Plot "Woe From Wit"
Griboedov's art of living image is such that his study pushed all other points aside. The study of the plot "Woe from Wit" was done much less. But the strength and novelty of "Woe from Wit" was precisely in the fact that the plot itself was of enormous vital, social, historical significance. /.../ “A strong point in the plot” is a fiction about Chatsky's madness.
The emergence of fiction is the strongest point in love drama Chatsky. It is based on own words hero. trying unravel who Sophia loves, and not trusting the evidence, Chatsky, as it were, reconciles with the end of his love. He bitterly sneers at his rejected love, calling it insanity:
After
I can guard against madness;
I'll go further - to forgive, to grow cold,
Do not think about love, but I will be able to
Get lost in the world, forget and have fun.
To this bitter confession, Sophia says (to herself):
Here's what drove me crazy!
Sophia, infuriated by Chatsky's words about Molchalin, repeats this out of revenge:
He has a screw loose.
Art in subtle enhancements. Interestingly, the rumor started through the nameless Mr. N and then Mr. D.
The spread and growth of fiction.
III ACTION
Phenomenon 1
Chatsky. I can avoid madness.
Sophia That reluctantly drove me crazy!
Event 14
Sophia. He has a screw loose.
G.N. Have you lost your mind?
Event 15
G.N. Crazy.
Event 16
G.D. Crazy.
ZAGORETSKY His uncle, a rogue, hid him in the insane.
Event 17
Zagoretsky He's crazy.
Zagoretsky Yes, he has gone mad.
Appearance 19
Zagoretsky In the mountains he was wounded in the forehead, went mad from the wound.
phenomenon 21
Zagoretsky Mad around...
Khlyostov In his summer he jumped crazy!
Famusov Mad divorced people, and deeds, and opinions.
Khlestova Who in the mind is upset.
phenomenon 22
Khlestova Well, as if from crazy eyes ...
IV ACTION
Phenomenon 6
Zagoretsky Seriously damaged in mind.
Event 14
Famusov She called him insane!
The spread of fiction is based on the portrayal of reciprocity. However, the point is not in faith, in a change of opinion, the point is in complete community with o g l a s i i. At the end III actions Chatsky has already been declared insane. To the question of Platon Mikhailovich:
Who disclosed first?
Natalia Dmitrievna says:
Ah, my friend, everything!
AND old friend Chatsky must yield:
Well, everything, so believe involuntarily.
It's not a matter of faith fiction, not even trust;
They will heal, cure, maybe
Khlestova says, clearly not believing. "No one believed, but everyone repeats." Blind need to repeat the general rumor, with distrust.
Repetilov agrees even more clearly.
I'm sorry, I didn't know that was too loud.
Fiction takes on the character of a conspiracy, a conspiracy. /.../
Chatsky's madness fiction is a striking example of the "strong position in the plot" that Beaumarchais speaks of. The change of inventions, their growth ends with the replica of the old princess:
I think he just a Jacobin
Your Chatsky!!!
Fiction turns into a denunciation. /.../
The end of Act III completely changed the interpretation of the comedy in general and the main character in it, in particular. Chatsky's hot satirical monologue about the "Frenchman from Bordeaux" is one of the ideological centers of the play. This monologue ends as follows:
And in St. Petersburg and Moscow,
Who is the enemy of written faces, frills, curly words,
In whose head, unfortunately
Five, six there are healthy thoughts,
And he dares to announce them publicly,
Look...
(Looks around, everyone is waltzing with the greatest
diligence. The old men wandered off to the card tables.)
End of the third act.
The center of comedy is in the comical position of Chatsky himself, and here comedy is a means of tragedy, and comedy is a type of tragedy. /.../
Griboyedov was a man of the twelfth year "according to the spirit of the time and taste." In public life, December 1825 was already possible for him. He treated the fallen Platon Mikhailovich with lyrical regret, with the author's hostility to Sofya Pavlovna, with the laughter of a theater teacher and a poet who senses the future - to Repetilov, with a personal, autobiographical hostility to that Moscow, which was to him what old England was to Byron.
Griboedov, barely reaching the age of 18, participates in Patriotic war 18
12 d. In comedy, post-war indifferent careerism is given with particular force. A successful careerist of a new type Skalozub is already given by the surname itself. However, indiscriminate chuckling has a very definite character. Puffer talks about career paths. It turns out to be the most profitable to use the benefits provided by the war itself: “Others, you see, are killed.” The criminality of Skalozubov's careerism, based on the losses of the army, is obvious. The ardent delight in front of the success of his career on the part of Famusov, who looks at him as a welcome son-in-law, is even more important than the struggle between Famusov and Chatsky. The warning about Rocktooth as the premier military character of the era was one of the major performances in political comedy.
Pointless, complete indifference to everything except own career, laughter and jokes of the joker Skalozub - the most hated for Griboedov's satire, as later lovers of the funny and writers on the funny part of Saltykov were hated.
According to Skalozub, "to get ranks, there are many channels." And here is one named“channel" of this successful man, who bears the name for the generosity of jokes, for that boundless playfulness that indiscriminately distinguishes the new "regiment of jesters": "Joke and he is much, because now who does not joke" (Lisa), playfulness, which is most hostile to Chatsky's jokes , as it seeks to replace them with itself. This channel is “to get ranks” - “others, you see, they are killed”. Criminal satisfaction with the profitability of death. This joker is not far from crime, like this comedy is not far from drama. The figure of Skalozub in "Woe from Wit" predicts the death of the Nikolaev military regime.
"Woe from Wit" is a comedy about that time, about timelessness, about female power and male decline, about the great historical centuries-old account for the heroic people's war: to the freedom of the peasants, to the great national culture, to military power of the Russian people - an unpaid bill that led to December 1825.
The main idea of the work "Woe from Wit" is an illustration of meanness, ignorance and servility to the ranks and traditions, which were opposed by new ideas, genuine culture, freedom and reason. Main character Chatsky acted in the play as a representative of the same democratically minded society of young people who openly challenged the conservatives and serfs. All these subtleties that raged in social and political life, Griboyedov managed to reflect on the example of a classic comedy love triangle. It is noteworthy that the main part of the work described by the creator takes place within just one day, and the characters themselves are displayed very brightly by Griboyedov.
Many of the writer's contemporaries honored his manuscript with sincere praise and stood up to the king for permission to publish the comedy.
The history of writing the comedy "Woe from Wit"
The idea of writing the comedy "Woe from Wit" visited Griboedov during his stay in St. Petersburg. In 1816, he returned to the city from abroad and found himself at one of the secular receptions. Deep inner indignation caused in him the craving of Russian people for foreign things, after he noticed that the nobility of the city bowed to one of the foreign guests. The writer could not restrain himself and showed his negative attitude. Meanwhile, one of the guests, who did not share his convictions, retorted that Griboyedov was crazy.
The events of that evening formed the basis of the comedy, and Griboedov himself became the prototype of the main character Chatsky. The writer began work on the work in 1821. He worked on comedy in Tiflis, where he served under General Yermolov, and in Moscow.
In 1823, work on the play was completed, and the writer began to read it in Moscow literary circles while getting rave reviews. The comedy was successfully distributed in the form of lists among the reading population, but for the first time it was published only in 1833, after the request of Minister Uvarov to the tsar. The writer himself was no longer alive by that time.
Analysis of the work
Comedy main story
The events described in the comedy take place at the beginning of the 19th century, in the house of the capital official Famusov. His young daughter Sofya is in love with Famusov's secretary, Molchalin. He is a prudent man, not rich, occupying a minor rank.
Knowing about Sophia's passions, he meets with her by calculation. One day, a young nobleman Chatsky arrives at the Famusovs' house - a family friend who has not been in Russia for three years. The purpose of his return is to marry Sophia, for whom he has feelings. Sophia herself hides her love for Molchalin from the main character of the comedy.
Sophia's father is a man of the old way of life and views. He grovels before the ranks and believes that the young should please the authorities in everything, not show their opinion and selflessly serve the superiors. Chatsky, in contrast to him, is a witty young man with a sense of pride and good education. He condemns such views, considers them stupid, hypocritical and empty. There are heated arguments between Famusov and Chatsky.
On the day of Chatsky's arrival, invited guests gather in Famusov's house. During the evening, Sophia spreads a rumor that Chatsky has gone crazy. The guests, who also do not share his views, actively pick up this idea and unanimously recognize the hero as crazy.
Turning out to be a black sheep at the evening, Chatsky is going to leave the Famusovs' house. While waiting for the carriage, he hears Famusov's secretary confessing his feelings to the servant of the masters. Sofya also hears this, who immediately drives Molchalin out of the house.
denouement love scene ends with Chatsky's disappointment in Sophia and secular society. The hero leaves Moscow forever.
Heroes of the comedy "Woe from Wit"
This is the main character of Griboyedov's comedy. He is a hereditary nobleman who owns 300 - 400 souls. Chatsky was left an orphan early, and since his father was a close friend of Famusov, from childhood he was brought up with Sophia in the Famusovs' house. Later, he became bored with them, and at first he settled separately, and then completely left to wander the world.
From childhood, Chatsky and Sophia were friends, but he felt for her not only friendly feelings.
The main character in Griboedov's comedy is not stupid, witty, eloquent. A lover of mockery of the stupid, Chatsky was a liberal who did not want to bend before his superiors and serve the highest ranks. That is why he did not serve in the army and was not an official, which is rare for the era of that time and his pedigree.
Famusov is an aged man with gray hair at the temples, a nobleman. For his age, he is very cheerful and fresh. Pavel Afanasyevich is a widower, his only child is Sophia, 17 years old.
The official is public service, he is rich, but at the same time windy. Famusov does not hesitate to pester his own maids. His character is explosive, restless. Pavel Afanasyevich is obnoxious, but with the right people He knows how to be polite. An example of this is his communication with the colonel, to whom Famusov wants to marry his daughter. For the sake of his goal, he is ready for anything. Submission, servility to the ranks and servility are characteristic of him. He also values the opinion of society about himself and his family. The official does not like to read and does not consider education to be something very important.
Sophia is the daughter of a wealthy official. Pretty and educated best rules Moscow nobility. Left early without a mother, but being in the care of the governess Madame Rosier, she reads french books, dancing and playing the piano. Sophia is a fickle girl, windy and easily carried away by young men. At the same time, she is trusting and very naive.
In the course of the play, it is clear that she does not notice that Molchalin does not love her and is with her because of her own benefits. Her father calls her shameful and shameless, while Sophia herself considers herself a smart and not cowardly young lady.
Famusov's secretary, who lives in their house, is a single young man from a very poor family. Mine title of nobility Molchalin received only during the service, which in those days was considered acceptable. For this, Famusov periodically calls him rootless.
The surname of the hero, as well as possible, corresponds to his character and temperament. He doesn't like to talk. Molchalin limited and very foolish man. He behaves modestly and quietly, honors ranks and tries to please everyone who is in his environment. He does it purely for profit.
Aleksey Stepanovich never expresses his opinion, due to which others consider him to be quite a handsome young man. In fact, he is mean, unscrupulous and cowardly. At the end of the comedy, it becomes clear that Molchalin is in love with the maid Lisa. Having confessed this to her, he receives a portion of righteous anger from Sophia, but his characteristic sycophancy allows him to remain in the service of her father further.
Puffer - minor hero comedy, he is a non-initiative colonel who wants to become a general.
Pavel Afanasyevich refers Skalozub to the category of enviable Moscow suitors. According to Famusov, a wealthy officer who has weight and status in society is a good match for his daughter. Sophia herself did not like him. In the work, the image of Skalozub is collected in separate phrases. Sergey Sergeevich joins Chatsky's speech with absurd reasoning. They betray his ignorance and lack of education.
Maid Lisa
Lizanka is an ordinary maid in the Famus house, but at the same time she occupies a rather high place among others literary characters, and quite a lot of different episodes and descriptions are allotted to her. The author describes in detail what Lisa does and what and how she says. She makes the other heroes of the play confess their feelings, provokes them to certain actions, pushes them to various decisions that are important for their lives.
Mr. Repetilov appears in the fourth act of the work. It's minor but bright character comedy, invited to the ball to Famusov on the occasion of the name day of his daughter Sophia. His image - characterizes a person who chooses an easy path in life.
Zagoretsky
Anton Antonovich Zagoretsky is a secular reveler without ranks and honors, but he knows how and loves to be invited to all receptions. Due to his gift - to be pleasing "to the court."
Hurrying to visit the center of events, “as if” from the outside, the secondary hero A.S. Griboyedov, Anton Antonovich, himself, is invited to an evening at the Faustuvs' house. From the very first seconds of the action, it becomes clear with his person that Zagoretsky is another “shot”.
Madame Khlestova is also one of secondary characters comedy, but still her role is very colorful. This is an older woman. She is 65 years old. She has a Spitz dog and a dark-skinned maidservant - arapka. Khlestova is aware latest gossip yard and willingly shares own stories from life, in which he easily talks about other characters in the work.
Composition and storylines of the comedy "Woe from Wit"
When writing the comedy "Woe from Wit" Griboedov used a characteristic this genre reception. Here we can see classic plot, where two men claim the hand of one girl at once. Their images are also classical: one is modest and respectful, the other is educated, proud and confident in his own superiority. True, in the play, Griboyedov placed the accents in the character of the characters a little differently, making Molchalin, and not Chatsky, attractive to that society.
For several chapters the play is coming a background description of life in the Famusovs' house and only in the seventh appearance does the plot begin love story. A sufficiently detailed long description in the course of the play tells of only one day. A long-term development of events is not described here. There are two storylines in the comedy. These are conflicts: love and social.
Each of the images described by Griboyedov is multifaceted. Even Molchalin is interesting, to whom, already in the reader, an unpleasant attitude arises, but he does not cause obvious disgust. It is interesting to watch him in various episodes.
In the play, despite taking the fundamental constructions, there are certain deviations to build the plot, and it is clearly seen that the comedy was written at the junction of three literary epochs: flourishing romanticism, emerging realism and dying classicism.
Griboyedov's comedy "Woe from Wit" gained its popularity not only for the use of classical plotting techniques in non-standard frameworks for them, it reflected obvious changes in society, which were then just emerging and putting out their first sprouts.
The work is also interesting in that it is strikingly different from all other works written by Griboyedov.
We will talk about one of the main Russian comedies "Woe from Wit" by Alexander Griboedov (see Fig. 1).
Rice. 1. Alexander Sergeevich Griboyedov
Alexander Sergeevich belonged to the generation creative people. They considered the bureaucratic service and literature incompatible occupations. Generation Griboyedov - people privacy. Alexander Sergeevich served, was an experienced diplomat. He was responsible for the preparation of the Turkmanchay treaty, which reconciled Caucasian peoples with Iran (see Fig. 2). As a diplomat, he died.
In 1829, in Tehran, an indignant crowd attacked representatives of the Russian diplomatic mission, many were killed, including Griboyedov.
Rice. 2. K. Osokina from the original by V. Moshkov. "The signing of a peace treaty in Turkmanchay on February 10, 1828"
At first, Griboyedov wanted to call the work "Woe to the Wit", but called it "Woe from Wit". The protagonist embodies all the traits of a romantic personality. The action takes place in Moscow, because the capital was St. Petersburg. Moscow was an important city, but partly rural, dignitaries lived out their lives, served little. Moscow aristocratic morals were not the morals of servicemen.
After a three-year absence, the young man Chatsky returns to Moscow. He comes to the Famusovs' house to visit his girlfriend Sofya, whom he was in love with. But he discovers changes in his beloved, in relationships between people. It comes into conflict with everyday life, with Famusov and partly with Sophia. Famusov has a new assistant Molchalin, Sofya is in love with him. Chatsky does not notice this. He cannot imagine that a girl, with her development, can fall in love with the impersonal Molchalin.
Educational comedy, subject to classical patterns.
Principles of a dramatic work
- Unity of time. The action lasts no more than a day.
- unity of place. The action takes place in one house.
- unity of action. The plot shouldn't be complicated.
All these rules are followed. However, Chatsky himself does not look like the hero of an educational comedy. We read "Undergrowth" by Fonvizin, in the work of Griboyedov everything is different.
Pushkin, after reading "Woe from Wit", came to the conclusion that her hero is not at all smart.
He wrote in a letter to Vyazemsky on January 28, 1825, "Chatsky is not a smart person at all - but Griboyedov is very smart." Also at the end of January, Pushkin wrote to Bestuzhev:
“In the comedy “Woe from Wit” who is the main actor? The answer is Griboyedov. Do you know what Chatsky is? A noble, kind fellow who spent some time with smart person(precisely with Griboyedov) and saturated with his thoughts with witticisms and satirical remarks.
Three very important scenes of "Woe from Wit", in which Griboyedov put one meaning, and Pushkin found another.
Famusov
A dangerous person!
Chatsky
Everyone breathes freely
And not in a hurry to fit into the regiment of jesters.
Famusov
What does he say! and speaks as he writes!
Chatsky
Have patrons yawn at the ceiling,
Appear to be silent, to shuffle, to dine,
Substitute a chair, raise a handkerchief.
Famusov
He wants to preach!
Chatsky
Who travels, who lives in the village...
Famusov
Yes, he does not recognize the authorities!
Chatsky
Who serves a cause, not individuals...
Famusov
I would strictly forbid these gentlemen
Drive up to the capitals for a shot.
A.S. Griboyedov
In the end, Famusov covers his ears, and Chatsky continues to speak.
For Pushkin, as a person with an unromantic consciousness, Chatsky is doing something stupid: you can’t preach something to a person if he doesn’t want to listen.
More more ground Pushkin to doubt the mind of Chatsky gives the 3rd act, the 22nd appearance, where Chatsky delivers his famous monologue about the Frenchman from Bordeaux.
In that room, an insignificant meeting:
A Frenchman from Bordeaux, puffing his chest,
Gathered around him a kind of vecha
And he said how he was equipped for the journey ...
A.S. Griboyedov
This long monologue ends with the author's remark:
Five, six there are healthy thoughts
And he dares to announce them publicly, -
Look...
(He looks around, everyone is circling in a waltz with the greatest zeal. The old people have dispersed to the card tables.)
Chatsky does not see anything around him. Nobody listens to him. He preaches blinded by passion, oblivious to the reality around him. There are also mirror reflection these episodes. Act 4, scene 5, when Repetilov acts like Chatsky. He talks to Skalozub, preaches high thoughts to him, utters a long monologue and receives a remark:
(Stops when he sees that Zagoretsky has taken the place of Skalozub, who has left for a while.)
This is a parody of Chatsky's monologue. To a conversation with a non-listening Famusov, to a monologue about a Frenchman from Bordeaux, where everyone is circling in a dance. Repetilov is an empty hero who acts like Chatsky.
Pushkin, as a spectator of the classical era, sees one thing, while Griboyedov, as the author of a new comedy, puts in something completely different.
For Griboyedov, a romantic person does not need to correct the world around him. Chatsky should not correct the world, but preach the truth. The conflict with the world is the content romantic hero. Pushkin looks at Chatsky from the point of view of a stage device.
A hero who does not see people is ridiculous for Pushkin, but exalted for Griboyedov. A romantic person cannot stoop to observe reality. Repetilov is not a parody of Chatsky, but of a Moscow dandy who imitates the hero. lofty ideas, which do not fit into Repetilov's head, do not humiliate Chatsky. The plot is based on an accidental slip of the tongue, overgrown with non-random consequences.
Chatsky accidentally utters phrases that Sophia picks up and, like a rumor, lets into the crowd.
"Mind and heart are not in harmony"
"How my mind remained intact"
"From madness I can beware."
Sofya throws a rumor that Chatsky is out of his mind. From Pushkin's point of view, the hero behaves foolishly, because he himself tells Sophia the move that she will use against him.
Chatsky is a romantic person. And Pushkin, the spectator who has overcome romanticism in himself, demands from the hero what a romantic person cannot, does not want and should not give.
This is a normal discrepancy between perception and text. In literature, this is called interpretation.
Pushkin interpreted "Woe from Wit" differently than Griboyedov intended it to be.
Griboyedov coped with his task of portraying a romantic hero.
On the relationship of two outstanding people XIX century will tell documentary“The story of a hoax. Pushkin and Griboedov".
Is Chatsky smart? It was not only Pushkin who thought about this. The controversy continues to this day. Comedy Griboyedov dedicated to the program, Igor Volgin
Act I
Morning in the house of the Moscow official Famusov. Lisa, a maid, must watch so that Famusov does not find her daughter Sophia with her secretary Molchalin in her room. But she falls asleep and wakes up late, the owner is about to come. Sofya is passionate about Molchalin, secretly meets with him and does not want her father to find out about it. Lisa manages to warn them.
Famusov quietly appears in the room and begins to flirt with Lizonka. She is worried that they will wake up Sophia, who has been reading novels all night. Barin leaves. Young people appear, but Famusov unexpectedly returns. He is unhappy seeing Molchalin near Sophia so early. He convinces him that he is here for work.
Chatsky arrives later, for a long time absent from Moscow. He has known Sophia since childhood, is in love with her and is happy to meet her. But Sophia is rather cold with him. In a conversation with her, he speaks unflatteringly about many common acquaintances, including Molchalin. Sophia doesn't like it.
Famusov, having learned about his arrival, wants to see him with a story about the trip.
Act II
Famusov and the servant Petrush make a list: when and to whom they are invited to the ball, dinner. Chatsky comes and starts a conversation about morals in noble society: the pursuit of ranks, money, servility, hypocrisy. Famusov does not like this kind of conversation, Chatsky's progressive views.
During the conversation, Skalozub arrives. The owner is especially respectful with him, as he intends to marry Sophia to him. Not wanting him to hear Chatsky's speeches, he takes him to his office.
Sophia and Lisa are standing by the window. Suddenly Sophia faints: it turns out that Molchalin fell off his horse. Later, everyone will find out that nothing terrible happened to him, he just hurt his hand. Watching Sophia, Chatsky realizes that she is not indifferent to Molchalin.
Molchalin and Lisa were left alone. He flirts with the maid, tells her about his feelings for her. She also likes Petrush's servant.
Act III
Chatsky, in a conversation with Sophia, is trying to find out who is dear to her: he or Molchalin, but she avoids a direct answer. In the evening guests come to the ball.
The princes Tugoukhovskys arrived with their six daughters, Countess Khryumina with her granddaughter, and the Gorichs. The old Khlestova arrived with a dog, which Molchalin began to admire. Chatsky did not fail to immediately speak sharply on this matter. Sophia, hearing this, said with displeasure that Chatsky was out of his mind. The news quickly spread around the guests, and also overgrown with details.
Chatsky, reappearing in the hall, does not understand why everyone shied away from him.
Action IV
Chatsky accidentally learns, having heard someone else's conversation, that he is crazy. He is outraged and hopes that the rumors have not reached Sophia.
Liza, at the request of Sophia, goes to call Molchalin. He crumbles in pleasantries to Lisa, says that the mistress is not like her, that he was not going to marry her. All this is heard by Chatsky, who is standing behind the column, and Sophia, who is descending the stairs.
Molchalin says that his father taught him to please everyone, so he pleases Sophia, she is the mistress. Sophia is outraged by his confession, says that it is low, vile. Molchalin tries to beg her forgiveness, but she categorically demands to leave her house.
Chatsky expresses his bewilderment to Sofya: how could she be interested in such insignificant person like Molchalin. Famusov appears and is indignant when he sees Sofya with Chatsky, about whom she herself said that he was crazy. This news for Chatsky was a blow. He tells himself that he is blind, that how he did not see this before. He was ready to do anything for her, and she treated him so dishonestly.
Famusov is angry, he promises to send Sophia to the village to her aunt.
Chatsky, on the other hand, thinks that this is so, talk that Sophia will forgive Molchalin, that he is convenient for her as a husband.
He, addressing everyone, says that their society is a society of tormentors, traitors, that it is not surprising to lose your mind when communicating with them. In conclusion, he says: “I will go to look around the world, where there is a corner for an offended feeling. Carriage for me, carriage!”
The tragedy of Chatsky, shown in the comedy, is the tragedy of a whole generation of young people with advanced views, lively ideas and sincere feelings.
Detailed action summary
Action 1
It all starts with the fact that the maid Lisa complains of insomnia at night, waking up in the morning. She lives and works with the Famusovs. Cause bad sleep took place in the fact that it was necessary to ensure that the meeting of the hostess Sofya and Molchalin, who came to her, took place without the extra eyes of the household. Knocking on Sophia's room, the maid announces the onset of morning and, so that the father does not find the secret guest, the hostess should say goodbye to her friend. In order for this to come faster, the maid changed the clock.
Famusov appears, and Liza becomes the subject of his flirtation. At this moment, the hostess calls the maid, and Famusov hurriedly leaves. Sophia hears Lisa's reproaches about imprudence, and as soon as Molchalin is about to leave the house, her father appears, who wonders why the secretary is with them so early in the morning. He justifies himself that, upon returning from a walk, he went to Sophia in the morning. Famusov is dissatisfied and scolds his daughter.
The maid again advises Sophia to be more vigilant. Lisa's opinion is that Famusov will definitely not allow Sofya to marry Molchalin, that her daughter should marry a wealthy Colonel Skalozub. However, the girl does not want to be with a wealthy, but stupid man.
The maid recalls the youthful relationship between Sophia and Alexander Chatsky, cheerful and distinguished by an extraordinary mind, but Sophia accepts that time as nothing more than pure childhood friendship and an event of the past years. Immediately, the girl is informed about the arrival of a very happy Chatsky, who is glad to see Sophia, but he is embarrassed cold welcome. He talks about past years, asks if Sophia has a lover, admires her and makes compliments, and she is very embarrassed by his words. After Chatsky's departure, Famusov reflects on who his daughter's lover is.
Action 2
In the second act, a dialogue takes place between Chatsky and Famusov. The first asks Sophia's father what his opinion would be if he married a girl. Famusov makes it clear that service to the state and the presence of a high rank are important to him, to which Chatsky says: “I would be glad to serve, it’s sickening to serve.” Then Famusov told about his uncle Maxim Petrovich, helpful and rich, and considers Chatsky proud and still calls him to "serve" in order to achieve him high status in society.
In the next scene, Lisa tries to bring Sophia to her senses from the fact that she learned about Molchalin's fall from the horse. But Chatsky noticed Molchalin, who did not receive any injuries. Waking up, Sophia heard Chatsky's cold words that Molchalin was fine. This leads her to accuse an old friend of indifference. And then Chatsky realized who Sophia's lover was.
After that, Molchalin tells the girl that she should not show her feelings so openly, because he is afraid of rumors, and Sophia does not care about someone else's opinion. Having learned about the situation, Lisa advises the hostess to pay attention to Chatsky in order to divert attention from Molchalin, who, in turn, does not hesitate to compliment the maid.
Action 3
Chatsky wants to find out from his beloved how she treats Molchalin and Skalozub. Sophia only says that Sophia appreciates Molchalin for his character traits, such as modesty and meek disposition. However, she does not say that she loves him.
On this day, a ball is planned at the Famusovs, so the servants prepare the house for the arrival of guests. Among them were mainly powerful people capital Cities. Molchalin decided to woo Khlestova - Aunt Sophia - he praises her small Spitz. And Chatsky laughed at how Molchalin was trying to oblige.
Sophia, in a dialogue with Mr. N, among other things, says that Chatsky is "out of his mind", reflects on the character of Chatsky, in particular, about pride and anger. But this accidentally spoken phrase turns out to be that no one wants to contact Chatsky, who does not feel comfortable among the guests, and, in general, in Moscow. Alexander was outraged by the words of a Frenchman who was afraid to go to Russia and assumed that he would end up in a barbarian state. But he seemed to be in France. And Chatsky does not share the admiration for France.
Action 4
The ball is coming to an end, and the guests are leaving. Chatsky is waiting for the carriage, hurrying the footman. He discusses why the topic of his madness has spread so much and who started this rumor.
By chance, Chatsky witnesses a dialogue between Lisa and Molchalin, from which it becomes clear that the second is going to marry Sofya fictitiously, because she is Famusov's daughter. To the maid Lisa he tests great feelings. Sophia hears this, Famusov asks for forgiveness, but the girl does not forgive him and says to leave their house, otherwise her father will find out about everything.
After that, Chatsky calls Sophia a traitor to their love, and she justifies herself by saying that she could never even imagine that Molchalin would turn out to be a completely different person. Here Famusov notices his daughter with Chatsky and is very surprised, because Sophia started a rumor about his madness. The father says that he will send Sophia "to the wilderness, to Saratov."
Chatsky is disappointed and reads the last monologue. He believes that Sophia should have immediately told about her attitude towards him and not give false hopes. After all, Chatsky is completely convinced that he should leave Moscow forever.
And Sophia’s father is worried about only one thought: “What will Princess Marya Aleksevna say!”.
What does the comedy "Woe from Wit" teach?
The comedy "Woe from Wit" shows the problems that worried people after the war of 1812. It has become quite a landmark work in the literary treasury.
She says that people should remain sincere and really kind. About the fact that one should not remain indifferent to injustice, meanness, venality and vulgarity.
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Woe from the mind. Picture for the story
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Comedy "Woe from Wit" Summary
The following will help you get acquainted with Griboedov's comedy in detail. brief retelling plays, the history of the creation of "Woe from Wit", characterization of the characters and brief conclusions by work.
Brief retelling of the plot of Griboedov's play "Woe from Wit"
The action of the play reflects the events of one day. Chatsky, a young nobleman, after a three-year absence returns to the Famusovs' house, where he was brought up. Here he had a girlfriend, Sofya Famusova, with whom he was in love. During his absence, Sophia began secretly from her father to meet with the poor clerk Molchalin. The elder Famusov wants to marry his daughter to Colonel Skalozub, no longer young, but a rich groom.
Sophia's new lover is actually fascinated by the maid Liza, and with Famusova's daughter she only plays with her daughter in the hope of furthering her father's disposition and taking off career ladder. Chatsky sees all this and constantly sneers at the choice ex-lover. The hero is also not satisfied with the habits of the local society - the desire to blindly imitate the West and the lack of desire to engage in self-enlightenment. He speaks openly about his observations at the Famusovs' evening party.
Sophia, outraged that a childhood friend makes fun of her Molchalin and their relationship, spreads a rumor about his madness. Society supports this conjecture, as it does not accept the ideas and statements of Chatsky. By the end of the day, Famusov finds out about his daughter's secret dates and realizes that plans for a profitable marriage have been destroyed. Sophia, realizing that Molchalin was deceiving her, drives him away. Chatsky makes a diatribe and leaves the Famusovs' house.
Summary of Griboyedov's comedy play "Woe from Wit" by actions
Moscow. Beginning of the 19th century. House of a wealthy official Famusov.
Act I. Return of Chatsky or "the third wheel"
Behind the back of the owner of the house, the wealthy official Famusov, his daughter Sophia and secretary Molchalin secretly meet at night. The maid Lisa guards the door while the couple chats. Famusov begins to suspect something is wrong, but suspicions are postponed with the arrival of Alexander Andreyevich Chatsky, a pupil of the Famusovs' house, who has been absent for three long years. Before his departure, Alexander Andreevich was in love with Sophia and she reciprocated. Not forgetting his feelings, Chatsky again hopes to get the location of a girl who is not at all happy with him. Sophia is in love with Molchalin, although she hopes that their meetings remain secret. The girl does not know how to give the name of her lover to Chatsky. Sophia's father is not happy with these two suitors of his daughter, in his opinion, the best game for her will be Colonel Skalozub.
Action II. Chatsky finds out who became his rival
Chatsky appears in the Famusovs' house and starts "strange" conversations with Famusov. According to Chatsky, it is ridiculous and not right to chase ranks and wealth. Famusov is not pleased with such sayings of the pupil, and when Skalozub comes to visit him, he takes him to his office, away from the "troublemaker". Sofya watches Molchalin through the window and sees how he falls from his horse. Worried, the girl loses consciousness. Chatsky sees everything and guesses who Sophia's secret lover is. It turns out that Molchalin was not injured, when he is left alone with the maid Lisa, he confesses his love to the girl. Lisa is outraged by this and condemns the secretary for deception and false courtship of Sophia. The serf herself likes Petrush's servant, Molchalin is indifferent to her.
Action III. Party in the Famusovs' house
An explanation takes place between Chatsky and Sophia. Realizing that he will be rejected, Chatsky begins to reproach Sophia and does not speak very flatteringly about her new lover. Sophia is offended by Chatsky's words, and she leaves him, rushing to another secret date.
Guests are coming to the Famusovs. During a conversation with one of the invitees, Sophia says that Chatsky is out of his mind. Word of his madness quickly spreads among the rest of the guests. When Chatsky arrives, he notices that everyone looks at him like he's crazy.
Action IV. exposure
After the guests leave, Repetilov runs in to the Famusovs. An old comrade invites Chatsky to the English Club, but he decides to stay. Chatsky, hiding behind a column, overhears Molchalin chasing after Liza. The sly one again confesses his love to the maid, and Sophia hears this conversation. In a rage, the girl drives the deceiver out of the house. Chatsky enters and expresses his indignation to Sofya at the dissolution of rumors about his madness. Famusov appears, scolds and shames his daughter for indecent behavior and promises her a “link” to the village in educational measures. He forbids Chatsky to look after his daughter, but this is superfluous - Alexander Andreevich is disappointed in Sophia and in Moscow society. He wants to leave Moscow forever and calls for a carriage.
A brief analysis and conclusions on the landmark work of literature of the 19th century, Griboedov's play "Woe from Wit"
The comedy play "Woe from Wit" occupies an important niche in the history of Russian classical literature. It reveals the main issues that worried the public in postwar period V 19th century and the noble split that was planned at that time was analyzed in detail.
A brief retelling of such a serious literary work will allow to present its main theme, problems and storyline. But, unfortunately, it will not convey the linguistic nobility of the work and will not show the subtle sarcasm inherent in it. Many phrases from the play "Woe from Wit" turned into idioms and are still in use today.
Briefly about the history of the comedy "Woe from Wit"
Back in 1816, Alexander Sergeevich Griboyedov returned to his homeland from a long trip abroad and was invited to a secular evening. Struck by how the Russian nobility bows to everything foreign, he excitedly delivered a diatribe to the public. Many of noblemen seriously thought about the mental health of Griboyedov. Thus was born the idea of creating satirical comedy"Woe from Wit", which promised to be a sweet revenge on the narrow-minded aristocratic society.
Griboyedov worked on the play for about four years. He put an end to his work in 1824, but the author was denied publication by censorship. Handwritten copies went from hand to hand while Griboyedov carried out new edits, hoping that his work would still get into print. But for the first time full version"Woe from Wit" was published only in 1831, on German after the death of the author. In Russia, having undergone the strongest censorship edits, the play was released in 1833, and the author's version received its own " finest hour only in 1862.
Briefly about the heroes of the comedy "Woe from Wit"
For quality perception summary Griboedov's comedy "Woe from Wit", it is necessary to get acquainted with the characteristics of its main and secondary characters.
Characteristics of the main characters of the play
- Famusov Pavel Afanasyevich
A wealthy landowner and official who serves as a manager in a state structure. Pavel Afanasyevich is a widower with a daughter. He is overly concerned with what others think of him. Its main values: blat, wealth, high ranks. Pavel Afanasyevich is wary of educated "upstarts" and the enlightenment of the masses. For his only daughter Sophia, Famusov chose a worthy groom - no longer young, but respected and financially secure officer Skalozub. - Famusova Sofia Pavlovna
A seventeen-year-old noblewoman, the only daughter of Famusov. The girl grew up without a mother, but her upbringing did not suffer from this. She turned out to be a smart, attractive and progressive young lady. Like other marriageable girls, Sophia plays musical instruments, sings, dances, fluent French. Having fallen in love with the poor Molchalin, the girl meets him secretly, since her father considers the position in society to be very important and is unlikely to approve such an alliance. Sophia spreads rumors about Chatsky's madness, thus wanting to avenge him for teasing Molchalin. - Molchalin Alexey Stepanovich
A young unnamed man who serves as a secretary at the Famusovs' house. Molchalin has been accustomed since childhood to please others for the sake of gain. He doesn’t represent anything special, he keeps his opinion to himself and assents to those who are higher in rank, he is not burdened with a special mind. To please his master, he takes care of his daughter, who is completely indifferent to him, while secretly sympathizing with the maid Lisa. - Chatsky Alexander Andreevich
A young nobleman, a pupil of the Famusovs' house. Orphaned early, grew up next to Sophia and for a long time was in love with her. Chatsky grew up as a man of the "new generation": he is proud, smart and denies the values of the Moscow nobility. Returning from a long trip abroad, the young man learns about the relationship between Sofia and Molchalin. His pride is offended, he harasses his opponent with attacks and meets an unexpectedly sharp rebuff from his former lover.
Characteristics of the secondary characters of the play
- Skalozub Sergey Sergeevich
Rich bachelor, colonel, careerist. A person of limited views, interested only in awards and promotion military service. I really like Famusov, who looked after him as a spouse for his daughter. - Repetilov
Comrade Chatsky, nobleman. A funny and awkward man who didn't succeed in his career and family life. Lover of revelry and parties. - Lisa
A serf servant in the Famusovs' house. Windy, but not stupid person. The girl likes Famusov and Molchalin, and she breathes unevenly towards the barman Petrusha.
Other characters in the play "Woe from Wit"
- Zagoretsky Anton Antonovich
A nobleman, an acquaintance of Famusov. - Khlestova Anfisa Nilovna
Sister of the late wife of Famusov. - Gorich Platon Mikhailovich
Retired officer, nobleman. - Gorich Natalia Dmitrievna
Young noblewoman, wife of Platon Mikhailovich. - Tugoukhovsky Pyotr Ilyich
Prince, deaf old man. - Tugoukhovskaya Maria Alekseevna
Wife of Pyotr Ilyich, mother of six marriageable daughters. - Countess Hryumina
An ancient grandmother and granddaughter looking for a spouse. - Parsley
Serf servant of the Famusovs.
