Ball in Famusov's house Woe from the mind A. S. Griboyedov “He is out of his mind,” or how an accidentally overturned phrase made Chatsky an outcast of society What happened at Famusov’s ball

Griboedov's comedy "Woe from Wit" is one of the most famous works of Russian literature. It has not lost its relevance even in our time, two centuries later. The conflict of generations, the relationship between man and society - these problems have existed and will always exist. And now there are people who seem to have stepped out of the pages of Griboedov’s comedy “Woe from Wit.” And now advanced creative thought does not always find the support of others. Young people find the advice of the older generation funny. And old people grumble all the time that in the days of their youth everything was much better. So the main character of Griboyedov was not understood by the people around him.

The ball scene is typical for Moscow of Griboyedov's time. And Famusov’s guests are the most ordinary people of Moscow society of the early 19th century. Some go to balls out of boredom, others to make acquaintances with the right people, and others to arrange the destinies of their children. People of the same circle gather here; there are no strangers here. And the established rules of behavior are the law. Chatsky, with his truth and critical outlook on life, simply could not become one of these people. Famusov's guests condemn him behind his back. But if you tell the countess-granddaughter that she is angry because “there have been girls for a whole century,” or tell Khlestova that she is a quarrelsome, stupid old woman, you can be considered crazy for this. The first people Chatsky meets at the ball are the Gorichi spouses. Platon Gorich, an old acquaintance of Chatsky, a former military man, after his marriage completely fell “under the heel” of his wife. One feels that Chatsky treats Platon Mikhailovich well and is sincerely upset by the change that has happened to his old friend. Although he makes fun of Gorich, he does so with obvious sympathy. And here are the princes Tugoukhovsky with their family, with their many daughters. The first thing the princess is interested in is whether Chatsky is married. And how quickly her interest disappears when she finds out that the candidate for groom is not rich. And here are Countess Khryumina: grandmother and granddaughter. The granddaughter is an evil old maid. Chatsky responds to her caustic remarks no less sharply. He compares her to French milliners.

And, of course, Chatsky is outraged by the fact that Moscow society, condemning such scoundrels as Zagoretsky, does not close its doors to him, but continues to accept him at balls. Khlestova speaks most frankly about this, due to her stupidity: “I even locked the doors from him; yes, he is a master of obliging.”

Griboedov himself speaks through Chatsky. And the characters in the comedy are described by the author as if Chatsky himself wrote it. If he portrays the Gorichys smiling ironically, then the Tugoukhovskys, Khryumins, Zagoretsikiys are already a satire on Moscow society of those times. When the author introduces Khlestova to us, we already hear genuine sarcasm. Griboyedov has a special figure - Repetilov. This, it would seem, is who Chatsky can find a common language with: he talks about new ideas, goes to secret meetings at the English Club. However, Chatsky is smart enough to understand that these are empty words with nothing behind them.

Empty, worthless people who not only do not want any changes, but also do not even want to hear about them. Therefore, Chatsky, who thinks and speaks differently, causes rejection in this society with his truthfulness. That is why the rumor about Chatsky’s madness, invented by Sophia, was so easily accepted as truth by Famusov’s guests. They simply wanted Chatsky to be crazy. And if he is normal, and everything he says is true, then this means that not everything is all right with them. And this is impossible even to imagine.

So, Moscow society pronounces Chatsky a verdict: insane. But Chatsky also pronounces his verdict on Moscow society:

He will come out of the fire unharmed,

Who will have time to spend a day with you,

Breathe air alone

And his sanity will survive.

So how does Griboedov's comedy end? So who won this dispute: Chatsky or Famusov and his entourage? It seems to me that this conflict is insoluble. Chatsky leaves Moscow disappointed. His feelings are trampled, his heart is broken, his hopes of finding understanding here have crumbled to dust. What about Famus society? They didn’t even understand what happened, what Chatsky was talking about. They did not understand either his jokes or his witticisms and, having sentenced Chatsky to madness, they pronounced a sentence on themselves. And these days in such circles they don’t like smart, sharp-tongued people. They are considered troublemakers. It’s more convenient and familiar without them. Chatsky opened a gallery of “superfluous” people in Russian literature. He was followed by Onegin, Pechorin and others. Each in their own way, but all of them did not find a place in the society around them.

The episode “Ball in Famusov’s House” is extremely important for the entire comedy, as it is the culmination of the work. The development of the plot reaches special tension in this episode; the main idea of ​​the play begins to sound clearly: the confrontation between the “present century” and the “past century.”

Chatsky, personifying modernity, scolds Famusov in every possible way. He openly expresses his thoughts, “serves the cause, not individuals.” Famusov condemns young people for new beginnings. Such are his guests: they value the nobility, think only about entertainment, exhibitions, and outfits. Young ladies are worried about how to find a profitable groom. Zagoretsky is a vivid example of a notorious swindler, rogue, and thief. When the old woman Khlestova appears, Chatsky boldly ridicules Zagoretsky, and the guest is extremely dissatisfied with this act.

Sophia makes it clear to the main character that she does not love him, and reveals her feelings to Molchalin, and speaks of Skalozub as “the hero of not her novel.” But Chatsky does not believe the girl. He understands that he is hiding under the kindly false mask of Molchalin, he does not believe in her love for such a nonentity. It begins to seem to those around the ball that, indeed, Chatsky’s “mind and heart are not in harmony.”

The main character irritates Sophia more and more with his sharp attacks towards Molchalin, and in retaliation she starts a rumor about his madness. The gossip interested people who loved to gossip and fell on prepared ground: by that time Chatsky had managed to turn many guests against him. The rumor quickly spread in society, acquiring such details that it is difficult to imagine in relation to Chatsky. Someone suddenly reports that he was shot in the head, and in the end it turns out that the young man is a fugitive criminal!

When the guests declare Chatsky crazy, Famusov claims that he was the first to make such a significant discovery. The entire Moscow society sees the cause of madness in science, in enlightenment. Famusov speaks about it this way:

Learning is the plague, learning is the reason,
What is worse now than then?
There were crazy people, deeds, and opinions.

Old woman Khlestova also inserted her weighty word not in favor of education:

And you'll really go crazy from these,
From some, from boarding houses, schools, lyceums...

A supporter of serfdom and old morality is attacked by an intelligent, freedom-loving defender of human rights, looking at life and people with different eyes. In his views on education, service, in his attitude towards people, in his understanding of the purpose of life, Chatsky opposes the society of ignoramuses and serf owners. The old world is still strong, and its supporters are numerous. The Famus society stood as a united front against Chatsky: it felt in him an ideological enemy.

In the last monologue of the third act, Chatsky condemns Moscow and St. Petersburg for taking examples from other countries and denounces strange fashion:

Moscow and St. Petersburg - in all of Russia,
That a man from the city of Bordeaux,
He just opened his mouth and is happy,
Instill sympathy in all princesses...

But the guests try to ignore all these exclamations and angry tirades. They separate and each begin to do their own thing. And again, Famusov’s guests share their thoughts. They think only about entertainment, exhibitions, dresses and grooms, they are afraid only for their noble rank.

This episode tore off the masks from the heroes, revealed all the faces, and became the culmination of the comedy. We learned that Chatsky is not alone in Famusov’s society, but the ranks of his supporters are very small, and the old world, the “past century,” is still strong.

Average rating: 4.0

“Woe from Wit” is one of the most famous works of the Russian writer A.S. Griboyedov. We often see comedy characters in the people around us, and we often use famous catchphrases in everyday life. The work shows two conflicts: love, between Sophia and Chatsky, and social, between Chatsky and Famusov, which are still relevant in our time. The central part of the work is the episode with the ball in Famusov’s house, where the culmination of both conflicts takes place.

The first Chatsky meets Natalya Dmitrievna, the wife of his longtime friend Platon Mikhailovich Gorich. Alexander is amazed at the changes that happened to Gorich after his marriage: the once military man meekly listens to his wife, and she, with excessive concern, does not allow him to get a word in, making him look henpecked. Next, Chatsky comes into the sight of Prince Tugoukhovsky with his wife and six daughters, who at first are interested in whether Alexander is married, but upon learning that he is not rich, their interest immediately disappears. Countess Khryumina and her granddaughter did not pass by either, who makes several sarcastic remarks towards Chatsky and whom at the end of the quarrel he calls “a copycat milliner.”

It would seem that Sophia’s appearance should have distracted attention from Alexander. Indeed, as soon as “Sofia leaves herself: everyone comes to meet her.” But Chatsky, in a conversation with Plato, continues to be ironically surprised at Famus’s society, grinning sarcastically and joking at Anton Antonovich: “It won’t get any better from such praise, And Zagoretsky himself couldn’t stand it, he disappeared.” Having quarreled with all the guests of the ball, Chatsky meets Repetilov, who is related in his aspirations and ideas, but in reality turns out to be an empty imitator.

Moscow society, which was characterized by a stagnant and measured life, which rejected Chatsky’s desire for change, the novelty of his ideas and views, was not difficult to believe in the sudden rumor about Alexander’s madness. This becomes the end of the social conflict between Famusov’s society and Chatsky, and he, in the heat of the moment, throws out:

Decrepit over inventions, nonsense, - You glorified me as crazy by the whole choir. You are right: he will come out of the fire unharmed, whoever manages to spend a day with you will breathe the same air, and his sanity will survive.

Chatsky’s love conflict with Sophia comes to a climax after Alexander learns the truth about Sophia’s love for Molchalin. His heart is broken, his feelings are trampled, and he himself is humiliated. Leaving the Famusovs’ house in anger, Chatsky mockingly and passionately shouts:

Get out of Moscow! I don't go here anymore. I’m running, I won’t look back, I’ll go looking around the world, Where there is a corner for an offended feeling!.. A carriage for me, a carriage!

In Griboyedov’s work “Woe from Wit,” such concepts as nobility and baseness, honor and infidelity, the opinion of society and the opinion of the “enemy of quest” collide. The author reveals the duplicity of Molchalin, the hypocrisy of the Tugoukhovskys, the lies of Zagoretsky, thereby exposing the “most vile traits” of Moscow society from his past life.

See also: Play "Woe from Wit" (director: V. Ivanov, Maly Theater, 1977)

Griboedov's comedy "Woe from Wit" is one of the most famous works of Russian literature. It has not lost its relevance even in our time, two centuries later. The conflict of generations, the relationship between man and society - these problems have existed and will always exist. And now there are people who seem to have stepped out of the pages of Griboedov’s comedy “Woe from Wit.” And now advanced creative thought does not always find the support of others. Young people find the advice of the older generation funny. And old people grumble all the time that in the days of their youth everything was much better. So the main character of Griboyedov was not understood by the people around him.

The ball scene is typical for Moscow of Griboyedov's time. And Famusov’s guests are the most ordinary people of Moscow society of the early 19th century. Some go to balls out of boredom, others to make acquaintances with the right people, and others to arrange the destinies of their children. People of the same circle gather here; there are no strangers here. And the established rules of behavior are the law. Chatsky, with his truth and critical outlook on life, simply could not become one of these people. Famusov's guests condemn him behind his back. But if you tell the countess-granddaughter that she is angry because “there have been girls for a whole century,” or tell Khlestova that she is a quarrelsome, stupid old woman, you can be considered crazy for this. The first people Chatsky meets at the ball are the Gorichi spouses. Platon Gorich, an old acquaintance of Chatsky, a former military man, after his marriage completely fell “under the heel” of his wife. One feels that Chatsky treats Platon Mikhailovich well and is sincerely upset by the change that has happened to his old friend. Although he makes fun of Gorich, he does so with obvious sympathy. And here are the princes Tugoukhovsky with their family, with their many daughters. The first thing the princess is interested in is whether Chatsky is married. And how quickly her interest disappears when she finds out that the candidate for groom is not rich. And here are Countess Khryumina: grandmother and granddaughter. The granddaughter is an evil old maid. Chatsky responds to her caustic remarks no less sharply. He compares her to French milliners.

And, of course, Chatsky is outraged by the fact that Moscow society, condemning such scoundrels as Zagoretsky, does not close its doors to him, but continues to accept him at balls. Khlestova speaks most frankly about this, due to her stupidity: “I even locked the doors from him; yes, he is a master of obliging.”

Griboedov himself speaks through Chatsky. And the characters in the comedy are described by the author as if Chatsky himself wrote it. If he portrays the Gorichys smiling ironically, then the Tugoukhovskys, Khryumins, Zagoretsikiys are already a satire on Moscow society of those times. When the author introduces Khlestova to us, we already hear genuine sarcasm. Griboyedov has a special figure - Repetilov. This, it would seem, is who Chatsky can find a common language with: he talks about new ideas, goes to secret meetings at the English Club. However, Chatsky is smart enough to understand that these are empty words with nothing behind them.

Empty, worthless people who not only do not want any changes, but also do not even want to hear about them. Therefore, Chatsky, who thinks and speaks differently, causes rejection in this society with his truthfulness. That is why the rumor about Chatsky’s madness, invented by Sophia, was so easily accepted as truth by Famusov’s guests. They simply wanted Chatsky to be crazy. And if he is normal, and everything he says is true, then this means that not everything is all right with them. And this is impossible even to imagine.

So, Moscow society pronounces Chatsky a verdict: insane. But Chatsky also pronounces his verdict on Moscow society:

He will come out of the fire unharmed,

Who will have time to spend a day with you,

Breathe air alone

And his sanity will survive.

So how does Griboedov's comedy end? So who won this dispute: Chatsky or Famusov and his entourage? It seems to me that this conflict is insoluble. Chatsky leaves Moscow disappointed. His feelings are trampled, his heart is broken, his hopes of finding understanding here have crumbled to dust. What about Famus society? They didn’t even understand what happened, what Chatsky was talking about. They did not understand either his jokes or his witticisms and, having sentenced Chatsky to madness, they pronounced a sentence on themselves. And these days in such circles they don’t like smart, sharp-tongued people. They are considered troublemakers. It’s more convenient and familiar without them. Chatsky opened a gallery of “superfluous” people in Russian literature. He was followed by Onegin, Pechorin and others. Each in their own way, but all of them did not find a place in the society around them.

Get out of Moscow! I don't go here anymore.

I’m running, I won’t look back, I’ll go looking around the world,

Where is there a corner for an offended feeling!..

A.S. Griboyedov. Woe from the mind.

Comedy A.S. Griboedov's "Woe from Wit" is included in the treasury of Russian classical literature. This work was written at the beginning of the 19th century and touched on very important issues of that time.

Chatsky, the main character of the comedy, represents the “new time”. He opposes Famusov and the entire “Moscow society.” The hero openly expresses his thoughts, with all his appearance he shows contempt for Famusov’s orders. Therefore, it is not surprising that Alexander Andreevich is an unwanted guest in the house of Pavel Afanasyevich.

The ball scene is the “main” place of the play. It is at the ball that their true faces as heroes are revealed. It is here that the author creates a generalized portrait of “Moscow society”. Everyone here respects old woman Khlestova. Feeling her power, the elderly woman simply turns into a monster. She believes that she can offend any person and tell him everything she thinks to his face.

A crowd of “admirers” swirls around Khlestova. The first place among them is taken by Molchalin. He is just waiting to stroke Khlestova’s dog or look devotedly into her eyes.

Khryumina’s grandmother and granddaughter also try to smile at Khlestova. But behind her back they say all sorts of nasty things about the old woman.

The Tugoukhovskys with many children, dreaming of only one thing: to marry off their daughters profitably... Natalya Dmitrievna Gorich, commanding her helpless husband... The swindler Zagoretsky, whom everyone can’t stand, but accepts in their home...

At first glance, the portrait of “Famus society” is ridiculous. But in fact, it becomes scary from these people who look like “dead people”. They wear masks, utter empty words and think through the eyes of others. Famusov's guests, led by the owner of the house, symbolize moral and ethical ugliness.

And then another person finds himself in such a world. He, unwittingly, begins to expose Famusov and his entourage.

At a ball in Famusov’s house, Chatsky saw all the guests groveling before the “Frenchman from Bordeaux.” Why? Only because he is a foreigner. This caused a wave of indignation in the hero:

Moscow and St. Petersburg - in all of Russia,

That a man from the city of Bordeaux,

He just opened his mouth and is happy,

Instill sympathy in all princesses...

The hero fights for everything Russian in his native country. Chatsky dreams that people would be proud of Russia and speak Russian.

The hero cannot understand how in his country some people can own others. He does not accept slavery with all his soul and fights for the abolition of serfdom.

In the ball scene, Chatsky exposes Famusov, Molchalin, and Skalozub. He exposes Sophia too. Or rather, the heroine reveals herself by starting a rumor about Chatsky’s madness. Thus, the heroine finally joins “Famusov’s Moscow.”

All of old Moscow gladly picks up the news of Chatsky's madness. In Alexander Andreevich, the guests see a serious threat to themselves and their quiet life.

“Moscow society” sees the reason for the hero’s madness in his scholarship. Famusov is sure that he was the first to notice signs of madness in Chatsky:

Learning is the plague, learning is the reason,

What is worse now than then?

There were crazy people, deeds, and opinions.

Old woman Khlestova supports him:

And you'll really go crazy from these,

From some, from boarding houses, schools, lyceums...

The guests form a tight ring of hatred around Chatsky. And the hero feels it. It seems to me that even then he decides to leave Moscow. The hero's loneliness and his difference from everyone else are striking.

But Chatsky is alone only in Moscow. From the comedy we learn that he has like-minded people in Russia. Therefore, we can say that Griboedov’s comedy is optimistic. We understand that the victory of the Chatskys is just around the corner. New life is “coming” to Moscow. This is a law that neither Famusov nor the entire “Moscow society” can prevent.