Minor characters in the comedy "Woe from Wit" by A.S. Griboyedov Minor characters of the comedy “Woe from Wit” Gorich in Woe from Wit

Here he is, on tiptoe and not rich in words. Silent people are blissful in the world. A. S. Griboedov 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”, “Ordinary History” 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. “Bezrodny was warmed up and brought into his family, given the rank of assessor and taken as secretary” by 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.” Molchalin doesn’t know what honor, honesty, sincerity means, and he acts meanly 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 on him, but also on 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. 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, we have before us a man who, living in Famus’s society, will definitely “reach the famous levels.” 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, unbending characters and accepting them as their many silent. The “great ability to please” brought many people into the public eye in this unprincipled society. Griboedov 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 respectfulness - 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.

Natalya Dmitrievna - the wife of Platon Mikhailovich Gorich in Griboyedov's comedy "Woe from Wit"; a striking example of the embodiment of female power. Chatsky knew Platon Mikhailovich long before this meeting at the Famusovs’ ball. They served in the regiment together and were good friends. Therefore, the changes that occurred in the friend’s character after marriage could not hide from his penetrating eyes.

Natalya Dmitrievna completely subjugated her husband, treating him like a child every now and then, annoyingly caring for him. With her excessive concern for Platon Mikhailovich’s health, she killed his passion for life, that enthusiasm that Chatsky had previously seen in his eyes. Now he has become an absolutely weak-willed person and a boring conversationalist. Natalya Dmitrievna is young. She belongs to the noble class. Outwardly, she is attractive, good-looking, although a little overweight.

Like many young ladies, she loves balls and parties. The same cannot be said about her husband, but he tries to please her in everything, so he patiently goes with her to all social events. From a conversation with the Tugoukhovsky princesses, it becomes clear that Natalya Dmitrievna loves to discuss expensive outfits. She doesn’t even let her husband open his mouth, training him in every possible way like a dog. Judging by her false worries about the health of Platon Mikhailovich, we can say that this heroine is full of cloying sentimentality.

The comedy “Woe from Wit” by A. S. Griboedov is a kind of “encyclopedia of Russian life” of the first half of the 19th century. Having significantly expanded the scope of the narrative due to many minor and off-stage characters, Griboedov depicts in it the magnificent human types of contemporary Moscow.

As O. Miller notes, almost all minor characters in comedy come down to three types: “Famusovs, candidates for Famusovs and Famusovs-losers.”

The first of them to appear in the play is Colonel Skalozub, a “fan” of Sophia. This is “Famusov in an army uniform,” but at the same time, Sergei Sergeich is “much more limited than Famusov.”

Skalozub has a characteristic appearance (“three fathoms daredevil”), gestures, manners, speech, in which there are many military terms (“division”, “brigadier general”, “sergeant major”, “distance”, “line”).

The character traits of the hero are just as typical. Griboyedov emphasizes rudeness, ignorance, mental and spiritual limitations in Skalozub. Rejecting his “potential suitor,” Sophia notes that he “hasn’t uttered a smart word in his life.” Being not very educated, Skalozub opposes science and education, against the “new rules.” “You can’t faint with your learning...” he confidently declares to Repetilov.

In addition, the author emphasizes another feature in Skalozub - careerism, “a crudely expressed passion for crosses” (N.K. Piksanov). Sergei Sergeich, with barely conscious cynicism, tells Famusov about the reasons for his promotion:

I am quite happy in my comrades,

The vacancies are just open;

Then the elders will turn off others,

The others, you see, have been killed.

In Famusov’s house, Skalozub is a welcome guest: Pavel Afanasyevich considers him a suitable groom for Sophia. However, Sophia, like Chatsky, is far from delighted with the “merits” of Sergei Sergeich. Old woman Khlestova also supports her niece in her own way:

Wow! I definitely got rid of the noose;

After all, your father is crazy:

He was given three fathoms of daring, -

He introduces us without asking, is it pleasant for us, isn’t it?

Finally, Lisa very aptly characterizes Skalozub: “And the golden bag, and aims to become a general.”

The image of Skalozub has comic elements. The very name of the hero hints at this. Lisa talks about Skalozub’s jokes in the comedy.

And Skalozub, as he twirls his crest,

He will tell the story of fainting, add a hundred embellishments;

He’s also good at making jokes, because nowadays who doesn’t joke!

Sergei Sergeich’s speech is often comical. So, about Moscow he notes: “Distances of enormous size,” about his relationship with Nastasya Nikolaevna - “We didn’t serve together,” about Molchalin’s fall from a horse - “Look at how he cracked - chest or sideways?”

N.K. Piksanov considered the image of Skalozub insufficiently developed and unfinished. It is not clear to the reader whether Skalozub is going to marry Sophia, and whether he guessed about her affair with Molchalin after seeing Sophia’s reaction to Molchalin’s fall from his horse. However, despite some incompleteness, the image of Skalozub very organically entered the circle of characters created by Griboedov.

Almost all the characters in the comedy are depicted just as vividly and vividly.

Prince and Princess Tugoukhovsky are among the first to come to Famusov. They hope to find rich suitors for their daughters at the ball. Chatsky suddenly comes into their sight, but, having learned that he is not rich, they leave him alone.

The Tugoukhovsky couple are depicted satirically by Griboyedov. Prince Tugoukhovsky (as indicated by the surname itself) hears almost nothing. His speech consists of separate exclamations: “Oh-hmm!”, “I-hmm!” He unquestioningly follows all his wife’s instructions. This hero embodies the aged Famusov. Princess Tugoukhovskaya is distinguished by a rather evil disposition and causticity. So, she sees the reason for the arrogant behavior of the countess-granddaughter in her “unfortunate fate”: “She’s evil, she’s been around girls for a whole century, God will forgive her.” Like all of Famusov’s guests, Princess Tugoukhovskaya does not see the benefit of education and believes that science poses a threat to society: “in St. Petersburg, the pedagogical institute, I think, is called that: there professors practice schism and unbelief!” The Tugoukhovskys quickly pick up the gossip about Chatsky’s madness and even try to convince Repetilov of this.

Among the guests are Famusova and Countess Khryumina with her granddaughter, who are also happy to believe in Chatsky’s madness. The countess-granddaughter tells the news to Zagoretsky. The Grandmother Countess, suffering from deafness, interprets everything she hears in her own way. She declares Alexander Andreevich a “damned Voltairian” and a “pusurman.”

Famusov’s guests are also joined by his sister-in-law, old woman Khlestova. S. A. Fomichev calls this heroine Famusov for the female half of society. Khlestova is a self-confident lady, intelligent, experienced, and insightful in her own way. Just look at the description given to her by Zagoretsky:

He's a liar, a gambler, a thief...

I left him and locked the doors;

Yes, the master will serve: me and sister Praskovya

I got two little blacks at the fair;

He bought tea, he says, and cheated at cards;

And a gift for me, God bless him!

She is also skeptical towards Skalozub and Repetilov. With all this, Khlestova shares the opinion of Famusov’s guests about science and education:

And you will really go crazy from these, from some

From boarding schools, schools, lyceums, you name it,

Yes from lancard mutual training.

Khlestova here has in mind the Lancastrian system of education, however, for her age and lifestyle, this confusion of concepts is quite forgivable and very realistic. In addition, it is worth noting that this statement does not contain the belligerence that is characteristic of Famusov and Skalozub’s speeches about enlightenment. Rather, here she is simply keeping the conversation going.

In Khlestova’s mind, the human dignity of those around her is inextricably fused with their social status, wealth and rank. So, she notes about Chatsky: “He was a sharp man, he had three hundred souls.” Her intonations in conversations with Molchalin are condescending and patronizing. However, Khlestova perfectly understands the “place” of Alexei Stepanych and does not stand on ceremony with him: “Molchalin, there’s your closet,” she declares, saying goodbye.

Like many of Famusov’s guests, Khlestova loves to gossip: “I don’t know other people’s estates!” She instantly picks up the rumor about Chatsky’s madness and even puts forward her version of events: “Tea, he drank beyond his years.”

The image of Repetilov in the comedy is caricatured. This is exactly the type of “Famusov the loser”. This is an absurd, careless, stupid and superficial person, a visitor to the English Club, a lover of drinking and carousing, philosophizing in noisy companies. This character sets the theme of “ideological fashion” in the comedy, as if parodying Chatsky’s social line.

As O. Miller and A. Grigoriev note, “Repetilov... failed to achieve any real professional benefit from marrying the daughter of the influential von Klock, and so he fell into liberal rhetoric....”

Repetilov tries to captivate Chatsky with “free-thinking” and describes to him “secret meetings” in the English Club, where they talk “about Beiron”, “about important mothers”. Repetilov tells Chatsky about “smart youth,” including the “true genius” Ippolit Udushev. This description sounds like frank satire:

Night robber, duelist,
He was exiled to Kamchatka, returned as an Aleut,
And the unclean hand is strong;
Yes, an intelligent person cannot help but be a rogue.
When he talks about high honesty,
Some kind of demon inspires:
My eyes are bloody, my face is burning,
He cries himself, and we all cry.

This is what Pushkin wrote about this image: “...What is Repetilov? it has 2, 3, 10 characters. Why make him ugly? It’s enough that he is flighty and stupid with such simplicity; It’s enough that he admits every minute to his stupidity, and not to his abominations. This humility is extremely new in the theater; has any of us ever felt embarrassed while listening to penitents like him?”

Repetilov in the comedy is a kind of parody of Chatsky; he is a double character who comically reduces the ideas of the main character. Repetilov’s literary “brothers” are Grushnitsky from Lermontov’s novel “A Hero of Our Time,” Sitnikov from Turgenev’s novel “Fathers and Sons,” Lebezyatnikov from Dostoevsky’s novel “Crime and Punishment.”

Among Famusov’s guests is the “slick socialite” Anton Antonich Zagoretsky. This is also the “Famusov-loser” type. Having failed to obtain ranks and titles, he remains a petty swindler and ladies' man. Gorich gives him an exhaustive description:

A notorious swindler, rogue:

Anton Antonich Zagoretsky.

With it, beware: endure too much,

And don’t play cards, he’ll sell you.

Old woman Khlestova also joins Platon Mikhailovich: “He’s a liar, a gambler, a thief,” she says to Sophia. However, all of Zagoretsky’s “riot” is limited to the everyday sphere. In the “ideological” sense, he is completely “law-abiding”:

What if, between us,
I was appointed censor
I would lean on fables; Oh! fables are my death!
Eternal mockery of lions! over the eagles!
Whatever you say:
Although they are animals, they are still kings.

As O. Miller and A. Grigoriev note, Zagoretsky is a candidate for Famusov, but his circumstances turned out differently, and he took on a different role - a universal servant, a pleaser. This is a kind of Molchalin, necessary for everyone.

Zagoretsky is a notorious talker and liar. Moreover, his lies in comedy are practically groundless. He, too, is happy to support the gossip about Chatsky, without even remembering who he is talking about: “His uncle, the rogue, put him in the madhouses... They grabbed him, put him in the yellow house, and put him on a chain.” However, he puts forward a different version to Countess Khryumina: “In the mountains he was wounded in the forehead, he went crazy from the wound.”

Visiting Famusov and the Gorich couple. Gorich is an old friend of Chatsky from his military service. Perhaps this is the only comedy character written by Griboyedov with a touch of sympathy. It seems that we cannot classify this hero as one of the types described earlier (Famusovs, candidates for Famusovs, Famusovs-losers). Gorich is a kind and decent person who has no illusions about the morals of secular society (remember the characterization that Gorich gives to Zagoretsky). This is the only hero who seriously doubts after hearing gossip about Chatsky’s madness. However, Platon Mikhailovich is too soft. He lacks Chatsky’s confidence and conviction, his temperament, and courage. Having obeyed his wife in everything, he became “weak in health,” “calm and lazy,” and out of boredom he amuses himself by playing the flute. “A boy-husband, a servant-husband, one of the wife’s pages”—it is this type that is represented in the image of Gorich.

Gorich's behavior illustrates in the comedy the theme of men's submission to their domineering wives. Prince Tugoukhovsky is also submissive and silent “before his wife, this efficient mother.” Molchalin is also timid, quiet and modest during his dates with Sophia.

So, Skalozub, Prince and Princess Tugoukhovsky, Countess Khryumina. old woman Khlestova, Repetilov and Zagoretsky, Gorichi... - “all these are types created by the hand of a true artist; and their speeches, words, address, manners, the way of thinking that breaks out from under them is a brilliant painting...” All these images are bright, memorable, original. Griboyedov's heroes embody the leisurely “past century”, with its life traditions and moral rules. These people are afraid of new trends, they are not too fond of science and enlightenment, courage of thoughts and judgments. Thanks to these characters, as well as off-stage heroes, Griboyedov creates a wide panorama of Russian life. “The group of twenty faces reflected, like a ray of light in a drop of water, the whole of the former Moscow, its design, its spirit at that time, its historical moment and morals.”

Minor characters in A. S. Griboedov’s comedy “Woe from Wit”

As O. Miller notes, almost all minor characters in comedy come down to three types: “Famusovs, candidates for Famusovs and Famusovs-losers.”

The character traits of the hero are just as typical. Griboyedov emphasizes rudeness, ignorance, mental and spiritual limitations in Skalozub. Rejecting his “potential suitor,” Sophia notes that he “has never uttered a smart word.” Being not very educated, Skalozub opposes science and education, against the “new rules.” “You can’t faint with your learning...” he confidently declares to Repetilov.

I am quite happy in my comrades,

The vacancies are just open;

Then the elders will turn off others,

The others, you see, have been killed.

In Famusov's house, Skalozub is a welcome guest: Pavel Afanasyevich considers him a suitable groom for Sophia. However, Sophia, like Chatsky, is far from delighted with the “merits” of Sergei Sergeich. Old woman Khlestova also supports her niece in her own way:

Wow! I definitely got rid of the noose;

After all, your father is crazy:

He was given three fathoms of daring, -

He introduces us without asking, is it pleasant for us, isn’t it?

Finally, Lisa very aptly characterizes Skalozub: “And the golden bag, and aims to become a general.”

The image of Skalozub has comic elements. The very name of the hero hints at this. Lisa talks about Skalozub’s jokes in the comedy.

And Skalozub, as he twirls his crest,

He will tell the story of fainting, add a hundred embellishments;

He’s also good at making jokes, because nowadays who doesn’t joke!

Sergei Sergeich’s speech is often comical. So, about Moscow, he notes: “Distances of enormous size,” about his relationship with Nastasya Nikolaevna - “We didn’t serve together,” about Molchalin’s fall from a horse - “Look at how he cracked - chest or sideways?”

Almost all the characters in the comedy are depicted just as vividly and vividly.

He's a liar, a gambler, a thief...

I left him and locked the doors;

Yes, the master will serve: me and sister Praskovya

I got two little blacks at the fair;

He bought tea, he says, and cheated at cards;

And a gift for me, God bless him!

She is also skeptical towards Skalozub and Repetilov. With all this, Khlestova shares the opinion of Famusov’s guests about science and education:

And you will really go crazy from these, from some

From boarding schools, schools, lyceums, you name it,

Yes from lancard mutual training.

Repetilov tries to captivate Chatsky with “free-thinking” and describes to him “secret meetings” in the English Club, where they talk “about Byron”, “about important mothers”. Repetilov tells Chatsky about “smart youth,” including the “true genius” Ippolit Udushev. This description sounds like frank satire:

Night robber, duelist,

He was exiled to Kamchatka, returned as an Aleut,

And the unclean hand is strong;

Yes, an intelligent person cannot help but be a rogue.

When he talks about high honesty,

Some kind of demon inspires:

My eyes are bloody, my face is burning,

He cries himself, and we all cry.

Repetilov in the comedy is a kind of parody of Chatsky; he is a double character who comically reduces the ideas of the main character. Repetilov’s literary “brothers” are Grushnitsky from Lermontov’s novel “Hero of Our Time”, Sitnikov from Turgenev’s novel “Fathers and Sons”, Lebezyatnikov from Dostoevsky’s novel “Crime and Punishment”.

Outspoken swindler, rogue: Anton Antonich Zagoretsky.

With it, beware: endure too much,

And don’t play cards, he’ll sell you.

...What if, between us,

I was appointed as a densor,

I would lean on fables; Oh! fables are my death!

Eternal mockery of lions! over the eagles!

Whatever you say:

Although animals, still give.

Visiting Famusov and the Gorich couple. Gorich is an old friend of Chatsky from his military service. Perhaps this is the only comedy character written by Griboyedov with a touch of sympathy. It seems that we cannot classify this hero as one of the types described earlier (Famusovs, candidates for Famusovs, Famusovs-losers). Gorich is a kind and decent person who has no illusions about the morals of secular society (remember the characterization that Gorich gives to Zagoretsky). This is the only hero who seriously doubts after hearing gossip about Chatsky’s madness. However, Platon Mikhailovich is too soft. He lacks Chatsky’s confidence and conviction, his temperament, and courage. Having obeyed his wife in everything, he became “weak in health,” “calm and lazy,” and out of boredom he amuses himself by playing the flute. “A boy-husband, a servant-husband, one of the wife’s pages” - it is this type that is represented in the image of Gorich.

So, Skalozub, Prince and Princess Tugoukhovsky, Countess Khryumina, old woman Khlestova, Repetilov and Zagoretsky, Gorichi... - “all these are types created by the hand of a true artist; and their speeches, words, address, manners, the way of thinking that breaks out from under them is a brilliant painting...” All these images are bright, memorable, original. Griboyedov's heroes embody the leisurely “past century”, with its life traditions and moral rules. These people are afraid of new trends, they are not too fond of science and enlightenment, courage of thoughts and judgments. Thanks to these characters, as well as off-stage heroes, Griboyedov creates a wide panorama of Russian life. “The group of twenty faces reflected, like a ray of light in a drop of water, the whole of the former Moscow, its design, its spirit at that time, its historical moment and morals.”

Miller O., Grigoriev A. The environment depicted in the comedy “Grief”

from the mind." - In the book: Alexander Sergeevich Griboyedov. His life and writings. Collection of historical and literary articles. Compiled by V. Pokrovsky. M., 1908. P. 51.

Miller O., Grigoriev A. The environment depicted in the comedy “Woe from Wit.” - In the book: Alexander Sergeevich Griboyedov. “His life and works.” Collection of historical and literary articles. Compiled by V. Pokrovsky. M., 1908. P. 52.

Pushkin A. S. Letter to A. A. Bestuzhev. - In the book: A. S. Griboedov in Russian criticism. M., 1958. P. 41.

Nezelenov. Women's society in the comedy "Woe from Wit". - In the book: Alexander Sergeevich Griboedov. His life and writings. Collection of historical and literary articles. Compiled by V. Pokrovsky. M., 1908. P. 7.

Belinsky V.G. Woe from Wit. - In the book: V. G. Belinsky. A look at Russian literature. M., 1987. P. 241.

Goncharov I. A. A million torments.

Platon Mikhailovich

Platon Mikhailovich is one of the most memorable secondary characters in the comedy “Woe from Wit”; Famusov's guest and Chatsky's old friend. Platon Mikhailovich Gorich served with Chatsky in the same regiment. Now he has retired, married and lives in Moscow. Chatsky notices the change that occurred in his comrade after marriage, and is ironic about this. At the same time, he sympathizes with him, because Natalya Dmitrievna took full patronage over her husband.

In Chatsky’s eyes, this is a typical version of the development of relations in “Famus society.” Platon Mikhailovich gradually turned into a husband-servant, a husband-boy. The same thing could have happened to Chatsky if not for his willpower and love of freedom. Platon Mikhailovich himself admits to a friend: “Now, brother, I’m not the same.” And the “speaking” surname of the hero speaks for itself. Natalya Dmitrievna does not allow her husband to open his mouth, training him like a dog. Chatsky had already seen such a couple at the ball. This is the princely couple of the Tugoukhovskys.

Minor characters in the comedy "Woe from Wit" by A.S. Griboyedov Minor characters of the comedy “Woe from Wit” Gorich in Woe from Wit

Minor characters in A. S. Griboedov’s comedy “Woe from Wit”

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