History of creation and publication Woe from mind. "Woe from Wit", the history of the creation of A.S.

Creative indefatigability Bulach Imadutdinovich twice appeared on the Central Television of the USSR, and, as commentators of that time responded, with great success. It was then that he was called on Central Television the Dagestan Andronikov. And for how many ten years has he

It is known that by 1816 Griboyedov had a comedy plan ready. According to the memoirs of the writer's friends, we can partially reconstruct the original idea. His close friend S.N. Begichev wrote: “... Griboyedov changed it [the idea] in many ways and destroyed some of the characters, and by the way, Famusov’s wife, a sentimental fashionista and a Moscow aristocrat (at that time fake sensitivity was still somewhat common among Moscow ladies) and along with this already written scenes are thrown out.

Few of the writers of the early 19th century you know did not ever participate in a duel. The last duels between Pushkin and Lermontov turned out to be great tragedies for Russian literature. Griboyedov participated in the sensational brutal duel between Sheremetev and Zavadovsky. It was the so-called quadruple duel, that is, after the main duelists, their seconds should fight.

Duels were officially banned, followed by punishment. Mother insisted that Alexander leave Petersburg for a while, until the rumors subsided and the anger of the authorities subsided. Persia became a place of refuge: Griboedov was appointed to the post of secretary of the embassy. After a long journey through Russia, Griboedov arrived in Tehran in the spring of 1819, and then was sent to Tabriz.

What Griboyedov encountered in Tabriz (Tabriz) deeply shocked him. It turned out that dozens of Russian prisoners of war were languishing in Persia, who could not return to their homeland. At the cost of enormous diplomatic efforts, Griboedov rescued them and brought them, hungry and half-ragged, to Tiflis. General Yermolov was shocked by Griboedov's perseverance and mercy. He realized that before him was not just an embassy official, but a person capable of unexpected noble deeds and feeling his life purpose. The general ensured that Griboyedov was appointed "secretary for foreign affairs under the commander in chief in the Caucasus."

It was in Tabriz that the first two acts of the comedy "Woe from Wit" were written in rough form, which he later rewrote in Tiflis. But further work was not easy: Griboedov's isolation from the capital, from literary circles, from Moscow society affected. This honorary exile dragged on for five whole years. Only in 1823 Griboyedov returned to his friends again. In the summer of 1824, at the estate of his friend Begichev, he completed Woe from Wit.

Although at first only the poet's sister knew about the manuscript, it proved impossible to keep the secret for a long time. Reproaches and indignation rained down from all sides. Griboyedov had to remake his favorite comedy, in which he put all his talent. Convinced that there are no hopes for publication, Griboedov encourages distribution in the lists. By some estimates, 40,000 handwritten copies were distributed. This is a huge amount! In 1825, the first attempt was made to stage a comedy on the training stage of a theater school in St. Petersburg.

Griboedov managed to publish only a few scenes from the comedy - in Faddey Bulgarin's almanac "Russian Waist for 1825". According to contemporaries, Griboedov became irritable, bilious, cocky, and his cheerfulness left him forever.

He was friendly with many officers who later became Decembrists. After the arrest of the Decembrists, a handwritten copy of the text “Woe from Wit” was found on many. After the failed uprising, a specially sent courier took Griboedov to the investigators. At first, Griboyedov declared his moral support for the rebels, but then investigators who sympathized with him persuaded Griboyedov to change his testimony. He wrote that he did not know anything about the armed uprising that was being prepared. Finally, in June 1826, Griboyedov was released and returned to the diplomatic service. He was overwhelmed by life's troubles. His mother took an oath from him to return to the service, and Griboyedov again went to the Caucasus. He participated in military operations, in the battles of the Russian-Persian war of 1827-1828, but most of all he turned out to be useful, as always, in the diplomatic field: having achieved the Turkmenchay Treaty with Persia, which was extremely beneficial for Russia, he was sent to Russia with an extremely honorable mission - be the first to announce the conclusion of a peace agreement.

Before the last departure from St. Petersburg in 1828, Griboedov wrote on the Bulgarin list "Woe from Wit" the inscription: "My grief I entrust to Bulgarin ..." - in the hope that he would be able to achieve the publication of the comedy.

At the same time, Griboedov met the young Princess Nina Chavchavadze, the daughter of his friend, whom he had known as a child. Now in front of him was a girl with whom he fell passionately in love and with whom he proposed very soon.

Happiness did not last long. On January 30, 1829, the Russian mission in Persia was attacked during the war in the North Caucasus (1818-1864). Only one of the employees accidentally escaped. The mutilated body of Griboyedov was hardly identified in a pile of corpses. He was buried as a young widow in Tiflis on the territory of an ancient monastery next to the Church of St. David, from where he had previously admired the view of the city and where he wished to be buried one day.

The first separate edition of "Woe from Wit" appeared after the death of Griboedov, in 1833, and the full edition, not distorted by censorship, was published only in 1862.

Source (abridged): Literature: Grade 9: in 2 hours, Part 1 / B.A. Lanin, L.Yu. Ustinov; ed. B.A. Lanina. - 2nd ed., corrected. and additional - M.: Ventana-Graf, 2016

The most textbook Russian comedy, an inexhaustible source of proverbs and panopticon of immortal Russian types. Griboedov combines a love affair with a social conflict and creates a universal image of a prophet who is not understood in his own country.

comments: Varvara Babitskaya

What is this book about?

In the mid-1820s, Alexander Chatsky, a young witty nobleman and an ardent citizen, returned to Moscow after a three-year absence, where he grew up in the house of a major official Famusov, and hurried to his beloved girl, Famusov's daughter, Sofya. But the cultural distance turns out to be insurmountable: Sophia fell in love with the hypocrite and careerist Molchalin, and Chatsky himself is declared crazy for inappropriate sermons.

A few years after the victory in the Patriotic War and the Moscow fire, the patriotic upsurge is replaced by a murmur against the onset of reaction (“Arakcheevism”), and the patriarchal Moscow way of life goes into oblivion - and finally it turns out to be captured by a caustic Muscovite.

Ivan Kramskoy. Portrait of the writer Alexander Sergeevich Griboyedov. 1875 State Tretyakov Gallery

When was it written?

Griboedov conceived his main play in 1820 in Persia, where he served on the diplomatic line (the evidence that the idea arose earlier is unreliable). Griboyedov wrote his first two actions in Tiflis, where he managed to transfer in the autumn of 1821 and where he subsequently made a career under General Yermolov. Leaving his service for a while in the spring of 1823 and collecting new material for comedy at Moscow balls, Griboedov writes Acts III and IV in the summer of 1823 in the village of Dmitrovsky, Tula province, where he is staying with his old friend Stepan Begichev Stepan Nikitich Begichev (1785-1859) - military man, memoirist. Begichev, like Griboedov, was an adjutant to General Andrei Kologrivov, rose to the rank of colonel and retired in 1825. In the 1820s, Odoevsky, Davydov, Kuchelbecker visited his house in Moscow, Griboyedov lived for a long time. Begichev wrote one of the first articles in defense of Woe from Wit, which he did not publish at Griboyedov's insistence. He was a member of the Decembrist Union of Welfare, but left the organization before the uprising and was not brought to trial. ⁠ . At the beginning of the summer of 1824, having gone to St. Petersburg to break through the censorship of the finished comedy, Griboedov on the road comes up with a new denouement and, already in St. Petersburg, heavily reworks the comedy. He asks Begichev not to read the manuscript that he has left to anyone, because since then Griboedov "has changed more than eighty verses, or, rather, rhymes, now it's smooth as glass." Work on the comedy continued for a long time - the last authorized version is the so-called Bulgarin list, which Griboedov handed over to his publisher and friend Faddey Bulgarin on June 5, 1828, on the eve of his return to the East.

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)

How is it written?

spoken language and free iambic Typical examples of free iambic can be found in Krylov's fables. Here, for example, is the “Council of Mice”: “A sign among mice is that the one whose tail is longer / Always smarter / And quicker everywhere. / Is it smart, now we will not ask; / Moreover, we ourselves often judge the mind / By the dress or by the beard ... " ⁠ . Both in Russian comedy were an absolute innovation. Before Griboedov, free iambic, that is, iambic with alternating verses of different lengths, was used, as a rule, in small poetic forms, for example, in Krylov's fables, sometimes in poems with "frivolous content" - such as "Darling" Bogdanovich Ippolit Fedorovich Bogdanovich (1743-1803) - poet, translator. Bogdanovich was an official: he worked in the Foreign Collegium, the Russian embassy at the Saxon court, the State Archives. In 1783 he published the story in verse "Darling", a free adaptation of La Fontaine's novel "The Love of Psyche and Cupid". Thanks to "Darling" Bogdanovich became widely known, but his further compositions were not successful. ⁠ . This size allows the best use of both the attractiveness of poetic means (meter, rhyme), and the intonational freedom of prose. Lines of different lengths make the verse freer, closer to natural speech; the language of "Woe from Wit" with many irregularities, archaisms and vernacular reproduces the Moscow accent of the era even phonetically: for example, not "Aleksey Stepanovich", but "Aleksey Stepanoch". Thanks to the aphoristic syllable, the play went into proverbs immediately after its appearance.

Having finished the first version of the comedy, which was immediately banned by the censors, Griboyedov went to St. Petersburg in June 1824, hoping there, thanks to his connections, to get the play on stage and in print. Meanwhile, "Woe from Wit" was already widely circulating on the lists.

Having lost hope of publishing the comedy in its entirety, on December 15, 1824, the playwright published fragments (phenomena 7-10 of act I and all act III) in the Bulgarin almanac "Russian Thalia" The first theatrical almanac in Russian, published by Faddey Bulgarin in 1825 in St. Petersburg. In addition to Griboedov's Woe from Wit, Thalia published translations of Molière, Voltaire, texts by Shakhovsky, Katenin, Zhandre, Grech. ⁠ , where the text has been censored and abbreviated. The discussion in the press that followed the publication further stimulated reader interest and the circulation of handwritten copies. Andrey Zhandr ⁠ said that he “had a whole office at hand: she wrote off Woe from Wit and enriched herself because they demanded a lot lists" 2 Fomichev S. A. The author of "Woe from Wit" and readers of the comedy // A. S. Griboyedov: Creativity. Biography. Traditions. L., 1977. S. 6-10. ⁠ . A separate edition of the comedy was first published after the death of the author, in 1833 - in full, but with censored notes. Neither this edition, nor the subsequent one, in 1839, stopped the production of lists - Xenophon Field Xenophon Alekseevich Polevoy (1801-1867) - writer, critic, translator. From 1829 to 1834 he edited the Moscow Telegraph, the journal of his brother, the writer Nikolai Polevoy. In 1839 he published "Woe from Wit" with his introductory article. In the 1850s, Polevoy published in Severnaya Pchela, Otechestvennye Zapiski, and published The Picturesque Russian Library. He wrote critical texts about Pushkin, Delvig, Bogdanovich, and became the author of memoirs about Nikolai Polevoy. ⁠ wrote later: “How many examples can you find, so that the composition of sheets of twelve printed sheets was rewritten thousands of times, for where and who does not have a handwritten “Woe from Wit”? Have we ever had an even more striking example of a handwritten essay becoming the property of literature, so that it was judged as a work known to everyone, known by heart, cited as an example, referred to, and only in relation to it there was no need for Gutenberg's invention? »

Thus, "Woe from Wit" became the first work to be massively replicated in samizdat. Completely and without cuts, the comedy was printed only in 1862.

What influenced her?

In Woe from Wit, the influence of the French salon comedy that reigned on the stage at that time is obvious. Griboyedov, at the beginning of his literary career, paid tribute to this tradition himself - he parodied it in the play "The Young Spouses" and, together with Andrey Gendre Andrei Andreevich Zhandr (1789-1873) - playwright, translator. Gendre began his career as a civil servant as a clerk and graduated as a privy councilor with the Order of St. Alexander Nevsky. In his free time, Gendre was engaged in translations from French: together with Griboedov he translated the comedy "Pretending Innocence" by Nicolas Bart, together with Shakhovsky - the opera "The Magic Lamp, or Cashmere Pies". Published in the almanac "Russian Thalia", the magazines "Son of the Fatherland" and "Northern Observer". ⁠ wrote the comedy Feigned Infidelity, a reworking of the play by Nicola Barthes. Griboedov was also influenced by the Russian verse comedy of the 1810s, in particular Alexander Shakhovskoy Alexander Alexandrovich Shakhovskoy (1777-1846) - playwright. In 1802, Shakhovskoy left military service and began working in the directorate of the Imperial Theaters. His first successful comedy was The New Stern, a few years later he staged the comedy Polubarskie tey, or Domashny Theatre, and in 1815, A Lesson for Coquettes, or Lipetsk Waters. In 1825, Shakhovskaya, compromised by his connections with the Decembrists, left the directorate of theaters, but continued writing - in total he wrote more than a hundred works. ⁠ , who developed the techniques of free verse back in "Lipetsk Waters" and in the comedy "It's not nice - don't listen, but don't interfere with lying", with which "Woe from Wit" in places coincides both verbally and plotly.

Contemporary criticism of Griboedov pointed to the plot similarity of Woe from Wit with Moliere's The Misanthrope and with Christophe Wieland's novel The History of the Abderites, in which the ancient Greek philosopher Democritus returns to his native city after wandering; stupid and ignorant fellow citizens of Democritus consider his natural science experiments witchcraft and declare him insane.

Griboyedov himself was largely guided by Renaissance dramaturgy - primarily by Shakespeare, whom (knowing English well) read in the original and appreciated for freedom from genre canons and restrictions: “Shakespeare wrote very simply: he thought a little about the plot, about intrigue and took the first plot, but handled it in his own way. In this work he was great" 1 Bestuzhev-Marlinsky A. My acquaintance with Griboedov // A. S. Griboedov in the memoirs of contemporaries. S. 190. ⁠ .

Griboyedov learned the art of plot construction from Beaumarchais. Finally, in the story of Sophia's love for Molchalin, researchers see a ballad plot - a kind of parody of Zhukovsky's ballad "Aeolian Harp"; apparently not unreasonably, because Zhukovsky was an important aesthetic opponent for Griboyedov.

The earliest comedy manuscript, 1823-1824. Belonged to Griboyedov's friend Stepan Begichev

How was it received?

Having barely finished the comedy in June 1824 in St. Petersburg, Griboedov read it in familiar houses - and, according to his own testimony, with invariable success: "There is no end to thunder, noise, admiration, curiosity." After the publication of excerpts from the comedy in Russkaya Thalia, the discussion moved to the press - all the important Russian magazines responded: "Son of the Fatherland" Literary magazine published from 1812 to 1852. The founder was Nikolai Grech. Until 1825, the magazine published the authors of the Decembrist circle: Delvig, Bestuzhev, Zhukovsky, Pushkin, Kuchelbeker, Vyazemsky, Griboyedov, Ryleev. After the defeat of the Decembrists, Faddey Bulgarin became the co-publisher of the journal, merging his Northern Archive with Son of the Fatherland. Later, the magazine was headed by Alexander Nikitenko, Nikolai Polevoy, Osip Senkovsky. ⁠ , "Moscow Telegraph" Encyclopedic magazine published by Nikolai Polev from 1825 to 1834. The magazine appealed to a wide range of readers and advocated "education of the middle classes". In the 1830s, the number of subscribers reached five thousand people, a record audience for those times. The magazine was closed by personal decree of Nicholas I because of a negative review of the play by Nestor Kukolnik, which the emperor liked. ⁠ , "Polar Star" Literary almanac of the Decembrists, published by Kondraty Ryleev and Alexander Bestuzhev from 1822 to 1825. It published poems by Pushkin, Vyazemsky, Baratynsky, Ryleev. After the Decembrist uprising, the almanac was banned, and the issue for 1825 was arrested. Since 1855, Alexander Herzen began to publish a magazine of the same name in London as a sign of respect for the Decembrists. ⁠ and so on. Here, along with praise for the lively picture of Moscow customs, fidelity of types and the new language of comedy, the first critical voices were heard. Disputes were caused, first of all, by the figure of Chatsky, who is criticized by such different scales as Alexander Pushkin and the now forgotten Mikhail Dmitriev Mikhail Alexandrovich Dmitriev (1796-1866) - poet, critic, translator. Dmitriev was an official for most of his life: he served at the archives of the Collegium of Foreign Affairs, the Moscow Court of Appeals, and a department of the Senate. Thanks to his uncle, the poet Ivan Dmitriev, he got acquainted with the literary environment and began to engage in criticism - he published articles in Vestnik Evropy, Moskovsky Vestnik, and Moskvityanin. His polemics with Vyazemsky about the nature of romanticism and the dispute with Polevoy around Griboedov's "Woe from Wit" gained fame. In 1865, a collection of Dmitriev's poems was published. He translated Horace, Schiller, Goethe. ⁠ , reproached for lack of intelligence. The latter also made Griboyedov look at the unnatural development of the plot and the "hard, uneven and incorrect" language. Although Dmitriev's claims gave rise to many years of discussion, he himself became the subject of ridicule - for example, in the epigram of Pushkin's friend Sergei Sobolevsky Sergei Alexandrovich Sobolevsky (1803-1870) - poet. From 1822 he served in the archives of the College of Foreign Affairs. It was Sobolevsky who became the author of the expression "archival youth", meaning a young man from a wealthy family, engaged in easy work in the archive. Sobolevsky was known as a writer of especially caustic epigrams, communicated with Gogol, Lermontov, Turgenev, and was close friends with Pushkin. In the 1840-60s he was engaged in book publishing and collecting rare books. ⁠ : “Schoolchildren gathered, and soon / Mikh<айло>Dm<итриев>scribbled a review, / In which he clearly proved, / That "Woe from Wit" is not Mishenka's grief. Nadezhdin Nikolai Ivanovich Nadezhdin (1804-1856) was the founder of the Teleskop magazine and Belinsky's predecessor: largely under the influence of Nadezhdin, literary criticism in Russia acquires a conceptual basis. In 1836, Teleskop was closed for publishing Chaadaev's Philosophical Letter, and Nadezhdin himself was sent into exile. Returning, Nadezhdin leaves criticism, gets a job at the Ministry of the Interior and devotes himself to ethnography. ⁠ , who appreciated "Woe from Wit" highly, while noting that the play was devoid of action and was not written for the stage, and Pyotr Vyazemsky called the comedy "a slander on morals."

Griboedov's language surprised many of Griboyedov's contemporaries, but this surprise was most often joyful. Bestuzhev-Marlinsky praised the "unprecedented fluency and nature of the spoken Russian language in verse", Odoevsky called Griboyedov "the only writer who has comprehended the secret of translating our spoken language onto paper" and in whom "we find Russian flavor in the syllable alone."

In general, with the exception of one Belinsky, who in 1839 wrote a devastating criticism of Woe from Wit, no one else doubted the originality, talent and innovation of the comedy. As for the political background of Woe from Wit, for understandable censorship reasons, it was not directly discussed until the 1860s, when Chatsky increasingly began to be brought closer to the Decembrists - first Nikolai Ogaryov, followed by Apollon Grigoriev and, finally, Herzen; it was this interpretation of the image of Chatsky that subsequently reigned in Soviet literary criticism.

“I’m not talking about poetry, half of it should become a proverb,” Pushkin said immediately after the appearance of “Woe from Wit” and turned out to be right. In terms of citation frequency, Griboyedov was probably ahead of all Russian classics, including even the former champion Krylov. “Happy hours do not watch”, “The legend is fresh, but hard to believe” - it is pointless to multiply examples; even the line “And the smoke of the Fatherland is sweet and pleasant for us!” is now perceived as Griboedov's aphorism, although in this case Chatsky quotes Derzhavin.

The Famusov society has become a household name, as well as its individual representatives - "all these Famusovs, Molchalins, Skalozubs, Zagoretskys." In a certain sense, “Griboyedov’s Moscow” itself became a household name - this is how Mikhail Gershenzon titled the book, describing the typical Moscow aristocratic way of life using the example of a specific Rimsky-Korsakov family, and in all households he directly saw Griboedov’s characters, and backed up quotes from documents with quotes from comedy.

The classic Russian drama of the 19th century grew out of the Griboedov tradition: Lermontov's Masquerade, in whose disillusioned hero Arbenin it is easy to recognize Chatsky's traits, Gogol's Inspector General is a "public comedy", where the county town with a gallery of caricatures embodies the entire Russian society, Alexander's social drama Sukhovo-Kobylin and Alexander Ostrovsky. Since that time, the discussion of dramatic social conflicts by comic means, which once amazed Griboedov's contemporaries, has become a commonplace, and the genre boundaries have blurred. Moreover, the play set a kind of new canon. For a long time, theater troupes were recruited for "Woe from Wit": it was believed that the cast of actors, among whom Griboedov's roles were well distributed, could be played by the entire theater repertoire 3 Sukhikh I. Cool reading from Gorukhshcha to Gogol. Alexander Sergeevich Griboedov 1795 (1790) - 1829. // Neva. 2012. No. 8 ⁠ .

In moments of crisis in social thought, the Russian intelligentsia invariably returned to the image of Chatsky, who more and more merged in the cultural consciousness with Griboedov himself: from Yuri Tynyanov, who in 1928 explored in The Death of Vazir Mukhtar the eternal question of whether it is possible to serve in Russia " cause, not persons" and not turn from Chatsky into Molchalin - until Viktor Tsoi, who sang "Woe from Wit" ("Red-Yellow Days") in 1990.

Griboedov's house at the corner of Novinsky and Bolshoi Devyatinsky lanes. Moscow, XIX century

Grave of Griboyedov in Tiflis

How did "Woe from Wit" fight its way onto the stage?

The first attempt to stage a comedy was made in May 1825 by students of the St. Petersburg Theater School with the live participation of Griboyedov himself, who dreamed of seeing his impassable play “at least on the home stage” (comedy was not allowed on the big stage as “libel on Moscow”). However, on the eve of the performance, the performance was banned by the St. Petersburg Governor-General Count Miloradovich Count Mikhail Andreevich Miloradovich (1771-1825) - general, participant in the Russian-Swedish war, the Italian and Swiss campaigns of Suvorov, the Russian-Turkish war of 1806-1812. In 1810, Miloradovich was appointed military governor of Kyiv. In the Patriotic War of 1812 he participated in the battle of Borodino, the battle of Vyazma, the capture of Paris. After the war - the St. Petersburg military governor-general. During the uprising on December 14, he was killed by the Decembrists on Senate Square, before his death he bequeathed to release all his peasants. ⁠ , who considered that a play that was not approved by censorship should not be staged at a theater school.

The next attempt was made in October 1827 in Yerevan, in the building of the Sardar Palace, by officers of the Caucasian Corps, among whom were exiled Decembrists. The theatrical circle was soon strictly banned, since the craze for the theater distracted the officers from the service.

According to some information, amateur productions were staged in Tiflis with the participation of the author, and in 1830 several young people “traveled around St. there are separate scenes from comedy" 4 Gamazov M. The first performances of the comedy "Woe from Wit". 1827-1832. From the memoirs of a student // Bulletin of Europe. 1875. No. 7. pp. 319-332. Cit. by: Orlov Vl. Griboyedov. Essay on life and creativity. M .: State publishing house of fiction, 1954. S. 93. ⁠ .

Griboyedov during his lifetime never saw his comedy on the big stage, in a professional production. Beginning in 1829, when the excerpt was staged at the Bolshoi Theatre, the play gradually made its way into the theatre, at first as separate scenes played in an interlude-divertissement amid "declamations, singing and dancing." Completely (albeit with censorship notes) "Woe from Wit" was first presented in St. Petersburg, at the Alexandrinsky Theater, in 1831 - the first professional performer of the role of Chatsky was the tragic actor Vasily Andreevich Karatygin, brother of Pyotr Karatygin, on whose initiative the students The Petersburg Theater School had staged the play with enthusiasm five years earlier. Pyotr Karatygin himself, later a famous playwright, made his debut in literature in the same year with two vaudevilles - the second of them was called “Woe without a Mind”.

"Woe from Wit" at the Theater. Meyerhold, 1928. Staged by Vsevolod Meyerhold

Did the comedy characters have real prototypes?

The critic Katenin, in a letter to Griboyedov, noted that in his comedy “characters are portraits”, to which the playwright objected that although the heroes of the comedy had prototypes, their features are characteristic of “many other people, and others of the whole human race ... I hate caricatures, in my You won't find a single picture. Nevertheless, rumors and conjectures about who exactly was cast in this or that role began to spread already in the winter of 1823/24, as soon as Griboedov began to read the play that had not yet been completed in familiar houses. His sister was worried that Griboedov would make enemies for himself - and even more so for her, “because they will say that the evil Griboedova pointed her brother to originals" 5 ⁠ .

So, many consider Sofya Alekseevna Griboedova, the playwright's cousin, to be the prototype of Sofya Famusova, while her husband, Sergei Rimsky-Korsakov, was considered a possible prototype of Skalozub, and behind the house of her mother-in-law, Marya Ivanovna Rimskaya-Korsakova, in Moscow on Strastnaya Square, the name "Famusov's House", its front staircase was reproduced in a play based on Griboedov's play at the Maly Theater. Uncle Griboedov is called the prototype of Famusov himself, based on one passage from the playwright: “I leave it to the historian to explain why some mixture of vices and courtesy was developed everywhere in that generation; from the outside, chivalry in morals, and in the hearts the absence of any feeling.<...>Let us explain ourselves in a rounder way: everyone had dishonesty in his soul and deceit in his tongue. It seems that this is not the case today, and maybe it is; but my uncle belongs to that era. He fought like a lion with the Turks under Suvorov, then crouched in front of all random people in St. Petersburg, in retirement he lived on gossip. The image of his teachings: "I, brother! .."

Nothing explains or justifies the unbridled indignation with which Chatsky smashes this, perhaps funny, but not a criminal society.

Pyotr Vyazemsky

In the famous Tatyana Yuryevna, whom “Officials and officials - / All her friends and all relatives”, contemporaries recognized Praskovya Yuryevna Kologrivova, whose husband “asked at the ball by one tall person who he was, was so confused that he said that he was her husband Praskovya Yurievna, probably believing that this title is more important than all his titles. The old woman Khlestova deserves special mention - a portrait of Nastasya Dmitrievna Ofrosimova, the famous legislator of Moscow living rooms, who left a noticeable mark in Russian literature: Leo Tolstoy brought her in the person of the rude, but certainly pretty Marya Dmitrievna Akhrosimova in War and Peace.

In Chatsky's friend, Platon Mikhailovich Gorich, they often see the features of Stepan Begichev, a close friend of Griboyedov in the Irkutsk Hussars, as well as his brother Dmitry Begichev, once a member of the Welfare Union Organization of the Decembrists, created in 1818 to replace the Union of Salvation. It consisted of about two hundred people. The declared goals of the society are the dissemination of knowledge and assistance to the peasants. In 1821, the Welfare Union was dissolved due to mutual disagreements, and the Southern Society and the Northern Society arose on its basis. ⁠ , an officer, and by the time the comedy was created (which Griboyedov wrote directly on the Begichev estate) retired and happily married.

Such a multitude of prototypes for the most passing heroes of Woe from Wit can indeed be considered evidence of Griboedov's good intentions, who ridiculed not specific people, but typical features. Probably the only absolutely unmistakable character of Griboyedov is off-stage. In the “night robber, duelist”, whom, according to Repetilov, “you don’t need to name, you will recognize by the portrait”, everyone really immediately recognized Fyodor Tolstoy-American Count Fyodor Ivanovich Tolstoy, nicknamed the American (1782-1846) - military man, traveler. In 1803 he went on a circumnavigation with Captain Kruzenshtern, but due to hooligan antics he was landed on the shore in Kamchatka and had to return to St. Petersburg on his own. Traveling in Russian America - Kamchatka and the Aleutian Islands - Tolstoy owes his nickname. Participated in the Russian-Swedish War, the Patriotic War of 1812, after the war he settled in Moscow. Tolstoy was known for his love of duels and card games, married a gypsy dancer, with whom he had twelve children (only one daughter survived him). In his old age, Tolstoy became devout and considered the death of his children as punishment for the eleven men he had killed in duels. ⁠ , who was not offended - only offered to make a few corrections. Nikolai Piksanov, a specialist in Griboedov’s work, studied in 1910 the list “Woe from Wit”, which once belonged to the Decembrist Prince Fyodor Shakhovsky, where the hand of Tolstoy-American, against the words “was exiled to Kamchatka, returned as an Aleut and firmly unclean” was proposed editing : “he carried the devil to Kamchatka” (“because he was never exiled”) and “is unclean in cards” (“for the fidelity of the portrait, this amendment is necessary so that they do not think that he is stealing snuff boxes from the table; at least I thought to guess intention author") 6 Piksanov N. K. Creative history of "Woe from Wit". M., L.: GIZ, 1928. C. 110. ⁠ .

Stepan Begichev. A close friend of Griboyedov and a possible prototype of Platon Mikhailovich Gorich

Dmitry Begichev. Another possible prototype of Gorich

Nastasya Ofrosimova. Prototype of the old woman Khlestova

Well, Chatsky, is it Chaadaev?

Contemporaries, of course, immediately thought so. In December 1823, Pushkin wrote to Vyazemsky from Odessa: “What is Griboyedov? I was told that he wrote a comedy based on Chedaev; under the present circumstances, this is extremely noble of him.” With this sarcasm, Pushkin hinted at the forced resignation and departure abroad of Chaadaev, who fell victim to slander; making fun of the victim of political persecution was not very nice. Probably, in the final version, Griboyedov renamed Chadsky to Chatsky, including then, in order to avoid such suspicion 7 Tynyanov Yu. The plot of "Woe from Wit" // Tynyanov Yu. N. Pushkin and his contemporaries. Moscow: Nauka, 1969. ⁠ It is curious that if Chatsky was indeed copied from Chaadaev, the comedy became a self-fulfilling prophecy: 12 years after the creation of the comedy, Pyotr Chaadaev was formally declared insane by order of the government after the publication of his first "Letters" From 1828 to 1830 Chaadaev wrote eight "philosophical letters". In them, he reflects on progressive Western values, the historical path of Russia and the meaning of religion. ⁠ In the magazine "Telescope" Educational magazine published by Nikolai Nadezhdin from 1831 to 1836. In 1834, Vissarion Belinsky became Nadezhdin's assistant. Pushkin, Tyutchev, Koltsov, Stankevich published in the journal. After Chaadaev's "Letter" was published, "Telescope" was closed, and Nadezhdin was sent into exile. ⁠ . The magazine was closed, its editor was exiled, and the Moscow police chief placed Chaadaev himself under house arrest and compulsory medical supervision, which was removed a year later on the condition that he write nothing more.

There are no less reasons to assert that in Chatsky Griboedov brought his friend, the Decembrist Wilhelm Kuchelbecker, who was slandered - namely, denounced as a madman in society - with the aim of political discredit. When the old woman Khlestova complains about "boarding houses, schools, lyceums ... Lankart mutual education" - this is a direct biography of Kuchelbecker, a graduate of the Tsarskoye Selo Lyceum, a teacher Main Pedagogical Institute Founded in 1816 on the basis of the Pedagogical Institute. It trained teachers for gymnasiums and higher educational institutions. In 1819 it was transformed into St. Petersburg University, after almost ten years it was restored, but already in 1859 it was closed, and all students were transferred to St. Petersburg University. ⁠ and secretary of the Society for Mutual Teachings Lancaster system A peer-to-peer learning system in which older students teach younger ones. Invented in Great Britain in 1791 by Joseph Lancaster. The Russian "Society of Schools for Mutual Education" was founded in 1819. Many members of the secret societies were champions of the Lancastrian system; Thus, the Decembrist Vladimir Raevsky was in 1820 under investigation for "harmful propaganda among the soldiers" precisely in connection with his teaching activities. ⁠ .

However, another character also studied at the St. Petersburg Pedagogical Institute - the chemist and botanist Prince Fyodor, the nephew of Princess Tugoukhovskaya, who is indignant for no reason: “They practice in schisms and unbelief / Professors !!”

In 1821, several professors were accused of rejecting "the truths of Christianity" in their lectures and "calling for an attempt on legitimate authority", and teaching was forbidden; the case caused a great uproar and was used as an argument in favor of the dangers of higher education. So it would be more accurate to say that although Griboyedov used the features of real people, including his own, when creating his hero, Chatsky is a collective portrait of the progressive part of his generation.

Pyotr Chaadaev. Lithograph by Marie-Alexandre Alof. 1830s

Is Chatsky smart?

This seems to go without saying and is postulated in the title of the comedy, which Griboyedov originally wanted to call even more specifically: Woe to Wit. In a letter to Pavel Katenin, the playwright contrasted Chatsky with this principle to all other actors (except perhaps Sophia): “In my comedy, there are 25 fools per sane person.”

Contemporaries, however, disagreed on this point. Pushkin was the first to refuse Chatsky's mind, writing to Pyotr Vyazemsky: "Chatsky is not at all a smart person, but Griboyedov is very smart." This view was shared by many critics; Belinsky, for example, called Chatsky "a phrase-monger, an ideal jester, who at every step profanes everything sacred that he speaks of."

The accusation against Chatsky was built primarily on the discrepancy between his words and actions. “Everything he says is very clever,” Pushkin notes. But to whom does he say all this? Famusov? Puffer? At the ball for Moscow grandmothers? Molchalin? It's unforgivable. The first sign of an intelligent person is to know at a glance who you are dealing with, and not to cast pearls in front of the Repetilovs.

Between the masterful features of this charming comedy - Chatsky's incredulity in Sofia's love for Molchalin - is charming! — and how natural! That's what the whole comedy was supposed to spin

Alexander Pushkin

The injustice of this reproach is shown by a careful reading of the text. Beads in front of Repetilov, say, Chatsky does not throw at all - on the contrary, it is Repetilov who crumbles in front of him “about important mothers”, and Chatsky answers in monosyllables and rather rudely: “Yes, it’s full of nonsense to grind.” Chatsky speaks about a Frenchman from Bordeaux, even at a ball, but not at all to Moscow grandmothers, but to Sophia, whom he loves and considers his equal (and Griboyedov himself called “a girl not stupid”), in response to her question: “Tell me what makes you so angry ? Nevertheless, one cannot but admit that Chatsky finds himself in ridiculous and ridiculous situations that the “smart” hero does not seem to fit.

However, after all, Chatsky himself admits that his “mind and heart are not in harmony.” Ivan Goncharov finally cleared the reputation of the hero, noting in the article “A Million of Torments” that Chatsky is a living person experiencing a love drama, and this cannot be written off: “Every step of Chatsky, almost every word in the play is closely connected with the play of his feelings for Sophia" - and this internal struggle "served as a motive, a pretext for irritation, for that "million of torments", under the influence of which he could only play the role indicated to him by Griboyedov, a role of much greater, higher significance than unsuccessful love, in a word, a role, for which all comedy was born. According to the critic, Chatsky not only stands out from the background of other comedy heroes - he is “positively smart. His speech boils with intelligence, wit.<...>... Chatsky begins a new century - and this is all his significance and all "mind" 8 Goncharov I. A. Million of torments (Critical study) // Goncharov I. A. Collected works: In 8 volumes. T. 8. M .: GIHL, 1955. S. 7-40. ⁠ .

Even Pushkin, Chatsky's first accuser, paid tribute to the "thoughts, witticisms and satirical remarks" that Chatsky fed, according to the poet, from "a very intelligent person" - Griboyedov. The poet was only embarrassed by the inconsistency of the hero, who thinks so clearly about abstractions and acts so absurdly in practical circumstances. But he immediately noted that the blindness of Chatsky, who does not want to believe in the coldness of Sophia, is psychologically very reliable. In other words, if you do not try to squeeze Chatsky into the narrow role of a walking reasoner idea, in which he does not fit, there is no reason to doubt his mind: a romantic hero who has fallen into a comedy inevitably plays a comic role - but this position is not funny, but tragic.

Dmitry Kardovsky. Illustration for the comedy "Woe from Wit". 1912

Why did Pushkin call Sofya Famusova an unprintable word?

The famous unprintable expression of Pushkin from a letter to Bestuzhev - “Sophia is not clearly inscribed: it’s not<б....>, not that Moscow cousin According to Yuri Lotman, "the Moscow cousin is a stable satirical mask, a combination of provincial panache and mannerisms." ⁠ ”- today it seems too harsh, but the same bewilderment was shared by many contemporaries. In the first domestic and theatrical productions, six acts from the first act were usually omitted: the scenes of Sophia's meeting with Molchalin (as well as the flirtation of both Molchalin and Famusov with Lisa) seemed too shocking to be presented to the ladies, and amounted to almost a large amount for censorship. problem than the political overtones of a comedy.

Today, the image of Sophia seems somewhat more complicated and prettier than Pushkin's formula. In the famous article “A Million of Torments”, Ivan Goncharov stood up for the reputation of the girl Famusova, noting in her “strong inclinations of remarkable nature, a lively mind, passion and feminine gentleness” and comparing her with the heroine of “Eugene Onegin”: in his opinion, Sophia, although spoiled environment, but, like Tatyana, she is childishly sincere, simple-hearted and fearless in her love.

Neither Onegin nor Pechorin would have acted so stupidly in general, especially in the matter of love and matchmaking. But on the other hand, they have already turned pale and turned into stone statues for us, and Chatsky remains and will always remain alive for this “stupidity” of his.

Ivan Goncharov

This is an unfounded comparison. Pushkin got acquainted with "Woe from Wit" at the height of work on "Eugene Onegin"; traces of Griboedov's comedy can be seen in the comic gallery of guests at Tatiana's name day, and in her dream, varying Sophia's fictional dream; Pushkin directly compares Onegin with Chatsky, who got "from the ship to the ball." Tatyana, a kind of improved version of Sophia, a lover of novels, like her, endows a completely unsuitable candidate with the features of her favorite literary heroes - Werther or Grandison. Like Sophia, she shows a love initiative, indecent according to the concepts of her time - she composes a “letter for a dear hero”, who did not fail to scold her for this. But if Pushkin condemned Sofya Pavlovna's love recklessness, then he treats his heroine sympathetically in a similar situation. And when Tatyana marries a general without love, as Sophia could marry Skalozub, the poet took care to clarify that Tatyana’s husband was “mutilated in battles” - unlike Skalozub, who earns the rank of general through various channels, far from military prowess. As the theater critic Sergei Yablonovsky put it in 1909 in the article “In Defense of S. P. Famusova”, “Pushkin cries over dear Tanya and dissolves our hearts so that we better hide this ... sleeping girl and woman in it,” but Griboedov “does not wanted to bring Sophia closer to us.<...>She didn't even get the last word. defendant" 9 "The current century and the past century ..." A. S. Griboyedov's comedy "Woe from Wit" in Russian criticism and literary criticism. St. Petersburg: Azbuka-Klassika, 2002, p. 249 ⁠ .

Sophia was often perceived as a girl of dubious morality, a typical representative of a vicious Famus society, and Tatyana Larina as the ideal of a Russian woman. This happened largely because the author refused to sympathize with Sophia - this was required by the interests of the main character, Chatsky. Interestingly, in the first edition of the comedy, Griboedov did give Sophia the opportunity to justify herself:

What meanness! lie in wait!
Sneak up and then, of course, dishonor,
Well? did they think to attract me?
And fear, horror make you fall in love?
I owe the report to myself,
However, my deed to you
Why does it seem so angry and so insidious?
I wasn't hypocritical and I'm right all around.

And although in the final version the author took away this monologue from the heroine, exposing Chatsky in a bad light, he allowed her to maintain her dignity: “Reproaches, complaints, my tears // Don’t you dare wait, you don’t deserve them ...” - no one could say that *****, nor a Moscow cousin.

Powder dispenser. Germany, 18th–19th century

Powder box. France, 19th century

What do Griboedov's heroes' names mean?

Griboyedov, in the tradition of classic comedy, gives almost all of his characters talking surnames. Such surnames usually singled out the main property of the character, personified vice, virtue, or some other one-dimensional quality: for example, Fonvizin calls stupid landowners Prostakovs, the government official who puts things in order bears the surname Pravdin, and Tsyfirkin teaches arithmetic to underage Mitrofanushka. In Woe from Wit, everything is less straightforward: all speaking surnames somehow embody one idea - the idea of ​​verbal communication, mostly difficult. So, the surname Famusova is formed from the Latin fama - “rumor” (it’s not for nothing that his main sadness at the denouement is “What will Princess Marya Aleksevna say!”). The surname of Molchalin, "not daring to have his own opinion," speaks for itself. A double meaning can be seen in the surname of Repetilov (from the French répéter - “recite by heart”, “repeat after someone”): this character, on the one hand, silently listens to important conversations that the “juice of smart youth” leads, and then repeats to others , and on the other hand, it acts as a comic double of Chatsky, illustrating his spiritual impulses with his own physical clumsy movements. Prince Tugoukhovsky is deaf, Colonel Skalozub - “He is also much joking, because now who is not joking!” - master of barracks witticisms. In the surname of Khlyostova, one can see a hint of a biting word, which you can’t refuse her either - she, for example, was the only one in the whole comedy who laughed at the main wit Chatsky, who noted that Zagoretsky “would not be healthy from such praises.” Khlestova’s remark about Chatsky and Repetilov (the first one “will be treated, maybe cured”, the second one is “incurable, at least give it up”) anticipates the later observations of literary critics about the relationship between these two characters.

The surname of Chatsky himself (in the early version - Chadsky) was associated by various researchers with the word "chad" on the basis of his general ardor and analysis of his remarks ("Well, the day has passed, and with him / All the ghosts, all the children and smoke / Hopes that filled my soul" or maxims about the sweet and pleasant "smoke of the Fatherland"). But a more direct association, of course, with Chaadaev.

Dmitry Kardovsky. Illustration for the comedy "Woe from Wit". 1912

Chatsky - Decembrist?

The opinion that Chatsky, as Griboyedov wrote him, had a direct road to Senate Square was first expressed by Ogaryov, substantiated by Herzen, who argued that "Chatsky went a direct road to hard labor," and subsequently became firmly established in Soviet literary criticism - especially after as the book of Academician Militsa Nechkina “A. S. Griboyedov and the Decembrists” received the Stalin Prize in 1948. Today, however, the issue of Chatsky's Decembrism is no longer resolved so unambiguously.

The argument in this debate often revolves around another question: Was Griboedov himself a Decembrist?

The writer was friends with many Decembrists, was, like many of them, in the Masonic Lodge and at the beginning of 1826 spent four months in the guardhouse of the General Staff under investigation - he later described this experience in an epigram as follows:

- According to the spirit of the times and taste
He hated the word "slave"...
- That's why I got to the Headquarters
And was drawn to Jesus!

In the case of the Decembrists, Griboyedov, however, was acquitted, released "with a cleansing certificate" and an annual salary, and sent to his place of service in Persia, where a brilliant, although, unfortunately, short-lived career awaited him. And although his personal sympathies towards the Decembrists are beyond doubt, he himself was not a member of a secret society, as Bestuzhev and Ryleev showed during interrogations, and spoke skeptically about their program: “One hundred ensigns want to change the entire state life of Russia.” Moreover: there is one directly named member of the “secret union” in his comedy - the caricature Repetilov, over whom Chatsky is ironic: “Are you making noise? But only?"

To this, supporters of the “Decembrist” concept object that Repetilov, although crooked, is a mirror of Chatsky. Chatsky “writes and translates nicely” - Repetilov “sculpts a vaudeville act with six of them”, his quarrel with his father-in-law is a reflection of Chatsky’s connection and break with the ministers, at the first appearance on stage, Repetilov “falls with all his might” - just like Chatsky, who “fell how many times”, jumping from St. Petersburg to be at the feet of Sophia. Repetilov is like a circus clown who, in between the performances of trainers and tightrope walkers, repeats their heroic numbers in an absurd light. Therefore, it can be considered that the author put into his mouth all those speeches that Chatsky himself, as the mouthpiece of the author, could not utter for censorship reasons.

According to the spirit of the times and taste
I hated the word "slave"
I was called to the Headquarters
And pulled to Jesus

Alexander Griboyedov

Of course, “Woe from Wit” had a political subtext - this is evidenced by the long-term censorship ban and the fact that the Decembrists themselves recognized their own in Chatsky and in every possible way contributed to the spread of the play (for example, in the apartment of the Decembrist poet Alexander Odoevsky for several evenings, a whole the workshop rewrote "Woe from Wit" under general dictation from Griboedov's original manuscript, in order to later use it for propaganda purposes). But there is no reason to consider Chatsky a revolutionary, despite the civic pathos with which he criticizes the arbitrariness of the feudal lords, sycophancy and corruption.

"Carbonari" From Italian - "coal miner". Member of a secret Italian society that existed from 1807 to 1832. The Carbonari fought against the French and Austrian occupation, and then for the constitutional order of Italy. Complex ceremonies and rituals were practiced in society, one of them was the burning of charcoal, symbolizing spiritual purification. ⁠ , a “dangerous person” who “wants to preach liberty” and “does not recognize authorities,” calls Chatsky Famusov - plugging his ears and not hearing what Chatsky tells him, who at that time calls not for the overthrow of the system, but only for intellectual independence and meaningful activities for the benefit of the state. His spiritual brothers are the "physicist and botanist" Prince Fyodor, the nephew of Princess Tugoukhovskaya, and Skalozub's cousin, who "suddenly left the service, / In the village he began to read books." His, as we would say today, positive agenda is clearly stated in the play:

Now let one of us
Of the young people, there is an enemy of quests,
Not demanding either places or promotions,
In the sciences, he will stick the mind, hungry for knowledge;
Or in his soul God himself will excite the heat
To creative, lofty and beautiful arts…

Yuri Lotman in the article “Decembrist in Everyday Life” actually put an end to this dispute, considering “Decembristism” not as a system of political views or a type of activity, but as a worldview and behavioral style of a certain generation and circle, to which Chatsky definitely belonged: “ Contemporaries singled out not only the "talkativeness" of the Decembrists - they also emphasized the sharpness and directness of their judgments, the peremptory sentences, "indecent", from the point of view of secular norms ...<…>... a constant desire to express one's opinion without prejudice, not recognizing the ritual and hierarchy of secular speech behavior approved by custom. The Decembrist openly and "publicly calls a spade a spade," thunders "at the ball and in society, since it is in this naming that he sees the liberation of man and the beginning of the transformation of society." Thus, having resolved the issue of Chatsky's Decembrism, Lotman at the same time relieved him of suspicions of stupidity, once caused by critics of his "inappropriate" behavior.

Before Griboyedov, Russian comedy of the 1810s and 20s developed as usual count 10 Zorin A.L. “Woe from Wit” and Russian comedy of the 10-20s of the XIX century // Philology: Collection of works of students and graduate students of the Faculty of Philology of Moscow State University. Issue. 5. M., 1977. S. 77, 79-80. ⁠ , in two directions: a pamphlet-satirical comedy of manners (outstanding representatives - Alexander Shakhovskoy and Mikhail Zagoskin) and a salon comedy of intrigue (primarily Nikolai Khmelnitsky Nikolai Ivanovich Khmelnitsky (1789-1845) - playwright. Khmelnitsky served in the Collegium of Foreign Affairs and was engaged in theater: he published theater reviews in the St. Petersburg Bulletin, translated plays. The success of Khmelnitsky was brought by the performances of the comedies "The Talker" and "Pranks of Lovers". It was in his house that the first reading of Griboyedov's "Woe from Wit" took place. After the war of 1812, Khmelnitsky served as a state councilor, was the governor of Smolensk, then Arkhangelsk. In 1838, he was imprisoned in the Peter and Paul Fortress for embezzlement, but later found not guilty. ⁠ ). The comedy of intrigue was written mainly from French models, often being a directly adapted translation. Griboyedov paid tribute to this tradition in his early comedies. And he builds a love affair in Woe from Wit according to a seemingly familiar scheme: the despotic father of a pretty girl with the traditional name Sophia (meaning, we note, “Wisdom”) and two seekers - the hero-lover and his antagonist. In this classic scheme, as Andrei Zorin notes, the opponents were certainly endowed with a number of opposite qualities. The positive hero was distinguished by modesty, taciturnity, respectfulness, prudence, in general, "moderation and accuracy", the negative one was an evil-speaking braggart and an irreverent mocker (for example, in Khmelnitsky's comedy "The Talker" the positive and negative characters have the speaking surnames Modestov and Zvonov, respectively). In short, in the literary context of his time, Chatsky was recognized at first glance as a negative hero, a buffoonish lover — and his rightness, as well as the author’s obvious sympathy for him, caused cognitive dissonance among readers.

We add to this that before Griboyedov, love in comedy could not be wrong: the poverty of the seeker, the hostility of the girl's parents towards him was an obstacle in the path of lovers - but in the end these obstacles were happily resolved, often due to external interference ( deus ex machina "God from the Machine" A Latin expression meaning an unexpected resolution of a situation due to external intervention. Initially, a technique in ancient dramaturgy: one of the gods of Olympus descended onto the stage with the help of a mechanical device and easily solved all the problems of the heroes. ⁠ ), lovers were united, and the ridiculed vicious rival was expelled. Griboyedov, contrary to all comedic rules, completely deprived Woe from Wit of a happy ending: vice is not punished, virtue does not triumph, the reasoner is expelled as a jester. And this happens because the playwright excluded the latter from the classicist triad of unities of time, place and action: in his comedy there are two equal conflicts, love and social, which was impossible in a classicist play. Thus, in the words of Andrei Zorin, he blew up the entire comedy tradition, turning inside out both the usual plot and the role - sympathizing with yesterday's negative character and ridiculing former positive ones.

A Moscow young lady, a virgin with not high feelings, but with strong desires, barely restrained by social decency. As many believe, she cannot be a romantic girl: for in the most ardent frenzy of the imagination it is impossible to daydream before giving soul and heart to a doll. Molchalin».

However, if Sophia is just an empty Moscow young lady and she herself left not far from Molchalin, why does Chatsky himself, who knows her well, love her? It was not because of the vulgar Moscow young lady that for three years "the whole world seemed to be dust and vanity." This is a psychological contradiction - meanwhile, even Pushkin, among the merits of comedy, noted its psychological authenticity: “Chatsky's incredulity in Sofia's love for Molchalin is charming! - and how natural!

In trying to explain this discrepancy, many critics have had to engage in psychological speculation. Goncharov believed, for example, that Sophia was guided by a kind of maternal feeling - "the desire to patronize a loved one, a poor, modest one who does not dare to raise his eyes to her, to elevate him to himself, to his circle, to give him family rights."

Chatsky is broken by the amount of old power, inflicting a mortal blow on it with the quality of fresh power.

Ivan Goncharov

Another psychological motivation for Sophia's choice can be seen in the history of her relationship with Chatsky, which is described in some detail in the play.

They had once shared a tender childhood friendship; then Chatsky, as Sofya recalls, “moved out, he seemed bored with us, / And rarely visited our house; / Then he again pretended to be in love, / Demanding and distressed!!”

Then the hero went on a journey and "did not write two words for three years", while Sophia asked any visitor about him - "at least be a sailor"!

It is clear after that that Sophia has reason not to take Chatsky’s love seriously, who, among other things, “goes to women” and does not miss the opportunity to flirt with Natalya Dmitrievna, who is “more full than before, fear has become prettier” (just like Sophia “ blossomed beautifully, inimitably).

Dmitry Begichev, a friend of Griboedov, in whose estate the comedy was written and who was considered one of the prototypes of Platon Mikhailovich Gorich, in the novel "The Kholmsky Family" brought out Chatsky in his old age, poor, living "quieter than water below the grass" in his village with a grumpy wife, then there is quite repaid a friend for a caricature.

In 1868, Vladimir Odoevsky published his “Intercepted Letters” by Famusov to Princess Marya Aleksevna in Sovremennye Zapiski. Evdokia Rostopchina in the comedy "Chatsky's Return to Moscow, or the Meeting of Familiar Faces after a Twenty-Five Years' Separation" (written in 1856, published in 1865) ridiculed both political parties in Russian society of that time - Westerners and Slavophiles. The crowning achievement of this literary tradition was the cycle of satirical essays "Lord Molchalina", written in 1874-1876 by Saltykov-Shchedrin: there Chatsky descended, lost his former ideals, married Sophia and lives out his life as director of the department of "State insanity", where he attached him godfather Molchalin, a reactionary official, "who has reached the level of certain degrees." But the most odious future was painted for Chatsky at the beginning of the 20th century by Viktor Burenin in the play “Woe from Stupidity” - a satire on the revolution of 1905, where Chatsky, following the author, preaches Black Hundred ideas, stigmatizes not reactionaries, but revolutionaries, but instead of “Frenchman from Bordeaux” his target is "the blackest of the lawyers, the Jew."

bibliography

• A. S. Griboyedov in the memoirs of contemporaries: Collection. Introductory article by S. A. Fomichev. M.: Fiction, 1980.
• "The current century and the past century ..." A. S. Griboyedov's comedy "Woe from Wit" in Russian criticism and literary criticism. St. Petersburg: Azbuka-Klassika, 2002.
• Gershenzon M. O. Griboedovskaya Moscow // Gershenzon M. O. Griboedovskaya Moscow. P. Ya. Chaadaev. Sketches of the past. M .: Moskovsky worker, 1989.
• Lotman Yu. M. Decembrist in everyday life (everyday behavior as a historical and psychological category) // Literary heritage of the Decembrists: coll. / ed. V. G. Bazanova, V. E. Vatsuro. L.: Nauka, 1975. S. 25–74.

• Nechkina M. V. A. S. Griboyedov and the Decembrists. M.: GIHL, 1947.
• Orlov Vl. Griboyedov. Brief essay on life and work. M.: Art, 1952.
• Piksanov N.K. Chronicle of the life and work of A.S. Griboyedov. 1791–1829 M.: Heritage, 2000.
• Piksanov N. K. Creative history of "Woe from Wit". M., L.: GIZ, 1928.
• Slonimsky A. "Woe from Wit" and comedy of the Decembrist era (1815–1825) // A. S. Griboyedov, 1795–1829: Sat. Art. M.: Goslitmuzey, 1946. S. 39–73.
• Tynyanov Yu. N. The plot of "Woe from Wit" // Tynyanov Yu. N. Pushkin and his contemporaries. Moscow: Nauka, 1969.
• Fomichev S. A. Griboyedov: Encyclopedia. St. Petersburg: Nestor-History, 2007.
• Tsimbaeva E. Artistic Image in the Historical Context (Analysis of the Biographies of the Characters of "Woe from Wit") // Questions of Literature. 2003. No. 4. S. 98–139.

All bibliography

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 of 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 characters. 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 ...