norm. In the first place in his life is rank and fortune.

Character traits are clearly visible in communication with other people. In communicating with everyone, he only seeks benefit. People who cannot give anything to Famusov are completely useless individuals.

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The image of Famusov in the comedy “Woe from Wit” is the embodiment of representatives of the autocracy, the reactionary militia bureaucracy. At the beginning of the 19th century there were a lot of such people; friends of Griboyedov, Pushkin, and the Decembrists spoke about them. The lordly environment had a negative attitude towards everything new and vehemently defended the old order. Famusov is not one person, but a whole class of ignoramuses, for whom there is nothing more important in life than money.

Characteristics of the master

The adherence of the rich to the old regime and their resistance to newness in all aspects of life is shown in the comedy “Woe from Wit.” Famusov is a major official, a very respected person in society, he communicates closely with noble nobles, titled persons visit his house. Pavel Afanasyevich, in his views, is an Old Believer, a supporter of the serf-owning nobility.

Griboyedov revealed the image of Famusov in the comedy “Woe from Wit” from all sides. For those whom he considers his equal, the master is a cordial and hospitable host, whose house is always open. Pavel Afanasyevich is a resourceful and witty storyteller, a good-natured person who is not devoid of worldly intelligence. This loving father, ready to both scold and caress his daughter. He treats servants rudely, grumpily, and has a quick temper. As a boss, he is strict and demanding.

Landowner's cultural level

The image of Famusov in the comedy “Woe from Wit” embodies the semi-enlightenment of the noble class. Pavel Afanasyevich boasts that Moscow girls cannot put two words together, that his office is full of relatives who do nothing. Famusov's speech speaks for itself, he has a rich lexicon, in which folk expressions predominate, there are also foreign words.

But the master is not able to express complex emotional experiences or talk about science, which indicates his low cultural level. This is an ordinary Russian landowner who prefers to communicate in everyday language.

Communication style

The rules of behavior in society are also touched upon in the comedy “Woe from Wit.” The image of Famusov is the embodiment of all Russian landowners, accustomed to humiliating and insulting the weak and poor, and to flatter themselves before those whom they are afraid of or who are beneficial to them. Pavel Afanasyevich communicates with a minor official on a first-name basis and only in an arrogant tone. He speaks ingratiatingly to influential people, adding the particle “s” to his words. A certain speech manner makes the image of Famusov in the comedy “Woe from Wit” realistic and truthful, because this is exactly how all the Moscow nobility spoke.

Griboyedov set himself the goal of exposing the serf society, showing where their domination was leading Russia, and he succeeded. The writer's contemporaries, having read the comedy, learned the events and facts that happened right before their eyes. Griboyedov did not embellish anything, but realistically depicted the nobility of the early 19th century. Famusov and others like him actively opposed education and culture, abandoning the spiritual and such an elite for Russia is a step back. Both Griboedov and his contemporaries understood this very well.

WORTH FROM MIND

(Comedy, 1824; published with omissions - 1833; completely - 1862)

Famusov Pavel Afanasyevich - one of the key characters of the comedy; a rich widower, a gentleman in whose Moscow house the action takes place, “a manager in a government place”; the father of Sofia, with whom Chatsky, who suddenly returned after a three-year absence, is in love. (F. was a friend of his late father.) The images of Chatsky and F. are polar opposites; one is a wanderer, the other a homebody; one raises a verbal rebellion against the decrepit patriarchal Moscow world, the other is dissolved in this world without a trace and in some sense personifies it.

The most pathetic of F.’s monologues praises Moscow morals, unchanged from century to century: here there is honor for father and son, here who has “two thousand family souls, / He and the groom”; Moscow ladies can now be sent “to command the Senate,” Moscow daughters “just cling to the military” - “Because they are patriots.” F. is especially delighted by the old men who “will argue, make some noise... and disperse.” This is not just a “word of praise for Moscow”, but a kind of retrospective-utopian image of an ideal society of the “Famus” type; in the same way - the famous calendar of F., the entries in which he looks through in the 1st Jan. 2nd day (on Tuesday to Praskovya Fedorovna’s house... on Thursday for the funeral... on Thursday, or maybe on Friday, or maybe on Saturday - to baptize “the widow, the doctor”), not just a detail of his life, but a set of rules for the Moscow world order, based not on deeds, but on connections. Accordingly, the ball in Famusov’s house, during which Chatsky will be declared crazy, is a small “model” of Moscow; F.’s guests - the princes Tugoukhovsky with 6 daughters, Khlestova, Skalozub and others - represent a cross-section of Moscow society.

As befits a widowed Moscow master, F. flirts with his daughter’s maid (“potion, spoiled girl”), is in a particularly close relationship with the doctor’s widow, who must not only give birth, but precisely according to F.’s special “calculation.” And at the same time he “ known for his monastic behavior.” As befits a man of the “past century,” he is afraid of new trends. During the first conversation with Chatsky (whose return does not please him at all - among other things, because Chatsky is poor, this is not a Moscow groom with “two thousand” souls) F. closes his ears so as not to hear bold speeches. Naturally, he condemns French fashion and the shops of Kuznetsky Most (the traditional comedy motif is reinterpreted; usually the subject of ridicule was not the “scolders” of fashion, but the fashionistas and fashionistas themselves). In this he partly coincides with Chatsky, who denounces the spirit of imitation; but the difference is that “fashion” for F. is not the enemy of the originality and independent Russian mind, but just one of the pseudonyms of novelty, which he hates. The difference between bookstores and biscuit shops is insignificant for him (cf. the same motif in “Count Nulin” by A. S. Pushkin, written after meeting “Woe from Wit”). Main enemy for F. it is teaching, because it destroys the immobility of the world - the main condition for the longevity of his “Moscow utopia.” An impossible dream: “to take all the books and burn them.”

And, like a typical Moscow gentleman, he is led by the nose by all and sundry. And the daughter, and her lover Molchalin, who was taken by F. as a secretary precisely for his timidity and helpfulness, and Sophia’s maid Liza. F. first appears on stage at the very moment when Sofia and Molchalin, who spent the whole night (fortunately, platonically) alone, have not yet parted; Lisa sets the clock so that it rings to disturb the peace of the lovers and warn them that it is no longer safe to stay together; first Liza, then Sofia and Molchalin lull the vigilance of the owner, who suspects something is wrong. And F.’s last appearance on stage is dedicated to final date Sofia with Molchalin, during which she becomes convinced of the baseness and self-interest of the “lover”; The picture of his daughter's nightly meeting with his secretary plunges F. into horror (especially because his late wife was a big hunter of men). The comedy of the scene is enhanced by the fact that F. seems to be bifurcated between his sudden hatred for the “new” Moscow, which is infected with the “spirit” of the Kuznetsky Bridge (“Daughter! Sofya Pavlovna!<...>/ You shouldn’t be in Moscow, you shouldn’t live with people. /<...>/ To the village, to my aunt, to the wilderness, to Saratov!”) and the former fiery love for “a capital like Moscow.” Just now (vv. 14) he threatened to make the shameful incident public (“I will submit it to the Senate, to the Ministers, to the Sovereign”), and then, in ev. 15, which concludes the comedy, exclaims in tearful horror: “What will Princess Marya Aleksevna say!!!” The opinion of the Moscow princess is higher in his hierarchy and means more to him than the opinion of the Russian Tsar, who is in St. Petersburg.

As everybody central characters comedy, F. has its “doubles”. One of them is Maxim Petrovich, the “character” of a historical anecdote that F. tells for Chatsky’s edification. (“On the kurtag he happened to step on his feet; / He fell so hard that he almost hit the back of his head /<...>/ Was granted the highest smile /<...>/The row suddenly fell - on purpose” - no. 2, yavl. 2.) This is the ideal “prototype” of F. And his (and at the same time Maxim Petrovich’s) plot shadow is Molchalin, absorbing Moscow traditions, living according to Moscow rules. Therefore, F.’s break, confident that Molchalin betrayed his trust, with the “secretary” may turn out to be temporary, as Chatsky’s final monologue hints at.

Molchalin Alexey Stepanych- Famusov’s secretary, living in his house, as well as an admirer of Sophia, who despises her in his soul. M. was transferred by Famusov from Tver. The hero's surname expresses his main trait - “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 adopted its views and lives by its principles. M. strictly follows his father’s behest: “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 consist in the fact that “at my age I should not dare to have my own judgment.” According to M., you need to think and act as is customary in “Famus” society. Otherwise they will gossip about you, and, as you know, “ gossips 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 romance novels with Sophia all night long, listen to the silence and trills of nightingales. M. doesn’t like Sophia, but he can’t refuse to please his boss’s daughter.

Skalozub Sergey Sergeich- in his image, the “ideal” Moscow groom is depicted - rude, uneducated, not very smart, but rich and pleased with himself. Famusov reads S. as his daughter’s husband, but she considers him “the hero of a novel that is not hers.” At the moment of his first arrival at Famusov’s house, S. talks about himself. He took part in the War of 1812, but did not receive the order “on the neck” for feats of arms, but on the occasion of military celebrations. S. “aims to become a general.” The hero despises book wisdom. He makes disparaging remarks about his cousin reading books in the village. S. tries to embellish himself externally and internally. He dresses in army fashion, using belts to make his chest look like a wheel. Having understood nothing in Chatsky’s accusatory monologues, he, nevertheless, joins his opinion, saying all sorts of nonsense and nonsense.

Sofya Pavlovna Famusova– Famusov’s 17-year-old daughter. After the death of her mother, she was raised by “Madame”, an old Frenchwoman, Rosier. S.'s childhood friend was Chatsky, who became her first love. But during the 3 years of Chatsky’s absence, S. has changed a lot, as has her love. S.'s formation was influenced, on the one hand, by Moscow habits and morals, and on the other hand, by the books of Karamzin and other sentimentalist writers. The girl imagines herself as the heroine of a “sensitive” novel. That’s why she rejects the sarcastic and brave Chatsky, as well as Skalozub, stupid but rich. S. chooses Molchalin for the role of a platonic admirer. In his home, S. does not have the opportunity to develop mentally. The only thing she is capable of is to imagine herself as the heroine of a novel and act according to this role. Either she comes up with a dream in the spirit of Zhukovsky’s ballads, then she pretends to faint, etc. But her “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 “betrayal” of Molchalin, who flirts with Lisa 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 her 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. is one of the brightest representatives of the “past century”. In one of his monologues, F. praises Moscow morals, unchanged from century to century. Here there is “honour” for father and son; here who has “two thousand ancestral souls, He and the groom.” Moscow ladies can be sent “to command the Senate,” they are so “informed” about everything; Moscow daughters “just cling to the military,” supposedly “because they are patriots”; Moscow old men, called upon to solve serious matters, “will argue, make some noise... and go their separate ways.” In the “Famus” society, everything rests on connections: “well, how can you not please your loved one.” 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 he hits on the maid Lisa. F. is afraid of all new trends. During a conversation with Chatsky, he covers his ears so as not to hear bold speeches. F.'s main enemy is learning, since 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 all and sundry. And daughter Sophia, and secretary Molchalin, and maid Liza. The hero's last appearance on stage is timed to coincide with the final date between Sofia and Molchalin. Seeing the young people together, F. is horrified. He blames the “new” Moscow for his daughter’s “licentiousness,” which is infected with free ideas and the “spirit of Kuznetsky Most” (that is, Paris). At first, F. threatens to make this shameful incident public (“I will submit it to the Senate, to the Ministers, to the Emperor”), but then he remembers that his daughter will be gossiped about 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 “Famus” society she occupies one of the main places.

Chatsky Alexander Andreich- a young nobleman. Representative of the “present century”. A progressive person, well educated, with broad, free views; true patriot. After a 3-year absence, Ch. comes to Moscow again and immediately appears at Famusov’s house. He wants to see Sophia, whom he loved before leaving and with whom he is still in love. But Sophia greets Chatsky very coldly. He is perplexed and wants to find the reason for her coldness. Remaining in Famusov's house, the hero is forced to enter into a fight with many representatives of "Famusov's" society (Famusov, Molchalin, guests at the ball). His passionate accusatory monologues are directed against the order of the century of “obedience and fear,” when “he was the one whose neck was most often bent.” When Famusov offers Molchalin as an example of a worthy person, Ch. pronounces the famous monologue “Who are the judges?” In it, he denounces the moral examples of the “past century”, mired in hypocrisy, moral slavery, etc. Ch. examines many areas in the life of the country: civil 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 experiences “grief 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 that Sophia chose him over this “most pitiful creature.” He exclaims: “The silent ones dominate the world!” Very upset, Ch. ends up at a ball in Famusov’s house, where the cream of Moscow society gathered. All these people are a burden to Ch. And they cannot stand the “stranger.” Sophia, offended by Molchalin, spreads a rumor about the hero’s madness. The whole society happily picks it up, putting forward the hero’s free-thinking as the main accusation against Ch. At the ball, Ch. pronounces a monologue about the “Frenchwoman from Bordeaux,” in which he exposes the slavish admiration for everything foreign and the contempt for Russian traditions. At the end of Ch.'s comedy, Sophia's true face is revealed. He is disappointed in her just as in the rest of “Famus” society. The hero has no choice but to leave Moscow.

The play “Woe from Wit,” written by Alexander Griboyedov, was not immediately published, and its appearance on the stage took a long time to arrive. Griboyedov's comedy did not avoid difficult relationships with censorship, since at that time the play had a rather sharp character and bold content.

In the comedy, the author touches on pressing problems of society that have matured since early XIX century. However, the moral, fundamental conflict, which is determined by the relationship with the mature split in the stratum of society of the nobles, is correlated with the problem of perceiving each other among old and new views on the social order.

Griboyedov’s play reveals such phenomena as “the present century” and “the past century.” A misunderstanding arises between them, which cannot be resolved. Famusov Pavel Afanasyevich is the primary preacher of the “past century”, serving as its main defender.

Characteristics of the hero

One of the characters famous comedy Alexandra Griboedova “Woe from Wit” - Famusov Pavel Afanasyevich. The hero of the play, the main representative of the so-called Famus society, is a nobleman, a famous landowner. In his circles, given his numerous acquaintances and connections, Famusov is a more than recognizable resident of Moscow, who serves as a manager in a government office. It is impossible to describe Famusov without mentioning his boastfulness, inherent in all noble representatives of the nobility. In addition, Pavel Afanasyevich is quite hospitable, sociable, one can call him an amateur beautiful life"on a grand scale." He is indifferent to any discussions and gossip about his personality. For himself, Famusov determined life credo the ability to please in the right situations, as well as to curry favor with those who can be useful to him. The ideal for Pavel Famusov is his uncle, Maxim Petrovich, whom his nephew strives to imitate in every possible way.

(The image of the Famusov society with a characteristic noble pastime in the 19th century of that time)

Despite the fact that Famusov’s wife is no longer alive, he allows himself cheeky behavior, although he creates the appearance of a respectable widower. Famusov not only shows interest in the maid, but is also closely connected with the doctor.

Pavel Afanasyevich has a daughter, Sophia, Famusov endlessly loves and takes care of her. And every opportune moment is a convenient opportunity to remind you how much effort was invested in raising your daughter. However, it is impossible to define the image of Famusov as one-sidedly negative, because he is capable of compassion and kindness. This is confirmed by the death of his friend, whose son Famusov took into his own upbringing and treated him no worse than my own daughter. For Famusov’s reasons, marriage between people can only be possible if their combination is capable of generating decent financial income. Based on this, his goal is to ensure Sophia’s future happy marriage for a rich groom.

Famusov works only with the desire to receive more money, earn recognition and subsequent titles. His secretary does all the work for him, and all he does is put his signature on the prepared papers.

Famusov, an avid Moscow gentleman of the 20s of the 19th century, can be classified as an ardent supporter of serfdom.

The image of the hero in the work

In the comedy play, Pavel Afanasyevich Famusov plays the role of a true opponent of educational activities, opposes all kinds of innovations, since, in his opinion, this entails a threat to his calm and prosperous life.

Dissolute behavior adult daughter He motivates Sophia by constantly reading books. However, reading is not the only reason that contributes to this behavior.

Famusov asserts with confidence that both foreign teachers and interest in studying the arts - all this will only harm noble children; they do not need to receive an education at all, since family life does not force or imply its presence.

The most best example Famusov considers his daughter to be her father, no matter how vain it may sound.

Griboyedov tried to give the image of Pavel Famusov and his society the most outdated landowner views and opinions, their inconsistency, and also emphasize the ingrained habits that were so deeply ingrained in their consciousness.

It is in this vein that the role of Famusov is staged on the pages of the play by A.S. Griboyedov "Woe from Wit".