Stage characters woe from mind list. Off-stage character "Woe from Wit" in the comedy A

First of all, the heroes of the comedy “Woe from Wit” can be divided into several groups: main characters, secondary characters, masked heroes and off-stage characters. All of them, in addition to the role assigned to them in the comedy, are also important as types that reflect certain character traits Russian society early XIX century.

The main characters of the play include Chatsky, Molchalin, Sophia and Famusov. The plot of the comedy is built on their relationship, the interaction of these characters with each other and develops the course of the play. The secondary characters - Lisa, Skalozub, Khlestova and others - also participate in the development of the action, but have no direct relation to the plot. The images of masked heroes are as generalized as possible. The author is not interested in their psychology; they interest him only as important “signs of the times” or as eternal human types. Their role is special, because they create a socio-political background for the development of the plot, emphasize and clarify something in the main characters. These are, for example, the six princesses of Tugoukhovsky. The author is not interested in the personality of each of them; they are important in comedy only as social type Moscow young lady. Masked heroes play the role of a mirror placed opposite the highest light. And here it is important to emphasize that one of the author’s main tasks was not just to reflect the features of modern society, but will force society to recognize itself in the mirror. This task is facilitated by off-stage characters, that is, those whose names are mentioned, but the heroes themselves do not appear on stage and do not take part in the action. And if the main characters of “Woe from Wit” do not have any specific prototypes (except for Chatsky), then in the images of some minor characters and off-stage characters, the features of the author’s real contemporaries are completely recognizable. Thus, Repetilov describes to Chatsky one of those who “make noise” in the English club:

You don’t need to name it, you’ll recognize it from the portrait:

Night robber, duelist,

He was exiled to Kamchatka, returned as an Aleut,

And the unclean hand is strong .

And not only Chatsky, but also the majority of readers “recognized from the portrait” the colorful figure of that time: Fyodor Tolstoy - the American. Tolstoy himself, having read “Woe from Wit” in the list, recognized himself and, when meeting with Griboedov, asked to change the last line as follows: “He’s dishonest when it comes to cards.” He corrected the line in this way with his own hand and added an explanation: “For the fidelity of the portrait, this correction is necessary so that they do not think that he is stealing snuff boxes from the table.”

In the collection scientific works“A.S. Griboyedov. Materials for the biography” contains an article by N.V. Gurova “That little black one...” (“Indian Prince” Visapur in the comedy “Woe from Wit”). Let us remember that at the first meeting with Sophia, Chatsky, trying to revive the atmosphere of former ease, goes through old mutual acquaintances. In particular, he remembers a certain “darkie”:

And this one, what’s his name, is he Turkish or Greek?

That little black one, on crane legs,

I don't know what his name is

Wherever you turn: it’s right there,

In dining rooms and living rooms.

So, Gurov’s note talks about the prototype of this passing off-stage character. It turns out that it was possible to establish that during the time of Griboyedov there was a certain Alexander Ivanovich Poryus-Vizapursky, who quite fits the description of Chatsky. Why did you need to look for a prototype of the “dark little one”? Isn't he too small a figure for literary criticism? It turns out – not too much. For us, a century and a half after the publication of “Woe from Wit,” it makes no difference whether there was a “black one” or Griboedov invented him. But modern reader(and the viewer) of the comedy immediately understood about whom we're talking about. And then the gap between the stage and auditorium, fictional characters they talked about people known to the public, the viewer and the character turned out to have “mutual acquaintances” - and quite a lot. Thus, Griboedov managed to create an amazing effect: he blurred the line between real life and stage reality. And what is especially important is that the comedy, while acquiring an intense journalistic sound, did not lose anything in artistic terms.

In the same conversation, Chatsky mentions many others. All of them give us a clear idea of Griboyedov's high society. These are extremely immoral people who are preventing the penetration of education and science into Russia: “And he is consumptive, he is your relative, he is an enemy of books...” These people are only concerned with their own financial situation, seeking to make as much money as possible, intermarry with rich families throughout Europe. Of course, not all the people of Moscow presented such a sad sight. Chatsky was not alone; there were others drawn to enlightenment, to science: “... he is a chemist, he is a botanist.” But they were the exception rather than the rule. Such people could not earn the respect of high society. People like Maxim Petrovich were valued there. It was Maxim Petrovich who “ate on gold,” he “has a hundred people at his service,” he is “all wearing orders.” How did he achieve this position? With your mind? No, he achieved this by forgetting about his human dignity. But, according to Famusov, this is a manifestation of his intelligence.

What else can you expect from a society that has such moral values? From a society where it is not the voice that is most valued own conscience, and the opinion of Princess Marya Aleksevna. Griboyedov masterfully introduced us to the high society of his era. And we would never be able to understand what this society was like if not for the off-stage characters. And the readers of that time would have lost a lot if they had no one to recognize in Griboyedov’s heroes.

Topic 10. The role of off-stage characters in the comedy of A.S. Griboyedov "Woe from Wit"

Repeating this topic, it is necessary to tell graduates that there are topics in the formulation of which terms are used, so first of all it is quite possible to give them the necessary interpretation. So, off-stage characters are characters who do not participate in the action; their images are created in the monologues and dialogues of the characters. At the same time, a separate small “plot” may be dedicated to one such character (Maxim Petrovich), another will be discussed especially significantly (Tatyana Yuryevna, Princess Marya Aleksevna), the third will simply be mentioned (the bartender Petrusha). It is important to emphasize that the “interpretation” of the term is best carried out on a specific literary material, thereby gradually “entering the topic.” The essay can then be structured according to the following plan:

1. There are many off-stage characters in the play; they are introduced in order to “push” the boundaries of comedy, to create “both a picture of morals and a gallery of living types” (I. Goncharov).

2. Off-stage characters are divided into groups:

off-stage characters visually depicting moral ideals and the principles of the “Famusov society” (Maxim Petrovich, Foma Fomich, nameless characters from Chatsky’s monologues);
off-stage characters that expand the understanding of the life and customs of noble Moscow (here we mention Tatyana Yuryevna, Princess Marya Aleksevna, analyze Famusov’s monologues “Petrushka, you’re always wearing new clothes,” Chatsky’s dialogue with Molchalin, Chatsky’s monologue “An insignificant meeting in that room”);
off-stage characters close to Chatsky and “showing” the non-randomness and typicality of such character and behavior (Skalozub’s brother, Tugoukhovskaya’s nephew Prince Fyodor);
off-stage characters that “lower” the image of Chatsky, making it possible not to identify the author and his hero, forcing one to remember Griboyedov’s ambiguous attitude towards the Decembrists (“I told them that they were fools”). Here, of course, Repetilov’s monologue should be analyzed.

3. The main functions of off-stage characters: to create a background, an image of the era and thereby expand art space and the time of comedy (Famusov’s house - Moscow - Russia; “past century” - “present century”); give additional characteristics of the main characters who talk about them (let’s not forget that “Woe from Wit” is also a comedy of characters); draw parallels with those heroes who act on stage (Chatsky falls - Maxim Petrovich falls, Chatsky passionately denounces - the heroes of Repetilov’s monologue “make noise”). The introduction of numerous off-stage characters is an innovation of Griboedov the playwright, who, “expanding the stage, populating it with a people of characters... expanded the boundaries of art itself” (P. Vyazemsky). We can end here, or we can... do it differently.

4. In conclusion, we quote from an article by the famous critic Yuri Aikhenvald, who entered into a kind of dispute with Goncharov: “...It [comedy] is not only social satire and a picture of morals. After all, morals change... “Woe from Wit” therefore extended its artistic power far beyond the historical boundaries of its era, and even now it has retained its freshness and beauty, which gives not only an everyday, temporary page, but also... preserves a unique reflection of eternal types of literature.” We finish the work with a commentary answer to the question of which of the off-stage characters can be classified as eternal types.

In the comedy in verse "Woe from Wit" off-stage characters play important role. This is a unique work that skillfully combines elements of romanticism, classicism and realism. It describes the classic of Griboyedov's contemporaries, in which reigns serfdom. The action takes place ten years after Patriotic War 1812.

Comedy Griboyedov

In Griboyedov's comedy "Woe from Wit" the off-stage characters deserve special mention. It contains a caustic and skillful satire on the aristocratic Moscow society, which was in Russia in the first half of the 19th century.

Comedy is considered one of the peaks of Russian poetry and drama. And her aphoristic style led to the fact that she was soon literally sold out in quotes that remain famous to this day.

The plot of "Woe from Wit"

At the center of the story is a young and successful nobleman named Alexander Andreevich Chatsky. At the very beginning of the work, he returns from abroad to meet his beloved Sofia Famusova. The young people did not see each other for three years.

They grew up together since childhood and fell in love with each other in their youth. True, they didn’t break up good friends. Sophia was very offended by Chatsky because he left suddenly, without even really saying goodbye to her.

Chatsky returns from abroad with a firm desire to marry Sophia. But contrary to his hopes, the girl greets him very coldly. It turns out that during his absence she managed to fall in love with someone else. This is Alexey Molchalin, who lives in her father’s house and works as his secretary. At first, Chatsky cannot understand what she sees in him. Molchalin seems petty to him and an insignificant person. In addition, he despises him for his desire to please everyone around him and his respect for rank. Realizing that this is the kind of person his beloved liked, he is completely disappointed in her.

Throughout the comedy main character pronounces colorful monologues, with the help of which he denounces the capital’s society. A bright representative This society is Sophia's father - Pavel Famusov. Many people categorically do not like what Chatsky says. Therefore, rumors about the hero’s madness begin to spread in society. Out of annoyance, Sophia began to dissolve them, and those around her gladly picked them up. The play ends with Chatsky deciding to leave everything and leave Moscow.

The importance of off-stage characters

In the comedy "Woe from Wit", off-stage characters allowed Griboedov to become an innovator in his genre. None of the writers before him set out to ridicule the whole city and its inhabitants. IN in this case we are talking about Moscow. Therefore, the author brings it to the forefront and begins to play one of the leading roles in the comedy.

The author transferred onto the pages of the work prototypes of people well known to him who were his contemporaries. He gives them speaking names, for example Molchalin, Repetilov or Tugoukhovsky. At the same time, he retained the main features, characters and types of characters.

The main activities to which they devote their lives are participation in balls, playing cards, gossip and idle fun. All these are elements of an idle and carefree life. They hate education, they hate communication with educated youth. They work only to receive ranks and titles. The main thing in their environment is the uniform and rank, and a person is judged only by the number of serf souls.

Famusov's house

In "Woe from Wit" the role of off-stage characters is great. With their help, the author vividly and vividly paints for us a picture of the inhabitants Famusovsky house, which corresponds to Moscow society of the 10-20s of the 19th century. Only in miniature.

At the same time, Griboedov does not hesitate to violate the classical (place, time and action). He expands the space of Famusov’s house with the help of off-stage characters. “Woe from Wit” is a comedy that shows the whole picture of the morals of Griboyedov’s Moscow.

Moscow Society

You can add to the list of off-stage a large number of heroes who personify the so-called last century. As a rule, these are princes and princesses, who are revered as models in Famusov’s house. Communication with them is highly valued.

For example, for Famusov himself, such a role model is the venerable chamberlain Kuzma Petrovich. And also another friend of his, Maxim Petrovich. All of them are distinguished by their helpfulness and willingness to bend at any necessary moment.

Molchalin's ideal

It is worth mentioning separately the ideal of another character in Molchalin’s comedy, Sophia’s lover. He sincerely considers Tatyana Yuryevna as his role model, who gives the richest and most magnificent balls in the area. Using her example, we can characterize the off-stage characters in “Woe from Wit.” These are nobility, wealth and veneration.

When Molchalin finds out that Chatsky doesn’t know her, he is truly surprised and amazed. For convenience, you can collect the off-stage characters of “Woe from Wit” into a table. In this case, there will be a place for Foma Fomich there. He is known for being the head of a department under three ministers at once. All this speaks of his phenomenal adaptability under any authority, his ability to adapt to any environmental conditions.

Representatives of the Famus society also include the Khvorovs, Dryanskys, Skachkovs, and Varlanskys. They all quickly accept the news about Chatsky’s madness. For others it is famous people, whose surnames say a lot about something, they have weight in society, they are oriented towards them, they strive to imitate and correspond to them.

When the main character asks a rhetorical question: “Who are the judges?”, it turns out that they are the judges of the capital’s Famus society.

Landowners

The off-stage characters in the comedy "Woe from Wit" should also be considered the feudal landowners, who boast only of how easily they exchange servants for greyhound puppies.

Among them there is also a type of theater landowners who organize serf ballets on their estates. But after the performance, they still sell off mothers and their children one by one, without caring at all about the integrity of the family.

The attentive reader will find in the comedy a vivid parody of members secret society. Obviously, this refers to the future Decembrists who will come to Senate Square only three years later. Among the characters in Griboedov's comedy are Levoy and Borinka, Evdokim Vorkulov, Ippolit Udushev. They also have very descriptive surnames that give an idea of what they are like.

Thus, we can admit that in his comedy Griboedov depicted Moscow society in all its diversity. With all the shortcomings and advantages, splendor and ignorance. Such a large number of off-stage characters in the work helps the author to emphasize typical individuals, to most fully depict the picture of life in Moscow in the 10-20s XIX century.

Having written the first realistic comedy“Woe from Wit”, A. S. Griboedov was an innovator in this genre. Before him, writers had not set out to make fun of Moscow and its inhabitants. In Griboyedov’s play, Moscow, or, in other words, Famus society plays a dominant role.

The author took prototypes of people whom he knew and who lived in Moscow at that time, and transferred them to his comedy, giving them other, sometimes telling surnames: Famusov, Molchalin, Tugoukhovsky, Repetilov and others. But their types and characters remained. The heroes travel to balls, play cards, dance, have fun and gossip, that is, they lead an idle life. They hate education because they are afraid of educated youth. All of them serve only to earn more ranks and “insignia.” Among them, uniform and rank predominate, and a person is valued by wealth and the number of serf souls. And this picture is shown so brightly, clearly and vividly that for us, Famusov’s house with all its inhabitants and guests personifies Moscow of the 10-20s of the 19th century in miniature.

Violating the classic rule of three unities, the author takes the action of the play beyond the boundaries of Famusov’s house with the help of off-stage characters. This helps to show the “picture of morals” of Griboyedov’s Moscow in full. They complement and expand it.

Most of the off-stage characters are presented as “a bygone century.” Most often these are princes and princesses, who are revered as models and are highly valued among Famus society. For Pavel Afanasyevich Famusov, such role models are Kuzma Petrovich (“the venerable chamberlain, he knew how to deliver the key to his son...”) and Maxim Petrovich:

Serious look, arrogant disposition. When you need to help yourself, And he bent over.

These “aces” are revered and respected by everyone in Moscow for their “merits.”

The ideal of Molchaliv, just Famusov’s poor secretary, is Tatyana Yuryevna, who “gives balls that couldn’t be richer.” Having learned that Chatsky does not know her, he is dumbfounded, because she is “famous, and, moreover, officials and officials are all her friends and all her relatives.” Then Foma Fomich, who “was the head of the department under three ministers.” Molchalin admires his style only because everyone admires him, “after all, you have to depend on others.” And this also includes these Dryanskys, Khvorovs, Varlanskys, Skachkovs, who have long known about Chatsky’s madness. This is apparently famous names who have weight in society and on whom everyone focuses. These are the “judges” of Moscow society.

Also, the “past century” in the comedy is represented by non-stage landowners-serfs: “Nestor of the noble scoundrels”, who exchanged his devoted servants for “three greyhound dogs”, a theater landowner who drove “rejected children from mothers, fathers” to the serf ballet, and then sold them individually for non-payment of debts.

The comedy also created parodies of members of the secret union: Vorkulov Evdokim, Levoy and Borinka, Udushev Ippolit Markelych. Just by their last names you can guess what they are like. But Repetilov recommends them to Chatsky with great passion.

“The present century” is also represented in the comedy by off-stage characters. This cousin Skalozub, who “tightly picked up some new rules. The rank followed him: he suddenly left his service and began reading books in the village.” Famusov and Skalozub criticize him and tirelessly repeat the same thing: “Learning is the plague, learning is the reason.” Next is the nephew of Princess Tugoukhovskaya, who “doesn’t want to know the ranks! He is a chemist, he is a botanist, Prince Fedor.” And also among the off-stage characters of the “present century” are all the progressive youth, on whose behalf Chatsky speaks, using the pronoun “we”: “Where, show us, are the fathers of the fatherland...”

All these seemingly inconspicuous and unnecessary characters complement the picture of Moscow society, making it brighter and more colorful.

In the comedy “Woe from Wit” the whole of Moscow is present, with all its advantages and disadvantages, with its splendor and pomp of balls, lunches, dinners and dances, but at the same time with its ignorance, admiration for everything foreign, fear of everything new. The introduction of such a number of off-stage characters emphasizes the typicality of the stage ones and helps to make the image of the “picture of morals” of Moscow in the 10-20s of the 19th century more complete.

The main characters of the play include Chatsky, Molchalin, Sophia and Famusov. The plot of the comedy is built on their relationship, the interaction of these characters with each other and develops the course of the play. The secondary characters - Lisa, Skalozub, Khlestova and others - also participate in the development of the action, but have no direct relation to the plot. The images of masked heroes are as generalized as possible. The author is not interested in their psychology; they interest him only as important “signs of the times” or as eternal human types. Their role is special, because they create a socio-political background for the development of the plot, emphasize and clarify something in the main characters. These are, for example, the six princesses of Tugoukhovsky. The author is not interested in the personality of each of them; they are important in the comedy only as a social type of Moscow young lady. Masked heroes play the role of a mirror placed opposite the highest light. And here it is important to emphasize that one of the author’s main tasks was not just to reflect the features of modern society in comedy, but to force society to recognize itself in the mirror. This task is facilitated by off-stage characters, that is, those whose names are mentioned, but the heroes themselves do not appear on stage and do not take part in the action. And if the main characters of “Woe from Wit” do not have any specific prototypes (except for Chatsky), then in the images of some minor heroes and off-stage characters the features of the author’s real contemporaries are completely recognizable. Thus, Repetilov describes to Chatsky one of those who “make noise” in the English club:

You don’t need to name it, you’ll recognize it from the portrait:

Night robber, duelist,

He was exiled to Kamchatka, returned as an Aleut,

And the unclean hand is strong.

In the collection of scientific works “A.S. Griboyedov. Materials for the biography” contains an article by N.V. Gurova “That little black one...” (“Indian Prince” Visapur in the comedy “Woe from Wit”). Let us remember that at the first meeting with Sophia, Chatsky, trying to revive the atmosphere of former ease, goes through old mutual acquaintances. In particular, he remembers a certain “darkie”:

And this one, what’s his name, is he Turkish or Greek?

That little black one, on crane legs,

I don't know what his name is

Wherever you turn: it’s right there,

In dining rooms and living rooms.

So, Gurov’s note talks about the prototype of this passing off-stage character. It turns out that it was possible to establish that during the time of Griboyedov there was a certain Alexander Ivanovich Poryus-Vizapursky, who quite fits the description of Chatsky. Why did you need to look for a prototype of the “dark little one”? Isn't he too small a figure for literary criticism? It turns out – not too much. For us, a century and a half after the publication of “Woe from Wit,” it makes no difference whether there was a “black one” or Griboedov invented him. But the modern reader (and viewer) of the comedy immediately understood who he was talking about. And then the gap between the stage and the audience disappeared, the fictional characters talked about people known to the public, the viewer and the character turned out to have “mutual acquaintances” - and quite a lot. In this way, Griboedov managed to create an amazing effect: he blurred the line between real life and stage reality. And what is especially important is that the comedy, while acquiring an intense journalistic sound, did not lose anything in artistic terms.

In the same conversation, Chatsky mentions many others. All of them give us a clear idea of Griboyedov's high society. These are extremely immoral people who prevent the penetration of education and science into Russia: “And he is consumptive, he is your relative, he is the enemy of books...” These people are concerned only with their financial situation, striving to make as much money as possible and intermarry with rich families throughout Europe. Of course, not all the people of Moscow presented such a sad sight. Chatsky was not alone; there were others drawn to enlightenment, to science: “... he is a chemist, he is a botanist.” But they were the exception rather than the rule. Such people could not earn the respect of high society. People like Maxim Petrovich were valued there. It was Maxim Petrovich who “ate on gold,” he “has a hundred people at his service,” he is “all wearing orders.” How did he achieve this position? With your mind? No, he achieved this by forgetting about his human dignity. But, according to Famusov, this is a manifestation of his intelligence.

What else can you expect from a society that has such moral values? From a society where, first of all, it is not the voice of one’s own conscience that is valued, but the opinion of Princess Marya Aleksevna. Griboyedov masterfully introduced us to the high society of his era. And we would never be able to understand what this society was like if not for the off-stage characters. And the readers of that time would have lost a lot if they had no one to recognize in Griboyedov’s heroes.

The nature of the main conflict in Griboyedov's comedy "Woe from Wit"

Alexander Sergeevich Griboyedov was one of the smartest people of its time. He received an excellent education, knew several oriental languages, and was a keen politician and diplomat. Griboyedov died a painful death at the age of 34, torn to pieces by fanatics, leaving his descendants with two wonderful waltzes and the comedy “Woe from Wit.”

"Woe from Wit" is a socio-political comedy. Griboyedov gave in it a true picture of Russian life after the Patriotic War of 1812. The comedy shows the process of the advanced part of the nobility moving away from an inert environment and fighting their class. The reader can trace the development of the conflict between two socio-political camps: serf owners (Famus society) and anti-serf owners (Chatsky).

Famus society is traditional. His principles of life are such that “one must learn by looking at one’s elders,” destroy free-thinking thoughts, serve with obedience to persons standing a step higher, and most importantly, be rich. A unique ideal of this society is represented in Famusov’s monologues by Maxim Petrovich and Uncle Kuzma Petrovich:

Here's an example:

The deceased was a venerable chamberlain,

He knew how to deliver the key to his son;

Rich, and married to a rich woman;

Married children, grandchildren;

He died, everyone remembers him sadly:

Kuzma Petrovich! Peace be upon him! -

What kind of aces live and die in Moscow!..

The image of Chatsky, on the contrary, is something new, fresh, bursting into life, bringing change. This realistic image, exponent of the progressive ideas of his time. Chatsky could be called a hero of his time. A whole political program can be traced in Chatsky’s monologues. He exposes serfdom and its products: inhumanity, hypocrisy, stupid military, ignorance, false patriotism. He gives a merciless characterization Famusov society.

The dialogues between Famusov and Chatsky are a struggle. At the beginning of the comedy, it does not yet appear in acute form. After all, Famusov is Chatsky’s teacher. At the beginning of the comedy, Famusov is favorable to Chatsky, he is even ready to give up Sophia’s hand, but sets his own conditions:

I would say, firstly: don’t be a whim,

Brother, don’t mismanage your property,

And, most importantly, go ahead and serve.

To which Chatsky throws:

I would be glad to serve, but being served is sickening.

But gradually another struggle begins to ensue, an important and serious one, a whole battle. Both Famusov and Chatsky threw down the gauntlet to each other.

If only we could see what our fathers did

You should learn by looking at your elders! -

Famusov's war cry rang out. And in response - Chatsky’s monologue “Who are the judges?” In this monologue, Chatsky brands “the meanest traits of his past life.”

Each new face that appears during the development of the plot becomes in opposition to Chatsky. Anonymous characters slander him: Mr. N, Mr. D, 1st Princess, 2nd Princess, etc.

Gossip grows like a snowball. The social intrigue of the play is shown in the clash with this world.

But in comedy there is another conflict, another intrigue - love. I. A. Goncharov wrote: “Every step of Chatsky, almost every word of his in the play is closely connected with the play of his feelings for Sophia.” It was Sophia’s behavior, incomprehensible to Chatsky, that served as the motive, the reason for irritation, for that “millions of torments”, under the influence of which he could only play the role indicated to him by Griboyedov. Chatsky is tormented, not understanding who his opponent is: either Skalozub or Molchalin? Therefore, he becomes irritable, unbearable, and caustic towards Famusov’s guests. Sophia, irritated by Chatsky’s remarks, who insult not only the guests, but also her lover, in a conversation with Mr. N mentions Chatsky’s madness: “He’s out of his mind.” And the rumor about Chatsky’s madness sweeps through the halls, spreads among the guests, acquiring fantastic, grotesque forms. And he himself, not yet knowing anything, confirms this rumor with a heated monologue, “The Frenchman from Bordeaux,” which he pronounces in an empty hall. In the fourth act of the comedy, both conflicts come to a denouement: Chatsky finds out who Sophia’s chosen one is. This is Molchalin. The secret is revealed, the heart is empty, there is no end to the torment.

Oh! How to comprehend the game of fate?

A persecutor of people with a soul, a scourge! -

Silent people are blissful in the world! -

says the grief-stricken Chatsky. His hurt pride, the escaping resentment, burns. He breaks up with Sophia:

Enough! With you I am proud of my breakup.

And before leaving forever, Chatsky angrily throws out to the entire Famus society:

He will come out of the fire unharmed,

Who will have time to spend a day with you,

Breathe the air alone

And his sanity will survive...

Chatsky leaves. But who is he - the winner or the loser? Goncharov answered this question most accurately in his article “A Million Torments”: “Chatsky is broken by the number old power, inflicting on her in turn death blow quality of fresh strength. He is the eternal exposer of lies, hidden in the proverb: “Alone in the field is not a warrior.” There is no warrior if he is Chatsky, and, moreover, a winner, but an advanced warrior, a skirmisher and - always a victim."