1. The right person.
2. Showy love.
3. True love.
Love and calculation - these are the two anchor points our essay. They are placed on the same plane, which in principle cannot be. Love is not a mathematical formula that can be calculated in a convenient way. This is a boundless feeling that simply has no limit and cannot have it. Calculating people will never be able to embrace a wonderful feeling, it is simply not available to them. Yes and in modern world when we say "calculation", we mean money, career, profit. Each of these components becomes a pretext for love, its basis. But all this is too ephemeral to become reality.
A completely different ratio of calculation and love is presented by A. S. Griboyedov in the comedy Woe from Wit. What calculation can be for such heroes as Sophia and Molchalin? Let's look at each image separately.
The greatest prudence is characteristic of Molchalin. Listed actors he appears as Alexei Stepanovich Molchalin, a secretary who lives in Famusov's house. And who is Famusov - the head of Molchalin. The question immediately arises why Molchalin lives in the house of his boss. This question can be answered with one phrase of the hero, which became catch phrase: "In my years one should not dare / Have one's own judgment." Such a person is quite suitable for Pavel Afanasyevich. After all, he just can’t stand being contradicted. This is clearly seen in his dialogues with Chatsky, who, unlike Molchalin, will not keep silent. Famusov calls Acheksandr Andreevich Chatsky carbonari, a dangerous person. "I don't want to know you, I can't stand debauchery." Any free statements of a person correlate only with debauchery, that is, a person should not express his opinion. And if there are no such thoughts, then for Famusov it’s just an ideal person. No wonder Alexei Stepanovich has such a surname - Silent. Silence is the main precept of the hero.
However, not with words, but with actions, the hero attracts attention. This picturesqueness is noted by Lisa when he falls from a horse. “I'll hit the bet, which is nonsense; / And if it were not for the face, there would be no need for dressings ... ”And it is precisely in relation to Lisa that the duality of his love feelings is revealed.
"Molchalin. What is your face! / I love you so much!
Lisa. And the young lady?
Molchalin. Her / By position, you ... (Wants to hug)”.
It is immediately clear that in Molchalin's love desire for Sophia clearly outweighs the calculation. It is convenient, profitable for him to live with the Famusovs, who appreciate his silence, to look after Sophia for the sake of appearance. And in a conversation with Chatsky, Molchalin speaks only of profit, mentioning the most famous and influential people- such as Tatyana Yurievna, Foma Fomich.
But Molchalin could not hide his prudence for a long time from his beloved Sophia. One day he comes across on a date with Lisa and at the same time expresses himself quite clearly. “And now I take the form of a lover / In the pleasing of the daughter of such a person ...” When exposed, Alexei Stepanovich “rushes to his knees”, and when Chatsky appears, he hides. As a result, we can say that Molchalin remains the winner. He comes out dry. Chatsky leaves on his own, Sophia's father exiles him into the wilderness, to Saratov. And he remains in a good position and with a new love.
Could Sophia fall in love with such a person? After all, she is the person with whom Chatsky is so sincerely in love. And in his actions there is absolutely no calculation that Molchalin has. And in general, Alexander Andreevich is surprised: how could Sophia fall in love with such insignificant person like Molchalin. Moderation and accuracy are not the qualities that Sophia appreciates in a person. Although Chatsky, before talking with Molchalin, has some doubts about the girl. "Ah, Sophia! Is Molchalin chosen by her! / Why not a husband? There is only little mind in him; / But in order to have children, / Who lacked the mind? / Helpful, modest, there is a blush in his face. But after talking with Molchalin, Chatsky realizes that she could not love a person "with such feelings, with such a soul."
It turns out that Sophia's love for Alexei Stepanovich has a slightly different nature. And most importantly - this is an insult to the disappearance of Chatsky. She cannot understand: why look for the mind so far when a loved one is nearby. And so Sophia draws Lisa a completely different image of her lover, written off from Molchalin. “Whom I love is not like this: / Molchalin is ready to forget himself for others, / The enemy of insolence, - always shy, timidly ...”
Sophia once burned herself on impulsive activity, insolence. Therefore, she tries to avoid this and finds a suitable chosen one in Molchalin. However, let us remember the fainting of the girl. She "loses her feelings" when she sees that Alexei Stepanovich has fallen off his horse. Sophia then reprimands him for worrying. “Molchalin, / How my mind remained intact in me! / After all, you know; How dear is your life to me! / Why should she play, and so carelessly? It turns out that after all the young man is not indifferent to the young lady. But love, a great feeling, is still not here, although Sophia cherishes Molchalin. It's just that for her he is quite submissive, especially compared to Chatsky.
Alexei Stepanovich is a toy in her hands. She confirms this under Molchalin. “And which of them do I value? / I want - I love, I want to say ... / With them I did not dare to die, / To ask you, to look at you. And then she accidentally makes a reservation that she will not be able to withstand pretense for a long time. And this pretense is connected not only with the fall of Molchalin. It also applies to Chatsky, who suddenly returned. Sophia wants to show the “traveler” with all her might: she did not yearn, did not grieve, and is still surrounded by fans.
The next step in her calculation is that she declares him crazy. She is angry at Chatsky's actions and spreads this rumor in retaliation.
The calculation in the actions and deeds of Sophia takes no less space than that of Molchalin. But still, her calculation harms not so much Molchalin as those around her and, to some extent, herself. And her so-called love is built on some arguments and reflections. And this feeling turns out to be very cold, no warmth emanates from it.
But the calculation is still not justified. At the end of the play, Sophia gets a chance to find out the true face of her "beloved", all of whose love was built on a calculation.
Calculation is central to the feelings of the characters. They make it the basis of such a light feeling. And they both count. Therefore, there is no love either. Convenience, comfort cannot be put above love. And it is impossible to combine such distant concepts together. The play also has true love- Chatsky to Sophia. But now she does not find a response in the soul of the girl. She was very offended by the disappearance of the hero and could not forgive this oversight.
The playwright clearly showed us that it is possible to build a career on the basis of calculation, to achieve attention and favor. But you can never construct love feeling. After all, it arises suddenly, like a light breeze, runs in waves and leaves the brightest and most tender memories in the life of every person.
How is the relationship between Sophia and her father, father and daughter, Sophia and Molchalin? What concept unites the characters in relation to each other? (Javl 5)
Answers:
Molchalin is a man from a poor family. But he has a dream: to become once high official or a general, and he wants in every possible way to achieve this dream. If he had a title, honor, wealth, then it is not known what his character would be, but his whole nature is not yet visible. Molchalin is a man with a secret character, he is closed, but cunning and dexterous. He does not have his own thoughts, he tries to show that for the sake of praise, rewards, money, he is able to do any job, humble himself in front of anyone, flatter everyone. Speaking of his obsequiousness, “silence”, “lack of words”, Chatsky emphasizes the main features of people of this type: sycophancy, admiration for the strong and noble people. For Molchalin and others like him, this is a means to achieve material security and secure position. Molchalin is already so used to the society in which he turns around that he borrowed the manners, habits, and tone of its representatives. He has already enrolled himself in that society, to get into which for him is the limit of expectations. After all, here are his ideals - people who own titles, wealth, have authority and influence on others. Molchalin is a man without faith, without ideas, without thoughts. He can't be a friend, he can't have friends. His immorality, callousness, hypocrisy are especially vivid in the episode with Sofia, when, having barely divorced her, the “in love” Molchalin begins to flirt with Lisa, to which the maid reprimands him, emphasizing the meanness of Molchalin, because he looks at his relationship with Sofia, as a means of settling in life, portrays a lover, fearing only one thing: that Famusov would not find out about their relationship. His tone and behavior change when he sees that Sophia knows everything about his meanness: he humiliates himself, twists himself like a worm, crawls near her legs. Molchalin has a certain program of action, he goes to it, without thinking about what means can be used to achieve the goal. This is the whole Molchalin, his morality, the principles by which he is guided. Sofya thinks that Molchalin loves her and deliberately opposes him to Chatsky. Only in the end does she understand him true price but too late - Chatsky can no longer forgive Sophia
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As has already been said, Squire Western "doted on Sophia." "She was really his favorite child, as he often called her, and she fully deserved such love, because she answered her with the most boundless affection."
Sophia never argued with her father (before Blifil's courtship), "... unless she stood up for her mother, whom she loved dearly.
Rereading some episodes, someone may doubt Western's love for his daughter. Take, for example, the moment when he is chasing Sophia and sees the fox running away, and, without a moment's hesitation, the squire chooses to hunt. The author writes about the time spent by Western in this way: "He [the squire] did not remember Sophia: not once did the thought of his daughter spoil his enjoyment of hunting, so wonderful, in his words, that for her sake it was worth galloping five hundred miles from home." But then Fielding recalls: "... we do not accuse the squire of a lack of love for his daughter - on the contrary, he loved her very much; only we must remember that he was both a squire and a hunter." This can also explain the fact that Western often treats his daughter rudely (“... let out a load of the strongest words and curses and left”; “you will marry him, damn me, you will! Why don’t you answer? stubborn bitch!").
But at the same time, how many times do we hear such words from the lips of Western: "... for me, the doomsday is better than she will hurt her little finger."
Sophia loves her father very much, she always tries to please him. "She so reverently honored her father and loved him so passionately that she hardly ever experienced more pleasant sensations than those that filled her when she somehow contributed to his pleasure ...". "In the most punctual way, she fulfilled all her daughter's duties, and love made them not only easy, but also pleasant." Sophia herself speaks of it this way: “Really, I don’t know supreme pleasure than to increase the happiness of my father, and if I am proud, then not in what I do, but in the fact that I have the opportunity to do it.
The only reason for quarrels between Western and Sophia was the choice of the groom. Sophia does not want to marry Blifil, who she hates, but, according to her father, this the best option for her. Western sincerely wishes Sophia to be happy, and thinks that this will be the case if she marries a rich heir. "He considered the equality of fortunes and social status to be the same physically necessary condition marriage, as a difference in sex or other significant circumstances. " And Sophia is in love with Tom Jones. But "the love of a daughter for a poor man seemed to Western as impossible as her love for an animal." Squire, a father who wants only good for his daughter, says: ". ..fell head over heels in love with a beggar tramp and does not want to marry one of the best suitors in England, for whom we betrothed her.
And Sophia, on the contrary, would prefer to live in poverty than with a person whom she despises. But still she does not forget about her daughter's debt, telling Tom Jones that "if it were not for the daughter's duty, which forbade her to follow her inclinations against the will of her father, then poverty with him would be much more to her heart than any wealth with another" .
And despite all her devotion to her father, Sophia escapes to London. She wants to avoid marrying Blifil. Sophia is a sane person, and she understands very well that her father cannot be persuaded of his decision, she wants to gain time ("... in the meantime, father, maybe he will come to his senses ...").
But still, the squire tries to force Sophia to marry Blifil by locking her in a room. Fielding refers to it this way: "The Squire loved his daughter heartily - this, it seems to me, is beyond doubt. Such love is characteristic of very many parents who make their children unhappy for life. Although this parental blindness is almost a universal phenomenon, it always seemed to me the most inexplicable of all the absurdities that one could think of amazing creature called man."
Famusov - major official, "manager in a state-owned place." At the same time, this is a wayward feudal lord, autocratically treating his servants.
As an official, Famusov is characterized by indifference to the case. “Signed, so off your shoulders!” he says to Molchalin. The hero is distinguished by nepotism in the service. He tells Skalozub:
How will you begin to introduce to the baptism whether, to the town,
Well, how not to please your own little man!
With Lisa, Famusov behaves like a petty tyrant. At first, he flirts with her, and then threatens to send "for the birds to go." He is ready to send other guilty servants "to the settlement."
A sharp temper distinguishes Famusov not only in relation to the servants, but also in relation to own daughter. Suspecting Sofya of secret meetings with Chatsky, Famusov is going to send her "to the village, to my aunt, to the wilderness, to Saratov."
At the same time, Famusov is also distinguished by sincere love for her daughter, concern for her future; he tries with all his might to find a profitable groom for her. The rejection of Chatsky and Molchalin as unworthy suitors of Sophia and pleasing Skalozub - a worthy groom - clarify life priorities Famusova. “He who is poor is not a couple for you,” Famusov teaches Sophia.
The hero is distinguished by such positive traits like hospitality, hospitality.
The door is open to the invited and the uninvited,
Especially from foreign ones;
Though fair man, though not
It’s equal for us, dinner is ready for everyone, -
Famusov declares in his monologue about Moscow in the second act of the comedy.
Famusov's ideals in the past, in the past century. In the monologue that opens the second act of the comedy, the hero admires the virtues of the "venerable chamberlain" Kuzma Petrovich. In another monologue, Famusov bows before the "exploits" of Catherine's nobleman Maxim Petrovich. Famusov's idea of a true mind is firmly connected with this off-stage character. "A? How do you think? In our opinion, smart. / He fell painfully, got up great, ”Famusov notes about the falls of Maxim Petrovich in front of Catherine II.
Famusov, like other representatives of the Moscow nobility, is an enemy of enlightenment. He made harsh judgments about books, for example:
If evil is stopped,
Take away all the books and burn them.
He considers science to be madness:
Learning is the plague, learning is the cause
What is now more than ever,
Crazy divorced people, and deeds, and opinions.
In the ideological conflict of the play Famusov - main adversary Chatsky.
Puffer
Sergei Sergeevich Skalozub Another one bright representative Famus Society. This is an Arakcheev officer. If Famusov personifies the century of nobles and hospitable Moscow bars that is fading into the past, then Colonel Skalozub is new type Russian life, formed after the war of 1812.
Let's take a look at some of the personality traits life principles Skalozub.
main goal the hero sees his life not in feats of arms but in a successful promotion. Skalozub says to Famusov:
Yes, in order to get ranks, there are many channels;
About them as a true philosopher I judge:
I just want to be a general.
The hero is strongly disposed towards freethinkers. He says to Repetilov:
I am Prince Gregory and you
Feldwebel in Voltaire ladies.
Puffer represents despotic tendencies in public life Russia recent years reign of Alexander I. It is no coincidence that Famusov reaches out to Skalozub, reads him as a suitor to Sophia. Famusov sees in Skalozub a real force that can keep the old social foundations unchanged.
Molchalin
Collegiate Assessor Alexey Stepanovich Molchalin also one of the central figures in comedy.
Molchalin, like Skalozub, - new phenomenon in Russian life. This type of bureaucrat gradually ousting from the state and public sphere rich and powerful nobles.
Like Famusov, Molchalin refers to the service as a way to receive ranks and awards.
As I labor and strength,
Since I've been listed in the Archives,
Received three awards
Molchalin says to Chatsky. His view of the service is also expressed in the words: "And take awards, and have fun."
The main life principles of Molchalin - "moderation and prudence". Molchalin will no longer bang the back of his head, like Maxim Petrovich. His flattery is more subtle.
Pleasing the right people, especially strong of the world of this, corresponds to the hero's ideas about the true mind. Stupid from the positions of Chatsky, Molchalin is not so stupid in his own way. The main features of the worldview the hero is revealed in the fourth act, in a monologue about his father's will:
My father bequeathed to me
First, to please all people without exception:
The owner, where he happens to live,
The boss with whom I will serve,
To his servant who cleans dresses,
Doorman, janitor, to avoid evil,
The janitor's dog, so that it was affectionate.
Meanwhile, the humility of Molchalin, his pleasing neighbors are fulfilled hypocrisy And falsehood. The true essence of Molchalin is revealed in his attitude towards Sophia and Lisa.
We also note such a trait of Molchalin as simulated sentimentality. Molchalin perfectly mastered the fashion for "sensitive" pieces, for playing the flute. Sentimentality becomes for the hero an important tool for achieving a solid position in society, where all-powerful ladies rule the show, greedy for flattery and exquisite compliments.
Molchalin plays important role not only in ideological conflict, but also in love affair: He first lover! Perfectly aware of the importance of his own role, Molchalin admits to Lisa:
And here's the lover I assume
To please the daughter of such a person.
The hero successfully copes with his role until the moment of exposure. It is no coincidence that Molchalin, and not Chatsky, becomes Sophia's chosen one. "The silent ones are blissful in the world!" Chatsky exclaims.
Creating the images of Molchalin and Skalozub, Griboyedov expressed his point of view regarding the immediate future of Russia. Unlike Chatsky, the author of Woe from Wit does not idealize the prospects for liberalism in the "current century." It seems to Chatsky that "everyone breathes more freely." Griboyedov thinks otherwise. The playwright is aware that the immediate future of Russia is not for Chatsky, but for Skalozub and Molchalin. These heroes stand firmly on their feet, their positions in life are stronger, despite all their cynicism.
Sofia
Famusov's daughter Sofia– central female character comedy. This rich and noble bride.
The character of Sophia is ambiguous. Pushkin also noted: "Sophia is not clearly inscribed."
On the one hand, we see in Sophia, according to I. A. Goncharov, "strong inclinations of a remarkable nature." It is distinguished by natural mind(the name-characteristic "Sophia" means in Greek "wisdom"), worldly prudence, the ability to sincere feelings.
In addition, Sophia is peculiar independence life position : having shown disobedience to her father, Sophia fell in love with an unequal person.
On the other hand, Sophia lives by the values of the Famus society. Lies and slander not alien to her nature.
Perhaps it is precisely the absence of high moral principles and led the heroine to the fact that she was not able to immediately recognize the low and vile nature of Molchalin.
Sophia turns out to be a key character in the plot of the comedy, in a love affair. Sophia's attitude towards Molchalin and Chatsky reflects the priorities that have been firmly established among the Moscow nobility. The ideal of Sophia, according to Chatsky, is "a husband-boy, a husband-servant, from the wife's pages."
Chatsky, with his mind, is rejected by the heroine. “Will such a mind make a family happy?” Sophia exclaims, referring to Chatsky's liberal ideas and wit. The heroine not only turns away from her childhood friend, to whom she once had sympathy, but also becomes the initiator of the spread of slander about his madness. At the same time, as a result, she herself turns out to be deceived, she herself suffers grief from her “mind”, becomes a victim of the meanness of Molchalin, as well as her own self-confidence.
The image of Sophia is set off by the image of a maid Lisa.
The aristocratic Sophia is opposed ordinary girl- witty, intelligent, endowed with a lively mind, feeling dignity. So, Lisa rejects the courtship of Famusov and Molchalin. She is weary of her role as Sophia's confidante. Lisa appears in the comedy as a victim of the lord's affection and lord's wrath.
Pass us beyond all sorrows
AND master's wrath, and lordly love, -
lesson type - lesson learning new material.
The form of the lesson is the lesson of analytical reading.
The form of activity is work in shift groups.
Methods - the method of commented reading, reading by roles, the method of conversation, observation, comparison.
Lesson goals.
Educational:
1. Determine the role of the first act of the comedy by A. S. Griboyedov “Woe from Wit”.
2. Find a definition of the conflict through which the action develops
3. Schematically represent the development of the first act of A. S. Griboedov’s comedy “Woe from Wit”.
4. Make additions to the worksheet.
Developing:
1. Continue work on the development of communication and creative skills, analytical skills.
2. Continue to work on the development of language abilities, figurative thinking while working on text analysis.
3. To continue the formation of the skill of analytical reading in the process of studying comedy.
4. To teach to feel the genre features of a dramatic work.
5. Show the richness of the Russian language in the process of analytical reading.
Educational:
1. Using the example of the relationship of comedy heroes, continue work on the formation of binary thinking.
2. Show the importance of enduring human values.
Preparing for the lesson
1. Students independently get acquainted with the text of the first act of the comedy by A.S. Griboyedov "Woe from Wit".
2. A worksheet is compiled “Characteristics of the main characters of the comedy by A. S. Griboedov “Woe from Wit”. (Appendix 2, 2A)
3. They are divided into groups by numbers 1–4.
4. The first numbers select material to characterize Chatsky, the second - to characterize Sophia, the third characterize Molchalin, the fourth - Famusov.
5. Selected from the text of the I action of the quotation to characterize the hero, they are entered in the table.
6. A draft of the scheme “Conflict in the first act of the comedy by A.S. Griboyedov "Woe from Wit". (Annex 3)
7. Previously studied terms are repeated.
8. A separate group is preparing a dramatization of the I action (phenomena 1-3).
9. Desks are arranged in pairs for work in groups of 4 people.
10. Before the lesson, students are divided into new groups, including numbers 1-4.
Lesson design
1. For staging 1-3 phenomena, scenery is made out.
2. Music is selected: waltzes by A.S. Griboyedov, the sounds of a flute and piano, the sound of a clock.
3. A presentation is being prepared that reflects the main stages of work in the lesson. (Annex 1)
During the classes
Before the lesson, 2 waltzes by A.S. Griboyedov. Slide number 2, 3, 4.
I. Organizing moment
II. Message about the purpose of the lesson. Problem statement
Recording the topic of the lesson.
Teacher: The eternal modernity of Russian classics... Perhaps, these words can be fully attributed to one of the most timeless, despite its decent age (185 years old!) Works of Russian literature. “Woe from Wit” by A. Griboyedov. Our today's lesson “Morning in the Famusov House” is the first in the system of lessons for studying the text of a comedy.
With this lesson, we begin the SEARCH for answers to the questions: Why grief? Why from the mind? Who is grief?
Slide number 6. Writing a topic, sketching a diagram
So, today we must analyze the first act of the comedy, determine its role. Make additions to the worksheet. Make a diagram “Conflict in act I of the comedy by A.S. Griboyedov "Woe from Wit".
Slide number 7. The purpose of the lesson
III. Updating previously acquired knowledge. Examination homework(dramatization)
Teacher: To understand events and conflict, determine the role
I of the action, to better understand the characters of the characters and the author's intention, we suggest watching a short staging of the first three phenomena of the comedy.
Slide number 8. Poster
IV. Dramatization of 1-3 events of act I
Teacher: So, judging by your laughing faces, it is clear that we are dealing with a comedy genre. In Griboyedov's comedy, as in the comedy of classicism, a certain set of characters is presented: a noble father, a heroine, a first lover (so far only), a servant. Let's take a closer look at each main character.
Slide number 9. Questions yavl. #1-5
V. Analysis of phenomena 1-6. Work in groups with the table “Characteristics of the main characters of the comedy by A. S. Griboedov “Woe from Wit”. Making additions to the table
Noble father - FAMUSOV Pavel Afanasyevich (story by student No. 4).
1. How does Famusov want to appear and how does he look in 1-4 phenomena? (Famusov wants to seem deep a moral person, a good father. In fact, he is a hypocrite, but he loves his daughter, reads her a rich husband)
2. Does Famusov believe the explanations of his daughter and secretary? (Most likely, he doesn’t believe, but he is afraid of trouble, does not tolerate changes. And therefore he is limited only to verbal “scoldling”)
The heroine is SOFIA Pavlovna (story by student No. 2).
3. How is the relationship between Sophia and her father, father and daughter, Sophia and Molchalin? What concept unites the characters in relation to each other? (Javl. 5)
How does Famusov's house live before the appearance of Chatsky?
(In Famusov's house, everything rests on lies and deceit (It happens worse - you can get away with it). Lies are like cute cheating (Liza), lies are like a means of hiding a secret (Sofya), lies are a means of servility (Molchalin), lies are like a shield of vices (Famusov ).
The first lover is Alexei Stepanovich Molchalin (story by student No. 3).
3. Why did Molchalin so deftly get out of such a delicate situation?
(Paper with him even on a date!)
Teacher: So, events 1-5 of the phenomenon introduce us to the main and secondary characters. Let's write in a column through 4 cells the names of the main characters
Slide number 10. Sketching a diagram in a notebook
Teacher: And now the usual, measured - calm course of events is suddenly broken by the news: "Alexander Andreyich Chatsky is here for you."
(We make an addition to the sketched diagram)
slide number 11
VI. Reading by roles 7 phenomena of the first action
slide number 12
Teacher: And now let's turn to questions on 7-10 phenomena.
Slide number 13 (Questions 7-10 yavl.)
VII. Analysis of 7-10 phenomena. Work in groups with the table “Characteristics of the main characters of the comedy A.S. Griboyedov "Woe from Wit". Making additions
Questions session.
Chatsky Alexander Andreevich (story by student No. 1).
1. What brought Chatsky to Famusov's house? [#5]
How does Chatsky behave in a dialogue with Sophia? Does he really want to offend anyone?
(Chatsky hurries to Sofya. He is sincerely in love with her. He sincerely says what he thinks, not wanting to offend or offend anyone)
2. What is Sophia's attitude towards Chatsky at the meeting?
(Sofya is cold, ironic, responds with sarcastic remarks to Chatsky's words, she is offended by Chatsky's words about Molchalin).
What caused Sophia's coldness towards Chatsky?
(Three years have passed - and Sophia has changed, her attitude towards others has changed. She says resentment that once, three years ago, Chatsky unexpectedly left, did not write letters, she is disappointed in him. She believes that he is too proud, arrogant, unkind towards others.Moreover, Sophia is in love with Molchalin, and this is unknown to Chatsky).
3. Did they expect Chatsky's arrival at Famusov's house?
(Of course, they didn’t wait. Chatsky didn’t write letters, didn’t notify anyone)
Does Chatsky now understand that he is a stranger in this house?
(He is sincerely struck by the beauty of Sophia, hopes for reciprocity. He wants to find past feelings in his beloved, but meets coldness and indifference. He does not understand her reaction to her words. All his thoughts are only about Sophia)
4. What does Sophia’s remark mean: “Ah, father, sleep in your hand”?
(S. Wants to transfer his father's suspicions from Molchalin to Chatsky)
Teacher: So, does a conflict situation arise in act I? If it arises, what kind of conflict is it: love, social, moral?
slide number 14
To summarize the analysis of the comedy act I, we suggest referring to the draft of the scheme “Conflict in the comedy act I by A.S. Griboyedov "Woe from Wit".
With the help of felt-tip pens, arrows, symbols convey the essence first act conflict
VIII. Work in groups with a draft of the scheme “Conflict in act I of the comedy by A.S. Griboyedov "Woe from Wit". (Annex 3)
IX. Presentation of schemes by groups
X. Conclusion.
Slide number 15. Conflict scheme
Teacher: What is the role of the first act of the comedy “Woe from Wit”?
Slide number 16. Role 1 of the comedy action
The role of the 1st act of the comedy: In the 1st act, the arrangement of the actors is given, the characters of the main and some secondary characters are revealed. The main social problems that concern the author of the comedy are stated. 7th phenomenon - tie love conflict between Chatsky and Sofia. Sincere, open Chatsky invades Famusov's house, where all relationships are built on lies. Thus, the sincerity, openness of Chatsky collide with lies, falsehood and, of course, deceit. ( Keyword shown in the diagram).
XI. Recording homework. slide number 1 7
2. Make additions to the table.
3. Compare the monologues “Taste, father, excellent manner” and “Who are the judges?”
XII. Lesson results. Grading
XIII. Reflection stage
Bibliography
1. Griboyedov A.S. Works. – M.: Artist. lit., 1988.
2. Weil P, Genis A. Native speech. Lessons in belles lettres. –M.: “Nezavisimaya Gazeta”, 1991.
3. Valagin A.P. Let's read together ...: Comedies by D. Fonvizin, A. Griboyedov, N. Gogol, A. Ostrovsky: Book. For students. – M.: “Enlightenment”, 1991.
4. Marantsman V.G., Chirkovskaya T.V. Problem learning literary work At school. A guide for teachers. – M.: “Enlightenment”, 1977.
5. Turyanskaya B.I., Gorokhovskaya L.N., Komisarova E.V., Mikheeva G.I. Literature in 9th grade. Lesson after lesson. - M .: LLC "TID" Russian word– RS”, 2007.
6. Fomichev S.A. Comedy A.S. Griboyedov "Woe from Wit": Commentary. Book. for the teacher. – M.: “Enlightenment”, 1983.
