An analysis of the comedy woe from the mind by action. A complete analysis of the play by A.S.

Introduction

Analysis of the comedy "Woe from Wit" Griboedov A.S.

1 History of the creation and publication of the work

1.2 The ideological and philosophical content of the work

3 Comedy genre

4 Comedy plot

5 Features of building a character system

6 Language and features of comedy verse

2. The immortal work of Griboyedov

Conclusion

List of used literature

Introduction

In the history of literature there are authors who are also called "authors of one work." A classic example of such a writer is Griboyedov. The talent of this man is truly phenomenal. His knowledge was vast and versatile, he learned many languages, was a good officer, a capable musician, an outstanding diplomat with the makings of a major politician. But for all that, few people would remember him if it were not for the comedy Woe from Wit, which put Griboyedov on a par with the greatest Russian writers.

The comedy "Woe from Wit" broke into catchphrases, quatrains, expressions before it became well-known. Is this not a true confession? We often say: “And who are the judges?”, “A little light is already on my feet! And I’m at your feet”, “A terrible age!”, “Friend, is it possible to choose a nook for walking further away”, without thinking that these are phrases from brilliant comedy "Woe from Wit".

Accurately and truthfully, Griboyedov not only depicted the characters of the heroes of the first quarter of the 19th century, but also presented a wonderful storehouse of wisdom, sparkling humor, from which we have been drawing treasures for more than a hundred years, but it is still not depleted. A picture of the life of the Moscow nobility was no less brilliantly created.

All the action of the comedy takes place in one house (Famusov's house) and lasts one day, but leaves the impression of a peaceful acquaintance with the life of the Moscow nobility. This is "and a picture of manners, and a gallery of living types, and an eternally sharp burning satire." (N. A. Goncharov).

"Griboedov is a 'man of one book,'" VF Khodasevich remarked. "If it weren't for Woe from Wit, Griboedov would have no place at all in Russian literature." Griboyedov in his comedy touched upon and exposed in the spirit of the socio-political ideas of Decembrism a wide range of very specific phenomena in the social life of feudal Russia.

The topical meaning of Griboedov's criticism today, of course, is not felt with such sharpness as it was felt by his contemporaries. But at one time, the comedy sounded just topical. And questions of noble education in "boarding houses, schools, lyceums", and the question of "lankart mutual education"; and debates about the parliamentary system and the reform of the judiciary, and individual episodes of Russian public life, reflected in the monologues of Chatsky and in the remarks of Famusov's guests - all this was of the most relevant importance.

All of the above factors determine the relevance and significance of the subject matter of the work at the present stage, aimed at a deep and comprehensive study of the system of characters and prototypes of A.S. Griboyedov "Woe from Wit".

The purpose of this test is to systematize, accumulate and consolidate knowledge about the characters of A.S. Griboyedov "Woe from Wit".

In accordance with this goal, the following tasks are supposed to be solved in the work:

- do analysis of the comedy "Woe from Wit";

consider a gallery of human portraits in the comedy by A.S. Griboyedov;

The purpose and objectives of the course work determined the choice of its structure. The work consists of an introduction, two chapters, a conclusion, a list of literature used in writing the work.

This construction of the work most fully reflects the organizational concept and logic of the material presented.

When writing the work, the works of domestic authoritative authors in the field of studying the issue under consideration were used: Bat L.I., Ilyushina L.A., Vlashchenko V., Vyazemsky P.A., Gladysh I.A., and others.

1. Analysis of the comedy "Woe from Wit" Griboyedov A.S.

.1 History of creation and publication of the work

Information about the history of the creation of Griboedov's main work of art is rather scarce. According to the writer's friend, S.N. Begichev, the idea for the comedy arose as early as 1816. It was supposed to write 5 acts, in which Famusov's wife, "a sentimental fashionista and aristocrat," played an important role. Subsequently, the number of actions was reduced, and the playwright abandoned the important female image. Apparently, this was not actually about the work that we know, but about a sketch similar in plot to a comedy, but still not being its first edition. The date of commencement of work on "Woe from Wit" is considered to be 1820. A letter from Griboedov from Persia dated November 17, 1820 to an unknown person has been preserved, where a dream is recounted in detail, in which the writer allegedly saw the main points of the future work.

The original version of the play's title is "Woe to the Mind". In a letter to Katenin, the writer formulated the main intrigue of the future comedy as follows: "The girl, herself not stupid, preferred a fool to an intelligent person." However, social contradictions did not fit into the designated plot scheme. In addition, the very name sounded like a sentence to every mind for all time. Griboyedov, on the other hand, sought to present such a paradoxical, but, alas, typical situation in which the positive quality of a person - the mind - brings misfortune. It was this situation that was reflected in the new name - "Woe from Wit".

Direct study of the first and second actions was carried out in 1822 in the Caucasus. An important role in depicting social confrontation was played by communication with Kuchelbecker, whose observations Griboyedov took into account. Work on the 3rd and 4th acts was carried out in 1823 at the estate of S.N. Begichev, and it was burned and rewritten, again the first act. The completely original version of the comedy was completed in 1824 in Moscow and presented to the same Begichev (the so-called Museum autograph). For censorship permission, the writer leaves for St. Petersburg, continuing to make changes to the text along the way. So the scene of Molchalin's flirting with Lisa in the 4th act was completed and the entire finale was changed. Arriving in the capital, Griboedov reads a play by A.A. Gendru, who was in charge of the whole office. The latter instructs the scribes to make lists of the work. The playwright presented the list with his signature straightened out by his own hand to his friend (Jandre's manuscript). The main role in the distribution of the play during this period was played by the future Decembrists.

The second half of 1824 and the beginning of 1825 passed in trouble: the writer met with the Minister of the Interior, B.C. Lansky, Minister of Education A.S. Shishkov, Governor of St. Petersburg M.A. Miloradovich, was introduced to the Grand Duke (future Emperor) Nikolai Pavlovich. All of them reacted favorably to the playwright, but it was not possible to achieve the publication of the entire work. Only phenomena 7-10 of the first act and the third act with censored abbreviations were printed in F.V. Bulgarin "Russian Waist for 1825". To him, leaving in 1828 for the East, Griboyedov presented the last authorized version of the work (Bulgarin list). After the death of the writer, permission was finally obtained for a theatrical production in a highly distorted form. In 1833 a theatrical "edition" of the comedy was published.

Completely without censored cuts, the play was published abroad in 1858, and in Russia - only in 1862. By this time, there were several tens of thousands of handwritten copies in the country, which significantly exceeded all the print runs known at that time. At the same time, the handwritten versions contained serious inconsistencies, due both to simple scribes' mistakes and their desire to make their own additions and changes to the text. These difficulties could not be fully overcome by the editors of the 1862 edition. Piksanov, on the basis of a comparison of the Museum autograph, the Zhandrovskaya manuscript and the Bulgarinsky list, the version of the text of the comedy that we have today was established.

Artistic method of comedy

Traditionally, "Woe from Wit" is considered the first Russian realistic comedy. This fact is indisputable. At the same time, the features of classicism were preserved in the play (for example, the unity of time and place, "speaking surnames", traditional roles: "deceived father", "narrow-minded military man", "confidante sobrette") and elements of romanticism were manifested, reflected in a number of exceptional features. the personality of the protagonist, in his incomprehensibility by others and loneliness, in his maximalism, opposition to all the reality surrounding him and putting forward his ideal ideas in opposition to this reality, as well as in the pathos of his speech. Realism was expressed primarily in the typification of characters and circumstances, as well as in the author's conscious refusal to follow the numerous norms of constructing classicist plays. Griboedov violated a number of genre and plot-compositional canons<#"justify">.4 Comedy plot

Considering the conflict and the plot organization of Woe from Wit, it must be remembered that Griboedov approached the classicist theory of three unities in an innovative way. Observing the principles of unity of place and unity of time, the playwright did not consider it necessary to be guided by the principle of unity of action, which, according to the existing rules, was supposed to be based on one conflict and, starting at the beginning of the play, get a denouement in the finale, and the main feature of the denouement was the triumph of virtue and the punishment of vice. . Violation of the rules of construction of intrigue caused sharp disagreements in criticism. So, Dmitriev, Katenin, Vyazemsky spoke about the absence of a single action in Woe from Wit, emphasized the dominant role of events rather than conversations, seeing this as a stage flaw. The opposite point of view was expressed by Kuchelbecker, who argued that in the comedy itself there is much more movement than in plays built on traditional intrigue.

The essence of this movement lies precisely in the consistent disclosure of the points of view of Chatsky and his antipodes, "... in this very simplicity - news, courage, greatness ..." Griboyedov. The polemic was later summed up by Goncharov, who singled out two conflicts and, accordingly, two storylines closely intertwined with each other that form the basis of the stage action: love and social. The writer showed that, having started as a love conflict at first, the conflict is complicated by opposition to society, then both lines develop in parallel, culminate in the 4th act, and then the love affair gets a denouement, while the resolution of the social conflict is taken out of the scope of the work - Chatsky is expelled from Famusov's society, but remains true to his convictions. Society does not intend to change its views - therefore, further clashes are inevitable.

In this kind of "openness" of the finale, as well as in the refusal to show the obligatory triumph of virtue, Griboedov's realism was reflected, striving to emphasize that in life, unfortunately, there are often situations when vice triumphs. The uncommonness of the plot decisions with regularity led to an unusual compositional structure: instead of the three or five actions prescribed by the rules, the playwright creates a comedy of four. If the love affair were not complicated by a social conflict, then three actions would probably be enough to resolve it; if we assume that the author would set out to show the final outcome of the social conflict, then, obviously, he would need to write the fifth act.

.5 Features of building a character system

Considering the features of building a system of characters and revealing characters, it is necessary to keep in mind the following circumstances. Firstly, the author creates the images of his heroes according to the principles of realism, while maintaining, however, fidelity to some features of classicism and romanticism. Secondly, Griboedov abandoned the traditional division of characters into positive and negative, which was reflected in the difference in critical assessments given to the images of Chatsky, Sophia, Molchalin. Chatsky, for example, in addition to positive qualities - intelligence, honor, courage, versatile education - also has negative ones - excessive ardor, self-confidence and arrogance.

Famusov, in addition to numerous shortcomings, has an important advantage: he is a caring father. Sophia, who slandered Chatsky so mercilessly and dishonestly, is smart, freedom-loving and resolute. Obsequious, secretive and double-minded Molchalin is also not stupid and stands out for his business qualities. Attempts by critics to absolutize the positive or, on the contrary, negative aspects of the characters led to their one-sided perception and, consequently, to the distortion of the author's position. The writer fundamentally opposed the traditional way of creating characters, based on the classical roles and hyperbolization of any one character trait ("cartoons", according to Griboedov), the way of depicting social types, drawn through individual detailing as versatile and multidimensional characters (called by the author "portraits" ).

The playwright did not set himself the task of absolutely accurately describing any of the familiar faces, while contemporaries recognized them by separate bright details. Of course, the characters had prototypes, but even there were several prototypes of one character. So, for example, both Chaadaev (due to the similarity of the surname and an important life circumstance: Chaadaev, like Chatsky, was declared crazy), and Kuchelbeker (who returned from abroad and immediately fell into disgrace), and, finally, the author himself, who found himself at some evening in the situation of Chatsky and later declared: “I will prove to them that I am in my mind. Gorich, Zagoretsky, Repetilov, Skalozub, Molchalin and other characters have several prototypes. The situation with Khlestova's prototype looks most definite: most researchers point to the famous N.D. Ofrosimov, who also became the prototype of MD. Akhrosimova in L.N. Tolstoy "War and Peace", although there are indications of other persons. For example, attention is drawn to the fact that the behavior and character of Khlestova resemble the features of Griboyedov's mother, Nastasya Fedorovna.

It is very important to remember that both generalizing and individual features of the characters are created thanks to a whole arsenal of artistic means and techniques. It is the possession of dramatic technique, the ability to create bright, lively, memorable pictures and images that form the basis of the artist's skill. The main personality trait, which the author considered central to the corresponding stage role, is denoted by a "speaking" surname. So, Famusov (from lat. fama - rumor) is a person who depends on public opinion, on rumor ("Ah! My God! What will he say / Princess Marya Aleksevna!"). Chatsky (the original version of the surname Chadsky) - who is in a child of passion and struggle. Gorich is a derivative of "woe". As grief, apparently, one should consider his marriage and the gradual transformation from an efficient officer into a "husband-boy", "husband-slut". The surname Skalozub testifies both to the habit of rude mockery and aggressiveness. The surname Repetilov (from lat. repeto - I repeat) suggests that its owner does not have his own opinion, but is inclined to repeat someone else's. Other surnames are quite transparent in terms of meaning. Messrs. N. and D. are as nameless as they are faceless.

Important means of creating images are also the actions of characters, their views on existing life problems, speech, characterization given by another character, self-characterization, comparison of characters with each other, irony, sarcasm. So, if one of the heroes goes to "look at how cracked" Molchalin fell from the horse, "chest or sideways", then the other at the same time rushes to help Sophia. The characters of both are manifested in their actions. If one assessment of the personality is given behind the eyes (for example: "... a dandy friend; declared a wast, a tomboy ..."), and in the eyes - another ("... he is small with a head; and writes and translates nicely") , then the reader gets the opportunity to form an idea of ​​both the characterized and the characterizing. It is especially important to follow the sequence of changes in the assessments (from, say, "Sharp, smart, eloquent, especially happy in friends ..." to "Not a man - a snake"; from "Carbonari", "Jacobin", "Voltairian" to "crazy ") and understand what caused such extremes.

In order to get an idea about the system of characters as a whole, it is necessary to analyze the interaction of the levels of its organization - the main, secondary, episodic and off-stage. Which heroes can be considered the main ones, which - secondary, which - episodic, depends on their role in the conflict, in posing problems, in stage action. Since the public confrontation is built primarily along the lines of Chatsky - Famusov, and the love affair is based mainly on the relationship between Chatsky, Sofia and Molchalin, it becomes obvious that of the four main characters, it is the image of Chatsky that bears the main burden. In addition, Chatsky in comedy expresses a set of thoughts that are closest to the author, partly performing the classic function of a reasoner. This circumstance, however, in no way can serve as a basis for identifying the author with his hero - the creator is always more complex and multidimensional than his creation.

Famusov appears in the play both as the main ideological antipode of Chatsky, and as an important character in a love affair (“What kind of commission, Creator, (To be a father to an adult daughter!”), And as a certain social type - a major official, and as an individual character - sometimes imperious and straightforward with subordinates, sometimes flirting with the maid, sometimes trying to “reason” and “set the true path” of a young man, sometimes discouraged by his answers and shouting at him, sometimes affectionate and gentle with his daughter, sometimes throwing thunder at her and lightning, helpful and polite with an enviable groom, an amiable host, who, however, can argue with guests, deceived, at the same time funny and suffering in the finale of the play.

Even more complex is the image of Sophia. A witty and resourceful girl opposes her right to love the will of her father and social norms. At the same time, brought up on French novels, it is from there that she borrows the image of her beloved - an intelligent, modest, chivalrous, but poor man, the image that she seeks to find in Molchalin and is cruelly deceived. She despises the rudeness and ignorance of Skalozub, she is disgusted by the bilious, caustic language of Chatsky, who, however, speaks the truth, and then she answers no less biliously, not disdaining vindictive lies. Sophia, who is skeptical of society, although not striving for confrontation with it, turns out to be the force with which society inflicts the most painful blow on Chatsky. Not loving falsehood, she is forced to fake and hide, and at the same time finds the strength to make it clear to Chatsky that Molchalin has been chosen by her, which, however, Chatsky refuses to believe. Frightened and forgetting all caution at the sight of her lover who has fallen from a horse, proudly standing up for his defense, she comes to a severe shock when she witnesses the love harassment of her chosen "knight" to her own maid. Courageously enduring this blow, taking the blame on herself, she is also forced to endure her father's anger and Chatsky's mocking proposal to make peace with Molchalin. The latter is hardly possible, given the strength of Sophia's character.

Not absolutely unambiguous in the play and the image of Molchalin, Pushkin wrote about him: "Molchalin is not quite sharply vile; was it not necessary to make a coward out of him?" Of all the characters in the Famus circle, Molchalin, perhaps, is better than the rest can adapt to existing conditions. Possessing, among other things, outstanding business qualities, he is able to achieve a high position in society. Molchalin is that type of people, poor and humble, who, with their work, perseverance, and the ability to find a common language with people, slowly and steadily make a career. However, he finds himself in a rather difficult position. Respectful of Famusov, he deceives his boss in favor of his daughter, for whom, however, he does not have any feelings. Given a choice, he seeks to please both. As a result, in order to save his career and not make dangerous enemies, he lies to both Famusov and Sofya. Forced to play so many roles as a duty - both a secretary, and a lover, and a courteous interlocutor, and a card partner, and sometimes even a servant - Molchalin shows only one living feeling (an attraction to Liza), for which he pays: his career is in jeopardy.

Secondary characters are correlated with the main acting limes, but at the same time they have an important independent significance and directly influence the course of events. So, Skalozub is a type of military man, narrow-minded, but self-confident and aggressive. His appearance complicates both love and social conflict. Liza is a servant-confidante. Without this image, it is impossible to imagine both the emergence and the denouement of a love affair.

At the same time, Liza is witty, ironic, and gives accurate characteristics to various characters. She is compared with her mistress, and in a number of cases this comparison is resolved in her favor. At the same time, with the help of this image, Griboyedov emphasizes the confrontation between the nobility and the serfs ("Bypass us more than all sorrows / And the lord's wrath and the lord's love").

Noteworthy is the figure of Zagoretsky, who is a type of people without whom no society can do: they know how to be necessary. This character is the antithesis of Chatsky's image. The latter is honest, but expelled from society, while Zagoretsky is dishonest, but accepted everywhere. It is he who, first of all, forms public opinion, picking up, coloring and spreading gossip about Chatsky's madness in all corners.

Compared with the main character and two other characters - Repetilov and Gorich. The first is a type of pseudo-oppositionist. For the author, obviously, it was important to distinguish between a person who has his own deeply thought-out beliefs and one who is inclined to repeat others'. The fate of the second shows what could happen to Chatsky if he tried to fulfill Famusov's conditions and become like everyone else.

Episodic characters - Khlestova, Khryumins, Tugoukhovskys, Mr. N., Mr. D. - take part in public confrontation, pick up and spread gossip about Chatsky's madness. They are additional social types, thanks to the presence of which the picture becomes more satirical. In their depiction, the author widely used the techniques of hyperbole, irony, and sarcasm. It is also important to pay attention not only to what unites them, making them the so-called representatives of the Famus society, but also to how they differ from each other, to their individual traits and to the contradictions that arise between them.

There are unusually many off-stage characters in the comedy, there are even more of them than stage ones.

They also represent one or another of the opposing sides, with their help the scope of the conflict expands: from the local, taking place in one house, it becomes public; the narrow boundaries of the unity of place and time are overcome, the action is transferred from Moscow to St. Petersburg, from the 19th to the 18th centuries; the picture of the mores of those times becomes more complicated and even more concretized.

In addition, thanks to off-stage characters, the reader gets the opportunity to more accurately assess the views of the persons acting on the stage.

.6 Language and features of comedy verse

The language of "Woe from Wit" was significantly different from the language of the comedy of those years. Griboyedov contrasted sentimentalist aestheticism and sensitivity, as well as the classicist "theory of three calms", with the realistic principle of nationality. The speech of the heroes of the play is, first of all, the speech that could really be heard in the salons and living rooms, "when driving on the porch", in inns, in clubs and in officers' meetings. This rejection of the basic tenets of belles lettres has sparked critical controversy. Dmitriev, already mentioned, reproached Griboyedov with a number of phrases and turns of speech, which, in the opinion of the critic, could not be allowed in literature. However, most critics praised the playwright's linguistic innovation. "I'm not talking about poetry, half of it should become a proverb" - this is how Pushkin assessed Griboedov's skill. “As for the verses in which Woe from Wit is written, in this respect Griboyedov killed for a long time any possibility of Russian comedy in verse. A brilliant talent is needed to continue the work begun by Griboyedov with success ...” - wrote in one of his articles by Belinsky.

Indeed, many lines from the comedy began to be perceived as aphorisms, winged expressions, living their own independent life. Saying: "happy hours do not watch"; "went into a room, ended up in another"; "sin is not a problem, rumor is not good"; "and sorrow awaits from around the corner"; "and the smoke of the Fatherland is sweet and pleasant to us"; "a larger number, a cheaper price"; "with feeling, with sense, with arrangement"; "I would be glad to serve, it's sickening to serve"; "fresh tradition, but hard to believe"; "evil tongues are worse than a gun"; "the hero is not my novel"; "lie, but know the measure"; "bah! all familiar faces" - many people do not remember where these phrases come from.

Language in comedy is both a means of individualization of characters and a method of social typification. Skalozub, for example, as a social type of a military man, very often uses army vocabulary (“front line”, “ranks”, “sergeant major”, “trench”), and the individual characteristics of his speech reflect his self-confidence and rudeness (“you won’t fool me with learning”, " and utter a peep, it will instantly calm you down"), insufficient education, manifested in the inability to build a phrase ("for the third of August, we sat in a trench: he was given with a bow, on my neck") and in an inaccurate choice of words ("with this estimate" instead of "sharpness"). At the same time, he also tries to be wisecracking ("we did not serve together with her").

Famusov’s speech is the so-called Moscow noble vernacular (“they don’t blow anyone’s mustache”, “would you smoke in Tver”, “I scared you”, “trouble in the service”), replete with diminutive forms (“whether to the cross, to the shtetl "," breather "). This character appears in the play in various situations, and therefore his speech is so diverse: either ironic (“After all, I’m somewhat akin to her,” he says about Sofya Chatsky), then angry (“Get you to work! Settle you!”), then scared.

The monologues and remarks of Chatsky, who also appears as a new social type, close in speech features to the Decembrist pathos, demanded a particularly large amount of authorial work. In his speech, there are often rhetorical questions ("Oh! if someone penetrated into people: what is worse in them? soul or language?"), incomprehensible, children were taken to bow?"), antitheses ("He is fat, his artists are skinny"), exclamations and special vocabulary ("weakness", "meanest", "hungering", "slave", "most holy"). At the same time, in Chatsky's speech, one can meet Moscow vernacular (“alongside”, “I don’t remember”). In the language of the protagonist, most of all aphorisms, irony, sarcasm. In addition, this speech conveys a wide range of psychological characteristics of the character: love, anger, friendly concern, hope, offended pride, etc. The language also reveals the negative aspects of Chatsky's character - harshness and willfulness. So, to Famusov's question: "... do you want to get married?" - he replies: "What do you need?", and Sofya declares: "Did your uncle jump back his eyelid?" The hero's monologues and lines are always right on target and hard to dodge or parry. He does not miss a serious reason, not the slightest reason to strike, and does not give an opportunity to retreat with honor, and then his opponents unite. Chatsky is really a warrior, which Goncharov convincingly showed, but war always entails grief and suffering.

2. The immortal work of Griboyedov

comedy Griboedov hero speech

"For more than 150 years, Griboyedov's immortal comedy "Woe from Wit" has been attracting readers, each new generation rereads it anew, finding in it consonance with what worries him today."

Goncharov in his article "A Million of Torments" wrote about "Woe from Wit" - that it "everything lives its imperishable life, will survive many more epochs and everything will not lose its vitality." I fully share his opinion. After all, the writer painted a real picture of morals, created living characters. So alive that they survived to our times. It seems to me that this is the secret of the immortality of the comedy of A. S. Griboyedov. After all, our Famusovs, taciturns, pufferfish, still make Chatsky contemporary to us feel grief from the mind.

The author of the only fully mature and complete work, moreover, not published in its entirety during his lifetime, Griboedov gained extraordinary popularity among his contemporaries and had a huge impact on the subsequent development of Russian culture. For almost a century and a half, the comedy "Woe from Wit" has been living, not aging, exciting and inspiring many generations, for whom it has become part of their own spiritual life, entered their consciousness and speech.

After several years when criticism did not mention Griboyedov's comedy, Ushakov wrote an article. He correctly defines the historical significance of the comedy "Woe from Wit". He calls Griboedov's work an "immortal creation" and sees the best proof of the "high dignity" of comedy in its extraordinary popularity, in the fact that every "literate Russian" knows it almost by heart.

Belinsky also explained the fact that, despite the efforts of censorship, it “spread over Russia in a stormy stream even before printing and presentation” and acquired immortality.

The name of Griboyedov invariably stands next to the names of Krylov, Pushkin and Gogol.

Goncharov, comparing Chatsky with Onegin and Pechorin, emphasizes that Chatsky, unlike them, is "a sincere and ardent figure": "they end their time, and Chatsky begins a new century, and this is all his significance and all his mind", and that is why "Chatsky remains and will always remain alive." It is "inevitable at every change of one age by another."

"Woe from Wit" appeared before Onegin, Pechorin, survived them, passed unharmed through the Gogol period, lived these half a century from the time of its appearance and still lives its imperishable life, will survive many more epochs and everything will not lose its vitality.

The epigram, the satire, this colloquial verse, it seems, will never die, just like the sharp and caustic, living Russian mind scattered in them, which Griboedov has imprisoned, like a magician of some spirit, in his castle, and it crumbles there with malicious laughter. It is impossible to imagine that another, more natural, simpler, more taken from life speech could ever appear. Prose and verse merged here into something inseparable, then, it seems, to make it easier to keep them in memory and put back into circulation all the mind, humor, joke and anger of the Russian mind and language collected by the author.

The great comedy is still young and fresh. She has retained her social sound, her satirical salt, her artistic charm. She continues her triumphant march through the stages of Russian theaters. It is taught at school.

The Russian people, having built a new life, showing all mankind a straight and wide road to a better future, remembers, appreciates and loves the great writer and his immortal comedy. Now, more than ever, the words written on the grave monument of Griboedov sound loud and convincing: "Your mind and deeds are immortal in Russian memory ..."

Conclusion

The comedy of Alexander Sergeevich Griboedov "Woe from Wit" became an event in Russian literature of the early 19th century, was a rare example of its accusatory, satirical direction.

A brilliant playwright, a talented poet and composer, an outstanding diplomat, A.S. Griboedov, according to Belinsky, belonged to "the most powerful manifestation of the Russian spirit." With the immortal comedy "Woe from Wit", the "pearl" of the Russian stage, Griboyedov marked the beginning of the flowering of Russian realistic drama.

The success of the comedy was unheard of. Pushkin gave a brilliant and profound characterization of Woe from Wit. According to the poet, the purpose of comedy is "characters and a sharp picture of morals."

Griboedov created a typical image of a "new man" - a public Protestant and a fighter - in the typical circumstances of his historical time. He showed how systematically and irresistibly, more and more aggravated, the contradiction of the main character, Chatsky, with the Famus society is growing. This society anathematizes Chatsky, which is in the nature of a political denunciation: Chatsky is declared publicly to be a troublemaker, carbonarius, a person who encroaches on the "legitimate" state and social system.

Woe from Wit, of course, remains one of the masterpieces of punishing social satire. But true satire is not one-sided, because a satirist writer, if he stands at the forefront of ideological and artistic positions, always denounces evil and vices in the name of goodness and is virtuous, in the name of affirming some positive ideal - social, political, moral. Griboyedov in "Woe from Wit" not only exposed the world of feudal lords, but also affirmed his positive ideal in the image of the only true hero of the play - Chatsky.

List of used literature

1. A.S. Griboyedov. Point of view. Series "Classical Gymnasium". Comp. biogr. references and notes. A.I. Ostrovskaya. M. Laida, 1994.- p. 187.

Petrieva L.I., Prantsova G.V. A.S. mushroom eaters. Studying at school: Teaching aid.-M.: Flint: Science 2001.-216 p.: ill.

Dictionary of characters in Russian literature: The second half of the 18th-19th centuries - M.-St. Petersburg: Universal book, 200. 362 p.

Aikhenwald Yu. Silhouettes of Russian writers: V 2v, T1 / Foreword. In Kreida.-M.: TERRA.-Book Club; Republic, 1998.-304 p.:

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Lesson topic: “Analysis of 1 action of A.S. Griboedov’s comedy “Woe from Wit”

Lesson Objectives:

Comment on the 1st act of the comedy by A.S. Griboyedov “Woe from Wit”;

Form initial ideas about the conflict,

To continue the formation of the skill of analyzing a dramatic work, taking into account its genre specifics.

During the classes

I. Opening speech of the teacher. A conversation about the perception of comedy.

Today we are starting a conversation about the immortal comedy of A.S. Griboyedov. However, when it appeared, not everyone was delighted with the work of the playwright, some critics could not even imagine that this play would outlive its creator by at least two hundred years.

And what impression did A.S. Griboyedov’s play make on you?

Is the story told in the play by A.S. Griboyedov sad or funny for you?

The work had a difficult road to the stage. A book could also be written about this path.

There are several versions of the history of the comedy:

1. A. S. Griboyedov’s best friend S. N. Begichev wrote: “I know that the plan for this comedy was made by him in St. Petersburg in 1816 and several scenes were even written, but I don’t know whether in Persia or in Georgia Griboyedov changed them in many ways and destroyed some of the actors ... "

2. VV Schneider, Griboedov's classmate at Moscow University, said that Griboedov began writing comedy as early as 1812. Such a point of view exists, although its author, at that time, was over 70 years old, and perhaps he forgot or confused something. True, given the extraordinary abilities of Griboedov, it can be assumed that a 17-year-old boy was able to create such a work.

3. There is also such a version that Griboyedov dreamed of the plot of the comedy. Moreover, the author himself in a letter from Tehran dated November 17, 1820 (the addressee of the letter is not known) confirms it: “... When should it be ready? - In a year, take an oath ... And I took it with trepidation ... I woke up ... the cold of the night dispelled my unconsciousness, lit a candle in my temple, I sit down to write, and vividly remember my promise; in a dream it is not given, in reality it will be fulfilled!

The comedy was completed by the autumn of 1824. The 1st (rough) edition of the play has also been preserved, which is now in the Moscow State Historical Museum.

Griboedov left for Petersburg in the hope of publishing a comedy. He knew that the Moscow censorship would not let her through. In St. Petersburg, he had many influential acquaintances, some of whom were related to the playwright. Griboedov was personally acquainted with Grand Duke Nikolai Pavlovich, the future Emperor NikolaiI, with the Governor-General of St. Petersburg M.A. Miloradovich, with Minister Lansky and other prominent dignitaries. However, the playwright failed to print the comedy or put it on stage. At the same time, in the department of his friend, a prominent official and playwright A.A. Zhandr, the comedy was rewritten in many copies and sold throughout Russia. This manuscript, containing many blots, from which lists were compiled, scattered throughout the country, has also been preserved. It was called the "Gandre Manuscript".

Griboyedov really wanted to see the comedy in print and on stage, but a censorship ban was imposed on it. The only thing that managed to be done after much trouble was to print excerpts with censored edits. However, the comedy reached reading Russia in the form of "lists". The success was amazing: “Thunder, noise, admiration, curiosity have no end” (from a letter to Begichev, June 1824). In another letter, he writes: "Listening to his comedy, I did not criticize, but enjoyed."

Only after the author's death did comedy appear on the professional stage. The first separate edition of Woe from Wit was published in Moscow in 1833 (with censored notes). The original title of the comedy was Woe to Wit. Then the author changes it to "Woe from Wit".

It is impossible to cause grief to the real mind, but from the mind it can very well be grief.

The plot of the work is based on a dramatic conflict, a stormy clash between an intelligent, noble and freedom-loving hero with the noble environment surrounding him. As a result, the hero himself drank the “Woe from his own mind” to the full extent. "Woe from Wit" closes the first period of A.S. Griboyedov's literary activity.

In the future, it is time for intense creative searches for him. To the questions and wishes of his friends, he answered: “... I won’t write a comedy anymore, my gaiety has disappeared, and without gaiety there is no good comedy.”

Which of the characters in the play do you find the most attractive and which the most repulsive?

What comedy scene do you most vividly imagine?

II Repetition of the concept of "comedy of classicism". (Work in notebooks)

What are the genre features of the work of A.S. Griboyedov?

(Comedy- one of the dramatic works. Features of such a work: the absence of the author's narration (but there is a list of characters and remarks); limitation of the action by spatial and temporal frameworks, hence the disclosure of the character's character through moments of confrontation (the role of the conflict); organization of speech in the form of dialogues and monologues, which are addressed not only to other characters, but also to the viewer; stages of conflict development (exposition, plot, development of action with a climax, denouement).

To what style did the classicists classify comedy?

(In the system of genres of classicism, comedy belongs to the lowest style.)

What are the characteristics of classic comedy?

(The principle of the unity of place, time and action; the system of roles, in a play, as a rule, 4 acts - in the third climax, in the fourth denouement. Features of the exposition: the play is opened by minor characters who introduce the viewer to the main characters and tell the background. The action slows down with long monologues Vice is punished - virtue triumphs.)

What are the features of the plot in classic comedy?

(One of the main plot schemes of the comedy of classicism is the struggle of two applicants for the hand of one girl, the positive is poor, but endowed with high moral qualities; everything ends with a happy dialogue.)

Can we claim that this is a classic comedy?

(Of course not, although we see elements of classic comedy: the unity of time, places, speaking names.)

Compiling a table

Unity of time (the action takes place within one day).

Unity of place (the action takes place in Famusov's house).

Unity of action (the basis for the development of the plot is the arrival of Chatsky in Moscow).

The characters are presented in a versatile way, lacking the one-sidedness inherent in the comedies of classicism.

For additional characterization of negative characters, the author uses "talking" surnames: Khryumins, Molchalin, Tugoukhovskys, etc.

A.S. Griboyedov’s comedy “Woe from Wit” is a work in which momentary ideological and political disputes are accurately reproduced and at the same time problems of a national and universal nature are identified. These problems in the play are born from the collision of a bright personality with an inert social order, according to the author himself, “a sane person” with “twenty-five fools”.

Such a clash, "a contradiction between characters, or characters and circumstances, or within a character, underlying the action," is called conflict. The conflict is the "mainspring", the source of dynamic tension of a literary work, which ensures the development of the plot.

The plot is "a chain of events depicted in a literary work, i.e. the life of characters in its spatio-temporal changes, in changing positions and circumstances." The plot not only embodies the conflict, but also reveals the characters of the characters, explains their evolution, etc.

What plot elements do you know?

Which of them are the main ones, which ones are secondary?

What are the distinctive features of each (exposition, plot, development of action, climax, denouement)?

Is it possible to change them?

What artistic effect is achieved?

III. Analysis of the list of actors.

Reading a poster.

Speaking surnames

Famusov (from lat. Fama - "rumor") - the ability to hide, profitably explain the meaning of one's own and other people's actions was embodied. His dependence on public opinion, rumors and emphasizes his "speaking" surname.

Repetilov (from the French. Repeter - "repeat") - bears the image of a pseudo-oppositionist. Not having his own opinion, Repetilov repeats other people's thoughts and expressions. Its author contrasts Chatsky as an internally empty person, trying on "other people's views and thoughts."

Molchalin - he is timid and silent with Sofya and Famusov, but with Lisa and Chatsky he turns into a "talker" and a rake. Obviously, his surname carries a hint of hidden and important properties of nature.

Tugoukhovsky, Skalozub, Khryumina, Khlestova, Zagoretsky.

Heroes receive a characteristic based on the following criteria: the principle of generosity and a place on the career ladder.

Chatsky and Repetilov are deprived of these characteristics.

Why?!

Surname Chatsky "rhymed" (Chadsky - Chaadaev).

With his comedy, Griboedov foresaw the fate of P.Ya. Chaadaev.

The surname "Chatsky" carries an encrypted allusion to the name of one of the most interesting people of that era: Pyotr Yakovlevich Chaadaev. The fact is that in the draft versions of "Woe from Wit" Griboedov wrote the name of the hero differently than in the final one: "Chadskiy". The surname of Chaadaev was also often pronounced and written with one “a”: “Chadaev”. This is exactly how, for example, Pushkin addressed him in the poem “From the Seashore of Taurida”: “Chadaev, do you remember the past? ..”

Chaadaev participated in the Patriotic War of 1812, in the anti-Napoleonic campaign abroad. In 1814 he joined the Masonic lodge, and in 1821 he suddenly interrupted his brilliant military career and agreed to join a secret society. From 1823 to 1826, Chaadaev traveled around Europe, comprehended the latest philosophical teachings, met Schelling and other thinkers. After returning to Russia in 1828-30, he wrote and published a historical and philosophical treatise: "Philosophical Letters".

Views, ideas, judgments - in a word, the very system of worldview of the thirty-six-year-old philosopher turned out to be so unacceptable for Nikolaev Russia that the author of the Philosophical Letters suffered an unprecedented and terrible punishment: he was declared crazy by the highest (that is, personally imperial) decree.

It so happened that the literary character did not repeat the fate of his prototype, but predicted it. And here we come to the most important question: what is Chatsky's madness?

IV. Analysis of the I action of the comedy.

What is 1 - 5 phenomenon in terms of plot development?

(1 - 5 phenomenon in terms of plot development are exposition).

What is the intrigue at the very beginning?

(The secret love of the lord's daughter and the rootless secretary. The unexpected arrival of Chatsky is the beginning of a comedy action, a love conflict: Chatsky is in love with Sophia, she is in love with Molchalin.)

What is the atmosphere of life in Famusov's house and its inhabitants themselves? Let's try to imagine what Famusov's house looks like.

(Famusov and I walk around it in the morning. The house is rich, spacious, and boring. Everything is as it should be - and there are no traces of the owners' identity. They have no hobbies, passions, even no occupation. The house is boring because life here is motionless. Sophia, probably , not only because of love impatience says to Molchalin: “Go; the whole day, we will endure boredom”)

What information do we get about heroes who have not yet appeared on the scene?

(From the words of Lisa, we learn about Chatsky, and about Colonel Skalozub.)

Why did Famusov allow himself to be deceived? After all, the situation was very frank, Sophia's story about the dream is transparent: she cannot immediately renounce the oblivion of music and love; (Molchalin is almost clearly the “hero of the dream” she told (and this is evidence of the sincerity of her love). And the monosyllabicness of Molchalin’s answers, Sophia’s intervention are suspicious for Famusov. But Famusov didn’t find out anything. Why?

(First of all, with all the rudeness, Famusov is simple-minded. Thus, praising his concerns about his daughter, he talks about Madame Rosier, whom he “knew how to accept” as a “second mother”; but it immediately turns out that his insight was not too sharp: “ rare rules" of this "old woman-gold" did not prevent her from escaping to others "for an extra five hundred rubles a year". Asking questions, Famusov almost does not allow others to speak; he is so talkative that, jumping from one subject to another, he almost forgets about his intentions, but it is difficult to explain his willingness to close his eyes to everything he saw.

Perhaps the main reason for his blindness is that he does not want to see anything, he is just lazy, he is afraid of "troubles". After all, if you take all this seriously, you have to go to the scandal with Sophia, drive Molchalin ... Famusov does not like change, it is convenient for him to live the way he lives. And the precautions come down to the fact that he scolds everyone and “leaves with Molchalin, lets him go ahead at the door” so as not to leave his secretary with his daughter.

In what phenomenon does Chatsky appear? How does Chatsky enter?

(He is energetic, happy, excited, looking forward to the meeting he has been waiting for so long. This first scene is very important. Here is the beginning of that tragic delusion that will eventually make Chatsky the hero of a comedy.)

What made Chatsky leave Moscow?

(Boredom, which even falling in love with Sophia could not overcome. His exacting criticism inevitably led to "grief", she obscured the joy of love. And Chatsky leaves to "seek the mind", look for the positive foundations of life, its enlightenment. Love for the motherland (not without reason he says about the "smoke of the fatherland") and falling in love with Sophia return him to Moscow.

Chatsky is an action hero, an enthusiast by nature. But in Famus' Moscow, energy and enthusiasm are not only illegal," they have nothing to eat. And Chatsky "rushes" into love, as into a living, direct and deep element of life.)

How does Sophia meet him? (Her behavior is very accurately given by Griboedov in the mirror of Chatsky's remarks.)

Why does Sophia's secular courtesy give way to coldness, irony and hostility? What annoys Sophia in Chatsky?

How is Chatsky trying to return the tone of his former relationship with Sophia? What struck Chatsky most of all in Sophia and why did he not immediately understand that love was lost?

What has changed for Chatsky in Famusov's house and how has he changed? What is the irony of Chatsky directed against?

(Dialogue between Chatsky and Sophia - Chatsky's satirical denunciation of Moscow morals)

What in the way of life and behavior of the Moscow nobility causes Chatsky's condemnation? How is the nature of the hero himself revealed in his accusatory speeches?

Did the conflict manifest itself in the 8th - 10th phenomenon, between whom, what is its nature?

V. Summing up.

The exposition introduces the reader to the house of the Moscow gentleman Famusov. His 17-year-old daughter Sophia is in love with the poor secretary of Father Molchalin. They meet secretly from their father. Sophia's maid Lisa helps in this. From the conversation between Lisa and Sophia, we learn that three years ago Chatsky, who was brought up in the Famusovs' house, left to "seek his mind" in St. Petersburg, then abroad.

The plot of the comedy is the unexpected arrival of Chatsky, who passionately confesses his love to Sophia. This is how an external conflict arises: a struggle for a bride, a love triangle - Sophia loves Molchalin, Chatsky loves Sophia. The dialogue between Sophia and Chatsky reveals Sophia's complete indifference to her childhood friend. The conflict is complicated by the fact that Sofya Famusov's father would not be pleased with either one or the other applicant: Molchalin is poor and rootless, Chatsky is also not rich, in addition he is free-thinking, impudent.

Homework.

2. Individual task: expressive reading of Chatsky's monologues“And for sure, the world began to grow stupid ...”, “And who are the judges?” and Famusova "That's it, you are all proud!", "Taste, father, excellent manner."

3. Answer the questions: "Why does Chatsky enter into a dispute with Famusov. Why is a clash between Chatsky and Famusov's Moscow inevitable?"

Briefly:

The idea of ​​the comedy "Woe from Wit" dates back to 1816. During the life of the author, despite his efforts, the caesura did not allow the publication of this work. Only small excerpts from the comedy appeared in print. Despite this, "Woe from Wit" was well known in society, because it was distributed in lists. Only in 1831 did the censorship allow the incomplete text of the comedy to be printed. The most “unreliable” parts of it were excluded. In the same year, the play was staged in St. Petersburg, and then in Moscow.

The conflict in comedy is social; its protagonist is tormented not only by unrequited love, but also by the inability to live in this crazy society. Comedy bears the features of classicism - the unity of action, place and time, the characters are endowed with characteristic names - Chatsky - from the word "child", Famusov - from the English word "famous", Molchalin - wordless, Repetilov - retelling the thoughts of others, etc. But behind these external signs of classicism lies realism, which is expressed in the characters of the characters faithful to the truth of life, in their ambiguity, characteristic of living people. The deep realism of the comedy is matched by its vivid, figurative language. Here, living people speak a living language. The language of each character characterizes the image; for example, the accurate and sharp language of the maid Lisa, the harmonious and logical speech of Chatsky. Repetilov's monologues do not have a core, he constantly jumps from one topic to another. Many expressions from comedy have become “winged”, people still use them today, for example, “and the smoke of the fatherland is sweet and pleasant for us”, “happy hours are not observed”, etc. (For a detailed analysis of the characters of comedy characters, see the article “I. A Goncharov).

This work had a great influence on the further development of Russian literature. Almost fifty years after the comedy was written, I. A. Goncharov dedicated a critical essay to it, called "A Million of Torments", written as if the comedy had been recently completed.

Source: Quick Student's Guide. Russian Literature / Ed.-comp. I.N. Agekyan. - Minsk: Modern writer, 2002

More:

"Woe from Wit" (1824) became the first Russian realistic comedy, this work became a milestone for the establishment of realism in Russian drama. However, precisely because it was the first realistic work, one can single out the influence of the aesthetics of romanticism in it (even the image of Chatsky, who is generally realistic, is very similar to the images of romantic heroes opposed to circumstances and other heroes), and even the influence of classicism - here and observance the requirements of the "three unities" and the "speaking" names of the heroes. However, it can be said that Griboedov in the comedy "Woe from Wit" creatively reworked all the best that was created in Russian literature before him, being able to create a qualitatively new work on the basis of this, and this novelty is determined primarily by new principles for creating characters, new approach to understanding the essence of images-characters.

Griboedov's heroes are heroes whose images are socially motivated, they are such because they belong to a certain time and certain strata of society, although this does not mean that they are schema heroes. It's just that in each of them the main character traits are formed by the environment, each of them expresses this environment, while remaining an individuality.

The language of the comedy "Woe from Wit"

Also, the language of the comedy "Woe from Wit" has become fundamentally new for Russian literature, the linguistic characteristics of the characters present each of them to the reader in such a way that, for example, Sophia's speech cannot be confused with the speech of Princess Tugoukhovskaya, and Molchalin and Skalozub differ both in characters and in their speech . The extreme individualization of the speech characteristics of the characters, a brilliant command of the Russian language, the aphorism of the characters' replicas, the sharpness of the controversy in dialogues and monologues - all this makes the language of Griboyedov's comedy "Woe from Wit" a unique phenomenon in Russian literature of the 20s of the XIX century, and the fact that many phrases from it became "winged", confirms that she belonged not only to her time.

Comedy conflicts

Comedy conflicts are very interesting. The external conflict is obvious: this is the confrontation between the advanced man of his time (Chatsky) and society, living in the past and striving to keep this life unchanged. In other words, the conflict of the old and the new, banal, in general, the conflict. However, he is most closely connected with the internal conflict of comedy, with the contradiction of the image of Chatsky. How could he, the smartest person, not understand that Sophia loves another after she herself told him about it and called the name of this person? Why does he prove his point of view with such fervor to people whose value he knows perfectly well, as well as he knows that they will never not only disagree with him, but even will not be able to understand him? Here it is, the internal conflict of the comedy "Woe from Wit" by Griboyedov. Chatsky deeply and sincerely loves Sofya, and this feeling makes him so slow-witted and even funny - although can someone who loves be funny, no matter how funny he may seem? .. In some ways, the internal and external conflicts of comedy coincide, although love Sofya to Molchalin and is not socially conditioned in terms of motivation, rather, on the contrary, but the romantic look of Famusov's daughter on the latter is also characteristic of the society in which they live.

The image of Famusov

The world of Famusov is the world of the Moscow nobility, who lives according to the norms of the "Times of the Ochakovites and the Conquest of the Crimea" and does not want to change anything in their lives. Famusov, the "manager in a state-owned place," does things carelessly ("Signed, so off his shoulders" ...), but he succeeds in arranging his life with all sorts of conveniences, not excluding "monastic behavior" ... He knows for sure that for his daughter "Whoever is poor is not a match for you", he is well versed in secular gossip and everything related to other people's estates, he can, on occasion, remind Molchalin to whom he owes his current position, and he is undisguisedly obsequious with Skalozub, seeing in him a profitable groom for his daughter ... In a conversation with Chatsky, not understanding even half of what the interlocutor says, he is mortally frightened, believing that he is talking with a "carbonari" (that is, a rebel) who "wants to preach liberty" and “does not recognize the authorities,” demands: “I would strictly forbid these gentlemen to drive up to the capitals to shoot at the shot.” He is not so stupid at all, Famusov, so he is ready to fight by any means to preserve his position and his way of life, he defends his right to see life like this and live that way. His danger is that he is ready for just that, for everything, or maybe he is still very much, so far he and others like him are the true masters of life, and only one person opposes them - Chatsky, who is very lonely in this society, which no matter how they talk about "nephews" and others who allegedly profess different ideals, but in Famusov's house Chatsky is truly alone.

The image of Chatsky in the comedy "Woe from Wit"

The image of Chatsky was perceived by his contemporaries as an image of an advanced person, defending the ideals of a new life, which was to replace the dominance of "famusism". He was seen as a representative of the younger generation, an intelligent, educated, decent person who passionately defends the need to change life and, it seems, is taking some steps in this direction, although the author speaks of this in passing. It is only indisputable that Chatsky is a thinking and gifted person, his judgments about public service, about duty, not without reason scare Famusov so much, they express ideas of a state structure that undermine the foundations of the existence of Famusov and his ilk: "To serve the cause, not individuals ... "," I would be glad to serve, it's sickening to serve, "" And for sure, the world began to grow stupid."

There was a lot of debate about whether the image of Chatsky in Woe from Wit can be considered the image of a Decembrist in literature, but there is no doubt that the ideas of the hero are close to the ideas of the Decembrists, to whom the author of the comedy treated with great sympathy. However, Chatsky is not just a spokesman for the advanced ideas of his time, in the opinion of the author of the comedy. This is a living person, he is sincere and deep in his feelings, his actions are determined by the feeling of great love that he feels for Sophia. He is in love, he remembers Sophia as a young girl who, judging by the fact that she makes excuses to Liza, showed him unequivocal signs of attention, and now he wants to see the same Sophia in her, not wanting to see that she has undergone dramatic changes. Chatsky's irritation and even some anger are caused by the fact that Sophia has changed her attitude towards him, and this prevents the hero from really perceiving circumstances, seeing them as they are. The mind and feelings of the hero are too much occupied with love for him to control himself, for him now the whole world is concentrated in Sophia, so everything else and everyone else just irritates him: Famusov irritates, to whom he still has a certain respect as Sophia's father; irritates Skalozub, in which he is ready to see Sophia's possible groom; irritates Molchalin, who, "with such a soul," cannot (as he believes!) Be loved by the same Sophia.

Chatsky's persistent attempts to find out the truth about Sophia's attitude to himself border on pathology, and his stubborn unwillingness to accept this truth could seem like blindness if it weren't for love ... However, the scene that he witnesses in the last act gives him the final answer to the most important question for him now is that he receives irrefutable evidence that Sophia not only does not love, but also betrays him, therefore Chatsky’s last monologue is the cry and pain of an offended soul and offended feeling, but here the Famus society is deadly accurately characterized, which took away from the hero the most precious thing in his life - love. Chatsky leaves Moscow, and his departure seems to indicate that he is defeated. True, there is a well-known thought by I.A. Goncharov that "Chatsky is broken by the amount of old strength, inflicting a mortal blow on it with the quality of fresh strength", but how can this undoubted victory of the hero help him when his heart is torn from pain? .. Therefore, we can say that that the ending of the comedy is close to tragic - for him, the "eternal accuser", to whom neither a brilliant mind, nor the ability to "make everyone laugh" could help to find ordinary human happiness ...

Molchalin

The system of comedy images is built in such a way that the author gives us the opportunity to see Chatsky's "anti-twins": these are the images of Molchalin and Repetilov. Molchalin is a happy rival of Chatsky in love, in his own way he is a very strong personality who manages to achieve a lot in life. But - at what cost? He sacredly observes his father's covenant: "My father bequeathed to me: First, to please all people without exception ...". He pleases, even with "our deplorable keeper" (this one calls Sophia) he "respectfully" spends the nights, because she is "the daughter of such a person"! Of course, one can say that for Molchalin such behavior is the only one possible from the point of view of achieving "known degrees", but is it not at the cost of losing self-esteem to achieve them?

Repetilov

The image of Repetilov was perceived by contemporaries as a clear parody of the Decembrists, which may seem strange - if we recall the attitude of the author of the comedy towards them and their ideas. However, Repetilov is very similar to ... Chatsky, only to Chatsky, deprived of his mind, his self-esteem, his ability to behave as his honor requires. The comic double of the protagonist helps to better understand the image of Chatsky in the comedy "Woe from Wit", to see his strengths and appreciate them, while remaining an original and original artistic image, ridiculing those of the supporters of the Decembrists who preferred "words, words, words..."

Sofia

The image of Sophia turned out to be complex and contradictory in the comedy. Molchalina, who created a romantic image for herself and fell in love with her “creation”, is ready to defend her beloved from Chatsky’s unfair attacks, as she is convinced, and succeeded a lot in this (remember, it was from her “feed” that gossip from Chatsky’s madness went for a walk!), which became an involuntary witness to how the person she loves mocks her and her love - this is what the heroine of the comedy has to go through, and at the end of the work she cannot but arouse sympathy from the viewer. Sofya is both smart and knows people well - how brilliantly she gives a hint of the imaginary madness of Chatsky to the secular gossip G. N., there is nothing to reproach her with on occasion! However, like Chatsky, she was blinded by love, and, bringing suffering to Chatsky, she herself suffers no less from the betrayal of a person whom she believed in and for whose love she made certain sacrifices.

"Mind Theme"

The theme of the mind occupies a special place in the comedy. The "woe" brought to Chatsky by his undoubted mind is aggravated by the fact that in Famusov's world a different idea of ​​\u200b\u200b"mind" dominates: here one who knows how to achieve ranks and money is valued, therefore Uncle Famusova, who endlessly falls before those who "rank" gives", is revered as a model of wisdom, and the smart Chatsky is declared crazy ... Being a thinking person in the circle of those who do not understand the difference between intelligence and cunning is Chatsky's lot.

Author's position

The image of the author, the author's position in the comedy "Woe from Wit" is manifested primarily in the creation of character images and the main conflict of the comedy. Chatsky is depicted with great sympathy, his moral superiority, his victory over Famusov's world speaks of which side the author is on. The satirical image of the world of old Moscow, its moral condemnation also point to the author's position. Finally, the ending of a comedy, when it turns into a tragicomedy (this was discussed above), from the point of view of expressing the author's position, also clearly tells the viewer which side the author is on. In Griboyedov's comedy, the author's principle is expressed both in remarks and in the speech characteristics of images-characters, the unique personality of the author of one of the greatest comedies in Russian literature is visible in everything.

As already noted, the "catch phrases" from "Woe from Wit" have firmly entered both Russian literature and the Russian language. The work itself also took its place in Russian culture, which gives reason to talk about the folk character of Griboyedov's comedy.

The history of the creation of comedy

The comedy "Woe from Wit" is the main and most valuable result of A.S. Griboyedov. When studying the comedy Woe from Wit, one should analyze, first of all, the conditions in which the play was written. It touches upon the issue of the brewing confrontation between the progressive and conservative nobility. Griboyedov ridicules the mores of the secular society of the early 19th century. In this regard, the creation of such a work was a rather bold step in that period of the development of Russian history.

There is a known case when Griboyedov, returning from abroad, found himself at one of the aristocratic receptions in St. Petersburg. There he was outraged by the obsequious attitude of society towards one foreign guest. Griboyedov's progressive views prompted him to express his sharply negative opinion on this matter. The guests considered the young man crazy, and the news of this quickly spread throughout society. It was this incident that prompted the writer to create a comedy.

Theme and problems of the play

It is advisable to start the analysis of the comedy "Woe from Wit" by referring to its name. It reflects the idea of ​​the play. Grief from his sanity is experienced by the main character of the comedy - Alexander Andreyevich Chatsky, who is rejected by society only because he is smarter than the people around him. Another problem follows from this: if a society rejects a person of an extraordinary mind, then how does this characterize society itself? Chatsky feels uncomfortable among people who consider him insane. This gives rise to numerous speech clashes between the protagonist and representatives of the society he hates. In these conversations, each side considers itself smarter than the interlocutor. Only the mind of the conservative nobility lies in the ability to adapt to existing circumstances in order to obtain maximum material benefits. Anyone who does not pursue ranks and money for them is a madman.

Accepting the views of Chatsky for the conservative nobility means starting to change their lives in accordance with the requirements of the time. Nobody finds this convenient. It's easier to declare Chatsky crazy, because then you can simply ignore his diatribes.

In the clash between Chatsky and representatives of aristocratic society, the author raises a number of philosophical, moral, national, cultural and everyday issues. Within the framework of these topics, the problems of serfdom, service to the state, education, and family life are discussed. All these problems are revealed in comedy through the prism of understanding the mind.

The conflict of a dramatic work and its originality

The peculiarity of the conflict in the play "Woe from Wit" lies in the fact that there are two of them: love and social. The social contradiction lies in the clash of interests and views of the representatives of the "current century" in the person of Chatsky and the "past century" in the person of Famusov and his supporters. Both conflicts are closely related to each other.

Love experiences force Chatsky to come to Famusov's house, where he has not been for three years. He finds his beloved Sophia in a confused state, she accepts him very coldly. Chatsky does not realize that he arrived at the wrong time. Sophia is busy going through a love story with Molchalin, her father's secretary, who lives in their house. Endless thoughts about the reasons for the cooling of Sophia's feelings make Chatsky ask questions of his beloved, her father, Molchalin. During the dialogues, it turns out that Chatsky's views differ from each of the interlocutors. They argue about service, about ideals, about the mores of secular society, about education, about the family. The views of Chatsky frighten the representatives of the "past century", because they threaten the usual way of life of the Famus society. Conservative nobles are not ready for change, so a rumor about Chatsky's madness, accidentally launched by Sophia, instantly spreads in society. The protagonist's lover is the source of unpleasant gossip because it interferes with her personal happiness. And this again sees the interweaving of love and social conflicts.

Comedy character system

In the depiction of characters, Griboedov does not adhere to a clear division into positive and negative, which was mandatory for classicism. All heroes have both positive and negative traits. For example, Chatsky is smart, honest, brave, independent, but he is also quick-tempered, unceremonious. Famusov is the son of his age, but at the same time he is a wonderful father. Sophia, ruthless towards Chatsky, is smart, brave and determined.

But the use of "speaking" surnames in the play is a direct legacy of classicism. In the surname of the hero, Griboedov tries to put the leading feature of his personality. For example, the surname Famusov is derived from the Latin fama, which means "rumour". Consequently, Famusov is the person who is most concerned about public opinion. It is enough to recall his final remark to be convinced of this: “... What will Princess Marya Aleksevna say!”. Chatsky was originally Chadsky. This surname hints that the hero is in the midst of his struggle with the mores of an aristocratic society. The hero Repetilov is also interesting in this respect. His surname is connected with the French word repeto - I repeat. This character is a caricatured double of Chatsky. He does not have his own opinion, but only repeats other people's words, including the words of Chatsky.

It is important to pay attention to the placement of characters. Social conflict occurs mainly between Chatsky and Famusov. A love confrontation is built between Chatsky, Sofia and Molchalin. These are the main characters. The figure of Chatsky unites the love and social conflict.

The most difficult in the comedy "Woe from Wit" is the image of Sophia. It is difficult to attribute it to people who adhere to the views of the "gone century". In relations with Molchalin, she despises the opinion of society. Sophia reads a lot, loves art. She is disgusted by the stupid Puffer. But you can’t call her a supporter of Chatsky either, because in conversations with him she reproaches him for his causticity, ruthlessness in words. It was her word about Chatsky's madness that became decisive in the fate of the protagonist.

Both secondary and episodic characters are important in the play. For example, Liza, Skalozub are directly involved in the development of a love conflict, complicating and deepening it. The episodic characters that appear on a visit to Famusov (the Tugoukhovskys, Khryumins, Zagoretsky) more fully reveal the mores of the Famusov society.

Development of dramatic action

An analysis of the actions of "Woe from Wit" will reveal the compositional features of the work and the features of the development of the dramatic action.

All the phenomena of the first act before the arrival of Chatsky can be considered an exposition of the comedy. Here the reader gets acquainted with the scene and learns not only about the love affair between Sophia and Molchalin, but also that Sophia used to have tender feelings for Chatsky, who left to wander around the world. The appearance of Chatsky in the seventh appearance of the first act is the plot. This is followed by a parallel development of social and love conflicts. Chatsky's conflict with the Famus society reaches its peak at the ball - this is the culmination of the action. The fourth act, 14th comedy phenomenon (Chatsky's final monologue) is the denouement of both the social and love lines.

In the denouement, Chatsky is forced to retreat before the Famus society, because he is in the minority. But he can hardly be considered defeated. It's just that Chatsky's time has not yet come, a split in the noble environment has only just begun.

The originality of the play

Research and analysis of the work "Woe from Wit" will reveal its bright originality. Traditionally, "Woe from Wit" is considered to be the first Russian realistic play. Despite this, it retained the features inherent in classicism: “speaking” surnames, the unity of time (the events of the comedy take place within one day), the unity of place (the play takes place in Famusov’s house). However, Griboyedov refuses the unity of action: two conflicts develop in parallel in comedy, which contradicts the traditions of classicism. In the image of the protagonist, the formula of romanticism is also clearly visible: an exceptional hero (Chatsky) in unusual circumstances.

Thus, the relevance of the play's problems, its unconditional innovation, the aphoristic language of comedy are not only of great importance in the history of Russian literature and dramaturgy, but also contribute to the popularity of comedy among modern readers.

Artwork test

Griboyedov wrote the play for two years (1822-1824). Since Alexander Sergeevich served as a diplomat and was considered an influential person, he hoped that his creation would easily pass the censorship and soon become a full-fledged performance. However, he soon realized: comedy "no pass." It was possible to publish only fragments (in 1825 in the almanac "Russian Thalia"). The entire text of the play was published much later, in 1862. The first theatrical production took place in 1831. However, in handwritten lists (samizdat of that time), the book spread rapidly and became very popular among the reading public.

comedy feature

Theater is the most conservative art form, so while romanticism and realism were developing in literature, classicism still dominated the stage. Griboedov's play combines the features of all three directions: "Woe from Wit" is a classic work in form, but realistic dialogues and problems related to the realities of Russia in the 19th century bring it closer to realism, and the romantic hero (Chatsky) and the conflict of this hero with society - a characteristic contrast for romanticism. How do Woe from Wit combine the classic canon, romantic motifs, and a general realistic orientation towards vitality? The author managed to harmoniously weave contradictory components together due to the fact that he was brilliantly educated by the standards of his time, often traveled the world and read in other languages, so he absorbed new literary trends before other playwrights. He did not rotate among writers, he served in a diplomatic mission, and therefore his mind was free from many stereotypes that prevented authors from experimenting.

Drama genre "Woe from Wit". Comedy or drama?

Griboyedov believed that "Woe from Wit" is a comedy, but since tragic and dramatic elements are very developed in it, the play cannot be attributed exclusively to the comedy genre. First of all, you need to pay attention to the ending of the work: it is tragic. Today it is customary to define "Woe from Wit" as a drama, but in the 19th century there was no such division, so it was called "high comedy" by analogy with the high and low calm of Lomonosov. There is a contradiction in this wording: only tragedy can be “high”, and comedy is by default “low” calm. The play was not unambiguous and typical, it broke out of the existing theatrical and literary clichés, which is why it was so highly appreciated by both contemporaries and the current generation of readers.

Conflict. Composition. Issues

The play is traditionally distinguished two types of conflict: private (love drama) and public (contrasting the old and new times, the "famus society" and Chatsky). Since this work is partially related to romanticism, we can argue that there is a romantic conflict between the individual (Chatsky) and society (Famusovsky society) in the play.

One of the strict canons of classicism is the unity of action, which implies a causal relationship of events and episodes. In Woe from Wit, this connection is already significantly weakened, it seems to the viewer and reader that nothing significant is happening: the characters walk back and forth, talk, that is, the external action is rather monotonous. However, the dynamics and drama are laid down precisely in the dialogues of the characters, the play must first of all be listened to in order to catch the tension of what is happening and the meaning of the production.

The peculiarity of the composition is that it is built according to the canons of classicism, the number of acts does not coincide with it.

If the comedies of writers of the late 18th and early 19th centuries denounced individual vices, then Griboyedov's satire fell upon the entire conservative way of life, saturated with these vices. Ignorance, careerism, martinetism, cruelty and bureaucratic inertia - all these are the realities of the Russian Empire. The Moscow nobility with its ostentatious puritanical morality and unscrupulousness in business is represented by Famusov, stupid military careerism and blinkered consciousness - Skalozub, obsequiousness and hypocrisy of bureaucracy - Molchalin. Thanks to episodic characters, the viewer and reader get acquainted with all the types of the “famus society” and see that their cohesion is the result of the solidarity of vicious people. The many-sided and motley clique has absorbed all the vulgarity, lies and stupidity that society is accustomed to worship and yield to. The characters are not only on stage, but also off stage, mentioned in the replicas of the characters (truthmaker Princess Marya Aleksevna, writer of "exemplary nonsense" Foma Fomich, influential and all-powerful Tatyana Yuryevna and others).

The meaning and innovation of the play "Woe from Wit"

In the play, which the author himself considered a comedy, oddly enough, the most pressing problems of that period are highlighted: the injustice of serfdom, an imperfect state apparatus, ignorance, the problem of education, etc. Griboyedov also included, it would seem, in an entertaining work, the burning disputes about boarding houses, jury trials, censorship and institutions.

Moral aspects, which are no less important for the playwright, give rise to the humanistic pathos of the work. The author shows how the best qualities in a person die under the pressure of the “famus society”. For example, Molchalin is not devoid of positive qualities, but he is forced to live according to the laws of Famusov and others like him, otherwise he will never succeed. That is why "Woe from Wit" occupies a special place in Russian dramaturgy: it reflects real conflicts and non-fictional life circumstances.

The composition of the drama is sustained in the classic style: the observance of the three unities, the presence of large monologues, the speaking names of the characters, etc. The content is realistic, so the performance is still sold out in many theaters in Russia. Heroes do not personify one vice or one virtue, as was customary in classicism, they are diversified by the author, their characters are not devoid of both negative and positive qualities. For example, critics often call Chatsky a fool or an overly impulsive hero. Sophia is not to blame for the fact that during his long absence she fell in love with the one who was nearby, and Chatsky is immediately offended, jealous and hysterically denounces everything around just because his beloved has forgotten him. A quick-tempered and absurd character does not paint the main character.

It is worth noting the colloquial language of the play, where each character has his own speech turns. This idea was complicated by the fact that the work was written in verse (iambic multi-footed), but Griboedov managed to recreate the effect of a casual conversation. Already in 1825 the writer V.F. Odoevsky stated: “Almost all the verses of Griboedov’s comedy became proverbs, and I often happened to hear in society, the whole conversations of which were mostly verses from Woe from Wit.”

It is worth noting speaking names in "Woe from Wit": for example, “Molchalin” means the hidden and hypocritical nature of the hero, “Skalozub” is the inverted word “gnawing”, meaning boorish behavior in society.

Why is Griboedov's comedy "Woe from Wit" now readable?

At present, people often use Griboyedov's quotes without knowing it themselves. Phraseologisms “a legend is fresh, but hard to believe”, “happy hours are not observed”, “and the smoke of the fatherland is sweet and pleasant to us” - all these catchphrases are familiar to everyone. The play is still relevant today due to Griboyedov's light aphoristic author's style. He was one of the first to write a drama in real Russian, which people still speak and think. The heavy and pompous lexicon of his time was not remembered by his contemporary in any way, but Griboedov's innovative style found its place in the linguistic memory of the Russian people. Is it possible to call the play "Woe from Wit" relevant in the 21st century? Yes, if only because we use his quotes in everyday life.