To complete the task of part 2, select only ONE of the proposed essay topics (2.1−2.4). In the answer form, indicate the number of the topic you have chosen, and then write an essay of at least 200 words (if the essay is less than 150 words, then it is scored 0 points).

Rely on author's position(in a lyric essay, take into account author's intention), formulate your point of view. Argument your theses based on literary works(in an essay on lyrics, it is necessary to analyze at least two poems). Use literary theoretical concepts to analyze the work. Think over the composition of your essay. Write your essay clearly and legibly, observing the norms of speech.

Explanation.

Comments on essays

2.1. What unites representatives of the Famus society? (Based on the comedy by A. S. Griboyedov “Woe from Wit.”)

The comedy "Woe from Wit" was written in 1824. At this time in Russia there is rapid development social thought and the emergence of secret political societies. Main character comedy - Chatsky is a representative of new ideas, standing out against the backdrop of patriarchal Moscow, which is afraid and does not want any changes. It is this Moscow that Chatsky is fighting against. Griboyedov depicted Famusov's society, reflecting the entire Moscow elite. The whole society adheres to the same views: hatred of enlightenment, adherence to old traditions, imitation of foreigners. Chatsky is outraged by the blind adherence to everything foreign. For example, in education, all that matters is the availability and presence of teachers “in more numbers, at a cheaper price.” All girls are brought up on French novels. Serfdom is a normal phenomenon for Famus society. Here people are greeted based on their clothes. If a person is rich, it does not matter that he spent his whole life in humiliation. All Famus's environment is united by a fear of change. They understand that if Chatsky’s ideas come to society, then they - all these Famusovs and Molchalins - will remain out of work. Off-stage characters also play a large role in the play. They do not appear on stage, but they have great importance to reveal the main conflict of the play. Their images are as generalized as possible. The author is not interested in their philosophy; they interest him only as important signs of the times. For example, such heroes as Mr. N. and Mr. V., who are only interested in spreading gossip. Chatsky jokes, ridicules the sacred norms of life of Famus society.

So, the “group of twenty persons” reflected the whole of the former Moscow, its design, its then spirit, historical moment and morals.

2.2. The theme of friendship in the lyrics of A. S. Pushkin. (Based on 2-3 poems by the poet.)

The lyrics of friendship occupy one of the central places in the lyrics of A.S. Pushkin. The feeling of friendship brought from the Lyceum animated the poet all his life. But over the years, the idea of ​​friendship has changed. When writing an essay on this topic, it is necessary to remember that Pushkin’s friendship is considered in three versions: 1) friendship as a strong fraternal union (“October 19”, “Separation”, “Feasting Students”, “I.I. Pushchinu”); 2) friendship as a union of like-minded people (“To Chaadaev”, “In the depths of Siberian ores”); 3) friendship-enmity (“Insidiousness”).

2.3. What human vices are ridiculed in the fairy tales of M. E. Saltykov-Shchedrin?

The fairy tale has not lost its relevance either. The wise minnow”, ridiculing the petty-bourgeois approach to life. “No matter what happens” is the life credo of the Shchedrin minnow. His fear of everything and everyone became the reason that life passed the gudgeon by. I was afraid to live, but it turned out that I didn’t live at all.

Shchedrin's satire is imbued with a longing for truth, for freedom and the understanding that the surrounding reality is ugly and difficult, but necessary, to fight.

2.4. The works of which Russian writer of the second half of the 20th century are interesting to you and why?

The problem of the relationship between nature and man is constantly addressed and it will never lose its relevance. Many writers of past centuries and today have spoken about the cultural problems of the relationship between nature and man.

Valentin Rasputin addresses the problem of human communication with nature in many works. For example, in “Farewell to Matera” - a book about how the relationship between man and the earth is not an ordinary problem, but a deeply moral one. It is no coincidence that the words Motherland, people, spring, nature have the same root. In the story, the image of the Motherland is invariably associated with the image native land. Matera is both an island and an ancient village of the same name; Matera must be wiped off the face of the earth. Everything must disappear: houses, gardens, meadows, cemetery - the whole earth will go under water forever. Who gave man the right to dispose of everything so thoughtlessly?

Life in this world does not begin with us, and it does not end with our departure. The way we treat our ancestors is how our descendants will treat us, following our example. Rasputin, thinking about this, shows several generations. It turns out that the further you go, the weaker the connections become. Here is the old woman Daria sacredly honoring the memory of the departed. Her son, Pavel, understands his mother, but what worries her is not the most important thing for him. And grandson Andrey doesn’t even understand what we’re talking about. It is not difficult for him to decide to get a job building a dam, because of which the island will be flooded. And in general, he is sure that memory is bad, without it it is better. Rasputin's story is perceived as a warning. People like Andrei will create, destroying, and when they think about what is more in this process, it will be too late: torn hearts cannot be healed. “Who are we on this earth - masters or temporary aliens: we came, we stayed, we don’t need a past, we don’t have a future?” - such thoughts are evoked by V. Rasputin’s story.

The comedy "Woe from Wit" was written between 1815 and 1824. The content of the play is closely related to historical events. At this time, Russian society was ruled by defenders of feudalism and serfdom, but at the same time, progressive-minded, progressive nobility also appeared. Thus, two centuries collided in comedy - the “present century” and the “past century.”

“The Past Century” personifies Famus society. These are acquaintances and relatives of Pavel Afanasyevich Famusov, a rich, noble gentleman in whose house the comedy takes place. These are Prince and Princess Tugoukhovsky, old woman Khlestova, the Gorichi couple, Colonel Skalozub. All these people are united by one point of view on life. In their environment, human trafficking is considered normal. The serfs sincerely serve them, sometimes saving their honor and life, and the owners can exchange them for greyhounds. So, at a ball in Famusov’s house, Khlestova asks Sophia to give a sop from dinner for her blackamoor - a girl and a dog. Khlestova does not see any difference between them. Famusov himself shouts at his servants: “To work you, to settlements!” Even Famusov’s daughter Sophia, raised on French novels, says to her maid Lisa: “Listen, don’t take unnecessary liberties!”

The main thing for Famus society is wealth. Their ideals are people in ranks. Famusov uses Kuzma Petrovich as an example to Chatsky, who was a “venerable chamberlain,” “with a key,” “rich and was married to a rich woman.” Pavel Afanasyevich wants a groom like Skalozub for his daughter, because he is “a golden bag and aims to be a general.”

Famus Society distinguished by indifference to service. Famusov - “manager in a government place.” He does things very reluctantly. At the insistence of Molchalin, Famusov signs the papers, despite the fact that there are “contradictions in them, and a lot of them are wrong.” Pavel Afanasyevich believes: “It’s signed, off your shoulders.” In Famus society, it is customary to keep only relatives in the service. Famusov says: “With me, strangers’ employees are very rare...”

These people are not interested in anything except lunches, dinners and dances. During these amusements, they slander and gossip. They are “sycophants and businessmen”, “flatterers and sycophants”. Pavel Afanasyevich recalls his uncle Maxim Petrovich, a great nobleman: “When you need to curry favor, he bent over backwards.” Famusov also greets his daughter Skalozub’s prospective fiancé with great reverence, he says: “Sergei Sergeich, come here, sir, I humbly ask...”, “Sergei Sergeich, dear, put down your hat, take off your sword...”

All representatives of Famus society are united by their attitude to education and enlightenment. Like Famusov, they are sincerely confident that “learning is the plague, learning is the reason that now, more than ever, there are more crazy people, and deeds, and opinions.” And Colonel Skalozub, who is not distinguished by intelligence, talks about a new project for schools, lyceums, and gymnasiums, where they will teach marching and books will be kept only “for big occasions.” Famus society does not recognize Russian culture and language. French culture is closer to them, they admire it and the French language. Chatsky in his monologue says that the Frenchman from Bordeaux found “neither the sound of a Russian nor a Russian face” here.

They all have the same attitude towards Chatsky, who is a representative of everything new and advanced. They do not understand his ideas and progressive views. The hero tries to prove that he is right, but it ends tragically for him. Rumors spread about his madness, as society does not want to look at the world differently. Thus, Griboyedov reflected the conflict between two camps: supporters of serfdom and progressive thinkers of the time.

Famus society in A.S. Griboyedov’s comedy “Woe from Wit” - what is it like?

The comedy “Woe from Wit” was written during the years of intense struggle between the old, reactionary nobility and the revolutionary youth, who saw the country’s disaster in the serfdom. This struggle between the past and the future was main theme comedies. “Woe from Wit” describes both camps - the outdated, feudal Famus society and its opponents (Chatsky with a few supporters).

A bright representative of the “past century” is the so-called Famus society. These are acquaintances and relatives of Pavel Afanasyevich Famusov, a rich, noble gentleman. This includes Prince and Princess Tugoukhovsky, old woman Khlestova, the Gorichi spouses, and Colonel Skalozub. All these people are united by one point of view on life: they are all rigid serf owners. They consider human trafficking to be normal. The serfs sincerely serve them, sometimes saving their lives, and the owners can even exchange the peasants for greyhounds... The main thing for Famus society is wealth. Their ideals are people in ranks.

People in this circle are also characterized by an indifferent attitude towards affairs. Famusov is a “manager in a government place”, during the whole day he addresses matters only once: at the insistence of Molchalin, the official signs the papers, not paying attention to the fact that there are “contradictions in them, and many of them are weekly.”

Another feature that united all the “fathers” was admiration for everything Western, in particular French. They believe that there is no one in the world better edge than France, they sincerely believe that they have “no salvation” without foreigners. Representatives of the “old world” try to adopt the language and cultural customs of the French, without realizing how absurdly they are doing this.

So, people in Famus’s circle are selfish and selfish. They spend all their time in social entertainment. During these amusements, they slander and gossip, and act hypocrites in front of each other. They are sycophants and businessmen, flatterers and sycophants. Famusov recalls his uncle Maxim Petrovich, a great nobleman: “When it was necessary to serve, he bent over backwards.”

The biggest fear for Famus society is education. Famusov believes that scholarship is a “plague” and assures that we should “take away all the books and burn them,” and Skalozub dreams of a school where “books will be saved for big occasions.”

Main question for the Famus society - the question of service. Everyone in this circle dreams of “reaching known degrees” and ensuring a comfortable existence for themselves. Famusov treats people who succeed in this, for example, Skalozub, with approval. And Chatsky, according to his scale of values, is a “lost” person, deserving only contemptuous regret: after all, having good data for successful career, it doesn't serve. “But if you wanted to, it would be businesslike,” notes Famusov.

Famus society is a society with its own ideological ideas and views on life. They are sure that there is no other ideal than wealth, power and universal respect. “After all, only here they also value the nobility,” says Famusov about lordly Moscow. Griboyedov exposes the reactionary nature of feudal society and thereby shows where the dominance of the Famusovs is leading Russia.

After foreign trips During the Russian army of 1812-1813, the ideas of Western liberalism began to penetrate into Russia and take root. They infected the largest and best part of high society.
As a result, there was a noticeable polarization of views, and conservative forces rallied around the government to combat freethinking. It is precisely such people, representatives of the “past century,” who form the basis of Famusov’s Moscow in A. S. Griboedov’s comedy “Woe from Wit.” It is not difficult to guess that the ideologist of this society in the work of A. S. Griboyedov will be one of the main characters - P. A. Famusov. It most clearly reflects the main qualities of this world: serfdom, ignorance, hypocrisy, admiration for foreigners, serving persons rather than business, willingness to serve for the sake of momentary gain, lack of independence, attitude to service as a means of enrichment. But, oddly enough, in Griboyedov’s work, Famusov also appears as a caring father, wishing only good for his daughter, but good in his own understanding:

He would like a son-in-law with ranks and stars.

But anyway main feature The society of the Famusovs, the silent and Khlestovs, so accurately reflected in the comedy, is that almost all of its representatives are convinced serf owners: and Khlestova, who has a new hobby - arapka; and Famusov, ready to be exiled to Siberia for the slightest offense or in a fit of anger:

to settle you,

and those landowners who are presented in Chatsky’s monologue “Who are the judges?” The writer cannot calmly relate to such perverted forms of serfdom and, through the mouth of the main character, condemns them.
The next feature characteristic of the old world is lack of education: at the ball, discussion of lyceums, universities and books causes general indignation:

Once evil is stopped:
They would take all the books and burn them.

These people are self-sufficient - they do not need education, they hire teachers for their children only because they follow fashion; If it were their will, there would be no books or gymnasiums. The Famusov world is close in spirit to that “consumptive” from the academic committee “who is the enemy of books,” whom Chatsky mocks, and at the same time they cannot accept their cousin Skalozub: after all, he “began reading books in the village!”
Representatives of the “past century” also condemn literature, considering it unnecessary and useless:

She can't sleep from French books,
And the Russians make it hard for me to sleep.

Nevertheless, the influence of literature on public opinion is recognized and treasured by all. This is especially evident in Zagoretsky’s censorship remarks:

Eternal mockery of lions! over the eagles!
No matter what you say:
Although they are animals, they are still kings.

But along with these sharply negative traits representatives of the “past century” still have, albeit a small, piece of humanity: Khlestov, whose feelings, it would seem, are separated from outside world, suddenly sympathizes with Chatsky:

And I feel sorry for Chatsky.
In a Christian way, he deserves pity.

And then, when the exponent of new ideas advocates a return to the national, he is ignored again - a sore spot in Famusov’s society is touched, and at the same time one of the main features is admiration for everything foreign, a contemptuous attitude towards Russian culture and especially towards native language(“Madam! Ha! ha! ha! ha! terrible!!”). For Famusov, all this is not a lifestyle close to him, but following fashion. It is precisely not wanting to lag behind life that such people hire teachers to educate their children, reluctantly pay them, and it is then that hatred of education in any form appears - both to gymnasiums and lyceums, so as not to contradict fashion and not be considered For this rebel, they do not condemn homeschooling.
What is characteristic is that education does not imply the use of knowledge in the future - when solving official matters, they are increasingly guided by established traditions:

Well, how can you not please your loved one?

My custom is this:
Signed, off your shoulders.

Here everything is based on self-interest, to which even feelings are subordinated: Molchalin “loves” Sophia “by position.” In this world, a person is ready to trample his human dignity for the sake of vital mercantile interests: with what pathos Famusov talks about Maxim Petrovich, admiring his self-humiliation! In addition, this banter is already becoming a habit, becoming a way of life - a shining example is “fraudster, rogue Anton Antonovich Zagoretsky.” In his desire to please everyone: Sophia, Khlestova, and the state (very reminiscent of a high-society informer) - he crosses boundaries and turns into an exaggerated image.
An example of a different kind of service - stupid, thoughtless martinet - is S.S. Skalozub - he measures everything by military standards, jokes like a military man and generally embodies those traits that were so needed by the system of that time - lack of initiative (which, incidentally, characteristic of all representatives of Famus society), dullness and narrow-mindedness, which means he has prospects for growth.
Another no less colorful representative of the “past century” is Repetilov, “a repeater of other people’s thoughts, a member of the “Secret Union” and generally an inveterate liberal. In this case, an image is presented as a parody of this entire high society society, where everyone fancies himself a genius of speech, like Ippolit Markelych Udushtev, where there are secret societies"on Thursdays". Can’t all this cause a smile, but a smile of sympathy for vulgarity and emptiness!
In addition to these characters, the play contains a large number of off-stage characters, helping to more fully reveal one or another feature of Famusov’s Moscow; but they all show the unnaturalness, the deadness of this society. As Goncharov rightly noted, Griboyedov transferred all this spirit of Moscow living rooms into comedy, took into account all the psychological details, took all the best and nothing superfluous. And indeed, “Woe from Wit” shows the entire spectrum of views, interests and sympathies of the capital’s nobility early XIX century.

The play "Woe from Wit" - famous work A. S. Griboedova. In the process of its creation, the author moved away from the classical canons of writing “high” comedy. The heroes in "Woe from Wit" are ambiguous and multifaceted images, and not caricature characters endowed with one characteristic feature. This technique allowed Alexander Sergeevich to achieve stunning verisimilitude in depicting the “picture of morals” of the Moscow aristocracy. This article will be devoted to the characteristics of representatives of such a society in the comedy “Woe from Wit”.

Issues of the play

In "Woe from Wit" there are two plot-forming conflicts. One of them concerns the personal relationships of the heroes. Chatsky, Molchalin and Sofia participate in it. The other represents the socio-ideological confrontation between the main character of the comedy and all the other characters in the play. Both storylines strengthen and complement each other. Excluding love line it is impossible to understand the characters, worldview, psychology and relationships of the heroes of the work. However, the main one, of course, is Chatsky and Famus society confront each other throughout the entire play.

"Portrait" character of the comedy

The appearance of the comedy "Woe from Wit" caused a lively response in literary circles first half of the 19th century. Moreover, they were not always laudatory. For example, a longtime friend of Alexander Sergeevich, P. A. Katenin, reproached the author for the fact that the characters in the play are too “portrait-like,” that is, complex and multifaceted. However, Griboyedov, on the contrary, considered the realism of his characters to be the main advantage of the work. In response to criticisms he replied that “... caricatures that distort the real proportions in the appearance of people are unacceptable...” and argued that there was not a single one of these in his comedy. Having managed to make his characters alive and believable, Griboedov achieved a stunning satirical effect. Many unwittingly recognized themselves in the comedy characters.

Representatives of the Famusov society

In response to comments about the imperfection of his “plan,” he stated that in his play there were “25 fools for one sane person.” Thus, he spoke quite harshly to the capital’s elite. It was obvious to everyone who the author portrayed under the guise of comedy characters. Alexander Sergeevich did not hide his negative attitude towards Famusov’s society and opposed it to the only smart person- Chatsky. Rest characters the comedies represented typical images of that time: the well-known and influential Moscow “ace” (Famusov); a loud and stupid careerist martinet (Skalozub); a quiet and dumb scoundrel (Molchalin); a domineering, half-mad and very rich old woman (Khlestova); eloquent talker (Repetilov) and many others. Famus society in the comedy is motley, diverse and absolutely unanimous in its resistance to the voice of reason. Let us consider the character of its most prominent representatives in more detail.

Famusov: a staunch conservative

This hero is one of the most influential people in Moscow society. He is a fierce opponent of everything new and believes that one must live as his fathers and grandfathers bequeathed. For him, Chatsky’s statements are the height of freethinking and debauchery. And in ordinary human vices (drunkenness, lies, servility, hypocrisy) he sees nothing reprehensible. For example, he declares himself to be “known for his monastic behavior,” but before that he flirts with Lisa. For Famusov, a synonym for the word “vice” is “learnedness.” For him, condemning bureaucratic servility is a sign of madness.

The question of service is the main one in Famusov’s system. In his opinion, any person should strive to make a career and thereby ensure a high position in society. For him, Chatsky is a lost man, as he ignores generally accepted norms. But Molchalin and Skalozub are businesslike, reasonable people. Famusov's society is an environment in which Pyotr Afanasyevich feels accomplished. He is the embodiment of what Chatsky condemns in people.

Molchalin: a dumb careerist

If Famusov in the play is a representative of the “past century,” then Alexey Stepanovich belongs to to the younger generation. However, his ideas about life completely coincide with the views of Pyotr Afanasyevich. Molchalin makes his way “into the people” with enviable tenacity, in accordance with the laws dictated by Famus society. He does not belong to the noble class. His trump cards are “moderation” and “accuracy,” as well as lackey helpfulness and boundless hypocrisy. Alexey Stepanovich is very dependent on public opinion. The famous remark about evil tongues, which " scarier than a pistol“belongs to him. His insignificance and unprincipledness are obvious, but this does not prevent him from making a career. In addition, thanks to his boundless pretense, Alexei Stepanovich becomes the happy rival of the protagonist in love. “Silent people dominate the world!” Chatsky notes bitterly. He can only use his own wit against Famus society.

Khlestova: tyranny and ignorance

The moral deafness of Famus society is brilliantly demonstrated in the play "Woe from Wit." Griboyedov Alexander Sergeevich entered the history of Russian literature as the author of one of the most topical and realistic works of his time. Many aphorisms from this comedy are very relevant today.