Khlestova is one of the most memorable minor heroines of the comedy "Woe from Wit", which the author introduces the reader to at a party at Famusov's; domineering and rude lady-serf. Full name heroine - Anfisa Nilovna Khlestova. She is Famusov's sister-in-law, and, accordingly, Sophia's aunt. Outwardly, this is an elderly noblewoman of about 65 years old, who has never been married.

Mrs. Khlestova in the work personifies the highest class of society. Once she served as a lady-in-waiting for Catherine I (wife of Peter I). She tries to keep up with secular fashion. Even her dog is a fashionable indoor Spitz breed. Anfisa Nilovna brought a dark-skinned little girl with her for the evening, who for her is just a servant, not a man. She is grateful to the swindler Zagoretsky for helping her to buy Arapka-girl at the fair. Any property, for the old woman Khlestova, serves only as fun.

She herself is ignorant, and when Famusov suggests that Chatsky's madness may be associated with his scholarship, she easily supports him. The old woman favors Silence for sycophancy and flattery. The catch phrase belongs to this heroine of Griboyedov: "The calendars are all lying."

Help write an essay on literature, on one of these topics: 1. The conflict of 2 eras in the comedy Woe from Wit 2. The topic of enlightenment in comedy

Woe from Wit

3 the problem of the mind in the comedy woe from wit

4. Chatsky and Molchilain (comparative characteristic)

5 my favorite character

1) Is Chatsky smart? In the comedy Woe from Wit? 2) Comedy "Woe from Wit" - a drama from the uselessness of mind in Russia? 3) Honesty and kindness are more important

4) Does the country need smart people; what is the tragedy of smart people in the comedy "Woe from Wit" .....

Help with the composition. You are welcome! Take it tomorrow! Comedy "Woe from Wit"

I need an essay on one of these topics:
1. "Chatsky - the winner or the loser"
2. Chatsky spokesman for the ideas of his time.
3. Barskaya Moscow in Griboyedov's comedy "Woe from Wit"
4. Why are silent people dangerous?
5. "The present century and the past century"
6. Author and hero in Griboyedov's comedy "Woe from Wit".
If anyone has an essay on one of these topics, please answer. If it's good, with a plan and I don't find a copy, I'll pay 40 points

4. Point out what is the innovation of the system of images of the comedy "Woe About Wit":

A) compliance with the "role" system
B) the number of actors - more than twenty
C) the system of images is based on the principle of typification
D) no division of characters into positive and negative
E) introduction of off-stage characters
5. Correlate the hero of the comedy and the role to which he corresponds:
A) Chatsky
1) a father who does not know about his daughter's love
B) Famusov
2) the lucky hero lover
C) Sophia
3) soubrette
D) Lisa
4) the heroine of the love triangle
E) Molchalin
5) the hero-reasoner
6. Correlate the name of the hero and the role he plays in the comedy:
A) Khryumins, Tugoukhovsky, Khlestova
1) main characters
B) Prince Fyodor, Kuzma Petrovich, Maxim Petrovich
2) minor
C) Chatsky, Sophia, Molchalin, Famusov
3) episodic
D) G.D.-G.N.
4) a parody image
E) Skalozub, Liza, Zagoretsky, Gorich, Repetilov
5) non-stage characters
E) Repetilov
6) heroes. Necessary for communication stage action
7. Note the main means of creating satirical characters in comedy:
Individualization of language, aphorism, tragic pathos, author's remark, hyperbole, farcical details,
catharsis, phraseological units, drama, vernacular, irony, sarcasm.
8. Name the hero of the comedy "Woe from Wit", whose speech is aphoristic, the influence of the manner of speaking of other heroes is noticeable, the literary and colloquial forms of speech are intertwined, there are features of servility:
A) Molchalin B) Repetilov C) Zagoretsky D) Liza
9. Combine non-stage characters related to the "present age" and the "past century":
Prince Fyodor, Maxim Petrovich, three of the tabloids, Tatyana Yurievna, cousin Skalozuba, baron von
Klotz, a Frenchman from Bordeaux, young people - "who travels, who lives in the village", Kuzma Petrovich, Sophia's aunt.
11. Where does Khlestova live:
A) on Tverskaya B) on Kuznetsky Most C) on Pokrovka D) at Nikitsky Gate
12. Whose portrait is this:
Curly! The hump of the shoulder blade!
Angry! All cat grips!
How black! How terrible!
A) Khlestovoy
B) Princess Maria Alekseevna
C) Khryumina
D) arapki

Khlestova's prototype is the powerful and influential Nastasya Dmitrievna Ofrosimova, who belonged to the highest Moscow circle. It was also described by Leo Tolstoy in War and Peace. Referring to “Nestor of the noble villains,” who exchanged his serfs for dogs, Griboyedov probably meant General Izmailov, a landowner-serf-owner, a lecher who, according to contemporaries, “4 servants who served him for 30 years, exchanged the landowner Shibyakin for 4 greyhounds ". Contemporaries and researchers tried to establish prototypes and Chatsky. When the comedy was written, a rumor spread that Chaadaev was brought out in it. This rumor even reached Pushkin, who was in Mikhailovsky, and in one of his letters he asked about his justice.

Chaadaev was close to Griboyedov, and there is no doubt that the image of him, a man of outstanding intelligence and strong character, arose in the creative imagination of Griboyedov when he painted the appearance of his Chatsky. There is also no doubt that Chaadaev's features appear in the appearance of the Gri-Boyed hero. The features of another friend of Griboyedov, the passionate and honest Küchelbecker, a knight of the Decembrist movement, one of those “young people” in whose souls “a fervor for the creative, lofty and beautiful arts” was excited, are also captured in Chatsky.

But the specification of the characters did not remove their typicality. One of his contemporaries notes:

“When“ Woe From Wit ”appeared, everyone immediately gave it justice, but including many who actors assumed and even recognized the image of living Moscow personalities and found the main advantage of this beautiful dramatic satire in the fidelity of the portraits. The view is completely wrong. Griboyedov did not even think of painting portraits; if this were so, the meaning of "Woe from Wit" would be very short-lived; it would have been lost along with the death of those who served as originals for the essays. And in the continuation of their lives, the dignity of the composition would be much lower than the true one. Griboyedov excellently grasped and portrayed not individuals, but types whose life is very long, and the merit and glory of his masterful work will be just as lasting. On this occasion, in our time, A. V. Lunacharsky justly remarked about the characters in the comedy: “These people are taken synthetically. With Griboyedov, everything corresponds to reality, everything is clean artistic realism, the product is given without admixture. A real, genuine portrait begins only where it synthesizes the whole person in his most characteristic features and into broad types. The truthful type in literature is a portrait, and the wider it captures, the more it acquires artistry and social significance. "

Anfisa Nilovna Khlestova

Contemporaries and historians are most unanimous in defining the prototype of Anfisa Nilovna Khlestova. Its original is called Nastasya Dmitrievna Ofrosimova, a great Moscow lady known for her intelligence, cool character, frankness and quirks.

She was extremely popular in the large society of pre-fire Moscow, and many stories and anecdotes have survived about her. D.N. Sverbeev gives interesting details about one of the meetings with Ofrosimova: “Having returned to Russia from abroad in 1822 and having not yet made any visits to Moscow, I went to a ball at the Noble Assembly; sometimes up to two thousand people came there on Tuesdays. From a distance I noticed Nastasya Dmitrievna Ofrosimova sitting with my daughter on one of the benches between the columns and, anticipating the storm, tried in every possible way to keep myself away from her, pretending that I had not heard anything when she shouted to me on the crawls: "Sverbeev! Come here!" Rushing into the opposite corner of the huge hall, I hoped that I would manage without a formidable meeting with her, but not even a quarter of an hour had passed when the foreman on duty for that evening, unknown to me, invited me to go to Nastasya Dmitrievna with a courteous smile. I answered: "now." The foreman, repeating the invitation, announced that he had been ordered to bring me to her. "What are you doing to yourself? Probably, it's been here for a long time, and I haven't been here yet! You can see that you are dragging around inns, in taverns, and somewhere even worse, "she said," that's why you run about decent people. You know, I loved your mother, respected your father "... and I went and went! I stood in front of her as if condemned to a commercial execution, but as everything can end, she calmed down too. " ( Sverbeev D.N. Notes. M., 1899.T. I.).

“I remember the old woman-Khlestova very well,” writes another memoirist: “it was Nastasya Dmitrievia Ofrosimova;<...> her, under the name of Maria Dmitrievna Akhrosimova, was described in "War and Peace" by Count L.N. Tolstoy. Ofrosimova was with us in the parish of John the Baptist in Staraya Konyushennaya; she strictly maintained order and decency in the church, forbade conversations, loudly scolded the deacons for obscene singing, or for sluggishness in the ministry; she screamed for the ears (like Chatsky's) the boys who came out with candles while reading the Gospel and walked with a plate after the candle elder, kept a pot of bread in the trough. Ofrosimova always approached the cross first, once she sent a sexton to a lady she did not know, who made the sign of the cross in a glove, loudly, to the whole church, giving him the order: "Tell her to take off the dog's skin!"

Attaching Khlestova to Ofrosimova's original is one of the most convincing in the literature about prototypes of Griboyedov's heroes, although there are other indications of Khlestova's prototypes, which closely resemble, for example, the emotional appearance and external behavior of the poet's mother, Nastasya Fedorovna Griboyedova.