Griboedov's characteristic of Famusov in the comedy "Woe from Wit"

The author's characteristic of Famusov in the comedy "Woe from Wit" was made by Alexander Sergeevich Griboyedov consistently and comprehensively. Why is he given so much attention? For a simple reason: "Famusovs" - the main bastion of the old system, preventing progress. They are the barrier, because of which Chatsky's ideas can not become a real power, giving the society dynamics.

How does FAMUSOV

As a famous and influential Moscow aristocrat, who served in a high public office, Griboyedov portrayed him. Woe from the mind does not threaten Famusov. This person does not show the same diligence in the service, as, say, boyar Andreev from Karamzin's "Natalia, boyar daughter." He does not "burn down" in the service. Rather, on the contrary, Pavel Afanasyevich pays a minimum of time to state affairs.

Mulchalin prepares him for signing papers, and Famusov, respectively, assures them. To do this, he does not even need to be in the office, in his office. What for? MOLCHALIN will bring the necessary document "home". Therefore, we say that the characterization of Famusov in the comedy "Woe from Wit" is revealing. Indeed, in our days, many state employees of the highest rank, who own multi-million dollar states, are engaged in "FAMUSOVSHCHINA". The signer does not bother the bureaucrat anymore. The "Molchalins" are already responsible for this. How convenient it is!

Do not you think, dear readers, that Alexander Sergeevich Griboyedov points us to the main reason why in our time "laws" do not work? It's simple! They were engaged in modern "Famusovy" and "Molchalin."

What does it serve

Can we call Famusov a slacker? Perhaps not, the characterization of Famusov in the comedy "Woe from Wit", on the contrary, shows that he is active and even plans ahead what to do. What does ideals seek?

His ideal is the aristocrat of the Catherine's epoch - Maxim Petrovich, bending before the authorities "ahead of the curve," but before the lower castes he is always a "train". But the most important thing that he liked in his uncle was that he surrounded himself with luxury. Rise up to, like an uncle, even "eat on gold" - to this he seeks.

The activity of Pavel Afanasevich Famusov takes place in two directions: personnel policy (remember, "cadres decide everything"?) And connections with other power-hungry people, Moscow aristocrats. Famusov is trying to surround himself with relatives. He willingly helps such "little men" to take "a place". Thus, round-robbing is formed around it, "the hand of the hand washes."

What is the "connection" with "the right people" in his understanding? This is not at all contacts with scientists, engineers, public figures, contributing to progress. Famusov believes that such upstarts should block the road and poke the sticks in the wheels ("All the troubles - from science!"). Characterization of Famusov in the comedy "Woe from Wit" shows him as a convinced opponent of the development of society.

Pavel Afanasevich strives to become influential among like-minded people, through a wide "informal" communication with aristocrats. So he does not regret his time to create such a community, linking money and power together. Patiently establishes contacts with other high officials, aristocrats with visits and gifts. Famousov does not spare his time for this. His visits are planned, even involving an assistant - literate serf Petrushka.

It should be recognized: his work is fruitful. That's why the Famusov acquaintances are unanimous in opposing Alexander Chatsky, that's why they call him crazy so together.

Family life

Widow Famusov lives in the village, although he is on duty in Moscow. Functions of the courier and the secretary are performed by Molchalin. At his estate he is a gentleman. His daily serfs humiliate and insult ("blockheads", "donkeys", "Fomki", "boobies"). He likes to read morals to others, which, however, does not prevent him from pestering serfs.

For the daughter of Sophia, he sees the bridegroom within his caste-landowners, who own more than two thousand serfs.

Conclusion

Perhaps, we have reason to say that in today's day, the topical represents the image of Famusov. "Woe from Wit" is also relevant today, in which the "Fame" is called in a different way, the modern one - corruption. However, we must admit that the current followers of Paul Afanasievich are much more sophisticated than his literary prototype, created two centuries ago.