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In the world you rarely find a teaching that promotes violence, lies and deception. For the most part, world dogmas affirm the principles of humanity, peacefulness and decent attitude towards other people, however, real life far from these teachings.

Despite all efforts, deceit and deception prevail in society. This trend is typical for any social groups. However, the realization that the elite of society is also not devoid of these vices of humanity is depressing - I want to believe that there is a certain ideal of society in the world and this is not a utopia.

Famus Society, quite possibly, could serve as such an ideal model, but this does not happen. With the help of Alexander Chatsky's exposure, the reader learns about the vices and negative character traits typical of aristocrats.

The denunciation of the aristocracy occurs through the example of the manager government agency in Moscow Pavel Afanasyevich Famusov. He has neither unique biography, nor his unique character - all his qualities were typical of the aristocracy of that time.

Family life of Famusov

In the story, the reader gets acquainted with an already formed, mature person, both biologically and psychologically.

His exact age is not indicated in the play - at the time of the unfolding of the main events he is a man of considerable age: “At my age, you can’t start squatting on me,” - this is what Famusov himself says about his age.

Family life Pavel Afanasyevich’s life was not cloudless - his wife died, and he remarried a certain “Madame Rosier”. Famusov cannot boast big amount successors of his family - he has one child - daughter Sonya, born from his first wife.

Famusov is not devoid of a sense of compassion - he took in his friend’s son, Alexander Chatsky, to raise him after the boy was orphaned. Alexander retained pleasant impressions of his teacher and, after returning from a long trip abroad, the first thing he did was pay a visit to Pavel Afanasyevich. Sincerely speaking, his respect and gratitude towards Famusov is not the only reason for the visit. Chatsky is in love with Sonya and hopes to marry the girl.

Based on this situation, we can conclude that Pavel Afanasyevich was a good teacher, he knew how to win Alexander over at any age, otherwise Chatsky would not have sought to pay him a visit with such zeal.

However, Famusov’s meeting with Chatsky became a reason for disappointment and quarrel. Alexander begins to analyze the actions and position of his teacher and comes to extremely unsatisfactory results on his part.

Famusov State Service

The reader gets acquainted with Famusov already when he is in the position of manager “in a government place”; Griboyedov does not specify how he received this position and what his career path was.

It is known that Famusov prefers to see relatives among his fellow employees: “When I have employees, strangers are very rare.”

Pavel Afanasyevich surrounded himself with relatives at work, he loves to please them with a promotion or another award, but he does this for a reason - the concept of selflessness is alien to Famusov.

Personal qualities and habits of Famusov

First of all, selfish motives stand out. He himself is a rich and wealthy man, so when choosing his future son-in-law, he is guided by the prospects for growth, both career and financial young man, because in Famusov’s concept the first is inseparable from the second.

Famusov himself is dependent on ranks; he believes that a person who has the proper rank and many awards is already a priori worthy of respect.

“You, passionate about ranks,” is how Chatsky describes him. In addition to the desire to achieve rank, his son-in-law must also have sufficient financial security. At the same time, Pavel Afanasyevich is not interested in the morality and integrity of the young man.

Based on this position, Alexander Chatsky looks like an extremely unattractive candidate for the husband of Sonya Famusova. He left military service, civil service also does not arouse his interest, of course, Chatsky has a family estate, but this does not evoke reliability and prospects in Famusov’s eyes: “Whoever is poor is not a match for you.”

Stunned by such a verdict, Chatsky still does not lose hope of being reunited with his beloved, but further development conflict forces Chatsky to abandon this idea.

Famusov highly values ​​the achievements of the reign of Catherine II, and considers Maxim Maksimych to be the ideal person, who, thanks to his sycophancy and ability to please, managed to reach heights in his career and was held in high esteem:

On the kurtag he happened to step on his feet;
He fell so hard that he almost hit the back of his head;
They deigned to laugh; what about him?
It suddenly fell in a row - on purpose,
And the laughter is worse, and the third time it’s the same.
A? what do you think? in our opinion, he is smart.

Guided by old principles, Famusov evaluates a person by his condition, and the ability to get what he needs, even through humiliation, becomes a subject of admiration.

Famusov is dismissive of the people who serve him, he experiences a certain amount of relief, scolding and shouting at his serfs. Phrases like “Donkeys! Should I tell you a hundred times?” and “You, Filka, you are a straight block of wood” - a common occurrence in his vocabulary.

By the way, constant dissatisfaction is typical for Pavel Afanasyevich. He is dissatisfied with the servants, dissatisfied with the new time, modern youth, science and cultural figures.

Conflict between Chatsky and Famusov

The images of Chatsky and Famusov expose the “present century” and the “past century.” Famusov adheres to a conservative view and believes that it is necessary to adhere to the orders of bygone times, because the ancestors were wiser than their contemporaries. Famusov compares everything between “was” and “has become”.

It is difficult for him to realize that the time of his ancestors has passed and the demands of society have changed:

At the age of fifteen, teachers will be taught!
And our old people?? - How they will be taken by enthusiasm,
They will condemn deeds, that the word is a sentence, -
After all, the pillars don’t bother anyone;
And sometimes they talk about the government like this,
What if someone overheard them...

In addition to this division, the images of Famusov and Chatsky distinguish between the world of carnal pleasures and the spiritual world. Famusov and people like him are guided in life by the basic needs of the body, without caring about their spiritual and moral development. They embody man as a representative of the animal world.

The comedy “Woe from Wit” by A. S. Griboyedov is one of those works that do not lose their sharpness and relevance over time. More than more years separates them from the moment of creation, thus great value they represent. This happens with precious wines, paintings, sculptures, buildings, etc.

Fable and plot

Let us first recall what plot and plot are. These are the most important literary concepts, without the knowledge of which it is impossible to analyze any of them. Fabula is usually called a series of events that replace one another in the course of the content. In the comedy, this is the morning in Famusov’s house, his accidental collision with his secretary in Sophia’s apartment. Then Chatsky’s even more unexpected arrival in Moscow, his visits, conversations with Afanasy Pavlovich, an attempt to find out who became the successful opponent. Finally, the ball, the culmination of all the intrigues and intricacies, rumors that Chatsky is crazy. Sophia's disappointments, Famusov's horror and the flight of the young "Carbonari" out of Moscow. As for the plot and conflict, they are connected, in fact, by two characters: Chatsky and Famusov. Characterizing them will help determine the main parameters of the work. Let's take a closer look at what the latter is.

The personification of lordly Moscow

In the comedy, the first capital of Russia is the personification of an ancient way of life, formed over centuries. Splendor and luxury are associated primarily with the bygone times of Catherine II. Famusov considers this century ideal. The characterization of the hero fits well with the meaning of his last name, which Griboyedov chose for the character not by chance. "Fama" means "rumor" in Latin. Pavel Afanasyevich is afraid of rumors, publicity, and idle conversations of others. He has two “horror stories”: “no matter what happens” and “what Princess Marya Alekseevna will say.” However, another meaning of the surname “Famusov” is important. The characterization of the character as a famous person, enjoying influence and respect in society, also corresponds to him. It is not for nothing that they fawn on the hero, seek his protection, and listen to his opinion. According to Griboyedov, it is Famusov (his characterization in the comedy proves this) who personifies the old lordly Moscow: hospitable, loving to take a walk, gossip, observing etiquette and external rules of decency, the keeper of Domostroevsky, patriarchal, autocratic-serfdom traditions.

Basic character traits

What role does Famusov play in “Woe from Wit”? The characterization of Pavel Afanasyevich is completely unambiguous. He is already old, a widower, but has excellent health, which allows him to drag himself after the pretty Lisa, presenting himself at the same time as an exemplary, modest, sedate family man and father in front of Sophia. For the sake of fashion and new times, he is forced to teach his daughter “French”, dancing and “all sciences”, to dress her in foreign stores on Kuznetsky Most, and he himself speaks with righteous anger about sciences and education. In his opinion, learning is “this is the plague,” the source of dissent, revolutionary ideas, everything new that threatens to displace the course of things familiar and convenient to the hero, the autocratic system, to break the structure on which Famusov’s power and wealth are based. Smart, cunning and calculating, this “old Russian gentleman” yearns for the times of “Maxim Petrovich”, when high ranks and titles, awards and salaries were distributed not according to merit and merit, but on the basis of flattery, sycophancy, servility and name-calling. An inveterate serf owner and a retrograde, looking down on those who are poor, he gladly acts as a benefactor, as in the case of Molchalin. He expresses his firm conviction to Sophia: “Whoever is poor is not a match for you.” This is also quite a bright “Woe from Wit”, in fact, it is a portrait of two eras: the “past century” and Skalozub, Princess Marya Alekseevna, the Tugoukhovsky princes, Famusov himself, who rallied around it, as well as the “present century”, personified by the loner Chatsky .

According to critics, victory in the comedy remained with Chatsky. But very doubtful, more reminiscent of defeat. And the Famusovs’ reasoners, alas, were, are and continue to be, remaining the main, routine part of society.

is a work that touches on social problems that were brewing at the beginning of the nineteenth century. The clash between old and new, past and present, the present century and the past century is touched upon here. It is precisely this commitment to the old that the author concentrated in the image of Famusov.

Famusov's image

Famusov in comedy is a realistically created image, which the author has revealed from all sides. Griboyedov portrayed Famusov both as an official, and as a landowner, and as a father. It should be understood that there were not a few such Old Believers. There were plenty of ardent defenders of the feudal nobility at the beginning of the 19th century, even more. Their number exceeded the number of representatives of the advanced nobility. Therefore, we can say with confidence that the created image of Famusov in Woe from Wit is typical of representatives of the Moscow nobility.

Characteristics of Famusov Woe from Wit

So, in my brief on the topic of Woe from Wit, or rather on the topic of the image of Famusov, I will begin with an acquaintance with this representative of the serf-dominated nobility, with the Old Believer Famusov. In your essay on Griboyedov’s work, you should say that this is one of the main characters. Famusov is a rich nobleman, official, noble person. He is well known in noble circles, and is a well-born nobleman, who is related to Uncle Petrovich, who was famous at court.

Describing an image in an essay of this hero, we should turn to the content of his image, and here we will see that he is a defender of antiquity, he defends the old traditions and customs of the nobles. He is a serf-owner by conviction; he believes that only relatives should surround him in order to please his loved one. He only recognizes the rich, and does not take into account everyone who is lower than him. If we talk about his service, then for him it is not as a duty of a citizen, but as an opportunity to receive ranks, titles, medals, awards and money. He serves on the principle of pleasing his superiors and currying favor with them.

Famusov talks to each character differently, depending on what his interlocutor represents in society. So, if in front of him is a person of his own circle, then the conversation will be ingratiating and flattering, if in front of him is some kind of minor official, then you can talk to him and you can even be rude to the servants.

He is also different with his daughter. He can scold, and caress, and reproach and take care. Famusov sees the future in the younger generation, and therefore believes that education is not necessary, it only harms, and the best education and example can only be what parents give and teach. So he tells Sophia that he is the best example for her.

If we talk about the moral side of Famusov, then there are no special requirements here either, as long as there is wealth. If you have money, that means you are a suitable groom. Griboyedov in the image of Famusov very successfully reflected and showed the people against whom the Decembrists at one time opposed.

Essay on the topic: the image of Famusov in the comedy Woe from Wit

Essay on the topic: “Chatsky and Molchalin in the comedy Woe from Wit” The role of Chatsky’s monologues in A. S. Griboedov’s comedy “Woe from Wit” Essay on the topic: the image of Khlestakov based on the comedy by N.V. Gogol "The Inspector General"

A bold work for its era, the comedy by Alexander Sergeevich Griboedov passed not an easy path, before it became known to a wide circle of readers. At first, the censorship did not allow it to be published or on stage.

Acute problems that have matured in society, and in the first place - a split among the nobility - formed the basis.

Griboyedov reflected in his work the main contradiction of the 19th century - the conflict between old ways and new views. On the defense of ideas " last century" stands one of the main characters, Pavel Afanasyevich Famusov.

This is not just an ordinary nobleman, he ranks high position in Moscow and has influence. Famusov’s position is a manager in a state-owned house. His family is a seventeen-year-old daughter, whom he is raising alone, since his wife died.

Famusov is opposed to changes; it would be even more correct to say that he is simply afraid of them, because it is not clear how they will turn out and affect the organized and pleasant life that exists at the moment.

The image of Famusov is not complicated and is easily drawn from the very first appearances of the comedy “Woe from Wit.” It should be emphasized that important point that the opinion of this hero is a generalized view of all the nobles of that time.

As for education, Pavel Afanasyevich is categorically against enlightenment. This is evil for him. He attributes his daughter’s promiscuity (the father finds Sophia alone with Molchalin) to the influence of the books that the girl constantly reads. They cause all the troubles; it’s better to follow the example of your father, who behaves like a monk. Although we, the readers, see very well that this is not so. A few minutes before the conversation with his daughter, Famusov openly flirts with the maid.

Pavel Afanasyevich is very dependent on public opinion, he is worried that society will talk badly about him. Famusov is worried about the impression he makes. He cares about the picture, the external gloss, and not the internal human qualities and dignity. But this is not surprising. Such approaches and views are characteristic of the entire noble class of Moscow at that time.

Pavel Afanasyevich does not condemn, but, on the contrary, supports the ability to curry favor, and does not see anything shameful in this. For him, rank and fortune come first, the rest are secondary things that play an insignificant role. - an opponent of such views - calls this state of affairs in society - humility and constant fear of not losing status and of what the environment will say.

It is easy to imagine the character of the main character - Pyotr Afanasyevich Famusov - through his attitude towards other people. He respects and takes into account the opinions of those who have at least some weight in society. In communicating with others, he proceeds only from profit. And if she doesn’t exist, then such a person is not needed at all. Personality completely loses its meaning.

Famusov is a typical representative of the nobility of that time, when the conflict between old beliefs and new trends is still brewing, when the “past” still has power, but is slowly losing its position and will inevitably sink into oblivion.

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 Famus’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.