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 name 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
The immortal comedy "Woe from Wit" was written during the years of the creation of secret Decembrist societies. The content of the comedy is connected with historical reality. In it, the ideas of the “present” century collided with the “past” century.
"Woe from Wit" is a socio-political comedy. Griboedov gave in it a true picture of Russian life after the Patriotic War of 1812.
The comedy raised topical social issues of that time: about public service, serfdom, education, upbringing, about the slavish imitation of the nobles of everything foreign and contempt for everything national, popular. Griboyedov's comedy showed the causes of the emergence of Decembrists, in addition, the public questions posed in Woe from Wit are resolved by the author in the same way as the Decembrists solved them.
In Griboedov's comedy "Woe from Wit", as in a mirror, the ethical and aesthetic views of the Decembrists were reflected.
The main character of the comedy is Alexander Andreevich Chatsky. It was he who embodied the features of such a "new" person. In the Famus society, Chatsky feels lonely. After a three-year trip abroad, without stopping by his home, directly from the carriage, he appears in Famusov's house and meets a very cool welcome - both from the owner and from his daughter:
A little light - already on your feet! and I am at your feet.
Well, kiss the same, did not wait? Speak!
Well, for? No? Look at my face.
Surprised? Only? Here's the welcome!
Chatsky is sincerely glad to see you. He hopes to find an answer to the old feeling, but does not find it. He was struck by two changes: she became unusually prettier and cooler towards him - also unusually.
Sophia is embarrassed by Chatsky's vehemence, and he is at a loss: this was not how the meeting seemed to him. Lisa tries to defuse the situation. Sofia corrects her. She tries to compare her to her aunt:
Here I would bring you to my aunt,
To count all the acquaintances.
You should pay attention to where Chatsky comes from. For forty-five hours he raced seven hundred miles - this is the distance from Moscow to St. Petersburg. He was in a hurry, he wanted to see Sophia. Each of her remarks, devoid of reciprocal joy, alarms him, so he hurries to turn the subject to memories of mutual acquaintances, over whom they once laughed together.
In his monologue, Chatsky mentions the English club:
Well, what about your father? All English club
Old, faithful member to the grave?
In the same monologue, Chatsky mentions "a black-haired man with crane legs," who was in every rich house: "Wherever you go: right there, in the dining rooms and living rooms."
There are also ladies-in-waiting, junior female court ranks, a comparison of the aunt with Minerva, the lady-in-waiting of Catherine the Great. And then Chatsky recalls Molchalin:
That I'm dumber than Molchalin? Where is he, by the way?
Have you yet broken the silence of the press?
It used to be songs where brand new notebooks
He sees, sticks: please write off.
And yet, he will reach certain degrees,
After all, today they love the dumb.
With these words, he touched Sophia to the quick. She says:
Not a man, a snake!
This is revenge for Molchalin. She already asks him with hidden anger if he happened to at least inadvertently "say good things about someone." Her last remark is frankly evil. Chatsky says: "Tell me into the fire: I'll go as if for dinner." Sophia replies: "Yes, well - burn, if not?"
This is how the action develops in the seventh manifestation. In the eighth, Famusov appears. He is very happy about the arrival of Chatsky:
Great, friend, great, brother, great!
Tell me, is your tea ready?
Collection of important news?
Sit down, tell me quickly.
Chatsky almost does not notice Famusov, coldly and absently answers his questions.
“Now am I up to it?” - he says, and, promising to come again, leaves. He speaks of only one thing: "How prettier Sofya Pavlovna has become!"
Such is the finale of act 1, such is the first meeting with Chatsky. Before us is an ardent young man who loves passionately, who has come to his home after a long separation, excited by his feelings and cannot understand who he was preferred to.
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 classicist 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.”
Its useful to note 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.
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The comedy of the Russian classic Griboedov "Woe from Wit" is divided into four acts. The first takes place in the house of the great official Famusov, here the daughter Sophia, a spoiled and clever girl, is caught by the priest on a secret meeting with the petty official Molchalin. Then Chatsky arrives, a man of progressive views, in love with Sophia since childhood, without reciprocity.
Analysis of the second act "Woe from Wit": here the main problems of the work are raised: the conflict of freethinking, freethinking with the old despotic foundations. Also a conflict of selfish interests and sincere, unconditional, ardent feelings. In a conversation with Colonel Skalozub, Famusov expresses his opinion: you have your own estate and service - the groom. No - walk, Vasya!
Chatsky has a conversation with Famusov, where the latter is horrified by the free views of the young man: “Yes, he does not recognize the authorities!”. “When it is necessary to serve, and he bent over backwards” - a dispute between the owner and Chatsky arises around this model of a successful person, the latter refuses the example offered to him.
At this time, Molchalin falls from his horse, the frightened Sophia in love faints when she sees this. Her feelings for Molchalin, which she carefully concealed, become clear to the inhabitants of the house.
Analysis of the third act "Woe from Wit": here the theme of dependence on public opinion, idleness, herding and stupidity in society is raised. The carefree crowd at the ball makes Chatsky crazy thanks to Sophia's evil joke: no one wants to admit that they were not the first to know about this news. Suddenly, rich and honored individuals resemble a flock of sheep. People trust the authorities implicitly: “if the princes know, then it’s true!” And they behave with herd cruelty, for the most part with indifference to the fate of Chatsky: everyone is unanimously afraid of him, they are afraid to speak: “Suddenly he will rush!”
Analysis of the fourth act "Woe from Wit". At the end of the comedy, the theme and the problem of self-worth are raised. The convicted Molchalin crawls on his knees in front of Sophia, but she is already disgusted by his submissiveness. Self-esteem rises in her at this moment. The same self-esteem wakes up in Chatsky and forces him to leave the house and sleepy Moscow, where the girl who attracted him played stupid games with him, where he was sick and stuffy to be in society.
The image of Famusov: Famusov is the owner of the house, the manager in a state-owned place, Sophia's father, a power-hungry and voluptuary man, as evidenced by his intention to flirt with the servants. "Oh! away from the gentlemen. Prepare troubles for yourself at every hour, ”says Lisa, a maid, about the owner. Famusov is accustomed to commanding other people, accustomed to wealth. For his daughter Sofya, he arranges such brainwashing on all occasions that hold on: Famusov knows how to pour a verbal stream on the head of another person perfectly. His veneration exceeds all reasonable limits. He does not encourage the teaching of his daughter, since he did not find anything for himself in books, he considers Sophia his property:
“Tell me that it’s not good for her eyes to spoil,
And in reading, the use is not great:
She has no sleep from French books,
And it hurts me to sleep from the Russians ...
All night reading fables,
And here are the fruits of these books! ... "
Sophia's look: Sofya - Famusov's daughter, a lover of French novels; a proud girl, freedom-loving and disobedient to her father: “What is the rumor to me? Whoever wants to, judges so ... ”- she says, showing courage in her choice. Sophia has her own opinion and is able to make a choice. But the mind of this girl is directed to intrigues more than anything positive. He cruelly laughs at the enamored Chatsky, spreads rumors about him, and plays dirty tricks like a child. Intimidated Molchalin, a hidden intriguer, and an external sheep, for her, is an appropriate pair.
The image of Chatsky. Alexander Chatsky is a man of a rebellious nature: "I would be glad to serve, it's sickening to serve ....". It is necessary to serve the cause, not the persons - this is what Chatsky believes. He is a man with mature feelings, has pride and principles, develops his mind. Unfortunately, Sophia is unable to appreciate this.
The image of Molchalin: Alexei Stepanovich Molchalin is a man "on his mind." He does not feel passionate feelings for Sophia, and probably does not feel any, and this conquers her. In his free time, he has an affair with Lisa. He is a restrained, obsequious, quiet man, diligent in service, submissive to Famusov: “In my years, one should not dare to have one’s own judgment,” is laconic:
"Oh! Sophia! Is Molchalin chosen by her!
Why not a husband? There is only little mind in him;
But to have children
Who lacked intelligence?
Helpful, modest, there is a blush in his face ... "
The comedy is written in a lively and easy language, excellent rhymes are selected, the text is full of colorful images and comparisons. The work is filled with vivid images, aphorisms, witty expressions and author's sayings, which were widely spread later among the people: "Bypass us more than all sorrows, and master's anger, and master's love ...".
A. S. Griboyedov is often called "the creator of one book." It is unlikely that the author of the famous comedy "Woe from Wit" can be blamed for negligence and laziness. Alexander Sergeevich was an outstanding diplomat, a gifted musician and a prominent public figure. Everything that this extraordinary person undertook bore the imprint of genius. His life and creative credo was the phrase: "I live as I write - freely and freely." This article is devoted to the analysis of the play "Woe from Wit".
History of creation
The idea of the comedy "Woe from Wit" appeared, according to some sources, as early as 1816. Griboedov made a diatribe at one of the social events. He did not like the obsequious admiration of the Russians for everything foreign. Then Alexander Sergeevich was jokingly called crazy. After this incident, a plan for a future comedy arose in the head of the writer. But he began to write the work only in 1820, while in the service in the city of Tiflis.
The first two acts were completed by early 1922. Griboyedov completed the last parts of the play while on vacation, in the city of Moscow. Here he "breathed the air" of secular living rooms and received additional material for creativity. The first edition of Woe from Wit was completed in 1823. However, already in 1824, the original version of the play underwent a thorough stylistic revision. In the future, censorship diligently worked on the work. As a result, the author's version of the work was published only in 1862. During the life of Alexander Sergeevich, the comedy was distributed in the form of handwritten copies - lists. It evoked a lively response in literary circles. A detailed analysis of "Woe from Wit" will show how innovative this work was for its time.
Elements of classicism in "Woe from Wit"
Griboedov's famous comedy is considered to be the first Russian realistic comedy. At the same time, it combined the features of classicism, which was rapidly developing in that era of romanticism and innovative realism. A thorough analysis of the comedy "Woe from Wit" indicates that the work meets the basic requirements for creating a "high" comedy.
In the play there is a unity of place (Famusov's house) and time (the action takes place within one day). However, there are two conflicts in the work - love and socio-political. This means that Griboedov violated the unity of action in the play.
Comedy has a traditional and closely related system of characters: a heroine, two contenders for her favor, a "noble father", a soubrette servant, and so on. However, Griboyedov "breathed" new life into his heroes. From caricatured comedic characters, they have evolved into complex portrait images.
Alexander Sergeevich endowed his heroes with "talking" surnames: Skalozub, Repetilov, Famusov, Molchalin. At the same time, the characterization of his characters goes far beyond a single feature.
Elements of realism in "Woe from Wit"
First of all, Griboyedov abandoned the schematic representation of his heroes. The characters of his characters and the "rare picture of morals" depicted by him in comedy are sometimes frightening with their authenticity. For example, the versatility of Famusov's character is manifested in his dialogues with other characters: he flirts with Lisa, fawns over Skalozub, reads Sofia's instructions.
However, Chatsky in the play is opposed not only by specific representatives of the Famusovsky guard, but also by the entire conservative "past century". Analysis of "Woe from Wit" allows us to identify in the work a lot of episodic images designed to expand the scope
A realistic approach to the creation of a work is also manifested in the attitude of the author to the main character. Chatsky sometimes behaves inconsistently and constantly gets into comic situations because of his recklessness and intemperance. He is not at all an absolutely positive hero in the work. After all, his motives are, in essence, selfish. He seeks to win Sofia's love.
Language "Woe from Wit"
One of the elements of Griboyedov's dramatic innovation is the use of colloquial speech in writing comedy. Flexible poetic size (free iambic) allows Griboyedov to create the verbal image of the characters. Each of them has its own characteristics of speech. The "voice" of the protagonist is unique and betrays in him a fierce opponent of Moscow customs. He sneers at "clumsy wise men", "crafty simpletons", idle and "evil tongues". In his monologues, one can feel a passionate conviction in one's own rightness, a high pathos of asserting real life values. The analysis of the comedy "Woe from Wit" shows that there are no intonational, syntactic and lexical restrictions in the language of the play. This is the "unkempt", "rough" element of the spoken language, turned by Griboyedov into a miracle of poetry. Pushkin noted that half of the poems written by Alexander Sergeevich "should become a proverb."
Two story lines
Analysis of "Woe from Wit" by Griboyedov allows us to identify two equal conflicts in the work. This is a love line in which Chatsky opposes Sophia, and a socio-political one in which the protagonist faces social contradictions. However, personal conflict is an important plot-forming component. After all, it is for the sake of Sofia that Chatsky comes to Moscow, and for her sake he remains in Famusov's house. Both storylines reinforce and complement each other. They are equally necessary in order to conduct a reliable analysis of "Woe from Wit", to understand the psychology, worldview, characters and relationships of the main characters of the comedy.
Socio-political theme of the work
The comedy raises the most important problems in the life of Russian society in the first half of the 19th century: the harm of honoring rank and bureaucracy, the inhumanity of serfdom, issues of education and enlightenment, honest service to the fatherland and duty, the originality of national Russian culture, and so on. Griboyedov did not bypass his attention and the question of the socio-political structure of the Russian state. All these moral and political questions are passed through the prism of the personal relationships of the characters.
Philosophical theme in the play
The problems of the comedy "Woe from Wit" are very complex and multifaceted. allows you to reveal the philosophical background hidden in the very title of the play. One way or another, all the heroes of the comedy are involved in the discussion of the problem of stupidity and intelligence, madness and insanity, buffoonery and tomfoolery, hypocrisy and pretense. These questions were solved by Alexander Sergeevich on the basis of a variety of mental, social and everyday material. The main figure in this matter is the smart "madman" Alexander Andreyevich Chatsky. It is around him that all the diversity of opinions about comedy is concentrated. Let's take a closer look at this character.
The protagonist of the play
Alexander Andreevich returned to Moscow after a long absence. He immediately arrived at Famusov's house to see his beloved Sofia. He remembers her as a smart and mocking girl, who together with him heartily laughed at her father's devotion to the English club, a young aunt and other colorful representatives of Famusov's Moscow. Having met Sophia, Chatsky seeks to find out the course of her thoughts, hoping that she remained his like-minded person. However, the girl strongly condemned his mockery of aristocratic Moscow. Alexander Andreevich asked himself the question: "... Is there really a groom here?" Chatsky's main mistake was that the mind became the main criterion by which he tried to calculate Sophia's beloved. For this reason, he dismisses both Skalozub and Molchalin as possible rivals.
Philosophy of the Moscow gentleman
Much smarter than Chatsky is the author of the comedy "Woe from Wit". He suggests starting an analysis of Sophia's actions with an acquaintance with the environment in which she grew up and formed as a person. Most of all, this society is characterized by Famusov, the father of the main character. This is an ordinary Moscow gentleman. His character is dominated by a mixture of patriarchy and tyranny. He does not burden himself with cares in the service, although he occupies a serious post. His political ideals boil down to simple worldly joys: "to take awards and live happily." The ideal for Famusov is a person who has made a career. The funds don't matter. The words of Peter Afanasyevich often disagree with the deed. For example, he boasts of "monastic behavior", but before that he actively flirts with Lisa. This is the main opponent of the sincere and ardent Chatsky.
enviable groom
Famusov immensely likes Colonel Skalozub. He is a "golden bag" and "aims for generals." Pavel Afanasyevich does not even dream of the best groom for his daughter. The colonel is a reliable defender of the "gone century". You won't "fake" him with scholarship; he is ready to destroy all book "wisdom" with drill on the parade ground. Skalozub is a stupid martinet, but in the Famus society it is customary not to notice this. The study of the customs of aristocratic Moscow, their detailed analysis leads to disappointing conclusions. Griboyedov's "Woe from Wit" testifies that studying with St. Petersburg professors and striving for enlightenment is the longest and most inefficient way to achieve career heights.
Characteristics of Molchalin
A living "picture of morals" is presented in the play "Woe from Wit". An analysis of the heroes of the work forces us to turn to the quietest and most insignificant of them - Alexei Stepanovich Molchalin. This character is not harmless at all. With his lackey obsequiousness, he successfully makes his way into high society. His insignificant talents - "moderation and accuracy" - provide him with a pass to the Famus Guard. Molchalin is a staunch conservative who depends on the opinions of others and indulges "all people without exception." Oddly enough, this helped him win Sophia's favor. She loves Alexei Stepanovich without memory.
episodic roles
Griboyedov characterizes the Moscow aristocracy with well-aimed strokes. "Woe from Wit", the analysis of which is presented in this article, is rich in expressive episodic roles that make it possible to reveal the diversity of Famus' society.
For example, the rich old woman Khlestova drags with her to secular evenings a “black-haired girl and a dog”, adores young Frenchmen and, like fire, is afraid of enlightenment. Its main features are ignorance and tyranny.
Zagoretsky in the Famus society is openly called a "rogue" and a "gambler". But this does not prevent him from rotating among the local aristocracy. He knows how to "serve" in time, therefore he enjoys the sympathy of rich people.
Very extensive material for reflection contains "Woe from Wit". Analysis of the work allows us to find out the author's attitude to some "secret" societies that appeared in contemporary Russia. For example, Repetilov is a "noisy" conspirator. He publicly declares that he and Chatsky have "the same tastes", but does not pose any danger to the Famus society. Repetilov himself would have made a career, but "he met failures." Therefore, he made conspiratorial activity a form of secular pastime.
In "Woe from Wit" there are many extra-plot characters who do not directly participate in the comedy. They are mentioned in passing by the heroes of the play and provide an opportunity to expand the scope of action to the scale of the entire Russian society.
The worldview of the protagonist
Chatsky is a representative of the "current century". He is freedom-loving, has his own on every issue and is not afraid to voice it. Annoyed by Sophia's indifference, Alexander Andreevich enters into polemics with the "Famus" people around him and in anger denounces their greed, hypocrisy, ignorance and insignificance. Being a true patriot of Russia, he condemns "the dominance of noble scoundrels" and does not want to have anything to do with them. To Famusov's offer to live "like everyone else", Chatsky replies with a decisive refusal. Alexander Andreevich recognizes the need to serve the Motherland, but draws a clear line between "serve" and "serve." He considers this difference fundamental. Chatsky's daring monologues seem so outrageous to the local secular society that he is unconditionally recognized as crazy.
Alexander Andreevich is the central character of the work, therefore, more than one serious and detailed analysis is devoted to the characterization of his image. Griboyedov's "Woe from Wit" was subjected to scrutiny by V. G. Belinsky, I. A. Goncharov, and other leading writers of the 19th century. And the attitude to the behavior of Chatsky determined, as a rule, the characteristics of the entire work as a whole.
Compositional features
"Woe from Wit" obeys the strict laws of classical plot construction. Both lines (love and socio-ideological) develop in parallel to each other. The exposition consists of all the scenes of the first act before the appearance of the protagonist. The beginning of a love conflict occurs during Chatsky's first meeting with Sofia. The social begins to mature a little later - during the first conversation between Famusov and Alexander Andreevich.
Comedy is characterized by a lightning-fast pace of change of events. The stages of the development of the love line are the dialogues between Sophia and Chatsky, during which he tries to find out the reason for the girl's indifference.
The socio-ideological line consists of many private conflicts, verbal "duels" between representatives of the Famus society and the main character. The climax of the play is an example of the outstanding creative skill of the creator of the comedy "Woe from Wit". The analysis of the ball in the work demonstrates how the highest point of tension in the love plot motivates the climax of the socio-ideological conflict. Sophia's occasional line: "He's out of his mind" is taken literally by the gossiper. Wanting to take revenge on Chatsky for mocking Molchalin, the girl confirms that she is convinced of his madness. After that, the independent plot lines of the play meet at one climax - a lengthy scene at the ball, when Chatsky is recognized as crazy. After that, they separate again.
The denouement of the love conflict occurs during the night scene in Famusov's house, when Molchalin and Liza meet, and then Chatsky and Sofia. And the socio-ideological line ends with the last monologue of Chatsky, directed against the "crowd of persecutors." Contemporaries of the author of "Woe from Wit" accused him of the fact that the "plan" of the comedy has no clear boundaries. Time has shown that the complex interweaving of storylines is another indisputable advantage of comedy.
Conclusion
Only a brief analysis has been presented to your attention. "Woe from Wit" can be re-read many times and every time you find something new. In this work, the main characteristics of realistic art were very clearly manifested. It not only frees the author from unnecessary canons, conventions and rules, but also relies on the time-tested techniques of other artistic systems.
