Woe from Wit is a genre of high comedy. Comedy “Woe from Wit” by Griboyedov: analysis of the work, materials for composition. A. S. Pushkin. Poems

History of creation

The work was created over three years - from 1822 to 1824. By the autumn of 1824, the play was completed. Griboyedov went to St. Petersburg, intending to use his connections in the capital to obtain permission for its publication and theatrical production. However, he soon became convinced that comedy was “nothing to miss.” Only excerpts published in 1825 in the almanac “Russian Waist” were censored. The entire play was first published in Russia in 1862. The first theatrical production on the professional stage took place in 183i. Despite this, Griboedov's play immediately spread among the reading public in handwritten copies, the number of which was close to the book circulation of that time.

Comedy method

The play “Woe from Wit” was written at a time when classicism dominated the stage, but romanticism and realism were generally developing in literature. The emergence at the border of different directions largely determined the features of the work's method: comedy combines features of classicism, romanticism and realism.

Genre

Griboyedov himself defined the genre of the work as “comedy”. But this play does not fit into the framework of the comedy genre, since it has very strong dramatic and tragic elements. In addition, contrary to all the canons of the comedy genre, “Woe from Wit” ends dramatically. From the point of view of modern literary criticism, “Woe from Wit” is a drama. But at the time of Griboedov, such a division of dramatic genres did not exist (drama as a genre emerged later), so the following opinion appeared: “Woe from Wit” is a “high” comedy. Since tragedy was traditionally considered a “high” genre, this genre definition placed Griboyedov’s play at the intersection of two genres - comedy and tragedy.

Plot

Chatsky, who was left an orphan at an early age, lived in the house of his guardian Famusov, a friend of his father, and was brought up with his daughter. “The habit of being together every day inseparably” bound them together with childhood friendship. But soon the young man Chatsky became “bored” in Famusov’s house, and he “moved out,” made good friends, got seriously involved in science, and went “to wander.” Over the years, his friendly disposition towards Sophia grew into a serious feeling. Three years later, Chatsky returned to Moscow and hurried to see Sophia. However, during his absence the girl changed. She is offended by Chatsky for his long absence and is in love with Father Molchalin’s secretary.

In Famusov’s house, Chatsky meets Skalozub, a possible contender for Sophia’s hand, and other representatives of Famusov’s society. An intense ideological struggle arises and flares up between them. The dispute is about the dignity of man, his value, about honor and honesty, about the attitude towards service, about the place of man in society. Chatsky sarcastically criticizes the tyranny of serfdom, the cynicism and soullessness of the “fathers of the fatherland”, their pathetic admiration for everything foreign, their careerism and etc.

“Famus” society is the personification of meanness, ignorance, and inertia. Sophia, whom the hero loves so much, should also be included in this group. It is she who starts gossip about Chatsky’s madness, seeking revenge for ridicule of Molchalin. The fiction about Chatsky’s madness spreads with lightning speed, and it turns out that, according to Famusov’s guests, a madman means a “freethinker.” » . Thus, Chatsky is declared crazy for his freethinking. In the finale, Chatsky accidentally finds out that Sophia is in love with Molchalin (“Here I am sacrificed to someone!”). And Sophia, in turn, discovers that Molchalin is in love with her “by position.” Chatsky decides to leave Moscow forever.

Conflict. Composition. Issues

In “Woe from Wit” two types of conflict can be distinguished: a private, traditional comedy love affair, in which Chatsky, Sophia, Molchalin and Liza are drawn, and a public one (the clash of the “present century” and the “past century”, that is, Chatsky with the inertia social environment - “Famus” society). Thus, the comedy is based on the love drama and social tragedy of Chatsky, which, of course, cannot be perceived separately from each other (one determines and conditions the other).

Since the times of classicism, unity of action, that is, a strict cause-and-effect relationship of events and episodes, has been considered mandatory in drama. In “Woe from Wit” this connection is noticeably weakened. The external action in Griboyedov’s play is not expressed so clearly: it seems that nothing particularly significant happens in the course of the comedy. This is due to the fact that in “Woe from Wit” the dynamics and tension of the dramatic action are created through the transmission of the thoughts and feelings of the central characters, especially Chatsky.

The comedies of writers of the late 18th and early 19th centuries ridiculed certain vices: ignorance, arrogance, bribery, blind imitation of foreign things. “Woe from Wit” is a bold satirical denunciation of the entire conservative way of life: careerism reigning in society, bureaucratic inertia, martinetry, cruelty towards serfs, ignorance. The formulation of all these problems is primarily related to the depiction of the Moscow nobility, the “Famus” society. Famusov, an ardent defender of the existing regime, is shown in close-up; in the image of Skalozub, the careerism of the military environment and Arakcheev’s soldiery are branded; Molchalin, who begins his official service, is obsequious and unprincipled. Thanks to episodic figures (Gorichi, Tugoukhovsky, Khryumin, Khlestova, Zagoretsky), the Moscow nobility appears, on the one hand, many-sided and motley, and on the other hand, it is shown as a united public camp, ready to defend its interests. The image of Famus society consists not only of the persons brought on stage, but also of numerous off-stage characters who are only mentioned in monologues and remarks (the author of “exemplary nonsense” Foma Fomich, the influential Tatyana Yuryevna, the feudal theater-goer, Princess Marya Alekseevna).

Heroes

Comedy heroes can be divided into several groups: main characters, secondary characters, masked characters and off-stage characters. The main characters of the play include Chatsky, Molchalin, Sophia and Famusov. The interaction of these characters with each other drives the play. The secondary characters - Lisa, Skalozub, Khlestova, Gorichi and others - also participate in the development of the action, but have no direct relation to the plot.

Main characters. Griboedov's Comedy was written in the first quarter of the 19th century, after the War of 1812. At this time, society in Russia was divided into two camps. The first included dignitaries of the 18th century, professing the old principles of life, representing the “past century” (“Famus” society). In the second - progressive noble youth, representing the “present century” (Chatsky). Belonging to a particular camp has become one of the principles of organizing a system of images.

Famus Society. An important place in comedy is occupied by exposing the vices of the writer’s contemporary society, for which the main value is “the souls of two thousand clans” and rank. It is no coincidence that Famusov is trying to marry Sophia to Skalozub, who “is both a golden bag and aims to become a general.” In the words of Liza, Griboyedov convinces us that Famusov is not the only one who holds this opinion: “Like all Moscow people, your father is like this: he would like a son-in-law with Daschin stars.” Relationships in this society are based on how rich a person is. For example, Famusov, who is rude and despotic with his family, when speaking with Skalozub, adds the respectful “-s”. As for ranks, to get them, “there are many channels.” Famusov uses Maxim Petrovich as an example for Chatsky, who, in order to achieve a high position, “bent over backwards.”

Service for representatives of Famus society is an unpleasant burden, with the help of which, however, you can get pretty rich. Famusov and others like him serve not for the good of Russia, but to replenish their wallets and acquire useful contacts. In addition, people enter the service not because of personal qualities, but because of family kinship (“When I work, strangers are very rare,” says Famusov).

Members of the Famus society do not recognize books; they consider learning to be the reason for the emergence of a huge number of insane people. Such “crazy” people, in their opinion, include Princess Tugoukhovskaya’s nephew, who “doesn’t want to know the ranks,” Skalozub’s cousin (“The rank followed him: he suddenly left his service and began reading books in the village”) and, of course, Chatsky. Some members of the Famus society even try to demand oaths “so that no one knows or learns to read and write.. But the Famus society blindly imitates French culture, adopting its superficial attributes. Thus, a Frenchman from Bordeaux, having arrived in Russia, “did not encounter a Russian sound or a Russian face.” Russia seemed to have become a province of France: “the ladies have the same sense, the same outfits.” They even began to speak mainly French, forgetting their native language.

Famus society resembles a spider that draws people into its web and forces them to live by its own laws. So, for example, Platon Mikhailovich recently served in the regiment, rushed around on a greyhound horse, not afraid of the wind, but now “his health is very weak,” as his wife believes. It's like he lives in captivity. He can’t even go to the village: his wife loves balls and receptions too much.

Members of the Famus society do not have their own opinions. For example, Repetilov, having learned that everyone believes in Chatsky’s madness, also agrees that he has gone crazy. And everyone only cares about what society thinks about them. They are indifferent to each other. For example, having learned about Molchalin’s fall from his horse, Skalozub is only interested in “how he cracked, in the chest or in the side.” It is no coincidence that the comedy ends with Famusov’s famous phrase “what will Princess Marya Aleksevna say?” Having learned that his daughter is in love with Silent Ina, he thinks not about her mental suffering, but about how it looks in the eyes of secular society.

Sophia. The image of Sophia is ambiguous. On the one hand, Famusov's daughter was raised by her father, Madame Rosier, with cheap teachers and sentimental French novels. She, like most ladies in her circle, dreams of a “servant husband.” But on the other hand, Sophia prefers poor Molchalin to rich Skalozub, does not bow to rank, is capable of deep feeling, can say: “What do I need rumors for? Whoever wants to judges!” Sophia's love for Molchalin is a challenge to the society that raised her. In a sense, only Sophia is capable of understanding Chatsky and responding to him on equal terms, taking revenge by spreading gossip about his madness; Only her speech can be compared with Chatsky’s language.

Chatsky. The central hero of the comedy and the only positive character is Chatsky. He defends the ideals of education and freedom of opinion, and promotes national identity. His ideas about the human mind are completely different from those around him. If Famusov and Molchal otherwise understand intelligence as the ability to adapt, to please those in power in the name of personal prosperity, then for Chatsky it is associated with spiritual independence, freedom, and the idea of ​​civil service. "

Although Griboyedov makes it clear to the reader that in his contemporary society there are people similar to Chatsky in their views, the hero of the comedy is shown as lonely and persecuted. The conflict between Chatsky and the Moscow nobility is intensified by his personal drama. The more acutely the hero experiences his unrequited love for Sophia, the stronger his actions against Famus society. In the last

In the act, Chatsky appears as a deeply suffering, full of skepticism, bitter person who wants to “pour out all the bile and all the frustration on the whole world.”

Masked heroes and off-stage characters. The images of masked heroes are extremely generalized. The author is not interested in their psychology; they interest him only as important “signs of the times.” They play a special role: they create a socio-political background for the development of the plot, emphasize and clarify something in the main characters. Masked heroes include Repetilov, Zagoretsky, Messrs. N and D, and the Tugoukhovsky family. Let's take, for example, Pyotr Ilyich Tugoukhovsky. He is faceless, he is a mask: he doesn’t say anything except “uh-hmm”, “a-hmm” and “uh-hmm”, he doesn’t hear anything, he’s not interested in anything, he’s completely devoid of his own opinion. It brings to the point of absurdity, to the point of absurdity, the traits of a “boy-husband, a servant-husband,” which constitute the “high ideal of all Moscow husbands.”

A similar role is played by off-stage characters (heroes whose names are mentioned, but they themselves do not appear on stage and do not take part in the action). In addition, masked heroes and off-stage characters seem to “pull apart” the walls of Famus’s living room. With their help, the author makes it clear to the reader that we are talking not only about Famusov and his guests, but about the entire lordly Moscow. Moreover, in the conversations and remarks of the characters, the appearance of the capital Petersburg appears, and the Saratov wilderness, where Sophia’s aunt lives, etc. Thus, as the action progresses, the space of the work gradually expands, first covering all of Moscow, and then Russia.

Meaning

The comedy “Woe from Wit” raised all the pressing political and social issues of that time: about serfdom, about service, about education, about noble education; topical debates about jury trials, boarding schools, institutes, mutual education, censorship, etc. were reflected.

The educational value of comedy is no less important. Griboyedov sharply criticized the world of violence, tyranny, ignorance, sycophancy, hypocrisy; showed how the best human qualities perish in this world, where the Famusovs and Molchalins dominate.

The significance of the comedy “Woe from Wit” in the development of Russian drama is especially important. It is, first of all, determined by its realism.

In the construction of the comedy there are some features of classicism: adherence mainly to three unities, the presence of large monologues, “speaking” names of some characters, etc. But in its content, Griboyedov’s comedy is a realistic work. The playwright fully and comprehensively described the heroes of the comedy. Each of them is not the embodiment of any one vice or virtue (as in classicism), but a living person, endowed with qualities characteristic of him. Griboyedov at the same time showed his heroes as individuals with unique, individual character traits, and as typical representatives of a certain era. Therefore, the names of his heroes became household names: synonymous with soulless bureaucracy (Famusovshchina), sycophancy (silence), rude and ignorant military clergy (Skalozubovshchina), and fashion-chasing idle talk (Repetilovshchina).

By creating the images of his comedy, Griboyedov solved the most important task for a realist writer (especially a playwright) of the speech characteristics of the characters, that is, the task of individualizing the language of the characters. In Griboedov's comedy, each person speaks in his own lively colloquial language. This was especially difficult to do because the comedy was written in verse. But Griboyedov managed to give the verse (the comedy is written in iambic meter) the character of a lively, relaxed conversation. After reading the comedy, Pushkin said: “I’m not talking about poetry - half of it should be included in proverbs.” Pushkin's words quickly came true. Already in May 1825, the writer V.F. Odoevsky stated: “Almost all the verses of Griboyedov’s comedy became proverbs, and I often happened to hear entire conversations in society, most of which were verses from “Woe from Wit.”

And our colloquial speech includes many poems from Griboedov’s comedy, for example: “Happy people don’t watch the clock,” “And the smoke of the fatherland is sweet and pleasant to us,” “The legend is fresh, but hard to believe,” and many others.

Examples of Unified State Examination tasks on topic 4.2.

Part 1

The answer to tasks B1-B11 is a word or combination of words. Write your answer without spaces, punctuation, or quotation marks.

81. To what literary genre does “Woe from Wit” by A. S. Griboyedov belong?

82. How did A. S. Griboedov himself define the genre of “Woe from Wit”?

83 . What two conflicts lie at the heart of Woe from Wit?

84. Name the participants in the love conflict “Woe from Wit.”

85. Name the off-stage characters in A. S. Griboedov’s comedy “Woe from Wit.”

86. Which of the heroes of “Woe from Wit” calls himself a member of the “most secret union”?

87. Which of the characters in “Woe from Wit” is about?

Who else will settle everything so peacefully! There he will pet the pug in time! It's time to rub the card in! Zagoretsky will not die in it!

88. Which of the heroes of “Woe from Wit” starts a rumor about Chatsky’s madness?

89. Which of the heroes of “Woe from Wit,” by his own admission, “has a mind and heart that are not in harmony”?

AT 10 O'CLOCK. What is the name of a type of statement similar to the one given in a dramatic work?

And sure enough, the world began to grow stupid,

You can say with a sigh;

How to compare and see

The present century and the past:

The legend is fresh, but hard to believe,

As he was famous for, whose neck bent more often;

As not in war, but in peace they took it head on,

Examples of Unified State Examination tasks

They hit the floor without regret!

Who needs it: those are arrogant, they lie in the dust,

And for those who are higher, flattery was woven like lace.

It was an age of obedience and fear,

All under the guise of zeal for the king.

I'm not talking about your uncle;

We will not disturb his ashes:

But in the meantime, who will the hunt take?

Even in the most ardent servility^

Now, to make people laugh,

Bravely sacrifice the back of your head?

An old man, an old man

Another, looking at that leap,

And crumbling into old skin,

Tea said: “Ah! If only I could too!”

Although there are hunters everywhere to be mean,

Yes, nowadays laughter frightens and keeps shame in check;

No wonder the sovereigns favor them sparingly.

AT 11. What are the names of the heroes’ sayings, which are distinguished by their brevity, capacity of thought and expressiveness: “The legend is fresh, but hard to believe,” “I would be glad to serve, but it is sickening to be served,” “And the smoke of the fatherland is sweet and pleasant to us.”

Part 3

Give a complete, detailed answer to the problematic question, drawing on the necessary theoretical and literary knowledge, relying on literary works, the author’s position and, if possible, revealing your own vision of the problem.

C1. Describe the representatives of the “Famus” society.

C2. What is the problem with the genre definition of A.S.’s play? Griboyedov "Woe from Wit"?

NW. The image of Chatsky: winner or loser?

A. S. Pushkin. Poems

"To Chaadaev"

The poem “To Chaadaev” was written by Pushkin during the “St. Petersburg” period, in 1818. At this time, the poet was strongly influenced by Decembrist ideas. Under their influence, his freedom-loving lyrics of these years were created, including the program poem “To Chaadaev.” Genre- a friendly message.

In the poem “To Chaadaev” it sounds subject liberties and the fight against autocracy. It reflects the views and political sentiments that united Pushkin with his friend P. Ya. Chaadaev and with all the leading people of his time. It is no coincidence that the poem was widely distributed in lists and served as a means of political agitation.

Plot. At the beginning of the message, Pushkin says that the hopes that arose in society in the first years of the reign of Alexander I quickly disappeared. The oppression of the “fatal power” (the tightening of policies by the emperor after the war of 1812) makes people with progressive views and freedom-loving sentiments feel with particular acuteness “ calling of the fatherland” and impatiently awaiting “the moment of the saint’s freedom.” The poet calls on “to dedicate your souls to beautiful impulses...” and to fight for its freedom. At the end of the poem, faith is expressed in the inevitability of the fall of the autocracy and in the liberation of the Russian people:

Comrade, believe: she will rise,

Star of captivating happiness,

Russia will wake up from its sleep,

And on the ruins of autocracy

They will write our names!

Innovation Pushkin is that in this poem he combined civic, accusatory pathos with the almost intimate experiences of the lyrical hero. The first stanza brings to mind the images and aesthetics of sentimentalist and romantic elegy. However, the beginning of the next stanza dramatically changes the situation: a disappointed soul is contrasted with a soul full of courage. It becomes clear that we are talking about a thirst for freedom and struggle; but at the same time, the phrase “desire burns” also seems to hint at the fact that we are talking about the unspent power of love. The third stanza combines images of political and love lyrics. In the final two stanzas, love phraseology is replaced by civic-patriotic images.

If the ideal for Decembrist poetry was a hero who voluntarily renounces personal happiness for the sake of the happiness of his homeland, and from this position love lyrics were condemned, then in Pushkin political and love lyrics were not opposed to each other, but merged in a common impulse of love of freedom.

"Village"

The poem “Village” was written by Pushkin in 1819, during the so-called “St. Petersburg” period of his work. For the poet, this was a time of active participation in the socio-political life of the country, visiting the secret union of the Decembrists, friendship with Ryleev, Lunin, Chaadaev. The most important issues for Pushkin during this period were the social structure of Russia, the social and political lack of freedom of many people, and the despotism of the autocratic-serf system.

The poem “Village” is dedicated to an extremely relevant issue for that time. topic serfdom. It has a two-part composition: the first part (before the words “... but the thought is terrible ...") is an idyll, and the second is a political declaration, an appeal to the powers that be.

For the lyrical hero, the village is, on the one hand, a kind of ideal world where silence and harmony reign. In this land, “a haven of peace, work and inspiration,” the hero gains spiritual freedom and indulges in “creative thoughts.” The images of the first part of the poem - “the dark garden with its coolness and flowers”, “light streams”, “striped fields” - are romanticized. This creates an idyllic picture of peace and tranquility. But a completely different side of life in the village opens in the second part, where the poet mercilessly reveals the ugliness of social relations, the arbitrariness of the landowners and the powerless situation of the people. “Wild lordship” and “skinny slavery” are the main images of this part. They embody the “murderous shame of ignorance,” all the wrongness and inhumanity of serfdom.

Thus, the first and second parts of the poem are contrasting, opposed to each other. Against the backdrop of beautiful, harmonious nature, the kingdom of “happiness and oblivion” depicted in the first part, the world of cruelty and violence in the second looks especially ugly and flawed. The poet uses the technique of contrast to more clearly identify the main idea works - the injustice and cruelty of serfdom.

The selection of figurative and expressive language means serves the same purpose. The intonation of speech in the first part of the poem is calm, even, and friendly. The poet carefully selects epithets, conveying the beauty of rural nature. They create a romantic and peaceful atmosphere: “the stream of my days is flowing”, “the mills are creeping”, “the lakes are azure plains”, “the peaceful noise of oak forests”, “the silence of the fields”. In the second part the intonation is different. Speech becomes agitated. The poet selects apt epithets and gives an expressive speech description: “wild lordship”, “chosen by fate for the destruction of people”, “exhausted slaves”, “relentless owner”. In addition, the last seven lines of the poem are filled with rhetorical questions and exclamations. They demonstrate the indignation of the lyrical hero and his reluctance to put up with the unjust structure of society.

"The light of day has gone out"

The work “The Sun of Day Has Gone Out...” became the first poem of the new period of Pushkin’s creativity and the beginning of the so-called “Crimean cycle” of elegies. This cycle also includes the poems “The flying ridge of clouds is thinning...”, “Who has seen the land where the luxury of nature is...”, “My friend, I have forgotten the traces of past years...”, “Will you forgive me jealous dreams. ..”, “The stormy day has gone out; foggy night... Genre- romantic elegy.

Composition.. The poem can be roughly divided into two parts. In the first, all the thoughts and feelings of the lyrical hero are directed towards the “distant shore”, the goal of the journey. In the second, he remembers the abandoned “fatherland”. The parts of the poem are opposed to each other: the “distant shore” to which the lyrical hero strives seems to him to be a “magical” land, to which he strives “with excitement and longing.” “Fatherly lands,” on the contrary, are described as “sad shores”; associated with them are “languid deception of desires and hopes,” “lost youth,” “vicious delusions,” etc.

The elegy “The daylight has gone out...” marks the beginning of the romantic period in Pushkin’s work. Here sounds traditional for romanticism subject escape of a romantic hero. The poem contains the entire set of characteristic signs of a romantic attitude: a yearning fugitive, a homeland abandoned forever, hints of “mad love”, deception, etc.

It should be noted that Pushkin’s images are extremely romantic. The hero is not just on the border of the elements (between the ocean, sky and earth), but on the border of day and night; and also between “the mad love of former years” and “the far reaches.” Everything is taken to the limit: not the sea, but the “gloomy ocean”, not just the shore, but the mountains, not just the wind, but both wind and fog at the same time.

"Prisoner"

The poem “The Prisoner” was written in 1822, during the “southern” exile. Arriving at the place of his permanent service, in Chisinau, the poet was shocked by the striking change: instead of the blooming Crimean shores and sea, there were endless steppes scorched by the sun. In addition, the lack of friends, boring, monotonous work and the feeling of complete dependence on the authorities had an impact. Pushkin felt like a prisoner. It was at this time that the poem “Prisoner” was created.

home subject The poem “Prisoner” is the theme of freedom, vividly embodied in the image of an eagle. The eagle is a prisoner, just like the lyrical hero. He grew up and was raised in captivity, he never knew freedom and yet strives for it. The eagle's call to freedom (“Let's fly away!”) implements the idea of ​​Pushkin's poem: a person should be free, like a bird, because freedom is the natural state of every living creature.

Composition.“The Prisoner,” like many other poems by Pushkin, is divided into two parts, differing from each other in intonation and tone. The parts are not contrasting, but gradually the tone of the lyrical hero becomes more and more excited. In the second stanza, the calm story quickly turns into a passionate appeal, into a cry for freedom. In the third, he reaches his peak and seems to hover on the highest note with the words “... only the wind... yes me!”

“Desolate sower of freedom.”

In 1823, Pushkin was experiencing a deep crisis. The state of spiritual decline and pessimism that took possession of the poet was reflected in a number of poems, including the poem “Desert Sower of Freedom...”.

Pushkin uses plot Gospel parable of the sower. This parable is spoken by Christ in the presence of twelve disciples at a gathering of people: “A sower went out to sow his seed: and as he sowed, some fell by the road and was trampled underfoot; and the birds of the air devoured it. And some fell on a stone and, when they sprang up, withered because they had no moisture. And some fell among the thorns, and the thorns grew and choked them. And some fell on good soil and sprang up and bore fruit a hundredfold.” If in the Gospel parable at least part of the “seeds” bore “fruit,” then the conclusion of Pushkin’s lyrical hero is much less comforting:

Desert sower of freedom,

I left early, before the star;

With a clean and innocent hand

Into the enslaved reins

Threw a life-giving seed -

But I only lost time

Good thoughts and works...

Composition. Compositionally and in meaning, the poem falls into two parts. The first is dedicated to the sower, its tone is sublime and elevated, which is facilitated by the use of gospel imagery (“sower”, “life-giving seed”). The second is to “peaceful peoples”, here the tone of the lyrical hero changes sharply, now this is an angry denunciation, “peaceful peoples” are compared to a submissive herd:

Graze, peaceful peoples!

The cry of honor will not wake you up.

Why do the herds need the gifts of freedom?

They should be cut or trimmed.

Their inheritance from generation to generation

A yoke with rattles and a whip.

With the help of the famous parable, Pushkin resolves in a new way the traditional for romanticism topic poet-prophet in a clash with the crowd. “The desert sower of freedom” is a poet (and not only Pushkin himself, but a poet as such), the “life-giving seed” that the lyrical hero sows symbolizes the word, poetry in general and political poems and radical statements that marked the poet’s life in St. Petersburg and Chisinau, in particular. As a result, the lyrical hero comes to the conclusion that all his labors are in vain: no calls for freedom are able to awaken “peaceful peoples.”

“Imitations of the Koran” (IX. “And the tired traveler grumbled at God...”)

“And the weary traveler grumbled at God...” is the ninth and final poem of the cycle “Imitations of the Koran,” written in 1825. Pushkin, relying on the Russian translation of M. Verevkin, freely rearranged fragments of suras, that is, chapters of the Koran. Genre - parable.

Pushkin’s cycle “Imitations of the Koran” represents not just separate, although interconnected, episodes from the life of the prophet, but the most important stages of human destiny in general.

The final poem of the cycle, “And the weary traveler grumbled at God...” is clearly of a parable nature, and plot its quite simple. The “tired traveler” is languishing from thirst caused by the heat of the desert and is focused on his physical suffering. He “murmurs” against God, having lost hope of salvation, and does not realize the Divine omnipresence, does not believe in the Creator’s constant care for his creation.

When the hero was about to completely lose faith in salvation, he sees a well of water and greedily quenches his thirst. After this he falls asleep for many years. Waking up, the traveler discovers that, by the will of the Almighty, he slept for many years and became an old man:

And the instant old man, overcome with grief,

Sobbing, his head drooped, trembling...

But a miracle happens:

God returns youth to the hero:

And the traveler feels both strength and joy;

Resurrected youth began to play in the blood;

Holy delights filled my chest:

And with God he sets off on his journey.

In this poem, Pushkin uses the mythological plot of “death - rebirth”, due to which it has a generalizing character. The traveler is perceived as a person in general. His “death” and “resurrection” symbolize a person’s life path from error to truth, from unbelief to faith, from gloomy disappointment to optimism. Thus, the “resurrection” of the hero is interpreted, first of all, as a spiritual rebirth.

"Song about the prophetic Oleg"

“The Song of the Prophetic Oleg” was written in 1822. Genre- legend.

Plot basis“Songs about the prophetic Oleg” was inspired by the legend about the death of Oleg, the Kyiv prince, recorded in the “Tale of Bygone Years”. To the Kyiv prince Oleg, nicknamed by the people “the prophetic” for his wisdom, the sorcerer, “magician”, predicts: “you will accept death from your horse.” Frightened by a terrible prophecy, the prince parts with his faithful fighting friend-horse. A lot of time passes, the horse dies, and Prince Oleg, remembering the prediction, decides with anger and bitterness that the sorcerer has deceived him. Arriving at the grave of his old battle friend, Oleg regrets that they had to do this

It's too early to part. However, it turns out that the magician was not slandering, and his prophecy was fulfilled: a poisonous snake crawling out of the horse’s skull bit Oleg.

Pushkin became interested in the legend about Prince Oleg and his horse subject fate, the inevitability of predetermined fate. Oleg gets rid, as it seems to him, of the threat of death, sends away the horse, which, according to the magician’s prediction, should play a fatal role. But many years later, when it seems that the danger has passed - the horse is dead - fate overtakes the prince.

There is another one in the poem subject, extremely important for the poet - the theme of the poet-prophet, the theme of the poet - the herald of the highest will. So, the prince says to the magician:

Reveal to me the whole truth, do not be afraid of me:

You will take a horse as a reward for anyone.

And he hears in response:

The Magi are not afraid of mighty rulers,

And they don’t need a princely gift;

Their prophetic language is truthful and free

And friendly with the will of heaven.

"To sea"

"To the Sea" was created in 1824. This poem ends the romantic period of Pushkin's work. It stands, as it were, at the junction of two periods, so it contains some romantic themes and images, and features of realism.

Traditionally genre The poem “To the Sea” is defined as an elegy. However, we should rather talk about a combination of genres such as epistle and elegy. The genre of the message is already evident in the title of the poem, but the content remains purely elegiac.

In the very first line of the poem, the lyrical hero says goodbye to the sea (“Farewell, free element!”). This is a farewell - both to the real Black Sea (in 1824, Pushkin was exiled from Odessa to Mikhailovskoye, under the supervision of his father), and to the sea as a romantic symbol of absolute freedom, and to romanticism itself.

The image of the sea, stormy and free, takes center stage. At first, the sea appears before us in a traditionally romantic spirit: it symbolizes a person’s life, his destiny. Then the picture becomes more specific: the sea is connected with the destinies of great personalities - Byron and Napoleon.

In this poem the poet bids farewell to romanticism and its ideals. Pushkin gradually turns to realism. In the last two lines of the elegy, the sea ceases to be a romantic symbol, but becomes simply a landscape.

In the elegy “To the Sea,” the traditional romanticism rises subject romantic escape of the hero. In this sense, it is interesting to compare it with one of the first poems of the romantic period in Pushkin’s work, “The Daylight Has Gone Out...” (1820), where the theme of escape also arises. Here the lyrical hero strives to go to some unknown “magical lands” (romantic rejection of the surrounding reality), and the poem “To the Sea” already speaks of the failure of this romantic journey:

Couldn't leave it forever

I find the motionless shore boring,

Congratulate you with delight

And guide you along your waves

My poetic escape!

In the poem “The Sun of Day Has Gone Out...” the hero strives for a “distant shore”, which seems to him an ideal land (the romantic “there”), and in the elegy “To the Sea” the hero doubts its existence:

The world is empty... Now where to go

Would you take me out, ocean?

The fate of people everywhere is the same:

Where there is a drop of good, there is on guard

Enlightenment or tyrant.

"Nanny"

The poem “Nanny” was written in Mikhailovsky in 1826. In 1824-1826, the poet’s nanny Arina Rodionovna lived with Pushkin in Mikhailovskoye, sharing his exile. She had a great influence on his creativity, his studies in folklore, his passion for folk poetry and fairy tales. The poet repeatedly sang the time spent with his nanny in poems, and embodied her features in the images of nanny Tatyana Larina, Dubrovsky’s nanny, female images of the novel “Arap of Peter the Great,” etc. Pushkin’s famous poem “Nanny” is also dedicated to Arina Rodionovna.

The main idea of ​​the work “Woe from Wit” is to illustrate meanness, ignorance and servility before ranks and traditions, which were opposed by new ideas, genuine culture, freedom and reason. The main character Chatsky acted in the play as a representative of that same democratic-minded society of young people who openly challenged conservatives and serf owners. Griboedov managed to reflect all these subtleties that were raging in social and political life using the example of a classic comedic love triangle. It is noteworthy that the main part of the work described by the creator takes place over the course of just one day, and the characters themselves are depicted by Griboyedov very vividly.

Many of the writer's contemporaries awarded his manuscript with sincere praise and advocated for permission to publish the comedy before the Tsar.

The history of writing the comedy "Woe from Wit"

The idea of ​​writing the comedy “Woe from Wit” came to Griboyedov during his stay in St. Petersburg. In 1816, he returned to the city from abroad and found himself at one of the social receptions. He was deeply indignant at the Russian people’s craving for foreign things, after he noticed that the city’s nobility worshiped one of the foreign guests. The writer could not restrain himself and showed his negative attitude. Meanwhile, one of the invitees, who did not share his beliefs, retorted that Griboedov was crazy.

The events of that evening formed the basis of the comedy, and Griboyedov himself became the prototype of the main character Chatsky. The writer began work on the work in 1821. He worked on comedy in Tiflis, where he served under General Yermolov, and in Moscow.

In 1823, work on the play was completed, and the writer began to read it in Moscow literary circles, receiving rave reviews along the way. The comedy was successfully distributed in the form of lists among the reading population, but it was first published only in 1833, after the request of Minister Uvarov to the Tsar. The writer himself was no longer alive by that time.

Analysis of the work

The main plot of the comedy

The events described in the comedy take place at the beginning of the 19th century, in the house of the capital official Famusov. His young daughter Sophia is in love with Famusov's secretary, Molchalin. He is a prudent man, not rich, and holds a minor rank.

Knowing about Sophia's passions, he meets with her for convenience. One day, a young nobleman, Chatsky, a family friend who has not been in Russia for three years, comes to the Famusovs’ house. The purpose of his return is to marry Sophia, for whom he has feelings. Sophia herself hides her love for Molchalin from the main character of the comedy.

Sophia's father is a man of the old way of life and views. He is subservient to the ranks and believes that young people should please their superiors in everything, not show their opinions and serve their superiors selflessly. Chatsky, in contrast, is a witty young man with a sense of pride and a good education. He condemns such views, considers them stupid, hypocritical and empty. Heated disputes arise between Famusov and Chatsky.

On the day of Chatsky’s arrival, invited guests gather at Famusov’s house. During the evening, Sophia spreads a rumor that Chatsky has gone crazy. The guests, who also do not share his views, actively pick up this idea and unanimously recognize the hero as crazy.

Finding himself the black sheep of the evening, Chatsky is about to leave the Famusovs’ house. While waiting for the carriage, he hears Famusov’s secretary confessing his feelings to the master’s maid. Sophia also hears this and immediately drives Molchalin out of the house.

The denouement of the love scene ends with Chatsky's disappointment in Sophia and secular society. The hero leaves Moscow forever.

Heroes of the comedy "Woe from Wit"

This is the main character of Griboedov's comedy. He is a hereditary nobleman, in whose possession there are 300 - 400 souls. Chatsky was left an orphan early on, and since his father was a close friend of Famusov, from childhood he was raised together with Sophia in the Famusovs’ house. Later he became bored with them, and at first he settled separately, and then left to wander the world.

Since childhood, Chatsky and Sophia were friends, but he had more than just friendly feelings for her.

The main character in Griboyedov's comedy is not stupid, witty, eloquent. A lover of ridicule of stupid people, Chatsky was a liberal who did not want to bend to his superiors and serve the highest ranks. That is why he did not serve in the army and was not an official, which was rare for the era of that time and his pedigree.

Famusov is an older man with gray hair at the temples, a nobleman. For his age he is very cheerful and fresh. Pavel Afanasyevich is a widower; his only child is Sophia, 17 years old.

The official is in the civil service, he is rich, but at the same time flighty. Famusov without hesitation pesters his own maids. His character is explosive and restless. Pavel Afanasyevich is grumpy, but with the right people, he knows how to show proper politeness. An example of this is his communication with the colonel, to whom Famusov wants to marry his daughter. For the sake of his goal, he is ready to do anything. Submission, servility before ranks and servility are characteristic of him. He also values ​​society’s opinion of himself and his family. The official does not like to read and does not consider education to be something very important.

Sophia is the daughter of a wealthy official. Pretty and educated in the best rules of the Moscow nobility. Left early without her mother, but under the care of the governess Madame Rosier, she reads French books, dances and plays the piano. Sophia is a fickle girl, flighty and easily attracted to young men. At the same time, she is gullible and very naive.

During the course of the play, it is clear that she does not notice that Molchalin does not love her and is with her because of his own benefits. Her father calls her a disgrace and a shameless woman, but Sophia herself considers herself an intelligent and not a cowardly young lady.

Famusov's secretary, who lives in their house, is a single young man from a very poor family. Molchalin received his noble title only during his service, which was considered acceptable in those days. For this, Famusov periodically calls him rootless.

The hero's surname perfectly matches his character and temperament. He doesn't like to talk. Molchalin is a limited and very stupid person. He behaves modestly and quietly, respects rank and tries to please everyone around him. He does this solely for profit.

Alexey Stepanovich never expresses his opinion, due to which those around him consider him a completely handsome young man. In fact, he is vile, unprincipled and cowardly. At the end of the comedy, it becomes clear that Molchalin is in love with the maid Liza. Having confessed this to her, he receives a portion of righteous anger from Sophia, but his characteristic sycophancy allows him to remain in the service of her father further.

Skalozub is a minor hero of the comedy; he is a lack-of-initiative colonel who wants to become a general.

Pavel Afanasyevich classifies Skalozub as one of the eligible Moscow bachelors. In Famusov’s opinion, a rich officer with weight and status in society is a good match for his daughter. Sophia herself did not like him. In the work, the image of Skalozub is collected in separate phrases. Sergei Sergeevich joins Chatsky’s speech with absurd reasoning. They betray his ignorance and lack of education.

Maid Lisa

Lizanka is an ordinary servant in Famus’s house, but at the same time she occupies a fairly high place among other literary characters, and she is given quite a lot of different episodes and descriptions. The author describes in detail what Lisa does and what and how she says. She forces other characters in the play to confess their feelings, provokes them to certain actions, pushes them to various decisions that are important for their lives.

Mr. Repetilov appears in the fourth act of the work. This is a minor but bright character in the comedy, invited to Famusov’s ball on the occasion of his daughter Sophia’s name day. His image characterizes a person who chooses the easy path in life.

Zagoretsky

Anton Antonovich Zagoretsky is a secular reveler without ranks and honors, but he knows how and loves to be invited to all receptions. Due to your gift - to be pleasing to the court.

Hurrying to be in the center of events, “as if” from the outside, the secondary hero A.S. Griboyedov, Anton Antonovich, himself, finds himself invited to an evening at the Faustuvs’ house. From the very first seconds of the action with his person, it becomes clear that Zagoretsky is still a “frame”.

Madame Khlestova is also one of the minor characters in the comedy, but still her role is very colorful. This is a woman of advanced years. She is 65 years old. She has a Spitz dog and a dark-skinned maid - a blackamoor. Khlestova is aware of the latest gossip of the court and willingly shares her own life stories, in which she easily talks about other characters in the work.

Composition and storylines of the comedy "Woe from Wit"

When writing the comedy “Woe from Wit,” Griboyedov used a technique characteristic of this genre. Here we can see a classic plot where two men are vying for the hand of one girl at once. Their images are also classic: one is modest and respectful, the second is educated, proud and confident in his own superiority. True, in the play Griboyedov placed accents in the characters’ characters a little differently, making Molchalin, and not Chatsky, sympathetic to that society.

For several chapters of the play there is a background description of life in the Famusovs’ house, and only in the seventh scene does the beginning of the love plot begin. A fairly detailed long description during the play tells about just one day. The long-term development of events is not described here. There are two storylines in the comedy. These are conflicts: love and social.

Each of the images described by Griboyedov is multifaceted. Even Molchalin is interesting, towards whom the reader already develops an unpleasant attitude, but he does not cause obvious disgust. It's interesting to watch him in various episodes.

In the play, despite the adoption of fundamental structures, there are certain deviations to construct the plot, and it is clearly evident that the comedy was written at the junction of three literary eras: flourishing romanticism, emerging realism and dying classicism.

Griboedov's comedy "Woe from Wit" gained its popularity not only for the use of classical plot techniques in a non-standard framework, it reflected obvious changes in society, which were then just emerging and taking their first sprouts.

The work is also interesting because it is strikingly different from all other works written by Griboyedov.

It would seem that, the author himself defined the genre: “Woe from Wit” - comedy, but in the 19th century a comedy was any dramatic work that did not have a tragic ending. Comedy is a picture of morals, and there is a comedic element in the play: at first glance, the work is built according to the traditional classic comedy scheme.

Here the trinity of time, place and action is observed, the number of heroes includes the usual characters: a loving hero-reasoner (Chatsky), a girl in love (Sofia), a second lover (Molchalin), a stupid dad (Famusov), a nimble maid (Liza). But Griboyedov gives a new interpretation to the usual masks, he turns everything “upside down”, deliberately deceiving the reader in his expectations: the happy lover turns out to be not a positive hero at all, the girl in love herself bears little resemblance to the model, the hero-reasoner outrages those around him with his behavior and, moreover, ridiculed by them; the maid is denied a significant role, etc.

But the comedic intrigue based on the love triangle is observed, however, and Griboedov solves it in a very original way: he introduces additional love parallels: Skalozub - Sofia-Chatsky, Skalozub - Sofia - Molchalin, Famusov - Liza - Molchalin, Molchalin - Liza - Petrushka, thereby deepening the comedy line and at the same time complicating the characterization of the characters. Such parallels help achieve the main effect: ridicule of the main love triangle, built on true and imaginary feelings and turning out to be false in the finale.

Griboedov introduces tragic notes into the comedy scheme: the true feelings experienced by the heroes collapse (Chatsky is disappointed in Sofia, Sofia is humiliated and insulted by Molchalin), and only imaginary heroes are simply exposed in the spirit of comedy. The tragedy of the main characters acquires resonance towards the end, but is inherent in them from the very beginning. Chatsky, who carries the traits of a romantic hero, suffers from the unknown and uncertainty of his position, Sofia suffers from the inability to reveal her feelings to others and find personal happiness.

The problem of finding personal happiness, and through it themselves, worries both heroes, but it is solved in different ways. Once offended by Chatsky's departure, Sofia seeks peace and reliability in the person of Molchalin, and Chatsky needs Sofia's understanding and love.

The tragedy of the heroes causes the “millions of torments” that befell them. The conflict is irresolvable: true feelings cannot adapt, and the characters bear the traits of tragedy to a greater extent than comedy. Combining the features of these genres allows the author to almost break the canons and bring his work to the level of complex internal rather than external contradictions.

Griboyedov builds a comedy on two storylines: a love one, connected with Sofia and Chatsky, and a social one, based on the difference in views of the two opposing sides. The second, according to tradition, is defined in genre as social satire. But should we limit ourselves to such an assessment?

Famusov’s Moscow is a limited world, in which a quiet life, kinship, adherence to customs, admiration for the foreign, veneration of rank, denial of education and, in general, everything new are valued. Chatsky notices all these features with his ironic mind, and he exposes them to the viewer. They carry elements of satire as a phenomenon reinterpreted with the help of laughter. But the Famus-Chatsky storyline is not limited to satire: it is deeper and more original. Famusov and Chatsky are not heroes of opposite camps; Chatsky was brought up in Famusov’s house, grew up before his eyes and left his house to wander, and Famusov sees in Chatsky a close person who has certain abilities (“he writes and translates well”), pleasant to society.

The conflict between them arises gradually: not from deep dissatisfaction with the interlocutor, but from the accident of the moment of explanation. Chatsky’s inner experiences, irritation, love uncertainty are met with complacent questions
and teachings. A spark of love fire ignites a fire of discontent in Chatsky against the existing social system: he
Gradually, reacting to Famusov’s remarks, without meaning to, he becomes more and more inflamed against what is unpleasant to him and what, from his point of view, needs to be changed. This storyline reaches its apogee in the ball scene, when (again due to love twists and turns) Chatsky is declared crazy.

In relationships with others, Chatsky acquires the features of a dramatic hero. But the drama of the hero is not only that he is almost the only one who sees all the shortcomings of society and exposes them, but also that he himself acquires the comedic features of a jester,
entertaining the public.

In the dramatic development, the love and social lines are united in the finale and reconciled by a farcical vaudeville, which, starting at the ball, ends with an explanation scene between Liza and Molchalin. The features of vaudeville with its deliberately comical elements (the false deafness of Prince Tugoukhovsky, the demonstrably loud hunt for the suitors of the Tugoukhovsky family, the fall of Repetilov, Molchalin’s monologue) set off all the plot lines, showing almost the absurdity of any sincere experiences in the atmosphere of such a farce. Griboyedov builds the dramatic beginning of the work, using features of different genres: tragedy, comedy, drama, satire, vaudeville-farce, thereby not only destroying the usual canons, but also accumulating dramatic energy into a fundamentally new genre whole, in which one can talk about serious things at the same time both comical and tragic.

For some reason, works of literary criticism ignore the fact that a work created for the viewer for a long time remained (and, perhaps, still remains) a part of the reader’s attention. According to the testimony of some of the writer’s contemporaries, Griboyedov, realizing the impossibility of staging and publishing Woe from Wit, changed a lot in it before giving it to copyists. It is no coincidence that when analyzing the work one can discover an epic element: the traditional viewer’s subjective perception is opposed not by the author’s objective point of view on the characters, but by the characters’ subjective perception of each other.

In “Woe from Wit” it is difficult to assign traditional classicist roles precisely because each character evaluates the other from the point of view of “his own truth” and has his own word in the play: Chatsky, convinced of the insignificance of Molchalin and the exclusivity of Sofia, Sofia - in irony, causticity, the dangers of Chatsky, Molchalin - in a lack of understanding of life, Chatsky’s stupidity. All these points of view are equal, and the heroes who express them acquire an epic sound in the outline of a dramatic work. (An argument in support of this thesis can be cited from the fact that all stage productions of “Woe from Wit” turned out to be unsuccessful.)

The special depth of Griboedov’s poems and their aphoristic nature allow us to talk about the presence of a lyrical element in comedy. In our opinion, the author uses a whole range of lyrical genres: from a parody of a ballad to civil lyrics. Already in the first act we are faced with the ballad genre that Griboedov does not like, which he simply openly mocks, talking about something that does not exist. This is Sofia’s dream, which never happened at all, since the heroine did not sleep at night. The ballad appears before us in a comedic vein: Sofia, familiar with dream books, omens, and literary ballads, almost composes it on her own: a flowery meadow, the heroine is looking for some grass, a person dear to her heart appears to her, then the appearance of her father, separation from her lover , monsters, whistles, screams, roars - all elements of this genre.

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Writers are some of the most unique people on the planet; they know how to create a multifaceted masterpiece based on a short situation. 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 witnessed an unusual picture: one of the guests was a 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 time 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 comedy “A. Griboyedov “Woe from Wit”.

Naturally, his speech was not heard - the aristocrats considered Griboedov 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.

The central characters of the comedy 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 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 a 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 outline 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 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 activities (civil service in government institutions and military service) and shameful ones (writing, scientific activity) is highlighted.

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 become the reason for the emergence of duplicity on the love front - being a monogamist has become unfashionable.

Genre of the work: “Woe from Wit”

The peculiarities of the themes and issues of the play gave rise to a discussion in literary circles about the genre of “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 precisely determine its genre - literary scholars have every reason to designate it as a 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.