What did Griboedov write. Last appointment and love

Alexander Sergeevich Griboedov; Russian empire, Moscow; 01/04/1795 - 01/30/1829

Composer, poet, playwright and diplomat A. S. Griboedov left a mark in the history of literature as the author of one work. And although this is not entirely true, and many essays, travel notes and comedies came out from Griboyedov's pen, he is remembered mainly thanks to the comedy Woe from Wit. It is thanks to the popularity of reading Griboyedov's "Woe from Wit" that the author got into our rating.

Biography of Griboyedov A.S.

Griboyedov was born in Moscow into a noble family. From childhood, the boy was distinguished by a lively mind and at the age of six he was fluent in three languages. After entering the Moscow University noble boarding school at the age of nine, he learned three more languages. At the age of 11, he already entered Moscow University, where three years later he became a candidate of verbal sciences. But he did not finish his education there and entered first the moral and political faculty, and then the physical and mathematical faculty. At the same time, during his studies, he tries himself as a poet. Unfortunately, Griboedov's poems of this time have not been preserved.

The Patriotic War of 1812 forced Griboyedov to volunteer for a hussar regiment, where he served until 1815. It was at the end of 1814 that the first publication of his correspondence, and then comedies, began. Since 1817, Griboedov has been the provincial secretary, and then a translator. Around the same time, he enters Masonic Lodge"United Friends", and then organizes his own Masonic lodge. At the same time, he met with, about whose work he always spoke very reverently.

In 1818, Griboyedov was appointed to the position of secretary under the attorney in Persia. In the same year, he received a slight wound in the hand in a duel. From Tiflis, he sends home a number of travel notes. In the same place, in 1822, Griboyedov began work on the comedy Woe from Wit, which is so popular in our time. Work on the comedy continues during a two-year vacation at home, and in 1824 Griboyedov finishes work on the work.

In 1925, immediately after the opportunity to read Woe from Wit appeared, Griboyedov was forced to return to the service. But at this time he was arrested, suspected of having links with the Decembrists. Long time is running trial, but the diplomat and the writer are released. In 1826, Griboyedov in Tiflis takes part in the conclusion of a treaty that is very beneficial for Russia. For this, he was appointed ambassador to Iran. On the way there, Griboyedov marries Nina Chavchavadze. But their marriage was not destined to last long upon arrival in Tehran, a distraught crowd of Persians massacres in diplomatic mission Russia. During it, Griboedov also dies, who was identified only by the wound left after the duel.

Books by A. S. Griboyedov on the Top Books website

As we have already mentioned, Griboedov got into our rating due to the popularity of “Woe from Wit” to read. Moreover, this popularity is so high that it allowed the book to take a place in the top twenty and in the ranking. Interest in Griboyedov's comedy "Woe from Wit" to read online is quite stable, which suggests the presence of the book in our next ratings.

All books by Griboedov A.S.

Dramaturgy:

1. Georgian night
2. Dmitry Dryanskoy
3. young spouses
4. Own family, or married bride
5. Student
6. feigned infidelity
7. Sideshow trial
8. Who is brother, who is sister, or deception after deception

Publicism:

1. country trip
2. About the cavalry reserves
3. On the analysis of the free translation of the Burgher's ballad "Lenora"
4. Letter from Brest-Litovsk to the publisher"
5. Particular cases of the St. Petersburg flood

Griboyedov Alexander Sergeevich (1795 - 1829), playwright, poet.

Born on January 4 (15 n.s.) in Moscow in the family of an officer of the Russian guard, a nobleman. Got versatile home education. Seven years given to the Moscow University boarding school. Eleven years old, Griboyedov is a student at Moscow University. After graduating from the verbal department of the Faculty of Philosophy, he entered the law department and received. the second diploma - a candidate of rights. In 1810 he studied at the Faculty of Natural Sciences and Mathematics, which was unusual for the youth of the nobility. Since childhood, knowing French, English, German and Italian, during his studies at the university he studied Greek and Latin, later - Persian, Arabic and Turkish. He was also musically gifted: he played the piano, flute, he composed music himself.

IN student years communicated with future Decembrists: brothers Muravyov, Yakushkin. Subsequently, he was close to P. Chaadaev. Griboyedov's poetic abilities are also manifested at the university.

The outbreak of the war with Napoleon changes Griboedov's plans: he volunteers for the army as a cornet (a junior officer rank in the Russian cavalry) in a hussar regiment. He did not have to participate in hostilities. After the end of the war, he retires, settles in St. Petersburg, enters the service of the Collegium of Foreign Affairs, where Pushkin, Kuchelbecker and many Decembrists serve at that time, and gets to know them. In addition, he is a member of a circle of people involved in the theater, collaborates in magazines, and writes plays.

In 1818 he was sent as the secretary of the Russian mission to Persia, where he spent over two years, traveling a lot around the country and leading travel notes and diary. Upon returning from Persia in November 1821, he served as a diplomatic secretary under the commander of the Russian troops in the Caucasus, General A. Yermolov, who was surrounded by many members of the Decembrist societies. Lives in Tiflis, works on the first two acts of Woe from Wit. However, this work requires more solitude, greater freedom from service, so it asks Yermolov long vacation. Having received a vacation, he spends it first in the Tula province, then in Moscow and St. Petersburg.

In the estate of his friend Begichev, he writes the last two acts of comedy, in Moscow he continues to finish Woe from Wit, in St. Petersburg in 1824 the work was completed.

All attempts to print the comedy were unsuccessful, and staging it in the theater turned out to be impossible. The reactionary camp received the comedy with hostility. The language of "Woe from Wit" was called harsh and incorrect. The Decembrists enthusiastically greeted the comedy, seeing in it an artistic generalization of their ideas and feelings.

At the end of September 1825, Griboyedov again arrived in the Caucasus, and at the end of January 1826 he was arrested in the case of the Decembrists by a courier specially sent from St. Petersburg. Yermolov warned him of the imminent arrest, and the writer managed to destroy the papers that were dangerous to him. During the investigation, Griboedov maintained a complete denial of his participation in the conspiracy. The tsarist commission of inquiry failed to prove anything, and he was released.

After returning to the Caucasus in 1826 Griboyedov acted as a diplomat. In 1827 he was ordered to be in charge of diplomatic relations with Turkey and Persia. In 1828 he took part in the preparation of the Turkmenchay peace treaty concluded with Persia. He then receives an appointment as minister plenipotentiary to Persia, considering this appointment as a "political exile".

In August 1828 in Tiflis, Griboedov marries Nina Chavchavadze, the daughter of his friend, famous poet A. Chavchavadze. Leaving his wife in Tabriz, he left with an embassy for Tehran. Here he fell victim to a conspiracy and was killed by a mob of Persian fanatics. Griboyedov's body was transported to Tiflis and buried on Mount St. David.

2. Stepan Nikitich Begichev(1785-1859) - Colonel, Russian memoirist; brother of D. N. Begichev and E. N. Yablochkova. In 1813 he served as adjutant under General A. S. Kologrivov, together with his brother Dmitry and A. S. Griboedov. He was a member of the early Decembrist organizations. He was a member of the Welfare Union. In the 1820s, Begichev's house was one of the centers of Moscow's cultural life. A. S. Griboyedov, V. F. Odoevsky, V. K. Kuchelbeker, D. V. Davydov, A. N. Verstovsky have been here. Based on personal recollections, he wrote “A Note on A. S. Griboedov” (“Russian Bulletin”, 1892).
Prince Alexander Alexandrovich Shakhovskoy (1777–1846) was a Russian playwright and theatrical figure from the Shakhovsky family. From 1802 to 1826 he served in the St. Petersburg Directorate of the Imperial Theaters and actually directed the theaters of St. Petersburg. In 1811-1815, Shakhovskoy took an active part in the activities of the Conversations of Lovers of the Russian Word. At this time, he writes a poetic comedy "A lesson for coquettes, or Lipetsk waters." In terms of artistic merit, this play towered over everything that was created in Russia in the region verse comedy after Kapnist's Yabeda and before Woe from Wit. ()

10. Gnedich Nikolai Ivanovich(1784–1833) – poet and translator. Griboedov wrote a critical article against Gnedich, who sharply criticized Katenin's translation of Burger's ballad "Lenora". Gnedich considered Zhukovsky's ballad "Lyudmila" to be an exemplary translation of this work. Griboedov noted the inaccuracies of Zhukovsky's translation, which softened the style of the original, and defended Katenin's vernacular translation. Despite this harsh criticism, Griboyedov appreciated Gnedich as a writer and translator. In 1824, having returned to St. Petersburg, he found it necessary to visit him and in a letter to P. A. Vyazemsky on June 27 he wrote: inflated, but it seems that he is much more intelligent than many here ”(

Alexander Sergeevich Griboyedov
1795 - 1829

Griboyedov was born in Moscow into a well-born family. His ancestor, Jan Grzhibovsky, early XVII century moved from Poland to Russia. The surname Griboedov is nothing more than a kind of translation of the surname Grzhibovsky. Under Tsar Alexei Mikhailovich, Fyodor Akimovich Griboedov was a clerk and one of the five compilers Cathedral Code 1649.

House of Griboedovs

The writer's father is a retired second major Sergei Ivanovich Griboedov (1761-1814). Mother - Anastasia Fedorovna (1768 -1839), nee also Griboedova.

S. N. Griboyedov
(1761 -1814)
poet's father

Anastasia Fedorovna
(1768 -1839)
poet's mother

According to relatives, already in childhood, Alexander was very focused and unusually developed. There is evidence that he was the great-nephew of Alexander Radishchev (this was carefully concealed by the playwright himself). At the age of 6 he was fluent in three foreign languages, in his youth already six, in particular in perfection English, French, German and Italian. He understood Latin and Greek very well.
In 1803 he was sent to the Moscow University Noble Boarding School; three years later, Griboedov entered the verbal department of Moscow University. In 1808 he received the title of candidate of verbal sciences, but did not leave his studies, but entered the moral and political department, and then the physics and mathematics department.

Young A. S. Griboyedov
in Khmelite

There are many mysteries and gaps in Griboedov's biography, especially about childhood and youth. Neither the year of his birth is reliably known (although the day is precisely known - January 4), nor the year of admission to the University noble boarding school. The widely circulated version, according to which Griboedov graduated from three faculties of Moscow University and only because of the war of 1812, did not receive a doctoral degree, is not confirmed by documents. One thing is for sure: in 1806 he entered the Faculty of Literature, and in 1808 he graduated from it. If Griboyedov was indeed born in 1795, as most biographers believe, he was then thirteen years old. First XIX years centuries this is rare, but it happened. More reliable information about the life of Griboedov since 1812. During the invasion of Napoleon, Alexander Sergeevich signed up, like so many Moscow nobles, as an officer in the militia. But he did not get to participate in the battles: the regiment stood in the rear. Several years after the war future writer served as an adjutant on the territory of present-day Belarus.

Griboyedov spent his youth stormily. He called himself and his brother-soldiers “stepchildren of common sense” - their pranks were so unbridled. There is a known case when Griboyedov somehow sat down at the organ during a service in a Catholic church. At first, he played sacred music for a long time and with inspiration, and then suddenly switched to Russian dance music. Griboedov also hung out in St. Petersburg, where he moved in 1816 (he spent a year in retirement, and then became an official in the Ministry of Foreign Affairs). “But he has already begun to seriously engage in literature,” says V. N. Orlov.

Griboyedov - poet

In the autumn in Moscow, Griboyedov plunges headlong into the literary and theatrical life. He closely converges with many writers and actors, especially with V. F. Odoevsky and P. A. Vyazemsky. The first of them recalled, narrating about himself in the third person: “Music could be one of the reasons for friendly communication between Prince. Odoevsky and Griboyedov. Sister Griboedova Maria Sergeevna ... played the piano excellently, and especially the harp. Music circles were often held in Griboyedov's house (near Novinsky). Griboyedov himself was an excellent piano player, but besides that, he and Prince. Odoevsky were also engaged in the theory of music as a science, which at that time was a rarity; mutual friends then laughed at them; even in this circle there was a proverb: “When Griboedov and Odoevsky start talking about music, then write wasted; you won't understand anything."
V. F. Odoevsky, together with Küchelbecker, published the almanac Mnemosyne in Moscow, which, along with the St. Petersburg almanac Polar Star, became a conductor of Decembrist ideas. Griboyedov's program poem "David" is published here. This poem stands out against the background of the poetic production of the 1820s with its deliberate archaism. Griboyedov uses vocabulary that was used only during Trediakovsky, and ... creates a typical "Decembrist work." You can compare the works of Pushkin and Griboyedov. Both poets address the theme of the prophet, but how differently they embody it.

Pushkin has only one archaic word "reins". Everything else is quite perfect, the intonation of the verse is smooth and distinct, each word is linked to another, the next follows from the previous one. Griboyedov has something different. Lexical units seem to be isolated from each other, in any case, semantic "gaps" are felt between individual sentences.

Not glorious in the brethren from childhood,
The youngest of his father was
Shepherd of the parent flock;
And her suddenly god of strength
My body was created by hands,
Fingers arranged the psalter
ABOUT! Who up to the mountain height
To the Lord will raise the sounds?

With an almost equal volume of texts, the number of archaisms in Griboyedov exceeds Pushkin's by almost ten times! Griboyedov seems to be changed by his talent for versification. What's the matter? This is explained by a number of reasons.
“David” is very close in content and even in the number of words, an arrangement of the 151st psalm of King David. Griboedov's poem differs from the psalm by a change in meaning. The hero of Griboyedov, as already noted, is close in spirit to the inspired characters of the Decembrist poetry, who rise up to fight for the common good.
The poet was guided by such a reader who not only remembered the Bible, but was also able to fill familiar words and images with new meaning from childhood. But Griboyedov was not satisfied with simple allusion; he wanted to raise modernity to mythological heights.
In Griboedov’s poems, writes A. V. Desnitsky, “the speech gives the impression of being created anew, the combinations of words are new, despite the fact that the words are just used almost“ mossy ”, therefore, it is natural that the reader has more than one shade , not one understanding of the author’s thought, but a kind of ambiguity, so wide that, only after thinking, understanding, the reader will single out from this ambiguity what the author wanted to say. Such a speech is so peculiar and original that it becomes the speech of "one person", "the speech of Griboyedov" ... - it is noticed very accurately.
Griboyedov's contemporaries did not accept his poetry. “From reading his poems, the cheekbones hurt,” said Yermolov.
In Russian dramaturgy, Griboedov had such predecessors as D. I. Fonvizin, I. A. Krylov, A. A. Shakhovsky. TO early XIX century in Russia, a type of poetic comedy has already developed, the mainspring of which was, first of all, love affair, but at the same time, social problems were solved, or at least posed.

Attempts to translate works from French

At the beginning of his creative way Griboyedov gravitated toward light, so-called "secular" comedy, far from exposing social evil. From the places of service, he brought a comedy (translated from French) Young Spouses (1815).
The first experience of the playwright was a translation-alteration from French, which was widely practiced at that time. Crozet de Lessard's three-act comedy The Family Secret (1809) was turned into a one-act comedy by the translator, which naturally entailed some changes in plot and composition. There were also poems that were not in the original. Griboedov retained the French names, but introduced separate episodes into the play, more related to Moscow or St. Petersburg than to Parisian life. The future master is already guessed in them, but so far these are only individual touches.
The Young Spouses is a typically secular comedy. The conflict in it is based on love misunderstandings, there is no question of any social contradictions. So, at least, the reader perceives it today. In 1815, society comedy against the backdrop of recently received with great enthusiasm classic tragedies who taught to prefer the state to the private, looked different. There were other circumstances that contributed to the success of Griboyedov's dramatic experience. Crezet de Lessar's comedy was already known to the St. Petersburg theater-goers in the translation of A. G. Volkov, who was actively writing for the stage in those years, and already had certain literary skills. Griboyedov was first introduced to drama - and, nevertheless, his translation is much more economical and elegant. Moreover, Zagoskin was undoubtedly right when he believed that Griboyedov's translation was "much better" than the original source itself. “The action moves quickly, there is not a single unnecessary and cold scene: everything is in its place in it.”
“It is also important that in Griboyedov’s first experiment, those principles of dramatic style were already declared, which would later find a brilliant implementation in Woe from Wit: a quick change of voices, picking up a line, a combination of the ironic coloring of the characters’ speech with an intimate lyrical one, a tendency to aphoristic statements , to semantic, situational and intonational contrasts or oppositions,” writes V. I. Babkin.
It was placed in the capital not without success. Then Griboedov participated as a co-author in several more plays. The stage became his true passion. He became friends with the director of the St. Petersburg theater, the playwright Shakhovsky, and especially with the talented poet and theater connoisseur Pavel Katenin. With Vyazemsky, the playwright writes the vaudeville opera “Who is brother, who is sister, or Deception after deception”, the music for which is created by A. N. Verstovskaya. Of course, it was a “trinket”, a benefit item intended for the Moscow actress M. D. Lvova-Sinetskaya, who was distinguished by the gift of reincarnation and especially graceful drag queen in roles. P. A. Vyazemsky recalls: “... The director of the Moscow Theater F. F. Kokoshin ... asked me to write something for the benefit of Lvova Sinetskaya ... Just before that time, I met Griboedov in Moscow, already the author of the famous comedy ... and suggested that the two of us take on this business. He willingly agreed." This is how the notes of the romance from the vaudeville opera by P. A. Vyazemsky and Griboedov to the music of A. N. Verstovsky “Who is a brother, who is a sister, or Deception after deception”, published in the anthology “Mnemosyne” in 1824, appeared.

Griboyedov - musician

Once the actor-playwright P. A. Karatygin said to Griboyedov: “Ah, Alexander Sergeevich, how much talent God has given you: you are a poet, a musician, you were a dashing cavalryman and, finally, an excellent linguist!” He smiled, looked at me with his sad eyes from under his glasses and answered me: “Believe me, Petrusha, whoever has many talents does not have a single real one.” He was humble…”
The Decembrist Pyotr Bestuzhev spoke of his friend: “The mind is naturally plentiful, enriched with knowledge, the thirst for which even now does not leave him, the soul is sensitive to everything high, noble, heroic. The character is lively, inimitable manner of pleasant, tempting address, without admixture of arrogance; the gift of the word high degree; nice talent in music, finally, the knowledge of people makes him an idol and an adornment of the best societies.
"According to the tradition adopted in Russian noble families Alexander Sergeevich studied music from childhood. He played the piano very well and had great knowledge of music theory,” reports P. G. Andreev. Many memories of Griboyedov the pianist have been preserved. “Griboyedov passionately loved music and from the very young years became an excellent piano player. The mechanical part of playing the piano did not present any difficulty for him, and subsequently he studied music completely, like a deep theorist (K. Polevoy). “I loved listening to his magnificent piano playing ... He used to sit down with them and begin to fantasize ... How much taste, strength, marvelous melody was there! He was an excellent pianist and a great connoisseur of music: Mozart, Beethoven, Haydn and Weber were his favorite composers” (P. Karatygin).

N. S. Begichev

Griboedov, the pianist, often performed among friends and at musical evenings as a soloist-improviser and accompanist. His partners in joint music-making were amateur singers, artists of the Italian opera troupe, composers. So, for example, to his accompaniment, for the first time, Verstovsky performed the romance Black Shawl, which he had just composed. To our great chagrin, most of the plays composed by Griboedov were not recorded by him on music paper and for us irretrievably lost. Only two waltzes have survived. They don't have names, so we'll call them musical terms: Waltz in A flat major and Waltz in E minor. The first of these was written during the winter of 1823/24. This is told by E. P. Sokovnina, niece of S. I. Begichev, best friend Griboyedov: “This winter, Griboedov continued to finish his comedy Woe from Wit, and, in order to more accurately capture all the shades of Moscow society, he went to balls and dinners, which he never had a hunt for, and then retired for whole days in his office. I have preserved a waltz composed and written by Griboyedov himself, which he handed over to me. This was the first edition of the be-moll waltz. Sokovnina sent his manuscript to the editors of the Historical Bulletin with the following note: “I am enclosing this waltz in the belief that it can now give many people pleasure.” So, Sokovnina's testimony establishes that the composition of one of the waltzes belongs to the period of the final finishing of Woe from Wit. Another waltz, As-dur, was apparently written at the same time.

House of N. S. Begichev in Moscow

However musical creativity Griboyedov was not limited to waltzes that have come down to us. Daughter of P. N. Akhverdova, who brought up future wife Griboedova, told the researcher N.V. Shalamytov that on his first trip to Persia (1818), Griboyedov, visiting her mother’s house in Tiflis, often “sat down at the instrument and played for the most part things of your own making. She also recalls that Griboedov, during the second trip to Persia as a minister plenipotentiary (1828), again stayed with P.N. - I still remember clearly, not very beautiful and uncomplicated.
In the edition of Griboedov's works edited by I. A. Shlyapkin (1889) it is reported: “As we heard, there is also a mazurka written by A. S. Griboedov.” Unfortunately, Shlyapkin did not indicate the source of his information.
Studying music with his fiancee, and then his young wife, Griboyedov, according to her biographer, K. A. Borozdin, was a strict teacher and tried to cultivate a taste classical school". One should think that in his creative aspirations, Griboedov relied mainly on classical models.
On the other hand, we know that Griboyedov loved folk songs, accepted them only in pure form. It is unfortunate that the musical works of Alexander Sergeevich disappeared without a trace, remaining unrecorded, just as his improvisations disappeared, resounding in the walls of literary and musical salons and living rooms and leaving only a memory for the listeners. Nevertheless, music for Griboyedov was a true part of his being, and not just a detail of the surrounding life.
In the memory of Griboyedov's wife, Nina Alexandrovna, who outlived him by almost thirty years, remained for a long time his other compositions, including the largest and most significant - the piano sonata. Biographer N. A. Griboyedova says: “Nina Alexandrovna knew a lot of plays and his own composition, very remarkable for the originality of the melody and masterful processing, she willingly played them music lovers. Of these, one sonata was especially good, full of soulful charm; She knew that this piece was my favorite and, sitting down at the piano, she never denied me the pleasure of listening to it. It is impossible not to regret that these plays remained unrecorded by anyone: “Nina Alexandrovna took them with her.” Thus, the most serious musical composition Griboyedov did not reach us. The impressions of contemporaries from Griboyedov's improvisations and from his compositions that have disappeared completely coincide with the characteristics, one can give two waltzes printed in a collection of salon vocal and instrumental miniatures. - "Lyric Album for 1832". They stand out noticeably from the piano section of the album. One contemporary review of the Lyric Album stated, "The dance department is very weak. Only Griboedov's waltz in E minor deserves attention in it, which has long been known, but still does not lose its freshness, due to its excellent melody. The author himself played this trinket with excellent skill. M. M. Ivanov, who wrote an opera based on the plot of Woe from Wit, is an unsuccessful opera, best number which was Griboedov's be-moll waltz, performed at Famusov's ball, - he believes that Chopin and Griboyedov drew from the same source - from the Polish folk song, melody, familiar to both of them. Both Griboyedov's waltzes are small piano pieces, very simple in form and texture; their music is of a lyrical-elegiac nature, lighter in the waltz in E minor. The first of these waltzes is less known, and the second is now very popular. It is well deserved, the music of the waltz in E minor has some special tender-sad poetic comfort; her sincerity and spontaneity touches the soul.

Written for piano, both waltzes exist in in large numbers arrangements for various instruments: harp, flute, button accordion and others.
In fact, Griboedov's waltz in E minor is the first Russian waltz that has survived to this day due to its artistic merits, which really sounds in our musical everyday life. He is popular, he is “on hearing” by many and enjoys the love of the most broad circles music lovers.
“So, the appearance of Griboyedov as a musician is multifaceted: the great Russian writer possessed not only the creative gift of a composer and improviser, not only the well-known technical perfection of a pianist and some knowledge of other instruments, but also a musical and theoretical training that was rare in those days,” writes P G. Andreev.
Untimely death did not allow Griboyedov to create new works that promised to make a significant page in the history of Russian literature. But what he did gives grounds to place Griboedov in the cohort of artists of world significance.

IN literary war Arzamas and Shishkovists Katenin and Griboedov took a special position. The works of the Arzamasians seemed to them lightweight and unnatural, while the works of the Shishkovists seemed outdated. They themselves were looking for new possibilities of verse, even at the expense of lightness and smoothness. Katenin was not afraid of indecent rudeness for the public. Griboedov supported him: he published an article (1816), where he defended Katenin's ballad Olga from criticism and himself sharply criticized V. A. Zhukovsky's famous ballad Lyudmila on the same plot. This article made Griboyedov's name famous in literary world.
Together with Katenin, Griboyedov wrote the best of his early works - the prose comedy Student. During the life of Griboyedov, she did not get either on stage or in print. Perhaps the attacks on literary opponents (Zhukovsky, Batyushkov, Karamzin), whose poems are parodied in the play, seemed indecent to the censors. In addition, in the main character - the fool Benevalsky - it was not difficult to recognize the features of these writers.
Not less than the author's glory, Griboedov was attracted by the backstage life of the theater, an indispensable accessory of which were novels with actresses. “One of these stories ended tragically,” says S. Petrov.

Cornet
A. S. Griboyedov

Two friends of Griboedov, young revelers Sheremetev and Zavadovsky, competed over the ballerina Istomina. Alexander Yakubovich, a well-known duelist in the city (future Decembrist), fanned a quarrel, and accused Griboyedov of ignoble behavior. Sheremetev was supposed to compete with Zavadovsky, and Yakubovich - with Griboyedov. Both duels were supposed to take place on the same day. But while they were assisting the mortally wounded Sheremetev, time was running out. The next day, Yakubovich was arrested as an instigator and exiled to the Caucasus. Griboyedov was not punished for the duel (he did not look for a quarrel and, as a result, did not fight), but public opinion found him guilty of Sheremetev's death. The authorities decided to remove the official "involved in history" from St. Petersburg. Griboedov was offered the position of secretary of the Russian mission either in Persia or in the United States of America. He chose the first, and that sealed his fate.

A. I. Yakubovich

On the way to Persia, Griboyedov stayed in Tiflis for almost a year. A postponed duel with Yakubovich took place there. Griboyedov was wounded in the arm - for him, as a musician, this was very sensitive.

1817
duel

Griboyedov served in Persia for three years, and then moved to the staff of General A.P. Yermolov, the head of Georgia, as a “diplomatic official”. Service under this outstanding man, an outstanding commander and real dictator of the Caucasus, gave him a lot.
In the years when Griboedov conceived and wrote Woe from Wit, a fatal gap began for Russia between the authorities and the thinking part of society. Some European-educated people resigned with a scandal, many others became members of secret anti-government organizations. Griboedov saw this, and he came up with the idea of ​​a comedy. Undoubtedly, the circumstance that the expulsion of the author himself from Petersburg was connected with slander played a role here. “In a word, Griboedov was tormented by the problem - the fate of an intelligent person in Russia,” writes N. M. Druzhinin.

Griboyedov - hussar

Actually the plot ("plan", as they said then) "Woe from Wit" is simple. Griboyedov himself retold it best of all in a letter to Katenin: “A smart girl herself prefers a fool smart person... and this man, of course, is in contradiction with the society around him ... Someone out of anger invented about him that he was crazy, no one believed and everyone repeats ... he didn’t give a damn about her and everyone else and was like that. The queen is also disappointed about her honey honey” (i.e., the heroine was disappointed in the “fool”).
And, nevertheless, almost none of his contemporaries understood the plan of "Woe from Wit". The play did not correspond to the usual ideas about comedy so much that even Pushkin saw it as a flaw, not an innovation. The same opinion was shared by Katenin, and even more so by Griboyedov's magazine ill-wishers, and he had them.
First of all, readers are accustomed to the "rule of three unities". In Woe from Wit, the unity of place and time is observed, but the main thing - the unity of action - is not visible. Even in Griboedov's presentation, at least two storylines are visible. First, the love triangle: main character Chatsky ("clever man") - Molchalin ("sugar medovich") - Sofia Pavlovna ("Queen"). Secondly, the story of the confrontation between the hero and the whole society, which ends with gossip about madness. These lines are connected: after all, none other than Sophia started the gossip. And yet the plot is clearly "bifurcated."
It was also doubtful whether the play had the right to be called a comedy. Of course, in "Woe from Wit" there are a lot of funny remarks and many characters(dignitary Famusov - Sophia's father, Colonel Skalozub, a young lady Natalya Dmitrievna, an idler Repetilov). But for real comedy this is not enough. The plot itself should be comical - some kind of misunderstanding, which is settled in the finale. In addition, by literary notions Griboedov time, goodies as a result of ingenious tricks, as a rule, they win, and negative ones remain in the cold.

Manuscript
"Woe from Wit"

First edition
"Woe from Wit"

In Woe from Wit, as literary scholars have noticed, everything is very similar - and everything is not so. It is Chatsky who finds himself in a ridiculous position: he cannot believe in any way that Sophia really loves the "dumb" Molchalin. But the author and the reader do not laugh at all, but are sad and sympathize with the hero, who in the finale runs "... to search the world where there is a corner for the offended feeling ...".
Sophia is convinced that Molchalin never loved her, and this is also a dramatic, not a comic situation. Ridiculous, however, in the final of Famusov, in whose house a scandal erupted. But judging by the "plan", Famusov is a secondary character. There are no winners in the end, and no one wanted to win. There is no one to laugh at either.
The key to understanding Woe from Wit was given by Griboedov himself. He wrote: “The first outline of this stage poem, as it was born in me, was much more magnificent and highest value than now in the vain attire in which I was forced to clothe him. Immediately he names the reason why he gave the play this "vain outfit". “The childish pleasure of hearing my poems in the theater, the desire for their success made me spoil my creation ...”. So, "Woe from Wit" is not a comedy, but a work of a different kind, only then adapted to the conditions of the stage. Perhaps it would be most accurate to call the play "a poetic and dramatic story." The beginning of the play is morning in Famusov's house. Griboyedov talks about his characters in much more detail than is necessary for the course of the drama. An elderly dignitary lives for his own pleasure, visits guests, gives balls himself, seizes on “monastic behavior” and slowly pesters a maid ... He has one concern - to marry his daughter. He has already found a good groom - Skalozub, about whom he says: "And a golden bag, and he aims for generals." Daughter is a girl brought up on sentimental books, - in love with a quiet poor official and secretly meets with him at night. However, their dates are very chaste:

He takes his hand, shakes his heart,
Breathe from the depths of your soul
Not a free word, and so the whole night passes ...

In accordance with the laws of the comedy genre, this is where the intrigue would begin: the lovers, with the help of the maid Lisa, must somehow deceive their father and arrange their happiness. But the intrigue does not begin. The reader knows nothing about Sophia's plans. Molchalin, as it turns out at the end of the play, did not want to get married at all. And then suddenly Chatsky, a childhood friend of Sophia, returns from a three-year trip. The fact that Chatsky is in love with Sophia, of course, adds trouble to both her (how to get rid of an unnecessary admirer) and Famusov (won't Skalozub cross the road?). But that's not the point of comedy. The thing is, first of all, that Chatsky brings with him a look at the usual Moscow life from the outside. All the rest are completely satisfied with their position, while Chatsky is able to criticize Moscow life. It turns out that there are values ​​that cannot be entered into the usual way.
Thus, the hero undermines the basis of the existence of this society - everything in general and each character individually. The meaning of Sophia's life is in love for Molchalin, and Chatsky laughs at his wordlessness and obsequiousness. That's why she breaks off the tongue: "He's out of his mind." Sophia herself, of course, does not understand her words literally, but she is glad that the interlocutor understood them literally, and not figuratively.

He is ready to believe!
Ah, Chatsky! You love to dress up everyone in jesters,
Would you like to try on yourself?
Other characters prove Chatsky's madness in earnest.
Khlestov:
There from the laughing ones;
I said something and he started laughing.
Molchalin:
He advised me not to serve in the Archives in Moscow.
Countess granddaughter:
He deigned to call me a fashionista!
Natalya Dmitrievna:
And he gave my husband advice to live in the countryside.

For Khlestova, the main thing is the respect of others, for Molchalin - a career, for Natalya Dmitrievna - secular entertainment. And since Chatsky, with his words and actions, touches all this, he is “crazy in everything,” as the scammer and rogue Zagoretsky sums up.
Understanding that life is imperfect, that everything in it is determined by the desire for a calm, secure existence, Griboyedov calls "mind". That is why he wrote that in his play "25 fools for one sane person", although, of course, stupid people there is almost none. But in society, Chatsky's mind is useless. “Will such a mind make a family happy?” Sophia says, and she is right in her own way.
Chatsky is restless everywhere - not only in Moscow. In St. Petersburg, he "was not given the ranks" - he wanted to be useful to the state and could not: "it's sickening to serve." At the first appearance, to Sophia’s question: “Where is it better?” - Chatsky answers: "Where we are not." Not without reason, at the beginning of the action, he appears from nowhere, and at the end he disappears to no one knows where.
The hero of a comedy who rejects society and is rejected by it is typical hero romanticism. Chatsky looks very little like a gloomy and self-confident hero. It has more kinship with the future heroes of the Russian classic novel. No matter how different Pechorin in Lermontov, Prince Andrei in Leo Tolstoy, Versilov in Dostoevsky's "The Teenager" - they are all wanderers who "seek around the world" for truth or suffer from the inability to find it. In this regard, Chatsky is their undoubted ancestor.
Characteristic of the Russian novel is the open ending "Woe from Wit". The original tranquility of life is destroyed in the play's finale. Sofya lost Molchalin, he will probably be forced to leave Famusov's house, and Famusov himself will no longer be able to live as before. There was a scandal, and now this pillar of Moscow society is afraid.
Oh my god! What will he say
Princess Marya Alekseevna!
But what will happen to the characters further is unknown, and it doesn’t matter: the “tale” is completed. "The Tale", and not a novel - only because for the novel "Woe from Wit" is not enough in volume. The idea of ​​"Woe from Wit" required that the life of the society that Chatsky faces be shown in all everyday details. Hence the most conspicuous feature of the play is its language and verse.
Griboedov for the first time in Russian literature managed to really write as they say, and not as people should speak, according to the author.
Each replica of the characters is completely natural, up to obvious irregularities of speech: “to the hairdresser”, “reckless”, etc. Chatsky - a pupil of the same "famus" Moscow - knows its language. Sometimes you can’t tell where Chatsky is talking and where Famusov is:

They know how to dress themselves up
Taftitsa, marigold and haze,
They won’t say a word in simplicity, everyone with a grimace -
this is Famusov.
That others, just as of old,
Trouble recruiting teachers regiments,
More in number, cheaper price? -

this makes fun of Chatsky's Moscow upbringing. But his words may sound quite different. Some of his monologues are solemn speeches:

Where? Show us, fathers of the fatherland,
Which should we take as samples?
Are not these rich in robbery?
They found protection from court in friends, in kinship,
Magnificent building chambers…
Others are beautiful sad lyrical poems:
In a wagon so-and-so on the way
Unimaginable plain, sitting idly,
Everything is visible ahead
Light, blue, varied ...

Already this set of intonations, inaccessible to other characters (the exception is partly Sophia), suggests that Chatsky is more humane than them ...
Strange as it may seem, it would have been more difficult for Griboyedov to achieve such naturalness in prose than in verse. Russian prose was still underdeveloped at that time. In poetry, the author had examples of Derzhavin, Krylov, playwright N. Khmelnitsky, and even his literary opponents - Arzamas. But the traditional verse of "high comedy" was not suitable for "Woe from Wit" - iambic six-foot, too monotonously measured. Griboedov wrote the play in iambic different number stop (free). In Russian dramaturgy, before it, it was used only in a few forgotten experiments. Later attempts to imitate Griboyedov were not successful: the culture of the free iamb was lost. In Griboedov's time, it was the most flexible size. They have long been written fables: for example, even before Griboedov, Krylov skillfully imitated in them colloquial speech. The same meter was used in the genre of elegy, where Batiushkov and other poets learned to perfectly convey melancholy feelings. The free iambic can also resemble an ode, as in Chatsky's accusatory monologues.
The size fit perfectly. It turned out to be a brilliant, light, and when necessary - a deep stage dialogue, which cuts into memory from one reading. At least a hundred of Griboyedov's poems became proverbs. And the variety of colloquial intonations of the text presents truly limitless possibilities for acting and director's interpretations. The clash of a lonely hero with the world is always exciting. That is why Woe from Wit will be staged as long as the Russian theater exists.
Griboedov spent 1823 and 1824 on vacation - in Moscow, in the village of the Begichevs, in St. Petersburg. His new work - the comedy "Woe from Wit" - made a splash. It was conceived back in Persia, begun in Tiflis, and completed in the village of the Begichevs. The author has read the play in many literary salons. But he failed to print or stage Woe from Wit. The comedy was hardly missed because of the political urgency.
“He already understood that literature was his real vocation. Thinking of new works. He no longer wanted to write comedies. There was something more grandiose in my head - a tragedy from the ancient Armenian history drama about 1812. From all this, only plans remained, ”writes P. M. Volodin.

In January 1826, after the Decembrist uprising, Griboyedov was arrested on suspicion of being involved in a conspiracy. There is a legend that Yermolov warned him about the arrest and thus gave him the opportunity to destroy compromising papers. During the investigation, Griboyedov behaved boldly, was ready in turn to blame his accusers for the wrong arrest (his letter on this subject to the tsar was returned with the remark that “one does not write to the sovereign in such a tone”), but categorically denied belonging to a secret society. This was also confirmed in their testimony by the majority of the Decembrists (with the exception of Obolensky and Trubetskoy, who slandered him). A few months later, he was not only released, but also received another rank, as well as an allowance in the amount of an annual salary. There really was no serious evidence against him, and even now there is no documentary evidence that the writer somehow participated in the activities secret societies. On the contrary, he is credited with a disparaging characterization of the conspiracy: "One hundred ensigns want to turn Russia over!" But, perhaps, Griboedov owes such a complete justification to the intercession of a relative - General I.F. Paskevich, a favorite of Nicholas I.

A. S. Griboyedov
1827

Paskevich turned out to be Griboyedov's new boss in the Caucasus. He sincerely loved and appreciated the writer. He was with the general during the war with Persia, and participated in peace negotiations in the village of Turkmenchay. Griboyedov compiled final version peace treaty, extremely beneficial for Russia. In the spring of 1828, Alexander Sergeevich was sent to St. Petersburg with the text of the treaty. He also brought with him the manuscript of the tragedy in verse "Georgian Night". Two scenes have been preserved from it, but it is not known whether the author finished the tragedy.

Griboedov-diplomat

Conclusion
Turkmanchay Treaty

Griboyedov took charge of foreign relations with Persia and Turkey, accompanied Paskevich in his campaign against Erivan, and negotiated peace with the heir to the Persian throne, which ended in the conclusion of the Turkmenchay peace, which was very beneficial for Russia. With the text of the Turkmanchay treatise, he was sent to the tsar, in St. Petersburg, received a large monetary award and a brilliant appointment as an ambassador to Persia. Griboyedov until then, in his own words, “a beggar, a servant of the sovereign from bread”, “in an instant he became both noble and rich.” His "fiery passion ... for extraordinary deeds", for "boundless plans" has now found an outlet.

Conclusion
Turkmanchay Treaty

In June of the same 1828, Griboedov was appointed envoy plenipotentiary to Persia. On the way, in Tiflis, he passionately fell in love with Princess Nina Chavchavadze, the daughter of his old friend, Georgian poet Alexandra Chavchavadze, - and in October he married her. Marital happiness was immeasurable, but so short and soon ended. A month after the wedding, the young couple left for Persia. Nina stopped in the border Tabriz, and Griboyedov moved on - to the capital of Persia, Tehran. Just a month later, tragedy struck.

Black Rose
Tiflis
Nina Griboyedova
— Chavchavadze

She was 16 years old
he is 38.
Griboyedov was in a hurry...

The Turkmanchay Treaty created a privileged position for Russia in Persia. This inevitably pushed Russia against England, which, in turn, was interested in the predominant influence on Persian affairs. One of the most difficult knots in world politics was being tied in Persia. Griboyedov, deeply aware that the outcome of the diplomatic duel with England would depend only on the economic conquest of Persia by Russian capital, in opposition to the East India Trading Company put forward a grandiose project of creating a “Russian Transcaucasian Company”, containing “giant plans” for the capitalization of the whole country. In the accompanying note, Griboyedov tried in every possible way to prove that his project did not contain any novelty. Nevertheless, the project, which was at least half a century ahead of Russian reality, did not meet with sympathy in Russian government circles, in particular, those who were afraid of those exclusive rights that Griboyedov demanded for the Company and its main figures. However, the British immediately sensed in him a most dangerous enemy, replacing in Persia, according to one contemporary (who did not actually sympathize with Griboedov), "with a single face of a twenty-thousandth army."
But his mission was extremely ungrateful. He had to achieve, among other things, that Persia would release the natives of Russia who wished to return to their homeland. Among them was the Shah's eunuch Mirza Yakub, an Armenian by birth. As a Russian representative, Griboedov could not but accept him, but in the eyes of the Iranians, this looked like the greatest insult inflicted on their country. They were especially outraged that Mirza Yakub, a Christian by birth who converted to Islam, was about to renounce Islam. The spiritual leaders of the Tehran Muslims ordered the people to go to the Russian representation and kill the apostate. Everything turned out even worse. Griboyedov, together with the entire staff of the Russian mission (with the exception of the secretary who accidentally escaped) during the attack on her by a crowd fanatized by the mullahs, who in turn acted on orders from the British.

Monastery of Saint David
photo late XIX century

Griboedov was buried in his beloved Tiflis, in the monastery of St. David on Mount Mtamtsminda. On the grave, the widow erected a monument to him with the inscription: “Your mind and deeds are immortal in Russian memory, but why did my love survive you?”.

Monument on the grave
A. S. Griboedova
in the church of st. David
in Georgia

The inscription on the grave of Griboyedov

“Your mind and deeds are immortal in the memory of Russians,
but why did my love outlive you?”

And here are the lines from Pushkin's memoirs: “Two oxen, harnessed to a cart, climbed a steep road. Several Georgians accompanied the cart. “Where are you from?” I asked them. "From Tehran". - "What are you carrying?" - "Mushroom-eater". It was the body of the murdered Griboedov, which was escorted to Tiflis ... ".
“What a pity that Griboedov did not leave his notes! It would be the business of his friends to write his biography; but wonderful people disappear from us, leaving no trace of themselves. We are lazy and incurious,” says N. M. Druzhinin.
The significance of any writer of the last day of our modernity is checked, first of all, by how close his spiritual appearance is to us, how much his work serves ours. historical cause. Griboyedov fully withstands such a test. He is close and dear to people as a writer, faithful to the truth of life, as an advanced figure of his time - a patriot, humanist and freedom lover, who had a profound and fruitful impact on the development of Russian national culture.

And I went to meet him
and all Tiflis with me
To the outpost of Erivan went moved by the crowd.
They cried on the roofs when I fell unconscious ...
Oh, why did my love survive him!

A. Odoevsky

Griboedov and his great comedy are surrounded in our country by truly popular love. Now more than ever, the words inscribed on grave monument Griboyedov:
“Your mind and deeds are immortal in Russian memory…”.

Bibliography:

1. Andreev, N.V. Great writers of Russia [Text] / N.V. Andreev. – M.: Thought, 1988.
2. Andreev, P. G. Griboyedov - musician [Text] / P. G. Andreev. – M.: Elista, 1963.
3. Babkin, V. M. A. S. Griboyedov in Russian literature [Text] / V. M. Babkin. - L., 1968.
4. Volodin, P. M. History of Russian literature XIX century [Text] / P. M. Volodin. - M., 1962
5. Druzhinin, N. M. A. S. Griboyedov in Russian criticism [Text] / N. M. Druzhinin. - M., 1958.
6. Orlov, V. N. A. S. Griboyedov [Text] / V. N. Orlov. - 2nd ed. – M.
7. Petrov, S. A. S. Griboyedov [Text] / S. A. Petrov. - M., 1955.

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Name:
Date of Birth: January 15, 1795
Place of Birth: Moscow, Russian Empire
Date of death: February 11, 1829
A place of death: Tehran, Persia

Biography of Griboyedov Alexander Sergeevich

Alexander Griboedov is known only for one of his plays "Woe from Wit", but he was also an excellent playwright, musician and poet. The comedy "Woe from Wit" is still very popular in the theaters of Russia, and many statements from it have become winged.

Griboedov was born into a very wealthy family and is a descendant of an old noble family. The parents took the education of the boy very seriously, early years showed many of his versatile talents. He received excellent home education and training. This greatly influenced his future life.

In 1803, the future writer entered the Moscow University Noble Boarding School. At only 11 years old, Griboyedov began to study at Moscow University in the verbal department. At the age of 13, he received a Ph.D. in verbal sciences. Also, he enters and finishes the other two departments - moral-political and physical-mathematical.

Griboyedov was very versatile and educated, and this is what distinguished him from his contemporaries. He spoke more than ten foreign languages, showed himself as a talented specialist in writing and music.

Griboyedov volunteered in 1812 during World War II. However, he was in the reserve regiment, so he never took part in combat battles. At this time, he first tries to write and creates the comedy "The Young Spouses".

In 1816, Griboyedov went to live in St. Petersburg, where he began working in the Collegium of Foreign Affairs, actively mastered and actively developed in the field of literature, and constantly visited theatrical and literary circles. It was here that he managed to get acquainted with Alexander Sergeevich Pushkin. He tries himself as a playwright and writes the comedies "His Family" and "Student".

In 1818, the fate of Alexander Griboyedov changed dramatically, as he was appointed to the post of secretary of the tsar's attorney, who headed the Russian mission in Tehran. This was a punishment to the writer for participating in a duel as a second, which ended in the death of one of the duelists. The young novice writer missed his native places very much, it was very hard for him to be in a foreign land.

Then, in 1822, he traveled to Georgia, to the city of Tiflis (today Tbilisi), where he wrote the first two parts of his great comedy Woe from Wit. In 1823, Griboyedov returned to his homeland in connection with a vacation, and there he wrote the third and fourth parts. Already in 1824 in St. Petersburg the play was completed. Nobody published it, as it was prohibited by the supervision. Pushkin read the comedy and declared that it was very well written.

Griboedov wanted to travel around Europe, but he had to urgently return to service in Tiflis in 1825. In 1826 he was arrested because of the Decembrist case. Many about once his name was heard during interrogations, however, due to insufficient evidence, the writer was released.

Griboedov did not play last role in the signing of the Turkmenchay peace treaty in 1828, as it delivered the text of the agreement to St. Petersburg. At the same time, he received a new title - the plenipotentiary minister (ambassador) of Russia in Persia. He believed that all plans for the development of the literary sphere were collapsing because of this.

Griboedov returns to Tiflis, where he marries Nina Chavchavadze, who is only 16 years old. Then they travel together to Persia. There were organizations in the country that were against the peace treaty and that believed that Russia had too much influence on their country. On January 30, 1829, a brutal mob attacked the Russian embassy in Tehran, and Alexander Griboyedov fell victim to it. He was so badly disfigured that the writer was recognized only by the scar on his arm. The body was taken to Tiflis and buried on Mount St. David.

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Bibliography Griboyedov Alexander Sergeevich

Dramaturgy

year unknown
1812 (plan and scene from drama)
1824
Woe from Wit (comedy in four acts in verse)
1826 or 1827
Georgian night (excerpts from the tragedy)
not earlier than 1825
Dialogue of Polovtsian husbands (excerpt)
1823
Who is brother, who is sister, or deception after deception (new vaudeville opera in 1 act)
1814
Young Spouses (comedy in one act, in verse)
1818
Feigned Infidelity (comedy in one act in verse)
1818
Interlude test (interlude in one act)
year unknown
Rodamist and Zenobia (the plan of the tragedy)
1817
Your family, or a married bride (an excerpt from a comedy)
1825
Serchak and Itlyar
1817
Student (comedy in three acts, written together with P. A. Katenin)
1823
The youth of the prophetic (sketch)