The essence of comedy is woe from mind. Composition and storylines of the comedy "Woe from Wit". The protagonist of the work of Alexander Sergeevich

Comedy in verses by A.S. Griboyedov. The play was completed by Griboedov in 1824 and published in 1862, after the death of the author. The action of the comedy takes place in Moscow* in the 1920s. nineteenth century in the house of Famusov, a wealthy nobleman *, located on ... ... Linguistic Dictionary

Woe from Wit- 1. Book. About misunderstanding smart, on your own thinking person mediocre people and the troubles associated with it. BMS 1998, 128; ShZF 2001, 57. 2. Jarg. arm. Shuttle. iron. Order out of order. Kor., 77. 3. Jarg. school Iron. Unsatisfactory…… Big Dictionary Russian sayings

Woe from Wit (teleplay)- Woe from Wit (teleplay, 1952) staging of the Maly Theater Woe from Wit (teleplay, 1977) Woe from Wit (teleplay, 2000) Woe from Wit (teleplay, 2002) staging of the Maly Theater ... Wikipedia

Woe from Wit (2000)- Woe from Wit, Russia, Theater Association 814 / RTR, 2000, color, 157 min. Video version of the play "Woe from Wit" (1998, directed by Oleg Menshikov). Cast: Igor Okhlupin (see OKHLUPIN Igor Leonidovich), Olga Kuzina, Oleg ... ... Cinema Encyclopedia

Woe from Wit (1952)- Woe from Wit, USSR, Film Studio. M. Gorky, 1952, b/w, 154 min. Comedy by A.S. Griboyedov. The film is a performance staged by the Maly Theater of the USSR. The director of the play is Prov Sadovsky. Cast: Konstantin Zubov (see ZUBOV Konstantin Aleksandrovich), Irina ... ... Cinema Encyclopedia

Woe from Wit (Griboedova)- a comedy in four acts. Epigraph: The fate of the naughty, naughty, defined it herself: for all stupid people, happiness from madness, for all smart people, grief from the mind. The original title of the comedy was: Woe to the mind. Comedy's plan dates back to the days student life… … Dictionary literary types

Woe from Wit (comedy)- ... Wikipedia

Woe from Wit (play)- ... Wikipedia

Minor characters of the comedy "Woe from Wit"- characters of Griboyedov's comedy "Woe from Wit", who are not the main characters. Many of these characters have significant role in comedy composition. Almost all minor comedy characters come down to three types: “Famusovs, candidates ... Wikipedia

Chatsky, Alexander Andreevich ("Woe from Wit")- See also 14) A. Suvorin's view differs sharply. Griboyedov put his favorite ideas into the mouth of Chatsky, his view of society is undeniable and understandable to everyone without any instructions, but in no way does it follow from this that ... ... Dictionary of literary types

Books

• Woe from Wit, Alexander Griboyedov. "Woe from Wit" is one of the first Russian comedies, torn into proverbs and sayings, with which the speech of any more or less well-read person is still adorned. "Woe from Wit" - comedy, ... Buy for 230 rubles
• Woe from Wit, Alexander Griboyedov. Alexander Sergeevich Griboedov - a brilliant Russian diplomat, statesman, mathematician and composer. However, he entered the history of world literature primarily as a playwright and ...

The main idea of ​​the work "Woe from Wit" is an illustration of meanness, ignorance and servility to the ranks and traditions, which were opposed by new ideas, genuine culture, freedom and reason. Main character Chatsky acted in the play as a representative of the same democratically minded society of young people who openly challenged the conservatives and serfs. All these subtleties that raged in social and political life, Griboyedov managed to reflect on the example of a classic comedic love triangle. It is noteworthy that the main part of the work described by the creator takes place within just one day, and the characters themselves are displayed very brightly by Griboyedov.

Many of the writer's contemporaries honored his manuscript with sincere praise and stood up to the king for permission to publish the comedy.

The history of writing the comedy "Woe from Wit"

The idea of ​​writing the comedy "Woe from Wit" visited Griboedov during his stay in St. Petersburg. In 1816, he returned to the city from abroad and found himself at one of the secular receptions. Deep inner indignation caused in him the craving of Russian people for foreign things, after he noticed that the nobility of the city bowed to one of the foreign guests. The writer could not restrain himself and showed his negative attitude. Meanwhile, one of the guests, who did not share his convictions, retorted that Griboyedov was crazy.

The events of that evening formed the basis of the comedy, and Griboedov 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 while getting rave reviews. The comedy was successfully distributed in the form of lists among the reading population, but for the first time it was 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

Comedy main story

The events described in the comedy take place in early XIX century, in the house of the capital official Famusov. His young daughter Sofya is in love with Famusov's secretary, Molchalin. He is a prudent man, not rich, occupying a minor rank.

Knowing about Sophia's passions, he meets with her by calculation. One day, a young nobleman Chatsky arrives at the Famusovs' house - a family friend who has not been in Russia for three years. 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 grovels before the ranks and believes that the young should please the authorities in everything, not show their opinion and selflessly serve the superiors. 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. There are heated arguments between Famusov and Chatsky.

On the day of Chatsky's arrival, invited guests gather in 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.

Turning out to be a black sheep at the evening, Chatsky is going to leave the Famusovs' house. While waiting for the carriage, he hears Famusov's secretary confessing his feelings to the servant of the masters. Sofya also hears this, who 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 Griboyedov's comedy. He is a hereditary nobleman who owns 300 - 400 souls. Chatsky was left an orphan early, and since his father was a close friend of Famusov, from childhood he was brought up with Sophia in the Famusovs' house. Later, he became bored with them, and at first he settled separately, and then completely left to wander the world.

From childhood, Chatsky and Sophia were friends, but he felt for her not only friendly feelings.

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

Famusov is an aged 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 public service, he is rich, but at the same time windy. Famusov does not hesitate to pester his own maids. His character is explosive, restless. Pavel Afanasyevich is obnoxious, but with the right people He knows how to be polite. 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 for anything. Submission, servility to the ranks and servility are characteristic of him. He also values ​​the opinion of society about 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 best rules Moscow nobility. Left early without a mother, but being in the care of the governess Madame Rosier, she reads French books, dances and plays the piano. Sophia is a fickle girl, windy and easily carried away by young men. At the same time, she is trusting and very naive.

In 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 her own benefits. Her father calls her shameful and shameless, while Sophia herself considers herself a smart and not cowardly young lady.

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

The surname of the hero, as well as possible, corresponds to his character and temperament. He doesn't like to talk. Molchalin is a limited and very stupid person. He behaves modestly and quietly, honors ranks and tries to please everyone who is in his environment. He does it purely for profit.

Aleksey Stepanovich never expresses his opinion, due to which others consider him to be quite a handsome young man. In fact, he is mean, unscrupulous and cowardly. At the end of the comedy, it becomes clear that Molchalin is in love with the maid Lisa. 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.

Puffer - minor hero comedy, he is a non-initiative colonel who wants to become a general.

Pavel Afanasyevich refers Skalozub to the category of enviable Moscow suitors. According to Famusov, a wealthy officer who has 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. Sergey Sergeevich joins Chatsky's speech with absurd reasoning. They betray his ignorance and lack of education.

Maid Lisa

Lizanka is an ordinary maid in the Famus house, but at the same time she occupies a rather high place among others literary characters, and quite a lot of different episodes and descriptions are allotted to her. The author describes in detail what Lisa does and what and how she says. She makes the other heroes of the play 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. It's minor but bright character comedy, invited to the ball to Famusov on the occasion of the name day of his daughter Sophia. His image - characterizes a person who chooses an 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 his gift - to be pleasing "to the court."

Hurrying to visit the center of events, “as if” from the outside, the secondary hero A.S. Griboyedov, Anton Antonovich, himself, is invited to an evening at the Faustuvs' house. From the very first seconds of the action, it becomes clear with his person that Zagoretsky is another “shot”.

Madame Khlestova is also one of secondary characters comedy, but still her role is very colorful. This woman is already old age. She is 65 years old. She has a Spitz dog and a dark-skinned maidservant - arapka. Khlestova is aware latest gossip yard and willingly shares own stories from life, in which he easily talks about other characters in the work.

Composition and storylines of the comedy "Woe from Wit"

When writing the comedy "Woe from Wit" Griboedov used a characteristic this genre reception. Here we can see a classic story where two men claim the hand of one girl at once. Their images are also classical: one is modest and respectful, the other is educated, proud and confident in his own superiority. True, in the play, Griboyedov placed the accents in the character of the characters a little differently, making Molchalin, and not Chatsky, attractive to that society.

For several chapters the play is coming a background description of life in the Famusovs' house, and only in the seventh appearance does the plot of a love story begin. A sufficiently detailed long description in the course of the play tells of only one day. A 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, to whom, already in the reader, an unpleasant attitude arises, but he does not cause obvious disgust. It is interesting to watch him in various episodes.

In the play, despite taking the fundamental constructions, there are certain deviations to build the plot, and it is clearly seen that the comedy was written at the junction of three literary epochs: flourishing romanticism, emerging realism and dying classicism.

Griboedov's comedy "Woe from Wit" gained its popularity not only for the use of classical methods of plot construction in non-standard frameworks for them, it reflected obvious changes in society, which were then just emerging and putting out their first sprouts.

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

Griboyedov wrote the play for two years (1822-1824). Since Alexander Sergeevich served as a diplomat and was considered an influential person, he hoped that his creation would easily pass the censorship and soon become a full-fledged performance. However, he soon realized: comedy "no pass." It was possible to publish only fragments (in 1825 in the almanac "Russian Thalia"). The entire text of the play was published much later, in 1862. First theatrical performance took place in 1831. However, in handwritten lists (samizdat of that time), the book spread rapidly and became very popular among the reading public.

comedy feature

Theater is the most conservative art form, so while romanticism and realism were developing in literature, classicism still dominated the stage. Griboedov's play combines the features of all three directions: "Woe from Wit" is a classic work in form, but realistic dialogues and problems related to the realities of Russia in the 19th century bring it closer to realism, and romantic hero(Chatsky) and the conflict of this hero with society is a characteristic opposition for romanticism. How do Woe from Wit combine the classicist canon, romantic motifs, and a general realistic orientation towards vitality? The author managed to harmoniously weave contradictory components together due to the fact that he was brilliantly educated by the standards of his time, often traveled the world and read in other languages, so he absorbed new literary trends before other playwrights. He did not rotate among writers, he served in a diplomatic mission, and therefore his mind was free from many stereotypes that prevented authors from experimenting.

Drama genre "Woe from Wit". Comedy or drama?

Griboyedov believed that "Woe from Wit" is a comedy, but since tragic and dramatic elements are very developed in it, the play cannot be attributed exclusively to the comedy genre. First of all, you need to pay attention to the ending of the work: it is tragic. Today it is customary to define "Woe from Wit" as a drama, but in the 19th century there was no such division, so it was called " high comedy» by analogy with the high and low calm of Lomonosov. There is a contradiction in this wording: only tragedy can be “high”, and comedy is by default “low” calm. The play was not unambiguous and typical, it broke out of the existing theatrical and literary clichés, which is why it was so highly appreciated by both contemporaries and the current generation of readers.

Conflict. Composition. Issues

The play is traditionally distinguished two types of conflict: private (love drama) and public (contrasting the old and new times, the "famus society" and Chatsky). Since this work is partially related to romanticism, we can argue that there is a romantic conflict between the individual (Chatsky) and society (Famusovsky society) in the play.

One of the strict canons of classicism is the unity of action, which implies a causal relationship of events and episodes. In Woe from Wit, this connection is already significantly weakened, it seems to the viewer and reader that nothing significant is happening: the characters walk back and forth, talk, that is, the external action is rather monotonous. However, the dynamics and drama are laid down precisely in the dialogues of the characters, the play must first of all be listened to in order to catch the tension of what is happening and the meaning of the production.

The peculiarity of the composition is that it is built according to the canons of classicism, the number of acts does not coincide with it.

If the comedies of writers of the late 18th and early 19th centuries denounced individual vices, then Griboyedov's satire fell upon the entire conservative way of life, saturated with these vices. Ignorance, careerism, martinetism, cruelty and bureaucratic inertia - all these are realities Russian Empire. The Moscow nobility with its ostentatious puritanical morality and unscrupulousness in business is represented by Famusov, stupid military careerism and blinkered consciousness - Skalozub, obsequiousness and hypocrisy of officials - Molchalin. Thanks to episodic characters, the viewer and reader get acquainted with all the types of the “famus society” and see that their cohesion is the result of the solidarity of vicious people. The many-sided and motley clique has absorbed all the vulgarity, lies and stupidity that society is accustomed to worship and yield to. Characters not only on the stage, but also off stage, mentioned in the replicas of the characters (truthmaker Princess Marya Aleksevna, the writer of "exemplary nonsense" Foma Fomich, the influential and all-powerful Tatiana Yuryevna and others).

The meaning and innovation of the play "Woe from Wit"

In the play, which the author himself considered a comedy, oddly enough, the most actual problems of that period: the injustice of serfdom, the imperfect state apparatus, ignorance, the problem of education, etc. Griboyedov also included, it would seem, in an entertaining work, the burning disputes about boarding houses, jury trials, censorship and institutions.

Moral aspects, which are no less important for the playwright, give rise to the humanistic pathos of the work. The author shows how under the pressure of the "famus society" die best qualities in a person. For example, Molchalin is not devoid of positive qualities, but he is forced to live according to the laws of Famusov and others like him, otherwise he will never succeed. That is why "Woe from Wit" occupies a special place in Russian dramaturgy: it reflects real conflicts and non-fictional life circumstances.

The composition of the drama is sustained in the classic style: the observance of the three unities, the presence of large monologues, speaking surnames actors, etc. The content is realistic, so the performance is still sold out in many theaters in Russia. Heroes do not personify one vice or one virtue, as was customary in classicism, they are diversified by the author, their characters are not devoid of both negative and positive qualities. For example, critics often call Chatsky a fool or an overly impulsive hero. Sophia is not to blame for the fact that during his long absence she fell in love with the one who was nearby, and Chatsky is immediately offended, jealous and hysterically denounces everything around just because his beloved has forgotten him. A quick-tempered and absurd character does not paint the main character.

It is worth noting colloquial plays, where each character has his own speech turns. This idea was complicated by the fact that the work was written in verse (iambic multi-footed), but Griboedov managed to recreate the effect of a casual conversation. Already in 1825 the writer V.F. Odoevsky stated: “Almost all the verses of Griboedov’s comedy became proverbs, and I often happened to hear in society, whole conversations of which most composed poems from Woe from Wit.

It is worth noting speaking names in "Woe from Wit": for example, “Molchalin” means the hidden and hypocritical nature of the hero, “Skalozub” is the inverted word “gnawing”, meaning boorish behavior in society.

Why is Griboedov's comedy "Woe from Wit" now readable?

At present, people often use Griboyedov's quotes without knowing it themselves. Phraseologisms "fresh legend, but hard to believe", " happy hours do not observe", "and the smoke of the fatherland is sweet and pleasant to us" - all these catchphrases familiar to everyone. The play is still relevant today due to Griboyedov's light aphoristic author's style. He was one of the first to write a drama in real Russian, which people still speak and think. The heavy and pompous lexicon of his time was not remembered by his contemporary in any way, but Griboedov's innovative style found its place in the linguistic memory of the Russian people. Is it possible to call the play "Woe from Wit" relevant in the 21st century? Yes, if only because we use his quotes in everyday life.

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It took two years to write the play. This play cannot be attributed to the genre of comedy, despite the fact that the author himself considers "Woe from Wit" a comedy.

There is drama and tragedy in the play. The end of the play is also tragic. The play consists of two types of conflict: love drama and confrontation between the new time and the old. Also, there is a romantic conflict.

The writer condemns careerism, the injustice of serfdom, ignorance, the problem of education, martinetism. With the help of secondary characters, which the author added to his play, Griboedov, resorting to satire, condemns the stupid, deceitful, vulgar people who occupy good positions and position in society, but do not cause any respect in relation to themselves. Even the best moral character good man, may be lost under the influence of the majority (the Famusov society). So, circumstances forced Molchalin (a good person with positive qualities) change your moral principles. In order to succeed, the hero is forced to live according to the canons of this society, to adapt to the environment.

The names of some characters are speaking. The surname "Molchalin" hints to the reader that the character is a hidden nature, a hypocrite. The surname "Skalozub" is a person with a boorish character.

Nowadays, people use idioms and Griboedov's quotes, without knowing it. The title reflects the very idea and essence of the play. The main character could not find his place in society and is rejected by this society, only because he is smarter than other people. This is the main problem: what good can be said about this society that rejects smart person believing him to be insane. Chatsky looks like a madman in the eyes of society, since he is the only one who does not pursue money, status and ranks. It is not convenient for society to change its habitual life for the sake of one person who is trying to explain the expediency of change in accordance with the requirements of the present. It is preferable for society to declare this one person - gone mad, than to listen to him.

This comedy reveals the problems of serfdom, education, serving the state. It is noteworthy that the author does not divide his characters strictly into positive and bad guys. All of them have both positive and negative qualities. For example, Chatsky is an honest, intelligent, independent and courageous person. But at the same time, he is quick-tempered, impulsive and touchy. Famusov, despite his negative qualities, is also an excellent father.

Analysis 2

One of the most amazing works of the nineteenth century is considered to be the comedy of Alexander Sergeevich Griboedov "Woe from Wit". It was created by the writer in 1822-1824, ten years after Patriotic War 1812. While writing the play, Griboyedov was inspired by the stories of his childhood friend Evgenia Grekhova.

"Woe from Wit" contains elements of various literary trends such as: classicism, romanticism and realism. In comedy, one of the three unities included in the norms of classicism is observed: the unity of time. However, other laws of classicism are not respected: there are four acts in comedy instead of five; there is no unity of action: there are two storylines in the work.

You should also pay special attention to the composition of the work. It is circular: it all started and ended in Famusov's house.

The comedy is based on public conflict. This is conflict different characters and worldviews, in which Alexander Andreevich Chatsky opposes the entire Moscow society. Chatsky is an ardent opponent of serfdom. He wants to serve the cause and considers service to be an activity for the common good, while others use service to serve their own ends. This is confirmed by his phrase: "I would be glad to serve, it is sickening to serve." Alexander Andreevich is against imitation of foreign, he believes that the preservation of the culture and traditions of his own people is much more important. Also, Chatsky "does not recognize the authorities", speaking out for the freedom of the individual.

The second, no less important basis of the work is the love line. Griboyedov went beyond the generally accepted, destroying " love triangle and creating a "love square". In the center of this "square" is the girl Lisa - the maid of the Famusov house. She is in love with another servant, Petrushka. At the same time, Famusov and Molchalin show signs of attention to the girl. Famusov's daughter, Sophia, is in love with the latter. In which, in turn, Chatsky and Skalozub are in love. Ultimately we get long chain comedy love affair.

In conclusion, we can say that the play by Alexander Sergeevich Griboyedov "Woe from Wit" is complex work with a ring composition, which is based on social conflict and love line. This comedy shows us how strong the reluctance of change in society. The work teaches that one should not mindlessly imitate someone, but be oneself, no matter how you are condemned.

Woe from Wit - Analysis

Griboedov's work "Woe from Wit" is a recognized work of the great writer.

The whole ideological essence is displayed in the title of the play. The sound mind of the protagonist Chatsky gives him a lot of problems, as a result of which he is rejected in the society around him. Chatsky is uncomfortable being in the company of people who consider him crazy. In numerous speech clashes, everyone tries to show his mind. Representatives of the nobility are trying to get a profit in everything, and everyone who does not pursue profit becomes a complete madman in their eyes.

Agree with the opinion of Chatsky, the conservative representatives of the nobility could not, since none of them was ready to adapt to new format time. To prevent Chatsky's opinion from being heard, he is declared insane.

In the play there are two conflicts at once, which are social and love orientation. Social inequality can be traced in the clash of views of modern and long outdated.

Old love memories push Chatsky to go to Famusov's house, where he finds Sofya in confusion. Chatsky thinks about the reasons for the cooling of Sophia's feelings. He asks questions on this subject to everyone, during the dialogues it turns out that no one is able to understand Chatsky's opinions and experiences.

Griboyedov endows his heroes with both positive and negative qualities. For example, Chatsky, endowed with intelligence, honor and courage, also has a temper.

The writer, working on a play in the style of classicism, endows his characters with "talking names". Famusov - formed from rumor, this character is worried public opinion. Repetilov is a repetition, a hero who has no personal opinion, he is only able to repeat.

During the analysis of the play "Woe from Wit" one can notice a certain originality. By tradition, this play is the first one written in Russian realism. You can also notice many features of classicism, which include speaking names, the unity of time and place. The contradiction causes the absence of a single action. The simultaneous development of two conflicts causes a contradiction in the tradition of classicism.

In our time, one can often hear such turns of speech as "a legend is fresh, but hard to believe", "happy hours are not observed" - the author of all these lines is the master of the word Alexander Griboyedov.

The author approached writing with a personal style that is easy to read and remember. In the memory of the Russian people, there was immediately a place for an innovative style. The play remains quite understandable and relevant to the present, largely due to the masterful approach of the writer.

The history of the creation of comedy

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

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

Theme and problems of the play

It is advisable to start the analysis of the comedy "Woe from Wit" by referring to its title. It reflects the idea of ​​the play. Grief from his sanity is experienced by the main character of the comedy - Alexander Andreyevich Chatsky, who is rejected by society only because he is smarter than the people around him. Another problem follows from this: if society rejects a person extraordinary mind How does this characterize society itself? Chatsky feels uncomfortable among people who consider him insane. This gives rise to numerous speech clashes between the protagonist and representatives of the society he hates. In these conversations, each side considers itself smarter than the interlocutor. Only the mind of the conservative nobility lies in the ability to adapt to existing circumstances in order to obtain the maximum material gain. Anyone who does not pursue ranks and money for them is a madman.

Accepting the views of Chatsky for the conservative nobility means starting to change their lives in accordance with the requirements of the time. Nobody finds this convenient. It's easier to declare Chatsky crazy, because then you can simply ignore his diatribes.

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

The conflict of a dramatic work and its originality

The peculiarity of the conflict in the play "Woe from Wit" lies in the fact that there are two of them: love and social. The social contradiction lies in the clash of interests and views of the representatives of the "current century" in the person of Chatsky and the "past century" in the person of Famusov and his supporters. Both conflicts are closely related to each other.

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

Comedy character system

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

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

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

The most difficult in the comedy "Woe from Wit" is the image of Sophia. It is difficult to attribute it to people who adhere to the views of the "gone century". In relations with Molchalin, she despises the opinion of society. Sophia reads a lot, loves art. She is disgusted by the stupid Puffer. But you can’t call her a supporter of Chatsky either, because in conversations with him she reproaches him for his causticity, ruthlessness in words. It was her word about Chatsky's madness that became decisive in the fate of the protagonist.

Both secondary and episodic characters are important in the play. For example, Liza, Skalozub are directly involved in the development of a love conflict, complicating and deepening it. episodic characters, appearing on a visit to Famusov (Tugoukhovskaya, Khryumin, Zagoretsky), more fully reveal the mores of Famusov society.

Development of dramatic action

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

All the phenomena of the first act before the arrival of Chatsky can be considered an exposition of the comedy. Here the reader gets acquainted with the scene of action and learns not only about the love affair between Sophia and Molchalin, but also that Sophia used to have tender feelings for Chatsky, who left to wander around the world. The appearance of Chatsky in the seventh appearance of the first act is the plot. This is followed by the parallel development of social and love conflicts. Chatsky's conflict with Famus Society reaches its peak at the ball - this is the culmination of the action. The fourth act, 14th comedy phenomenon (Chatsky's final monologue) is the denouement of both the social and love lines.

In the denouement, Chatsky is forced to retreat before the Famus society, because he is in the minority. But he can hardly be considered defeated. It's just that Chatsky's time has not yet come, a split in the noble environment has only just begun.

The originality of the play

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

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

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