The secondary characters are in grief from their minds. Characteristics of the heroes of “Woe from Wit” by Griboyedov. Woe from Wit: Brief Description of the Main Characters
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The role of minor and off-stage characters in the comedy by A.S. Griboyedov "Woe from Wit"
Minor and off-stage characters, of which there are not so many in the play, play a very significant role in revealing the ideological content of the comedy. These characters are often connected with the main ones, and with their help we learn some important details: they reveal the essence of a particular scene, the meaning of events both happening on stage and behind the scenes, clarify the characters’ characters, and show their relationships. With the help of these minor and off-stage characters, Griboyedov creates in the comedy a special atmosphere of the rich house of the Moscow gentleman Pavel Afanasyevich Famusov at the beginning of the last century.
One memorable character is the maid in Famusov’s house, Lisa. At first glance, she is a simple and lively girl. But after we hear her remarks and remarks, we can say that she is described by Griboedov as a very real serf girl, full of cunning and insight. Her words addressed to Famusov amaze us and remain in our memory for the rest of our lives:
Pass us away more than all sorrows
And lordly anger and lordly love...
In comedy, she is an expression of common sense, a critic of almost all the characters in the play. She argues intelligently; it is Lisa who seems to introduce us to the main character Chatsky:
Who is so sensitive, and cheerful, and sharp,
Like Alexander Andreich Chatsky.
Griboyedov, describing Lisa, put into her mouth some of his thoughts and feelings in relation to the characters and events of the play.
For a more complete picture of Famus society, the author introduces Sergei Sergeevich Skalozub into the play. According to Lisa’s clear definition, he is “both a gold bag and aims to be a general.” And according to Sophia, “he hasn’t uttered a smart word in his life.”
The Famus society does not see anything bright in education; they believe that books are driving them crazy. Skalozub speaks of enlightenment with his characteristic dullness and limitations:
And the books will be saved like this: for big occasions...
Chatsky, figuring out why Sophia greeted him so coldly, tries to have a frank and sincere conversation with Skalozub, but immediately understands that the future general is frankly stupid. After all, the words he uttered after Chatsky’s monologue “Who are the judges?” indicate that the skalozub did not understand anything from his denunciations. And Chatsky calms down when he hears how, with the frankness characteristic of Skalozub, he speaks directly about the reasons for his success:
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.
These cynical words, testifying to an uncontrollable desire for wealth and a career, characterize not only Skalozub, but also the entire society gathered at the ball in Famusov’s house.
Prince and Princess Tugoukhovsky with their six daughters also add their own characteristic feature to our idea of Famus society. Their presence at the ball is explained by only one single goal - to find a worthy and rich match for their daughters.
Famusov's ball is a “living” museum of wax figures representing the high society of the Moscow noble nobility. There are many anecdotal figures here, such as, for example, Zagoretsky - a famous adventurer, rogue and ladies' man. Imagining this person, you can appreciate the entire Famus society, where there is nothing but pompous hypocrisy, selfish stupidity, “noble” rudeness and lack of spirituality.
Uniting against Chatsky are Maxim Petrovich, the lady-in-waiting of Catherine the First, who ridiculed him, Princess Pulcheria Andreevna, “Nestor of the noble scoundrels” and many others from secular society. With their help, Griboedov creates an idea of this force, against which Chatsky unsuccessfully tries to oppose alone. These characters perform two main meaningful functions: they serve as an object of Chatsky’s ridicule, helping us clearly see the flaws of secular society, and secondly, they constitute and unite a camp hostile to the main character. Among them are three figures that are similar in their functions to the other characters, but are the most important for revealing the essence of the main conflict of the play. These are those who are held up as examples in Famus society: Kuzma Kuzmich, Maxim Petrovich and Foma Fomich. For Chatsky, the story of Maxim Petrovich’s promotion to the service is funny, and Foma Fomich’s verbal works are an example of absolute stupidity. And for Famusov and others like him, it is these people who serve as models of professional well-being.
Our understanding of these nobles and their attitude towards their serf servants is complemented, for example, by the old woman Khlestova, who asks to feed her “arapka-girl” along with the dog. Such ladies with obvious serf-like habits, like anyone from Famusov’s society, have no problem humiliating the dignity of a servant or threatening to exile their serfs for unknown reasons. All of them, defending serfdom, consider the main dignity of a person to be his wealth, unlimited power over his own kind, and unlimited cruelty in treating his servants.
Griboedov shows us that in Famusov’s society, if a person wants to have completely different interests, to live in his own way, and not in Famusov’s way, then he is already “out of his mind”, “robber”, “carbonari”, for example, the princess says with condemnation about his nephew:
Chinov doesn’t want to know! He's a chemist, he's a botanist.
Prince Fedor, my nephew.
Griboyedov in Prince Fyodor is trying to show us another pure mind, similar to Chatsky’s, to show that the main character is not the only future Decembrist in Famusov’s society, who can go out onto Senate Square on December 14, 1825.
From Chatsky's monologue we learn about a Frenchman from Bordeaux, about whom everyone speaks enthusiastically, who feels like a little king here, because Famus society bows to France and all Frenchmen, forgetting national pride and dignity. And this “Frenchman”, when he arrived in Moscow, seemed to be at home:
Not a Russian sound, not a Russian face...
One of the minor characters is Platon Mikhailovich Gorich, a former friend and like-minded person of Chatsky. Platon Mikhailovich appears in Griboedov's work in just one scene of his meeting with Chatsky at Famusov's ball. Famusov's society made him an exemplary husband to his wife Natalya Dmitrievna, who takes care of him like a child. Such a life forced him to abandon his youthful hobbies. Chatsky asks him mockingly:
Have you forgotten the noise of the camp, comrades and brothers?
Calm and lazy?
To which Gorich replies:
No, there is still something to do
I play a duet on the flute
A - prayerful...
In my opinion, a character like Repetilov, who can be considered Chatsky’s double in comedy, is very important in comedy. Only he, unlike Chatsky, simply plays at free-thinking, and his reasoning is empty phrase-mongering. It is no coincidence that his remark: “We’re making noise, brother, we’re making noise!” has become winged and denotes idle talk, the appearance of action. In the scene when Repetilov tells Chatsky about Baron von Klotz, who “aims to be a minister,” and he “aims to be his son-in-law,” his desire for cheap careerism, his undoubted duplicity, is revealed. And this baron with his “friends” helps us see the true face of Chatsky’s imaginary friend.
In a conversation with Chatsky, Molchalin mentions with admiration a certain Tatyana Yuryevna:
Tatyana Yuryevna said something,
Returning from St. Petersburg...
And we understand that she is a gossip, like, in general, almost all ladies of high society. There is nothing more interesting for them than to gossip; they find nothing interesting either in books or in art.
G.N and G.D - these mysterious characters appear in the comedy in order to spread rumors about Chatsky’s madness. At first Sophia talks about this jokingly, but after a while it becomes public opinion. Famus society cannot forgive Chatsky for his intelligence and education, so they gladly believe this slander.
At the end of the play, Famusov exclaims:
Oh! My God! What will he say?
Princess Marya Alekseevna!
And you can immediately understand that the opinion of this unknown to us Maria Alekseevna is more important for Famusov than the happiness of his own daughter.
Thanks to minor and off-stage characters, the comedy “Woe from Wit” is not closed in time and space where the action takes place. We begin to understand what moral values are in the world that outrages Chatsky. The contradictions between the hero and society become natural. With the help of these characters, Griboyedov introduces us to the past and future of different people, and first of all, we learn the backstory of the life of the main character. We understand that Chatsky’s future is most likely with the Decembrists, because he expressed a lot in the comedy that could be heard from the Decembrists.
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Published by him in 1825. It is a satire on the society of aristocrats. It contrasts two radically different positions on the nobility: liberal and conservative. Famusov is a typical nobleman who perceives himself as a representative of the upper class; government official. The second side is represented by Chatsky - a new type of nobleman, aimed at more humanistic views, obtaining an excellent level of education, and not at satisfying selfish needs and exploiting the labor of others.
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Characters from "Woe from Wit"
We will present a brief description of the heroes of Griboyedov’s comedy in the table:
| Famus Society | Chatsky, Alexander Andreevich |
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Let's look at slightly more detailed descriptions of the heroes of the comedy "Woe from Wit" with speech characteristics below.
Woe from Wit: Brief Description of the Main Characters
Chatsky
Colorful main character, who challenged the society that Famusov prefers. At the same time, he was brought up in this family, since Chatsky’s parents died, but were friends with Pavel Afanasyevich. Alexander Andreevich received a good education, traveled and became a member of the English Club of Nobles. He returned to his native land because he was in love with Sofya Famusova, but was disappointed by the morals of the local secular society and Pavel Afanasyevich in particular.
Eloquent, attracts attention. He is similar to Sophia in his level of education and wit, but if he does not strive to humiliate a person, but only to show him the truth about himself, then Sonya simply emphasizes his superiority over others. If at first she seems to Alexander to be open to everything new, lively and sensual, like him, then she later finds out the true state of affairs and is severely disappointed.
Chatsky is a contrast to each of the heroes described in Griboedov’s comedy. He is independent, impatient with human stupidity and therefore goes into open conflict with the characters surrounding Famusov, in each of whom Alexander sees flaws and exposes them.
Chatsky's views:
- About military service and bureaucratic service: “Of the young people, there will be an enemy of quest, // Without demanding either places or promotion to rank, // He will focus his mind on science, hungry for knowledge; // Or God himself will arouse the heat in his soul // To creative, high and beautiful arts...” (Griboedov).
- He advocates for the movement of the nobility forward, advocates its development and liberation from previous attitudes towards the ownership of serfs, hypocrisy towards each other.
- Calls for a patriotic attitude towards one's nation, and not for following the fashion of France and Germany. Disapproves of the desire to copy Western traditions and excessively worship everything foreign.
- Emphasizes that a person should be assessed not for his origin and belonging to a certain family, but only for his own actions, qualities, ideas.
Pavel Famusov
A controversial hero. Quite active for his age, he pesters the maid and, in principle, is not particularly delicate with the servants, but he treats his family and friends with respect. He is looking for a profitable match for Sophia. Conservative and grouch. He knows how to flatter the right people and adjust, but in everyday life he is tough.
Famusov's views, features:
Characteristics of Famusov based on quotes from “Woe from Wit”:
Sofia Famusova
She is 17, she is of noble blood, comprehensively developed and with a good dowry, an enviable bride. Sonya likes Molchalin until Chatsky arrives. She can dance and loves music.
Sophia is frank, but at the same time naive. Molchalin uses her feelings for himself for his own purposes, but she believes him, and not Chatsky, who is sincere with her to the end. Famusov’s daughter is simultaneously perceived as a romantic nature, creative, laughing at the vices of noble society, but also an example of immorality (her secret connection with Molchalin), narrow-mindedness and limited interests. Sonya is proud and selfish, does not notice her shortcomings.
Famusova is a flighty girl, fickle in choosing a groom. This is confirmed by Sophia’s quotation:
...I may have acted very carelessly, / And I know, and I’m guilty; but where did it change?..
Sonya's father adds fuel to the fire when he convinces his daughter to think in her own terms when choosing a husband:
...Whoever is poor is not a match for you...
Molchalin
Cold, emotionless man who is only interested in his career. He is pedantic, strives to teach Chatsky, to guide him on the “right path.” He meets Sophia for personal gain; he himself is hardly capable of deep feelings.
- He is silent (as indicated by his speaking surname): “not rich in words,” “after all, nowadays they love the dumb.”
- Gives monosyllabic answers, constantly thinking about what to say depending on the situation and the person addressing him.
- Preoccupied with material well-being and achieving high status.
- Restrained and moderate in everything.
- Absolutely no position on morality, love, civic duty, honor.
Colonel Skalozub
Potential groom, considered by Famusov for Sonya. A wealthy officer, but a rather limited person in interests and views. Tough, follows certain rules in life, does not allow any deviations from what is planned. He leads a wild lifestyle and dreams only of advancement in the service. He honestly and regularly fulfills his military duty, has awards, and in society supports fashionable trends in clothing. However, he opposes the development of education and does not recognize books.
Characteristics of minor characters
There are many heroes in the comedy "Woe from Wit", we will briefly highlight the remaining minor ones.
So, we got acquainted with the characters of the comedy “Woe from Wit” by Griboyedov. The author put several shortcomings into each of them, showing through them his attitude towards the former nobility and serfdom. The work contains farcical situations, but at the same time it is filled with the depth and severity of the experiences of the main characters.
Each of the characters in the play performs its own artistic function. Episodic characters highlight and complement the features of the main characters. The off-stage characters, although they do not act directly, play an important role: they indicate that Chatsky is opposed by a powerful and effective reactionary force. All the heroes, taken together, create a bright, full-blooded picture of Moscow noble society. At Famusov's ball, people who make up the elite of noble Moscow gather. They are many-sided, but they all have common features: serfdom, ignorance, veneration, and greed. Episodic characters appear in comedy, replacing each other. Let's look at them in the order in which they are depicted in the comedy. The first of the guests to appear at the ball are the Gorich couple. This is a typical Moscow married couple. Chatsky knew Platon Mikhailovich before the latter’s marriage. He was a cheerful, lively person, but after his marriage to Natalya Dmitrievna, he changed a lot: he fell under the heel of his wife, became “a boy-husband, a servant-husband.” Natalya Dmitrievna does not even allow her husband to “open his mouth”: she answers Chatsky’s questions for him, talks to him in an orderly tone: “Listen once, dear, fasten your buttons.” Gorich understands his situation very well and has already come to terms with it. He bitterly says to Chatsky: “Now, brother, I’m not the same.” In general, the motive of the husband’s subordination to his wife runs through the entire work. Griboedov draws a parallel between Platon Mikhailovich and Silent Others. Natalya Dmitrievna’s husband says: “There is still something to do: / On the flute I repeat a duet / A-prayer.” With this phrase, the author refers the reader to the beginning of the comedy, when Molchalin and Sophia play a duet on the piano and flute behind the stage. Sophia gives preference to Molchalin, although she could choose Skalozub or Chatsky. Molchalin earned her love because he is “the enemy of insolence.” Sophia was brought up in the Famus spirit, and she needs a husband like Gorich - a “husband-boy”, “husband-servant”. Lackey Petrusha hardly speaks in the comedy; he is ordered by Famusov, who orders him: “Go,” “Go, hurry.” And he obeys. However, Lizanka says about him: “How can you not fall in love with the bartender Petrusha?” Petrusha knows how to obey, and that’s what he likes too: Lizanka fell in love with him. The Tugoukhovsky family also comes to the ball. The princess is very concerned about finding suitors for her daughters. The reader understands this almost from her first words. As soon as she sees Chatsky and learns that he is not married, she sends her husband, the same “husband-boy”, “husband-servant”, to invite a potential groom to her place. But as soon as she finds out that Chatsky is not rich and does not have a high rank, she “at the top of her lungs” shouts: “Prince, prince! Back!" The figure of Princess Tugoukhovskaya helps to better understand Famusov’s character. Pavel Afanasyevich wants to marry his daughter to a rich, powerful, prominent person in society. Princess Tugoukhovskaya pursues the same selfish goals. Through the figure of Princess Griboedov, he emphasizes such traits in Famusov’s character as self-interest and veneration for rank. In Famus society, grooms are chosen for rich brides according to the following principle: * Be inferior, but if there are two thousand family souls, * He is the groom, and also “Whoever is poor is not a match for you.” The Khryumina countesses appear at the ball. This is Khrymna, the granddaughter, embittered at the whole world around her, with her half-deaf grandmother. Khryumina's granddaughter cannot find a worthy groom and therefore is dissatisfied with everything that happens around her. As soon as she arrives at the ball, she regrets that she arrived too early. Leaving the ball, the countess-granddaughter speaks of it this way: “Well, the ball!.. And there is no one to talk to, and no one to dance with!” She is angry that at the ball she did not meet anyone she could marry. Khryumina’s granddaughter shows her admiration for everything foreign and discovers a passion for “fashionable shops.” She often uses French words, even pronouncing several entire phrases in French, which no one else does in comedy. In her person, Griboyedov ridicules another characteristic feature of the nobility of that time: admiration for everything foreign. Chatsky in his monologue talks about a “Frenchman from Bordeaux” who feels like a “little king” in Russia, although he left his country “with fear and tears.” This Frenchman not only did not meet “barbarians” in Russia, but also heard his native language everywhere and saw that ladies wore the same dresses as in France. Using the image of a “Frenchman from Bordeaux,” Griboyedov shows that noble society imitates French morals and customs so much that Russian nobles cannot be distinguished from the French - they have become “Frenchized.” Zagoretsky is more “involved” in comedy than other episodic characters. This is perhaps the most vicious person present at Famusov’s ball. Everyone openly says about him: “He’s a notorious swindler, a rogue,” “He’s a liar, a gambler, a thief.” But, despite such a devastating characterization, he is accepted in the world, the doors of Famusov’s house are open to him, even Khlestova said a kind word about him: “God bless him! “Zagoretsky pays off with his helpfulness, he tells Sophia that no one would have served her like that, that he “knocked everyone off their feet,” getting tickets to the performance, he confesses that he “has already kidnapped them by force.” This phrase reveals the baseness of Zagoretsky’s character. He will do everything to serve the right person at the right time. When the old woman Khlestova wanted “from him even the door to be locked,” he served her by giving her a little arap, which he, apparently, got in some dishonest way, thereby winning her over. A characteristic feature of one of the main characters of the comedy - Molchalin - coincides with the main property of Gorodetsky’s character. Molchalin says: “My father bequeathed to me: First, to please all people without exception.” Chatsky expresses his opinion about Molchalin: “In him, Zagoretsky did not die.” Indeed, Griboedov shows Zagoretsky as a “notorious swindler”, “liar”, “cheat” in order to more clearly reveal the same baseness of soul in Molchalin - the future Zagoretsky. The sixty-year-old lady Khlestova also comes to the ball. This is a serf woman, imperious and willful, according to Goncharov, “a remnant of Catherine’s century.” In the image of Khlestova, Griboyedov reveals the cruelty of serfdom, in which people are treated like dogs. Khlestova takes “a blackamoor girl and a dog” with her to the ball. For her, a serf is like a dog. She asks Sophia: “Tell them to feed them, my friend,” and immediately forgets about them. In the comedy there is invisibly another character who treats the people under his control like dogs. Chatsky talks about him, calling him “Nestor of noble scoundrels.” This man exchanged his faithful servants, who saved his life and honor, for hunting dogs. The image of “Nestor” also demonstrates how cruelly people in power treat those who are subordinate to them. In a conversation with Sophia, Chatsky mentions several people with whom he knew before leaving abroad. He recalls a man who lives off his artists (“he himself is fat, his artists are skinny”) and only has fun. Chatsky says about him: “On his forehead it is written: “Theater and masquerade.” He remembered this “Theater and Masquerade” because at some ball he hid a person in the “secret room” so that he would “click the nightingale.” Then Chatsky talks about a man who drove children “stolen” from their parents to a “serf ballet” and “made all of Moscow marvel at their beauty,” and then sold them one by one. This is how Griboyedov reveals social inequality in which children can be separated from their parents. Another acquaintance of Chatsky “settled in the academic committee” and protested “with a cry” against education. This character reveals the ignorance and lack of education of Famus society. The very last one to attend the ball is Repetnlov. This character in Griboedov’s portrayal is a man who vulgarizes and discredits the ideas of the time; he, with his “secret union” and “secret meetings on Thursdays”, where they only “make noise” and “drink champagne to kill”, appears as a good-for-nothing person , a talker for whom all advanced ideas are nothing more than a fashionable hobby. Re-peshlov names Chatsky some people who are authoritative in the “most secret union,” but the reader understands that all these people cannot bring real renewal to society: one is distinguished by the fact that he “speaks through gritted teeth,” the other by the fact that that he sings, two more are simply “wonderful guys,” and Ippolit Markelych Udushev is a “genius” because he wrote in the magazine “an excerpt, a look and something.” In the image of Repetilov, Griboyedov makes fun of random people in the circles of progressive society. There are many other representatives of Famus society at the ball. Griboyedov did not even give them full names. Such, for example, are Messrs. N. and B. The author does not say anything about them, but they participate in spreading gossip about Chatsky’s madness. Mister ^. doesn't believe it, but is interested in what others say about it. Sophia knew this whole mechanism very well, and as soon as she said a few words to the two “gentlemen”, the entire Famus society began to speak loudly about Chatsky’s madness. In the images of these petty gossips, Griboedov shows what noble society does: spreading gossip and rumors.
Gorichi
Young lady Natalya Dmitrievna and her husband Platon Mikhailovich. Both are old acquaintances of Chatsky, which becomes known in scene 5 of the third act. Griboyedov portrays Gorichey, smiling ironically.
Chatsky
You are younger, fresher;
Fire, blush, laughter, play in all its features.
Natalya Dmitrievna
I'm married.
Chatsky
You should have said it a long time ago!
Tugoukhovskie
The Tugoukhovskys are among the first to arrive at Famusov’s ball. They are married, and came here mainly to find rich grooms for their daughters. Chatsky also comes into their sight, but since he is not rich, they quickly lose interest in Chatsky. Prince Tugoukhovsky, following the logic of his surname, is deaf. Almost all of his lines are interjections. He is henpecked and does not disobey his wife in anything. The princess is distinguished by her evil disposition and causticity.
Khryumins
Countesses 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.
Zagoretsky
Repetilov and Zagoretsky occupy a special place in the comedy. Critics classify them as secondary characters, but they are not his ardent defenders, they obviously do nothing bad to Chatsky, but it is their “tacit consent” that resolves important issues in the lives of other people. Zagoretsky is introduced by the author as a regular in living rooms and dining rooms, “a liar, a gambler and a thief.”
The Tugoukhovskys, Khryumins, Zagoretskys are a satire on Moscow society of those times.
Repetilov
Repetilov appears in the comedy in the fourth act as a guest at Famusov's ball. Griboedov in “Woe from Wit” gives meaningful surnames to many characters, so translated from French the surname Repetilov means “to repeat.” Thus, the author emphasizes that Repetilov is only able to repeat in words the lofty ideas of the Decembrists, without delving into their true meaning. He becomes the central figure of the fourth act. Guests departing from the ball, starting with Chatsky, stop near him, and from the conversations of the guests with Repetilov, gossip about madness reaches him.
In Russian classics, Griboyedov is known as the author of the first comedy, combining examples of classicism and realism, although he had other comedies created earlier. Previously created plays included the beginnings of a combination of different styles to found a new one, but the true result of the innovative genre was Griboedov’s work “Woe from Wit.” The author came up with the idea for the play in 1820; the writer received significant assistance in describing the characters from the stories of his longtime friend, E. B. Grekhova. Griboedov’s comedy is considered the height of poetic dramaturgy; lines from the play instantly turned into quotes that are still used in our lives.
Characteristics of the heroes “Woe from Wit”
Main characters
Chatsky |
A positive comedy hero. He was brought up in the Famusov family, having reached adulthood, he began to live separately. A young nobleman with a sharp mind and insight, he has a noble soul and lofty thoughts. Condemns the views of Famusov, and therefore the entire noble society. He passionately loves his Motherland and his people, his pride is hurt by the mocking attitude of foreigners towards everything Russian. In love with Sophia, having learned about her love for the insignificant Molchalin, he is disappointed both in her and in society, and leaves Moscow. |
Famusov |
A wealthy landowner, a widower, is raising his daughter Sophia. Supporter of the ancient way of life. The main traits of his character are servility and veneration. He is sensitive to public opinion about himself and his family. He is Chatsky’s opponent in disputes about views on life. She dreams of marrying her daughter to Skalozub. Flirts with the maid. |
Sophia |
The naive and gullible daughter of Pavel Afanasyevich. She was brought up and educated in the best traditions of the noble society of Moscow. I didn’t understand Chatsky’s real feelings, I was in love with Molchalin. Plays the piano, reads French stories. Sophia is the image of a brave and determined girl; she has a strong character. |
Molchalin |
The character's description contains only negative epithets. Serves as Famusov's secretary, a man with a petty, vile soul. A cold hypocrite, an unprincipled and stupid sycophant. Calculating and cowardly. Born into a poor family, he dreams of getting into “high” society. In love with the maid Lisa. He idolizes Tatyana Yuryevna. |
Skalozub |
Not a very smart man, a wealthy bachelor, not yet old. He serves as a colonel, an ordinary soldier, dreams of becoming a general, his whole life is in the army. Known in Moscow circles. |
Minor characters
Lisa |
A flighty girl, a servant in Famusov’s house, playful and cheerful. She likes the bartender Petrusha. Famusov treats her favorably. Covers his mistress Sophia. |
Repetilov |
An old friend of Chatsky, his parody representation. A simple-minded, stupid, ordinary person. |
Zagoretsky |
The man who enters Famusov's house is a secular man, superficial, rather stupid, a swindler and a rogue. |
Khlestova |
Pavel Afanasyevich's sister-in-law, a malicious, lonely old woman, out of loneliness, got a pack of dogs and a bunch of hangers-on. |
Platon Mikhailovich Gorich |
Chatsky's friend, disappointed in his marriage to a young woman, obediently obeys her. Retired military man. |
Natalya Dmitrievna Gorich |
Gorich's young wife, a lover of balls, takes care of her husband to the point of importunity. |
Prince Tugoukhovsky |
A somewhat deaf old man, a friend of Famusov, his goal in life is to provide a profitable home for his six daughters. |
Princess Tugoukhovskaya |
The prince's wife supports Famusov's views, is opposed to education, and dreams of a profitable match for her daughters. |
Countesses Khryumina |
Their names are unknown, their role is insignificant. An elderly grandmother goes to balls with her granddaughter, hoping to marry her off. |
Maxim Petrovich |
The late uncle of Pavel Afanasyevich, his shining example to follow. |
Parsley |
Servant, knows the basics of literacy, helps the owner take notes, unkempt. |
In "Woe from Wit" the heroes, one of whom is Chatsky, show the conflict of generations. This play also contains off-stage characters, the list of which includes representatives of Moscow society. The main characters of "Woe from Wit", except for Chatsky, have no prototypes; some minor characters express the features of the author's contemporaries from the literary society. This table, which describes the characters, can help in presenting a brief summary of the play.
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