Woe from the mind, what kind of person is Famusov. The hero of Griboyedov’s comedy “Woe from Wit” P. I. Famusov: characterization of the image. Famusov and public opinion

This comedy), stands Famusov, a representative of the bureaucratic nobility. (See also the article The Image of Famusov.) Griboyedov himself in one of his letters (to Katenin) says that in the person of Famusov he portrayed his uncle, a famous Moscow gentleman. “What kind of aces live and die in Moscow,” says Famusov himself; This is exactly the kind of “ace” he himself portrays. His large, lively figure inspires some sympathy with its liveliness, everyday typicality and integrity; but, listening to his words, delving into the meaning of his speeches, you immediately see his no less significant negative traits. Famusov, apparently, occupies a prominent place in the public service and has a high rank. But how does he feel about his position, how does he look at the service in general? His secretary is Molchalin, whom Famusov keeps “because (he) is businesslike”; Molchalin sorts out the cases, brings papers to his boss for a report, but Famusov has one concern:

"I'm afraid, sir, I'm the only one who's dead,
So that a multitude of them do not accumulate;
Give free rein to you - it would settle down,
And with me - what matters, what does not matter,
My custom is this:
Signed, so - off your shoulders».

Famusov, Sofya, Molchalin, Lisa. Illustration by D. Kardovsky for Griboedov’s comedy “Woe from Wit”

It is clear that he does not delve into the matter, the solution of which depends on him, but is only in a hurry to sign and get rid of worries. Service for Famusov does not represent the fulfillment of any duties, but is a path and method for achieving personal gain, wealth and fame. In contrast to Chatsky, who believes that one must serve “the cause, not individuals,” Famusov finds that “serving individuals” is necessary in order to achieve nobility. He sets as an example (monologue “That’s it, you are all proud”) his uncle, Maxim Petrovich, who, being already a noble nobleman himself, -

(“It’s not like I ate on silver, I ate on gold;
One hundred people are at your service; all in orders") -

managed to earn the favor of the Empress (Catherine II) with a clownish trick.

“And uncle! What is your prince, what is your count!
Serious look, arrogant disposition!
When do you need to help yourself?
And he bent over.”

This is Famusov’s ideal! Adulation is the surest way to achieve rank, and Famusov calls “proud” someone who does not want to follow this beaten path. Not wanting to even listen and think about Chatsky’s heated objections, Famusov sure in his rightness, because the way his fathers thought and “did” was the way it had been since the old days. He speaks quite frankly about these low and ugly practices of the bureaucratic world; he also simply admits that he always tries to place his relatives in advantageous positions, without caring whether they are capable of fulfilling the duties assigned to them:

“How will you imagine
To the little cross or to the town,
Well, how can you not please your loved one.”

Famusov expresses his cynical confessions with naive simplicity.

Woe from the mind. Maly Theater performance, 1977

Famusov’s views on raising children and education in general are noteworthy. He sees nothing good in books:

“Reading is of little use”

he says in response to Lisa’s words that his daughter Sophia “read all night” in French. “French books make her sleepless,” he continues, “but Russians make it painful for me to sleep.”

In learning, in books, he sees the cause of all freethinking and disorder:

“Learning is the plague, learning is the reason,
What is worse now than then,
There have been crazy people, deeds and opinions.”

“...if we stop evil,”
Collect all the books and burn them."

However, contrary to this opinion, Famusov hires foreign teachers for Sofia, contemptuously calling them “vagabonds,” but he does this because “everyone” does it, and Famusov’s main principle is to follow the general trend. He gives Sophia an education, but does not bother to delve into the moral qualities of her educators: Madame Rosier, “the second mother, the old lady of gold,” to whom Famusov entrusted the upbringing of his daughter,

“For an extra five hundred rubles a year
She allowed herself to be lured by others.”

What principles could such a teacher teach? Obviously, Famusov, like many other parents of secular society, sought for his daughter to recruit “teachers of the regiment, more in number, at a cheaper price.” Personally, he does not praise the general fascination with foreigners:

“Kuznetsky Bridge and the eternal French,

he is indignant

But it is clear that he scolds the French precisely because he considers them “pocket destroyers” and does not see the difference between a “book” and a “biscuit” shop.

Famusov’s concerns about his daughter boil down to giving her an external upbringing that is consistent with the generally accepted requirements of society, and marrying her off to a suitable person; he tries to convince Sophia that he

“Whoever is poor is not a match for her.”

In his eyes, the ideal husband for Sophia is Skalozub, since he is “both a golden bag and aims to be a general.” And the fact that Skalozub is disgusted with his daughter does not bother the “caring” father in the least. What is more important for Famusov: for Sophia to choose a husband after her heart, or for society to say that she made a brilliant match? Of course, the last one! Public opinion, then “what Princess Marya Alekseevna will say,” this is the spring and engine of all Famusov’s words and actions.

And yet this man has, if not positive, then at least partly sympathetic features. His hospitality, characteristic of all truly Russian natures, is endearing; his house is open:

“The door is open for the invited and the uninvited,
Especially for foreigners;
Whether an honest person or not,
It’s all right for us – dinner is ready for everyone.”

But even in these words (from the monologue “Taste, father, excellent manner”) we see, in addition to hospitality, Famusov’s well-known moral promiscuity: he amuses himself with his hospitality, and the moral qualities of his guests are completely indifferent to him. What is attractive about him is his sincere love for everything that is his own, Russian, Moscow; how he admires Moscow aces, old men, ladies, boys and girls! Famusov’s good nature is also attractive, or rather, the innocence that shines through in all his speeches. Griboyedov portrayed a truly living person, with personal features that distinguish him. “Grumpy, restless, quick,” Sophia characterizes him; He is quick-tempered, but also easy-going - “often angry to no avail,” but also good-natured.

Speaking about Famusov, one cannot fail to mention the famous artists who performed his role. “Woe from Wit” was first staged on stage in 1831 after Griboedov’s death; The wonderful actor Shchepkin was then known in the role of Famusov. In the first half of the twentieth century, this role was played with extraordinary talent by the famous director and founder of the tradition of the Moscow Art Theater - Stanislavsky; The role of Chatsky was performed incomparably by Kachalov.

Molchalin Alexey Stepanych- Famusov’s secretary, living in his house, as well as an admirer of Sophia, who despises her in his soul. M. was transferred by Famusov from Tver. The hero's surname expresses his main trait - “wordlessness.” It was for this that Famusov made M. his secretary. In general, the hero, despite his youth, is a full-fledged representative of the “past century”, since he has adopted its views and lives by its principles. M. strictly follows his father’s behest: “to please all people without exception - the owner, the boss, his servant, the janitor’s dog.” In a conversation with Chatsky, M. sets out his life principles - “moderation and accuracy.” They consist in the fact that “at my age I should not dare to have my own judgment.” According to M., you need to think and act as is customary in “Famus” society. Otherwise they will gossip about you, and, as you know, “evil tongues are worse than pistols.” M.'s romance with Sophia is also explained by his willingness to please everyone. He obediently plays the role of an admirer, ready to read romance novels with Sophia all night long, listen to the silence and trills of nightingales. M. doesn’t like Sophia, but he can’t refuse to please his boss’s daughter.

Skalozub Sergey Sergeich- in his image, the “ideal” Moscow groom is depicted - rude, uneducated, not very smart, but rich and pleased with himself. Famusov reads S. as his daughter’s husband, but she considers him “the hero of a novel that is not hers.” At the moment of his first arrival at Famusov’s house, S. talks about himself. He took part in the War of 1812, but received the order “on the neck” not for military exploits, but on the occasion of military celebrations. S. “aims to become a general.” The hero despises book wisdom. He makes disparaging remarks about his cousin reading books in the village. S. tries to embellish himself externally and internally. He dresses in army fashion, using belts to make his chest look like a wheel. Having understood nothing in Chatsky’s accusatory monologues, he, nevertheless, joins his opinion, saying all sorts of nonsense and nonsense.

Sofya Pavlovna Famusova– Famusov’s 17-year-old daughter. After the death of her mother, she was raised by “Madame”, an old Frenchwoman, Rosier. S.'s childhood friend was Chatsky, who became her first love. But during the 3 years of Chatsky’s absence, S. has changed a lot, as has her love. S.'s formation was influenced, on the one hand, by Moscow habits and morals, and on the other hand, by the books of Karamzin and other sentimentalist writers. The girl imagines herself as the heroine of a “sensitive” novel. That’s why she rejects the sarcastic and brave Chatsky, as well as Skalozub, stupid but rich. S. chooses Molchalin for the role of a platonic admirer. In his home, S. does not have the opportunity to develop mentally. The only thing she is capable of is to imagine herself as the heroine of a novel and act according to this role. Either she comes up with a dream in the spirit of Zhukovsky’s ballads, then she pretends to faint, etc. But her “Moscow” upbringing also makes itself felt. During the ball, it is she who spreads the rumor about Chatsky’s madness. The romantic behavior of the heroine turned out to be just a mask; her true essence is this nature of a Moscow young lady. At the end of the comedy, S. is punished. She learns about the “betrayal” of Molchalin, who flirts with Lisa and speaks impartially about S. In addition, Famusov, having learned about his daughter’s affair with his secretary, decides to remove S. from Moscow “to the village, to her aunt, to the wilderness, to Saratov” .

Famusov Pavel Afanasyevich- Moscow gentleman, “manager in a government house.” Sophia's father, friend of Chatsky's father. The events of the play take place in his house. F. is one of the brightest representatives of the “past century”. In one of his monologues, F. praises Moscow morals, unchanged from century to century. Here there is “honour” for father and son; here who has “two thousand ancestral souls, He and the groom.” Moscow ladies can be sent “to command the Senate,” they are so “informed” about everything; Moscow daughters “just cling to the military,” supposedly “because they are patriots”; Moscow old men, called upon to solve serious matters, “will argue, make some noise... and go their separate ways.” In the “Famus” society, everything rests on connections: “well, how can you not please your loved one.” This model of life seems ideal to F. and other members of Moscow society; they consider it the only correct one and do not want any changes. F. is two-faced. He claims that he is “known for his monastic behavior,” but at the same time he hits on the maid Lisa. F. is afraid of all new trends. During a conversation with Chatsky, he covers his ears so as not to hear bold speeches. F.'s main enemy is learning, since it makes changes to the calm Moscow life. The hero’s dream is to “take all the books and burn them.” Like a typical Moscow gentleman, F. is deceived by all and sundry. And daughter Sophia, and secretary Molchalin, and maid Liza. The hero's last appearance on stage is timed to coincide with the final date between Sofia and Molchalin. Seeing the young people together, F. is horrified. He blames the “new” Moscow for his daughter’s “licentiousness,” which is infected with free ideas and the “spirit of Kuznetsky Most” (that is, Paris). At first, F. threatens to make this shameful incident public (“I will submit it to the Senate, to the Ministers, to the Emperor”), but then he remembers that his daughter will be gossiped about in all the houses of Moscow. In tearful horror, F. exclaims: “What will Princess Marya Alekseevna say!!!” The opinion of this princess means more to F. than the opinion of the tsar himself, because in “Famus” society she occupies one of the main places.

Chatsky Alexander Andreich- a young nobleman. Representative of the “present century”. A progressive person, well educated, with broad, free views; true patriot. After a 3-year absence, Ch. comes to Moscow again and immediately appears at Famusov’s house. He wants to see Sophia, whom he loved before leaving and with whom he is still in love. But Sophia greets Chatsky very coldly. He is perplexed and wants to find the reason for her coldness. Remaining in Famusov's house, the hero is forced to enter into a fight with many representatives of "Famusov's" society (Famusov, Molchalin, guests at the ball). His passionate accusatory monologues are directed against the order of the century of “obedience and fear,” when “he was the one whose neck was most often bent.” When Famusov offers Molchalin as an example of a worthy person, Ch. pronounces the famous monologue “Who are the judges?” In it, he denounces the moral examples of the “past century”, mired in hypocrisy, moral slavery, etc. Ch. examines many areas in the life of the country: civil service, serfdom, education of a citizen, education, patriotism. Everywhere the hero sees the prosperity of the principles of the “past century.” Realizing this, Ch. experiences moral suffering, experiences “woe from the mind.” But to no lesser extent the hero experiences “grief from love.” Ch. finds out the reason for Sophia’s coldness towards him - she is in love with the insignificant Molchalin. The hero is offended that Sophia chose him over this “most pitiful creature.” He exclaims: “The silent ones dominate the world!” Very upset, Ch. ends up at a ball in Famusov’s house, where the cream of Moscow society gathered. All these people are a burden to Ch. And they cannot stand the “stranger.” Sophia, offended by Molchalin, spreads a rumor about the hero’s madness. The whole society happily picks it up, putting forward the hero’s free-thinking as the main accusation against Ch. At the ball, Ch. pronounces a monologue about the “Frenchwoman from Bordeaux,” in which he exposes the slavish admiration for everything foreign and the contempt for Russian traditions. At the end of Ch.'s comedy, Sophia's true face is revealed. He is disappointed in her just as in the rest of “Famus” society. The hero has no choice but to leave Moscow.

The play “Woe from Wit,” written by Alexander Griboyedov, was not immediately published, and its appearance on the stage took a long time to arrive. Griboyedov's comedy did not avoid difficult relationships with censorship, since at that time the play had a rather sharp character and bold content.

In the comedy, the author touches on pressing problems of society that have matured since the beginning of the 19th century. However, the moral, fundamental conflict, which is determined by the relationship with the mature split in the stratum of society of the nobles, is correlated with the problem of perceiving each other among old and new views on the social order.

Griboyedov’s play reveals such phenomena as “the present century” and “the past century.” A misunderstanding arises between them, which cannot be resolved. Famusov Pavel Afanasyevich is the primary preacher of the “past century”, serving as its main defender.

Characteristics of the hero

One of the characters in the famous comedy “Woe from Wit” by Alexander Griboyedov is Pavel Afanasyevich Famusov. The hero of the play, the main representative of the so-called Famus society, is a nobleman, a famous landowner. In his circles, given his numerous acquaintances and connections, Famusov is a more than recognizable resident of Moscow, who serves as a manager in a government office. It is impossible to describe Famusov without mentioning his boastfulness, inherent in all noble representatives of the nobility. In addition, Pavel Afanasyevich is quite hospitable, sociable, one can call him a lover of the beautiful life “on a grand scale.” He is indifferent to any discussions and gossip about his personality. For himself, Famusov defined his life credo as the ability to please in the right situations, as well as to curry favor with those who can be useful to him. The ideal for Pavel Famusov is his uncle, Maxim Petrovich, whom his nephew strives to imitate in every possible way.

(The image of the Famusov society with a characteristic noble pastime in the 19th century of that time)

Despite the fact that Famusov’s wife is no longer alive, he allows himself cheeky behavior, although he creates the appearance of a respectable widower. Famusov not only shows interest in the maid, but is also closely connected with the doctor.

Pavel Afanasyevich has a daughter, Sophia, Famusov endlessly loves and takes care of her. And every opportune moment is a convenient opportunity to remind you how much effort was invested in raising your daughter. However, it is impossible to define the image of Famusov as one-sidedly negative, because he is capable of compassion and kindness. This is confirmed by the death of his friend, whose son Famusov took into his own upbringing and treated him no worse than his own daughter. For Famusov’s reasons, marriage between people can only be possible if their combination is capable of generating decent financial income. Based on this, his goal is to ensure Sophia’s future with a successful marriage to a rich groom.

Famusov works only with the desire to get more money, to earn recognition and subsequent titles. His secretary does all the work for him, and all he does is put his signature on the prepared papers.

Famusov, an avid Moscow gentleman of the 20s of the 19th century, can be classified as an ardent supporter of serfdom.

The image of the hero in the work

In the comedy play, Pavel Afanasyevich Famusov plays the role of a true opponent of educational activities, opposes all kinds of innovations, since, in his opinion, this entails a threat to his calm and prosperous life.

He motivates the dissolute behavior of his adult daughter Sophia by constantly reading books. However, reading is not the only reason that contributes to this behavior.

Famusov asserts with confidence that both foreign teachers and interest in studying the arts - all this will only harm noble children; they do not need an education at all, since family life does not force and does not imply its presence.

Famusov considers his daughter’s best example to be her father, no matter how vain it may sound.

Griboyedov tried to give the image of Pavel Famusov and his society the most outdated landowner views and opinions, their inconsistency, and also emphasize the ingrained habits that were so deeply ingrained in their consciousness.

It is in this vein that the role of Famusov is staged on the pages of the play by A.S. Griboyedov "Woe from Wit".

WORTH FROM MIND

(Comedy, 1824; published with omissions - 1833; completely - 1862)

Famusov Pavel Afanasyevich - one of the key characters of the comedy; a rich widower, a gentleman in whose Moscow house the action takes place, “a manager in a government place”; the father of Sofia, with whom Chatsky, who suddenly returned after a three-year absence, is in love. (F. was a friend of his late father.) The images of Chatsky and F. are polar opposites; one is a wanderer, the other a homebody; one raises a verbal rebellion against the decrepit patriarchal Moscow world, the other is dissolved in this world without a trace and in some sense personifies it.

The most pathetic of F.’s monologues praises Moscow morals, unchanged from century to century: here there is honor for father and son, here who has “two thousand family souls, / He and the groom”; Moscow ladies can now be sent “to command the Senate,” Moscow daughters “just cling to the military” - “Because they are patriots.” F. is especially delighted by the old men who “will argue, make some noise... and disperse.” This is not just a “word of praise for Moscow”, but a kind of retrospective-utopian image of an ideal society of the “Famus” type; in the same way - the famous calendar of F., the entries in which he looks through in the 1st Jan. 2nd day (on Tuesday to Praskovya Fedorovna’s house... on Thursday for the funeral... on Thursday, or maybe on Friday, or maybe on Saturday - to baptize “the widow, the doctor”), not just a detail of his life, but a set of rules for the Moscow world order, based not on deeds, but on connections. Accordingly, the ball in Famus’s house, during which Chatsky will be declared crazy, is a small “model” of Moscow; F.’s guests - the princes Tugoukhovsky with 6 daughters, Khlestova, Skalozub and others - represent a cross-section of Moscow society.

As befits a widowed Moscow master, F. flirts with his daughter’s maid (“potion, spoiled girl”), is in a particularly close relationship with the doctor’s widow, who must not only give birth, but precisely according to F.’s special “calculation.” And at the same time he “ known for his monastic behavior.” As befits a man of the “past century,” he is afraid of new trends. During the first conversation with Chatsky (whose return does not please him at all - among other things, because Chatsky is poor, this is not a Moscow groom with “two thousand” souls) F. closes his ears so as not to hear bold speeches. Naturally, he condemns French fashion and the shops of Kuznetsky Most (the traditional comedy motif is reinterpreted; usually the subject of ridicule was not the “scolders” of fashion, but the fashionistas and fashionistas themselves). In this he partly coincides with Chatsky, who denounces the spirit of imitation; but the difference is that “fashion” for F. is not the enemy of the originality and independent Russian mind, but just one of the pseudonyms of novelty, which he hates. The difference between bookstores and biscuit shops is insignificant for him (cf. the same motif in “Count Nulin” by A. S. Pushkin, written after meeting “Woe from Wit”). The main enemy for F. is teaching, for it destroys the immobility of the world - the main condition for the longevity of his “Moscow utopia.” An impossible dream: “to take all the books and burn them.”

And, like a typical Moscow gentleman, he is led by the nose by all and sundry. And the daughter, and her lover Molchalin, who was taken by F. as a secretary precisely for his timidity and helpfulness, and Sophia’s maid Liza. F. first appears on stage at the very moment when Sofia and Molchalin, who spent the whole night (fortunately, platonically) alone, have not yet parted; Lisa sets the clock so that it rings to disturb the peace of the lovers and warn them that it is no longer safe to stay together; first Liza, then Sofia and Molchalin lull the vigilance of the owner, who suspects something is wrong. And F.’s last appearance on stage is timed to coincide with Sofia’s final date with Molchalin, during which she becomes convinced of the baseness and self-interest of her “lover”; The picture of his daughter's nightly meeting with his secretary plunges F. into horror (especially because his late wife was a big hunter of men). The comedy of the scene is enhanced by the fact that F. seems to be bifurcated between his sudden hatred for the “new” Moscow, which is infected with the “spirit” of the Kuznetsky Bridge (“Daughter! Sofya Pavlovna!<...>/ You shouldn’t be in Moscow, you shouldn’t live with people. /<...>/ To the village, to my aunt, to the wilderness, to Saratov!”) and the former fiery love for “a capital like Moscow.” Just now (vv. 14) he threatened to make the shameful incident public (“I will submit it to the Senate, to the Ministers, to the Sovereign”), and then, in ev. 15, which concludes the comedy, exclaims in tearful horror: “What will Princess Marya Aleksevna say!!!” The opinion of the Moscow princess is higher in his hierarchy and means more to him than the opinion of the Russian Tsar, who is in St. Petersburg.

Like all the central characters of the comedy, F. has his “doubles”. One of them is Maxim Petrovich, the “character” of a historical anecdote that F. tells for Chatsky’s edification. (“On the kurtag he happened to step on his feet; / He fell so hard that he almost hit the back of his head /<...>/ Was granted the highest smile /<...>/The row suddenly fell - on purpose” - no. 2, yavl. 2.) This is the ideal “prototype” of F. And his (and at the same time Maxim Petrovich’s) plot shadow is Molchalin, absorbing Moscow traditions, living according to Moscow rules. Therefore, F.’s break, confident that Molchalin betrayed his trust, with the “secretary” may turn out to be temporary, as Chatsky’s final monologue hints at.

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In the world you rarely find a teaching that promotes violence, lies and deception. For the most part, world dogmas affirm the principles of humanity, peacefulness and respectful attitude towards other people, however, real life is far from these teachings.

Despite all efforts, deceit and deception prevail in society. This trend is typical for any social group. However, the realization that the elite of society is also not devoid of these vices of humanity is depressing - I want to believe that there is a certain ideal of society in the world and this is not a utopia.

Famus society could quite possibly serve as such an ideal model, but this does not happen. With the help of Alexander Chatsky's exposure, the reader learns about the vices and negative character traits typical of aristocrats.

The denunciation of the aristocracy occurs using the example of the manager of a state institution in Moscow, Pavel Afanasyevich Famusov. He has neither a unique biography nor a unique character - all his qualities are typical of the aristocracy of that time.

Family life of Famusov

In the story, the reader gets acquainted with an already formed, mature person, both biologically and psychologically.

His exact age is not indicated in the play - at the time of the unfolding of the main events he is a man of considerable age: “At my age, you can’t start squatting on me,” - this is what Famusov himself says about his age.

The family life of Pavel Afanasyevich was not cloudless - his wife died, and he remarried a certain “Madame Rosier”. Famusov cannot boast of a large number of successors to his family - he has one child - daughter Sonya, born from his first wife.

Famusov is not devoid of a sense of compassion - he took in his friend’s son, Alexander Chatsky, to raise him after the boy was orphaned. Alexander retained pleasant impressions of his teacher and, after returning from a long trip abroad, the first thing he did was pay a visit to Pavel Afanasyevich. Sincerely speaking, his respect and gratitude towards Famusov is not the only reason for the visit. Chatsky is in love with Sonya and hopes to marry the girl.

Based on this situation, we can conclude that Pavel Afanasyevich was a good teacher, he knew how to win Alexander over at any age, otherwise Chatsky would not have sought to pay him a visit with such zeal.

However, Famusov’s meeting with Chatsky became a reason for disappointment and quarrel. Alexander begins to analyze the actions and position of his teacher and comes to extremely unsatisfactory results on his part.

Famusov State Service

The reader gets acquainted with Famusov already when he is in the position of manager “in a government place”; Griboedov does not specify how he received this position and what his career path was.

It is known that Famusov prefers to see relatives among his fellow employees: “When I have employees, strangers are very rare.”

Pavel Afanasyevich surrounded himself with relatives at work, he loves to please them with a promotion or another award, but he does this for a reason - the concept of selflessness is alien to Famusov.

Personal qualities and habits of Famusov

First of all, selfish motives stand out. He himself is a rich and wealthy man, therefore, when choosing his future son-in-law, he is guided by the prospects for growth of both a career and a financial young man, because in Famusov’s concept, the first is inseparable from the second.

Famusov himself is dependent on ranks; he believes that a person who has the proper rank and many awards is already a priori worthy of respect.

“You, passionate about ranks,” is how Chatsky describes him. In addition to the desire to achieve rank, his son-in-law must also have sufficient financial security. At the same time, Pavel Afanasyevich is not interested in the morality and integrity of the young man.

Based on this position, Alexander Chatsky looks like an extremely unattractive candidate for the husband of Sonya Famusova. He left military service, civil service also does not arouse his interest, of course, Chatsky has a family estate, but this does not evoke reliability and prospects in the eyes of Famusov: “Whoever is poor is not a match for you.”

Stunned by such a verdict, Chatsky still does not lose hope of reuniting with his beloved, but the further development of the conflict forces Chatsky to abandon this idea.

Famusov highly values ​​the achievements of the reign of Catherine II, and considers Maxim Maksimych to be the ideal person, who, thanks to his sycophancy and ability to please, managed to reach heights in his career and was held in high esteem:

On the kurtag he happened to step on his feet;
He fell so hard that he almost hit the back of his head;
They deigned to laugh; what about him?
It suddenly fell in a row - on purpose,
And the laughter is worse, and the third time it’s the same.
A? what do you think? in our opinion, he is smart.

Guided by old principles, Famusov evaluates a person by his condition, and the ability to get what he needs, even through humiliation, becomes a subject of admiration.

Famusov is dismissive of the people who serve him, he experiences a certain amount of relief, scolding and shouting at his serfs. Phrases like “Donkeys! Should I tell you a hundred times?” and “You, Filka, you are a straight blockhead” are a common occurrence in his vocabulary.

By the way, constant dissatisfaction is typical for Pavel Afanasyevich. He is dissatisfied with the servants, dissatisfied with the new time, modern youth, science and cultural figures.

Conflict between Chatsky and Famusov

The images of Chatsky and Famusov expose the “present century” and the “past century.” Famusov adheres to a conservative view and believes that it is necessary to adhere to the orders of bygone times, because the ancestors were wiser than their contemporaries. Famusov compares everything between “was” and “has become”.

It is difficult for him to realize that the time of his ancestors has passed and the demands of society have changed:

At the age of fifteen, teachers will be taught!
And our old people?? - How they will be taken by enthusiasm,
They will condemn deeds, that the word is a sentence, -
After all, the pillars don’t bother anyone;
And sometimes they talk about the government like this,
What if someone overheard them...

In addition to this division, the images of Famusov and Chatsky distinguish between the world of carnal pleasures and the spiritual world. Famusov and people like him are guided in life by the basic needs of the body, without caring about their spiritual and moral development. They embody man as a representative of the animal world.

Chatsky personifies the development of human spiritual and mental abilities. He truly believes in the power of education and understands the true importance of science and culture.

Famusov, on the other hand, rejects the positive influence of science and education, and the type of activity associated with science or art seems shameful and unacceptable to Pavel Afanasyevich for an aristocrat.

Thus, Pavel Afanasyevich Famusov is endowed with unattractive character traits, he is a greedy and greedy person, for him a significant indicator of a person’s importance is his wealth and rank. He is an uneducated and therefore limited person; it is difficult for him to assess the significance of intangible values.