When you ask people the question: "Woe from Wit," who wrote it? - then not everyone will be able to immediately answer it correctly. However, if we disassemble this famous work by quotes, then thanks to its aphoristic style, many will know them almost by heart: “Blessed is he who believes, he is warm in the world” or “Fresh tradition, but hard to believe”, etc.
Answering in more detail the question: “Woe from Wit”, who wrote it? - I would immediately like to note that this work, which is a comedy in verse, was created by Alexander Sergeevich Griboedov. And what's interesting is that it made him famous classic Russian literature, as it included elements of classicism, new trends of romanticism and realism XIX century.
"Woe from Wit": who wrote
Now I want to dwell in more detail on the work itself. After all, with the question: “Woe from Wit,” who wrote it? - already figured out. This comedy, dated 1822-1824, is a very sharp satire on the behavior of the Moscow aristocratic society of that time.
In his early plays Griboyedov Alexander Sergeevich already tried to combine different styles, but it was Woe from Wit that turned out to be truly innovative, which was opened to the public in 1825 along with Pushkin's Boris Godunov.
Satire on secular society
Griboyedov Alexander Sergeevich planned to write this comedy in 1816, but the real work began in Tiflis when the writer returned from Persia. In the winter of 1822, the first two acts were written, and in the summer of 1823 in Moscow, he completed the first version of this tragicomedy. This happened in the capital, since it was in it that the writer was able to observe the true nature and life of the Moscow nobility.
However, work on the work did not stop even then. And in 1824 a new version was created with the name "Woe and no mind" (while original name was "Woe to the mind").
Literature. Griboyedov, "Woe from Wit"
In 1825, although with censorship cuts, excerpts from the first and third parts of the comedy were published. However, it was not possible to obtain permission to stage it. But despite this, the work nevertheless received wide popularity and became popular.
I. I. Pushchin, a lyceum friend of Pushkin, brought the poet a comedy to Mikhailovskoye, and it was immediately received very enthusiastically among the Decembrists, they were attracted by this kind of freedom-loving literature.
Griboyedov died tragically in 1829, and only after his death, or rather in 1833, for the first time since big cuts the comedy "Woe from Wit" was published, and it was possible to get acquainted with it in full only in 1862.
Brief plot
The main character, a nobleman from an impoverished family, Alexander Andreevich Chatsky, after several years of being abroad, returns to the capital again. And first of all, he runs to his beloved, Famusova Sofya Pavlovna, whom he has not seen for three whole years. These two young people grew up together in childhood and, having matured a little, fell in love with each other. However, Chatsky once unexpectedly left for St. Petersburg. He left Sophia without even warning her and not even writing three words of farewell to her.
And now Chatsky hurries to the Famusovs' house to propose marriage to Sophia. However, his expectations were not met, the girl met him more than coldly. And as it turned out later, she was in love with a young secretary, Alexei Stepanovich Molchalin, who lives in their house and works for her father. Chatsky did not immediately solve this mystery, he could not even imagine that Molchalin was worthy of her love.
Confrontation
Chatsky considers Molchalin a miserable creature who does not know how to love selflessly and passionately, and a servant who tries to please anyone for the opportunity to receive another rank. Upon learning that Sophia is passionate about Molchalin, Chatsky is very disappointed in his beloved. Out of anger, he begins to expose Moscow society in all sins, the ideologist of which is Sophia's father, Famusov Pavel Afanasyevich. And then the annoyed Sophia starts a rumor that Chatsky is crazy, and the society instantly picks up this "duck". As a result, Chatsky leaves Moscow in despair.
Idea
Griboedov "Woe from Wit" thematically divided into two storylines: this is Chatsky's love and his opposition to Moscow society. However, the main idea here lies in the protest of a free young person "against the vile Russian reality", in the words of Griboyedov himself. When the writer returned to St. Petersburg from abroad in 1816, he was simply amazed that at secular balls all the nobility bowed to foreign guests. Seeing at one of the evenings how secular aristocrats surrounded some Frenchman with attention and care, Griboedov delivered an ardent diatribe. And then someone called him crazy, and this rumor immediately spread throughout St. Petersburg. Griboedov, in order to somehow take revenge on the hated society, conceives his comedy about this.
Now the comedy "Woe from Wit" is studied at school in the 9th grade and is often staged on the stage.
Who would have thought that a Russian diplomat, playwright, pianist, poet and nobleman could argue with society like that. “Woe from Wit” still sounds very relevant to this day and makes us all think, because the conflict between the “old” and “new” worlds has always been relevant.
Unfortunately, the fate of the author of this unsurpassed work was very cruel. When he was a foreign ambassador in Tehran, a crowd of thousands of rebellious Persians broke into the embassy and killed all the people who were there.
Composition
“Griboedov is “a man of one book,” V.F. Khodasevich remarked. “If it weren’t for Woe from Wit, Griboyedov would have no place at all in Russian literature.”
The creative history of comedy, on which the playwright worked for several years, is extremely complex. The idea of a “stage poem,” as Griboedov himself defined the genre of the conceived work, arose in the second half of the 1810s. - in 1816 (according to S.N. Begichev) or in 1818-1819. (according to the memoirs of D.O. Bebutov). Apparently, the writer began to work on the text of the comedy only in the early 1820s. The first two acts of the original edition of Woe from Wit were written in 1822 in Tiflis. Work on them continued in Moscow, where Griboyedov arrived during his vacation, until the spring of 1823. Fresh Moscow impressions made it possible to unfold many scenes that were barely outlined in Tiflis. It was then that Chatsky's famous monologue "Who are the judges?" was written. The third and fourth acts of the original edition of "Woe from Wit" were created in the summer of 1823 in the Tula estate of S.N. Begichev. However, Griboyedov did not consider the comedy complete. In the course of further work (late 1823 - early 1824), not only the text changed - the surname of the protagonist changed somewhat: he became Chatsky (previously his surname was Chadsky), the comedy, called "Woe to the Wit", received its final name.
In June 1824, having arrived in St. Petersburg, Griboyedov carried out a significant stylistic revision of the original version, changed part of the first act (Sofia's dream, the dialogue of Sofia and Lisa, Chatsky's monologue), and in the final act, the scene of Molchalin's conversation with Lisa appeared. The final edition was completed in the autumn of 1824. After that, hoping for the publication of the comedy, Griboyedov encouraged the appearance and distribution of its lists. The most authoritative of them are the Gendrov list, "corrected by the hand of Griboedov himself" (belonged to A.A. Zhandr), and Bulgarinsky - a carefully corrected clerk's copy of the comedy left by Griboyedov to F.V. Bulgarin in 1828 before leaving St. Petersburg. On the title page of this list, the playwright made the inscription: "My grief I entrust to Bulgarin ...". He hoped that an enterprising and influential journalist could get the play published.
Since the summer of 1824, Griboyedov has been trying to print a comedy. Excerpts from the first and third acts first appeared in the anthology "Russian Taliya" in December 1824, and the text was "softened" and shortened by censorship. "Inconvenient" for printing, too harsh statements of the characters were replaced by faceless and "harmless". So, instead of the author's "To the Scientific Committee" was printed "Among the scientists who settled", Molchalin's "programmatic" remark "After all, one must depend on others" was replaced by the words "After all, one must keep others in mind." The censors did not like the mention of the "royal person" and the "reigns". The publication of excerpts from the comedy, well known from handwritten copies, caused many responses in the literary environment. “His handwritten comedy: Woe from Wit,” recalled Pushkin, “produced an indescribable effect and suddenly put him along with our first poets.”
Full text"Woe from Wit" was never published during the author's lifetime. The first edition of the comedy appeared in translation into German in Revel in 1831. A Russian edition, with censored corrections and cuts, was published in Moscow in 1833. Two uncensored editions of the 1830s are also known. (printed in regimental printing houses). For the first time, the entire play was published in Russia only in 1862. The scientific publication of Woe from Wit was carried out in 1913 by the well-known researcher N.K. Piksanov in the second volume of the academic Complete Works of Griboyedov.
The fate of theatrical productions of comedy was no less difficult. For a long time theatrical censorship did not allow it to be staged in its entirety. Back in 1825, the first attempt to stage "Woe from Wit" on the stage of a theater school in St. Petersburg ended in failure: the performance was banned, since the play was not approved by the censors. For the first time, the comedy appeared on the stage in 1827, in Erivan, performed by amateur actors - officers of the Caucasian Corps (the author was present at the performance). Only in 1831, with numerous censored notes, Woe from Wit was staged in St. Petersburg and Moscow. censorship restrictions on theatrical performances comedies ceased to operate only in the 1860s.
The history of critical interpretations of the play reflects the complexity and depth of its social and philosophical problems, indicated in the very title of the comedy: "Woe from Wit." The problems of mind and stupidity, insanity and insanity, tomfoolery and buffoonery, pretense and hypocrisy are posed and solved by Griboedov on a variety of everyday, social and psychological material. Essentially, all comedy characters, including minor, episodic and off-stage ones, are drawn into the discussion of questions about attitudes towards the mind and various forms stupidity and madness. The main figure, around which all the variety of opinions about comedy immediately concentrated, was the smart "madman" Chatsky. The general assessment of the author's intention, problems and artistic features of the comedy depended on the interpretation of his character and behavior, relationships with other characters.
Let us consider only some of the most remarkable critical judgments and assessments.
From the very beginning, approval of the comedy was by no means unanimous. Conservatives accused Griboyedov of exaggerating satirical colors, which, in their opinion, was the result of the author's "squabbling patriotism", and in Chatsky they saw a clever "madcap", the embodiment of "Figaro-Griboedov's" philosophy of life. Some contemporaries who were very friendly towards Griboyedov noted many errors in Woe from Wit. For example, a longtime friend and co-author of the playwright P.A. Katenin, in one of his private letters, gave the following assessment of the comedy: “There is definitely a chamber of mind in it, but the plan, in my opinion, is insufficient, and the main character is confused and knocked down (manque); the style is often charming, but the writer is too pleased with his liberties. According to the critic, who was annoyed by deviations from the rules of classical drama, including the replacement of “good Alexandrian verses” common for “high” comedy with free iambic, Griboyedov’s “phantasmagoria is not theatrical: good actors these roles will not be taken, and the bad ones will spoil them.
Griboyedov's response to the critical judgments expressed by Katenin, written in January 1825, became a remarkable autocommentary to "Woe from Wit". This is not only an energetic "anti-criticism", representing the author's view of comedy (it must be taken into account when analyzing the play), but also an aesthetic manifesto of an innovative playwright who refuses to "please the theorists, i.e. do stupid things", "to satisfy school requirements, conditions, habits, grandmother's legends".
In response to Katenin’s remark about the imperfection of the “plan” of the comedy, that is, its plot and composition, Griboyedov wrote: “You find the main error in the plan: it seems to me that it is simple and clear in purpose and execution; the girl herself is not stupid, she prefers a fool to a smart person (not because the mind of us sinners was ordinary, no! and in my comedy there are 25 fools per sane person); and this man, of course, is in contradiction with the society surrounding him, no one understands him, no one wants to forgive him, why is he a little higher than the others ... "The scenes are connected arbitrarily." Just as in the nature of all events, small and important: the more sudden, the more it attracts curiosity.
The playwright explained the meaning of Chatsky’s behavior as follows: “Someone out of anger invented about him that he was crazy, no one believed, and everyone repeats, the voice of general unkindness reaches him, moreover, the dislike for him of that girl for whom he was the only one to Moscow, it is completely explained to him, he didn’t give a damn about her and everyone else and was like that. The queen is also disappointed about her sugar honey. What could be more complete than this?
Griboyedov defends his principles of portraying heroes. Katenin's remark that "characters are portrait" he accepts, but he considers this not an error, but the main advantage of his comedy. From his point of view, satirical images-caricatures that distort the real proportions in the appearance of people are unacceptable. "Yes! and I, if I do not have the talent of Moliere, then at least I am more sincere than him; portraits and only portraits are part of comedy and tragedy, but they have features that are common to many other persons, and others to the whole human race, insofar as each person resembles all his bipedal brethren. I hate caricatures, you will not find a single one in my picture. Here is my poetry...
Finally, Griboyedov considered Katenin's words that in his comedy "talents are more than art" as the most "flattering praise" for himself. “Art only consists in imitating talent ... - the author of Woe from Wit remarked. “I live as well as I write freely and freely.”
Pushkin also expressed his opinion about the play (the list of Woe from Wit was brought to Mikhailovskoye by I.I. Pushchin). In letters to P.A. Vyazemsky and A.A. Bestuzhev, written in January 1825, he noted that the playwright succeeded most of all in “characters and a sharp picture of morals.” In their depiction, according to Pushkin, Griboyedov's "comic genius" manifested itself. The poet reacted critically to Chatsky. In his interpretation, this is an ordinary hero-reasoner, expressing the opinions of the only “intelligent character” - the author himself: “... What is Chatsky? An ardent, noble and kind fellow, who spent some time with a very intelligent person (namely with Griboyedov) and was fed by his thoughts, witticisms and satirical remarks. Everything he says is very smart. But to whom does he say all this? Famusov? Puffer? At the ball for Moscow grandmothers? Molchalin? It's unforgivable. First sign smart person- at a glance to know who you are dealing with, and not throw pearls in front of Repetilov and the like. Pushkin very accurately noticed the contradictory, inconsistent nature of Chatsky's behavior, the tragicomic nature of his position.
At the beginning of 1840, V. G. Belinsky, in an article about "Woe from Wit," just as decisively as Pushkin, denied Chatsky a practical mind, calling him "the new Don Quixote." According to the critic, main character comedies - a completely absurd figure, a naive dreamer, "a boy on a stick on horseback, who imagines that he is sitting on a horse." However, Belinsky soon corrected his negative assessment of Chatsky and comedy in general, emphasizing in a private letter that "Woe from Wit" is "a most noble, humanistic work, an energetic (and still the first) protest against vile racial reality." It is characteristic that the previous condemnation "from an artistic point of view" was not canceled, but only replaced by a completely different approach: the critic did not consider it necessary to understand the real complexity of Chatsky's image, but assessed the comedy from the standpoint of the social and moral significance of his protest.
The critics and publicists of the 1860s went even further from the author's interpretation of Chatsky. For example, A.I. Herzen saw in Chatsky the embodiment of Griboyedov’s “backward thought”, interpreting the comedy hero as a political allegory. "... This is a Decembrist, this is a man who completes the era of Peter I and tries to see, at least on the horizon, the promised land ...". And for the critic A.A. Grigoriev, Chatsky is “our the only hero, that is, the only one positively fighting in the environment where fate and passion threw him, ”and therefore the whole play turned in his critical interpretation from a“ high ”comedy into a“ high ”tragedy (see the article “Regarding the new edition of the old thing.“ Woe from Wit". SPb. 1862"). In these judgments, the appearance of Chatsky is rethought, interpreted not only in an extremely generalized way, but also one-sidedly.
To the production of "Woe from Wit" in Alexandrinsky theater(1871) I.A. Goncharov responded with a critical study "A Million of Torments" (published in the journal "Bulletin of Europe", 1872, No. 3). This is one of the most insightful analyzes of comedy. Goncharov gave deep characteristics of individual characters, appreciated the skill of Griboyedov the playwright, wrote about the special position of Woe from Wit in Russian literature. But, perhaps, the most important advantage of Goncharov's etude is the careful attitude to the author's concept, embodied in the comedy. The writer abandoned the one-sided sociological and ideological interpretation of the play, carefully considering the psychological motivation of the behavior of Chatsky and other characters. “Every step of Chatsky, almost every word in the play is closely connected with the play of his feelings for Sophia, irritated by some kind of lie in her actions, which he struggles to unravel to the very end,” Goncharov emphasized in particular. Indeed, without taking into account the love affair (Griboedov himself noted its significance in a letter to Katenin), it is impossible to understand the “woe from wit” of the rejected lover and lonely truth-lover, the tragic and comic nature of Chatsky’s image at the same time.
main feature comedies - the interaction of two plot-forming conflicts: a love conflict, the main participants of which are Chatsky and Sofia, and a socio-ideological conflict, in which Chatsky clashes with conservatives who have gathered in Famusov's house. From the point of view of problems, in the foreground is the conflict between Chatsky and Famusovsky society, but in the development of the plot action, the traditional love conflict is no less important: after all, it was precisely for the sake of meeting Sophia that Chatsky was in such a hurry to Moscow. Both conflicts - love and socio-ideological - complement and reinforce each other. They are equally necessary in order to understand the worldview, characters, psychology and relationships of the characters.
In the two storylines of "Woe from Wit", all elements are easily detected classic plot: exposition - all the scenes of the first act, preceding the appearance of Chatsky in the house of Famusov (app. 1-5); the beginning of a love conflict and, accordingly, the beginning of the action of the first, love plot - the arrival of Chatsky and his first conversation with Sophia (d. I, yavl. 7). The socio-ideological conflict (Chatsky - Famus society) is outlined a little later - during the first conversation between Chatsky and Famusov (d. I, yavl. 9).
Both conflicts develop in parallel. Stages of development of a love conflict - dialogues between Chatsky and Sofia. The hero is persistent in his attempts to call Sophia to frankness and find out why she became so cold towards him, who her chosen one is. Chatsky's conflict with the Famus society includes a number of private conflicts: Chatsky's verbal "duels" with Famusov, Skalozub, Silent and other representatives of Moscow society. Private conflicts in "Woe from Wit" literally spill out onto the stage a lot of secondary characters, forcing them to reveal their position in life in remarks or actions. Griboedov creates not only a broad "picture of morals", but also shows the psychology and life principles of people who literally surround Chatsky from all sides.
The pace of development of action in comedy is lightning fast. A lot of events that develop into fascinating everyday "microplots" pass before readers and viewers. What is happening on the stage causes laughter and at the same time makes you think about the contradictions of the then society, and about universal problems. The development of the action is somewhat slowed down by the extensive, but extremely important monologues-“programs” of Chatsky and other actors (Famusov, Molchalin, Repetilov): they not only exacerbate the ideological conflict, but are also an important means of social and moral and psychological characteristics of the warring parties. lengthy, but extremely important monologues-“programs” of Chatsky and other actors (Famusov, Molchalin, Repetilov): they not only exacerbate the ideological conflict, but are also an important means of social and moral-psychological characterization of the warring parties.
The climax of "Woe from Wit" is an example of Griboyedov's remarkable dramatic skill. At the heart of the climax of the socio-ideological plot (society declares Chatsky crazy; d. III, yavl. 14-21) is a rumor, the reason for which was given by Sophia with her remark "aside": "He is out of his mind." The annoyed Sofia threw this remark by accident, meaning that Chatsky "went crazy" with love and became simply unbearable for her. The author uses a technique based on the play of meanings: Sophia's emotional outburst was heard by the secular gossip Mr. N. and understood it literally. Sophia decided to take advantage of this misunderstanding to take revenge on Chatsky for his mockery of Molchalin. Becoming a source of gossip about Chatsky's madness, the heroine "burned bridges" between herself and her former lover.
Thus, the climax of the love plot motivates the climax of the socio-ideological plot. Due to this, both outwardly independent storylines the plays intersect at a common climax - a lengthy scene, the result of which is the recognition of Chatsky as crazy. It should, however, be emphasized that just as the arrival of the enamored Chatsky gave rise to fundamental disputes between him, representing the "current century", and those who stubbornly cling to the values of the "past century", so Sofia's annoyance and anger at the "crazy" lover led society to a complete ideological disengagement from Chatsky and everything new in public life what is behind it. In fact, any dissent, the unwillingness of Chatsky and his like-minded people outside the stage to live as prescribed by "public opinion", was declared "madness".
After the climax, the storylines diverge again. The denouement of a love affair precedes the denouement of the socio-ideological conflict. The night scene in Famusov's house (d. IV, yavl. 12-13), in which Molchalin and Liza, as well as Sophia and Chatsky participate, finally explains the position of the heroes, making the secret clear. Sophia is convinced of the hypocrisy of Molchalin, and Chatsky finds out who his rival was:
Here is the solution to the puzzle at last!
Here I am donated to whom!
The denouement of the storyline based on Chatsky's conflict with the Famus society is Chatsky's last monologue directed against the "crowd of persecutors". Chatsky declares his final break with Sofia, and with Famusov, and with the whole of Moscow society (d. IV, yavl. 14): “Get out of Moscow! I don't come here anymore."
In the system of characters in the comedy, Chatsky, who connects both storylines, occupies a central place. We emphasize, however, that for the hero himself, not a socio-ideological, but a love conflict is of paramount importance. Chatsky perfectly understands what kind of society he fell into, he has no illusions about Famusov and "all Moscow". The reason for Chatsky's stormy accusatory eloquence is not political or educational, but psychological. The source of his passionate monologues and well-aimed caustic remarks are love experiences, "impatience of the heart", which is felt from the first to the last scene with his participation. Of course, a sincere, emotional, open Chatsky cannot but collide with people alien to him. He is unable to hide his assessments and feelings, especially if he is openly provoked by Famusov, Molchalin, and Skalozub, but it is important to remember that it is love that opens all the “gateways”, making the flow of Chatsky’s eloquence literally unstoppable.
Chatsky came to Moscow with the sole purpose of seeing Sophia, finding confirmation of her former love and, probably, getting married. He is driven by love passion. Chatsky's revival and "talkativeness" are initially caused by the joy of meeting with his beloved, but, contrary to expectations, Sofia meets him very coldly: the hero seems to come across a blank wall of alienation and poorly hidden annoyance. The former lover, whom Chatsky recalls with touching tenderness, has completely changed towards him. With the help of the usual jokes and epigrams, he tries to find with her mutual language, "goes through" Moscow acquaintances, but his witticisms only annoy Sophia - she answers him with barbs. The strange behavior of the beloved causes jealous suspicions of Chatsky: “Is there really a groom here?”
The actions and words of the intelligent and sensitive to people Chatsky seem inconsistent, illogical: he clearly has "mind and heart out of tune". Realizing that Sophia does not love him, he does not want to come to terms with this and undertakes a real "siege" of his beloved who has grown cold towards him. love feeling and the desire to find out who became Sophia's new chosen one, keep him in Famusov's house: “I will wait for her and force a confession: / Who is finally dear to her? Molchalin! Skalozub!
He annoys Sophia, trying to call her to frankness, asking her tactless questions: “Can I find out, / ... Whom do you love? ".
The night scene in Famusov's house revealed the whole truth to Chatsky, who "became clear." But now he goes to the other extreme: he cannot forgive Sophia for his love blindness, he reproaches her for "luring him with hope." The denouement of the love conflict did not cool Chatsky's ardor. Instead of love passion, the hero was seized by other strong feelings - rage and anger. In the heat of his rage, he shifts the responsibility for his "futile labors of love" to others. Chatsky was offended not only by "treason", but also by the fact that Sofia preferred the insignificant Molchalin, whom he so despised ("When I think about who you preferred!"). He proudly declares his "break" with her and thinks that now he has "sobered up ... completely", intending at the same time "to pour out all the bile and all the annoyance on the whole world."
It is interesting to see how love experiences exacerbate Chatsky's ideological opposition to the Famus society. At first, Chatsky calmly relates to Moscow society, almost does not notice its usual vices, sees only the comic side in it: “I am in some other miracle in eccentrics / Once I laugh, then I will forget ...“.
But when Chatsky becomes convinced that Sophia does not love him, everything in Moscow begins to annoy him. Replies and monologues become bold, caustic - he angrily denounces what he previously laughed without malice.
In his monologues, Chatsky touches actual problems modern era: the question of what is real service, the problems of enlightenment and education, serfdom, national identity. But, being in an excited state, the hero, as I.A. Goncharov subtly noted, “falls into exaggeration, almost into drunkenness of speech ... He also strikes into patriotic pathos, agrees to the point that he finds the tailcoat contrary to “reason and the elements” , angry that madame and madame moiselle ... have not been translated into Russian ... ".
Behind the impulsive, nervous verbal shell of Chatsky's monologues are serious, hard-won convictions. Chatsky is a person with an established worldview, a system of life values and morality. The highest criterion for evaluating a person for him is "a mind that is hungry for knowledge", the desire "for creative, high and beautiful arts." Chatsky's idea of service - Famusov, Skalozub and Molchalin literally force him to talk about it - is connected with his ideal of "free life". One of its most important aspects is freedom of choice: after all, according to the hero, every person should have the right to serve or refuse to serve. Chatsky himself, according to Famusov, “does not serve, that is, he does not find any benefit in that,” but he has clear ideas about what the service should be like. According to Chatsky, one should serve “the cause, not the persons”, do not mix personal, selfish interest and “fun” with “deeds”. In addition, he connects the service with people's ideas of honor and dignity, therefore, in a conversation with Famusov, he deliberately emphasizes the difference between the words "serve" and "serve": "I would be glad to serve, it's sickening to serve."
Life philosophy puts him outside the society, gathered in the house of Famusov. Chatsky is a person who does not recognize authorities, does not share generally accepted opinions. Above all, he values his independence, causing horror in ideological opponents who see the ghost of a revolutionary, "carbonaria". “He wants to preach liberty!” Famusov exclaims. From the point of view of the conservative majority, Chatsky's behavior is atypical, and therefore reprehensible, because he does not serve, travels, "is familiar with the ministers", but does not use his connections, does not make a career. It is no coincidence that Famusov - the ideological mentor of all those gathered in his house, the legislator of ideological "fashion" - requires Chatsky to live "like everyone else", as is customary in society: "I would say, firstly: do not be blissful, / Name, brother, do not govern by mistake, / And most importantly, go and serve.
Although Chatsky rejects conventional notions of morality and public duty, one can hardly consider him a revolutionary, a radical, or even a "Decembrist": there is nothing revolutionary in Chatsky's statements. Chatsky is an enlightened person who offers society to return to simple and clear ideals of life, to clear from extraneous layers what they talk a lot about in Famus society, but which, according to Chatsky, they do not have the right idea - service. It is necessary to distinguish between the objective meaning of the hero's very moderate enlightening judgments and the effect that they produce in the society of conservatives. The slightest dissent is regarded here not only as a denial of the usual, consecrated "fathers", "senior" ideals and way of life, but also as a threat of a social upheaval: after all, Chatsky, according to Famusov, "does not recognize the authorities." Against the backdrop of an inert and unshakably conservative majority, Chatsky gives the impression of a lone hero, a brave "madman" who rushed to storm a powerful stronghold, although in the circle of freethinkers his statements would not shock anyone with his radicalism.
Sophia - the main plot partner of Chatsky - occupies a special place in the system of characters in Woe from Wit. love conflict with Sophia involved the hero in a conflict with the whole society, served, according to Goncharov, "a motive, a reason for irritation, for that" million torments, under the influence of which he could only play the role indicated to him by Griboedov. Sofia does not take the side of Chatsky, but does not belong to Famusov's like-minded people, although she lived and was brought up in his house. She is a closed, secretive person, it is difficult to approach her. Even her father is a little afraid of her.
There are qualities in Sophia's character that sharply distinguish her among the people of the Famus circle. First of all, this is independence of judgment, which is expressed in her dismissive attitude towards gossip and gossip (“What is rumor to me? Whoever wants, judges ...”). Nevertheless, Sophia knows the "laws" of the Famus society and is not averse to using them. For example, she deftly connects "public opinion" to take revenge on her former lover.
Sophia's character has not only positive, but also negative traits. "A mixture of good instincts with lies," Goncharov saw in her. Self-will, stubbornness, capriciousness, complemented by vague ideas about morality, make her equally capable of both good and bad deeds. Indeed, having slandered Chatsky, Sophia acted immorally, although she remained, the only one among those gathered, convinced that Chatsky was a completely “normal” person. He was finally disappointed in Sophia precisely when he found out that he owed her "this fiction."
Sophia is smart, observant, rational in her actions, but love for Molchalin, both selfish and reckless, puts her in an absurd, comical position. In a conversation with Chatsky, Sophia exalts Molchalin's spiritual qualities to the skies, but she is so blinded by her feeling that she does not notice "how the portrait looks vulgar" (Goncharov). Her praises to Molchalin (“He plays all day!”, “He is silent when he is scolded!”) Have the exact opposite effect: Chatsky refuses to take everything Sophia said literally and comes to the conclusion that “she does not respect him.” Sophia exaggerates the danger that threatened Molchalin when falling from a horse - and an insignificant event grows in her eyes to the size of a tragedy, forcing her to recite:
Molchalin! How intact my mind remained!
After all, you know how dear your life is to me!
Why should she play, and so carelessly?
(D. II, yavl. 11).
Sofia, amateur French novels, very sentimental. Probably, like Pushkin's heroines from "Eugene Onegin", she dreams of "Grandison", but instead of "guard sergeant" she finds another "model of perfection" - the embodiment of "moderation and accuracy". Sofia idealizes Molchalin, not even trying to find out what he really is, not noticing his "vulgarity" and pretense. “God brought us together” - this “romantic” formula exhausts the meaning of Sofia's love for Molchalin. He managed to please her first of all by the fact that he behaves like a living illustration to a novel he has just read: "He takes his hand, presses it to his heart, / He sighs from the depths of his soul ...".
Sophia's attitude towards Chatsky is completely different: after all, she does not love him, therefore she does not want to listen, does not seek to understand, and avoids explanations. Sophia is unfair to him, considering him callous and heartless (“Not a man, a snake!”), Attributing to him an evil desire to “humiliate” and “stab” everyone, and does not even try to hide her indifference to him: “What are you to me for?” In relations with Chatsky, the heroine is just as “blind” and “deaf” as in relations with Molchalin: her idea of \u200b\u200ba former lover is far from reality.
Sophia, the main culprit of Chatsky's mental anguish, evokes sympathy herself. Sincere and passionate in her own way, she completely surrenders to love, not noticing that Molchalin is a hypocrite. Even the oblivion of decency (night dates, the inability to hide her love from others) is evidence of the strength of her feelings. Love for the “rootless” secretary of her father takes Sofia out of the Famus circle, because she deliberately risks her reputation. With all the bookishness and obvious comedy, this love is a kind of challenge to the heroine and her father, who is preoccupied with finding her a rich careerist groom, and a society that excuses only open, uncamouflaged debauchery. The height of feelings, not characteristic of the Famusians, makes her internally free. She is so happy with her love that she is afraid of exposure and possible punishment: “ happy hours are not watching." It is no coincidence that Goncharov compared Sophia with Pushkin's Tatyana: “... She is just as ready to betray herself in her love as Tatyana: both, as if in sleepwalking, wander in enthusiasm with childlike simplicity. And Sophia, like Tatyana, begins the affair themselves, not finding anything reprehensible in this.
Sofia has a strong character and a developed sense dignity. She is proud, proud, knows how to inspire respect for herself. At the end of the comedy, the heroine begins to see clearly, realizing that she was unfair to Chatsky and loved a man unworthy of her love. Love is replaced by contempt for Molchalin: "Reproaches, complaints, my tears / Do not dare to expect, you are not worth them ...".
Although, according to Sophia, there were no witnesses to the humiliating scene with Molchalin, she is tormented by a sense of shame: “I am ashamed of myself, I am ashamed of the walls.” there was no humiliating scene with Molchalin, she is tormented by a sense of shame: “I am ashamed of myself, I am ashamed of the walls.” Sophia realizes her self-deception, blames only herself and sincerely repents. "All in tears," she says her last line: "I blame myself all around." In the last scenes of “Woe from Wit”, there is no trace of the former capricious and self-confident Sophia - the “optical illusion” has been revealed, and features clearly appear in her appearance. tragic heroine. The fate of Sophia, at first glance, unexpectedly, but in full accordance with the logic of her character, approaches the tragic fate of Chatsky, rejected by her. Indeed, as I.A. Goncharov subtly noted, in the finale of the comedy she has to “harder than anyone else, harder even than Chatsky, and she gets “a million torments”». The denouement of the love plot of the comedy turned out to be “grief”, a life catastrophe for the smart Sophia.
Not individual characters in the play, but a "collective" character - the many-sided Famus society - the main ideological opponent of Chatsky. The lone truth-seeker and ardent defender of “free life” is opposed by a large group of actors and off-stage characters, united by a conservative worldview and the simplest practical morality, the meaning of which is “to take awards and live happily.” The life ideals and behavior of the heroes of the comedy reflected the morals and lifestyle real Moscow society "after the fire" era - the second half of the 1810s.
Famus society is heterogeneous in its composition: it is not a faceless crowd in which a person loses his individuality. On the contrary, convinced Moscow conservatives differ among themselves in intelligence, abilities, interests, occupation and position in the social hierarchy. The playwright discovers in each of them both typical and personality traits. But in one thing everyone is unanimous: Chatsky and his like-minded people are “crazy”, “crazy”, renegades. The main reason for their "madness", according to the Famusists, is an excess of "mind", excessive "scholarship", which is easily identified with "free-thinking". In turn, Chatsky does not skimp on critical assessments of Moscow society. He is convinced that nothing has changed in “after the fire” Moscow (“Houses are new, but prejudices are old”), and condemns the inertia, patriarchy of Moscow society, its adherence to the obsolete morality of the age of “submission and fear”. The new, enlightening morality frightens and embitters conservatives - they are deaf to any arguments of reason. Chatsky almost screams in his accusatory monologues, but each time it seems that the “deafness” of the Famusovites is directly proportional to the strength of his voice: the louder the hero “shouts”, the more diligently they “plug their ears”.
Depicting the conflict between Chatsky and the Famus society, Griboedov makes extensive use of the author's remarks, which report on the reaction of conservatives to Chatsky's words. Remarks complement the replicas of the characters, reinforcing the comedy of what is happening. This technique is used to create the main comic situation of the play - a situation of deafness. Already during the first conversation with Chatsky (d. II, yavl. 2-3), in which for the first time his opposition to conservative morality was outlined, Famusov "does not see or hear anything." He deliberately plugs his ears so as not to hear Chatsky's seditious, from his point of view, speeches: "Good, I plugged my ears." During the ball (d. 3, yavl. 22), when Chatsky utters his angry monologue against the “foreign power of fashion” (“In that room, an insignificant meeting ...”), “everyone waltzes around with the greatest zeal. The old men wandered off to the card tables." The situation of feigned "deafness" of the characters allows the author to convey mutual misunderstanding and alienation between the conflicting parties.
Famusov is one of the recognized pillars of Moscow society. His official position is quite high: he is "manager in a government place." It is on him that the material well-being and success of many people depend: the distribution of ranks and awards, "patronage" of young officials and pensions for the elderly. Famusov's worldview is extremely conservative: he accepts with hostility everything that is at least somewhat different from his own beliefs and ideas about life, is hostile to everything new - even to the fact that in Moscow "roads, sidewalks, / Houses and everything on new way". Famusov's ideal is the past, when everything was "not what it is today."
Famusov is a staunch defender of the morality of the "gone century". In his opinion, to live correctly means to do everything “as the fathers did”, to learn, “looking at the elders”. Chatsky, on the other hand, relies on his own “judgments” dictated by common sense, so the ideas of these antipode heroes about “proper” and “improper” behavior do not coincide. Famusov imagines rebellion and "debauchery" in the free-thinking, but completely harmless statements of Chatsky, he even predicts that the free-thinker will be put on trial. But in his own actions he does not see anything reprehensible. In his opinion, the real vices of people - debauchery, drunkenness, hypocrisy, lies and servility are not dangerous. Famusov says about himself that he is "known for his monastic behavior", despite the fact that before that he tried to flirt with Liza. Society at first tends to attribute the reason for Chatsky's "madness" to drunkenness, but Famusov authoritatively corrects the "judges":
Here you go! great trouble,
What will a man drink too much!
Learning is the plague, learning is the cause
What is now more than ever,
Crazy divorced people, and deeds, and opinions.
(D. III, yavl. 21)
Listening to the advice and instructions of Famusov, the reader seems to find himself in a moral “anti-world”. In it, ordinary vices turn almost into virtues, and thoughts, opinions, words and intentions are declared “vices”. The main "vice", according to Famusov, is "scholarship", an excess of the mind. He considers stupidity and buffoonery to be the basis of the practical morality of a decent person. About the "intelligent" Maxim Petrovich, Famusov speaks with pride and envy: "He fell painfully, got up great."
Famusov's idea of "mind" is mundane, worldly: he identifies the mind either with practicality, the ability to "get comfortable" in life (which he evaluates positively), or with "free-thinking" (such a mind, according to Famusov, is dangerous). For Famusov, Chatsky's mind is a mere trifle that cannot be compared with traditional noble values - generosity (“honor for father and son”) and wealth:
Be bad, yes if you get it
Souls of a thousand two tribal, -
That and the groom.
The other, at least be quicker, puffed up with all swagger,
Let yourself be a wise man
They won't be included in the family.
(D. II, yavl. 5).
Famusov finds a clear sign of insanity in the fact that Chatsky condemns bureaucratic cringing:
I've been wondering for a long time how no one will tie him up!
Try about the authorities - and he will tell you nothing!
Bow a little low, bend over with a ring,
Even before the monarch's face,
So he will call a scoundrel! ..
(D. III, yavl. 21).
The theme of education and upbringing is also connected with the theme of the mind in comedy. If for Chatsky the highest value is “a mind hungry for knowledge”, then Famusov, on the contrary, identifies “scholarship” with “freethinking”, considering it a source of madness. In education, he sees such a huge danger that he proposes to fight it with the tried-and-tested method of the Inquisition: “If you stop evil: / Take away all the books and burn them.”
Of course main question for Famusov - the question of the service. Service in the system of his life values is the axis around which the entire public and private life of people revolves. The true purpose of the service, Famusov believes, is to make a career, "to achieve certain degrees," and thereby secure high position in society. To people who succeed, for example, to Skalozub (“Not today or tomorrow, General”) or to those who, like the “businesslike” Molchalin, strive for this, Famusov treats with approval, recognizing them as his like-minded people. On the contrary, Chatsky, from the point of view of Famusov, is a “lost” person who deserves only contemptuous regret: after all, having good data for successful career, it does not serve. “But if you want, it would be businesslike,” Famusov notes.
His understanding of the service is thus as far from its true meaning, "inverted", as are the ideas of morality. Famusov sees no vice in blatant neglect of official duties:
And I have what's the matter, what's not the case,
My custom is this:
Signed, so off your shoulders.
(D. I, yavl. 4).
Even abuse of official position Famusov raises to the rule:
How will you begin to introduce to the christening, to the town.
Well, how not to please your dear little man! ..
(D. II, yavl. 5).
Molchalin is one of the most prominent representatives famous society. His role in comedy is comparable to that of Chatsky. Like Chatsky, Molchalin is a participant in both love and socio-ideological conflict. He is not only a worthy student of Famusov, but also Chatsky's "rival" in love for Sofia, a third person that arose between former lovers.
If Famusov, Khlestova and some other characters are living fragments of the "past century", then Molchalin is a man of the same generation as Chatsky. But, unlike Chatsky, Molchalin is a staunch conservative, therefore dialogue and mutual understanding between them is impossible, and conflict is inevitable - their life ideals, moral principles and behavior in society are absolutely opposite.
Chatsky cannot understand, "why the opinions of others are only holy." Molchalin, like Famusov, considers dependence “on others” to be the basic law of life. Molchalin is a mediocrity that does not go beyond the generally accepted framework, this is a typical "average" person: both in abilities, and in mind, and in claims. But he has "his talent": he is proud of his qualities - "moderation and accuracy." The outlook and behavior of Molchalin is strictly regulated by his position in the official hierarchy. He is modest and helpful, because "in the ranks ... small", he cannot do without "patrons", even if he has to completely depend on their will.
But, unlike Chatsky, Molchalin organically fits into the Famus society. This is "little Famusov", because he has a lot in common with the Moscow "ace", despite big difference in age and social position. For example, Molchalin's attitude to service is purely "famus": he would like to "take awards and have fun." Public opinion for Molchalin, as well as for Famusov, is sacred. Some of his statements (“Ah! Evil tongues are worse than a gun”, “In my years one should not dare / Have one’s own judgment”) resemble Famus’s: “Ah! My God! what will / Princess Marya Aleksevna say!
Molchalin is the antipode of Chatsky not only in his convictions, but also in the nature of his attitude towards Sofia. Chatsky is sincerely in love with her, nothing exists for him above this feeling, in comparison with him, "the whole world" Chatsky "seemed to be dust and vanity." Molchalin only skillfully pretends to love Sophia, although, by his own admission, he does not find "anything enviable" in her. Relations with Sofia are entirely determined by the life position of Molchalin: this is how he behaves with all people without exception, this is a life principle learned from childhood. In the last act, he tells Lisa that his "father bequeathed" to him "to please all people without exception." Molchalin is in love "by position", "in the pleasing of the daughter of such a person" as Famusov, "who feeds and waters, / And sometimes he will give a rank ...".
The loss of Sofia's love does not mean the defeat of Molchalin. Although he made an unforgivable mistake, he managed to get away with it. It is significant that Famusov brought down his anger not on the “guilty” Molchalin, but on the “innocent” Chatsky and the offended, humiliated Sophia. In the finale of the comedy, Chatsky becomes an outcast: society rejects him, Famusov points to the door and threatens to "announce" his imaginary depravity "to all the people." Molchalin is likely to redouble his efforts to make amends with Sofia. It is impossible to stop the career of such a person as Molchalin - this is the meaning copyright to the hero. Even in the first act, Chatsky rightly remarked that Molchalin "will reach certain degrees." The night incident confirmed the bitter truth: society rejects the Chatskys, and "The Silent Ones are blissful in the world."
The Famusov society in Woe from Wit is a lot of secondary and episodic characters, Famusov's guests. One of them, Colonel Skalozub, is a martinet, the embodiment of stupidity and ignorance. He "has never uttered a word of wisdom", and from the conversations of those around him he understands only what, as it seems to him, relates to the army theme. Therefore, to Famusov’s question “How do you get Nastasya Nikolaevna?” Skalozub businesslike replies: "We did not serve together." However, by the standards of Famus society, Skalozub is an enviable groom: “And a golden bag, and aims for generals,” therefore no one notices his stupidity and uncouthness in society (or does not want to notice). Famusov himself "deliriously raves about them", not wanting another suitor for his daughter.
Skalozub shares the attitude of the Famusovites towards service and education, saying with “soldier directness” what is shrouded in a fog of eloquent phrases in the statements of Famusov and Molchalin. In his jerky aphorisms, reminiscent of teams on the parade ground, all the simple worldly "philosophy" of the careerists fits. "Like a true philosopher," he dreams of one thing: "I just want to be a general." Despite his “club-agility”, Skalozub very quickly and successfully moves up the career ladder, causing respectful amazement even from Famusov: “It’s been a long time since you’ve been a colonel, but you serve recently.” Education is of no value to Skalozub (“you won’t fool me with learning”), army drill, from his point of view, is much more useful, if only because it can knock out scientific nonsense: “I am Prince Grigory and you / Feldwebel in Voltaire ladies." A military career and reasoning "about the front and the ranks" is the only thing Skalozub is interested in.
All the characters that appear in Famusov's house during the ball actively participate in the general opposition to Chatsky, adding more and more fictitious details to the gossip about the "madness" of the protagonist, until in the mind of the countess grandmother it turns into a fantastic story about how Chatsky went " into nusurmans". Each of the minor characters performs in his comic role.
Khlestova, like Famusov, is a colorful type: she is an “angry old woman”, an imperious lady-serf of the Catherine era. She “out of boredom” carries with her a “black-haired girl and a dog”, has a weakness for young Frenchmen, loves to be “pleased”, therefore she favorably treats Molchalin and even Zagoretsky. Ignorant tyranny is the life principle of Khlestova, who, like most of Famusov's guests, does not hide her hostile attitude towards education and enlightenment:
And really you will go crazy from these, from some
From boarding schools, schools, lyceums, as you put them,
Yes, from Lankart's mutual teachings.
(D. III, yavl. 21).
Zagoretsky is “a notorious swindler, a rogue”, a scammer and a cheater (“Beware of him: endure much, / Don’t sit down cards: he will sell”). The attitude towards this character characterizes the mores of the Famus society. Everyone despise Zagoretsky, not embarrassed to scold him in person (“He is a liar, a gambler, a thief,” Khlestova says about him), but in society he is “cursed / Everywhere, but accepted everywhere”, because Zagoretsky is “a master of obliging”.
The "speaking" surname of Repetilov indicates his tendency to mindlessly repeat other people's arguments "about important mothers." Petilov points to his tendency to mindlessly repeat other people's arguments "about important mothers." Repetilov, unlike other representatives of the Famus society, in words is an ardent admirer of "scholarship". But he caricatures and vulgarizes the enlightening ideas that Chatsky preaches, urging, for example, that everyone should study "with Prince Grigory", where "they will give you champagne to drink for slaughter." Repetilov nevertheless let it slip: he became a fan of "scholarship" only because he failed to make a career ("And I would climb into the ranks, but I met failures"). Enlightenment, from his point of view, is only a forced replacement for a career. Repetilov is a product of the Famus society, although he shouts that he and Chatsky have "the same tastes." The “most secret union” and “secret meetings” that he tells Chatsky about are the most interesting material that allows us to conclude that Griboedov himself has a negative attitude towards the “noisy secrets” of secular free-thinking. However, one can hardly consider the “most secret alliance” a parody of the Decembrist secret societies, it is a satire on the ideological “waste dances” that made “secret”, “conspiratorial” activity a form of secular pastime, because everything comes down to idle chatter and shaking the air - “we make noise, brother, let's make noise.
In addition to those heroes who are listed in the "poster" - the list of "characters" - and at least once appear on the stage, in "Woe from Wit" many people who are not participants in the action are mentioned - these are off-stage characters. Their names and surnames flash in the monologues and remarks of the actors, who necessarily express their attitude towards them, approve or condemn their life principles and behavior.
Off-stage characters are invisible "participants" in the socio-ideological conflict. With their help, Griboyedov managed to push the boundaries stage action, concentrated on a narrow platform (Famusov's house) and kept within one day (the action begins early in the morning and ends in the morning of the next day). Off-stage characters have a special artistic function: they represent a society, of which all participants in the events in Famusov's house are a part. Playing no role in the plot, they are closely associated with those who fiercely defend the "past century" or strive to live the ideals of the "present century" - screaming, indignant, indignant, or, conversely, experiencing "a million torments" on stage.
It is off-stage characters that confirm that all Russian society split into two unequal parts: the number of conservatives mentioned in the play significantly exceeds the number of dissidents, "crazy". But the most important thing is that Chatsky, a lonely truth-seeker on the stage, is not at all alone in life: the existence of people spiritually close to him, according to the Famusites, proves that "today, more than ever, there are more crazy divorced people, and deeds, and opinions." Among Chatsky’s like-minded people is Skalozub’s cousin, who abandoned a brilliant military career in order to go to the village and start reading books (“The rank followed him: he suddenly left the service, / In the village he began to read books”), Prince Fedor, nephew of Princess Tugoukhovskaya (“ The official doesn't want to know! He's a chemist, he's a botanist..."), and the St. Petersburg "professors" with whom he studied. According to Famusov's guests, these people are just as crazy, crazy because of "scholarship", like Chatsky.
Another group of off-stage characters are Famusov's "like-minded people". These are his "idols", whom he often mentions as a model of life and behavior. Such, for example, is the Moscow “ace” Kuzma Petrovich - for Famusov this is an example of a “commendable life”:
The deceased was a respectable chamberlain,
With the key, and he knew how to deliver the key to his son;
Rich, and was married to a rich woman;
Married children, grandchildren;
Died; everyone remembers him sadly.
(D. II, yavl. 1).
Another worthy, according to Famusov, role model is one of the most memorable off-stage characters, the “dead uncle” Maxim Petrovich, who made a successful court career(“he served Catherine under the empress”). Like other "nobles in the case", he had a "haughty disposition", but, if the interests of his career required it, he knew how to deftly "serve" and easily "bent over".
Chatsky exposes the morals of the Famus society in the monologue “And who are the judges? ..” (d. II, yavl. 5), talking about the unworthy lifestyle of the “fatherland of the fathers” (“overflowing in feasts and extravagance”), about the wealth they have unjustly acquired ( “they are rich in robbery”), about their immoral, inhuman acts that they commit with impunity (“they found protection from court in friends, in kinship”). One of the off-stage characters mentioned by Chatsky “traded” the “crowd” of devoted servants who saved him “during the hours of wine and fights” for three greyhounds. The other one “for undertakings / On a fortress ballet drove on many wagons / From mothers, fathers of rejected children”, which were then “sold out one by one”. Such people, from the point of view of Chatsky, are a living anachronism that does not correspond to modern ideals education and humane treatment of serfs:
And who are the judges? For the antiquity of years
To a free life their enmity is irreconcilable,
Judgments draw from forgotten newspapers
The times of the Ochakovskys and the conquest of the Crimea ...
(D. II, yavl. 5).
Even a simple enumeration of non-stage characters in the monologues of actors (Chatsky, Famusov, Repetilov) completes the picture of the mores of the Griboedov era, gives it a special, "Moscow" flavor. In the first act (fig. 7), Chatsky, who has just arrived in Moscow, in a conversation with Sophia, "sorts through" a lot of mutual acquaintances, ironically over their "oddities".
From the tone in which some characters talk about Moscow ladies, we can conclude that women enjoyed great influence in Moscow society. Famusov speaks enthusiastically about the powerful "socialites":
And the ladies? - put someone in, try, master;
Judges of everything, everywhere, there are no judges over them
Command before the front!
Be present send them to the Senate!
Irina Vlasevna! Lukerya Alexevna!
Tatyana Yuryevna! Pulcheria Andreevna!
(D. II, yavl. 5).
The famous Tatyana Yuryevna, about whom Molchalin spoke with reverence to Chatsky, apparently enjoys unquestioned authority and, on occasion, can provide “protection”. And the formidable Princess Marya Aleksevna trembles even the Moscow “ace” Famusov, who, as it suddenly turns out, is preoccupied not so much with the meaning of what happened, but with the public publicity of the “lecherous” behavior of his daughter and the merciless slander of the Moscow lady.
Dramaturgical innovation Griboedov manifested itself primarily in the rejection of some genre canons of the classic "high" comedy. The Alexandrian verse, which was used to write the "reference" comedies of the classicists, was replaced by a flexible meter, which made it possible to convey all the shades of live colloquial speech - free iambic. The play seems "overpopulated" with characters in comparison with the comedies of Griboyedov's predecessors. It seems that Famusov's house and everything that happens in the play are only part of big world, which is brought out of the usual half-asleep state by "madmen" like Chatsky. Moscow is a temporary haven for an ardent hero wandering "around the world", a small "post station" on the "high road" of his life. Here, not having time to cool down from the frantic ride, he made only a short stop and, having experienced "a million torments", set off again.
In "Woe from Wit" there are not five, but four acts, so there is no situation typical for the "fifth act" when all contradictions are resolved and the life of the characters restores its unhurried course. The main conflict of the comedy, the socio-ideological one, remained unresolved: everything that happened is only one of the stages in the ideological self-awareness of the conservatives and their antagonist.
An important feature of "Woe from Wit" is the rethinking of comic characters and comic situations: in comic contradictions, the author discovers a hidden tragic potential. Not allowing the reader and viewer to forget about the comedy of what is happening, Griboyedov emphasizes the tragic meaning of the events. The tragic pathos is especially intensified in the finale of the work: all the main characters fourth act, including Molchalin and Famusov, do not appear in traditional comedic roles. They are more like the heroes of the tragedy. The real tragedies of Chatsky and Sophia are supplemented by the “small” tragedies of Molchalin, who broke his vow of silence and paid for it, and the humiliated Famusov, tremblingly awaiting retribution from the Moscow “Thunderer” in a skirt - Princess Marya Aleksevna.
The principle of "unity of characters" - the basis of the dramaturgy of classicism - turned out to be completely unacceptable for the author of "Woe from Wit". "Portrait", that is, the life truth of the characters, which the "archaist" P.A. Katenin attributed to the "errors" of comedy, Griboyedov considered the main advantage. Straightforwardness and one-sidedness in the depiction of the central characters are discarded: not only Chatsky, but also Famusov, Molchalin, Sophia are shown as complex people, sometimes contradictory and inconsistent in their actions and statements. It is hardly appropriate and possible to evaluate them using polar assessments (“positive” - “negative”), because the author seeks to show in these characters not “good” and “bad”. He is interested in the real complexity of their characters, as well as the circumstances in which their social and domestic roles, worldview, system of life values and psychology are manifested. The characters of Griboedov's comedy can rightly be attributed to the words spoken by A.S. Pushkin about Shakespeare: they are "living creatures, full of many passions ..."
Each of the main characters is, as it were, in the focus of a variety of opinions and assessments: after all, even ideological opponents or people who do not sympathize with each other are important to the author as sources of opinions - verbal “portraits” of the characters are formed from their “polyphony”. Perhaps rumor plays no less a role in comedy than in Pushkin's novel "Eugene Onegin". Judgments about Chatsky are especially saturated with various information - he appears in the mirror of a kind of "oral newspaper" created before the eyes of the viewer or reader by the inhabitants famus house and his guests. It is safe to say that this is only the first wave of Moscow rumors about the St. Petersburg freethinker. Secular gossip "crazy" Chatsky gave food for gossip for a long time. But "evil tongues", which for Molchalin are "more terrible than a gun", are not dangerous to him. Chatsky is a man from another world, only for a short moment he came into contact with the world of Moscow fools and gossips and recoiled from it in horror.
The picture of "public opinion", masterfully recreated by Griboyedov, is composed of oral statements characters. Their speech is impulsive, impetuous, reflects an instant reaction to other people's opinions and assessments. The psychological authenticity of the speech portraits of characters is one of the most important features of comedy. The verbal appearance of the characters is as unique as their place in society, demeanor and range of interests. In the crowd of guests gathered in Famusov's house, people often stand out precisely with their "voice", the peculiarities of speech.
The "voice" of Chatsky is unique: his "speech behavior" already in the first scenes betrays in him a staunch opponent of the Moscow nobility. The word of the hero is his only, but the most dangerous "weapon" in the "duel" of the truth-seeker with the Famus society that lasts all day long. Idle and " evil tongues"" "Indomitable storytellers, / Clumsy wise men, cunning simpletons, / Sinister old women, old men, / Decrepit over inventions, nonsense", Chatsky contrasts the hot word of truth, in which bile and annoyance, the ability to express in a word the comic aspects of their existence are combined with high pathos affirmation of true life values. The language of comedy is free from lexical, syntactical and intonational restrictions, it is a “rough”, “unkempt” element of colloquial speech, which, under the pen of Griboedov, the “speech creator”, turned into a miracle of poetry. “I’m not talking about poetry,” Pushkin remarked, “half of it should become a proverb.”
Despite the fact that Chatsky the ideologist opposes the inert Moscow nobility and expresses the author's point of view on Russian society, he cannot be considered an unconditionally “positive” character, such as, for example, the characters of Griboyedov's predecessor comedians. Chatsky's behavior is the behavior of an accuser, judge, tribune, who fiercely attacks the morals, life and psychology of the Famusites. But the author indicates his motives strange behavior: after all, he did not come to Moscow as an emissary of St. Petersburg freethinkers. The indignation that grips Chatsky is caused by a special psychological state: his behavior is determined by two passions - love and jealousy. They are the main reason for his ardor. That is why, despite the strength of his mind, the enamored Chatsky does not control his feelings, which are out of control, and is not able to act reasonably. The anger of an enlightened man, combined with the pain of losing his beloved, made him "throw beads in front of the Repetilovs." His behavior is comical, but the hero himself experiences genuine mental suffering, "a million torments". Chatsky is a tragic character who finds himself in comic circumstances.
Famusov and Molchalin do not look like traditional comedic "villains" or "stupid". Famusov is a tragicomic person, because in the final scene, not only all his plans for Sofia's marriage are collapsing - he is threatened with the loss of his reputation, his "good name" in society. For Famusov, this is a real disaster, and therefore, at the end of the last act, he exclaims in despair: “Is my fate not deplorable yet?” The position of Molchalin, who is in a hopeless situation, is also tragicomic: captivated by Lisa, he is forced to pretend to be a modest and uncomplaining admirer of Sofia. Molchalin understands that his relationship with her will cause irritation and the anger of Famusov. But to reject Sofia's love, Molchalin believes, is dangerous: the daughter has influence on Famusov and can take revenge, ruin his career. He found himself between two fires: lordly love” daughter and the inevitable “lordly anger” of the father.
Sincere careerism and feigned love are incompatible, an attempt to combine them turns out to be humiliation and a “fall” for Molchalin, albeit from a small, but already “taken” official “height”. “People created by Griboedov are taken from life in full growth, gleaned from the bottom of real life,” critic A.A. Grigoriev emphasized, “they do not have their virtues and vices written on their foreheads, but they are branded with the seal of their insignificance, branded with a vengeful hand executioner-artist.
Unlike the heroes of classic comedies, the main characters of Woe from Wit (Chatsky, Molchalin, Famusov) are depicted in several social roles. For example, Chatsky is not only a freethinker, a representative of the younger generation of the 1810s. He is both a lover, and a landowner (“he had about three hundred souls”), and a former military man (once Chatsky served in the same regiment with Gori-ch). Famusov is not only the Moscow “ace” and one of the pillars of the “gone century”. We see him in other social roles as well: a father trying to “settle in” his daughter, and a state official “manager in a government place”. Molchalin is not only "Famusov's secretary who lives in his house" and Chatsky's "happy rival": he belongs, like Chatsky, to the younger generation. at the generation. But his worldview, ideals and way of life have nothing in common with the ideology and life of Chatsky. They are characteristic of the "silent" majority of the youth of the nobility. Molchalin is one of those who easily adapts to any circumstances for the sake of one goal - to climb as high as possible up the corporate ladder.
Griboyedov neglects an important rule of classic dramaturgy - the unity of the plot action: in Woe from Wit there is no single event center (this caused the literary Old Believers to reproach the vagueness of the "plan" of the comedy). Two conflicts and two storylines in which they are realized (Chatsky - Sofia and Chatsky - Famus society) allowed the playwright to skillfully combine the depth of social problems and subtle psychologism in depicting the characters of the characters.
The author of Woe from Wit did not set himself the task of destroying the poetics of classicism. His aesthetic credo is creative freedom ("As I live, so I write freely and freely"). The use of certain artistic means and techniques of dramaturgy was dictated by specific creative circumstances that arose in the course of work on the play, and not by abstract theoretical postulates. Therefore, in cases where the requirements of classicism limited his possibilities, not allowing him to achieve the desired artistic effect, he resolutely rejected them. But often it was the principles of classic poetics that made it possible to effectively solve an artistic problem.
For example, the "unity" characteristic of the classicist dramaturgy - the unity of place (Famusov's house) and the unity of time (all events take place within one day) are observed. They help to achieve concentration, "thickening" of the action. Griboyedov masterfully used some private techniques of classicism poetics: depiction of characters in traditional stage roles (unsuccessful hero-lover, his sly rival, servant - confidant of his mistress, capricious and somewhat eccentric heroine, deceived father, comic old woman, gossip, etc. .). However, these roles are necessary only as a comedy "highlight", emphasizing the main thing - the individuality of the characters, the originality of their characters and positions.
In comedy, there are a lot of "situational persons", "figurants" (as in the old theater they called episodic characters who created the background, "live scenery" for the main characters). As a rule, their character is exhaustively revealed by their "talking" surnames and names. The same technique is used to emphasize main feature in the appearance or position of some central characters: Famusov - known to everyone, on everyone's lips (from Latin fama - rumor), Repetilov - repeating someone else's (from French repeter - repeat), Sofia - wisdom (ancient Greek sophia), Chatsky in the first edition it was Chadsky, that is, “abiding in a child”, “beginning”. The ominous surname Skalozub is “shifter” (from the word “tooth-skal”). Molchalin, Tugoukhovsky, Khlestova - these names "speak" for themselves ..
In Woe from Wit, the most important features of realistic art were clearly manifested: realism not only frees the individuality of the writer from the deadly "rules", "canons" and "conventions", but also relies on the experience of other artistic systems.
Other writings on this work
"Crazy around" (The image of Chatsky) "Current Age" and "Previous Age" "Woe from Wit" - the first Russian realistic comedy "All Moscow have a special imprint." (Old Moscow in A.S. Griboedov's comedy "Woe from Wit".) "Who are the judges?" (Chatsky through the eyes of Famusov, Sophia and other heroes of A. S. Griboyedov's comedy "Woe from Wit".) “Otherwise, a lot of intelligence is worse than none at all.” N. V. Gogol “In my comedy there are twenty-five fools for one smart person.” A. S. Griboedov (human types in A. S. Griboyedov’s comedy “Woe from Wit”) "The current century" and "the past century" in A. Griboyedov's comedy "Woe from Wit" "The current century" and "the past century" in A. S. Griboyedov's comedy "Woe from Wit" "Woe from Wit" - the "pearl" of Russian drama "Woe from Wit" - the immortal work of Griboyedov "Woe from Wit" by A. S. Griboedov as a comedy of a new type "Woe from Wit" in the comedy of the same name by A. S. Griboyedov "Woe from Wit" as a political comedy “Sin is not a problem, rumor is not good” (The moral image of Famusov’s Moscow” in the comedy “Woe from Wit” by A. S. Griboyedov.) “Life in the most ardent servility” (based on the comedy by A. S. Griboyedov “Woe from Wit”) “Every case that needs updating causes the shadow of Chatsky” (I. A. Goncharov) "Who will guess you!" (Sophia's riddle in A. S. Griboedov's comedy "Woe from Wit".) “A Million Torments of Chatsky” (based on the comedy “Woe from Wit” by A. S. Griboyedov) "A million torments" (compendium). "A Million of Torments" by Sofia Famusova (According to Griboyedov's comedy "Woe from Wit") "A million torments" Chatsky "The silent ones are blissful in the world!" (based on the comedy by A. S. Griboyedov Woe from Wit) “Silences are blissful in the world...” "The meanest traits of the past life." “Chatsky’s role is a passive one… Such is the role of all Chatskys, although at the same time it is always victorious” (I. A. Goncharov) (based on A. S. Griboyedov’s comedy “Woe from Wit”.) “Chatsky’s role is a passive one… Such is the role of all Chatskys, although at the same time it is always victorious” (I.A. Goncharov) (based on A.S. Griboyedov’s comedy “Woe from Wit”). And who are the judges? (based on the comedy by A. S. Griboyedov “Woe from Wit”) Analysis of the final episode of the comedy by A. S. Griboyedov "Woe from Wit" Analysis of the final episode of A. S. Griboedov's comedy "Woe from Wit". Analysis of the ball scene in A. S. Griboedov's comedy "Woe from Wit" Analysis of the episode "Dialogue between Chatsky and Famusov" Analysis of the episode "Ball at Famusov's House" in A. S. Griboedov's comedy "Woe from Wit" Analysis of the episode "Ball at Famusov's House" of Griboyedov's comedy "Woe from Wit". Analysis of the episode "Ball in the Famusovs' house" from the comedy "Woe from Wit" by A. S. Griboyedov Analysis of the episode of the ball in the house of Famusov (based on the comedy "Woe from Wit" by A. S. Griboyedov) Ball in Famusov's house Ball in the Famusovs' house What is the meaning of the "open" finale of A. S. Griboedov's comedy "Woe from Wit"? WHAT IS THE MEANING OF A. S. GRIBOYEDOV’S WORSE FROM WITNESS What is the meaning of comparing the image of Chatsky with the image of Repetilov in A. S. Griboedov's comedy "Woe from Wit"? What is the meaning of the finale of Griboedov's comedy "Woe from Wit" The current century and the past century ("Woe from Wit") The current century and the past century in the comedy "Woe from Wit" Views of Chatsky and Famusov Off-stage and secondary characters and their role in the comedy "Woe from Wit" Off-stage and episodic characters and their role in A. S. Griboyedov's comedy "Woe from Wit" Off-stage characters in A. S. Griboyedov's comedy "Woe from Wit" Time: its hero and anti-hero (based on A. Griboyedov's comedy "Woe from Wit") The hero of time in the comedy by A. S. Griboedov "Woe from Wit" The main idea of the comedy by A. S. Griboyedov "Woe from Wit" Deafness in the work of A. S. Griboyedov "Woe from Wit". Griboedov A. S. Woe from Wit Griboyedov and his comedy "Woe from Wit" Griboyedov and Chatsky Griboedov and Chatsky (based on the comedy by A. S. Griboyedov “Woe from Wit”) Griboedovskaya Moscow Two views of the world in the comedy "Woe from Wit" by A. S. Griboyedov Two patriotisms: the dispute between Chatsky and Famusov about Moscow (based on the comedy "Woe from Wit" by A. S. Griboedov) Noble youth in Griboedov's comedy "Woe from Wit" Is Chatsky a Decembrist? Famusov's dialogue with Chatsky (analysis of the 2nd phenomenon of the second act of A. S. Griboedov's comedy "Woe from Wit") Famusov's dialogue with Chatsky. (Analysis of the 2nd phenomenon of the second act of A.S. Griboedov's comedy "Woe from Wit".) Chatsky's dialogue with Repetilov (analysis of the 5th phenomenon from the IV act of A. S. Griboyedov's comedy "Woe from Wit".) Is Sophia worthy of Chatsky's love? (based on the comedy by A. S. Griboyedov “Woe from Wit”) Is Sofia Chatsky worthy? Genre originality of the play by A. S. Griboyedov "Woe from Wit" Female images in the comedy by A. S. Griboyedov "Woe from Wit" What is Chatsky fighting for and against? (According to the comedy by A.S. Griboyedov "Woe from Wit".) The meaning of the comedy "Woe from Wit". Ideas of Decembrism in A. Griboyedov's comedy "Woe from Wit". Chatsky and the Decembrists Decembrist ideas in Griboedov's comedy "Woe from Wit" The ideological and artistic wealth of the comedy "Woe from Wit" The ideological meaning of Griboedov's comedy "Woe from Wit" The image of Moscow in the comedy by A. S. Griboedov "Woe from Wit" How was the historical conflict of eras reflected in Griboyedov's comedy "Woe from Wit"? How Skalozub Became a Colonel The picture of morals in the comedy by A. S. Griboyedov "Woe from Wit" The picture of the mores of the life of the nobility in the comedy by A. S. Griboyedov "Woe from Wit" Comedy "Woe from Wit" A. S. Griboedov's comedy "Woe from Wit" as a political comedy A. S. Griboyedov's comedy "Woe from Wit" as a socio-political drama Comic and tragic in A. S. Griboedov's comedy "Woe from Wit" The conflict of two eras in the comedy "Woe from Wit" Winged expressions from Griboedov's work "Woe from Wit". Who is Chatsky: winner or loser Who is Chatsky: winner or loser? Personality and society in the comedy by A. S. Griboedov "Woe from Wit" Mastery of a realistic depiction of life in one of the works of Russian literature of the 19th century. (A.S. Griboedov. “Woe from Wit.”) A million torments by Sofia Famusova in Griboyedov's comedy "Woe from Wit" My attitude towards Sophia ("Woe from Wit") My attitude to Chatsky and Molchalin Can Chatsky be considered an extra person? My reflections on the pages of the comedy "Woe from Wit". The younger generation in the comedy by A. S. Griboedov "Woe from Wit" Molchalin - “the most miserable creature” (based on the comedy by A. S. Griboyedov “Woe from Wit”) Molchalin and "silence". Is Molchalin funny or scary? Molchalin and Chatsky in A. S. Griboedov's comedy "Woe from Wit" Molchalin - “the most miserable creature” (based on the comedy by A. S. Griboyedov “Woe from Wit”) Moscow A. S. Griboyedov and A. S. Pushkin Moscow in the image of A. S. Griboyedov Moscow in A. S. Griboyedov's comedy "Woe from Wit" Moscow in faces in A. S. Griboyedov's comedy "Woe from Wit" Moscow nobility in the comedy "Woe from Wit" by A. S. Griboyedov Moscow nobility in the comedy "Woe from Wit" by A. S. Griboyedov “All Moscow have a special imprint” Innovation of A. S. Griboyedov in the comedy "Woe from Wit" Innovation and tradition in A.S. Griboedov's comedy "Woe from Wit" INNOVATION AND TRADITIONS IN GRIBOYEDOV'S COMEDY "Woe From Wit" Defendants and judges in the play by A. S. Griboyedov "Woe from Wit". The image of Sophia in the comedy by A. S. Griboyedov "Woe from Wit" The image of Sophia in A.S. Griboyedov's comedy "Woe from Wit". THE IMAGE OF SOPHIA IN A. S. GRIBOYEDOV’S PLAY “Woe From Wit” The image of Sofia Famusova The image of Chatsky The image of Chatsky in "Woe from Wit" The image of Chatsky in the comedy by A.S. Griboyedov "Woe from Wit". Images of officials in the plays by A. S. Griboedov "Woe from Wit" and N. V. Gogol "The Government Inspector". Explanation of Chatsky with Sophia (analysis of the 1st phenomenon of the third act of the comedy by A. S. Griboedov “Woe from Wit”). Onegin and Chatsky The main conflict in the comedy Woe from Wit The main conflict of the comedy "Woe from Wit" Features of the conflict of the comedy by A. S. Griboyedov "Woe from Wit" Letter to Sofia Pavlovna Famusova Letter to Chatsky Letter to Chatsky (based on the comedy by A. S. Griboyedov “Woe from Wit”) Generation of fathers in Griboedov's comedy Woe from Wit The vices of the Famus society (based on the comedy "Woe from Wit" by A. S. Griboyedov) Why has not Griboedov's Chatsky grown old, and with him the whole comedy? Why did Sophia choose Molchalin? Representatives of the "fathers" in A. S. Griboyedov's comedy "Woe from Wit" Chatsky's arrival at Famusov's house. (Analysis of a scene from the first act of A.S. Griboyedov’s comedy “Woe from Wit”) Reception of antithesis in one of the works of Russian literature of the XIX century. (A.S. Griboedov. “Woe from Wit.”) The problem of "madness" and "mind" in A. S. Griboyedov's comedy "Woe from Wit" The problem of the mind in the comedy by A. S. Griboyedov "Woe from Wit" The problem of the mind in A. Griboyedov's comedy "Woe from Wit" The problem of the mind in Griboedov's comedy "Woe from Wit" and the meaning of its title. Two types of mind in the play. Griboedov's work "Woe from Wit" - comedy or tragedy? The role of off-stage characters in A. Griboedov's comedy "Woe from Wit" The role of minor characters in one of the works of Russian literature of the XIX century. (A.S. Griboyedov. "Woe from Wit".) The role of Chatsky's monologues in A.S. Griboedov's comedy "Woe from Wit". The role of the image of Sophia in the comedy by A. S. Griboedov "Woe from Wit" The role of the image of Sophia in Griboyedov's comedy "Woe from Wit" The role of Repetilov and Zagoretsky in A. S. Griboyedov's comedy "Woe from Wit" The role of Sophia in the comedy by A. S. Griboyedov "Woe from Wit" The role of the third act in the comedy by A. S. Griboedov "Woe from Wit" 19th century Russia The originality of Griboedov's comedy "Woe from Wit" as a literary work of the early 20s of the XIX century The peculiarity of the conflict in "Woe from Wit" by A. S. Griboyedov The peculiarity of the conflict in the comedy by A. S. Griboyedov "Woe from Wit" The peculiarity of the conflict in the comedy by A. S. Griboyedov "Woe from Wit" Family and its problems in the comedy "Woe from Wit" by A. S. Griboyedov The system of characters in the comedy by A. S. Griboyedov "Woe from Wit" Rumor about the madness of Chatsky (analysis of phenomena 14−21, action of the 3rd comedy by A. S. Griboyedov “Woe from Wit”) Is Molchalin funny or scary? (based on the comedy by A. S. Griboyedov “Woe from Wit”) The meaning of the name of the comedy "Woe from Wit" The meaning of the name of the comedy A. Griboyedov "Woe from Wit" The meaning of the name of the comedy by A. S. Griboedov "Woe from Wit" Modern reading of Griboyedov Sophia and Lisa in the comedy by A.S. Griboyedov "Woe from Wit": two characters and two destinies. Social and personal concept in A. S. Griboyedov's comedy "Woe from Wit". Socio-historical roots of Chatsky's drama Social and personal in the conflict of A. S. Griboyedov's comedy "Woe from Wit" Gossip about the madness of Chatsky (analysis of phenomena 14−21, action of the 3rd comedy by A. S. Griboyedov “Woe from Wit”). Comparative characteristics of Molchalin and Chatsky Comparative characteristics of the images of Famusov from A. Griboedov's comedy "Woe from Wit" and Anton Antonovich Skvoznik-Dmukhanovsky (Gorodnichiy) from N. Gogol's comedy "The Inspector General" Comparative characteristics of Famusov and Chatsky (based on the comedy by A. S. Griboyedov "Woe from Wit") Judges and defendants in A. S. Griboedov's comedy "Woe from Wit" The scene of the ball in the comedy by A. S. Griboyedov "Woe from Wit" The theme of love in the play The tragedy of Chatsky Traditions and innovation of A. S. Griboyedov in the comedy "Woe from Wit" Traditions and innovation in A. S. Griboedov's comedy "Woe from Wit" Traditions and innovation in Griboyedov's comedy "Woe from Wit" Traditions and innovation of A. S. Griboedov's comedy "Woe from Wit" Traditional and innovative in A. S. Griboyedov's comedy "Woe from Wit" Famusov (based on the play by A. S. Griboyedov "Woe from Wit") Famusov in my mind Famusov and others... Famusov and his entourage. Famusov and the philosophy of life of the "fathers" in Griboyedov's comedy "Woe from Wit" Famusov and the philosophy of life of the "fathers" in the comedy by A.S. Griboyedov "Woe from Wit" Famusov and Molchalin in A. S. Griboedov's comedy "Woe from Wit" Famusov and Chatsky (based on the comedy by A. S. Griboyedov “Woe from Wit”) Famusovskaya Moscow (based on the comedy "Woe from Wit" by A. S. Griboyedov) Famusovskaya Moscow in the image of A. S. Griboyedov Famusovsky world Famus Society Famus Society (based on the comedy "Woe from Wit" by A. S. Griboyedov) Famus Society in the comedy "Woe from Wit" The Famus Society in the comedy of A. S. Griboyedov The Famus Society in A.S. Griboyedov "Woe from Wit" The Famus Society in A. S. Griboyedov's comedy "Woe from Wit" The nature of the main conflict in A. Griboyedov's comedy "Woe from Wit" Characteristics and significance of the dialogue between Famusov and Chatsky in Griboyedov's comedy "Woe from Wit" Artistic features of the comedy "Woe from Wit" Quotation characteristic of Molchalin Quotation characteristic Skalozub and Famusov Quote characteristic of Chatsky Chatsky - "another" in the world of the Famusovs Chatsky - the image of a "new man" (According to the comedy by A. S. Griboyedov "Woe from Wit") Chatsky winner or victim? Chatsky and the Decembrists CHATSKY AND MOLCHALIN Chatsky and Molchalin in A. S. Griboyedov's comedy "Woe from Wit" Chatsky and Molchalin as antipodes. (According to the comedy by A.S. Griboyedov “Woe from Wit”) Chatsky and Molchalin. Comparative characteristics of heroes Chatsky and Molchalin: classic images of comedy in a modern interpretation Chatsky and the Famus Society Chatsky and the Famus Society in the comedy "Woe from Wit" Chatsky and the Famus Society in A. S. Griboyedov’s comedy “Woe from Wit” Chatsky as a spokesman for the ideas of the Decembrists (based on the comedy "Woe from Wit" by A. S. Griboyedov) Chatsky as a hero of his time (based on the comedy by A. S. Griboedov “Woe from Wit”). Chatsky as a representative of the “current century” (based on the comedy “Woe from Wit” by A. S. Griboyedov) Chatsky against the Famus society (based on the comedy "Woe from Wit" by A. Griboyedov) Chatsky, Onegin and Pechorin. How to explain the durability of Griboedov's work "Woe from Wit"? What attracts me to the image of Chatsky. What is modern comedy "Woe from Wit"? Features of classicism and realism in A. S. Griboyedov's comedy "Woe from Wit" Features of classicism, romanticism and realism in A. S. Griboyedov's comedy "Woe from Wit" Features of realism in A. S. Griboyedov's comedy "Woe from Wit" Features of the Famus society, preserved in modern Moscow (on the material of the comedy "Woe from Wit" by A. S. Griboyedov) Reading the comedy "Woe from Wit" The content of the comedy "Woe from Wit" The moral character and life ideals of the Famus Society Characteristics of the image of Famusov in the comedy "Woe from Wit" CHATSKY AND THE FAMUSOV SOCIETY IN GRIBOYEDOV'S COMEDY "Woe From Wit". Chatsky's famous monologue "And who are the judges?" The image of Chatsky in the comedy "Woe from Wit" Features of realism and classicism in the comedy "Woe from Wit" Griboyedova A.S. Speech characteristics of the heroes of the comedy "Woe from Wit" Griboedova A.S. Composition based on the comedy by A.S. Griboyedov "Woe from Wit" Characteristics of the image of Molchalin in the comedy "Woe from Wit" Characteristics of the image of Colonel Skalozub in the comedy "Woe from Wit" The plot and composition of the comedy "Woe from Wit" Griboedov A.S. Chatsky and Famusov. Comparative characteristics of heroes Lisa is a minor character in Griboyedov's comedy "Woe from Wit" The author's position and means of its expression in the comedy "Woe from Wit" Chatsky and Sophia - The tragedy of "Insulted feelings" Ridiculous or scary Molchalin Is Chatsky smart, opposing himself to the Famus society Characteristics of minor characters in the comedy "Woe from Wit" FAMUSOVSKAYA MOSCOW Gossip about Chatsky's madness The idea of "Woe from Wit" by Griboyedov Starodum is an enlightened and advanced man Analysis of the 2nd phenomenon of the action of the II comedy "Woe from Wit" The meaning of the dialogue between Famusov and Chatsky The role of Chatsky the main role Analysis of the comedy "Woe from Wit" Description of the image of Sophia in the comedy "Woe from Wit" Love triangle in a play with a public sound (Woe from Wit) Famusov and Molchalin in A.S. Griboyedov's comedy "Woe from Wit" My description of the image of Chatsky How the characters of both characters are revealed in the dialogue between Chatsky and Molchalin Ball in Famusov's house (based on A.S. Griboedov's comedy "Woe from Wit") Chatsky and society Chatsky and Molchalin. Comparative characteristics of the heroes of the comedy A. S. Griboyedov "Woe from Wit" The main reasons for the conflict between Chatsky and the Famus society What does it mean to be smart in Famusov's circle How dangerous are the Molchalins. Winged words in Griboyedov's comedy "Woe from Wit" "Woe from Wit" is an unsurpassed work, the only one in world literature that has not been completely unraveled" (A. Blok) The language of A. S. Griboyedov's comedy "Woe from Wit" The first act is an exposition of the conflict Reverence, cowardice, resourcefulness and helpfulness Characteristics of the guests of the Famusovsky house. Purposes of their visit A.S.GRIBOEDOV "Woe from Wit". CONFLICT OF CHATSKY AND SOFIA. Chatsky and the Famus Society. (6) The image and character of Sophia in the comedy Woe from Wit - an artistic analysis "The current century" and "the past century" in A.S. Griboedov's comedy "Woe from Wit" Who is Chatsky: winner or loser? (2) Sofia Famusova, Tatyana Larina and other female images The concept of the comedy "Woe from Wit" Chatsky and Molchalin in the comedy by A.S. Griboyedov "Woe from Wit" Puffer 2 Eremeevna Mitrofan's nanny The image and character of Molchalin What will happen in Famusov's house the day after Chatsky's departure What does the modern reader laugh at in the comedy by A. S. Griboedov "Woe from Wit" What is Chatsky fighting for and against? Criticism and contemporaries about the comedy "Woe from Wit" CHATSKY AGAINST THE FAMUSOV SOCIETY (FROM A.S. GRIBOYEDOV'S COMEDY "Woe From Wit"). Time: his hero and anti-hero. "Woe from Wit" as a political comedy. The current century and the past century (based on the comedy by A.S. Griboyedov "Woe from Wit") Gossip about Chatsky's madness. (Analysis of the phenomena 14-21 of the third act of the comedy by A.S. Griboyedov “Woe from Wit”) What role in the comedy A.S. Griboyedov "Woe from Wit" plays the scene of the ball Features of classicism in the comedy "Woe from Wit" by Griboyedov The artistic world of comedy A.S. Griboyedov "Woe from Wit" Chatsky and Molchalin. (1) Famusov and the philosophy of life of the "fathers" in the comedy by A.S. Griboyedov Chatsky - winner or victim? (based on the comedy by A.S. Griboedov "Woe from Wit") Representatives of the Famusky society The main theme of the comedy "Woe from Wit" Famusov's dialogue with Chatsky The meaning of the title of Alexander Griboyedov's comedy "Woe from Wit" The ideological and aesthetic wealth of A. S. Ggriboyedov’s comedy “Woe from Wit” The problem of "Mind" in the comedy by Alexander Griboyedov Why did Sophia fall in love with Molchalin? The heroine who violates the moral foundations. Female characters in A. S. Griboedov's comedy "Woe from Wit" (1) "Hero of Time" in Griboyedov's "Woe from Wit" Is "Woe from Wit" a comedy? The motive of insight in Alexander Griboedov's comedy "Woe from Wit" Mind, cunning, resourcefulness of the image of Molchalin The plot of the play "Woe from Wit" The plot basis of the work "Woe from Wit" by Griboyedov Conflict of Chatsky with representatives of the Famus society (According to the comedy by A. S. Griboedov “Woe from Wit”) TRADITIONS AND INNOVATION OF THE COMEDY "Woe From Wit" Artistic features of the play by A. S. Griboyedov "Woe from Wit" What conflicts are intertwined in the comedy "Woe from Wit" "Woe from Wit" as a formula of life "Woe from Wit" as a monument to Russian art Chatsky's struggle with the Famus society Old Moscow in the comedy "Woe from Wit" The image of Chadsky in the context of the era of then Russia Winged words in "Woe from Wit" How can you imagine the future fate of Chatsky The ideological and compositional role of the image of Sophia in the comedy by A.S. Griboyedov "Woe from Wit"The history of the creation of the comedy by A.S. Griboyedov "Woe from Wit" will tell about what prompted the author to write an essay.
"Woe from Wit" creation story
"Woe from Wit"- a comedy in verse by A. S. Griboyedov, a satire on the aristocratic Moscow society of the first half of XIX century
When was the comedy "Woe from Wit" written?
Date of writing: 1822-1824
For the first time, the comedy "Woe from Wit" with significant cuts was published after the death of the author in 1833, and it was fully published only in 1861.
Griboyedov entered the history of Russian literature as the author of the first Russian realistic comedy"Woe from Wit", although he also wrote other works written earlier (comedies "Young Spouses", "Student" and others). Already Griboyedov's early plays contained attempts to connect different styles in order to create a new, but truly innovative work, the comedy Woe from Wit, which opened in 1825, together with the tragedy Boris Godunov by Pushkin, opened a realistic stage in the development of Russian literature.
The idea of the comedy arose in 1820 (according to some sources already in 1816), but active work above text begins in Tiflis after Griboedov's return from Persia. By the beginning of 1822, the first two acts were written, and in the spring and summer of 1823, the first version of the play was completed in Moscow. It was here that the writer could replenish his observations on the life and customs of the Moscow nobility, "breathe the air" of secular living rooms. But even then the work does not stop: in 1824, a new version appears, which has the name "Woe and no mind" (originally - "Woe to the mind").
Creating "Woe from Wit" as a satirical comedy of manners, Griboedov used Moliere's classic play "The Misanthrope" as a role model. The main character of this play, Alceste, is related to the main character of Woe from Wit by Chatsky in the role of an “evil clever man”: both characters openly and furiously denounce the hypocrisy and other vices of the society in which they live.
Upon arrival in St. Petersburg, Griboyedov was invited by the playwright N. I. Khmelnitsky to read his new play in his house, in a narrow circle of friends, among whom were the actors I. I. Sosnitsky, V. A. and P. A. Karatygin and the playwright V. M. Fedorov. Just before the beginning of the reading, Griboyedov had a skirmish with the latter: Fedorov inadvertently allowed himself to compare the comedy that had not yet been read with his work “Lisa, or the Consequences of Pride and Seduction”. This offended the author, so he declared that he would not read under Fedorov - the owner of the house failed to hush up the situation, and he was forced to leave society: “Because of his unfortunate drama, the playwright had to play a comic role, and the comedian almost played the drama from for his comedy.
Alexander Griboedov entered the Russian classics as the creator of comedies, dramas, tragedies and operas. All his texts were aimed at showing in the theater.
The history of the creation of the comedy "Woe from Wit", a work familiar from school, is amazing and unique.
Idea and start
Comedy ideas appeared in 1816. This happened after Griboedov's visit to an aristocratic reception in St. Petersburg. The writer saw how Russian youth lost their patriotism in front of a foreign guest. He became indignant and tried to express his opinion. His angry monologue was seen as crazy. The news spread easily, the joy of ill-wishers knew no bounds. Griboyedov wanted to convey to the people who ridiculed his ideas, to laugh at the vices of society himself. According to literary critics, the writer himself became the prototype of the main character of the comedy - Chatsky. An idea arose in the writer's head satirical comedy which brought the writer fame.The beginning of writing the test took place in Tiflis in 1821-1822. The writer studied the life of the noble society, he studied the environment, attending balls and secular receptions. He made notes about incidents at balls, created portraits, marked the main character traits. The recordings helped convey the situation so realistically that many of the characters began to live outside literary text.
handwritten lists
The first acquaintance with the text began already in Moscow, even before its completion. Griboyedov read excerpts to friends. The work on the comedy was completed in Tiflis. Censorship repeatedly put its hands on the text. But comedy was already on the lists of the educated part of society. There were several hundred lists of the manuscript. Already this number confirms the interest that the comedy has aroused. The writer supported the distribution of lists, he understood that in this way the text would reach the reader faster. The first title of the manuscript is "Woe to the Mind". There are facts that when rewriting the manuscript, the scribes added their own thoughts. Foreign (not Griboedov's) fragments remained in the manuscripts.Griboyedov was aware of his interest in comedy. He wrote: "Everyone asks me for a manuscript and gets bored."
The manuscript was handed over by the author F.V. Bulgarin with the inscription: "I entrust my grief ...". The writer was waiting for help in publishing the play. But the comedy saw the light only after the death of the author. The text, which Bulgarin had, became the basis for the first printed version of Woe from Wit. Other lists are still being studied, they are being searched and transferred to literary critics.
Features of various editions
In Tiflis in 1820, 2 acts of the play were written. There are few differences from the final text. The essence of the idea has not changed. Accusatory satire and display of the vices of society. In the estate of S.N. Begichev, Griboyedov wrote acts 3 and 4, but at that time he did not consider that work on the text was completed. The play has changed:- the name “Woe to the mind” became different in meaning: “Woe from the mind”;
- the root of the surname of the main character Chadsky (chad) became Chatsky;
- monologue of the protagonist in the first act;
- maid's dialogue with Sophia;
- dream of the master's daughter.
It is interesting that some dialogues remained base immediately after the first edition, for example, the monologue "Who are the judges?".
Manuscripts changed depending on the audience they were read to. The sharp judgments of the author tried to soften, which violated their meaning. But it was not possible to change the essence of the play. She was compared to a bomb that blew up the minds of an entire generation.
The main dates in the history of the creation of comedy
- 1816 - the emergence of the idea of a future plot
- 1823 reading of excerpts from the play
- 1825 - text read by A. Pushkin
- 1829 - the death of A. Griboyedov
- 1831 printed version in German.
- 1833 - the appearance of a printed Russian-language test of the play
- 1862 - release of the full author's version
- 1875 - publication of the text without censored edits
Comedy in verses by A.S. Griboyedov. The play was completed by Griboedov in 1824 and published in 1862, after the death of the author. The action of the comedy takes place in Moscow* in the 1920s. nineteenth century in the house of Famusov, a wealthy nobleman *, located on ... ... Linguistic Dictionary
Woe from Wit- 1. Book. About the misunderstanding of a smart, independently thinking person by mediocre people and the troubles associated with this. BMS 1998, 128; ShZF 2001, 57. 2. Jarg. arm. Shuttle. iron. Order out of order. Kor., 77. 3. Jarg. school Iron. Unsatisfactory…… Big Dictionary Russian sayings
Woe from Wit (teleplay)- Woe from Wit (teleplay, 1952) staging of the Maly Theater Woe from Wit (teleplay, 1977) Woe from Wit (teleplay, 2000) Woe from Wit (teleplay, 2002) staging of the Maly Theater ... Wikipedia
Woe from Wit (2000)- Woe from Wit, Russia, Theater Association 814 / RTR, 2000, color, 157 min. Video version of the play "Woe from Wit" (1998, directed by Oleg Menshikov). Cast: Igor Okhlupin (see OKHLUPIN Igor Leonidovich), Olga Kuzina, Oleg ... ... Cinema Encyclopedia
Woe from Wit (1952)- Woe from Wit, USSR, Film Studio. M. Gorky, 1952, b/w, 154 min. Comedy by A.S. Griboyedov. The film is a performance staged by the Maly Theater of the USSR. The director of the play is Prov Sadovsky. Cast: Konstantin Zubov (see ZUBOV Konstantin Aleksandrovich), Irina ... ... Cinema Encyclopedia
Woe from Wit (Griboedova)- a comedy in four acts. Epigraph: The fate of the naughty, naughty, defined it herself: for all stupid people, happiness from madness, for all smart people, grief from the mind. The original title of the comedy was: Woe to the mind. The comedy plan dates back to the days of student life ... ... Dictionary of literary types
Woe from Wit (comedy)- ... Wikipedia
Woe from Wit (play)- ... Wikipedia
Minor characters of the comedy "Woe from Wit"- characters of Griboyedov's comedy "Woe from Wit", who are not the main ones actors. Many of these characters have significant roles in the composition of the comedy. Almost all minor comedy characters come down to three types: “Famusovs, candidates ... Wikipedia
Chatsky, Alexander Andreevich ("Woe from Wit")- See also 14) A. Suvorin's view differs sharply. Griboyedov put his favorite ideas into the mouth of Chatsky, his view of society is undeniable and understandable to everyone without any instructions, but in no way does it follow from this that ... ... Dictionary of literary types
Books
- Woe from Wit, Alexander Griboyedov. "Woe from Wit" is one of the first Russian comedies, torn into proverbs and sayings, with which the speech of any more or less well-read person is still adorned. "Woe from Wit" - comedy, ... Buy for 230 rubles
- Woe from Wit, Alexander Griboyedov. Alexander Sergeevich Griboyedov is a brilliant Russian diplomat, statesman, mathematician and composer. However, he entered the history of world literature primarily as a playwright and ...
