The work made a great contribution to the formation of a new style of the literary language.
Prior to this, works of this genre were written in a pretentious unnatural language. Many foreign borrowings fell into them, mostly French, as it was spoken by an educated society. In Griboyedov's work, the language, on the contrary, is quite simple, close to colloquial. No wonder some of their expressions have become proverbs.
The language and style of speech of each character in "Woe from Wit" is individual and is used by the author to characterize the characters who personify the types of people in society or the shortcomings that the comedy makes fun of.
The play contains many purely Moscow expressions used at the time of its writing. This trait is shared by many of the characters, despite the emphasis on their individual differences. Everyday and everyday language should have emphasized that the author does not invent his own world, but wants to talk about people who meet in real life.
At the same time, the words of Chatsky and Sophia have another task. They express the feelings of these characters. In the monologues of the main Chatsky, words are used that were used under the influence of the freethinking of the Decembrist era: “fatherland”, “liberty”. His speech is full of pathos, it uses such words as: “foreign power”, “weakness”, as well as epithets inherent only to him: “meanest”, “hungry”.
Despite this, the speech of Sophia and Chatsky, for all its figurativeness and colorfulness, is also realistic. The author clearly sought to combine everyday speech with a lyrical style.
A feature of the comedy style was its poetic form. It has an uninterrupted rhythm without pauses. The play, in this sense, was written as a musical drama. Griboyedov also updated the form of comedic dialogue by introducing colloquial speech into it.
The size of the lines of individual characters is also used by the author of the comedy. It is determined by the nature of the characters and the course of the play. Chatsky speaks the most, voicing the ideas of the author and Famusov, expressing the opposite point of view. Secondary characters, whose image is already clear, for example, Molchalin, are laconic. In addition, in some cases, the very brevity of the lines, as in the case of Skalozub, helps to emphasize the character of the hero. In this case, it is the rudeness and harshness of the old campaigner.
In general, the work can be described as a brilliant example of the use of colloquial speech to characterize characters.
Option 2
The comedy play "Woe from Wit" by Alexander Sergeevich Griboyedov has multiple stylistic features, the main of which is the verse form. It was the poetic comedic language that became the center of the culture of the characters' comedic dialogue, which made it possible to enrich literary speech with simple, lively vernacular. This form of utterance is more like a musical drama, which has its own special, inevitable rhythm and without pauses and stops, a form that draws you in when reading.
The main characters of the comedy play Chatsky and Sofya are able to express a whole gamut of feelings that are different from other characters, for example, Skalozub, whose speech is filled with short phrases, Molchalin, who is also laconic. Their speeches express love, life's heartache, grief for those who were lost in the civil war, a unique sarcasm filled with irony and indignation.
From the first minutes of reading, one can easily observe the psychological, and one might even say ethical, elements of Griboedov's comedic language. Another feature of the language of the comedy "Woe from Wit" is Chatsky, who has his own special set of phrases that are alien to those times, his own individual construction of epithets and syntax, mixed with a set of simple and complex sentence forms.
The speech of the main characters is filled with richness and diversity, inversions and antitheses, gradations and pathos, which makes it possible to distinguish it from the speech of other characters, which is more similar to everyday, everyday. Griboedov is excellent at being able to single out Chatsky and Sophia thanks to the created image and ideological spirit. But at the same time, Alexander Sergeevich did not forget about realism. Book echoes are felt from time to time in the context, just as the author felt their danger and power.
Griboyedov in his comedy play was even able to recreate the special speech of the nobility of the intelligentsia of the Decembrist era. At the same time, patriotic vocabulary also had a place to exist.
The main feature of Alexander Sergeevich's comedy is the poetic structure of the characters' speech, which is more like a musical drama filled with special rhythms, and in which there is no place for pauses and arbitrary stops.
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In the work of Fonvizin, one can clearly see the transition from classicism, which prevails in his early works, to realism, which is prominent in the comedy "Undergrowth".
Classicism and realism in the work
As a writer, Fonvizin developed in the 60s of the XVIII century. All of his works are to some extent the imprint of the then dominant in the literature of classicism.
But Fonvizin, an original and strong artist, developed mainly the strong, progressive aspects of classicism: the principle of "imitation of nature", exposing the dark sides of life with the light of "reason", harmony of composition, clarity of images, i.e. everything that started a new, realistic attitude of the artist to reality. In The Undergrowth, the features of classicism are intertwined with the features of realism, and a truthful, versatile reflection of life in typical and at the same time concrete images wins here.
The comedy is built according to the rules of classicism. It strictly observes both the unity of time and place, and the sharp division of heroes into positive and negative. But, nevertheless, despite some artificiality of construction, "Undergrowth" gives an excellent image of Russian feudal reality. The images of the feudal landlords are illuminated so clearly and vividly that the comedy can rightfully be called a wonderful folk work of everyday life. The weak side of comedy is the image of goodies: it is pale, schematic. In them, the author did not draw the typical characters of the people of his time, but conveyed his thoughts. And Starodum, and Pravdin, and Milon are just mouthpieces for the proclamation of the author's ideas.
The language of the comedy "Undergrowth"
The convex realistic depiction of negative characters and the pale schematism of positive ones are clearly revealed in the language of the characters in the comedy. The narrow-mindedness, rudeness, ignorance of Skotinin find beautiful expression in his speech. “As soon as I take something into my head,” says this hero of the barnyard, “you can’t knock it out with a nail.” He threatens Mitrofanushka "to break like hell", calls him "damned ingot". Mrs. Prostakova expresses herself no less rudely: “Let me go, father. Give me until the face, before the face ... "" Oh, she's a beast, "she exclaims about Palashka, who is lying sick. Downtrodden and frightened by his wife, Mr. Prostakov stammers, obsequiously and pleadingly: “The bag is a little baggy,” he determines the merits of the caftan sewn for his son, thinking with such a definition to please his wife. “Oh, you, dear father,” he timidly remarks to Pravdina at the news of the arrival of soldiers in the village. “I don’t dare to appear to them.” The language of negative actors reveals the individual appearance of each. The positive characters all speak almost the same language - the language of the author himself.
Hero typing
The main advantage of comedy lies in the broad typical generalization of representatives of the ruling class. The typicality of the Skotinins was also noted by Fonvizin himself. For him, these images are collective. “I think that the Skotinins are all kind of strong-willed,” says Starodum. Pravdin also speaks of "all" Skotinins.
Pushkin also understood this typicality. "Skotinin's gray-haired couple" performs in his "Eugene Onegin". Yes, and all the provincial nobility satirically depicted by Pushkin in many ways resembles the images of the Skotinins and Prostakovs.
The comedy "Undergrowth" had a great influence on the writers of subsequent generations, especially on the dramatic works of Griboedov ("Woe from Wit") and Gogol ("The Government Inspector", "Marriage").
"Kozma Prutkov" - Alexei Konstantinovich Tolstoy. Alexander Mikhailovich Zhemchuzhnikov. Mystery of Kozma Prutkov. Such a fable, of course, did not go unpunished. Kozma devoted most of his time to literature. Creators biography aphorisms poem titles of plays. Poet's Desire. The young man studied well. There was prose and poetry.
"White Bim" - Troepolsky Gavriil Nikolaevich. It’s snowing from a black cloud, but Bim is still waiting ... Soon a leaf will fall from the trees, and Bim is still waiting ... For some reason, a friend does not come, but Bim is still waiting ... Despite the efforts of good people, evil triumphs. Creation. The great good is to believe. And love." Friendship and trust cannot be bought or sold.
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"L. Andreev Kusaka" - Why Kusaka was not taken to the city? Oh, how the mind will endure The mighty hurricane of fate. How does Kusaka express her hatred and love? Nature is also not indifferent to the fate of Kusaki. 16. We tear the hearts of friends and relatives And cripple each other's souls. Let's define the theme and idea of the work. "Nipper" (1901). (1871 - 1919).
"Victor Dragunsky" - Patient with chickenpox Wash the dishes ourselves (Tricky way) Ш ("Enchanted letter"). Xenia Dragunskaya. Which Dragunsky story has the shortest title? Denis Dragunsky with his dad. Books by Viktor Dragunsky. What does a foot missing from a bicycle pedal look like? Chicken ... Which patient looks like a green leopard?
"Yuri Kazakov" - . M. Gorky. New layers of literature, thematic and stylistic, were maturing. The first collection of short stories in Moscow - "At the station" (1959). Competition of teachers of literature "Victoria" "Creativity of Yu.P. Kazakov". Yuri Kazakov came to literature when there was an urgent need for talents of this kind.
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In the text "Woe from Wit" language is reflected in three ways- as a living speech, as a literary norm and as a work of art. Accordingly, three circles of linguistic problems arise, the researcher of each of which can look at the text of Woe from Wit as his own material. The first one sees in this text one of the most important sources for the history of the living Moscow dialect, as it affected the everyday life of the Moscow noble circle at the beginning of the 19th century. The second looks at "Woe from Wit" as a wonderful monument of the history of the Russian literary language, along with Krylov's fables, which especially clearly reflects the transformation of known facts of Russian vernacular into an integral element of the all-Russian national language norm. Finally, "Woe from Wit" is also universally recognized high example of Russian artistic speech, one of the most remarkable achievements of Russian language skills. This is what our conversation will be about.
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The language and style of A. S. Griboyedov's comedy "Woe from Wit" The comedy "Woe from Wit" was completed by Griboedov in 1824 (a year before the Decembrist uprising). Immediately banned by censorship, the comedy during the life of the author never appeared either in print or on stage. But the popularity of "Woe from Wit" was enormous: the manuscript of the comedy was copied by hand, and the lists dispersed throughout Russia. When the first theatrical performances of the comedy were allowed according to censored lists, the audience already knew the original (unabridged) text of the play so well that they corrected the actors and reproached them for "distorted" lines, for "mangling" the verses. Even then, the aphoristic, colorful, vivid speech of the comedy was familiar to many representatives of the noble intelligentsia. The author put all the power of his poetic talent into comedy, creating a play filled with deep content, but unusually easy to read, remember and perceive by the viewer. Comedy owes this property to Griboedov's witty and lively language. The play reflects the era that came after the Patriotic War of 1812. Griboyedov portrays the Moscow nobility of this period. Both the language and the style of the play reflect precisely this era and this society. The peculiarities of the language of comedy are connected, firstly, with the innovation of the method and genre of comedy. Recall that comedy in the era of classicism was considered a low genre, in which colloquial language reduced to rudeness was allowed. Griboyedov partially preserves and partially violates this tradition: the play was indeed written in a different colloquial language, but nonetheless literate and literary, harmoniously fitting into the poetic form; the language is not reduced to rudeness and is as close as possible to literary colloquial speech. The language of the play is, if possible, freed from borrowed foreign words, as well as from archaisms, Church Slavonicisms, characteristic of book speech of the past century, which noticeably "facilitates" it, makes it accessible and easy to understand. Griboyedov took over from Krylov the experience of using colloquial speech in poetry. The comedy is written in iambic six-foot, which is often interspersed with shorter lines, due to which the verse loses its heaviness and monotony. Griboyedov managed to convey in poetic form the real living Russian language spoken by an educated society in the era of writing comedy. To convey the language of the Moscow nobility, the author also uses catchphrases and terms of that time, a kind of noble jargon: “We take teachers, both to the house and on tickets”, “noble in case”, “they don’t nod dumber”, “English”, “farmazon” (distorted "franc-masson"), "carbonari". In the play, each character speaks his own language, each has his own speech characteristics. The main conflict of the play is the conflict between the progressive personality - Chatsky - and society, of which Famusov is a typical representative. The conflict is also reflected in the speech of the characters.
