The role of off-stage characters in grief from mind. Off-stage character "Woe from Wit" in the comedy A

A.S. Griboyedov belonged to that generation of young Russian nobles for whom socio-political issues became the most important in life. Opposition sentiments, the spirit of love of freedom, the desire for changes in the state led many people from this generation to secret political societies, and then - to the uprising...

In the comedy, the conflict between Chatsky and society gradually grows out of his personal love conflict(therefore we can say that the conflict is dual: both personal and social). Griboedov himself assessed the duality of the conflict in his comedy as follows: “The girl herself, who is not stupid, prefers a fool smart person... And this person, of course, is in conflict with the society around him" (letter from Griboyedov to P.A. Katenin, 1825).

Chatsky is opposed not only by Famusov - it’s also Molchalin, and Colonel Skalozub, and partly Sophia, and many guests in Famusov’s house. Chatsky defends his position alone. Griboyedov introduces the play big number episodic persons and off-stage characters. They highlight and complement the features of the main characters. Taken together, they create a complete and a bright picture Moscow noble society.

For the most part, such characters appear in the play at Famusov’s ball. We meet only Colonel Skalozub and Sophia's maid Lisa earlier. They probably influenced the course of events more than any other. Skalozub, for example, is a type of military man, narrow-minded, but self-confident and aggressive. His appearance complicates both love and social conflict. Lisa is a servant, without her it is impossible to imagine both the origin and the denouement love affair. And at the same time she is ironic, witty, gives exact specifications different heroes. With the help of her image, Griboyedov emphasizes the confrontation between the nobility and the serfs:

Pass us away more than all sorrows

And lordly anger, and lordly love.

At all, minor characters perform three main functions: show the level of concepts about life in society, modern Griboyedov; emphasize Chatsky’s spiritual loneliness; perform important plot role- they spread a rumor about Chatsky’s madness.

So, Famusov's ball. The first of the guests to arrive are the Gorich couple. Natalya Dmitrievna and Platon Mikhailovich are a typical Moscow family, in which the man eventually becomes a “husband-boy”, “husband-servant”. Griboyedov draws a subtle parallel between him and Molchalin: Gorich tells Chatsky that he is now memorizing the “Amolny” duet on the flute; At the beginning of the play, Molchalin and Sophia play a duet on the piano and flute behind the stage. Sophia was brought up in the Famus spirit, and she needs the same “husband-servant”.

The Tugoukhovsky family also comes to the ball. The image of the princess helps to understand the character of Famusov - they are adherents of arranged marriages; The princess at the ball immediately draws attention to the single Chatsky, but, having learned that he is not rich, she loses interest in him.

The Khryumina countesses arrive with similar goals. The countess-granddaughter cannot find a worthy groom for herself and therefore is constantly embittered. In addition, in her person Griboedov ridicules the addiction to everything foreign.

Almost the most vicious of the guests is Anton Antonovich Zagoretsky - “an out-and-out swindler, a rogue” even by the definition of the guests. In order to win the favor of the people he needs, he is ready to take any dishonest measures, he is ready to serve. He is the image of the future Molchalin.

The image of Lady Khlestova is very vividly drawn - in her way, the well-known Saltychikha. A strong parallel is drawn between her and “Nestor of the noble scoundrels” from Chatsky’s monologue - the same neglect and cruelty towards the serfs.

Some of Famusov’s guests don’t even have names - these are Mr. N and Mr. D, who actively participated in spreading the rumor about Chatsky’s madness. With their help, Griboyedov shows that noble society does not at all disdain such a base occupation as passing on gossip.

The last one to the ball is Repetilov - a bright and necessary image in comedy. With his “most secret union” and “secret meetings on Thursdays” he appears as a worthless talker, for whom advanced ideas are nothing more than a fashionable hobby.

There are also numerous off-stage characters in comedy - those whom we do not see directly in the comedy, but which one of the heroes mentions in a certain situation. Off-stage characters can be divided into conditional groups, depending on who mentions them and for what purpose.

Firstly, these are those whom Chatsky mentions as an example of immoral life in the monologue “Who are the judges?..”. Secondly, Famusov and his guests give examples of standards of commendable life, from the point of view of Moscow society, they are role models and main judges - Kuzma Petrovich, Maxim Petrovich, influential Moscow ladies Irina Vlasevna, Lukerya Alekseevna, Tatyana Yuryevna, Pulcheria Andrevna, and, finally, Marya Aleksevna, whose opinion Famusov is so afraid of in his final monologue.

Next, it is worth highlighting the characters that Repetilov mentions - the circle of his friends, who, in his opinion, are authoritative in some “secret alliance,” but the reader understands that they cannot bring real benefit to society. One of them is “remarkable” because he “speaks through his teeth,” the other because he sings, and Ippolit Markelych Udushev is a “genius” because he wrote “an excerpt, a look into nothingness” in the magazine. These people vulgarize and belittle the ideas of the new generation and thereby emphasize Chatsky’s loneliness not only among older nobles, but also among his peers.

And only two off-stage characters - Skalozub's cousin and the nephew of Princess Tugoukhovskaya - can be called people who can be considered potential like-minded people of Chatsky. We don’t know their way of thinking, but the mere fact that in Famus society they are mentioned as strange people, speaks of their belonging to the generation of Chatsky and Griboyedov himself. So, for example, Skalozub says about his cousin:

But I firmly picked up some new rules.

The rank followed him: he suddenly left the service,

And Princess Tugoukhovskaya speaks of her nephew:

No, the institute is in St. Petersburg

Pedagogical, I think it’s called:

There they practice schisms and unbelief

Professors!! - our relatives studied with them,

And he left! at least now to the pharmacy, to become an apprentice.

He runs away from women, and even from me!

Chinov doesn’t want to know! He's a chemist, he's a botanist,

Prince Fedor, my nephew.

It turns out that off-stage characters, as well as minor ones, allow the author not only to more fully and multifacetedly reveal the characters of the main characters. In addition, they seem to complement the ranks of either Famusov’s society or supporters of Chatsky’s worldview, representing one of the warring sides; with their help, the conflict from a local one, taking place in one house, becomes public, the action is “transferred” even to St. Petersburg (the nephew of Princess Tugoukhovskaya studied there). That is, Griboyedov wanted to show that the conflict that arose in Famusov’s house was not isolated and not accidental; This is the situation throughout Russia - a new generation is coming, hungry for a new world.

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.

To the question. Name the off-stage characters in “Woe from Wit”. given by the author Liberty the best answer is the deceased wife of Famusov, Lakhmotyev Alexey, Vorkulov Evdokim, Prince Grigory, Udushev Ippolit Markelych, “night robber, duelist”, Frenchman from Bordeaux, Prince Fedor, Chatsky’s mother Anna Alekseevna, “a blackamoor girl and a dog”, Tatyana Yuryevna, Marya Alekseevna, Foma Fomich, Princess Lasova, "Nestor of the noble scoundrels", Skalozub's cousin, Maxim Petrovich, Praskovya Fedorovna, Kuzma Petrovich, the doctor's widow who is about to give birth, Guillaume... Alexander Tsaptsyn
Oracle
(92623)
I didn’t name everyone....I added an ellipsis: there are many more of them, except for the textbook Marya Aleksevna and Pulcheria Andrevna. Griboedov’s “all of Moscow” is an off-stage character

Answer from 22 answers[guru]

Hello! Here is a selection of topics with answers to your question: . Name the off-stage characters in “Woe from Wit”.

Answer from European[guru]
Yabsss said (what a “woe from the mind” is enough... but I’m afraid... I’ll kill you too))

Answer from Baby sucker[active]
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 is Skalozub’s cousin, who “has firmly 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...”

Answer from Serve[guru]
Lisa, Skalozub, Khlestova

Answer from L O L I T A[guru]
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 important as types that reflect certain characteristic features of Russian society of the early 19th 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 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 other than Chatsky, then in the images of some minor heroes and off-stage characters the features of the author’s real contemporaries are quite recognizable. So, Repetilov describes to Chatsky one of those who make noise in the English club. You don’t need to name him, you’ll recognize him from the portrait. A night robber, a duelist, He was exiled to Kamchatka, returned as an Aleut, And he’s firmly on the wrong side. And not only Chatsky, but also most readers recognized from the portrait the colorful figure of that time, Fyodor the Fat American.

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 comedy “Woe from Wit” stands, in the words of I. A. Goncharov, “apart from literature and is distinguished by its youthfulness and freshness...”. Griboyedov, continuing the traditions of Fonvizin and Krylov, at the same time took a huge step forward. With his comedy he laid the foundation critical realism in Russian drama, raised the most acute social and moral problems of its time.
The main theme of the work under consideration is the contradiction between the “present century” and the “past century,” that is, between the progressive elements that move society forward, and the regressive ones that hinder its development. There are always more of the latter, but sooner or later the former win.
In the comedy "Woe from Wit" Griboedov brings to the stage for the first time in Russian literature positive hero. The conflict between Chatsky and Famusov society is leading storyline works.
Chatsky is a fighter, he has his own convictions, high ideals. He is deeply disgusted by the life of society, where Famusov, Skalozub, Molchalin, Repetilov reign with all their inertia, hypocrisy, lies, laziness, stupidity. The hero’s bright, active mind requires a different environment, and Chatsky enters into the struggle, “begins new Age" He is eager to free life, to the pursuit of science and art, to serving the cause, not individuals. But his aspirations are not understood by the society in which he lives.
In his work, Griboedov gave a broad description of the life and morals of the Moscow nobility, satirically depicting the capital’s “aces” (Famusov), high-ranking martinets (Skalozub), and noble liberals (Repetilov). The author accurately depicted the environment in which these types appear and contrasted Chatsky with them.
The conflicts of the comedy are deepened by off-stage characters. There are quite a lot of them. They expand the canvas of life metropolitan nobility. Most of theirs is adjacent to Famusov society. Particularly memorable, of course, is Uncle Maxim Petrovich, who gained the queen’s favor through sycophancy and servility. His life is an example of serving the queen. Uncle is Famusov's ideal.

He fell painfully, but got up well.
But it happened in whist who is invited more often?
Who hears a friendly word at court?
Maxim Petrovich. Who knew honor before everyone?
Maxim Petrovich. Joke!
Who promotes you to rank? and gives pensions?
Maxim Petrovich!

By humiliating their human dignity and losing their honor, representatives of the “past century” received all the benefits of life. But their time is already passing. No wonder Famusov regrets that times are no longer the same.
No less vivid is the portrait of Kuzma Petrovich, who not only managed to arrange his own life, but also did not forget about his relatives. “The deceased was a respectable chamberlain... Rich, and he was married to a rich woman. I married children and grandchildren.”
“What kind of aces live and die in Moscow!” - Pavel Afanasyevich Famusov admired.
Representatives of the fair sex are not inferior to men:
“Present, send them to the Senate! Irina Vlasevna! Lukerya Aleksevna! Tatyana Yuryevna! Pulcheria Andrevna!
Ladies are omnipotent. Bright character- Tatyana Yuryevna, who is closely acquainted with “officials and officials.” Surely Princess Marya Aleksevna also has great power in society, whose opinion Famusov is very afraid of. Griboyedov ridicules these “rulers” through the lips of Chatsky, revealing their emptiness, stupidity, and absurd character.
In addition to the “aces,” there are smaller people in noble society. They are typical representatives middle nobility. These are Zagoretsky and Repetilov. And among the off-stage characters one can name “the dark one, on the legs of a crane,” “three of the boulevard faces” that Chatsky mentions. All of them, aware of their insignificance before the Moscow officials, try to serve them, to win their favor through hypocrisy and servility.
People like Repetilov strive to show others that they are also worth something. Describing " secret society» English Club, Griboyedov gives satirical characteristics its “best” members, liberal talkers. These are Prince Grigory, Evdokim Vorkulov, Ippolit Udushev and “a head like no other in Russia.” But Repetilov can only express the ideas of society this way: “We’re making noise, brother, we’re making noise.” In fact, the “most secret union” is an ordinary company of revelers, liars, and drunkards.
Griboyedov the patriot fights for the purity of the Russian language, art, and education. Making fun of existing system education, he introduces into the comedy such characters as the Frenchman from Bordeaux, Madame Rosier. And many noble children with such teachers grow up “underage” and ignoramuses, just as in the time of Fonvizin.
But the most disgusting off-stage characters are the feudal landowners, whose characteristic features were absorbed by “Nestor of the Noble Scoundrels,” whom he denounces in his passionate monologue main character. Disgusting are the gentlemen who exchange their servants for greyhounds, who sell off children taken from their mothers. the main problem comedy - the relationship between landowners and serfs.
There are many members of the Famus society, they are strong. Is Chatsky really alone in the fight against them? No, Griboyedov answers, introducing into the narrative Skalozub’s story about a cousin who “has firmly picked up some new rules. The rank followed him: he suddenly left the service. I started reading books in the village.” Prince Fyodor “doesn’t want to know the officials!” He's a chemist, he's a botanist." This means that progressive forces are already maturing in the depths of society. And Chatsky is not alone in his struggle.
So, off-stage characters can be divided into two groups and one can be attributed to Famus’s society, the other to Chatsky’s.
The first deepen the comprehensive characteristics of noble society, showing the times of Elizabeth.
The latter are spiritually connected with the main character, close to him in thoughts, goals, spiritual quests, and aspirations.
I would especially like to note the language of the play. The comedy is written in iambic meter, which brings poetic speech closer to colloquial speech. And stories about off-stage persons are organically woven into the narrative.
In the comedy "Woe from Wit" Griboyedov revealed ideological content social struggle the beginning of the 19th century, showed the life of the Moscow nobility and, by introducing non-stage characters into the narrative, deepened the conflict of the work and expanded the picture of the morals of the Moscow nobility.

Lecture, abstract. Off-stage characters in the comedy by A. S. Griboedov “Woe from Wit” - concept and types. Classification, essence and features.