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Artistic idea woe from mind. Composition and storylines of the comedy "Woe from Wit"

Artistic idea woe from mind. Composition and storylines of the comedy "Woe from Wit"

13.04.2019

Ideological concept of comedy and its composition.

Griboyedov came up with the idea for the comedy Woe from Wit at a time when in Russia, in response to the strengthening of the government reaction, secret political societies. The clash of a man of Decembrist views with the reactionary mass of the nobility was laid by Griboyedov at the foundation of his comedy; this gave it a socio-political character. Griboyedov's comedy reflected the ever-increasing struggle in Russian society between the Decembrists and serf-owners. This struggle is the main driving force of the play. But Chatsky's speech against Famus Society complicates it love drama. The personal and social drama of Chatsky are internally connected, develop until the end of the comedy, not replacing one another, but intertwining and complicating each other.

Griboedov's mastery, which he showed in the construction of the comedy, is especially pronounced in the fact that all the images given in it, down to the most insignificant ones, play an important role in the development of the plot, especially in the implementation of the main ideological concept- to give in comedy a broad picture of modern Russian reality, to show the clash of the "current century" with the "past century".

The ideological and thematic content of the comedy "Woe from Wit"

In his comedy, Griboyedov very sharply posed a number of the most important problems for his time: the problem of serfdom and the relationship between the noble landlords and the serf peasantry, the problem of service in feudal-serf Russia, education and culture, the connection of the intelligentsia with the people, false and true patriotism. This issue gave the comedy a sharp political character, making it a work that, even before it was printed, was distributed in thousands of handwritten copies not only in the capitals, but also in provincial cities.

But the very title of the comedy indicates that the author included another problem in the content of Woe from Wit. Griboyedov shows the grief of an intelligent person who is forced to live in a serf-owning society, where intelligence, love, a person’s desire for creativity, in general, all the best human qualities perish.

The cause of Chatsky's tragedy is his advanced views, intelligence and noble aspirations. All this is not only not valued in the Famus society, but is rejected, Furthermore- pursued by them. A person can be accepted in this noble society only by giving up his views in favor of the dominant ones, by submitting to the traditions of this society. Such a change occurred, for example, with Sophia and with former comrade Chatsky by military service Gorich.

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Idea content and the system of images of the play "Woe from Wit"

3. The richness and realism of the language of comedy

the abundance of artistic and satirical elements gives "Woe from Wit" a place in the first row of artistic achievements of the early critical realism. His language is richly realistic. The development of a literary language was a huge problem for the writers of the Decembrist era. Griboyedov made a great contribution here. Instead of the former bookishness, a stream of living colloquial speech. The speech of the characters is masterfully individualized: in Skalozub it consists of fragmentary words and short phrases, interspersed with rude military buzzwords; Molchalin is laconic and chooses cutesy turns; the speech of Khlestova, a great Moscow lady, smart and experienced, but primitive in culture, mother-commander in rich lordly living rooms, close, however, in economic relations to the village, is remarkably sustained. The role of Liza was conceived and compositionally organized by the playwright as the traditional role of a confidante in a young lady's love affair, and, nevertheless, Liza has many elements of lively vernacular. Famusovskaya Moscow at Griboyedov says everyday language, Moscow dialect. In one element people merge here different generations, and sometimes it is difficult to distinguish the speech of the lady from the speech of the maid. Speech is replete with realities, simple, figurative, as if material, everyday.

The speeches of Chatsky and Sophia were supposed to solve other problems, to express a complex range of feelings alien to the rest of the characters: love, jealousy, mental pain, civil sorrow, indignation, irony, sarcasm. In the language of Sophia, psychological and ethical elements clearly appear ("reproaches, complaints, my tears do not dare to expect, you are not worth them", "I am ashamed of myself, I am ashamed of the walls", etc.). From the material and concrete, her speech constantly rises to the abstract, generalized. Psychological and ethical elements are also abundant in Chatsky’s speeches (“the face of the most holy pilgrimage”, “mind and heart are not in harmony”, “heat for creative arts, high and beautiful”, “that passion, that feeling, that ardor” and much more) .

But the most significant feature of Chatsky's speeches is the socio-political ideology and pathos. In Chatsky's speeches there is a special vocabulary (“foreign power”, “weakness”, “humiliation”), its own system of epithets (“angry”, “mean”, “hungry”, “slavish”, “stately”), its own syntax - with developed sentence forms, simple and complex, with a tendency to periodic construction. The artist seeks to single out these two heroes not only in figurativeness or ideological content, but also in a language different from the everyday speech of other characters, a language rich in inversions, gradations, antitheses, and pathos. At the same time, the language of Chatsky and Sophia is also realistically processed by the playwright. It was not easy, here the author was in danger of falling into bookishness (and echoes of this bookishness are felt here and there in the text).

The lyrical style was more difficult than the everyday one. Nevertheless, even here the achievements of simplicity, truthfulness in the verbal expression of the complex psychology of the characters are enormous. Griboyedov's merit was the reconstruction of the speech of the noble intelligentsia of the Decembrist era. As in the speeches of Sophia, Famusov and Khlestova, Chatsky will find words and sayings from the common people and lively noble - Moscow - speech (“besides”, “more”, “not a hair”, “I don’t remember”, etc.). But it would be a mistake to include Chatsky's speech in an indiscriminate characterization of the language of the Moscow Famus society. Contemporaries with the greatest acuteness perceived the socio-political journalism, which related Chatsky's speeches with St. Petersburg, Decembrist oriented literature. In the Decembrist patriotic vocabulary, the words "fatherland", "liberty", "freedom", "people", the word "slave" - in the sense of a politically oppressed or corrupted person - and derivatives from them were widely used. All these words belong to the most active elements of the vocabulary in Chatsky's speeches. The famous words of Chatsky: “this unclean spirit of an empty slavish, blind imitation” directly echoes the words of K.F. Ryleeva: “We will try to destroy the spirit of slavish imitation in ourselves” (“Son of the Fatherland”, 1825).

the largest stylistic feature"Woe from Wit" is its verse form. It is like a musical drama with its inevitable rhythm, which does not allow arbitrary stops and pauses.

The significance of "Woe from Wit" is enormous in updating the poetic language, in the culture of comedy dialogue, in enriching literary speech living space.

The ideological meaning of the comedy "Woe from Wit" is to depict the clash of two socio-political camps. The conflict of the play reveals the typical features, socio-historical essence, strength and weakness of the noble liberation movement.
Chatsky's drama was a reflection of an even broader pan-European phenomenon. He suffers grief from his mind, which is deep in its critical attitude towards the egoistic and the world of famous and pufferfish, but still weak in determining the correct ways to fight for the transformation of reality.

He was a true representative of the Age of Enlightenment and saw the reasons for the ugliness of life and the unreasonableness of society. He believed that the fortress system can be changed and corrected by the influence of noble humane ideas. Life dealt a terrible blow to these hopes and dreams, revealing the idealistic character of an enlightening understanding of reality complicated by romantic dreams. Thus, the weakness of the noble liberation movement was reflected in the social drama of Chatsky. At the same time, Griboyedov, to a certain extent, captured an important historic moment V spiritual development the peoples of Europe - the crisis of the rationalist philosophy of the Enlightenment.

The pathos of comedy is optimistic. Woe from the mind is experienced not only by Chatsky. The Chatskys deal a terrible blow with their denunciations of Famus and Silence. The calm and carefree existence of the Famus society is over. His parasitic egotism was denounced, his philosophy of life was condemned, and he was rebelled against. If the Chatskys are still weak in their struggle, then the Famusovs are also powerless to stop the development of enlightenment and advanced ideas. The struggle against the Famusovs did not end in comedy. She was just beginning in Russian life. The Decembrists and the spokesman for their ideas, Chatsky, were representatives of the first early stage Russian liberation movement.

As a truly great national and folk writer, Griboedov set and resolved in his work the main, critical issues associated with the life and fate of the Russian people. Griboedov's comedy "Woe from Wit" played an outstanding role in the socio-political and moral education several generations of Russian people. It armed them to fight against violence and arbitrariness, meanness and ignorance in the name of freedom and reason, in the name of the triumph of advanced ideas and genuine culture.

The brilliant mind of the author, embodied in Alexander Andreevich Chatsky, the main character of comedies, is merciless to the stupid and fat inhabitants of the Moscow "light", mired in lazy idleness and nostalgia "for the times of Ochakov and the conquest of the Crimea." But on the closed doors of mansions, where "prejudices are old," the "present age" is knocking authoritatively, carrying advanced ideas of love of freedom, enlightenment, and humanism. Its representative is Chatsky, who for the first time in our literature challenged the society of feudal lords and conservatives. So, on the one hand, a person who is democratically minded, dedicating "high impulses of soul" to the Fatherland, to his people, who in "skinny slavery" has reached the limit, and on the other - "wild nobility."

The action of Griboyedov's play develops rapidly. Having chosen the classic "love triangle" for the plot and retaining the traditional form of comedy (the action takes place in one place - Famusov's mansion for one day. Moreover, the circle actors constant). Griboedov immediately makes us understand: personal intrigue is giving way to a conflict of a different kind - social. Nevertheless, Sophia's "secret" is revealed to Chatsky only in the finale, until which he still hopes for something. Who knows, if not for this hope, he would have clashed with Famusov. Skalozub and the like. would have expressed what he thinks about them? .. But he did it. True, his monologues are still warnings, they are still only words, but what words!

The conflict develops all the more interesting, since a trifle that is purely external at first glance (a remark of an irritated Sophia is a typical reaction of a spoiled creature) is immediately picked up by others and blown up to social proportions. Chatsky's madness is convenient, beneficial to society, because it gives its representatives some chance for their justification. "Dangerous dreamers" like Chatsky too unceremoniously tear off the masks of hypocritical well-being. And now Famusov is gone. respected officer and loving father, not a hospitable and hospitable host, but a ruthless feudal lord, an enemy of enlightenment. The owner of a brilliant colonel's uniform, Skalozub is a stupid martinet, "wit" Repetilov is an empty talker, and Zagoretsky, who is always needed by everyone, is an impudent swindler. And around them are crowds of ghosts like the countess-grandmother and the Tugoukhovsky princes ...

Chatsky is the only living face in comedy, according to the apt remark of I. A. Goncharov. Let's agree: not every contemporary of the author and his hero could become the prototype of Chatsky, directly entering into battle with his ideological and spiritual opponents. It is clear that Griboedov idealizes his hero, whose sincere monologues are somewhat long, and their wit frightens rather than convinces the listeners gathered at Famusov's. But after all, the words of Chatsky were actually heard in our literature for the first time! And not just boldly, ardently, but cleverly, deeply, subtly, the hero analyzed society, passing a fair sentence on him:

Aren't these. rich in robbery?

They found protection from court in friends, kinship,

Magnificent chambers.

Where spilled in feasts and extravagance

And where foreign clients will not resurrect

The meanest traits of the past life...

How does the conflict between the advanced personality and the Famus society end? Remember? "I don't come here anymore..." Is this a confession of defeat? No. by no means! Goncharov was right when he said: "Chatsky is broken by the quantity of the old force, inflicting on it, in turn, a blow with the quality of the new..." than convincing. After all, the faithful sons of Russia returned as winners ...

At all times there were, are and. probably will have their own Griboedovs, Chatskys. Vazir-Mukhtars, who, first of all, thanks to their brilliant and far-sighted mind, become prophets in their homeland. As a rule, this violates the established social order, the "natural" course of things, and society comes into conflict with the individual. True, the very recent history of our country did not bring grandfather to conflict: fortunately, there were more mines than under Nicholas I. But for true prophets there is and cannot be any other way than the way forward - "for the honor of the fatherland, for convictions, for Love".

And what would we do without them?.. The answer is obvious. After all, prophets are always poets. And poets, if you remember Joseph Brodsky, "always come back"...

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I. INTRODUCTION

II. MAIN PART

1) Famusovskaya Moscow

a) Opponents of Chatsky

b) Pavel Afanasyevich Famusov

d) Off-stage characters of the comedy "Woe from Wit"

e) The image of the main character

2) About the main character

3) Is A.S. Griboyedov's comedy "Woe from Wit" modern?

III. CONCLUSION

IV. BIBLIOGRAPHY

I Introduction

The comedy “Woe from Wit”, written by A. S. Griboyedov at the beginning of the 19th century, is also relevant for today's Russia. In this work, the author reveals with all depth the vices that struck Russian society the beginning of the last century. However, reading this work, we find in it the heroes of the present day.

Alexander Sergeevich Griboyedov is the creator of the brilliant comedy "Woe from Wit", scattered into hundreds of "winged" phrases and expressions, which has become, as it were, a collection of aphorisms. The author originally called the comedy "Woe to the mind", denoting main reason troubles of a person in modern society. Chatsky -- clever man, ardent and passionate nature, looking for a real case, but not finding a use for itself; the mind that wants to serve "the cause, not the persons"...

Here everyone does not envy the mind, but luck, ranks; not meritorious to the fatherland - the main thing: you have to be "at the feeder", "be with the key yourself and deliver the key to your son."

Some kind of "very sophisticated" feeling dignity if it is valued in money. This is a corrupt society, everything here is bought and sold, everything has a price, only this bargaining is covered with beautiful and lofty phrases, but the essence is the same. When there is a person who calls everything by its proper name, who wants to be sincere and disinterested, who values science, friendship, love, then he will be instantly dubbed crazy.

The comedy of Alexander Sergeevich Griboyedov is a complex synthesis of three literary methods, a combination, on the one hand, of their individual features, and on the other, a holistic panorama of Russian life early XIX century.

That is why the play by A.S. Griboyedov "Woe from Wit" remains relevant in our time.

To better understand the ideological content and problems of the comedy "Woe from Wit", the socio-political problems of the comedy, let's recall characteristics historical era reflected in the play.

There are certain difficulties with the dating of Woe from Wit, primarily due to the fact that the author did not leave precise instructions about the start of work on the play.

Researchers name both 1816, and 1818, and 1821. Only the time when the work was completed is documented: 1824.

II. Main part

1) Famusovskaya Moscow

a) Opponents of Chatsky

In one form or another and in one way or another, Griboedov touched upon in Woe from Wit many of the most serious issues of social life, morality and culture, which had the most relevant, most topical significance in the Decembrist era. These were questions about the situation of the Russian people, crushed under the yoke of serfdom, about further destinies Russia, Russian statehood and Russian culture, about the freedom and independence of the human person, about the public vocation of a person, about his patriotic and civic duty, about a new understanding of personal and civic honor, about the power of human reason and knowledge, about the tasks, ways and means of enlightenment and education. The genius of Griboedov responded to all these questions, and this response was filled with such an ardent civic-patriotic passion of such indomitable indignation at evil and untruth that the comedy could not help but make the deepest and most striking impression both in the advanced circles of Russian society and in the camp of reactionaries. .

In the image of Colonel Skalozub, Griboyedov recreated the type of Arakcheev, a stupid, narcissistic and ignorant "hero" of the parade exercises, stepping and stick drill, a sworn enemy of free thought. This “hoarse, strangled, bassoon, constellation of maneuvers and mazurkas”, chasing ranks, orders and a rich bride, embodies the spirit of the reactionary “Prussianism”, which was artificially planted by tsarism in the Russian army and aroused the hatred of all advanced officers who kept Suvorov and Kutuzov traditions (in the draft version of "Woe from Wit" Skalozub himself says about himself: "I am the school of Friedrich ...").

All the other characters of lordly Moscow, bred in Woe from Wit, are also outlined with sharp, typical features: the imperious lady-serf old woman Khlestova, the Countess Khryumina, the princely family of the Tugoukhovskys.

The most striking of them are: Zagoretsky - a secular cheater, a swindler and an informer, according to all sources - a secret agent of the political police; Repetilov - the "soul" of the noble society, a jester, a gossip and a windbag, wormed his way into the circle of some pseudo-liberal talkers in order to keep up with fashion; Platon Mikhailovich Gorich - in the past a friend of Chatsky, a man downcast, inert, internally reconciled with the Famusovsky world.

b) Pavel Afanasyevich Famusov

Famusov is one of the main characters in the comedy, a representative of the camp of serf-owners. A nobleman, a landowner, living in Moscow and serving as a manager in a state-owned place. He a famous person in the circle of the Moscow nobility. This is also evidenced by his surname (when translated from Latin, the surname Famusov means - "famous", "enjoying fame"). Famusov belongs to representatives of noble noble families. A widower, loves his daughter, takes care of her, believes that he did everything for her upbringing. Looking for a suitable groom for Sophia, he wants to pass her off as a rich Skalozub. Famusov boasts of "monastic behavior", but flirts with the pretty maid Lisa and counts the days when the widowed doctor is due to give birth.

Famusov is a fan of antiquity, admires morals high society at the court of Catherine II. He is a supporter of serfdom. To possess and dispose of serfs at his own discretion seems to him lawful and quite fair. He does not see people in serfs, he does not consider them human dignity. He scolds them, not embarrassed in expressions, calls them "donkeys", "chumps", regardless of their age. He threatens Liza with sending her to the village: "If you please, go to the hut, march for the birds."

As a landowner, Famusov, however, occupies a prominent position in Moscow. Service for him is only a means to receive awards, ranks and money. The most important thing for Famusov is the ability to deal with superior people, to please them in time and thus curry favor.

He hates and fears people with a progressive outlook. He disapproves of Skalozub's cousin. He calls Chatsky "Carbonarius", a dangerous person. The reasons for his indignation are clear: Chatsky speaks out against that system, those orders that are the basis of all his well-being for the Famus.

c) Alexei Stepanovich Molchalin

Famusov's "rootless" secretary, Molchalin, is accepted in this world as one of his own. In his person, Griboedov created an exceptionally expressive generalized image of a scoundrel and a cynic, "a low worshiper and a businessman", still a petty scoundrel, who, however, will be able to reach "known degrees".

Creepiness and servility to superiors - this is Molchalin's life principle, which already brings him famous success. "Since I've been listed in the Archives, I've received three awards," he says to Chatsky, adding that he has two talents: "moderation and accuracy." Ready for the meanness of wealth and rank, he approaches others with the same yardstick. Thinking that Lisa's favor is easy to buy, he promises to give her "an intricately crafted toilet". At the decisive moment, when Sophia breaks his embrace with Lisa, Molchalin begins to humiliately crawl in front of her on his knees, not because he felt guilty before Sophia, but because he was afraid for his career. When Chatsky appears, Molchalin, finally scared, flees. "Molchalins are blissful in the world!" Chatsky exclaims with anger and indignation. But the Molchalins should not be underestimated, because they are not as harmless and funny in their servility as it seems at first glance. Time has shown that Molchalin is tenacious and invulnerable. But what is most terrible, it is just so empty, insignificant person was the culprit of "a million torments" of the smart, noble Chatsky, the culprit of the tragedy of Sophia.

d) Off-stage characters of the comedy “Woe from Wit”

Gallery typical images old-noble, lordly Moscow, created by Griboyedov, includes those who do not directly act in the comedy, but are only mentioned in the cursory characteristics that the characters give them. There are quite a few of them. They expand the canvas of life metropolitan nobility. Most of them adjoins the Famus society. Of course, uncle Maxim Petrovich is especially remembered, who won the favor of the queen by cringing and servility. His life is an example of service to the queen.

Uncle is Famusov's ideal.

Who hears a friendly word at court?

Maxim Petrovich. Who knew respect before everyone?

Maxim Petrovich. Joke!

Who takes the ranks? and gives pensions?

Maxim Petrovich!

From outside the stage characters, one can also name such bright, embossed, complete images as the “black-haired” regular at all balls and dinners, and the serf-theater, and the obscurantist member of the “Scientific Committee”. No less vivid is the portrait of Kuzma Petrovich, who not only managed to arrange his life, but also did not forget about his relatives. “The deceased was a respectable chamberlain ... He was rich, and he was married to a rich woman. Married children, grandchildren. But the most disgusting characters are the landowners-serfs, whose characteristic features were absorbed by “Nestor of noble scoundrels”, exchanging his servants for greyhounds, selling children taken from their mothers, whom the protagonist denounces in his passionate monologue.

And the influential old woman Tatyana Yuryevna, and the impudent "Frenchman from Bordeaux", and Repetilov's club friends, and many others - right up to Princess Marya Aleksevna, the guardian of public opinion in the Famusovsky world, whose name the comedy ends significantly - all these faces do not appear on stage , but, nevertheless, are very important for revealing the content of "Woe from Wit" - and this is one of the innovative features of the comedy.

e) The image of the main character

Sophia is endowed with one of the most controversial characters in the play "Woe from Wit". This is very well said in the article by I. A. Goncharov "A Million of Torments". He speaks of a mixture in Sophia of "good instincts with lies", "a lively mind with the absence of any hint of conviction." But she is "ruined in stuffiness, where not a single ray of light, not a single stream fresh air". Goncharov saw in her "the makings of a remarkable nature", and therefore "it was not without reason that Chatsky also loved her."

By nature, Sophia is endowed good qualities: strong mind, independent character. She is able to deeply experience and sincerely love. This girl got a good education and upbringing. The heroine is fond of reading French literature. But, unfortunately, all these positive features Sophia's character could not be developed in the Famusovsky society. She drew ideas about people from sentimental French novels, this literature developed dreaminess and sensitivity in Sophia. Therefore, it was not by chance that she drew attention to Molchalin, who, with his features and his behavior, reminded her of her favorite heroes. However, it cannot be said that Sophia is blinded: she is able to evaluate the chosen one sensibly and critically:

Of course, he does not have this mind,

What a genius for others, and for others a plague,

Which is fast, brilliant and soon opposes.

Griboedov introduced us to the heroine of the comedy as a dramatic person. This is the only character that is conceived and executed as close to Chatsky. If Sophia had grown up in a different environment, she might have chosen Chatsky. However, she chooses the person most suitable for her, since she does not think of another hero. But, according to the remark of the same Goncharov, "heaviest of all, even harder than Chatsky" is Sofya.

So, in the comedy Woe from Wit, Griboedov showed the life of the nobility of Moscow and, by introducing off-stage characters into the narrative, deepened the conflict of the work, expanded the picture of the morals of the Moscow nobility. Another one distinguishing feature comedy - the first and brilliant experience in Russian literature artistic image mental life women on the example of the drama experienced by Sofia Famusova.

2) About the main character

“The main role, of course, is the role of Chatsky, without

which there would be no comedy, but would be,

perhaps a picture of manners.

(I.A. Goncharov)

"Woe from Wit" was and remains one of the masterpieces of punishing social satire. But genuine satire is not one-sided, because a satirist writer, if he stands at the forefront of ideological and artistic positions, always denounces evil and vices in the name of goodness and virtue, in the name of affirming some positive ideal - social, political, moral. Likewise, Griboyedov in Woe from Wit not only exposed the world of feudal lords, but also asserted his positive ideal, full of deep social and political meaning. This ideal is found artistic expression in the form of a single true hero plays - Chatsky.

As a national and folk writer, Griboyedov could not confine himself to a single image of the Famus world, but he certainly had to reflect in his historical picture the other side of reality - the ferment of young, fresh, progressive forces that were undermining the strongholds of the autocratic feudal system.

This task was also brilliantly performed by Griboyedov. The ideological content of Woe from Wit, of course, is not limited to exposing the orders and mores of serf society. The comedy gives a truly broad and in all details true historical picture of all Russian life in Griboedov's time - both its shadow and light sides. The comedy reflected not only the life and customs of the old nobility of Moscow, which lived according to the Old Testament legends of the “time of the Ochakovskys and the conquest of the Crimea”, but also the social ferment of the era - that struggle between the new and the old, in the conditions of which the Decembrists’ movement was born, revolutionary ideology was formed in Russia.

Famusovism is a reaction, inertia, routine, cynicism, a stable, once and for all, definite way of life. Here, rumors are most feared (“sin is not a problem, rumors are not good”) and they hush up everything new, disturbing, which does not fit into the norm and ranking. The motif of "silence" runs like a red thread through all the scenes of the comedy dedicated to the Famus world, where "The Silent Ones are blissful in the world." And into this musty world, like a discharge of a refreshing thunderstorm, Chatsky bursts in with his anxiety, dreams, thirst for freedom and thought about the people. He is a real troublemaker in the circle of the Famusovs, the Skalozubs and the Molchalins; they are afraid even of his laughter. Chatsky openly, publicly spoke about what was zealously hushed up in their circle - about liberty, about conscience, about honor, about nobility - and all the progressive Russian literature of the 19th century picked up his ardent speech.

So, at the center of the comedy is the conflict between "one sane person" (Griboedov's assessment) and the conservative majority.

As always in dramatic work, the essence of the character of the protagonist is revealed, first of all, in the plot. Griboyedov, true to life's truth, showed the plight of a young progressive man in this society. The environment takes revenge on Chatsky for the truth that hurts the eyes, for trying to break the usual way of life. Beloved girl, turning away from him, hurts the hero the most, dissolving gossip about his madness. Here is the paradox: the only sane person is declared insane!

"So! I've sobered up in full!" Chatsky exclaims at the end of the play. What is it - defeat or enlightenment? Yes, the end of this comedy is far from cheerful, but Goncharov is right when he said this about the finale: “Chatsky is broken by the amount of old strength, inflicting on it in turn death blow the quality of fresh strength." Goncharov believes that the role of all the Chatskys is “passive”, but at the same time always victorious. But they do not know about their victory, they only sow, and others reap.

Chatsky also refers to noble society, but his behavior and statements are the opposite of his origin. Chatsky is noble, honest, eloquent and smart. He always strives for great knowledge, unlike the Famus society, he is not interested in money, career, or the highest position in society, because he wants not only to receive awards, profit, he wants to benefit society. The image of Chatsky is intertwined with the very image of Griboyedov. He is also brave and brave, smart, he does not like the political structure of the country, so he boldly enters the battle for the future of his homeland. There are few such people among the "famus society" that was formed in those days. There are few such people.

It is surprising that even now it is impossible to read without emotion about the sufferings of Alexander Andreevich. But such is the power genuine art. Griboyedov, perhaps for the first time in Russian literature, managed to create a truly realistic image goodie. Chatsky is close to us because he is not written as an impeccable, "iron" fighter for truth and good, duty and honor - we meet such heroes in the works of classicists. No, he is a man, and nothing human is alien to him. “Mind and heart are not in harmony,” says the hero of himself. The ardor of his nature, which often makes it difficult to keep peace of mind and composure, the ability to fall in love recklessly, does not allow him to see the flaws of his beloved, to believe in her love for another - these are such natural features! “Ah, it’s not difficult to deceive me, I myself am glad to be deceived,” Pushkin wrote in the poem “Confession”. Yes, and Chatsky could say the same about himself. And his humor, witticisms - how attractive they are. All this gives such vitality, warmth to this image, forcing us to empathize with the hero.

Depicting Chatsky as a smart and noble man, a man of "lofty thoughts" and advanced convictions, the herald " free life”and a zealot of Russian national identity, Griboedov solved the problem of creating the image of a positive hero that faced the progressive Russian literature of the twenties. The tasks of civic, ideologically directed and socially effective literature, as the writer understood the Decembrist trend, did not at all boil down to a satirical denunciation of the orders and mores of serf society. This literature set itself other, no less important goals: to serve as a means of revolutionary socio-political education, to awaken love for the "public good" and to inspire the fight against despotism. Literature was supposed not only to stigmatize vices, but also to praise civic virtues.

3) Is A. S. Griboedov's comedy "Woe from Wit" modern?

How to compare and see

The current century and the past century ... ".

(A.S. Griboyedov)

There are brilliant works of literature. And there are brilliant names of brilliant works. Those in which the words that make up them seem to merge into one concept. Because before us is not just a title literary composition, but the name of some phenomenon. There are hardly more than a dozen such titles, such works, even in great literature. Griboyedov's comedy is one of them.

Alexander Sergeevich Griboedov is 200 years old. Of the inconclusively established dates of his miraculous birth one is chosen, and here we are celebrating! The Famusovs are in lodges, the Skalozubs have become generals, Sophia and Liza are pleasing to the eye in the ranks of the Women of Russia social movement, the Molchalins are blissful in ministries and committees. And who are the judges? ...

There is no play more lively and more modern than Woe from Wit. So it was, so it is, so it will be.

A truly great work, such as Woe from Wit, resists reappraisal. There is no getting away from the fact that Griboedov was closely connected with the Decembrists. Another thing is that our understanding of Decembrism as a social movement has been refined over the years. We are more aware of some of the tragic features of the Russian public life, especially the age-old traditions of totalitarianism. This explains a lot in national history, up to the present day. It is important for us that "Woe from Wit" is not a "black and white" satire on social order. The writer was occupied not with "system", not with "system", but with social psychology. And it's not black and white at all. Listen: Famusov and Chatsky often talk about the same thing. "And all the Kuznetsky Most, and the eternal French!" Famusov grumbles. And Chatsky is concerned that "our smart, cheerful people, although in language we are not considered Germans." Both of them are unconditional patriots, both are Russian people to the core, they share a lot, but they have a lot in common, that's the tragedy of this comedy, that's why "a million torments". And "system", "system" - well, they can change, but Famusov, Repetilov, Molchalin, Skalozub - are eternal. And Chatsky is eternal.

When we are in last time saw live Chatsky? It was Academician Sakharov. Another time, age, appearance, language, but the essence is the same: Chatsky! The same one whom Pushkin condescendingly reproached, arguing that in "Woe from Wit" there is one smart person - Griboedov himself, and Chatsky - a kind fellow who spent some time in his company and utters smart speeches from his voice - in front of whom? Before the Skalozubs and the Tugoukhovskys? But the fact of the matter is that Pushkin is not quite right: one must speak. Before those with whom history brought you together. Even without understanding. What has been said will not be lost. Griboedov convinced him of this. Sakharov convinced him of this. What do these two Russian people have in common, besides the fact that they are Russian? Mind. Both of them were outstanding minds of their time.

The inexhaustibility of "Woe from Wit" is revealed in the misunderstood Chatsky and the unsolved Repetilov...

How to compare and see

The present age and the past...

Which of the Russians did not consider their age the most incredible? It seems that both Pushkin and Griboyedov had to hear the usual complaints about time more than once, otherwise their heroes as different as Famusov and Herzog would not have lamented so unanimously: “ Terrible age! You don’t know what to start…,” says Famusov. And the Duke echoes him: "A terrible age, terrible hearts!"

"Woe from Wit" has long been a public property. Back in the early seventies of the nineteenth century, I.A. Goncharov, who noted that comedy "is distinguished by its youthfulness, freshness and stronger vitality from other works of the word," predicted "an imperishable life" for it, argued that it "will survive many more eras, and everything will not lose its vitality. This prophecy was completely justified.

The great comedy is still youthful and fresh. She kept her public importance, its satirical salt, its artistic charm. She continues her triumphal march through the stages of theaters. It is taught in schools.

Millions of people laugh and resent along with Griboyedov. The wrath of the satirist-detractor is close and understandable to the Russian people, because even now he inspires them to fight against everything inert, insignificant and vile, for everything progressive, great and noble. The struggle of the new with the old is the law of our Russian life. The images created by Griboyedov, his well-aimed, slashing sayings, living in folk speech, are still capable of serving as a sharp weapon of satire.

4) "Woe from Wit" in the literature of the XIX century

Griboedov's social criticism, unfolded in Woe from Wit, was, by its very breadth and concreteness, an exceptional phenomenon in the literature of the early 19th century. , as a rule, any one, separately taken social “vice” or an abstract moral category, then Griboyedov in his comedy touched and exposed in the spirit of the socio-political ideas of Decembrism wide circle absolutely concrete phenomena of the social life of feudal Russia.

The topical meaning of Griboedov's criticism is, of course, not now felt with such sharpness as it was felt by his contemporaries. But at one time the comedy sounded, among other things, just topical. And the issues of noble education in "boarding houses, schools, lyceums", and debates about the parliamentary system, and individual episodes of Russian public life, reflected in Chatsky's monologues and in the remarks of Famusov's guests - all this was of the most relevant importance, in particular in the Decembrist environment , precisely in those years when Griboedov wrote his comedy.

The richness and concreteness of the social content embedded in Woe from Wit gives the comedy the meaning of a broad and complete picture Russian public life of the late 1810s - early 1820s, depicted in all its historical accuracy and authenticity.

In 1865, D. I. Pisarev drew attention to this significance of comedy, arguing that “one must be not only an attentive observer, but also, in addition, a wonderful thinker; it is necessary to choose from the diversity of faces, thoughts, words, joys, sorrows, stupidities and meanness that surrounds you exactly what concentrates the whole meaning of this era, which leaves its mark on the whole mass of secondary phenomena, which squeezes into its framework and modifies with its influence all other branches of private and public life. Indeed, Griboedov fulfilled such an enormous task for Russia in the 1920s.

Continuing the accusatory anti-serfdom tradition introduced into Russian literature by the great revolutionary Radishchev, developing and deepening the fruitful traditions of Russian social satire of the 18th century - the satire of Fonvizin, Novikov and Krylov, Griboedov created a work whose entire content testified to his socio-political orientation.

Woe from Wit embodies a whole system of ideological views in connection with the sharpest, most topical topics and issues of our time, but these views are expressed with the greatest artistic tact- not in the form of direct declarations and maxims, but in images, in composition, in plot in speech characteristics, in the very artistic structure of comedy, in its very artistic fabric.

In Griboyedov's time, the cause of the liberation struggle was carried out by a few "best people from the nobility"1, far from the people and powerless without the support of the people. But their cause was not lost, because they "...helped to wake the people"1, because they prepared a further rise revolutionary movement in Russia.

Although in the time of Griboyedov, on the eve of the Decembrist uprising, Famusovism still seemed to be a solid foundation of social life in an autocratic-feudal state, even if the Famusovs, Skalozubs, Molchalins, Zagoretskys then occupied a dominant position, but as a social force it was already decaying and was doomed to die. There were still very few Chatskys, but they embodied that fresh, youthful force that was destined to develop and, therefore, was irresistible.

Boldly, innovatively solving the problem of typicality in Woe from Wit, Griboedov thereby with complete clarity said with his work, in the name of what, in the name of what ideals, he exposed Famusism. Having penetrated creative thought into the essence of the main social and ideological contradictions of his time, showing that Chatsky represented in himself the growing and developing strength of Russian society, generously endowing his character with heroic traits, Griboyedov thereby solved the political problem. In this, first of all, Griboedov's socio-political position was affected, and in this it manifested itself with most persuasive ideological orientation his creativity.

III. Conclusion

Griboedov comedy grief mind

In the dramatic plans after Woe from Wit, everything was connected with the development and deepening of the democratic, anti-serfdom tendencies of this play. Griboedov's death in 1829 prevented the creation of 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.

For Griboyedov's contemporaries, his play was a sign of the times. She helped the best people Russia to determine its place in the socio-political struggle. It is no coincidence that the Decembrists said that comedy was for them one of the sources of free thought.

According to the great democrat critic V. G. Belinsky, “Woe from Wit”, along with the novel “Eugene Onegin”, was “the first example of a poetic depiction of Russian reality in the broad sense of the word. In this respect, both of these works laid the foundation for subsequent literature, from which both Lermontov and Gogol emerged.

The significance of any writer of the last day of our time is tested, first of all, by how close his spiritual image is to us, how much his work serves our 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.

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…”

The success of the work, which has taken a firm place among the Russian classics, is largely determined by the harmonious combination of the urgent and timeless in it. Through the brilliantly painted picture of Russian society of the pre-Decembrist era, “eternal” themes are guessed: the conflict of generations, drama love triangle, antagonism of personality and society. At the same time, “Woe from Wit” is an example of an artistic synthesis of the traditional and the innovative: paying tribute to the canons of the aesthetics of classicism, Griboyedov “revives” the scheme with conflicts and characters taken from life, freely introduces lyrical, satirical and journalistic lines into the comedy.

IV. Bibliography

1. Andreev N.V. "Great Writers of Russia". Moscow, "Thought", 1988.

2. Volodin P.M. "History of the Russian literature XIX century." Moscow, 1962

3. Druzhinin N.M. "A.S. Griboedov in Russian criticism". Moscow, 1958

4. Medvedeva I. “Woe from Wit” by A.S. Griboyedov. Moscow, "Fiction", 1974.

5. Meshcheryakov V.P. "Things for a long time past days... ". Moscow, "Drofa", 2003

6. Orlov V. “Griboyedov. Essay on life and creativity. Moscow, Goslitizdat, 1947

7. Piksanov N.K. " creative history"Woe from Wit". Leningrad, 1983

8. Smolnikov I.F. "A.S. Griboedov's comedy "Woe from Wit"". Moscow, Enlightenment, 1986

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