Molchalin - a view from other heroes. Characteristics of Molchalin in “Woe from Wit” (with quotes) Who is silent according to their social status
Here he is, on tiptoe
and not rich in words.
Silent people are blissful in the world.
A. S. Griboyedov
One of the favorite themes of the great writers of the 19th century is the formation of a young man, his choice of life path. The diversity of human destinies is depicted to us by such world-famous novels as Pushkin’s “Eugene Onegin”, “An Ordinary Story” and “Oblomov” by I. A. Goncharov, “Red and Black” by Stendhal, “The Human Comedy” by Balzac and many others . Among these immortal books is “Woe from Wit” by A. S. Griboedov, not a novel, but a “high” comedy, in which, in my opinion, there is very little funny, except for some situations, but the most important socio-political and moral problems are posed, many of which still concern us today.
What should a person be like? How does he chart his life's path? What can you afford along this path and what should you never allow yourself? What is more important - human dignity or career? The author of the comedy answers these and many other questions in the image of Alexei Stepanovich Molchalin.
By origin and social status, he does not belong to the metropolitan nobility. “He warmed up Bezrodny and brought him into his family, gave him the rank of assessor and took him on as a secretary,” the Moscow ace Famusov. Molchalin's surname is justified by his behavior: he is a modest young man, handsome, silent, insinuating. He plays the flute, loves sentimental poems, and tries to please everyone. It would seem that there is nothing wrong with this. But, reading the comedy, we are convinced that Molchalin’s decency is a skillfully selected mask hiding a vile, hypocritical, false person. In a moment of frankness, he admits that he is guided in life by his father’s behest “to please all people without exception,” even the janitor’s dog.
Molchalin’s goal in life is to make a career, preferably a brilliant one, to achieve rank and wealth. He sees the highest happiness, his ideal of life, in “winning awards and having fun.” On the way to this goal, all means are good for him. At the same time, Molchalin chooses the surest way to curry favor - flattery, sycophancy, servility. He is respectful and considerate with Famusov, pleases the influential lady Khlestova in every possible way, does not leave the rich old men, plays cards with them.
A flatterer and a hypocrite, he pretends to be in love with Sophia (of course, she is the daughter of his all-powerful boss) and immediately tells Lisa that he loves the owner’s daughter “by virtue of her position.” His life “principles” are simple and shameless. This is a renunciation of one’s human dignity, one’s own opinion, self-abasement: “After all, one must depend on others” or: “At my age one should not dare to have one’s own opinion.” Molcha-lin does not know what honor, honesty, sincerity are, and he is being mean just like that, just in case.
This behavior brought him a certain success: the insignificant secretary not only lives in the house of his patron, but is also accepted in his society. Moreover, “moderation and accuracy” have already secured him “three awards” in his service, the favor and support of influential gentlemen.
The reader of the comedy also understands something else: Molchalin’s life “experience” is a verdict not only for him, but also for the society that approves and supports him. The people who organized the persecution of the sincere, honest Chatsky, who declared him, an intelligent, educated man, crazy, do not consider it shameful to communicate with a dishonest scoundrel, to patronize him, and this characterizes them perfectly. “Silent people are blissful in the world,” is one of Chatsky’s most bitter conclusions after a day of communication with Famus society. Material from the site
Molchalin is not helpless and not funny - in my opinion, he is scary. The role of this hero in comedy is determined by two circumstances. Firstly, before us is a person who, living in Famusov’s society, will definitely “reach the known degrees.” Even exposure will not destroy him, because, bowing humbly and crawling on his knees, the “businesslike” secretary will again find the way to the heart of his boss: after all, Famusov needs him, and there is someone to intercede! No, Molchalin is unsinkable. Secondly, talking about the “formation” of Molchalin, the author exposes the Moscow nobility (and it, in turn, represents the social system of Famusov’s Russia), the “tormenting crowd”, afraid of people with progressive views and firm, inflexible characters and accepting as her many silent ones. The “great ability to please” brought many people into the public eye in this unprincipled society.
Griboyedov also convinces of what he does not directly say: he only needs the tactics chosen by Molchalin for the time being. Having achieved his goal, he will shed the mask of modesty and respect - and woe to those who stand in his way. Unfortunately, this human type is not a thing of the past. And today, under the mask of decency and modesty, a modern Molchalin can hide, who knows how to please everyone, and does not disdain any means to achieve his goals. The author of the immortal comedy teaches you to understand people, to see under the mask, if it is worn, the true face of a person.
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On this page there is material on the following topics:
- epigraph to the essay what comedy woe teaches
- Molchalin's views in Griboyedov's comedy Woe from Wit
- essay about silent grief from madness
- origin in the Molchalin society
- essay on the topic of molchalin's mask
Work:
Woe from mind
Molchalin Alexey Stepanych is Famusov’s secretary, living in his house, as well as an admirer of Sophia, who despises her in his heart. 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, “evil tongues are worse than pistols.” M.'s romance with Sophia is also explained by his willingness to please everyone. He obediently plays the role of an admirer, ready to read 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.
A.S. Molchalin is Famusov’s secretary and enjoys his trust in official matters. He is not a nobleman by birth, but strives to make a career. Molchalin’s surname is justified by his behavior. “He’s on tiptoe and not rich in words,” says Chatsky. Molchalin is a seemingly modest young man. He plays the flute and loves sentimental poems. Sophia admires his kindness, compliance, meekness. She does not understand that all this is a mask that serves M-nu to achieve his life program.
The goal of M’s life is a brilliant career, rank, wealth. He sees the highest happiness in “taking awards and living a happy life.” For this, he chose the surest path: flattery, servility. If If Maxim Petrovich is a type of sycophant of the previous era , then Molchalin is a saint of the new time, acting more subtly and no less successfully. “He will reach the well-known levels, because nowadays they love the dumb,” Chatsky says about him with contempt for his mental abilities. Molchalin knows how he should behave and defines his tactics:
Firstly, to please all people without exception -
The owner, where he will live,
To the boss with whom I will serve,
To his servant, who cleans dresses,
Doorman, janitor, to avoid evil,
To the janitor's dog, so that it is affectionate.
Molchalin is in awe of Famusov, he speaks politely, adding “s”: “with papers, sir.” He curries favor with the influential Khlestova. He carefully prepares a game for her to play cards, admiring her dog:
Your Pomeranian is a lovely Pomeranian, no bigger than a thimble,
I stroked him all over, like silk fur.
He achieves his goal: Khlestova calls him “my friend” and “my dear.”
He behaves respectfully with Sophia, pretending to be in love, cares for her not because he likes her, but because she is the daughter of his boss and her location may be useful in his future career. He is a hypocrite with Sophia and with cynical frankness admits to Lisa that loves Sophia “by position.” Molchalin says that at his age he should not dare to have his own opinion.” And he declares why:
After all, you have to depend on others,
We are small in rank.
Adulation and servility to superiors is Molchalin’s life principle, which has already brought him a certain amount of success.
"Since I've been listed in the Archives,
He received three awards,” he tells Chatsky, adding that he has two talents: “moderation and accuracy.” Ready for the meanness of wealth and rank, he approaches others with the same standard. Thinking that Lisa’s favor is easy to buy, he promises to give her “a toilet of exquisite workmanship.” At the decisive moment, when Sophia interrupts his embrace with Liza, Molchalin begins to crawl humiliatingly on his knees in front of her, not because he felt guilty before Sophia, but because he was afraid for his career. When Chatsky appears, the completely cowardly Molchalin flees. This causes Chatsky’s indignation. “The silent ones are blissful in the world!” Chatsky exclaims with anger and indignation. And it was such an empty, insignificant person who was the culprit of “a million torments” of the smart, noble Chatsky, the culprit of the tragedy Sophia.
MOLCHALIN is the central character of the comedy “Woe from Wit” (1824). The significance of this image was realized over the course of historical time. N.V. Gogol was the first to notice something important in the appearance of the modest secretary Famusov: “this face is aptly captured, silent, low, quietly making its way into people.” M.E. Saltykov-Shchedrin, in a series of essays “In an environment of moderation and accuracy,” makes M. an important official with an exotic feature: his hands are stained with the blood of innocent victims of his vital enterprise and “unconscious crimes.” M.’s place in the plot of “Woe from Wit” becomes clearer in relation to other characters in the play. Already in the very first minutes of the action, Griboyedov determines Sophia’s choice in favor of M. This involves all the heroes of the triangle (Chatsky - Sophia - M.) in difficult psychological relationships. M., who recently “was poring over in Tver,” is not understood by Sophia: she mistakes his caution for tact, his coldness for restraint of feelings, his lackey’s calculation for sobriety of mind. M. is also not understood by Chatsky, whose love for Sophia prevents him from assessing the seriousness of his opponent. Deeply interested in maintaining his attractiveness to Sophia and Famusov, M. is more affected by Chatsky's arrival than this shows. Chatsky's presence in the house threatens revelations that are mortally dangerous for him. M.'s accidental fall from a horse, Sophia's fright, and her fainting provoke M.'s activity, seeking to protect his reputation, his already developing career. He enters into a duel, giving Sophia categorical instructions to defend herself from Chatsky’s claims by all possible means and pushes Sophia to choose a method of revenge on Chatsky. Circumstances will prompt the heroine to the moment when the harshness dropped by her in a state of long-restrained irritation will take on the meaning of public opinion: “He is out of his mind...” M. is opposed to Chatsky not only as a rival in a love affair, but also with his entire life position. The conflict between Chatsky and M. accumulates the energy of collision until the third act of the play, when these characters meet in dialogue. She reveals Chatsky’s contemptuous inattention to M., which gives M. the advantage of being completely frank. This is one of the few scenes in the play where M. is sincere to the end. Sincere, but not appreciated by Chatsky as a worthy opponent. And only in the final scene in the hallway, at the denouement, will Chatsky understand what power the apologist of “moderation and accuracy” has achieved over Sophia. In Griboyedov's plot, M.'s love bliss collapses. But this is more an exception than a rule in the life of Famusov’s Moscow, for he is one of the pillars on which it rests. Among the first performers of the role of M. was the famous vaudeville actor N.O. Dur (1831). Productions of “Woe from Wit” in the second half of the 20th century show that M. cannot be considered a minor, minor character in the play, as happened over many decades of its stage history. M. is the second hero of Griboyedov’s plot, a serious opponent of Chatsky. This is exactly how this image was shown by K.Yu. Lavrov in the play by G.A. Tovstonogov (1962).
Among the heroes of “Woe from Wit” (see summary, analysis and full text), Famusov stands at the top steps of the official and social ladder. Molchalin, being on the lower steps of the same ladder, tries to climb it, following the principles and life rules of his boss. Adulation and servility, common in Famus society, were instilled in him from childhood:
“My father bequeathed to me
says Molchalin,
Firstly, to please all people without exception;
The owner, where he will live,
The boss with whom I will serve,
To his servant, who cleans the dress,
Doorman, janitor, to avoid evil,
To the janitor’s dog, to be more affectionate.”
We can say that Molchalin really fulfills his father’s wills! We see how he tries to please the noble old woman Khlestova, how he praises and caresses her dog; and although Khlestova treats him very condescendingly (“Molchalin, here’s your little closet!”), however, she allows him to lead her by the arm, plays cards with him, calls him “my friend,” “dear,” and probably won’t refuse he has protection when he needs it. Molchalin is confident that he is going the right way and advises Chatsky to go “to Tatyana Yuryevna,” since, according to him, “we often find patronage there where we don’t aim.”
Woe from the mind. Maly Theater performance, 1977
Molchalin himself recognizes two “talents” in himself: “moderation” and “accuracy,” and there is no doubt that with such properties “he will reach the known levels,” as Chatsky notes, adding: “after all, nowadays they love the dumb.” Molchalin is truly dumb, since he not only does not express, but does not even have his own opinion - it is not for nothing that Griboyedov called him “Molchalin”:
"At my age one should not dare
Have your own opinion,”
he says. Why risk “having your own judgment” when it is so much easier and safer to think, speak and act as the elders do, as Princess Marya Alekseevna does, as “everyone” does? And can Molchalin have his own opinion? He is undoubtedly stupid, limited, although cunning. This is a small soul. We see the baseness and meanness of his behavior with Sophia. He pretends to love her because he thinks it can be beneficial for him, and at the same time flirts with Lisa; he sneakily crawls on his knees in front of Sophia, begging for her forgiveness, and immediately after that he rushes to hide from Famusov’s anger, like a real coward. The pathetic type of Molchalin is depicted by Griboyedov with merciless realism.
In the comedy “Woe from Wit” by A.S. Griboyedov presents images of Moscow nobles of the early 19th century, when a split emerged in society between the conservative nobility and those who adopted the ideas of Decembrism. The main theme of the work is the confrontation between the “present century” and the “past century”, the painful and historically natural replacement of old noble ideals with new ones. Supporters of the “past century” in comedy are numerous. These are not only such significant and influential people in the world as the feudal landowners Famusov and Colonel Skalozub, but also young nobles who do not have high ranks and are forced to “serve” influential people. This is the image of Molchalin in the comedy “Woe from Wit”.
Molchalin is a poor nobleman originally from Tver. He lives in the house of Famusov, who “gave him the rank of assessor and took him on as secretary.” Molchalin is the secret lover of Famusov’s daughter, but Sophia’s father does not want to see him as a son-in-law, because in Moscow it is supposed to have a son-in-law “with stars and ranks.” Molchalin does not yet meet these standards. However, his desire to “serve” is very valuable for Famus society.
Thanks to this skill, Molchalin received the position of Famusov’s secretary, because usually such positions are hired only through patronage. Famusov says: “With me, strangers’ employees are very rare: more and more sisters, sisters-in-law and children; Only Molchalin is not my own, and that’s because he’s a businessman.” It is business qualities, and not honor and dignity, that are valuable in the Famus environment.
In the play "Woe from Wit" the image of Molchalin fully corresponds to the accepted standards of behavior of a young nobleman in society. He curries favor and humiliates himself in front of influential guests in Famusov’s house, because they can be useful in his career advancement. Molchalin descends to the point that he begins to praise the smooth fur of Khlestova’s dog. He believes that while “we are small in rank,” “we must depend on others.” That is why Molchalin lives by the principle “At my age one should not dare to have one’s own opinion.”
Like everyone else in Famus’s society, in the comedy “Woe from Wit” Molchalin is proud of his career successes and boasts of them at every opportunity: “According to my work and effort, since I am listed in the archives, I have received three awards.” Molchalin also succeeded in establishing connections with the “right” people. He often visits Princess Tatyana Yuryevna, because “officials and officials are all her friends and all her relatives,” and even dares to recommend this manner of behavior to Chatsky.
Despite the fact that Molchalin’s views and values completely coincide with the ideals of the conservative nobility, Molchalin is capable of causing serious harm to the society in which he is located. Famusov’s daughter will be deceived by this very man, since he assumes the guise of her lover “by position,” that is, for profit.
Molchalin fully reveals his face when interacting with the maid Liza, whom he expresses sympathy. “You and the young lady are modest, but the maid is a rake,” she tells him. It becomes clear to the reader that Molchalin is not at all a stupid, modest person - he is a two-faced and dangerous person.
In Molchalin’s heart there is neither love nor respect for Sophia. On the one hand, he puts on this performance “to please the daughter of such a man,” and on the other hand, he is mortally afraid that his secret relationship with Sophia will be revealed. Molchalin is very cowardly. He is afraid of ruining the opinion of himself in society, because “evil tongues are worse than a pistol.” Even Sophia is ready to go against the light for the sake of love: “What do I hear?!” This is probably why Molchalin does not find “anything enviable” in his marriage to Sophia.
It turns out that with his meanness Molchalin causes harm even to the society of which he is a product. Molchalin simply clearly follows his father’s advice - “to please all people without exception - the owner, where I happen to live, the boss with whom I will serve...”
This hero fully corresponds to the ideals of the “past century”, although he belongs to the younger generation of nobles. He knows the main thing - to adapt, and therefore “Silent people are blissful in the world.”
Thus, Molchalin is the product and worthy continuation of representatives of the conservative nobility. He, like this society, values only rank and money and evaluates people only by these standards. The cunning and duplicity of this hero are the defining features of Molchalin’s characterization in the comedy “Woe from Wit.” That’s why Chatsky claims that Molchalin “will reach the well-known levels, because nowadays they love the dumb.”
The problem that Griboyedov raises in the comedy “Woe from Wit” remains relevant to this day. At all times there have been Molchalins who stopped at nothing to achieve their goals. The image of Molchalin will remain alive for readers as long as such values as wealth and position in society, rather than honor, conscience, human dignity and true patriotism, are put at the forefront.
Characteristics of the hero, reasoning about his views and ideals, description of relationships with other characters - all these arguments will help 9th grade students when writing an essay on the topic of the image of Molchalin in the comedy “Woe from Wit”
Work test
Alexey Stepanovich Molchalin is one of the main characters in A. S. Griboyedov’s comedy “Woe from Wit.”
Molchalin serves as Famusov’s secretary and enjoys his trust in official matters. He sees the purpose of his life in rank, wealth and career. His highest happiness is “to win awards and live happily.” To achieve his goals, Molchalin makes connections with influential people, believing that this is the best way to climb the career ladder. Trembling before Famusov, he always speaks, politely adding “s” (with papers, s). He plays cards with the influential Khlestakova, admiring her dog:
Your Pomeranian is a lovely Pomeranian, no bigger than a thimble.
I stroked him all over - like silk fur.
He achieves his goal, Khlestakova calls him “my friend” and “my dear.”
Molchalin has a telling surname.
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“Here he is on tiptoe and not rich in words,” Chatsky says about him. Molchalin does not express his opinion:
At my age I shouldn't dare
Have your own opinion.
He is taciturn, his phrases are fragmentary, especially when communicating with people of higher rank than him. And even with the girl who loves him, Sofia, he is silent:
He will sigh from the depths of his soul,
Not a free word, and so the whole night passes.
Despite this, Molchalin talks freely with Lisa, confessing his feelings to her, and tells Chatsky about his base position. Therefore, we can say that taciturnity is not so much a character trait of Molchalin, but another way to achieve goals. It was not for nothing that Chatsky said that Molchalin would reach “the famous levels, because nowadays they love the dumb.”
In addition, Molchalin sacredly honors his father’s instructions: “to please all people without flaw”
Thus, we can say that Chatsky was not mistaken when he said: “The silent ones are blissful in the world.”
Molchalin's character is revealed gradually, in relationships with other people. So, with Famusov he is a helpful and quiet young man. He depends on Famusov, so he is very modest. When communicating with Lisa, he is much more emotional: “You are a cheerful creature! Alive!"). He openly confesses his love to Lisa, while insulting Sophia. He cynically calls her: “our deplorable theft.” At the same time, when communicating with Sophia, Molchalin is respectful, he pretends to be in love with the girl and looks after her for promotion.
In the comedy, Molchalin is contrasted with Chatsky, who is truly in love with Sophia. And we see how the dramatic knot between Molchalin, Sophia and Chatsky is slowly unraveling. Molchalin is also the main figure in the struggle between Sophia and Chatsky. After all, Chatsky, calling Molchalin stupid, offended Sophia’s beloved. And she took revenge by making Chatsky look crazy. We also cannot help but notice that Molchalin is one of the main persons in the last scene, where everything fell into place. Sophia found out about Molchalin's true intentions, and he began to crawl humiliatingly on his knees, not because he felt guilty before Sophia, but because he was afraid for his career. When Chatsky appeared, he ran away completely. Here all of Molchalin’s cowardice and meanness were fully revealed.
As a result, we can say that Molchalin will always have a place in Famus society.
Updated: 2017-10-04
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