ideological concept comedy and its composition.
The comedy "Woe from Wit" Griboyedov conceived in troubled times for Russia. Due to the government's decisions that are not very popular from the point of view of some sections of society, as well as the toughening of free-thinking to any manifestations among the masses, various secret political groups and communities began to appear in the country.
The work was based on the conflict between the representatives of the so-called "old world" - the aristocratic environment, for the most part consisting of the nobility and representing the upper strata of society and reactionary-minded so-called Decembrists, like-minded nobles united by the idea of turning Russia into a constitutional state and advocating the abolition of serfdom.
The ideological and thematic content of the comedy "Woe from Wit".
This conflict gave Griboyedov's comedy a socio-political character.
The confrontation of two forces: those who were profitable and quite acceptable serfdom and those to whom it disgusted and formed the basis of the work.
Chatsky in the comedy is shown as a man of advanced ideas, a man who wishes for the people of Russia better share, he shares and strongly supports the ideas of the Decembrists. Chatsky challenges the Famus society, however, he is not only not taken seriously, but ridiculed ... It is more convenient for representatives of the old world to declare Chatsky crazy than to agree with his ideas. The situation of the protagonist of the comedy is complicated by the fact that in his personal life he is not pursued by happy love and deep disappointment. Two dramas in the public and private life of Chatsky - intertwined, burdening one another, make the position of the protagonist desperate.
Griboedov, a prose writer in the comedy Woe from Wit, thanks to his high skill and talent, managed to weave many different heroes, images inherent in that time into the context of the work, thereby showing the confrontation between the “current century” and the “past century”, raising several problems at once Russian state.
Attention!
Thank you for your attention.
If you notice an error or typo, highlight the text and press Ctrl+Enter.
Thus, you will provide invaluable benefit to the project and other readers.
Send your good work in the knowledge base is simple. Use the form below
Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.
Hosted at http://www.allbest.ru/
Regional State Autonomous educational institution secondary vocational education
"Regional College of Entrepreneurship"
on literature"
Completed by: Mezentseva.D.S
Groups: 1MP-10
Checked: Zykova. E. A
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
Comedy "Woe from Wit", written by A. S. Griboedov in early XIX century, is relevant for today's Russia. In this work, the author reveals in depth the vices that struck Russian society at 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 Wit", indicating the main reason for the troubles of a person in his contemporary society. Chatsky -- clever man, an ardent and passionate nature, looking for a real business, 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 at the beginning of the 19th 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 the characteristic features 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 freedom and independence human personality, 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: Zagoretsky - a secular sharper, a swindler and an informer, according to all sources - Secret agent 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 is a well-known 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 the representatives of the 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 face, Griboedov created an exceptionally expressive generalized image of a scoundrel and a cynic, "a low worshiper and a businessman," as yet a petty scoundrel, who, however, will be able to reach "known degrees."
Creepiness and servility to superiors - that's life principle Molchalin, already bringing 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 her 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 adjoin 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, finished 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 feudal landowners, specific traits whom "Nestor noble scoundrels" took in, exchanging his servants for greyhounds, selling children taken from their mothers, whom he denounces in his passionate monologue main character.
And the influential old woman Tatyana Yuryevna, and the impudent "Frenchman from Bordeaux", and Repetilov's club friends, and many others - up to Princess Marya Aleksevna, the guardian public opinion in the world of Famusov, with 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 constitutes 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 it is "ruined in stuffiness, where not a single ray of light, not a single stream of fresh air penetrates." 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 received 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 distinguishing feature of comedy is 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 image of the only true hero of the play - 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. In comedy, a really wide and true in all details is given. 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 being cheerful, but Goncharov is right when he said this about the finale: “Chatsky is broken by the number old force, inflicting a mortal blow on it with 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 belongs to a noble society, but his behavior and statements are opposite to 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 highest position in society, because he wants not only to receive rewards, 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 prevents him from maintaining peace of mind and composure, the ability to fall in love recklessly, does not allow him to see the shortcomings 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.
By portraying Chatsky as a smart and noble man, a man of “lofty thoughts” and advanced convictions, a herald of “free life” and a zealot of Russian national identity, Griboedov solved the problem of creating the image of a positive hero that faced 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 the title of a literary work, but the name of a certain phenomenon. Such titles, such works, even in great literature hardly more than a dozen. 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 tragic features 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 Griboedov 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: “A 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 still remains 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 Griboedov, his well-aimed, striking 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, developed in Woe from Wit, was, in its very breadth and specificity, an exceptional phenomenon in the literature of the early 19th century. If the satirical and moralistic comedians, who wrote in the traditions of classicism, followed the conditional and abstract criteria legitimized by his aesthetics, and, as a rule, ridiculed any one, separately taken social “vice” or an abstract moral category, then Griboedov in his comedy also touched upon 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 artistic structure comedy, in its very artistic fabric.
During the time of Griboyedov, the cause of the liberation struggle was carried out by a few "best people from the nobility",1 who were 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 which was therefore 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 with 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 force 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 direction of his work.
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 Russian Literature of the 19th 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
Hosted on Allbest.ru
Similar Documents
The comedy "Woe from Wit" by Alexander Griboedov is the first work with an accurate reaction to current events and the political declaration of the Decembrists. Characteristics and interpretations of the image of the main character Chatsky. Type of opportunist - Molchalin. Criticism of Katenin.
term paper, added 02/25/2009
Biographical information about the famous Russian playwright and poet A. Griboyedov. Creative history of the comedy "Woe from Wit". General concept popular expressions. Aphoristic lines in the verses of Russian poets. Catch phrases in Griboyedov's comedy "Woe from Wit".
presentation, added 12/16/2014
main topic Griboyedov's comedy "Woe from Wit" - a clash and change of two eras of Russian life. Familiarization with in a dramatic way Sofia Famusova - at first a romantic and sentimental, and soon - an irritated and vengeful Moscow young lady.
essay, added 11/08/2010
The history of the creation and publication of the comedy "Woe from Wit"; ideological and philosophical content of the work. Characteristics of the images of Chatsky, Sophia, Molchalin, Famusov and Khlestova. Features of speech in Griboedov's work as a means of individualization of characters.
abstract, added 10/16/2014
Relevance, style originality, innovation and ideological meaning works by A. Griboyedov. The problem of the mind as the key problem of the play, types of mind: "intellectuality" and "adaptability". The comedy "Woe from Wit" is a mirror of feudal-serf Russia.
composition, added 02/08/2009
Description of the causes of the conflict between Chatsky and Molchalin, who turned out to be representatives different societies in the comedy I.S. Griboyedov "Woe from Wit". What is their opposite? The feelings of Molchalin and Chatsky for Sophia are another reason for hostility.
essay, added 06/06/2012
In the comedy Woe from Wit, Griboyedov raised an angry voice against the pitiful nausea on the side of a stranger - empty, slavish, blind imitation, against the alien power of fashion, with which the nobility fenced off from the people, called in the comedy "smart" and "peppy".
abstract, added 05/08/2008
Historical meaning comedy "Woe from Wit", revealing the main conflict of the work. Acquaintance with critical interpretations of the structure of Griboyedov's play. Consideration of the features of the construction of images of Chatsky, Sofia Famusova and other characters.
term paper, added 07/03/2011
A.S. Pushkin about the fate of Griboyedov. Griboedov's childhood and youth. Link to Persia, service in the Caucasus. The success of the comedy "Woe from Wit", features of its poetics. A.S. Pushkin about the main conflict of comedy and Chatsky's mind. Famusovsky world, the drama of Chatsky and Sophia.
abstract, added 07/18/2011
The appearance of negative positive feedback about "Woe from Wit" by V. Belinsky. The first printed statement by N. Polevoy in the review of the almanac "Russian Taliya". Goncharov's statement - milestone in the development of Griboyedov's legacy by Russian criticism.
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 historical moment in 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 their spokesman Chatsky were representatives of the first early stage of the Russian liberation movement.
As a truly great national and folk writer, Griboyedov raised and resolved in his work the main, most important questions related to 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. And the circle of actors is 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? 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"...
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. The protagonist 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 comedic 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 ridicule of the stupid, Chatsky was a liberal who did not want to bend before his superiors and serve higher 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 is a limited and very stupid person. 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 is a secondary comedy hero, 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 - good party 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 other literary characters, and she is given quite a lot of different episodes and descriptions. The author describes in detail what Lisa does and what and how she says. She makes other heroes of the play confess their feelings, provokes them to certain actions, pushes them to various solutions important to 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, Griboyedov used a technique characteristic of this genre. 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. storylines comedy two. 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.
