Woe from Wit summary analysis. Analysis of comedy by A.S. Griboyedov "Woe from Wit". Development of dramatic action

History of the comedy

The comedy “Woe from Wit” is the main and most valuable result of the work of A.S. Griboedova. When studying the comedy “Woe from Wit”, analysis should be made, first of all, of the conditions in which the play was written. It touches on the issue of the brewing confrontation between the progressive and conservative nobility. Griboedov ridicules morals secular society early 19th century. In this regard, the creation of such a work was a rather bold step in that period of development of Russian history.

There is a known case when Griboyedov, returning from abroad, found himself at one of the aristocratic receptions in St. Petersburg. There he was outraged by the obsequious attitude of society towards one foreign guest. Griboedov's progressive views prompted him to express his sharply negative opinion on this matter. The guests considered young man crazy, and news of this quickly spread throughout society. It was this incident that prompted the writer to create a comedy.

Themes and issues of the play

It is advisable to begin the analysis of the comedy “Woe from Wit” by referring to its title. It reflects the idea of ​​the play. Feels grief from his sanity main character comedy - Alexander Andreevich Chatsky, who is rejected by society only because he is smarter than the people around him. This also leads to another problem: if society rejects a person extraordinary mind, then how does this characterize society itself? Chatsky feels uncomfortable among people who consider him crazy. This gives rise to numerous verbal clashes between the protagonist and representatives of the society he hates. In these conversations, each party considers itself smarter than the other. Only the mind of the conservative nobility lies in the ability to adapt to existing circumstances in order to obtain the maximum material benefit. Anyone who does not pursue rank and money is considered a madman.

Accepting Chatsky's views for the conservative nobility means beginning to change their lives in accordance with the demands of the time. Nobody finds this comfortable. It’s easier to declare Chatsky crazy, because then you can simply ignore his accusatory speeches.

In Chatsky’s clash with representatives of aristocratic society, the author raises a number of philosophical, moral, national-cultural and everyday issues. Within the framework of these topics, the problems of serfdom, service to the state, education, and family life are discussed. All these problems are revealed in comedy through the prism of understanding the mind.

The conflict of a dramatic work and its originality

The uniqueness of the conflict in the play “Woe from Wit” lies in the fact that there are two of them: love and social. The social contradiction lies in the clash of interests and views of representatives of the “present century” represented by Chatsky and the “past century” represented by Famusov and his supporters. Both conflicts are closely related to each other.

Love experiences force Chatsky to come to Famusov’s house, where he has not been for three years. He finds his beloved Sophia in a confused state, she receives him very coldly. Chatsky does not realize that he arrived at the wrong time. Sophia is busy with worries love story with Molchalin, his father’s secretary, living in their house. Endless thoughts about the reasons for the cooling of Sophia's feelings force Chatsky to ask questions to his beloved, her father, Molchalin. During the dialogues, it turns out that Chatsky has different views with each of his interlocutors. They argue about service, about ideals, about the morals of secular society, about education, about family. Chatsky’s views frighten representatives of the “past century” because they threaten the usual way of life of Famus society. Conservative nobles are not ready for change, so rumors about Chatsky’s madness, accidentally started by Sophia, instantly spread through society. The protagonist's beloved is the source of unpleasant gossip because he interferes with her personal happiness. And here again we see the interweaving of love and social conflicts.

System of comedy characters

In his depiction of characters, Griboyedov does not adhere to a clear division into positive and negative, which was mandatory for classicism. All heroes have both positive and negative traits. For example, Chatsky is smart, honest, brave, independent, but he is also quick-tempered and unceremonious. Famusov is the son of his age, but at the same time he is a wonderful father. Sophia, ruthless towards Chatsky, is smart, courageous and decisive.

But the use of “speaking” surnames in the play is a direct legacy of classicism. Griboyedov tries to put the leading feature of his personality into the hero’s surname. For example, the surname Famusov is derived from the Latin fama, which means “rumor.” Consequently, Famusov is the person who is most concerned public opinion. It is enough to remember his final remark to be convinced of this: “...What will Princess Marya Aleksevna say!” Chatsky was originally Chadsky. This surname hints that the hero is in the throes of his struggle with the mores of aristocratic society. The hero Repetilov is also interesting in this regard. His last name is related to the French word repeto - I repeat. This character is a caricature double of Chatsky. He does not have own opinion, but only repeats other people’s words, including Chatsky’s words.

It is important to pay attention to the placement of characters. The social conflict occurs mainly between Chatsky and Famusov. A love confrontation is being built between Chatsky, Sophia and Molchalin. These are the main characters. Unites love and social conflict figure of Chatsky.

The most difficult part in the comedy “Woe from Wit” is the image of Sophia. It is difficult to classify her as a person who adheres to the views of the “past century.” In her relationship with Molchalin, she despises the opinion of society. Sophia reads a lot and loves art. She is disgusted by the stupid Skalozub. But you can’t call her a supporter of Chatsky either, because in conversations with him she reproaches him for his causticity and mercilessness in his words. It was her word about Chatsky’s madness that became decisive in the fate of the main character.

Minor and episodic characters are also important in the play. For example, Lisa and Skalozub are directly involved in the development of a love conflict, complicating and deepening it. Episodic characters, who appear as guests of Famusov (Tugoukhovskys, Khryumins, Zagoretsky), more fully reveal the morals of Famusov’s society.

Development of dramatic action

Analysis of the actions of “Woe from Wit” will reveal compositional features works and features of the development of dramatic action.

The exposition of the comedy can be considered all the phenomena of the first act before Chatsky’s arrival. Here the reader gets acquainted with the scene of action and learns not only about the love affair between Sophia and Molchalin, but also that Sophia previously had tender feelings for Chatsky, who had gone to travel around the world. The appearance of Chatsky in the seventh scene of the first act is the beginning. What follows is the parallel development of social and love conflicts. Chatsky's conflict with Famusovsky society reaches its peak at the ball - this is the culmination of the action. The fourth act, 14th appearance of the comedy (Chatsky’s final monologue) represents the denouement of both social and love lines.

At the denouement, Chatsky is forced to retreat to Famus society because he is in the minority. But he can hardly be considered defeated. It’s just that Chatsky’s time has not yet come; a split among the nobility has only just begun.

The originality of the play

Research and analysis of the work “Woe from Wit” will reveal its striking originality. Traditionally, “Woe from Wit” is considered the first Russian realistic play. Despite this, it retained the features inherent in classicism: “speaking” surnames, unity of time (the events of the comedy take place within one day), unity of place (the action of the play takes place in Famusov’s house). However, Griboyedov refuses the unity of action: in the comedy two conflicts develop in parallel at once, which contradicts the traditions of classicism. In the image of the main character, the formula of romanticism is also clearly visible: an exceptional hero (Chatsky) in unusual circumstances.

Thus, the relevance of the play’s problems, its unconditional innovation, and the aphoristic language of the comedy are not only of great importance in the history of Russian literature and drama, but also contribute to the popularity of the comedy among modern readers.

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Writers are some of the most unique people on the planet; they know how to short situation create a multifaceted masterpiece. Almost the same fate befell Griboyedov’s comedy “Woe from Wit.”

The history of the creation of the work “Woe from Wit”

Once Griboedov had a chance to attend one of the dinner parties in aristocratic circles. There he was a witness unusual picture: one of the guests was foreign citizen. Aristocrats really appreciated everything foreign, they wanted to be as much like them as possible, so any contact with foreign guests, especially those of noble origin, was flattering for representatives of high society. Therefore, the entire dinner was devoted to a reverent attitude towards the foreign guest - Griboedov, who was hostile to the attempts of the Russian aristocracy to acquire everything foreign, including behavior, language and features of life, could not miss the moment and not speak out on this matter.

We invite you to familiarize yourself with the “characteristics of Molchalin” in the comedy “A. Griboyedov “Woe from Wit”.

Naturally, his speech was not heard - the aristocrats considered Griboyedov to be out of his mind and immediately happily started rumors about his mental illness. Indignant Alexander Sergeevich then decided to write a comedy in which he would expose all the vices of aristocratic society. This happened in 1816.

Comedy publication history

However, Griboyedov began creating the work after some time. In 1823, the first fragments of the comedy were ready. Griboedov presented them to society from time to time, first in Moscow, then in Tiflis.

There were also difficulties with publication for a long time - the text was repeatedly subject to censorship and, as a result, to revision and revision. Only in 1825 were fragments of the work published.

During Griboedov’s lifetime, his work was never fully published - in the hope that his friend Bulgarin would help with this, Alexander Sergeevich gives him the manuscript of his comedy, which at that time was called “Woe of Wit,” but publication did not follow.

Four years after Griboedov’s death (in 1833), “Grief” finally saw the light of day. However, the text of the comedy was distorted by the editorial and censorship commission - there were too many moments in the text that were unacceptable for publication. It was not until 1875 that the work was published without censorship.

Comedy heroes

All the characters in the play can be divided into three categories - main, secondary and tertiary.

TO central images comedies include Famusov, Chatsky, Molchalin and Sofya Pavlovna

• Pavel Afanasyevich Famusov- an aristocrat by birth, managing a government agency. He is a dishonest and corrupt official, and as a representative of society, he is also far from ideal.
• Sofya Pavlovna Famusova- Famusov’s young daughter, despite her young age, she is already actively using the tricks accepted in aristocratic circles - the girl loves to play with the feelings of other people. She likes to be the center of attention.
• Alexander Chatsky– hereditary aristocrat, orphan. He was taken in by Famusov after the death of his parents. For some time, Alexander was in military service, but became disillusioned with this type of activity.
• Alexey Stepanovich Molchalin- Famusov’s secretary, a man of ignoble origin, who, thanks to Famusov’s actions, acquires the rank of nobility. Molchalin is vile and hypocritical person, who is driven by the desire to break into aristocratic circles at any cost.

The secondary characters include the images of Skalozub, Lisa and Repetilov.

• Sergey Sergeevich Skalozub- a nobleman, a young officer who is only interested in promotion.
• Repetilov- an old friend of Pavel Afanasyevich, a hereditary nobleman.
• Lisa- a servant in the Famusovs’ house, with whom Molchalin is in love.

Characters of tertiary importance include the images of Anton Antonovich Zagoretsky, Anfisa Nilovna Khlestova, Platon Mikhailovich Gorich, Natalya Dmitrievna Gorich, Prince Pyotr Ilyich Tugoukhovsky, Countesses Khryumin and Petrushka - all of them act briefly in the play, but thanks to their social position they help to depict an accurate and unsightly picture of reality.

The young landowner Chatsky returns home after a three-year absence from Russia. He visits the house of his teacher Famusov in order to woo his daughter, with whom he has long been in love, Sophia.

In Famusov’s house, Chatsky notices that during his absence the vices of the aristocracy have only worsened. The young man is surprised by the self-interest and calculation of representatives of high society. Aristocrats, instead of setting an example of humanism and honesty, set an example of bribery and playing to the public - this discourages Chatsky. The ideal of behavior in high circles has become servility - for aristocrats it has become unimportant to serve - now it is in fashion to serve. The exposure of Chatsky's opposite position in relation to the Famus society becomes the main reason why he cannot claim Sonya's hand.

We invite you to familiarize yourself with the “characterization of Famusov” in the comedy “Woe from Wit” by A. Griboyedov.

Alexander still does not lose hope. He thinks that the girl’s favor will be able to change the situation, but even here Chatsky will be disappointed - Sonya actually loves not him, but her father’s secretary.

However, Sonya is in no hurry to refuse Chatsky - she hides the true state of affairs from Chatsky and pretends that Alexander’s sympathy is pleasant to her. In addition, the girl is spreading rumors that

Chatsky has mental health problems. When Alexander finds out the truth, he realizes that such a girl cannot be his wife. The only thing that remains for Alexander is to leave Moscow.

Poetic size and features of the verse of the play

Griboyedov's play "Woe from Wit" is written in iambic. The number of feet in poetry is not the same (unlike traditional Alexandrian verse, which involved the use of iambic hexameter) - Alexander Sergeevich periodically changes the number of feet. Their number varies from one to six.

The rhyme system is also not stable. In the play you can see virtually all the options - double, cross, belted. In addition, Griboyedov uses internal rhyme.

Themes and issues of the play

The main conflict of the play is defined by the framework of the confrontation between the “present century” and the “past century.” This concept is not limited solely to the attitude to service and a person’s wealth - a large array of problems is hidden under these phrases.

First of all, the problem of the type of human activity and their distribution into noble pursuits (civil service in government institutions And military service) and shameful (writing, scientific activity).

The second problem of the play was the glorification of suck-ups - authority and respect in society are earned not by valiant service or exemplary work done, but by the ability to please higher management.

The next problem is bribery and mutual responsibility. All problems in society can be solved with money or connections.

The problem of sincerity and honesty is also raised by Griboyedov - people say what is beneficial. They are ready to dissemble and deceive in order to gain some benefits. Rarely is anyone ready to express a true opinion, especially if it does not coincide with the opinion of the majority.

Most people become dependent on the opinions of others; they are ready to build their lives, guided not by convenience, but by tradition, even when it significantly complicates their lives.

The problem of selfishness has caused the emergence of duplicity in love front– being a monogamist has become unfashionable.

Genre of the work: “Woe from Wit”

Features of the themes and issues of the play became the reason for the emergence of discussion in literary circles about the genre "Woe from Wit". Researchers' opinions on this issue are divided.

Some believe that it is correct to assign the comedy genre to a work, while others are sure that such problems are typical for works of a dramatic nature.

The main reason that allows us to define the play as a drama is the global nature of the problem raised. The conflict of the play is built on a deep feeling of disappointment, which is not typical for comedy. The comic elements that are present in the description of the characters are minimal and, according to researchers, are used to enhance the dramatic function in the text.

Based on this position, along with proposals to define the genre as comedy or drama, proposals to mix genres began to appear in the course of the discussion. So, for example, N.I. Nadezhdin designated it as a satirical picture.

N.K. Piskanov, analyzing the features of the play, came to the conclusion that it is impossible to determine exactly its genre - literary scholars have every reason to designate it as social drama, a realistic everyday play, a psychological drama and even a musical drama (based on the characteristics of the verse of the play).

Despite all the discussions, Griboyedov's play "Woe from Wit" continues to be called a comedy. First of all, this is due to the fact that Alexander Sergeevich himself designated the genre of his work this way. Although comic elements are not widely used in the play, and its structure and plot features are far from traditional comic ones, the influence of satire and humor had a noticeable place in the play.

Thus, the play by A.S. Griboedov’s “Woe from Wit” is a multifaceted and extensive work.

The variety of themes and issues of the play, as well as the ways of depicting the essence of the conflict, have become the cause of discussion in terms of the genre of the play.

The problems and topics raised by Griboyedov can be classified as “eternal” topics that never lose their relevance.

Comedy “Woe from Wit” by Griboyedov: analysis of the work, materials for composition

Introduction

Analysis of the comedy "Woe from Wit" by Griboyedov A.S.

1 History of creation and publication of the work

1.2 Ideological and philosophical content of the work

3 Comedy genre

4 The plot of the comedy

5 Features of building a character system

6 Language and features of comedy verse

2. Immortal work Griboedova

Conclusion

List of used literature

Introduction

In the history of literature, there are authors who are also called “authors of one work.” Classic example such a writer - Griboyedov. This man's talent is truly phenomenal. His knowledge was enormous and multifaceted, he learned many languages, was a good officer, a capable musician, an outstanding diplomat with the makings of a major politician. But despite all this, few would have remembered him if not for the comedy “Woe from Wit,” which put Griboedov on a par with the greatest Russian writers.

The comedy "Woe from Wit" was scattered catchphrases, quatrains, expressions that have not yet become generally known. Isn't this a true confession? We often say: “Who are the judges?”, “It’s barely light on your feet! And I’m at your feet,” “It’s a terrible age!”, “Friend, can’t we choose a nook for a walk further away,” without thinking that these are phrases from brilliant comedy "Woe from Wit".

Griboedov accurately and truthfully portrayed not only the characters of the heroes of the first quarter of the 19th century, but also presented a wonderful storehouse of wisdom, sparkling humor, from which we have been drawing treasures for more than a hundred years, and it is not exhausted. The picture of the life of the Moscow nobility was created no less brilliantly.

All the action of the comedy takes place in one house (Famusov’s house) and lasts one day, but leaves the impression of a peaceful acquaintance with the life of the Moscow nobility. This is “a picture of morals, a gallery of living types, and an ever-sharp, burning satire.” (N.A. Goncharov).

“Griboyedov is a “man of one book,” noted V.F. Khodasevich. “If it were not for Woe from Wit, Griboyedov would have no place at all in Russian literature.” Griboyedov in his comedy touched upon and exposed the socio-political ideas of Decembrism wide circle very specific phenomena of social life in feudal Russia.

The topical meaning of Griboyedov's criticism today, of course, is not felt with such acuteness as it was felt by his contemporaries. But at one time the comedy sounded topical. And the questions of noble education in “boarding houses, schools, lyceums”, and the question of “Lankart mutual education”; and debates about the parliamentary system and judicial reform, and individual episodes of the Russian public life, reflected in Chatsky’s monologues and in the remarks of Famusov’s guests - all this had the most relevant meaning.

All of the above factors determine the relevance and significance of the topic of work on modern stage, aimed at a deep and comprehensive study of the system of characters and prototypes of A.S.’s comedy. Griboyedov "Woe from Wit".

The purpose of this test work is the systematization, accumulation and consolidation of knowledge about the characters of A.S.’s comedy. Griboyedov "Woe from Wit".

In accordance with the goal, the work is expected to solve the following tasks:

- do analysis of the comedy "Woe from Wit";

consider the gallery of human portraits in the comedy by A.S. Griboyedova;

Goal and tasks course work determined the choice of its structure. The work consists of an introduction, two chapters, a conclusion, and a list of literature used in writing the work.

This structure of the work most fully reflects the organizational concept and logic of the material presented.

When writing the work, the works of domestic authoritative authors in the field of studying the issue under consideration were used: Bat L.I., Ilyushina L.A., Vlashchenko V., Vyazemsky P.A., Gladysh I.A., etc.

1. Analysis of the comedy “Woe from Wit” by Griboyedov A.S.

.1 History of creation and publication of the work

Information about the history of the creation of the main work of art Griboyedov are quite stingy. According to the writer’s friend, S.N. Begichev, the idea for the comedy arose back in 1816. It was supposed to write 5 acts, in which an important role was assigned to Famusov’s wife, “a sentimental fashionista and aristocrat.” Subsequently, the number of actions was reduced, and from the important female image the playwright refused. Apparently, the discussion here was not actually about the work that we know, but about a sketch, plot-wise similar to the comedy, but still not its first edition. The date of the start of work on “Woe from Wit” is considered to be 1820. A letter from Griboedov from Persia dated November 17, 1820 to an unknown person has been preserved, which recounts in detail a dream in which the writer allegedly saw the main points of the future work.

The original title of the play was “Woe to Wit.” The writer formulated the main intrigue of the future comedy in a letter to Katenin as follows: “The girl, not stupid herself, preferred a fool smart person"However, social contradictions did not fit into the designated plot scheme. In addition, the title itself sounded like a condemnation of every mind for all times. Griboyedov sought to present such a paradoxical, but, alas, typical situation in which a positive personality quality - intelligence - brings misfortune It is precisely this situation that is reflected in the new name - “Woe from Wit”.

Direct study of the first and second acts was carried out in 1822 in the Caucasus. An important role in the depiction of social confrontation was played by communication with Kuchelbecker, whose observations Griboedov took into account. Work on the 3rd and 4th acts was carried out in 1823 on the estate of S.N. Begichev, and the first act was burned and rewritten. The completely original version of the comedy was completed in 1824 in Moscow and presented to the same Begichev (the so-called Museum Autograph). The writer goes to St. Petersburg for censorship permission, continuing to make changes to the text along the way. This is how the scene of Molchalin flirting with Lisa in the 4th act was completed and the entire ending was changed. Arriving in the capital, Griboedov reads the play by A.A. Gandru, who was in charge of the entire office. The latter instructs scribes to prepare copies of the work. The playwright gave the list, corrected in his own hand and signed, to his friend (Zhandrovskaya manuscript). Main role The future Decembrists played a role in disseminating the play during this period.

The second half of 1824 and the beginning of 1825 were spent in trouble: the writer met with the Minister of the Interior B.C. Lansky, Minister of Education A.S. Shishkov, Governor of St. Petersburg M.A. Miloradovich, was introduced to the Grand Duke (future emperor) Nikolai Pavlovich. All of them reacted favorably to the playwright, but they failed to achieve publication of the entire work. Only phenomena 7-10 of the first act and the third act were published with censorship abbreviations in F.V.’s almanac. Bulgarin "Russian Waist in 1825". When he left for the East in 1828, Griboedov gave him the last authorized version of the work (Bulgarin list). After the death of the writer, permission was finally obtained to theatrical production in a highly distorted form. In 1833, a theatrical "edition" of the comedy was published.

The play was published completely without censorship cuts abroad in 1858, and in Russia only in 1862. By this time, there were several tens of thousands of handwritten copies in the country, which significantly exceeded all circulations of printed materials known at that time. At the same time, the handwritten versions contained serious discrepancies, caused both by simple mistakes of copyists and by their desire to make their own additions and changes to the text. The editors of the 1862 edition were not able to completely overcome these difficulties. Only in the 20th century, through the efforts of literary scholars who conducted textual studies, and above all N.K. Piksanov, based on a comparison of the Museum autograph, the Zhandrovsky manuscript and the Bulgarin copy, the version of the comedy text that we have today was established.

Artistic method comedy

Traditionally, "Woe from Wit" is considered the first Russian realistic comedy. This fact is indisputable. At the same time, the play retains the features of classicism (for example, the unity of time and place, " speaking names", traditional roles: "deceived father", "close-minded military man", "soubrette-confidante") and elements of romanticism appeared, reflected in a number of exceptional personality traits of the protagonist, in his incomprehension by others and loneliness, in his maximalism, opposition to everything around him reality and putting forward, in contrast to this reality, one’s own ideal ideas, as well as in the pathos of his speech. Realism was expressed primarily in the typification of characters and circumstances, as well as in the author’s conscious refusal to follow numerous norms for constructing classicist plays. Griboyedov violated a number of genre and plot-compositional principles canons<#"justify">.4 The plot of the comedy

When considering the conflict and plot organization of Woe from Wit, it is necessary to remember that Griboyedov innovatively approached the classicist theory of three unities. While observing the principles of unity of place and unity of time, the playwright did not consider it necessary to be guided by the principle of unity of action, which, according to existing rules, was supposed to be built on one conflict and, having begun at the beginning of the play, receive a denouement in the finale, and main feature The outcome was the triumph of virtue and the punishment of vice. The violation of the rules of suspense caused sharp differences in criticism. Thus, Dmitriev, Katenin, Vyazemsky spoke about the absence of a single action in “Woe from Wit”, emphasizing the dominant role not of events, but of conversations, seeing this as a stage flaw. The opposite point of view was expressed by Kuchelbecker, who argued that there is much more movement in comedy itself than in plays built on traditional intrigue.

The essence of this movement lies precisely in the consistent disclosure of the points of view of Chatsky and his antipodes, “... in this very simplicity there is news, courage, greatness...” Griboyedov. The outcome of the controversy was later summed up by Goncharov, who identified two conflicts and, accordingly, two closely intertwined with each other storylines, forming the basis of stage action: love and social. The writer showed that, having initially begun as a love conflict, the conflict is complicated by opposition to society, then both lines develop in parallel, reach a climax in the 4th act, and then the love affair receives a denouement, while the resolution of the social conflict is taken outside the scope of the work - Chatsky is expelled from Famusov society, but remains true to his convictions. Society does not intend to change its views - therefore, further conflict is inevitable.

This kind of “openness” of the ending, as well as the refusal to show the obligatory triumph of virtue, reflected the realism of Griboyedov, who sought to emphasize that in life, unfortunately, there are often situations when vice triumphs. The unusualness of the plot decisions with a pattern led to an unusual compositional structure: instead of the three or five acts prescribed by the rules, the playwright creates a comedy of four. If the love affair were not complicated by social conflict, then probably three actions would be enough to resolve it; if we assume that the author set out to show the final outcome of the social conflict, then, obviously, he would need to write a fifth act.

.5 Features of building a character system

When considering the features of constructing a character system and revealing characters, it is necessary to keep in mind the following circumstances. Firstly, the author creates images of his heroes according to the principles of realism, while remaining faithful to some features of classicism and romanticism. Secondly, Griboedov abandoned the traditional division of characters into positive and negative, which was reflected in the difference in critical assessments given to the images of Chatsky, Sophia, and Molchalin. Chatsky, for example, in addition to positive qualities- intelligence, honor, courage, versatile education - also has negative ones - excessive ardor, self-confidence and unceremoniousness.

Famusov, in addition to numerous shortcomings, has an important advantage: he is a caring father. Sophia, who so mercilessly and dishonestly slandered Chatsky, is smart, freedom-loving and determined. The obsequious, secretive and two-minded Molchalin is also not stupid and stands out for his business qualities. Attempts by critics to absolutize the positive or, on the contrary, negative sides heroes led to a one-sided perception of them and, consequently, to distortion author's position. The writer fundamentally opposed traditional way the creation of characters, based on classical roles and hyperbolization of any one character trait ("caricatures", according to Griboedov's definition), a way of depicting social types, drawn through individual detail as versatile and multi-dimensional characters (called "portraits" by the author).

The playwright did not set himself the task of absolutely accurately describing any of the familiar faces, while contemporaries recognized them by individual striking details. Of course, the characters had prototypes, but even there were several prototypes of one character. So, for example, Chaadaev (due to the similarity of the surname and an important life circumstance: Chaadaev, like Chatsky, was declared crazy), and Kuchelbecker (who returned from abroad and immediately fell into disgrace), and, finally, were named as prototypes of Chatsky. the author himself, who found himself at some evening in Chatsky’s situation and declared later: “I will prove to them that I am sane. I will introduce comedy into them, I will bring this entire evening into it: they will not be happy.” Gorich, Zagoretsky, Repetilov, Skalozub, Molchalin and other characters have several prototypes. The situation with Khlestova’s prototype looks most definite: most researchers point to the famous N.D. Ofrosimov, who also became the prototype of MD. Akhrosimova in the novel by L.N. Tolstoy's "War and Peace", although there are also references to other persons. They pay attention, for example, to the fact that Khlestova’s behavior and character resemble the traits of Griboyedov’s mother, Nastasya Fedorovna.

It is very important to remember that both generalizing and personality traits heroes are created thanks to a whole arsenal artistic means and techniques. It is the mastery of dramatic technique, the ability to create bright, lively, memorable pictures and images that form the basis of the artist’s skill. The main personality trait, which the author considered central to the corresponding stage role, is indicated by the “speaking” surname. So, Famusov (from the Latin fama - rumor) is a person dependent on public opinion, on rumors (“Ah! My God! What will / Princess Marya Aleksevna say!”). Chatsky (the original version of the surname Chadsky) is in the grip of passion and struggle. Gorich is a derivative of "grief". Apparently, his marriage and gradual transformation from an efficient officer into a “husband-boy”, “husband-servant” should be viewed as grief. The surname Skalozub indicates both the habit of rude ridicule and aggressiveness. The surname Repetilov (from the Latin repeto - I repeat) suggests that its owner does not have his own opinion, but is inclined to repeat someone else’s. Other surnames are quite transparent in terms of meaning. Messrs. N. and D. are as nameless as they are faceless.

Important means of creating images are also the actions of the characters, their views on existing life problems, speech, characterization given by another character, self-characterization, comparison of characters with each other, irony, sarcasm. So, if one of the heroes goes to “look at how” Molchalin, who fell from his horse, was cracked, “in the chest or in the side,” then the other at the same time rushes to the aid of Sophia. The characters of both are revealed in their actions. If behind the eyes one assessment of a personality is given (for example: “...a dandy friend; declared a spendthrift, a tomboy...”), and in the eyes - another (“... he is a smart guy; and writes and translates nicely”) , then the reader gets the opportunity to form an idea of ​​both what is being characterized and the characterizing. It is especially important to trace the sequence of changes in assessments (from, say, “Auster, smart, eloquent, especially happy with his friends...” to “Not a man - a snake”; from “Carbonari”, “Jacobin”, “Voltairian” to “crazy” ") and understand what causes such extremes.

In order to get an idea of ​​the character system as a whole, it is necessary to analyze the interaction of the levels of its organization - main, secondary, episodic and off-stage. Which characters can be considered main, which - secondary, which - episodic, depends on their role in the conflict, in posing problems, in stage action. Since public confrontation is built primarily along the Chatsky-Famusov line, and the love affair is based primarily on the relationship between Chatsky, Sophia and Molchalin, it becomes obvious that of the four main characters It is the image of Chatsky that bears the main burden. In addition, Chatsky in comedy expresses a set of thoughts that are closest to the author, partly fulfilling the classicist function of a reasoner. This circumstance, however, in no way can serve as a basis for identifying the author with his hero - the creator is always more complex and multidimensional than his creation.

Famusov appears in the play both as the main ideological antipode of Chatsky, and as an important character in a love affair (“What a commission, Creator, (Being an adult daughter’s father!”), and as a certain social type - a major official, and as an individual character - sometimes imperious and straightforward with his subordinates, sometimes flirting with the maid, sometimes trying to “reason” and “set him on the right path” of the young man, sometimes discouraged by his answers and shouting at him, sometimes affectionate and gentle with his daughter, sometimes hurling thunder and thunder at her lightning, helpful and polite with an enviable groom, a kind host who can, however, argue with the guests, deceived, at the same time funny and suffering in the finale of the play.

The image of Sophia turns out to be even more complex. A witty and resourceful girl contrasts her right to love with the will of her father and social norms. At the same time, brought up on French novels, it is from there that she borrows the image of her beloved - an intelligent, modest, chivalrous, but poor man, the image that she strives to find in Molchalin and is cruelly deceived. She despises the rudeness and ignorance of Skalozub, she is disgusted by the bile, caustic language of Chatsky, who, however, speaks the truth, and then she responds no less bile, not disdaining a vengeful lie. Sophia, skeptical of society, although not seeking confrontation with it, turns out to be the force with which society deals Chatsky the most painful blow. Not loving falsehood, she is forced to fake and hide, and at the same time finds the strength to make Chatsky understand that Molchalin has been chosen by her, which, however, Chatsky refuses to believe. Frightened and forgetting all caution at the sight of her lover falling from a horse, proudly rising to his defense, she comes to a severe shock when she witnesses the amorous advances of her chosen “knight” towards her own maid. Having courageously endured this blow, accepting the blame upon herself, she is also forced to withstand her father’s anger and Chatsky’s mocking offer to make peace with Molchalin. The latter is hardly possible, given the strength of Sophia's character.

The image of Molchalin in the play is also not completely unambiguous; Pushkin wrote about him: “Molchalin is not quite sharply vile; shouldn’t it have been made of him as a coward?” Of all the characters in Famus’s circle, Molchalin is perhaps better able to adapt to existing conditions than others. Possessing, among other things, outstanding business qualities, he is able to achieve a high position in society. Molchalin represents that type of people, poor and humble, who with their work, perseverance, and ability to find mutual language with people slowly and steadily making a career. At the same time, he finds himself in a rather difficult position. Respectful of Famusov, he deceives his boss to please his daughter, for whom, however, he has no feelings. Faced with a choice, he strives to please both. As a result, to save your career and not make money dangerous enemies, he lies to both Famusov and Sophia. Forced to play so many roles - secretary, lover, polite interlocutor, card partner, and sometimes even servant - Molchalin shows only one living feeling (attraction to Liza), for which he pays: his career is under threat.

Minor characters are correlated with the main operating lindens, but at the same time they have important independent significance and directly influence the course of events. Thus, Skalozub is a type of military man, narrow-minded, but self-confident and aggressive. His appearance complicates both love and social conflict. Lisa is a servant-confidante. Without this image, it is impossible to imagine both the emergence and the denouement of a love affair.

At the same time, Lisa is witty, ironic, and gives accurate characterizations different heroes. She is compared with her mistress, and in a number of cases this comparison is resolved in her favor. At the same time, with the help of this image, Griboedov emphasizes the confrontation between the nobility and the serfs (“Pass us beyond all sorrows / And the lordly anger, and lordly love").

The figure of Zagoretsky is noteworthy, representing the type of people without whom no society can do: they know how to be necessary. This character is the antithesis of the image of Chatsky. The latter is honest, but expelled from society, while Zagoretsky is dishonest, but accepted everywhere. It is he who first of all shapes public opinion, picking up, coloring and spreading gossip about Chatsky’s madness to all corners.

Two other characters are also compared with the main character - Repetilov and Gorich. The first is a type of pseudo-oppositionist. For the author, obviously, it was important to distinguish a person who has his own deeply thought-out beliefs from someone who is inclined to repeat others. The fate of the second shows what could have happened to Chatsky if he had tried to fulfill Famusov’s conditions and become like everyone else.

Episodic characters - Khlestova, Khryumins, Tugoukhovskys, G.N., G.D. - take part in public confrontation, pick up and spread gossip about Chatsky’s madness. They represent additional social types, thanks to whose presence the picture becomes more satirical. In their depiction, the author widely used the techniques of hyperbole, irony, and sarcasm. It is also important to pay attention not only to what unites them, making them the so-called representatives of Famus society, but also to how they differ from each other, to their individual traits and to the contradictions that arise between them.

Unusually a lot in comedy off-stage characters, there are even more of them than stage ones.

They also represent one or another of the warring parties, with their help the scope of the conflict expands: from local, occurring in one house, it becomes public; the narrow framework of the unity of place and time is overcome, the action is transferred from Moscow to St. Petersburg, from the 19th to the 18th centuries; The picture of the morals of those times becomes more complicated and even more specific.

In addition, thanks to off-stage characters, the reader gets the opportunity to more accurately assess the views of the people acting on stage.

.6 Language and features of comedy verse

The language of "Woe from Wit" differed significantly from the language of the comedy of those years. Griboedov contrasted sentimentalist aestheticism and sensitivity, as well as the classicist “theory of three calms,” with the realistic principle of nationality. The speech of the characters in the play is, first of all, the speech that could actually be heard in salons and living rooms, “while driving around on the porch,” at inns, in clubs and in officer meetings. Such a rejection of the basic tenets of belles lettres has generated critical controversy. The already mentioned Dmitriev reproached Griboedov for a number of phrases and speech patterns that, in the critic’s opinion, could not be acceptable in literature. However, most critics praised the playwright's linguistic innovation. “I’m not talking about poetry, half of it should become a proverb,” - this is how Pushkin assessed Griboedov’s skill. “As for the poems with which “Woe from Wit” is written, - in this regard, Griboyedov killed for a long time any possibility of Russian comedy in verse. A brilliant talent is needed to continue with success the work started by Griboedov...” - wrote in one of his articles Belinsky.

Indeed, many lines from the comedy began to be perceived as aphorisms, idioms, living their independent life. Saying: " happy hours they don’t watch”; “I went into a room, ended up in another”; “sin is not a problem, rumor is not good”; “but grief awaits around the corner”; “and the smoke of the Fatherland is sweet and pleasant to us”; “in more numbers, at a cheaper price "; "with feeling, with sense, with determination"; "I would be glad to serve, but being served is sickening"; "the legend is fresh, but hard to believe"; " gossips scarier than a pistol"; "the hero is not my novel"; "lie, but know your limits"; "bah! all familiar faces" - many people do not remember where these phrases came from.

Language in comedy is both a means of individualizing characters and a method of social typification. Skalozub, for example, like social type military personnel very often uses army vocabulary (“frunt”, “ranks”, “sergeant major”, “trench”), and individual characteristics his speeches reflect his self-confidence and rudeness (“you won’t faint me with learning,” “but make a uttered noise, it will instantly calm you down”), insufficient education, manifested in the inability to construct a phrase (“on the third of August, we sat in a trench: it was given to him with a bow, to me on the neck") and in an inaccurate choice of words ("with this estimate" instead of "sharpness"). At the same time, he tries to make jokes (“she and I didn’t serve together”).

Famusov’s speech is the so-called Moscow noble vernacular (“they don’t blow anyone’s mouth,” “you should smoke in Tver,” “I scared you,” “trouble in the service”), replete with diminutive forms (“to the little cross, to the town ", "Otdushnikhek"). This character appears in the play in different situations, which is why his speech is so varied: sometimes ironic (“After all, I’m somewhat akin to her,” he says about Sofya to Chatsky), sometimes angry (“To work for you! To settle you!”), then scared.

Especially the monologues and remarks of Chatsky, who appears as a new social type, close in speech characteristics to the Decembrist pathos, required a lot of author’s work. In his speech there are often rhetorical questions (“Oh! if someone penetrated into people: what is worse in them? soul or language?”), inversions (“Aren’t you the one to whom I was still from the shrouds, for some kind of plans?” incomprehensible, did they take children to bow?"), antitheses ("He himself is fat, his artists are skinny"), exclamations and special vocabulary ("weakness", "vilest", "hungry", "slavish", "holiest"). At the same time, in Chatsky’s speech one can find Moscow vernacular (“okrome”, “I won’t remember”). The main character's language contains the most aphorisms, irony, and sarcasm. Moreover, this speech conveys a wide range of psychological characteristics character: love, anger, friendly sympathy, hope, wounded pride, etc. The language also reveals the negative sides of Chatsky’s character - harshness and willfulness. So, to Famusov’s question: “...would you like to get married?” - he replies: “What do you need?”, and Sophia declares: “Has your uncle jumped off his life?” The hero's monologues and remarks are always right on target, and it is always difficult to avoid or parry them. He does not miss a serious reason, not the slightest reason for a strike, and does not give the opportunity to retreat with honor, and then his opponents unite. Chatsky is truly a warrior, as Goncharov convincingly showed, but war always entails grief and suffering.

2. Immortal work of Griboyedov

comedy Griboyedov hero speech

“For more than 150 years, Griboedov’s immortal comedy “Woe from Wit” has attracted readers; each new generation rereads it anew, finding in it consonance with what worries him today.”

Goncharov in his article “A Million Torments” wrote about “Woe from Wit” - that it “all lives its own imperishable life, will survive many more eras and will not lose its vitality.” I completely share his opinion. After all, the writer drew real picture morals, created living characters. So alive that they have survived to our times. It seems to me that this is the secret of the immortality of A. S. Griboyedov’s comedy. After all, our Famusovs, silents, skalozubs still make our contemporary Chatsky experience grief from his mind.

The author of the only fully mature and completed work, which, moreover, was not published in its entirety during his lifetime, Griboyedov gained extraordinary popularity among his contemporaries and had a huge influence on the subsequent development of Russian culture. For almost a century and a half, the comedy “Woe from Wit” has been living, without aging, exciting and inspiring many generations for whom it has become part of their own spiritual life, entered their consciousness and speech.

After several years when criticism did not mention Griboyedov’s comedy, Ushakov wrote an article. He correctly identifies historical meaning comedy "Woe from Wit". He calls Griboedov’s work an “immortal creation” and sees the best proof of the comedy’s “high dignity” in its extraordinary popularity, in the fact that almost every “literate Russian” knows it by heart.

Belinsky also explained the fact that, despite the efforts of censorship, it “spread throughout Russia even before printing and presentation torrent" and acquired immortality.

The name of Griboyedov invariably stands next to the names of Krylov, Pushkin and Gogol.

Goncharov, comparing Chatsky with Onegin and Pechorin, emphasizes that Chatsky, unlike them, is a “sincere and ardent figure”: “their time ends with them, and Chatsky begins new Age, and this is his whole meaning and his whole mind,” and that’s why “Chatsky remains and will always remain alive.” He is “inevitable with every change from one century to another.”

“Woe from Wit” appeared before Onegin, Pechorin, survived them, passed unscathed through the Gogol period, lived these half a century from the time of its appearance and still lives its imperishable life, will survive many more eras and still not lose its vitality.

The epigram, the satire, this colloquial verse, it seems, will never die, just like the sharp and caustic, living Russian mind scattered in them, which Griboyedov imprisoned, like some kind of magician, in his castle, and he scatters there with evil laughter. It is impossible to imagine that another, more natural, simpler, more taken from life speech could ever appear. Prose and verse merged here into something inseparable, then, it seems, to make it easier to retain them in memory and to put into circulation again all the author’s collected intelligence, humor, jokes and anger of the Russian mind and language.

The great comedy remains young and fresh even now. She retained her social sound, her satirical salt, her artistic charm. She continues her triumphant march through the scenes Russian theaters. It is studied at school.

Russian people, who built new life, who showed all humanity the straight and broad road to a better future, remembers, appreciates and loves the great writer and his immortal comedy. Now, more than ever, the words written on Griboyedov’s gravestone sound loudly and convincingly: “Your mind and deeds are immortal in Russian memory...”

Conclusion

The comedy "Woe from Wit" by Alexander Sergeevich Griboedov became an event in Russian literature early XIX century, was a rare example of its accusatory, satirical direction.

A brilliant playwright, talented poet and composer, outstanding diplomat, A.S. Griboyedov, according to Belinsky, belonged “to the most powerful manifestation of the Russian spirit.” Immortal comedy“Woe from Wit,” the “pearl” of the Russian stage, Griboyedov marked the beginning of the flowering of Russian realistic drama.

The success of the comedy was unheard of. Pushkin gave a brilliant and profound description of “Woe from Wit”. According to the poet, the purpose of comedy is “characters and a sharp picture of morals.”

Griboyedov created a typical image of a “new man” - a public Protestant and fighter - in the typical circumstances of his historical time. He showed how systematically and uncontrollably, becoming more and more aggravated, the contradiction of the main character, Chatsky, with Famus society is growing. This society anathematizes Chatsky, which has the character of a political denunciation: Chatsky is publicly declared a troublemaker, a carbonari, a person who encroaches on the “legitimate” state and social order.

Woe from Wit, of course, remains one of the masterpieces of punitive social satire. But true satire is never one-sided, because a satirist, if he stands at the forefront of ideological and artistic positions, always denounces evil and vices in the name of good and is virtuous, in the name of establishing a certain positive ideal - social, political, moral. Griboyedov in “Woe from Wit” not only exposed the world of serf owners, but also established his positive ideal in the image of the only true hero of the play - Chatsky.

List of used literature

1. A.S. Griboyedov. Point of view. Series "Classical gymnasium". Comp. biogr. certificates and notes A.I. Ostrovsky. M. Laida, 1994. - p. 187.

Petrieva L.I., Prantsova G.V. A.S. Griboedov. Studying at school: Educational and methodological manual.-M.: Flinta: Nauka 2001.-216 pp.: ill.

Dictionary of characters in Russian literature: Second half of the 18th-19th centuries - M.-SPb.: Universal book, 200. 362 p.

Aikhenvald Yu. Silhouettes of Russian writers: V 2v, T1 / Preface. In Kreida.-M.: TERRA.-Book Club; Republic, 1998.-304 pp.:

Russian literature XIX-XX centuries: In 2 vols. T.1: Russian literature of the 19th century. Tutorial for applicants to Moscow State University. M.V.Lomonosova / Comp. And scientific editor. B.S.Bugrov, M.M.Golubkov. 2nd ed., add. And reworked.

Svetopolk-Mirsky D.P. History of Russian literature since ancient times / D.P. Svyatopolk-Mirsky.-M.: Eksmo, 2008.-608 p.: ill. - (Encyclopedia of Russia).

100 great names in literature: popular science. Ed./ed. Ed. V.P. Sitnikova/ V.V. Bykova, G.N. Bykova, G.P.Shalaeva and others - M.: Philol. Society "Slovo", 1998.-544 p.

Encyclopedia for children. T.9. Russian literature. Part 1./Chief editor. M.D. Aksenova. - M.: Avanta+, 1999. - 672 pp. - pp. - 439-446.

Lanshchikova A.P. "Woe from Wit" as a mirror of Russian life. // Literature at school. - 1997. - No. 5. pp. 31-43.

Vlashchenko V. Lessons on Griboyedov.// Literature.- 1999.- No. 46.S. 5-12.

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History of the comedy

The comedy “Woe from Wit” is the main and most valuable result of the work of A.S. Griboedova. When studying the comedy “Woe from Wit”, analysis should be made, first of all, of the conditions in which the play was written. It touches on the issue of the brewing confrontation between the progressive and conservative nobility. Griboyedov ridicules the mores of secular society of the early 19th century. In this regard, the creation of such a work was a rather bold step in that period of development of Russian history.

There is a known case when Griboyedov, returning from abroad, found himself at one of the aristocratic receptions in St. Petersburg. There he was outraged by the obsequious attitude of society towards one foreign guest. Griboedov's progressive views prompted him to express his sharply negative opinion on this matter. The guests considered the young man crazy, and news of this quickly spread throughout society. It was this incident that prompted the writer to create a comedy.

Themes and issues of the play

It is advisable to begin the analysis of the comedy “Woe from Wit” by referring to its title. It reflects the idea of ​​the play. The main character of the comedy, Alexander Andreevich Chatsky, who is rejected by society only because he is smarter than the people around him, experiences grief from his sanity. This also leads to another problem: if society rejects a person of extraordinary intelligence, then how does this characterize society itself? Chatsky feels uncomfortable among people who consider him crazy. This gives rise to numerous verbal clashes between the protagonist and representatives of the society he hates. In these conversations, each party considers itself smarter than the other. Only the intelligence of the conservative nobility lies in the ability to adapt to existing circumstances in order to obtain maximum material gain. Anyone who does not pursue rank and money is considered a madman.

Accepting Chatsky's views for the conservative nobility means beginning to change their lives in accordance with the demands of the time. Nobody finds this comfortable. It’s easier to declare Chatsky crazy, because then you can simply ignore his accusatory speeches.

In Chatsky’s clash with representatives of aristocratic society, the author raises a number of philosophical, moral, national-cultural and everyday issues. Within the framework of these topics, the problems of serfdom, service to the state, education, and family life are discussed. All these problems are revealed in comedy through the prism of understanding the mind.

The conflict of a dramatic work and its originality

The uniqueness of the conflict in the play “Woe from Wit” lies in the fact that there are two of them: love and social. The social contradiction lies in the clash of interests and views of representatives of the “present century” represented by Chatsky and the “past century” represented by Famusov and his supporters. Both conflicts are closely related to each other.

Love experiences force Chatsky to come to Famusov’s house, where he has not been for three years. He finds his beloved Sophia in a confused state, she receives him very coldly. Chatsky does not realize that he arrived at the wrong time. Sofya is busy experiencing a love story with Molchalin, her father’s secretary, who lives in their house. Endless thoughts about the reasons for the cooling of Sophia's feelings force Chatsky to ask questions to his beloved, her father, Molchalin. During the dialogues, it turns out that Chatsky has different views with each of his interlocutors. They argue about service, about ideals, about the morals of secular society, about education, about family. Chatsky’s views frighten representatives of the “past century” because they threaten the usual way of life of Famus society. Conservative nobles are not ready for change, so rumors about Chatsky’s madness, accidentally started by Sophia, instantly spread through society. The protagonist's beloved is the source of unpleasant gossip because he interferes with her personal happiness. And here again we see the interweaving of love and social conflicts.

System of comedy characters

In his depiction of characters, Griboyedov does not adhere to a clear division into positive and negative, which was mandatory for classicism. All heroes have both positive and negative traits. For example, Chatsky is smart, honest, brave, independent, but he is also quick-tempered and unceremonious. Famusov is the son of his age, but at the same time he is a wonderful father. Sophia, ruthless towards Chatsky, is smart, courageous and decisive.

But the use of “speaking” surnames in the play is a direct legacy of classicism. Griboyedov tries to put the leading feature of his personality into the hero’s surname. For example, the surname Famusov is derived from the Latin fama, which means “rumor.” Consequently, Famusov is the person who is most concerned about public opinion. It is enough to remember his final remark to be convinced of this: “...What will Princess Marya Aleksevna say!” Chatsky was originally Chadsky. This surname hints that the hero is in the throes of his struggle with the mores of aristocratic society. The hero Repetilov is also interesting in this regard. His last name is related to the French word repeto - I repeat. This character is a caricature double of Chatsky. He does not have his own opinion, but only repeats the words of others, including the words of Chatsky.

It is important to pay attention to the placement of characters. The social conflict occurs mainly between Chatsky and Famusov. A love confrontation is being built between Chatsky, Sophia and Molchalin. These are the main characters. The figure of Chatsky unites love and social conflict.

The most difficult part in the comedy “Woe from Wit” is the image of Sophia. It is difficult to classify her as a person who adheres to the views of the “past century.” In her relationship with Molchalin, she despises the opinion of society. Sophia reads a lot and loves art. She is disgusted by the stupid Skalozub. But you can’t call her a supporter of Chatsky either, because in conversations with him she reproaches him for his causticity and mercilessness in his words. It was her word about Chatsky’s madness that became decisive in the fate of the main character.

Minor and episodic characters are also important in the play. For example, Lisa and Skalozub are directly involved in the development of a love conflict, complicating and deepening it. The episodic characters who appear as guests of Famusov (Tugoukhovskys, Khryumins, Zagoretsky) more fully reveal the morals of Famusov’s society.

Development of dramatic action

Analysis of the actions of “Woe from Wit” will reveal the compositional features of the work and the features of the development of dramatic action.

The exposition of the comedy can be considered all the phenomena of the first act before Chatsky’s arrival. Here the reader gets acquainted with the scene of action and learns not only about the love affair between Sophia and Molchalin, but also that Sophia previously had tender feelings for Chatsky, who had gone to travel around the world. The appearance of Chatsky in the seventh scene of the first act is the beginning. What follows is the parallel development of social and love conflicts. Chatsky's conflict with Famus society reaches its peak at the ball - this is the culmination of the action. The fourth act, 14th appearance of the comedy (Chatsky’s final monologue) represents the denouement of both social and love lines.

At the denouement, Chatsky is forced to retreat to Famus society because he is in the minority. But he can hardly be considered defeated. It’s just that Chatsky’s time has not yet come; a split among the nobility has only just begun.

The originality of the play

Research and analysis of the work “Woe from Wit” will reveal its striking originality. Traditionally, “Woe from Wit” is considered the first Russian realistic play. Despite this, it retained the features inherent in classicism: “speaking” surnames, unity of time (the events of the comedy take place within one day), unity of place (the action of the play takes place in Famusov’s house). However, Griboyedov refuses the unity of action: in the comedy two conflicts develop in parallel at once, which contradicts the traditions of classicism. In the image of the main character, the formula of romanticism is also clearly visible: an exceptional hero (Chatsky) in unusual circumstances.

Thus, the relevance of the play’s problems, its unconditional innovation, and the aphoristic language of the comedy are not only of great importance in the history of Russian literature and drama, but also contribute to the popularity of the comedy among modern readers.

Work test

The comedy “Woe from Wit” widely reflected the era of that time: the author paints a picture of life and morals noble society and his worldview, shows an advanced man with his ideals, and this whole picture has that “Moscow imprint” that Griboyedov’s contemporaries spoke about and which accurately conveyed the spirit of lordly Moscow of the 10s-20s of the 19th century.

In the play we find responses to various topical issues of the time: here are disputes about cameras, juries, about Byron, talk about Lancastrian “mutual teaching”, about the Pedagogical Institute and its professors, about Carbonari, Jacobins and Freemasons, about the English Club, about the Academic Committee, about guardianship over the estates of landowners, about the settlement of serfs in Siberia for offenses, etc. All this creates the flavor of the era and makes “Woe from Wit” similar to “Eugene Onegin”, with the difference that in Pushkin’s novel the era, life and customs are often depicted in lyrical digressions, where the author argues himself, while Griboyedov, due to the peculiarities dramatic work, introduces the era only through the speech of the characters, using this information to characterize the characters, since it is also important how the hero speaks about this or that issue, what his opinion is about it. So, for example, the very first conversation between Chatsky and Sophia introduces the reader to the society of Muscovite nobles and its interests and way of life (in Chatsky’s assessment). The dramatic conflict—the contradiction between the hero and the environment—determines the structure of the work and its composition. But it’s not just one social conflict that lies at the heart of “Woe from Wit.” The speed and liveliness of the action, which the author himself spoke about, is given to comedy by another, love conflict. Griboedov's enormous skill as a playwright was reflected in how brilliantly he showed the interpenetration of Chatsky's two dramas - public and personal. Grief from love and grief from the mind, intertwined, grow and deepen together, leading the whole action to a denouement.

So, in Act 1, it is mainly planned love line plot: Sophia loves Molchalin (the reader immediately finds out about this, but neither Famusov nor Chatsky knows about this). From the conversation between her and Lisa, we learn about Chatsky, who is in love with Sophia - and he immediately appears himself, animated, talkative, jokes with Sophia, talks about her coldness, not yet believing in her, remembers his Moscow acquaintances. Famusov is perplexed: he found Sofia Molchalin, and later Chatsky.

Lisa is an active participant in all scenes where a love affair develops; in act 1 she is cunning, shielding the young lady, and laughs at her, and evades Famusov’s lordly advances, and remembers Chatsky. Last words Famusov, with which Act 1 ends, is not just a remark at the end, as some critics believed, but at the same time it is the result of the action: Sophia - and two people around her: Molchalin and Chatsky. Famusov is at a loss as to which of the two, and both, in his opinion, were not suitable as grooms. In Act IV, at the tragic moment of the action’s climax, the comedy of Famusov’s position lies precisely in the fact that he has firmly decided this question for himself (“which of the two?”) in favor of Chatsky and is completely confident that he is right (“Even if you fight, I will not believe").

So, in Act 1, the social conflict is only outlined through the thin lines of Chatsky’s playful, albeit caustic remarks about Moscow society; the center of gravity is in the love affair. But in the 2nd act, from the 1st to the 6th phenomenon, social motives are already clearly heard. However, we note that Chatsky’s dispute with Famusov, which turned into a real duel between the “present century” and the “past century,” began because of Sophia: Chatsky asks about her health - Famusov gets annoyed, since Chatsky, in his opinion, cannot be suitable groom for Sophia. With great skill, Griboyedov transfers the conversation to social issues: to the words of Chatsky: “Let me make a match, what would you tell me?” - Famusov responds with the proposal “not to indulge”, not to mismanage the estate, and most importantly - to go to service, to which Chatsky objects: “I would be glad to serve, it’s sickening to be served.” Chatsky is annoyed; he has already received, albeit informally, since he himself does not make a formal proposal, but still a refusal from the father of his beloved girl. He is outraged by Famusov’s demands; he is not even capable of giving up his convictions for the sake of love.

The motive of civic duty of service is widely developed further in two monologues: Famusov and Chatsky, who express sharply opposing opinions. Famusov is a fan of the old order of service, obtaining places and ranks, Chatsky is an exponent of the view of service as the fulfillment of a person’s civic duty. The way Famusov reacts to Chatsky’s opinion (“Oh my God! He’s a Carbonari!”, etc.) defines the significance of the social conflict more and more sharply. But also love drama Griboyedov does not forget Chatsky. It accompanies and permeates social drama. Both conflicts mutually deepen each other. In phenomenon 3, Famusov hints to Chatsky about Skalozub as a possible groom for Sophia, and in phenomenon 4, Chatsky, heated by an argument with Famusov, shows the confusion brought into his soul by these hints. The severity of the social conflict is clearly defined in two famous monologues (Famusov and Chatsky): “Taste, father, excellent manners” and “Who are the judges?” So, becoming more and more complex and deepening, the social conflict grows, and at the moment when it reaches great tension, Griboyedov, with a quick and completely unexpected scene of Sophia's fainting, switches the reader's attention to the personal relationships of the characters. From the 7th to the 14th phenomenon, a love affair develops, complicated by Molchalin’s treachery. To Chatsky’s suspicions about Skalozub are added suspicions about Molchalin. Lisa goes from being a confidante to becoming an active participant in the development of the love story. In her famous words:
She comes to him, and he comes to me,
And I... I am the only one who crushes love to death, -
How can you not love the bartender Petrusha! —
summarizes what is new in the love affair in Act II(in act 1, Chatsky - to Sophia, Sophia - to Molchalin, and in act 11, Chatsky - to Sophia, Sophia - to Molchalin, Molchalin - to Lisa, Lisa - to Petrusha).

So, in the 2nd act, the ever-increasing social conflict is clearly indicated and, at the same time, the love affair becomes more complicated. If at the beginning of the 2nd act social motives are heard, complicated by personal experiences, and by the end of the action there is a rapid development of a love affair, then the 3rd act, on the contrary, begins, as if continuing the 2nd act, with the development of predominantly love motives, complicated public. These are phenomena 1 and 2, where Chatsky tries to ask Sophia about Skalozub and Molchalin, immediately speaking out about public issues(Chatsky’s monologue “Let us leave this debate”).

Phenomenon 3 is an example of dialogue in verse. It fully combines both the personal and social motives of the play. The dialogue provides rich material for characterizing Molchalin (Chatsky’s opinions are no longer new to us, but his brilliant aphorisms are striking) and ends with a conclusion that is natural for Chatsky:
With such feelings, with such a soul
We love... The liar laughed at me!
Next, from the 4th phenomenon, there is a picture of a ball at Famusov’s. Griboedov shows the number and strength of the camp opposite to Chatsky; the inevitability of an open break is growing, and at the same time, against the background of the struggle of the two camps, inextricably linked with it, Chatsky’s heartfelt drama develops. In the 13th appearance, Chatsky really angered Sophia by starting to talk about Molchalin with ridicule (psychologically this is completely justified: after all, Chatsky is sure that Sophia cannot love Molchalin). From the irritated Sophia we hear about Chatsky for the first time: “He’s out of his depth.”
mind." What follows are phenomena in which gossip about Chatsky’s madness grows with exceptional speed and ease. Quickly changing scenes show how gossip finds the most fertile soil, how it acquires new and new, more and more incredible and absurd details. The result that the gossip reaches is the words of Zagoretsky: “No, sir, forty barrels!” In the 22nd (last) appearance, Chatsky with his “millions of torments” is opposed to the whole society, resulting in an angry monologue: “There is an insignificant meeting in that room ...” The depth of the gap between Chatsky and the people around him is clear, and to the positive program of Chatsky, which outlined by him earlier, the last and very significant features were added: the requirement of respect for the Russian people, for national culture, To native language. Completion of disclosure ideological positions Chatsky and his sharp clash with society ends the 3rd act.