When analyzing the comedy Woe from Wit, the genre of the work and its definition cause many difficulties. Being innovative, the comedy "Woe from Wit" by A.S. Griboyedova destroyed and rejected many of the principles of classicism. Like the traditional classic play, "Woe from Wit" is based on a love affair. However, in parallel with it, a social conflict develops. Here questions of bribery, servility, hypocrisy, contempt for the mind and education, careerism are raised. Therefore, it is not possible to clearly identify the variety of the comedy "Woe from Wit". It intertwines features and comedies of characters, and household comedy, and public satire.
Often there are even disputes about whether “Woe from Wit” is a comedy. How does the author define the genre of the play "Woe from Wit"? Griboyedov called his creation a comedy in verse. But her main character not at all comical. Nevertheless, "Woe from Wit" has all the hallmarks of a comedy: there are comic characters and comic situations in which they find themselves. For example, Sofya, caught by her father in a room with Molchalin, says that Famusov's secretary was there by accident: "I went to the room, got into another." Skalozub's stupid jokes demonstrate his inner limitations, despite his outward solidity: "We did not serve together with her." Comic is the discrepancy between the opinions of the characters about themselves and what they really are. For example, already in the first act, Sophia calls Skalozub stupid, declares that in a conversation he cannot connect two words. The Skalozub himself says this about himself: “Yes, in order to get ranks, there are many channels, I judge them as a true philosopher.”
Contemporaries called the play "Woe from Wit" high comedy because it raises serious moral and social problems.
However, the traditional possibilities of this genre were not able to fully solve the creative intent of the writer. Therefore, Griboyedov makes significant adjustments to the traditional understanding of comedy.
First, Griboyedov violates the unity of action. In his play, for the first time, two equal conflicts appear: love and social. In addition, in classicism, in the denouement, vice must be defeated by virtue. In the play "Woe from Wit" this does not happen. Chatsky, if not defeated, is forced to retreat, since he is outnumbered and has no chance of winning.
Secondly, the approach to comedy characters is also changing. Griboedov makes them more realistic, abandoning the traditional division into positive and bad guys. Each character here, as in life, is endowed with both positive and negative qualities.
You can also talk about the presence in the play of elements dramatic genre. Chatsky is not only not funny, he is also worried emotional drama. Being abroad for three years, he dreamed of meeting Sophia, built in his dreams a happy future with her. But Sophia coldly meets her former lover. She is passionate about Molchalin. Not only did Chatsky's hopes in love not come true, he also feels superfluous in the Famus society, where only money and rank are valued. Now he is forced to realize that he is forever cut off from the people among whom he was brought up, from the house in which he grew up.
Sophia is also experiencing a personal drama. She was sincerely in love with Molchalin, zealously defended him in front of Chatsky, found in him positive features, but turned out to be cruelly devoted to her beloved. Molchalin was with her only out of respect for her father.
Thus, genre originality"Woe from Wit" lies in the fact that the play is a mixture of several genres, the leading of which is the genre of public comedy.
Artwork test
The meaning of the comedy "Woe from Wit", I believe, is to show the spirit of Moscow at that time, its customs. The comedy unfolds a confrontation between two forces: the old world of aristocrats, who do not want to leave the stage of life, and the new generation of progressively minded people in Russia.
Chatsky's clash with Famusov is inevitable, because the old aristocrats do not like change, they are accustomed to live and live out as they please. The life of society in this sense is of little interest to them.
Famusov immediately felt that with the arrival of Chatsky, various troubles and violations of order would begin, although he did not yet know about his views. A young, strong, flourishing beginning in a person already in itself gives people like Famusov a reason for concern. And what can we say about the reaction to the bold judgments of Chatsky.
The world that Famusov so diligently protects from external influences is a complete lie of relationships and depressing immorality. Sophia hides her poetic feelings for Molchalin, fearing that they will not be understood. And Molchalin, in turn, pretends to be in love.
At Famusov's balls, the spirit of swagger and arrogance reigns. The Tugoukhovsky princes, for example, are deaf to everything in the world, except for wealth and titles. There is a chill of caution and hostility towards each other in the relations between the guests. Naturally, Chatsky, once in such an environment, fell into the blues and boredom. Even falling in love with Sophia did not help him to cheer up in any way. He leaves, but love for Sophia and for his homeland nevertheless returns him to Moscow already energetic, full of creative aspirations. But new disappointments await him: no one needs his energy and noble impulses in Famusov's Moscow. Love also fails: after a conversation with Famusov, Chatsky suspected that he was dreaming of giving Sophia for General Skalozub. Yes, Chatsky himself, gradually recognizing Sophia, is disappointed in her. He notices that she sees the world distorted. Hearing how admiringly she speaks of Molchalin, Chatsky is convinced that she does not understand him at all. true essence. He asks her, “But does he have that passion? That feeling? Is that ardor? So that, besides you, the whole world would seem to him as dust and vanity?” Then he adds: “And Skalozub! Here's a sight! ”
But Sophia sensed neither caution nor irony in his words. She replies: "The hero is not my novel." Chatsky is tormented by the thought of how such a smart girl could fall in love with the scoundrel Molchalin, a greedy man and a sycophant:
With such feelings, with such a soul, we love you!
Liar, laugh at me!
At the end, when everything is finally revealed, Chatsky admits to himself that he was bitterly deceived in Sophia;
Why am I lured into hope?
Why didn't they tell me directly
What did you turn all the past into laughter? ..
…Here I am donated to whom!
But the sacrifice of love is not the biggest sacrifice in Chatsky's life. Him with light hand Sophia who dropped: “Ah, Chatsky! You love to dress up everyone in jesters. If you want to try on yourself, ”they declare them crazy, and this rumor quickly spreads throughout Moscow.
The meaning of the comedy, in my opinion, is that Chatsky, despite his defeats and moral torments, did not deviate from loyalty to his ideals.
In Famusov's house, he acts to the end as a detractor of its inhabitants, who are clinging to the past with all their might, trying to stop the passage of time.
Famusov in the “role system” plays the role of a noble father who is unaware of his daughter’s love, but by changing the traditional ending, Griboedov deprives this character of the opportunity to successfully complete the development of the action: usually in the end, when everything was revealed, a noble father who cares about his daughter’s happiness , blessed the lovers for marriage and it all ended in a wedding.
Obviously, there is nothing like this in the finale of “Woe from Wit Does Not Happen”. Famusov is really about real position things so nothing and does not know until the very end. But even there, he still remains in happy ignorance about the true passions of his daughter - he believes that Sophia is in love with Chatsky, and he doesn’t even think about Molchalin as the subject of his daughter’s sighs, otherwise everything would have ended much worse, especially for Molchalin, Certainly. Indeed, in addition to what it implies the role of a noble father, the image of Famusov includes the features of a typical Moscow “ace”, a big boss, a gentleman who is not used to having his subordinates allow themselves much less liberties - it’s not for nothing that Molchalin is so afraid of showing sympathy for him from Sophia, despite all the girl's precautions:
And I'm so shaking
And at one thought I crush,
That Pavel Afanasich once
Someday will catch us.
Disperse, curse!
Molchalin complains to Lisa. Yes, and all the other participants in this “triangle” went so far beyond their role precisely because, while creating realistic images, Griboedov could not endow them with some kind of standard set crap. And as full-blooded, living images, they began to behave quite differently from the rules of classicism. Responding to reproaches in the “lack of a plan”, that is, exactly what was just said, Griboedov argued that, on the contrary, his plan “is simple and clear in execution. The girl, herself stupid, prefers a fool to a smart person” And as a result, it turns out that even in what somehow still retained a connection with the traditions of classicism, Griboedov acted as a true innovator. His characters in the personal sphere behave like this. alas, quite often in life they make mistakes, are lost in conjecture and choose a clearly erroneous path, but they themselves do not know this
So, Sophia was clearly mistaken in Molchalin, but she believes that the quiet young man is actually a campaign against noble heroes. sentimental novels which she loves to read Sophia angrily throws Molchalin, caught in a lie in relation to her, but insight comes only in the final
This is how Griboyedov leads the action to a natural finale, the collapse of the illusion of all the main characters. But such an ending is motivated not from the point of view of the traditional “role system”, but from the standpoint of the psychological appearance of each of the characters, the internal motivation of their actions, arising from individual characteristics characters
But the play has another line of development, which means the end of another conflict. In it, Chatsky, as a representative of the young progressive-minded generation of Russia of that era, enters into an unequal struggle with Famus Society- by that conservative majority that does not want to accept anything new either in politics or in social relations neither in the system of ideas, nor in the usual way of life He is one against all and the finale of the conflict, in fact, is a foregone conclusion “Chatsky is broken by the number old force”, - as Goncharov wrote.
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After reading brief retelling works, you can find out about all the events that the author describes in the play "Woe from Wit". The chapter summary below conveys the main essence of the work and answers the question: "How many actions are in Griboyedov's work?".
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Characters in the play by Alexander Sergeevich Griboyedov:
- Famusov Pavel Afanasyevich is a widower raising his only daughter.
- Sofya is the seventeen-year-old daughter and heiress of Famusov.
- Molchalin Aleksey Stepanovich - a cowardly young man, helps Famusov to conduct the deal and lives in his house.
- Chatsky Alexander Andreevich - Sophia's childhood friend. In love with her. Recently returned from abroad.
- Lizanka is a maid in the Famusovs' house.
- Skalozub Sergey Sergeevich - stupid, but wealthy man. They want to marry Sophia for him.
- Repetilov is one of secondary characters works. He is a parody reflection of Chatsky.
The plot of the play
All 4 actions of the work take place in Famusov's house. Summary by chapters, which in a dramatic work are called actions, will help to trace the course of events.
Important! In the 1st act of the play "Woe from Wit", the reader learns that Sophia loves Molchalin and is indifferent to Chatsky.
Lovers have to say goodbye. But Famusov finds Molchalin right next to the door and inquires what the young man is doing here so early. Pavel Afanasyevich reprimands his daughter for allowing herself early meetings with a young man.
When father leaves maid claims that Famusov will never give consent to the marriage of a daughter with an ignorant person. The father thinks that the girl needs to marry a rich and noble Colonel Skalozub. Sophia recalls her first love for Alexander Chatsky, a cheerful and intelligent young man. But, according to the girl, these cannot be called true love. At this moment, the butler appears to report that Alexander Andreevich has arrived at the house.
The guest sincerely rejoices at the meeting with the girl to whom he is not indifferent. Cold reception beloved somewhat moderates his ardor. unexpected guest begins to indulge in memories of past relationships with a girl. But Famusov's daughter calls the past feelings between them childish. Then the man asks if the girl's heart is busy thinking about someone else. The young lady claims that her embarrassment is caused by Alexander Andreevich's frank questions.
The father appears. Sophia runs away. Begins conversation between Pavel Afanasyevich and Alexander Andreevich. The young man makes it clear that the girlfriend of his youth still likes it.
The conflict between the heroes of the play - 2 act
Important! In the play Woe from Wit 2, the action tells the reader about Famusov's attitude to Chatsky's feelings for Sofya, and Molchalin appears in a completely different light.
Famusov makes plans for the near future. Chatsky appears. He frankly asks the owner of the house what answer he will receive if he asks his daughter in marriage. Pavel Afanasyevich replies that it would not hurt for an unexpected guest to get a higher rank. The young man begins to blame those who make up opinion of a person only by his ranks. Famusov, listening to the fiery speech of the guest, concludes that he adheres to revolutionary ideas. knotted conflict between Pavel Afanasyevich and Alexander Andreevich.
At this time complained Colonel Skalozub, which Pavel Afanasyevich is very happy about. Famusov and the colonel begin to discuss Skalozub's brother, who quit his service and left for the village. Here wedged into the conversation Alexander Andreevich and stands up for those who do not try to curry favor with the authorities. Such a heated discussion is interrupted by the departure of the owner of the house.
Suddenly Sophia appears with the message that Molchalin fell off his horse. The excited girl loses her senses. Alexander Andreevich understands who she likes. Puffer comes out to help the victim. Chatsky and Lizanka fussing about a young lady. Skalozub returns with Molchalin. The Colonel reassures everyone, explaining that the victim only had a bruised hand. Chatsky, offended by his beloved, leaves. Sergei Sergeevich retires to Famusov's office.
Aleksey Stepanovich reproaches the girl that she so openly demonstrates her feelings for him. Molchalin is afraid that rumors about their relationship will reach the girl's father. The maid advises the young lady to start flirting with Chatsky in order to mislead her father. Sophia leaves in thought. Molchalin begins to flirt with Lisa.
Climax - act 3
Important! In Woe from Wit 3, the action contains the climax of the piece. When Chatsky confesses his love to Sophia, the girl does not say who she really likes.
In the evening at Famusov's house Numerous guests come to the ball. All of them powerful people. Molchalin begins to curry favor with them. Famusov's daughter casually notices that Alexander Andreevich has gone crazy. This phrase, spoken in figurative meaning, is taken as real news. The sensation immediately spreads throughout the hall.
Among Famusov's guests, Repetilov attracts the reader's interest. His long monologues and emotional exclamations are somewhat reminiscent of Chatsky's speech. Even the appearance and departure of the hero are as unexpected as the arrival and departure of Chatsky. Repetilov - a parody of Alexander Andreevich.
Alexander Andreevich discouraged by the fact that in Russia only everything foreign is in fashion. But none of the guests listens to the man, perceiving his ideas for delirium of a madman. This climax is the last step in the conflict between Famus Society and Chatsky. Open Final work allows the reader to only guess about the denouement.
Interchange - 4 act
Suddenly Sophia appears. Chatsky hides behind the nearest column. Sofya sends Liza to check if Alexander Andreevich is downstairs. Looking around, Lisa knocks on Molchalin's door to call him to the young lady. A conversation takes place between the maid and Alexei Stepanovich. Molchalin explains that he does not love Famusov's daughter. Sophia hears everything and is disappointed in her lover. Alexander Andreevich comes up to her to reproach her for her dislike.
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The story begins early in the morning, when the maid Lisa knocks on the door of Sofia Famusova's bedroom. Sophia is not alone - she spent the whole night talking with her father's secretary Molchalin, but she does not want anyone to know about it.
Leaving Sophia's room, Molchalin runs into her father. Famusov is very interested in the question of what his secretary is doing in this place at such an early hour.
And Sophia, left alone with Lisa, recalls how quickly the night flew by. Lisa is funny, and she reminds Sophia of her former hobby - Alexander Andreevich Chatsky, who went on a trip 3 years ago and still has not returned. Sofya says that Chatsky's passion is nothing more than a childish feeling, and now she likes sensitive, timid, modest and accurate people - that is, people like Molchalin.
At this moment, Chatsky himself appears. He arrived at the house of the Famusovs immediately from the road, before he had time to visit his home. Sophia is not too happy about the appearance of Chatsky. Moreover, when he asks Sophia about former acquaintances, quite by chance he does not speak very well of Molchalin. Famusov also does not show much joy when he sees Chatsky. He asks him about where he was and what he saw, but Chatsky promises to tell about everything in the evening, since now he needs to go home.
The next time he appears at Famusov's house, Chatsky asks him about his daughter. Famusov does not like such a clear interest in Sophia - he suspects that Chatsky dreams of marrying Sophia. And indeed, Chatsky asks him a question about what Famusov would say if Chatsky became Sophia's fiancé. Famusov replies that, first, Chatsky needs to sort out his affairs and make a career, and sets him as an example his late uncle and Colonel Skalozub, who just appears in the house. Here Skalozub Famusov considers a quite suitable groom for his daughter - he praises him, which irritates Chatsky, who expresses his opinion about those flatterers and serfs that Famusov likes so much.
At this moment, Sophia runs into the room and with the words “Oh, my God, he fell, he was killed!” runs to the window. It turns out that Molchalin fell off his horse. Soon Molchalin himself enters the room and reassures everyone present, saying that he is fine. Chatsky is surprised and alarmed by this behavior of Sophia, but he cannot believe that people like Molchalin, whose main characteristics are "moderation and accuracy", can please Sophia. Chatsky, in a conversation with Molchalin, finds out that he does not have any own opinion, because he believes that at his age and in his position it is still impossible to have his own judgment.
The Famusovs are gathering guests. One of the guests, the old woman Khlestova, praises Molchalin (Molchalin is the only one of the young people who paid attention to her dog). Chatsky, in a conversation with Sophia, cannot remain silent about this. She is angry with Chatsky - she is offended by his attitude towards Molchalin, and therefore she takes revenge on him - she tells the guests that he is most likely crazy. Soon the rumor spreads among all the guests. Chatsky also finds out about this, who is concerned about the question of whether Sophia heard this - he does not even allow the thought that it was Sophia who spread this gossip.
In the lobby, where Chatsky is hiding behind a column, Lisa appears. Molchalin follows her. Lisa asks him to go to Sophia, but he replies that he likes Lisa, and he is courting Sophia only because he serves with her father and wants to make a career. These words are heard by Sofya, who denounces Molchalin and demands that he immediately leave the house. Chatsky, too, is no longer able to remain silent. He expresses his indignation to Sophia. Famusov immediately appears, having heard the noise. He threatens to send Sophia "to the village, to her aunt, to the wilderness, to Saratov," and Lisa to the poultry house. Chatsky, unable to stay in this house anymore, where indeed, listening to Famusov and those he likes, one can go crazy, leaves him never to return. And after all that has happened, Famusov is only interested in one thing: what those representatives of the world whom he respects will say about this.
STEP ONE
The action of the play "Woe from Wit" begins in the morning in the house of Pavel Afanasyevich Famusov. The maid Lisa wakes up and complains that she did not sleep well. The fact is that Sofia, Famusov's daughter, was expecting a friend to visit at night - Alexei Stepanovich Molchalin, Famusov's secretary. Lisa had to make sure that Famusov did not find out about this.
Lisa knocks on the door of the mistress's room, asking her to hurry up and say goodbye to Molchalin, because soon everyone in the house will wake up. Famusov finds her doing this and starts flirting with her. Lisa tells the owner that she is afraid that someone will come in, for example Sophia, who has just fallen asleep because she has been reading all night. Famusov wonders how you can read all night, because he falls asleep from reading. Then he leaves.
Lisa reproaches Sophia for being too careful while she says goodbye to Molchalin. At this moment Famusov enters. He wonders why Molchalin came so early.
He replies that he has just returned from a walk. Famusov scolds his daughter for being nice to a young man at such an hour. After all, he cared so much about her upbringing after the death of her mother, and he himself is best example morality.
Sophia says that she had a dream: as if she was walking in a meadow, and a young man appeared to her - modest, smart, poor. Suddenly they found themselves In a dark room, and some forces, together with her father, want to separate Sophia and this young man… At this point, the dream was interrupted. Famusov advises her to put all kinds of nonsense out of her head and leaves with Molchalin.
Lisa asks Sofia to be careful. She believes that the father will not agree to the marriage of his daughter with Molchalin, because he is poor and ignorant. Best Party for Sofia - Colonel Sergey Sergeevich Skalozub. Sophia says that she will never agree to this union: “I don’t care what for him, what’s in the water.” Lisa recalls Alexander Andreevich Chatsky, who was brought up in the Famusov house and with whom Sofia grew up together.
Sophia says that Chatsky has gone far and does not give any news about himself. Molchalin is nearby, he is helpful, modest, quiet and timid. Here Chatsky himself appears. He has just returned from abroad, where he spent three years. Chatsky is happy to meet, but surprised by Sophia's coldness. He asks if she is in love with someone. In a conversation with Famusov, Chatsky admires Sophia.
ACT TWO
Famusov asks the servant to give him a calendar and remembers which houses and which noble people he is due to visit this week. Chatsky appears. He is interested in what Famusov would answer if he wooed Sophia. Famusov says that first you need to serve and get a rank.
The ability to curry favor Famusov considers the most useful. He is proud of his uncle Maxim Petrovich, his wealth and orders. Maxim Petrovich, like no one else, knew how to curry favor, which won the praise and favor of the Empress herself. He fell on purpose, which caused her laughter, and for this he was called to receptions more often than others, received a solid pension and universal honor.
Chatsky despises servility and accuses Famusov and others like him of judging a person by rank and wealth. Famusov is afraid because of Chatsky's disrespect for those in power.
Skalozub comes to Famusov. Famusov respects him very much: after all, Skalozub has been serving recently, and already a colonel. He fawns over Skalozub and tries to please him. Famusov wonders if Skalozub is going to get married. They remember the cousin Skalozub, who had 'career prospects, but suddenly dropped everything and retired to the village.
Chatsky joins the conversation. He stigmatizes a society where only rank and wealth are valued, and condemns landowners who treat their serfs like property. Admiration for the uniform causes him contempt and indignation.
Sophia appears, frightened that Molchalin fell off his horse. She faints. Skalozub leaves to help Molchalin. Lisa and Chatsky bring Sophia to her senses. Everything is fine with Molchalin. But Chatsky understands who is busy
Sophia's heart
Enter Skalozub and Molchalin, who only bruised his hand. Skalozub promises to come in the evening. He and Chatsky are removed.
Molchalin reproaches Sofia for imprudence and excessive frankness, but the heroine is not worried about the opinions of others. Molchalin is most frightened of all " gossips". Sophia promises to pretend to her father that she is cheerful and carefree in order to lull his vigilance. She leaves, and Molchalin, left alone with Lisa, begins to flirt with her, promises her gifts in exchange for favor. Lisa accuses him of duplicity.
ACT THREE
Chatsky is trying to find out from Sofia who is more to her heart - Molchalin or Skalozub. Sofia does not answer directly, saying that she appreciates Molchalin for his meekness and modesty. Chatsky mocks Molchalin and does not understand how one can admire such a person.
Chatsky talks with Molchalin to get to know him better. Molchalin is proud of such qualities as "moderation and accuracy." He boasts of his wealthy and noble patrons. Chatsky ridicules such life principles.
A ball is scheduled for the evening at the Famusovs' house. Guests arrive. These are the Gorichi spouses, the Tugoukhovsky family, Countess Khryumina with her granddaughter, the old woman Khlestova - rich and influential people. The guests are talking.
Chatsky is familiar with Gorichi - cutesy and flirtatious Natalia Dmitrievna and bored Platon Mikhailovich. He is unpleasantly surprised by how Platon Mikhailovich, a former brave military man, and now a lazy and submissive husband, has changed.
Ladies praise each other's outfits and ask which of the male guests is not married and whether the potential groom has rank and fortune. Anton Antonovich Zagoretsky, one of the guests, flatters the ladies and tries to please them. Platon Mikhailovich calls him a swindler.
The old woman Khlestova boasts of her new Arapka maid. Famusov is kind to the guests. Skalozub arrives. Molchalin praises Khlestova's dog, which deserves her approval.
Chatsky's behavior is not respectful. He is mocking, ironic, impudent with everyone. Everyone is outraged by his behavior. Molchalin's helpfulness evokes Chatsky's ridicule. Sofia is angry with him. Her accidentally dropped phrase that Chatsky is "out of his mind" instantly spreads among the guests.
Zagoretsky helps to ensure that all the invitees know about Chatsky's madness. The imaginary madness of Chatsky became the main event of the evening. Chatsky is uncomfortable among the guests. He says he is unhappy with Moscow and reflects on meeting a Frenchman who, once in Russia, feels at home.
Chatsky resents foreign influence in Russia and the worship of everything French:
But our North is a hundred times worse for me
Since I gave everything in exchange
in a new way:
And customs, and language, and holy antiquity,
And stately clothes for another ...
ACT FOUR
Ball ends. The guests are leaving. Chatsky is also going to leave Famusov's house. He does not understand why he was considered crazy and who started this rumor.
Chatsky accidentally witnesses Lisa's conversation with Molchalin. It turns out that Molchalin is not going to marry Sophia and that he does not love her.
He likes Lisa much more, and he takes care of Sophia only because she is Famusov's daughter. Sofia overhears this conversation. Molchalin tries to beg her forgiveness. But she tells him to leave the house immediately, otherwise she will tell her father about everything.
Chatsky appears. He rebukes Sofia. She justifies herself that she did not suspect such meanness and deceit in Molchalin. Famusov enters. From his speeches, Chatsky understands who first called him crazy. Famusov is indignant and threatens to send his daughter to the village.
Chatsky is disappointed. His hopes were not justified, and his best feelings were offended. He blames Sophia for keeping him convinced of her love. But now he does not regret their breakup. And there is no place for him in Moscow. He's leaving here forever.
HISTORY OF CREATION AND MEANING OF THE TITLE
"Woe from Wit" - a comedy in verse, the first realistic work Russian literature. The idea for the play came from A. Griboyedov as early as 1820. By this time, he had already written other dramatic works.
Work on the text began in Tiflis after the return of the writer from Persia. In the summer of 1823, the first version of the play was completed, but it was still far from completion. In 1825 excerpts from Acts 1 and 3 of the comedy were printed. However, the author did not receive permission to stage in the theater. Despite this, the comedy was distributed in the lists and became widely known among the enlightened intelligentsia, who enthusiastically accepted the work. Woe from Wit was first published with big cuts in 1833, and completely - only in 1861.
Initially, A. Griboyedov conceived to name the comedy "Woe to the mind." In this case, the meaning of the work would be transparent: Chatsky, an intelligent person, is opposed to the surrounding society, but in the end is rejected by him. The meaning of the name would boil down to the following: woe to an intelligent person among narrow-minded and narrow-minded people. But the author, choosing a different title, changed the meaning of the work.
Chatsky, who considers himself smart person, often behaves stupidly and does not notice the obvious (cannot believe that Sofia is in love with Molchalin, does not understand that others are laughing at him). From the point of view of Famusov and his guests, Chatsky is stupid (he does not know how to adapt, he is not ready to lie, flatter, trick, does not use his abilities to succeed). He even passed for a madman, which all the characters in the work willingly believed. But the concept of the mind for A. Griboedov does not include prudence (in this sense, Famusov can also be called smart), but implies freethinking, enlightening views, new, different from the established ones. Chatsky denounces the vices of the patriarchal society and opposes himself to it. From this all his troubles.
Chatsky suffers not so much from his mind, but from own desire change the world, make it better. Therefore, he is comical in the Famus society. The author himself, who defined the genre of his work as a comedy, ironically over what is happening.
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Traditionally, the genre of "Woe from Wit" is defined as a comedy in verse. Formally, the play corresponds to the principles of the classical dramatic work. The action takes place in one place within one day. The characters are clearly divided into positive and negative, the position of the author is transparent, and his sympathies are immediately guessed. The plot is based on a love affair. However, comedy has become innovative in many ways. public conflict relegates the love affair to the background. The play raises a multitude serious questions that can cause heated debate and give rise to deep thoughts. Therefore, the work combines the features of both a comedy of characters, and an everyday comedy, and a satirical work.
The play is indeed a comedy. There are comic characters and situations here. The comedy is also based on the discrepancy between the character's idea of himself and who he really is. So, Skalozub imagines himself significant and important, but in fact he is limited and narrow-minded. The main character is not comical. Chatsky, who was in the minority, seems defeated and misunderstood. He must back off, at least for a while. There is no celebration in the final goodie, which is mandatory for classical comedy: vice must be defeated by virtue.
The characters depicted by Griboyedov are close to real people. They are not as unambiguous as they seem at first glance. Each of them is endowed with both positive and negative qualities. For example, Sofia positive heroine and beloved Chatsky, of course, causes sympathy. At the same time, she constantly lies, is carried away by Molchalin, realizing his insignificance. Famusov, the ideological opponent of Chatsky, does not seem sharply negative character. His disagreement with the ideas of Chatsky is determined by his upbringing and lifestyle, that is, by another generation.
Chatsky himself, the only positive character, cannot but arouse sympathy and slight condescension due to the fact that he does not understand the meaninglessness of his tirades before Moscow society. Thus, the play, which is based on the comedy of manners, is a mixture of several genres.
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PROBLEMS
The play touches on the most sharp questions that worried the enlightened society of that time: the plight of the Russian people, serfdom, autocratic power, the level of education of society, the principles of education younger generation, servility, bribery, etc. A real dispute unfolds between the characters about the meaning of education, the appointment of teachers, the need for knowledge. For Famusov, teachers are "tramps", he does not see the need to educate children and care too much about their development. Chatsky criticizes low level education of the Moscow nobility, understanding its superficiality and formality. The work depicts pictures of landlord arbitrariness in relation to serfs. One gentleman, like Famusov, traded a crowd of faithful servants for three greyhounds, another sells peasants, separating parents and children.
The old woman Khlestova, showing off her new Arapka maid, tells how she made this acquisition. At the same time, she is incredibly gentle with the dog. Chatsky is outraged that the landlords perceive the servants as useful things. Service attitudes are also subject to controversy. Famusov perceives his official duties formally, without delving into the details and not being interested in the details. Molchalin, on the other hand, wants to curry favor and treats Famusov's service as a means of achieving his own selfish goals. Chatsky does not recognize this approach to his duties. He believes that it is necessary to serve the cause, for the good of the Fatherland, and not for the sake of rank, the praise of his own boss or the approval of society. But not only social phenomena give rise to Chatsky's critical statements.
Personal and family relationships, characteristic for noble society are also not accepted by them. The marital relations of the Gorichs seem artificial to Chatsky and evoke his irony. The fact that Platon Mikhailovich was under the heel of his wife is incomprehensible to Chatsky. Relations between Sophia and Molchalin could line up in a similar way. The lack of a husband's own opinion, outward humility, constant boredom cannot cause positive emotions in the hero. Chatsky turned out to be the spokesman for the views of that part of the enlightened intelligentsia, which did not want to put up with the established way of life.
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FEATURES OF THE CONFLICT
There are two lines in the work - love and social. love conflict lies on the surface, and the work begins with it. Chatsky wants to marry Sophia, but is faced with a cold attitude from her father. He learns about another contender for Sophia's hand, more worthy, according to Famusov, Skalozub. In addition to him, there is Molchalin, who clearly enjoys the favor of Sofia herself.
The love affair is presented rather superficially. We do not observe the collision and struggle of Chatsky with his rival for the location of Sofia. And the final departure of the hero is connected not only with love failure. The peculiarity of the conflict of the play is that, having started as a love story, it develops into a public one. The heroes are divided into two unequal camps: the entire Famus Moscow and Chatsky himself. Famusov and his entourage are supporters of patriarchal traditions, the usual way of life.
In Famusov's house, everything is built on pretense: Sofia hides her love for Molchalin, Famusov puts on a virtuous look, Molchalin pretends to love Sofia, although he does it out of selfish motives. Famusov supports a huge number of characters - his allies. These are household members, guests, and even heroes who are simply mentioned, but who do not participate in the action. Due to this, the play turns out to be quite densely “populated” with characters, although the main action is connected with members of the same family. The very number of characters opposed to Chatsky speaks of the inequality of forces involved in the conflict. Chatsky is alone, and this is his tragedy.
The public conflict reaches its climax in the scene at the ball in Famusov's house, when Chatsky turns out to be an outcast not only because of his views and impudent speeches, but because of imaginary madness. Other heroes readily believe in his madness. This turned out to be much more convenient to explain Chatsky's behavior than to delve into his speech and try to understand him. Thus, all the actions of Chatsky automatically become meaningless to others. The main conflict of the play is the clash of new progressive views in the person of Chatsky with the old patriarchal world of lordly Moscow.
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CHARACTERISTICS OF CHATSKY
The young nobleman Alexander Andreevich Chatsky, after spending three years outside Russia, returns to Moscow, to the house of Pavel Afanasyevich Famusov, where he was brought up after the death of his parents. Remembering Chatsky, Lisa says: But be a military man, be he a civilian, Who is so sensitive, and cheerful, and sharp, Like Alexander Andreyich Chatsky! And Sofia adds: "Sharp, smart, eloquent."
Chatsky is ardent and hot, he appears in front of Sofia like a whirlwind and immediately disturbs the peace of the inhabitants famus house. His loud and ardent speech, stormy joy, laughter, sincerity are out of place here. The impetuousness and enthusiasm of Chatsky confuses other heroes. From the lips of Famusov are the words: “ a dangerous person”, “does not recognize the authorities”, “liberty wants to preach”. Chatsky is dangerous in a society where you have to curry favor, pretend and lie. Chatsky's speech, first of all, testifies to his education and erudition. He quotes Derzhavin (And the smoke of the Fatherland is sweet and pleasant to us!), He refers to the images of world literature (Minerva, Amur, Nestor), in his speech there are both Old Slavonicisms and words high style(hungry, searching, daviche), and romantic pathetic expressions (I love you without memory, I am at your feet). Chatsky's speech is emotional, rich in comparisons, metaphors, combines sublime and purely colloquial vocabulary(black-haired, hoarse, strangled).
Chatsky's views are characteristic advanced man. They may seem idealistic and naive. Chatsky believes that it is necessary to serve the cause, and not the boss, that origin and wealth do not make a person better, and superficial education is smarter. The mind tells Chatsky that it is necessary to escape from Famusov's house, but the heart speaks of love for Sofia. He cannot come to terms with her attachment to Molchalin. It is not clear to Chatsky what such a smart girl found in Molchalin, how could she fall in love with such an insignificant and small person, such an empty person.
Chatsky is a man of action, an enthusiast, energetic and active. But in Famusov's Moscow, no one needs him, because his ideas do not find a response, he only interferes, tries to disrupt the usual way of life.
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FAMUSOV CHARACTERISTICS
Famusov Pavel Afanasyevich - manager in a government place, Sophia's father, widower. The whole action of the comedy takes place in his house. Famusov is an opponent of enlightenment.
Everything new and progressive is perceived as hostile to them. This is a threat to his well-being and measured life. He calls teachers “tramps” and does not understand why they are hired at all: We take tramps both to the house and on tickets, To teach our daughters everything, everything, And dances, and laziness, and tenderness, and sighs, As if we are preparing them for wives buffoons. Books make him sad and sleepy: She has no sleep from French books And it hurts me to sleep from the Russians. Famusov selects a groom for his daughter, based solely on his position in society and wealth (I wish he had a son-in-law with stars and ranks ...). Wealthy Colonel Skalozub is an ideal candidate for suitors. Famusov says to his daughter: Whoever is poor is not a match for you. Only rich and noble people are invited to Famusov's ball.
The hero, himself not very well-born, is concerned about his own position in society. After the scandal with Molchalin, Famusov most of all laments what Princess Marya Aleksevna will say! Famusov is a hypocrite and a hypocrite. Inspiring daughters high moral ideals and positioning himself as a champion of morality, he flirts with the maid Lisa, who tries to laugh it off:
Famusov treats the service formally, without delving into the details and not being interested in the details. Get a rank - here the main objective services. He does not even think about the benefit to society and the Fatherland: And what matters to me, what does not matter, My custom is this: Signed, so off my shoulders. Famusov is a representative of the patriarchal Moscow nobility. His views on education, education, behavior in society, attitude to service were typical for most nobles and landowners of that time.
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CHARACTERISTICS OF PUPPERS
Skalozub Sergey Sergeevich - Colonel, a good friend of Famusov, a candidate for Sofia's suitor. He is still young, but already has a rank. In addition, he is very rich: Here, for example, Colonel Skalozub: And a golden bag, and aims for generals. When Skalozub appears in Famusov's house, the owner begins to fawn on him and fawn: Sergey Sergeyich, dear, Put down your hat, take off your sword, Here's a sofa for you, spread out on your bed.
The puffer has all the qualities for an ideal groom. He is solid, noble, rich, has an enviable rank, prospects. However, rank is the only goal that Skalozub strives for: Yes, in order to get ranks, there are many channels; About them as a true philosopher, I judge, I just would have got into the generals. The puffer is limited and coarse. This is an example of a real martinet. Sophia is horrified at the thought that he could be her fiancé: How sweet! and fun to me fear To listen about the front and the ranks. He never uttered a clever word, - I don't care what for him, what's in the water. Skalozub is opposed by another representative of the army class. Together with Famusov, they discuss Skalozub's cousin, also a military man. He was the same campaigner as Skalozub, received awards and ranks.
However, he suddenly left the service and retired to the village: Chin followed him: he suddenly left the service, In the village he began to read books. Skalozub and Famusov are sincerely surprised and do not understand why the person suddenly left a promising career, retired, began to read books, to think. Famusov is perplexed by the behavior of Skalozub's relative, but wholeheartedly approves of the behavior of Sergei Sergeevich himself: Here is youth! - read! .. and then grab it! .. You behaved properly, For a long time, colonels, but you serve recently. Such decisions in the society of Famusov and Skalozub are unacceptable. The image of Skalozub is satirical. He personifies the imperial army with its retrograde orders, drill, servility and blind obedience.
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CHARACTERISTIC MOLCHALIN
Molchalin Alexei Stepanovich is a young man, Famusov's secretary, who lives in his house. Taken by Famusov (although he tries to accommodate only relatives and friends) from Tver for diligence and accuracy. The surname Molchalin speaks for itself: to be silent is his main quality, which, nevertheless, hides many other negative features.
Molchalin courts Sophia because of her father's position and connections. He deftly deceives the girl, posing as a sensitive and timid young man: Molchalin is ready to forget himself for others, Enemy of insolence, always shy, timid, Who can you spend the whole night with? We sit, and the yard has long turned white ... Molchalin's shyness is opposed to Chatsky's vehemence, which frightens and embarrasses Sofia. Molchalin, on the contrary, is quiet, modest, sentimental: He takes his hand, presses it to his heart, He sighs from the depths of his soul, Not a free word, and so the whole night passes, hand in hand, and does not take his eyes off me ... Chatsky refers to Molchalin with ridicule and slight contempt, not perceiving him as a rival in the struggle for the girl's heart: It used to be that songs where brand new notebooks He sees, rises: please write off. And by the way, he will reach the known levels, After all, now they love the dumb.
At the ball, Molchalin shows his helpfulness to Famusov's noble guests, which causes Chatsky's contempt. In the actions of Molchalin, his admiration for rank and wealth is manifested. The reader sees the true face of Molchalin in the scenes when he is alone with Lisa. He is no longer shy and admits why he is courting Sophia, setting out his life philosophy: My father bequeathed to me: First, to please all people without exception, The owner, where I happen to live, The boss, with whom I will serve, His servant, who cleans dresses, The porter, the janitor, to avoid evil, The dog of the janitor, so that he was affectionate . Upon learning of the duplicity of Molchalin, Sofia drives him away.
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CHARACTERISTICS OF SOFIA
Sofia Pavlovna Famusova - Famusov's daughter, a young girl. She secretly meets with her father's secretary Molchalin, attracted by his ostentatious modesty and helpfulness. Chatsky notes that Sophia has become very prettier, but not only this attracts Chatsky. The heroine herself is not distinguished by shyness and meek disposition. Sophia is smart, resourceful, brave. She is not afraid to show her feelings for Molchalin, but she tries to hide them from her father. Sofia has strong character, intelligence, sense of humour.
This is a passionate, ardent and disinterested nature. She is not interested in the rich Puffer. Sofia is in love with Molchalin, although he has neither a title nor a fortune. She is not afraid of public condemnation, she is open and sincere in her feelings. At the same time, Sophia is a product of the Famus society. Lies and hypocrisy are the atmosphere in which she grew up. Realizing that Molchalin will never be accepted by her father as a groom, she hides her love. Sophia adapts to the environment in which she lives. She hides her lover, lies to her father, avoids explanations with Chatsky. Probably brought up in the atmosphere patriarchal life, Sophia and could not grow up another. She did not receive a deep and comprehensive education (although she loves to read).
The days of the heroine were occupied by endless balls and dances in the company of people like Famusov's guests. Sophia's character was formed in an atmosphere of lies and pretense. Even after learning about the duplicity of Molchalin, Sofia orders him to leave, while no one has found out anything. She rejoices that she revealed the truth under the cover of night, without witnesses: She herself is pleased that she found out everything at night, There are no reproachful witnesses in her eyes, Like a daviche, when I fainted, Chatsky was here ...
It is Sofia who, out of anger, spreads a rumor about Chatsky's madness, throwing a careless phrase: "He's out of his mind." It was she who contributed to his alienation from the whole society, all guests, without exception, turn away from him. Even Sophia, by nature positive, benevolent and honest, is unable to understand Chatsky and respond to calls, be inspired by his ideas.
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FAMUSOVSKAYA MOSCOW
The play reflects the irreconcilable struggle between the conservative local nobility and the bureaucracy, on the one hand, and the progressive intelligentsia, on the other. Barskaya Moscow is presented not only in the images of Famusov, Skalozub and Molchalin. A string of images of Famusov's guests flashes before us: Gorichi, princes Tugoukhovsky, Countess Khryumina with her granddaughter, old Khlestova.
They gather at Famusov's for a ball. Here they are proud of a noble family, they boast of ranks and titles. Ladies are coquettish and cutesy, mothers are looking for potential suitors for their daughters. Old women are grouchy and arrogant. Natalya Dmitrievna conducts secular conversations with Chatsky. Her husband is a reason to brag, an object that is pleasant to flaunt. Platon Mikhailovich, whom Chatsky knew before, now spends his time in idleness and boredom. Princesses Tugoukhovskaya are looking after the suitors. Khlestova grumbles and teaches everyone. This is patriarchal Moscow, accustomed to living the way its fathers bequeathed: leisurely, habitually, in the old way. And Chatsky, with his ideas, is not able to change the established way of life for centuries.
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THE LANGUAGE OF COMEDY
In the play "Woe from Wit" A. Griboedov turned out to be a true innovator in relation to the language. Language becomes a means of characterizing images. The correct speech of Chatsky betrays his education, at the same time interspersed with well-aimed and bright colloquial words reinforcing the ironic nature of his statements. Only Chatsky is characterized by monologues that are in the nature of sermons. They characterize the hero as a skillful speaker. The main participant in the disputes with Chatsky is Famusov. His lines are quite long, which emphasizes his talkativeness.
Famusov is rude to his subordinates, addresses them as you, and with Skalozub he is unctuously kind. Sophia's romanticism is emphasized by high-style words that could be borrowed from sentimental novels. Skalozub's speech is rich in "army" vocabulary, which determines not only his type of activity, but also his limitations and inertia. Molchalin kindly and obsequiously adds a particle -s to the words (short for the word sir). Most of the comedy characters have become household names, and many of their lines have become part of our everyday speech.
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A PLAY IN RUSSIAN CRITICISM
The comedy "Woe from Wit" was incredibly popular with its contemporaries and undoubtedly had a huge impact on all Russian literature. The work caused a lot of responses and criticisms. A. Pushkin was one of the first to express his opinion about comedy in a letter to A. Bestuzhev (1825). He writes that Griboyedov's goal was to depict a picture of morals. The only smart actor Griboedov himself appears in the work. Chatsky, ardent, noble and kind, “adopted” the thoughts and satirical remarks of the writer.
Pushkin refuses Chatsky's mind, because he wastes words and feelings in front of people like Famusov, Skalozub and Molchalin. However, the poet notes true talent the creator of the play. One of the most profound analyzes of the play is presented in I. Goncharov's article "A Million of Torments" (1871). The author writes that the play "is distinguished by its youthfulness, freshness and< … >survivability." He pays special attention to the image of Chatsky, without whom "there would be no comedy itself, but there would, perhaps, be a picture of morals." Goncharov considers him not only smarter than other heroes. He writes that Chatsky is "positively intelligent."
In addition to the mind, the hero has sensitive heart. At the same time, Chatsky is "impeccably honest." He is active, and in this better than Onegin and Pechorin. The critic notes that the comedy, which began with love affair, develops into a clash of two worldviews: "the century of the past" and "the century of the present". As a result of this unequal struggle, Chatsky received his “million of torments”. He is forced to leave without finding sympathy. Goncharov analyzes in detail emotional condition Chatsky, noting his internal tension throughout the action. The hero's witticisms become more and more bilious, and the remarks become more caustic. The unequal struggle with the Famus society exhausted him. "He, like a wounded man, gathers all his strength, challenges the crowd - and strikes at everyone - but he did not have enough power against the united enemy."
Chatsky is the most lively image in the work. This is a strong and deep nature that cannot be exhausted in comedy. This is a suffering character. “This is the role of all the Chatskys, although at the same time it is always victorious.” Unaware of their victory, such people "only sow, but others reap - and this is their main suffering, that is, the hopelessness of success." great attention Goncharov devotes himself to the ball scene in Famusov's house. Here is presented real comedy- scenes from Moscow life. Sophia, according to Goncharov, is not so to blame for what is happening. He pays tribute to her good instincts, her ardor, tenderness.
Goncharov's sympathies are clearly on the side of the heroine. No wonder he compares her with Tatyana Larina. Sophia, like Tatyana, begins the affair herself and is just as passionate about the first love feeling. Goncharov explains the choice of Sofia Molchalin solely by chance. Sophia's trouble is in her upbringing, typical for a girl of noble birth of that time. Goncharov's article notes the bright and original language of the play, which distinguishes it from other works. Such plays "the audience knows by heart", so the actors in the theater should pay special attention to the manner of pronunciation of the lines. In conclusion, I. Goncharov describes in detail the performance of the actors, analyzes the staging of the play and gives instructions for those who will play in the next performances.
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APHORISMS GRIBOYEDOV
Chatsky: There is still a mixture of languages: French with Nizhny Novgorod? After all, today they love the dumb. The legend is fresh, but it is hard to believe ... I would be glad to serve, it is sickening to serve. Ranks are given by people, And people can be deceived. Houses are new, but prejudices are old. And who are the judges? Women shouted: hurrah! And they threw caps into the air! Get out of Moscow! I don't come here anymore. Carriage for me, carriage! Famusov: What kind of commission, creator, Be adult daughter father!
Teaching is a plague ... If evil is to be cut: Take away all the books and burn them. Hey, tie a knot in memory, I asked you to be silent, not a great service. Sofia: happy hours are not watching. Molchalin: At my age, you should not dare to have your own judgment. Ah, evil tongues are worse than a gun. Liza: Bypass us more than all sorrows And master's wrath, and lordly love.
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