Famous catchphrases from the comedy "Woe from Wit" by A.S. Griboedova

The houses are new, but the prejudices are old
From the comedy “Woe from Wit” (1824) by A. S. Griboyedov (1795-1829). Chatsky's words (act. 2, appearance 5):
The houses are new, but the prejudices are old.
Rejoice, they won’t destroy you
Neither their years, nor fashion, nor fires.
Allegorically: about external changes and the unchanged internal essence of something (disapproved).

Encyclopedic Dictionary winged words and expressions. - M.: “Locked-Press”. Vadim Serov. 2003.

See what “Houses are new, but prejudices are old” in other dictionaries:

The houses are new, but the prejudices are old. Rejoice, neither years, nor people, nor fires will destroy them. Griboyedov. Woe from the mind. 2, 5. Chatsky. Wed. Shlyapkin (ed. 1859). See how clever it is to destroy deep-rooted prejudices...

The houses are new, but the prejudices are old. Rejoice, neither years, nor people, nor fires will destroy them. Griboyedov. Woe from the mind. 2, 5. Chatsky. Wed. Shlyapkin (ed. 1859). See How clever it is to destroy deep-rooted prejudices in which low souls find... ...

Fonvizin. Minor. 5, 1. Pravdin. Wed. ...It is more difficult to fight against human prejudices than to defeat tigers and bears. M.Yu. Lermontov. Sashka. 31. Wed. Everything passes with time; There is an end to misconceptions. Book THEM. Dolgoruky. Wed. The mind has its... ... Michelson's Large Explanatory and Phraseological Dictionary

How tricky it is to destroy deep-rooted prejudices in which base souls find their benefits. Fonvizin. Minor. 5, 1. Pravdin. Wed. ...It is more difficult to fight human prejudices than tigers and bears... Michelson's Large Explanatory and Phraseological Dictionary (original spelling)

HOUSE, at home, from home and from home, plural. houses (outdated houses), husband 1. Residential building, construction. Wooden house. Six-story stone house. “The houses are new, but the prejudices are old.” Griboyedov. “I’m sorry that our houses are new.” Pushkin. || collected Residents of some... Dictionary Ushakova

NEW, new, new; new, new, new, new. 1. First made, recently appeared. “The houses are new, but the prejudices are old.” Griboyedov. New writer. || Preserving its original appearance, untouched by time. This dress is still completely new. 2.… … Ushakov's Explanatory Dictionary

In modern Russian there is no direct semantic connection between the words reason and prejudice. A prejudice is a false but deeply rooted view of something. For example: “The most terrible enemy of progress is prejudice: it slows down, it... ... History of words

In the novel “The Master and Margarita”, the building where the largest literary organization headed by Mikhail Aleksandrovich Berlioz is located is MASSOLIT. In D. G. Bulgakov captured the so-called Herzen House (Tverskoy Boulevard, 25), where in the 20th... ... Bulgakov Encyclopedia

Aphorisms can be divided into two categories: some catch our eye, are remembered and are sometimes used when we want to show off wisdom, while others become an integral part of our speech and go into the category of catchphrases. About authorship... ... Consolidated encyclopedia of aphorisms

Dka; m. 1. An ingrained false view of something, devoid of reasonable foundations. Racial prejudice. There is a point that correct ideas do not need proof. * The houses are new, but the prejudices are old (Griboyedov). 2. Intrenched convention.… … Encyclopedic Dictionary

THE HOUSES ARE NEW, BUT THE PREJUDICES ARE OLD

At home new , But prejudices old .
Rejoice , Not will exterminate
Neither years their , no fashion , neither fires .

Our “laziness and lack of curiosity” affected us here too. So what if another Russian genius was born on January 15, 1795? Does it celebrate modern Russia, who still knows almost nothing about his origins or the circumstances of his biography and work.

Few people know that his ancestor Jan Grzhibovsky moved from Poland to Russia in the 17th century, giving birth to the Russian Griboedov family. His mother had the same surname as her father as a maiden. And the writer himself hid, but did not deny, the fact that he was the great-nephew of Alexander Radishchev. Brilliantly gifted, knowing many languages ​​since childhood, early becoming a candidate of literary sciences, but continuing his studies at the moral-political and physics-mathematical departments of Moscow University, at the beginning of the War of 1812 Griboedov was already a young cornet. Talented musician and the author of waltzes, the author of brilliant comedies and vaudevilles, many disappeared poems and poems... and, of course, a duelist (a hand shot during a quadruple duel helped identify his body, disfigured by Muslim fanatics, in Tehran) - this is a small part of what is known about the author immortal comedy.

However, even academicians find it difficult to understand the personality and fate of the genius, whose friends were both Pyotr Chaadaev and Thaddeus Bulgarin, who combined in his destiny Polish blood and a Georgian wife. In his immortal comedy, Griboedov combined one more unprecedented property: in it one can hear reflections of tragedy, its main character- a brilliant intellectual, a homesick exile, a romantic in love, in whose “pigeon liver” - like Hamlet’s - there lives bile and bitterness, and whose mind is shaken by causticity and anger.

We hear more and more clearly in the nervous bells of the carriage, carrying Chatsky first rapidly to Moscow, and then - even more rapidly - out of it, not only the painful thoughts of the “madman” Chaadaev, but also the groans of the “superfluous” Russian intellectuals from Pushkin to Lermontov, from Onegin to Pechorin. In the masterly comic positions and characters of the most classic of Russian comedies, we can increasingly see the “smoke of the Fatherland,” where “it is impossible to live with intelligence and talent.”

But was Pushkin right when he saw main mistake the play is that Chatsky is a “fool” throwing pearls before swine? Perhaps for Griboyedov this is a reason for bitter (tragic) laughter at the inability of these two worlds to hear each other.

This inability resulted in a bloody and tragic side effect for Russia. Spilled in rivers of “red” and “white” blood, in eternal “horrors” civil war", wafting over the epic steppe. It seems that not only the play, but also the fate of Griboyedov itself lay an ominous stroke over the fate of our Fatherland.

This eternal Russian text is sad and dreary. It contains not just bile notes from the insulted and sharp mind. It contains a strange pain of orphanhood, restlessness, exorbitant and senseless pride, echoing with foolishness and eccentric bravado. In it, the Moscow of yesterday, today and metaphysically, frozen between the old and the new, between the West and the East, between tyranny and the liberal idea.

But it seems that the bloodiest reflection has fallen on our days tragic death Wazir-Mukhtar in Tehran. This is truly a hero of OUR time, who has won the laurels of a martyr. Torn to pieces by a crowd of fundamentalists, it seems that he was clearly aware of his historical mission - to resist any fundamentalism. It was his coffin, traveling on the road to Tiflis, that Pushkin mourned and, together with tears, wrote his bitter, burning and still largely unread thoughts, “Travels to Arzrum.”

And to this day there is no Griboyedov Museum in Moscow.

He was a genius not only in literature. Who can compare with the great Alexander Sergeevich in diplomacy? The ambassadorial rank in Persia, which is extremely important for Russia, speaks of the universal recognition of his merits in this area.

Griboedov is not one of those envoys who obligingly scraped before the almighty Shah. He decisively and harshly pursued the Russian line. His briefly formulated credo: “Respect for Russia and its demands - that’s what I need.”

Persia, always unpredictable, with everything own opinion, unwilling to put up with Russian domination, our country won the Second Russian-Persian War. And in February 1828, the Turkmanchay Treaty, written with the active participation of Griboedov, came into force, enriching Russia with the Shah’s millions given in gold.

Persia grumbled, and, choosing an excuse, on January 30, 1829, hundreds of fanatics attacked the embassy. I happened to see the place where Griboyedov and a handful of his diplomats gave battle to the fanatics. We took him there with a group of comrades who worked in Iran. Griboyedov met death with weapons in his hands. He shot and killed either 8 or 9 attackers with a saber. The poet, writer, diplomat and duelist was excellent with weapons. In hand-to-hand combat he fought calmly, evilly, and despite being disfigured during a long-standing duel left hand, fought off the ever-pressing crowd. His mutilated, desecrated, torn body was dragged through the streets of Tehran.

Griboedov was remembered in 1921, when the Soviet-Iranian Treaty was concluded with the Persians. One of the diplomats of the royal school was not too lazy to look into the Turkmanchay Treaty. And after that, Article 6 appeared, which allowed Soviet Russia send your troops into neighboring country when a threat arises. Griboedov's foresight was especially useful in 1941. The Germans are near Moscow, and Reza Shah was ready to let Hitler’s divisions pass through his territory to us. And our army entered Persia from the north, occupying Tehran. Thank you, Alexander Sergeevich!

The agreement is still recognized by both parties. True, after the Islamic revolution of 1979, Article 6 quietly disappeared from it. Was in unilaterally canceled by the new regime. I wonder if State Councilor A.S. would allow this. Griboyedov?

Nikolay Dolgopolov
Alena crucian /

Alexander Sergeevich Griboyedov is the author of a wonderful comedy that everyone knows from school. Most memorable catchphrases from the comedy "Woe from Wit". While reading a work, they are perceived easily and are stored in memory for a long time. Catchphrases from the comedy “Woe from Wit” are always filled with psychologism and acute problems. A person many years after reading a comedy can remember them. This article examines quotes from “Woe from Wit” and explains their meaning.

The characters of Alexander Griboyedov are probably known to everyone: Famusov, Sofya, Chatsky, Lisa, Molchalin, Skalozub, etc. Each of them has its own individual character. Chatsky stands out among others in comedy. He is the only one who wants to live by his own laws and often finds himself misunderstood by society. Most of all, Chatsky’s quotes are remembered. "Woe from Wit" is greatest monument Russian literature, which to this day causes numerous disputes and discussions.

“The houses are new, but the prejudices are old”

The meaning of this statement is that society often lives based on old dogmas and ideas. If decisions are made on the basis of previous beliefs, it means that to some young people they will seem blasphemous, wrong, humiliating to the individual, and not allowing her to fully express her essence. Catchphrases from the comedy “Woe from Wit,” like this one, make it possible to trace the destructive effect of the old foundations and the previous system.

With this expression, Chatsky emphasizes his incomprehensibility, isolation from a world in which hypocrisy and pretense flourish.

“I’d be glad to serve, but it’s sickening to be served”

Perhaps the reader is most familiar with Chatsky’s statements. Quotes from the comedy “Woe from Wit” are replete with openness and sincerity. Chatsky expresses own position is very clear and does not intend to hide his opinion on this or that issue. Most of all, the hero is displeased by hypocrisy and profitable helpfulness towards his elders. At every opportunity, Chatsky gives truthful comments that can be considered the words of a truly sane person. Catchphrases from the comedy “Woe from Wit,” like this one, mark unhealthy relationships within society itself at the beginning of the 19th century, where deception, flattery, unkind glances, and behind-the-back discussions thrive.

“Where, tell us, are the fathers of the Fatherland whom we should take as models?”

Chatsky continuously searches for the truth in this world. He wants to see next to him a reliable friend, ally, responsible and honest man. Instead, he is faced with an unsightly reality that makes him completely disillusioned with people. He often observes the older generation, old enough to be his fathers, but does not find true example for imitation. To a young man I don’t want to be like Famusov, who simply wasted his life, or like anyone else from his circle. The tragedy is that no one understands Chatsky, he feels lonely and lost among this “masquerade” that society plays. This statement sounds both as a statement of fact and as a bitter regret. Perhaps other catchphrases from the comedy “Woe from Wit” do not sink into the soul as much as this one. What is actually depicted here is the irreconcilable, almost revolutionary essence of the main character himself.

"Evil tongues are worse than a gun"

These words are spoken by the character Molchalin. He gives the impression of a quiet, predictable, flexible person who is ready to please others under any circumstances. But Molchalin is not as simple as it seems. He clearly understands the benefits of his behavior and, when the opportunity arises, adapts to changing conditions public life. Helpful and always ready to obey, he does not notice how every day he loses himself more and more, rejects his dreams (if he ever had them), and gets lost. At the same time, Molchalin is very afraid that other people (perhaps even those around him) will at some point betray him, turn away, or in a certain way laugh at his clumsiness.

“Ranks are given by people, but people can be deceived”

Chatsky is deeply outraged by the way in given society receive high ranks. All that is required of a person is to be attentive and helpful towards his immediate superior. Attitude to work, abilities and talents, high aspirations - all this, according to his observation, has absolutely no meaning. The conclusions that the young man draws are very sad and disappointing. He simply does not know how it is possible to continue to exist freely in a society that rejects everything true and correct.

Quotes from “Woe from Wit” are filled with vivid emotionality. When you read a work for the first time, you involuntarily begin to sympathize with the main character, together with him you are amazed at the unhealthy Famusovsky society and worry about the overall outcome of events.