Pass us by more than all sorrows and the lordly anger, and the lordly love…. Pass us more than all sorrows Anger - Love

Posted by A.A. Bestuzhev: "I am not talking about poetry, half of them should be included in the proverb."

Many of Griboyedov's aphorisms entered everyday speech:

We use catch phrases, no longer thinking about their authorship.

Of course, quotes from "Woe from Wit" gained popularity not only thanks to the talent of Griboyedov. After the coup of 1917, the accusatory play was included in school curricula and theater repertoires.

Griboyedov's catchphrases given below are correlated with the characters in the play. We got their characteristics through catch phrases. There are eighty proverbs in total.

The headings contain the most popular, and, therefore, the most appropriate proverbs for a given person.

Lisa - Pass us more than all sorrows and master's anger, and master's love

Famusov - That's it, you are all proud!

Sofia - The hero of not my novel

Chatsky - Who are the judges?

Skalozub - In my judgment, the fire contributed a lot to her decoration

Molchalin - Ah! evil tongues are scarier than a gun

Khlestova - Everybody lies calendars

Repetilov - Look and something

Princess - He is a chemist, he is a botanist

"Woe from Wit" by Alexander Griboyedov is the most unique work in terms of the number of catchphrases. Many began to live separately. People who use them in speech often do not realize that they are quoting classic lines of literature.

Winged expressions from the comedy "Woe from Wit" can often be heard in speech, in what meaning the hero of the text pronounced them. What has changed over the eras?

Most quoted expressions

"Happy hours are not observed"... The phrase is pronounced by Sofya Pavlovna, explaining to the maid how quickly the nights pass next to her beloved. The expression has not changed its interpretation. They characterize the state of people who are passionate about each other. For them, time fades into the background, leaving room only for feelings. Lovers are overwhelmed with delight from communication, meetings and positive emotions. They cannot and do not want to keep track of time.

"Mind and heart are out of tune"... The phrase is pronounced by Chatsky. He explains his condition with her. The heart of a lover does not hear the mind. A person is not able to analyze what is happening around him, does not notice deception and deceitful actions. Blinded by feelings, he does not hear the truth in speech. Misleads himself, which later becomes a fatal mistake. In modern life, expression finds a place not only in the emotional sphere, which describes feelings of mutual affection. The mind does not help those who are blinded by their luck in business, in gambling.

"The hero of not my novel"... Sofya Pavlovna used the phrase to explain that one of the contenders for her hand cannot be her lover. Today, the expression allows you to remove from gentlemen those who cannot become a groom by individual choice and preferences of either gender.

"I would be glad to serve, to serve is sickening"... In Chatsky's speech, the word serve has a direct meaning. In the modern world, the expression is used much more widely. Serving becomes synonymous with working. Many people want to find a profession in which they do not have to follow the instructions of the upper levels of power in order to move up the career ladder. Most want to be appreciated for their knowledge, skills and experience.

"Day after day, today is like yesterday"... This is how Alexey Molchalin describes his life. This is how contemporaries characterize life, if interesting events leave it, only one routine repeating every day remains. The state of despair is heard behind the words, longing and despondency. I want to break out of this state as quickly as possible.

“Pass us by more than any sorrow. And the lordly anger, and the lordly love "... The phrase is embedded in the mouth of the maid Lisa. The girl understands the danger of both love and disfavor. I want to avoid unnecessary care, anger and hostility. Any feeling on the part of those in power, bosses and leaders often ends negatively for the employee. That is why I want the bright manifestations on their part to be bypassed.

"To whom it is appointed, sir, fate cannot escape"... Lisa pronounces wise words. Contemporaries did not lose faith in destiny and destiny. An event that occurs in life, often negative, impossible to explain, is reduced to the manifestation of forces from above. Fate is responsible for everything.

"Who is poor is not your match"... Sophia's father's speech clearly delineated the daughter's ability to choose her future husband. It would seem that the age of division into rich and poor has passed. But in fact, the status position not only remained, but is considered one of the main reasons for divorces and failed marriages. The expression continues to live, expanding its meaning. Any social position that separates lovers can be explained by a catch phrase.

"Who are the judges?"... Chatsky's words are still heard today. Condemnation of people who do not have the right to this is so common that the expression is considered one of the most popular. The word judge is not used in its direct meaning, it characterizes any person trying to present his opinion, often erroneous, as a standard.

All expressions by character

Chatsky's quotes:

I'm strange, not strange who is? One who looks like all fools.

A little light already on my feet! and I am at your feet.

Tell me into the fire: I’ll go as if to dinner.

More in number, cheaper price.

Here are our strict judges and judges!

All the same sense, and the same verses in the albums.

Singer in winter summer weather.

On the forehead is written: Theater and Maskerad.

But if so: mind and heart are out of tune.

And here is the reward for the exploits!

The most vile traits of the past.

I would be glad to serve, to serve is sickening.

Blessed are those who believe - warmth to him in the world!

And Guillaume, the Frenchman, blown away by the breeze?

The fate of love is to play blind man's buff.

Quotes from Sophia:

And grief awaits from around the corner.

Happy hours are not observed.

You can share laughter with everyone.

I don't care what is for him, what is in the water.

Just think how capricious happiness is!

But will such a mind make the family happy?

The hero is not my novel.

Questions are quick and curious ...

What is the rumor to me? Whoever wants to judge so.

I went into a room, got into another.

Quotes from Molchanin:

Oh! evil tongues are more terrible than a pistol.

There is a mirror outside, and a mirror inside.

Everyone has their own talent.

There are contradictions, and much is not practical.

We find patronage where we do not mark.

Day after day, today is like yesterday.

Quotes Reptilov:

We make noise, brother, make noise!

About Beyron, well, about important mothers.

There is no place to explain now the lack of time.

He rejected everything: laws! conscience! faith!

And I have an attraction for you, a kind of ailment.

Lizanka's quotes:

Sin is not a problem, rumor is not good.

Your conversation has come during the night.

And the golden bag, and marks the generals.

And they hear, they don't want to understand.

To whom it is appointed, sir, destiny cannot be avoided.

Pass us by more than any sorrow. And lordly anger, and lordly love.

Do these faces suit you.

And whoever is in love is ready for anything.

She to him, and he to me, And I ... I am the only one who loves to death, And how not to fall in love with the barman Petrusha!

The girls have such a thin morning sleep.

Quotes by Anfisa Khlestova:

The calendars are all lying.

Tea, I drank beyond my years.

There are wonderful adventures in the world! In his summer he jumped mad!

Not! three hundred! I don’t know someone else’s estates!

Quotes by Platon Mikhailovich:

They scold us. Everywhere, but everywhere they accept.

I will tell you the truth about you, Which is worse than any lie.

The catch phrases and aphorisms from the comedy "Woe from Wit", describing the life of landowners and their servants during the time of serfdom, find their place in the modern world. Moreover, in most cases, the meaning of catch phrases has become broader.

My father's house is two blocks from the St. Petersburg Tauride Palace. From the age of four I became “my man” in it and soon learned that the name of the great commander Alexander Vasilyevich Suvorov was associated with these chambers. Already in the first grade I knew a lot about him, even the name of my unloved wife. Then, in a film about him, I saw the emperor Paul I screaming at him ugly: "V-o-he!" The tsar had vile revenge on the old commander. Suvorov, having overcome the steep alpine paths and went out into the valley with an army of tired ragamuffins, utterly defeated the quite prosperous army of Napoleon's general Massena.

Europe applauded. People of different nationalities justly expected the commander's triumphant return to Russia, but the possessed emperor ordered him to be delivered in a peasant sleigh under a sheepskin coat to the Tauride Palace. Should I not know from all sides a palace that was blown through and through. Even Suvorov, who was called "super-hardened", caught a cold and died on May 6, 1800. Pavel did not calm down, he ordered to put only army units in the funeral cortege, not to allow a single guard, that is, the soldiers with whom he won legendary victories ...

Quietly lives on the outskirts of Europe, the town of Benzlau. His Serene Highness Prince Mikhail Illarionovich Golenishchev-Kutuzov-Smolensky, who had just expelled Napoleon from Russia, finished his life there. From the side it seemed: in deep slumber, the old man finally found a quiet refuge after the great victory. And only the adjutants who were replacing around him, hearing him moan in his half-sleep, understood: something else painfully connects the almost gone with this world.

The door opened quietly. The king entered. A chair was quickly substituted for him.

Forgive me, Mikhail Illarionovich, - he meekly asked.

I'll forgive you. Russia will not forgive you, ”the dying man answered with difficulty, through shortness of breath.

Only these two people knew what it was about. Only they could understand how painfully Kutuzov's answer whipped the emperor. Behind him were many years of regal irritation at the general's popularity. Whenever fate brought them close, the attitude of Alexander to the old field marshal was opposed by the whole people. That is, it is the people: all classes.

The young Count Tolstoy, the adjutant on duty, stood behind the screen and recorded a short dialogue. Neither he nor anyone else could understand what was behind these two seemingly farewell phrases. And here's what stood. After the expulsion of Napoleon from Russia, Kutuzov insisted that neither France nor any other country of the West or the East posed a historical danger to Russia. He frankly expressed to the emperor well-grounded knowledge of the consequences of the restoration of the royal crown of Prussia and imperial - Austria. Kutuzov clearly saw the speed with which the talented Bismarck was gathering scattered German principalities. And with what pedantic consistency the military strategist Moltke puts the good-natured country on the rails of the First World War.

Alexander I left Kutuzov almost inaudibly. And the old commander once again caught on to the idea of ​​why the victors in Russia are expected not by the mercy of the rulers, but by their alienation and even disgraced, as happened quite recently with his teacher Alexander Vasilyevich Suvorov.
- For what? - thought the dying Kutuzov. And the wise man answered himself: - For the fact that the author of The Science of Victory decidedly did not perceive the upbringing of the army in the Prussian way: "... gunpowder is not powder, the scythe is not a cleaver, and I am not a German, but a natural hare."

Russian history had a chance to make sure once again that there is a complete discrepancy between the rulers and all strata of the population. Fate gave our country another short meeting with the early, at 39 years old, retired genius - Mikhail Dmitrievich Skobelev. Many considered him a student of Suvorov. In his military biography there was even something akin to Suvorov's crossing over the Alps - crossing the Imetliysky pass, only along the waterless expanses of the Caspian steppes. Tired, exhausted by the heat, Skobelev's troops entered the battle at Sheinov and led to the surrender of the entire Turkish army under the command of Wessel Pasha in the Russian-Turkish war of 1874-1878.

In the most difficult campaigns and battles, Mikhail Dmitrievich turned out to be a legendary winner and was appointed the first military governor of the Fergana region. Then again - battles and passes. Humanly attractive, he was for all strata of the population, starting with the peasants, who called him nothing less than the White General. There were direct reasons for this: before the battle, he put on a white cuirass, led his soldiers into the attack, and himself entered the thick of the battle on a white horse. A formula was born among the people: "where the White general is, there is victory." But there was also a man who could hardly bear the young commander. The trouble was that Emperor Alexander III himself became this man. The scale of this hostility can be judged by the letter to the tsar from the prominent statesman K. Pobedonostsev, yes, the very one who, under Soviet rule, was remembered only as a "reactionary and obscurantist."

“I dare to repeat again,” he wrote, “that Your Majesty needs to draw Skobelev to him cordially. The time is such that it requires extreme caution in techniques. God knows what events we can still witness and when we will wait for peace and confidence. There is no need to deceive yourself; fate has appointed Your Majesty to go through a very turbulent time, and the greatest dangers and difficulties are yet to come. Now the time is critical for you personally: now or never - capable of acting in decisive moments. Before that people were crushed. The characters are so weathered, the phrase has taken hold of everything so much that, I assure you with honor, you look around you and do not know who to stop at. The more precious is now the man who has shown that he has a will and reason and knows how to act. "

The tsar did not heed the letters of one of his most influential advisers.

The disgrace for Marshal Zhukov was different from all the previous ones. Of course, this kind of moral torture is possible only in a despotically ruled country. Stalin put on an appropriate performance. Once, marshals and generals were assembled at the suggestion of Beria, who suspected Zhukov of treason. Stalin was dressed in his traditional civilian jacket. This was considered a bad sign. It was clear that the meeting would not end well. He mysteriously opened the folder in front of him. The victorious heroes once again proved that it is easier to show personal courage at the front than civil courage, and even under the gaze of a despot. They tried to talk about the personal flaws of the Marshal of Victory, avoiding political overtones whenever possible. A few hours later, the leader said that Zhukov "is our man, he cannot be a traitor, and he should pay serious attention to the shortcomings of his character." At the same time, the disgrace continued. It is sad and funny that Nikita Khrushchev continued to disgrace, trying to accuse Georgy Konstantinovich of "Bonapartism", and the saying spread among the people: "where a horse with a hoof, there is a cancer with a claw."

Kutuzov's strategic talent allowed him to see further and more. He saw a future world war.

Skobelev spoke about the same in plain text, although it was his lot to fight victoriously in Central Asia.

Zhukov grappled face to face with the very force that, according to Kutuzov's prediction, "came to kill our children and grandchildren." This is what this dialogue is about: "Forgive me, Mikhail Illarionovich." And the answer: “I will forgive you, sir. Russia will not forgive you. "

I don’t want to dwell on the biggest sin before the defenders of Russia and the Russian nation. Every time I shudder, passing through Sovetskaya Square, the original name of which is Skobelev Square. There, near the building of the Moscow City Council, a magnificent monument was erected at the expense of the common people - an equestrian statue of the "white general". In 1917, she was barbarously split. I can’t believe that not a single heart wavered at the sight of traces of such barbarism ...

And to you and me, dear reader, having crossed ourselves, add the eternal wisdom: "Pass us more than all sorrows and lordly anger, and lordly love."

Alexander Kravtsov, Academician of Russian Literature

Moscow opera houses are increasingly turning to the contemporary repertoire. Previously, the scenes were dominated by Onegins and La Traviata, and the works of the new era were shown lonely once a decade, if not less often. True, Boris Pokrovsky's Chamber Music Theater was in the capital, who was known as a "laboratory of modern opera" and regularly worked with living composers. Now newfangled opuses are a good tone in the best opera houses. There are those in Stasik and Novaya Opera, even the stronghold of conservatism - the Bolshoi - descends not only to Shostakovich and Britten, who are still listed in our modern department, but also to Weinberg and Banevich. The restless "Helikon" is not lagging behind colleagues. Not so long ago, he only occasionally diluted the mainstream poster with new products (as a rule, they did not stay for a long time), and proven classical masterpieces were made to the theater's box office. Now, cooperation with contemporary composers looks like one of the strategic directions of Dmitry Bertman's multi-vector activities.

Librettists (Manotskov and his partner - artist Pavel Kaplevich, the author of the project idea) took Griboyedov's immortal comedy "Woe from Wit" as a basis. The plot, drama, characters and roles, and the lion's share of the aphoristic text - all from the textbook classics, known to everyone since school. But, in order not to be bound by the need to strictly follow Griboyedov, the directors came up with a clever move - they combined Chatsky, the "superfluous person" of Russian literature, with Chaadaev, the "extra person" of Russian reality of the 19th century, supplementing the text of the comedy with excerpts from the latter's "Philosophical Letters" and modifying the name of the protagonist. The result is a meaningful symbiosis that allows us to talk about Russia and its timeless problems.

The idea, frankly, is not fresh: Griboyedov's contemporaries “read” Chaadaev in Chatsky, and Pyotr Yakovlevich is still called one of the “prototypes” of the protagonist of “Woe from Wit” (the author himself did not leave any indications on this matter).

The no less fashionable Kirill Serebrennikov was invited to direct the world premiere. The situation around the "Gogol Center" headed by him attracted additional attention to the production. For PR it's just a gift, especially considering that modern opera tends to scare the public away. Serebrennikov remained true to himself, although his production is not particularly radical. The action begins with a crowd of naked men. To the sounds of Griboyedov's waltz in E minor, athletic lads change their costume in order to take up their usual work - knead the clay with their feet or, more precisely, trample the black, scorched earth and carry on their hands huge platforms, where, in fact, the highest light. The idea of ​​social inequality, segregation, presented more than intelligibly, if not head-on, there is little novelty in it, is read at once. Everything else worked on "recognition": conversations on mobile phones (including the sacramental "Carriage for me, carriage!" rus in kokoshniks (with a hint of the famous Romanov costume masquerade of 1903).

Signs of the present time are scattered throughout the performance, strung like beads on each stage - they cause an approving giggle from the audience, where, of course, there are a fair number of admirers of the director's talent at the premiere screenings. He speaks in the language they are accustomed to, the satisfied audience understands this, which is unspeakably happy. Not without little obscenities. The maid of the Famusovs, Liza, chooses a textured gentleman from the people (the barman Petrusha), an "Atlantean" who supports the platform, for her heartfelt affairs, but before taking him to the social top, she strips naked and washes away the dirt by pouring water from a hose. Liza, on the other hand, is raped by Molchalin - while Famusov is making pompous speeches, she squeals rhythmically in an ultra-high tessiture. In general, nothing sensational. We regularly see something like this on the stage of the drama theater, and not only at Serebrennikov's. In a word, put it as you like, and everything will be fine, everything in the suit, straight into the history of the national scene.

The question of what Chaadaev has to do with it remains open.

Let us not forget that we are still dealing with an opera, a work for musical theater, for singers, orchestra and chorus, and, in addition to a topical theme and fashionable direction, it would be nice if the score would be a phenomenon. On this part, somehow it was not at all worked out. Even in comparison with the previous opuses of Manotskov (for example, "Guidon" and "Titius the Impeccable") "Chaadsky" appears to be the least expressive and striking product. The music is monotonous and boring, has no face of its own, does not captivate or shock, leaving the listener absolutely indifferent. The exploited waltzes of Griboyedov are the only thing that the ear can catch on to, the rest is a set of commonplaces: postmodern scratching along the bottom, that is, for all conceivable musical styles of the past. And the performance leaves much to be desired. Whether it is the fault of the soloists, the conductor, the composer or the sound engineers (the use of the podvuchka is quite obvious), but the singing is poorly heard, and the words cannot be made out - all hope is on your own memory and the creeping line. Maestro Felix Korobov courageously assembles the score of "Chaadsky" into a kind of single canvas, but he does not quite succeed either - it seems that the monotony of the sound context tires even such an experienced interpreter of modern music.

Photo at the announcement: Dmitry Serebryakov / TASS

"And the smoke of the Fatherland is sweet and pleasant to us!" - a selection of quotes, aphorisms and catchphrases from the comedy in verse by Alexander Griboyedov “Woe from Wit”.

"Woe from Wit" by Alexander Griboyedov is an outstanding work of Russian literature, which literally immediately after its creation was dismantled into quotations. The most apt expressions have become winged and are used as sayings and aphorisms. We use them every day, hear them on TV screens and do not always remember that the author of these catchphrases is the poet Alexander Griboyedov. We assume that in terms of the number of aphorisms and sayings that “came out” of a literary work, “Woe from Wit” is the absolute champion of not only Russian, but also world literature. And this despite the fact that “Woe from Wit” is a very small piece of work. So, a word to Alexander Griboyedov:

Portrait of Alexander Griboyedov, artist Ivan Kramskoy, 1875, painted from lithography

The statements are cited in the order of their appearance in the text of the comedy Woe from Wit.

"Woe from Wit" Act I

1. “... Pass us by more than all sorrows

And the lordly anger, and the lordly love ”. (Lisa, phenomenon 2)

2. "Happy hours are not observed." (Sofia, apparition 3)

3. “And everything is Kuznetsky Most, and the eternal French,

Destroyers of pockets and hearts!

When the creator delivers us

From their hats! cheptsov! and studs! and pins!

And bookstores and biscuit shops! ” (Famusov, phenomenon 4)

4. “There is no need for another model,

When the father's example is in the eyes ”. (Famusov, phenomenon 4)

5. "Blessed is he who believes, warmth to him in the world!" (Chatsky, phenomenon 6)

6. "Where is better?" (Sofia) "Where we are not." (Chatsky, phenomenon 6)

7. “Living with them will get bored, and in whom you will not find stains?

When you wander, you return home,

And the smoke of the Fatherland is sweet and pleasant to us! " (Chatsky, phenomenon 6)

8. “However, he will reach the degrees of the known,

After all, nowadays they love the dumb. " (Chatsky, phenomenon 6)

"Woe from Wit" Act II- catch phrases, aphorisms, quotes:

9. "I would be glad to serve, it is sickening to serve." (Chatsky, phenomenon 2)

10. "The tradition is fresh, but hard to believe." (Chatsky, phenomenon 2)

11. “Is it one thing? take you bread and salt:

Who wants to come to us - if you please;

The door is open for the invited and uninvited

Especially foreign ones;

Though an honest man, though not,

For us equally, dinner is ready for everyone ”. (Famusov about Muscovites, phenomenon 6)

12. “The houses are new, but the prejudices are old.

Rejoice, do not exterminate

Neither their years, nor fashion, nor fires ”. (Chatsky about Moscow, phenomenon 5)

13. "Who are the judges?" (Chatsky, phenomenon 5)

14. “Where, show us, fathers, fathers,

Which ones should we take for samples?

Aren't they rich in robbery?

They found protection from the court in friends, in kinship,

Building magnificent chambers,

Where they are poured in feasts and extravagance ... ”(Chatsky, phenomenon 5)

15. “And who in Moscow didn’t have their mouths shut

Lunches, dinners and dancing? " (Chatsky, phenomenon 5)

16. "... evil tongues are worse than a gun!" (Molchalin, phenomenon 11)

"Woe from Wit" Act II I- catch phrases, aphorisms, quotes:

17. “I am strange, and not strange who is?

The one who looks like all fools ... ”(Chatsky, phenomenon 1)

18. “Ranks are given by people,

And people can be deceived. " (Chatsky, phenomenon 3)

19. "Evil, there is a whole century in girls, God will forgive her." (Princess, phenomenon 8)

20. “Ah, France! There is no better edge in the world! -

Decided two princesses, sisters, repeating

The lesson that they have done from childhood.

Where to go from the princesses! -

I sent desires odal

Humble but out loud

So that the Lord destroy this unclean spirit

Empty, slavish, blind imitation ... ”(Chatsky, phenomenon 22)

"Woe from Wit" Act I V- catch phrases, aphorisms, quotes:

21. “Oh! if someone penetrated people:

What's worse about them? soul or tongue? " (Chatsky, phenomenon 10)