Characteristics of the hero skalozub woe from the mind. Character history. See what "Skalozub" is in other dictionaries

Characteristics of Skalozub from the comedy "Woe from Wit"

1. Skalozub
   1 option

   Skalozub Sergei Sergeich in his image depicts the ideal Moscow groom - rude, uneducated, not very smart, but rich and pleased with himself. Famusov reads S. as his daughter’s husband, but she considers him not the hero of her novel. 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 his 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.
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   Skalozub
   Option 2

   Skalozub is a character in A. S. Griboyedov’s comedy Woe from Wit (1824). If we look for classicist characters in the characters of the play, and through them also ancient prototypes, then S. corresponds to the boastful warrior, a popular mask of Roman comedies, embodied in the famous tower-city conqueror Pyrgopolinicos, the hero of Plautus. The bully warrior was traditionally portrayed not only as a braggart, but also as a narcissistic person. S., if you take it out of the poetic context, is somewhat similar to its distant ancestor. It should be noted that many characters in Griboedov’s work wear comedic masks, but the mask is only the top layer of its voluminous plot. During the course of the action, S. transforms into an individual comedic character. Colonel Sergei Sergeevich S. is at the very center of the events of the play. Already in the first act, Lisa mentions him as Sophia’s almost official fiancé (and the golden bag and marks the general) in contrast to the unwanted Chatsky and secret Molchalin. Perhaps, for the sake of S., in order to introduce him to the circle of relatives, Famusov is planning a ball where he introduces S. Khlestova, who does not like him because of his lack of servility and too tall stature. All the facts of S.’s biography, in the eyes of Famusov, distinguish him favorably from Chatsky. S. is rich, a military man, quickly and thoughtfully making his career, arguing little, expressing himself straightforwardly and lapidarily. S.’s manner of not conforming to the tone of secular politeness does not harm him in the opinion of others (like Chatsky), because in the main S. Famusovsky is his own: you won’t faint me with your learning! . What is it based on military career It turns out pretty quickly: here some of the elders will be turned off, others, you see, have been killed. It would be a mistake to underestimate S.'s influence in the Moscow environment: he is recognized and supported by society. At the climax of the discussion about the harm caused by books and education, S. announces the good news for everyone that it has been decided to reform lyceums, schools and gymnasiums according to the barracks model: There they will only teach in our way: one, two; And the books will be saved like this: for big occasions. (Which, however, does not quite suit Famusov, who knows a more correct way to restore order: to take all the books and burn them.) S. is a collective character in which Griboedov’s contemporaries recognized many: from divisional colonel Frolov to Grand Duke Nikolai Pavlovich, the future Emperor Nicholas I. In the extensive stage history of Woe from Wit, no solution to this image has yet been found that would be free from the mask, equally emphasized by the actors with the most diverse directorial decisions in style. The basis of S.’s image is the technique of the grotesque, but not cartoon or caricature. Such an image requires an interpretation akin to the poetics of the play as a whole, which Griboyedov called the poetics of an excellent poem.

Skalozub Sergei 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 derogatory comments 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.

Skalozub is a character in the comedy by A.S. Griboyedov "Woe from Wit" (1824). If we look for classicist, and through them, ancient prototypes in the characters of the play, then S. corresponds to the “boastful warrior”, a popular mask of Roman comedies, embodied in the famous “tower-city conqueror” Pyrgopolinicos, the hero of Plautus. The bully warrior was traditionally portrayed not only as a braggart, but also as a narcissistic person. S., if we take it out of the poetic context, is somewhat similar to his distant ancestor. It should be noted that many characters in Griboyedov’s work wear comedic masks, but the “mask” is only the top layer of its voluminous plot. During the course of the action, S. transforms into an individual comedic character. Colonel Sergei Sergeevich S. is at the very center of the events of the play. Already in the first act, Lisa mentions him as Sophia’s almost official fiancé (“and the golden bag and aims to become a general”) in contrast to the “unwanted” Chatsky and the “secret” Molchalin. Perhaps, for the sake of S., in order to introduce him to the circle of relatives, Famusov is planning a ball where he introduces S. Khlestova, who does not like him because of his lack of servility and too tall stature. All the facts of S.’s biography, in the eyes of Famusov, distinguish him favorably from Chatsky. S. is rich, a military man, quickly and thoughtfully making his career, arguing little, expressing himself straightforwardly and lapidarily. S.’s manner of not conforming to the tone of secular politeness does not harm him in the opinion of others (like Chatsky), because in the main S. is Famusovsky, his own: “you won’t faint me with learning!” What his military career is based on becomes clear quite quickly: “then some of the elders are turned off, others, you see, have been killed.” It would be a mistake to underestimate S.’s influence in the “Moscow” environment: he is recognized and supported by society. At the climax of the discussion about the harm caused by books and education, S. announces the good news for everyone that it has been decided to reform lyceums, schools and gymnasiums according to the barracks model: “They will only teach there in our way: one, two; And the books will be saved like this: for special occasions.” (Which, however, does not quite suit Famusov, who knows a more correct way to restore order: “take all the books and burn them.”) S. is a collective character in which Griboyedov’s contemporaries recognized many: from divisional colonel Frolov to the Grand Duke Nikolai Pavlovich, the future Emperor Nicholas I. In the extensive stage history of “Woe from Wit”, no solution to this image has yet been found that would be free from the “mask”, equally emphasized by the actors with the most different style of director’s decisions. The basis of S.’s image is the technique of the grotesque, but not cartoon or caricature. Such an image requires an interpretation akin to the poetics of the play as a whole, which Griboedov called “the poetics of an excellent poem.”

Comedy "Woe from Wit", written by A.S. Griboedov in 1824, exposes the morals of the nobles of the early 19th century. The play presents a situation when, after the War of 1812, at a turning point for Russia, people with progressive views on the structure of society. The main theme of the work is the struggle of the “past century” with the “present century”, the old with the new. The camp of the “past century” is represented in the play by many people different types. Great value To understand the problems of the work, Skalozub’s characterization in the comedy “Woe from Wit” is useful.

This hero is highly respected among Famus society. From the first pages of the book we learn that Famusov considers him the most desirable contender for the hand of his daughter Sophia. In the play "Woe from Wit" Skalozub fully corresponds to the ideals of the Moscow noble society: “And a golden bag, and aims to become a general.” Sophia, as a sensible girl, does not want to marry Skalozub at all. She considers him very stupid: “He will never utter a smart word - I don’t care what’s for him, what’s in the water.”

If Chatsky is not suitable for the role of Sophia’s husband, because he “does not serve, that is, he does not find any benefit in it,” then Skalozub is a colonel. High rank is the main thing that is valued in Moscow. The image of this hero is a satire on the Russian army of the Arakcheev period, when any free-thinking was persecuted and thoughtless submission was required. In this regard, many young nobles resigned. Stupid military drill reigned in the army at that time. That's why in Famusov society They treat Chatsky with such caution, who “would be glad to serve”, but does not want to “be served”, because this indicates his dissent. Skalozub is “with stars and ranks,” which means everything is fine with him. In Famus society, he is forgiven even for rudeness, which is not forgiven for Chatsky.

How typical representative“of the past century” Skalozub serves the purpose of enriching himself, gaining respectable weight in society, and not in order to take care of the safety of his homeland. In the comedy “Woe from Wit,” Skalozub’s army rank is very attractive to Famusov’s Moscow. In this regard, Chatsky gives an apt description of Skalozub: “A constellation of maneuvers and mazurkas.”

Ways to achieve high ranks and awards for people like Skalozub do not matter. Most often, promotions among the nobility of that time were achieved through connections. Skalozub’s character helps him skillfully use these connections: “... To get ranks, there are many channels... I just wish I could become a general.”

Skalozub even received his order not for military merits, but on the occasion of military celebrations.

In the comedy “Woe from Wit,” the characterization of Skalozub would have been incomplete if the work had not contrasted this hero with other representatives of the military class - progressive-minded nobles who respect human personality. These were the people who retired during that period. Such is Skalozub’s cousin, who, despite the fact that “the rank followed him,” left military service and went to live in the village, where “he began to read books.” Refusing another rank is unthinkable for Skalozub. Skalozub speaks about his brother with disdain also because he is also an opponent of learning and education. It is from the lips of this hero at Famusov’s ball that information about reform comes educational institutions according to the barracks type: “There they will only teach in our way: once or twice; and the books will be preserved like this: for great occasions.”

He wrote the comedy "Woe from Wit" in 1824. The work is intended to expose the habits and views of the nobles of the nineteenth century. The events described in the play take place after the war with the French in 1812.

This period was difficult for Russia, as progressive ideas became popular in society. The confrontation between old and new views, traditions of the past and the present is described in the work through vivid characters and images. Skalozub is a character with the help of which the author conveys the specifics of the controversy that has arisen.

Character history

The image of Colonel Sergei Sergeevich Skalozub is typical. There is documentary evidence that during the creation of the work, many prototypes were found for the hero. The names of the composer, Colonel Frolov and General Skobelev were named as persons who inspired Griboyedov.

The character's characteristics suggested that he was similar to Paskevich, Arakcheev and the Emperor. Skalozub represents an ordinary Muscovite trying to get married. Education and upbringing are not his strong point, but the hero has savings and self-confidence. After the war, Skalozub was awarded a symbolic order, which allowed him to exaggerate his own importance in the eyes of others.

The meaning of the hero's name is obvious. The role assigned to him as a boastful warrior and narcissistic nature explains the origin of the surname. Skalozub enjoys the respect of other characters and preferences from Sophia’s father, who is wooing his daughter to marry the colonel. The description of the groom's merits is primitive: he is rich and aspires to the rank of general.

Skalozub’s goal in life is a good position in society and goodwill powerful of the world this. He opposes free thought and advocates unquestioning submission. This position was common in the Russian army post-war years. Skalozub's awards and position indicate that his attitude towards service is correct and the colonel's prospects are great.

Quotes from Skalozub suggest that his attitude towards his family is based on the desire to conform to the norms accepted in society. He neglects feelings and sympathies. His judgments are based on traditional views that have not changed with the advent of new era. Therefore, the hero’s attitude towards serfdom is not distinguished by fresh ideas.

He is an adherent of the idea of ​​disposing of the peasants. Skalozub is exclusively concerned with replenishing his resources and budget, as well as social status. The colonel skillfully appeals to existing connections and neglects work, participation in military affairs and government activities.

A typical martinet whose behavior is predictable is an inappropriate and awkward image in the society that young people like this create. Even his attitude towards love seems outdated. Key role In the hero’s worldview, it is not age that plays a role, but the social situation, which Griboedov ridicules.

Plot

“Woe from Wit” is included in the list of literature studied in high school. The history of the confrontation between the “present century” and the “past century” is familiar to everyone. Young Sophia is in love with the secretary. Suddenly, a family acquaintance appears in the house, a young man named Chatsky, who in his speeches speaks unflatteringly about Molchalin, whose positive image is liked by the household.

The guest asks Famusov for details about Sophia, in connection with which the latter makes an assumption: Chatsky is aiming for a suitor. Famusov considers Colonel Skalozub the only suitable candidate for the role of son-in-law, whose status and position in society correspond to the preferences of the venerable father. Chatsky and Famusov do not agree on opinions and views. A confrontation arises between them.

Molchalin's fall from his horse becomes a collision, after which Chatsky thinks about Sophia's excessive worry about the secretary's health. He comes to the conclusion that the girl is in love, but Molchalin’s personality seems to Chatsky unworthy of sublime feelings. At a reception held in the evening at Famusov’s house, Chatsky ironizes and ridicules his competitor.

Having accidentally learned that Molchalin maintains contact with Sophia only for the sake of the family’s position and is secretly in love with the maid Liza, the hero exposes the secretary. The disgraced girl drives Molchalin out of the house. The guests who come running, led by Famusov, witness Chatsky’s sarcastic monologue, ridiculing vices modern society. The young man leaves the Famusovs’ house.

Film adaptations

The play, written by Griboyedov, joined the list of classic dramatic works. It does not inspire directors for film adaptations, since the poetic style is not in demand among television audiences. But television plays enjoy the interest of the intelligent public.

In 1952, the artists of the Maly Theater of the USSR appeared before the audience in the image of the heroes of “Woe from Wit” on television. The role of Skalozub was performed by Anatoly Rzhanov. In a television production in 1977, the public again watched the actors of the Maly Theater. He appeared in the guise of a colonel. A television performance in 2002 made it possible to get acquainted with Skalozub performed by.

Quotes

Alexander Sergeevich Griboedov described a classic situation that occurs repeatedly in society. The meaning of the play remains relevant regardless of the era, therefore catchphrases and the aphorisms drawn from it remain relevant year after year. The character's shortcomings, exposed by the author, are voiced through the hero's lips.

“As a true philosopher, I judge: I wish I could become a general,” says Skalozub.

He does not have the opportunity to claim a good education, and his “philosophical” statements are stupid and demonstrate a narrow worldview. Skalozub is far from modern trends and does not seek to familiarize himself with them, because he considers studying a waste of time. In his opinion, there are prospects only in investing in fragile minds the truth dictated by the fathers:

“I will make you happy: universal rumor,
That there is a project about lyceums, schools, gymnasiums;
There they will only teach in our way: one, two,
And the books will be saved like this: for special occasions.”

Skalozub owes his position in society and his connections in the service. He is not distinguished by his desire to change the world, and free vacancies that help him advance career ladder, open by themselves:

“I am quite happy in my comrades,
Vacancies are currently open:
Then the elders will turn off others,
The others, you see, have been killed.”

It is worth noting that many of the characters in A. S. Griboyedov’s play “Woe from Wit,” written in 1824, wear comedy masks. However, this is only the surface layer of its voluminous plot. And so one of the most important guests who visited Famusov’s house was Sergei Sergeevich Skalozub - a military man to the core, holding the rank of colonel, who is rapidly climbing the career ladder. He is very boastful and proud, and he advances in his career, often using his own comrades. Skalozub's characterization is not very flattering. It even makes up a kind of parody of the so-called ranks.

As Sophia's potential groom, the maid Lisa hints about him already at the very beginning of the act. She says that he is “a gold bag and aims to be a general.” Most likely, it is for his sake that Famusov is throwing a ball in order to introduce him to the guests and the especially important socialite Khlestova, who, however, did not like him at all due to the lack of servile obedience and flattery, and he was too tall.

However, all of Skalozub’s biographical data are presented very favorably and distinguish him from the impoverished nobleman Chatsky. After all, he is rich, speaks straightforwardly and expressively, which, of course, does not fit into the tone of secular courtesy, but, in the opinion of others, this does not harm at all. It would be foolish to underestimate the influence of the colonel in the Moscow environment. He is supported and recognized

Skalozub: characteristics. "Woe from Wit"

The culminating moment was Colonel Skalozub’s announcement that schools, lyceums and gymnasiums would soon be transformed according to the barracks model. He says: “There they will only teach in our way: one, two; and the books will be saved for greater occasions.” But Famusov went further and suggested simply burning the books.

Skalozub’s quotation speaks volumes. In general, such a character as Skalozub is a collective image in which contemporaries of that time recognized either divisional colonel Frolov or Grand Duke Nikolai Pavlovich (the future Russian Emperor), etc.

Skalozub’s characterization is not at all pleasing; his first priority is drill, commander’s orders, barracks, and ranks. In a conversation with Khlestova, he becomes talkative when it comes to the differences between all the regiments in terms of shoulder straps, piping and buttonholes on their uniforms. It is already clear that he is not interested in anything else, and he cannot speak coherently; he is only capable of embellishing secular gossip. By the way, the colonel gossips about the princess with great pleasure. In his conversations, things like distance, sergeant major, line, etc. slip in every now and then, even where there is no talk of military life.

Colonel Skalozub

When Famusov asks him about Nastasya Nikolaevna, who she is to him, he laconically replies: “I don’t know, sir, it’s my fault, we didn’t serve together.” But when they start talking about Moscow and Muscovites, Famusov praises everything, Chatsky, on the contrary, denounces, and Skalozub about Moscow notes only a few words familiar to his concept: “Distances of enormous size.”

The colonel tries to be polite with the owner of the house, Famusov, but with others he does not stand on ceremony and can even express himself harshly. Famusov and Skalozub have common views on service and ranks, however, mentally and intellectually, the latter greatly loses to the former, who is quite intelligent, observant and eloquent.

Sophia, speaking about Skalozub, says that he cannot even utter a smart word, he only talks “about frunt and rows,” and Lisa agrees with her: “He’s not very cunning.” Such quotation description Skalozuba speaks for itself.

The mood of the Russian army

Skalozub’s characterization suggests that he studied military affairs at the Prussian-Pavlovian school of the Russian army, which was very hated by many noble officers of that time, who were distinguished by free-thinking, because they were brought up on the precepts of the great commanders Suvorov and Kutuzov. And, characteristically, Griboedov contrasts Skalozub with his cousin, who became a representative of the Russian army from a different environment, that part of the officers from which the Decembrist officers came. After the war of 1812-1814, he resigned and went to his village “to read books.”

Freethinking

Decembrist P. Kakhovsky testifies to the veracity of this interesting image. He writes that many of these retirees, with their very modest incomes, study themselves and educate others in their rural houses.

What is he talking about? brief description Skalozub? The fact that at that time many advanced officers were resigning was also due to the fact that the Arakcheev regime was strengthening in the army, which persecuted free-thinking and imposed stupid military drills and servile subordination. This became one of the forms of protest, and therefore it was not without reason that the Famusovs looked at the young and non-serving nobles with disapproval. Now it is clear that in the world of Famusov’s aristocracy, in addition to Famusov and Skalozub himself, there are also fawning and serving officials like Molchalin.

Now we can hope that much will be clear when considering such a person as Skalozub. Characteristics (“Woe from Wit” is a work that is included in the program school literature) of this hero was presented in this article.