The action of the comedy is moving towards a denouement. Final scenes truly dramatic: the main characters have an epiphany. But it is no coincidence that Griboyedov calls his work a comedy. We have repeatedly seen that in the play the dramatic is closely intertwined with the comic.

In Act IV, Famusov’s guests again pass before the readers and spectators, confident and pleased with themselves. This last meeting with them. This mirror reflection society, outlined at the very beginning of the comedy in the monologues of Chatsky and Famusov.

What is the role of these scenes in the development of the action? How do they characterize the Moscow nobility? How do they increase the tragedy of Chatsky’s situation? What is the ending of the play? These questions are the focus of our attention today in class.

1. Beginning of Act IV. Famusov's guests go home. How many interesting observations these scenes give us for the group characterization of the characters - Famus's guests! What touches can you add to the following portraits of minor characters?

G Rafina Granddaughter. Her last remark confirms the angry and absurd character of the old maid, who boasts of her aristocratic origins and looks down on everyone (remember that in the scene of her appearance at the ball, when there were already many guests in the hall, she complains that she arrived first!). Her phrase is comical in that it aptly characterizes the society to which she herself belongs, and everything that happened at Famusov’s ball - “some freaks from the other world.”

Gorichi. Platon Mikhailovich is bored during the ball, but he is ready to do everything according to his wife’s wishes; Natalya Dmitrievna imperiously commands her husband.

Skalozub. He is one of the first to leave - he does not have any special feelings for Sofia; even if he decides to get married, his position as a possible groom is strong enough, so he does not need to stay longer in Famusov’s house, he is already a welcome guest here. His humor is “soldierish.”

Khlestova Amfisa Nilovna. The lady is autocratic and peremptory, not lacking in intelligence, correctly assesses Repetilov (“And you, my father, are incurable, no matter what”), affectionately and condescendingly points out to Molchalin his still insignificant position, calling his room a “closet,” etc.

2. Contrary to the laws of the theater of classicism in last action, when the fight is over, the guests begin to go home, appears new hero. This Repetilov, Is his appearance connected with the development of the comedy? (The Famus society unanimously declared Chatsky crazy and determined the reasons for this, but Chatsky himself still knows nothing about this. The conflict in such a situation cannot be resolved. Bring the denouement closer social conflict and Repetilov’s arrival helps.)

3. How do Famusov’s guests convince Repetilov of Chatsky’s “insanity”? Why does he also agree with “public opinion”, although shortly before this he expressed his “love” and “friendship” to Chatsky? (They suppress it with universality and unanimity:

All together: Monsieur Repetilov! You! Monsieur Repetilov! what do you!

Yes, like you! Is it possible against everyone! Yes, why you? Shame and laughter -

These words contain an angry condemnation of an accomplice who tried to evade unanimity.)

4. Do you agree with the opinion that the image of Repetilov contains a mockery of some of Chatsky’s views? Why does Griboyedov oppose Repetilov to Chatsky? How does the author do this? Prove it with text. (In Repetilov’s remarks and actions, as if in a distorting mirror, Chatsky’s stage behavior is reflected - down to individual details.

In some ways, Repetilov’s image resembles a parody of Chatsky.)

This hero belongs to those “freethinkers” who are not persecuted because they life ideals no different from the generally accepted ones. Repetilov was not averse to repeating the path that led to the success of many, but he was unlucky in marrying the daughter of an influential baron. Therefore, the source of his “oppositional” sentiments was envy of those who were more successful and resentment towards his father-in-law who deceived his expectations.

5. At the end of the play, Chatsky and Sofia are simultaneously convinced of the infidelity of those they love. In essence, they find themselves in a situation that can be regarded as a test. That is why many literary scholars consider this particular scene the culmination of a love conflict. How do the heroes behave? What can be added to their characteristics?

(This is a strong shock for the heroes, but they meet the blow of fate with dignity. This indicates that Sofia is strong personality. She rejects Molchalin. Chatsky, convinced of Sofia’s “betrayal,” bursts into an angry monologue, in which he speaks with “pride” and bitterness about the breakup.

Sofia blames only herself for everything. And Chatsky accuses Sofia, even of things for which she is clearly not to blame: that she lured him with hope (this is not true!), that she sacrificed him for the sake of a scoundrel, that she did not tell him everything at once, etc. But psychological condition Chatsky can be understood: he is shocked, first of all, by the fact that it was Sofia who started the rumor about his madness. The hero rightly sees this as a betrayal of a loved one. And he “cuts at random.” That's why he's so cruel to the girl he loves.)

6. Where is the “kindness of the soul”? Let us remember that Sofia already once reproached Chatsky for the lack of “kindness of soul”... Maybe she’s right? How do you evaluate the main character's behavior in this scene?

7. Reading 14 phenomena by role.

8. What insight did Famusov have? Why does his behavior seem comical at such a tragic moment?

(The comedy of Famusov’s situation lies precisely in the fact that his “insight” is far from the truth: he firmly decided that his daughter is in a conspiracy with Chatsky, and is completely confident that he is right. It is to Chatsky, and not to Molchalin, that he addresses himself with the words:

Brother, don’t be a trick, I won’t be deceived,

Even if you fight, I won’t believe it...)

9. But then Chatsky’s last monologue, full of drama, sounded. Why doesn't Griboedov end his play with it? Why is Famusov’s last remark needed in scene 15? (Again, the interweaving of the tragic and the comic: Famusov (his last name is played on again!) What worries public opinion most in this story:

Ax! My God! What will Princess Marya Aleksevna say?

So the ending of the comedy again returns us to a comedic setting.)

So, the heroes’ epiphany has come. But what will happen to them next? Griboedov leaves the ending of the comedy open, and the reader alone with his feelings, thoughts about what he read...

GENRE ORIGINALITY OF GRIBOEDOV’S COMEDY “WOE FROM MIND”. PLOT AND COMPOSITION

Texts... outwardly, even the most clear and pliable,

They only speak when you know how to ask them.

Mark Bock

The epigraph of the lesson includes words from the work of the French historian Marc Bock (1886-1944) “Apology for History, or the Craft of the Historian.”

Where to start analyzing a work? From its genre, because genre is the “first gate” through which the reader enters art world works. Genre largely organizes our perception: after all, each genre has its own laws, and a competent reader must know them in order to “be able to ask.”

Comparison different statements about the comedy genre

Material for distribution in class

1.I.A. Goncharov:

“...The comedy “Woe from Wit” is both a picture of morals, and a gallery of living types, and an ever-sharp, burning satire, and at the same time a comedy, and let’s say for ourselves - most of all a comedy - which is unlikely to be found in others literature..."

2.A. Block:

“Woe from Wit”... is the most brilliant Russian drama; but how amazingly random it is! And she was born in some kind of fairy-tale setting: among Griboyedov’s plays, which were completely insignificant; in the brain of a St. Petersburg official with Lermontov’s bile and anger in his soul and with a motionless face in which “there is no life”; not only this: an unkind man with a cold and thin face, a poisonous mocker and skeptic... wrote the most brilliant Russian drama. Having no predecessors, he had no follower! "unmatched."

3.N. Piksanov:

“Essentially, “Woe from Wit” should be called not a comedy but a drama, using this term not in its generic, but in its specific, genre meaning.<...>

The realism of “Woe from Wit” is the realism of high comedy-drama, the style is strict, generalized, laconic, economical to the last degree, as if elevated, enlightened.”

4. A.A. Lebedev:

“Woe from Wit” is all imbued with the element of laughter, in its most varied modifications and applications... The element of the comic in “Woe from Wit” is a most complexly contradictory element... Here a certain complex alloy of very different elements is formed, sometimes barely compatible, sometimes contrasting : here there is “light humor”, “quivering irony”, even “sort of caressing laughter” and here there is “causticity”, “bile”, satire.

The tragedy of the mind, about which we're talking about in Griboyedov's comedy, lit wittily. It is on this sharp edge of the contact of the tragic element with the comic in “Woe from Wit” that the peculiar subtext of the author’s own perception of everything that happens is revealed...”

What is the genre of "Woe from Wit" - comedy or drama? Let us turn to the text of the work and find in it confirmation of the researchers’ conclusions.

History of the comedy

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

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

Themes and issues of the play

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

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

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

The conflict of a dramatic work and its originality

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

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

System of comedy characters

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

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

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

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

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

Development of dramatic action

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

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

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

The originality of the play

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

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

Work test

Lesson 24 “I WILL GO SEARCH IN THE WORLD WHERE THE OFFENDED FEELINGS HAVE A CORNER...” (analysis of Act IV)

Lesson 24 " I’ll go look around the world where there is a corner for offended feelings...”
(analysis of action IV)

Goals: improve skills in analyzing a work; determine the features of Griboyedov’s innovation in creating a new type of comedy; show the significance of the play for Russian literature.

During the classes

I. Checking homework.

h shadow of popular expressions.

II. Work on the topic of the lesson.

1. The teacher's word.

Act III was the climax. In Act IV the denouement comes. During the lesson, think: does social conflict have an end?

So, Act IV: the guests go home, Famusov is scolded for a boring ball:

Well, ball! Well, Famusov! He knew how to name guests!

...And there is no one to talk to, and no one to dance with.

But then a belated guest appears - Repetilov. What can you say about him? What thoughts are “wandering” in his head? Who do others think he is? (He is a chatterbox and idle talker, talks about things about which he knows nothing. His speech combines colloquial and high styles, which creates a comic effect.)

The guests, leaving, are still discussing the madness of “poor” Chatsky. The “sentence” has been final and cannot be cancelled.

Now let's follow the outcome of the love conflict.

2. Reading by roles of the 10th–13th phenomena.

– Do you think Sophia can eventually forgive Molchalin and even marry him?

3.Commented reading 14th, 15th apparitions.

– Do you think there is a solution to the social conflict? (No, it is too deep, it goes beyond the scope of the work.)

– Who is Chatsky denouncing and for what in his last monologue?

– Is he fair in accusing Sophia that she “lured him with hope”?

– What worries Moscow society more: the fate of Chatsky or the opinion of Princess Marya Aleksevna about what happened?

– Do you think there are any winners in the dispute between the “present century” and the “past century”?

4. The teacher's word.

Many researchers have noted that the image of Chatsky is close to the author himself. He is indifferent to ranks, careers, strives for personal independence; he exhibits the features of a “political freethinker”; he is critical of the world. The author emphasizes the complete incompatibility of the hero’s views and worldviews and Famus’s patriarchal Moscow. In Chatsky’s mind there was a mixture of two worldviews - “French” and “St. Petersburg”. During his absence, the hero gained “free thoughts”, but completely lost the ability to understand the surrounding reality.

For a long time, criticism unanimously assured that Chatsky was a future Decembrist (if not explicitly, then at least by conviction). But does Chatsky look like a Decembrist? Yes, his “free thoughts” somewhat coincide with the ideas of the Decembrists. But many felt this way educated people that time. Besides, is it possible to call Chatsky a hero, a fighter? After all, his visit to Moscow did not have the purpose of denouncing anyone or promoting his views. This happened involuntarily. The appearance of Chatsky did not change anything; on the contrary, it only harmed himself.

So, Chatsky is not a hero, and, it seems, he does not strive to become one at all. He suffers from his loneliness, feels his lack of social demand, because he is an active person, active by nature, full of romantic feelings and impulses.

Chatsky does not win the argument. But also Famusov society does not take over: it has no future.

– What, in your opinion, is Chatsky’s future fate?

III. and that lesson. Summing up the study of comedy.

1. The teacher's word.

So we have finished studying Griboyedov’s comedy “Woe from Wit”. Despite the traditional classicist features that we talked about earlier, this comedy is the first realistic work of Russian literature. First of all, realism is characterized by the depiction of socio-political conflicts. The play is distinguished by its historicism in its depiction of reality. The characters' characters are revealed deeply and comprehensively, individualized with the help of speech portraits. There is no resolution to the social conflict in the play - this is evidence of Griboyedov’s innovation in creating a new type of socio-political comedy.

The comedy was written in poetic form by a wonderful Russian vernacular. Back in 1825, Pushkin predicted, speaking about comedy: “I’m not talking about poetry: half of it should become a proverb...” And he turned out to be absolutely right. You have already read aphorisms written out at home.

– Try to determine the size of the comedy verse. (Free iambic)

2.Student speech“The stage history of “Woe from Wit.”

“Comedies are written only to be performed.” This is a statement by J.-B. Moliere is quite right. Specifics dramatic works consists precisely in their purpose for performance on stage, in action. Therefore, before putting a final point, it will be interesting to trace stage history comedy "Woe from Wit".

While the student is making a message, the teacher draws the students' attention to photographs of famous artists: Kachalov, Mironov, Yursky - in the role of Chatsky.

Homework:

1) prepare for a test on the work (knowledge of the text);

2) collecting material for the essay:

 “The present century and the past century”;

 “Who are the judges?”;

 Chatsky and Molchalin;

 The image of Sofia Famusova.

Download material

See the downloadable file for the full text of the material.
The page contains only a fragment of the material.

Goals:

1. Educational: work on the artistic features of the play; fear of the auditor as the basis of comedic action.
2. Developmental: development of analytical skills of students.
3. Educating: formation of positive moral orientations.

Methodological techniques: reading individual episodes of comedy, analytical conversation, dramatization, analysis of children's drawings.

Equipment: The film “The Inspector General” (film by Vladimir Petrov, 1952), children’s drawings, reproduction of K. Bryullov’s painting “The Last Day of Pompeii”, a sign with the inscription “Paphos”, costumes for the performance.

During the classes

1. Checking homework (knowledge of the text). Test.

In “The Inspector General,” Gogol later recalled, “I decided to collect in one pile everything bad in Russia that I knew then, all the injustices that are done in those places and in those cases where justice is most required from a person, and behind one laugh at everything at once.” This idea was brilliantly realized in his comedy “The Inspector General”. He came to the city incognito to conduct an inspection, and all the officials of the county town were alarmed. “We need to slip it to him!” - the officials gathered in the mayor’s house decide. How do they do it? Whether Khlestakov, the imaginary auditor, understood who he is taken for in this city or not and what is happening in the 4th act of the comedy, we will talk about this a little later.

At home you re-read Act 4. In front of you are signs with the names of officials. I will ask questions based on the content, and you must choose the correct answer and raise the correct sign.

Test.

1. Who was the first to offer to “slip” a bribe to the auditor? (Artemy Filippovich)
2. Who is the first to go to see Khlestakov? (Ammos Fedorovich)
3. Continue the phrase: “I have the honor to introduce myself: superintendent of schools, titular councilor...” (Khlopov)
4. Who tells the imaginary auditor that “the local postmaster is doing absolutely nothing: everything is in great disrepair, parcels are delayed...”? (Artemy Filippovich Strawberry)
5. Who does Dobchinsky ask to help legitimize illegitimate son? (Khlestakov)
6. Whose words are these: “But you know what, Ivan Alexandrovich? Get out of here! By God, it's time! We walked here for two days, well, that’s enough”? (Osip)
7. “How I would like, madam, to be your handkerchief to hug your lily neck...” Whose words? (Khlestakov)
8. Anna Andreevna: “Do you know what honor he honors us with... He asks for our daughter’s hand in marriage.” Who is she talking about? (Khlestakov)
9. Who ordered Avdotya to take the Persian carpet out of the storeroom and give it to Khlestakov for his journey? (Governor)
10. Who does Khlestakov ask for money from: “But then you gave two hundred, that is, not two hundred, but four hundred: I don’t want to take advantage of your mistake, so, perhaps, now the same amount, so that it’s already exactly eight hundred”? (Governor)

2. Analysis of 4 acts of the comedy.

Write down the epigraph for today's lesson in your notebook:

Khlestakov owns the main

role in action. Beside him
all other persons apply,
like planets near the sun.

Is the epigraph applicable to Khlestakov as the main character?

Can we say that the interests of most other heroes are directed towards him?

Analysis of Act 4, where officials come to see Khlestakov, will help us prove this.

With what intentions did the officials gather at the mayor’s house the next day? (They are looking for the best form of presentation to the “auditor” and strive to find The best way give a bribe to a distinguished guest.)

Vocabulary work.

Give a lexical interpretation of the word "bribe".

(A bribe is money or material assets given to an official as a bribe, as payment for actions punishable by law.)

Why do you think Gogol replaced the word “bribe” with the vernacular? “slip”?

What details indicate that bribes are commonplace?

(They talk about how bribes are given and how they are taken.)

Who is the first to offer to “slip”? (Judge) The purpose of these bribes?

(Protect, protect your department from audits)

Phenomenon 3.

Read the words of Ammos Fedorovich “to the side.” (“And the money is in your fist, and your fist is all on fire”, “like hot coals under you”, “here I am on trial”) How does a judge feel when giving a bribe? (Fear) How does he give a bribe?

Phenomenon 4.

Who is trying to “loan” Khlestakov in Act 4? (Postmaster. All his thoughts revolve around the post office.)

How does he address Khlestakov? (As to a clergyman.) What is his speech?

(Incoherent muttering)

Vocabulary work.

Here the comedy turns into tragedy, that is, the pathos of the comedy changes. Give a lexical interpretation of the word “pathos”.

PATHOS . (Inspiration, excitement, enthusiasm)

Write the new word in your notebook and remember its meaning.

Phenomenon 5.

We read the 5th phenomenon by role.

How does the official behave in this scene? (The superintendent of the schools is trembling all over, his tongue is tangled)

Does Khlestakov understand why they give him money? (No.)

Phenomenon 6. Watching an episode from the movie “The Inspector General” (Strawberry gives a bribe).

Why does Strawberry come to Khlestakov last?

(He is seasoned and experienced) Why does he inform on his “friends”? (Strawberry is the last one, it cannot be verified).

Remember the moment when Khlestakov realized that he was being mistaken for a statesman. (This is the scene with Bobchinsky and Dobchinsky, where Khlestakov “shows out” the guests.)

Let's look again at the epigraph. How do you understand it? What can you say about the officials?

Notebook. Conclusion: confusion, fear, and trepidation are common to all officials, but each of them gives a bribe in their own way, which is reflected in speech, actions and remarks.

Phenomenon 12-14. Dramatization (5-7 minutes).

What new properties of Khlestakov’s nature did you learn about? (No love plot. A

his explanation with his mother and daughter is a thinly veiled parody of a love affair. Khlestakov feels confident in communicating with ladies.)

Notebook. Conclusion based on Khlestakov’s image:

An empty and frivolous person;

He will not miss what floats into his hands;

Capable of playing any role;

The greatest desire is to have money and power.

3. Children's drawings for “The Inspector General” and their analysis.

At home you drew portraits of the characters you liked. Briefly describe the person you portrayed.

4. Anticipatory homework. Acquaintance with the painting by Karl Bryullov “The Last Day of Pompeii”.

When reading “The Inspector General,” we feel how, starting from act 4, the pathos of the play gradually changes - from comic to tragic, tragedy reaches its apogee precisely in the final scene. Today we will get acquainted with K. Bryullov’s painting “The Last Day of Pompeii” (a previously prepared student talks about the painting).

In 1827, K. Bryullov visited the Italian city of Pompeii, which was destroyed by the eruption of Vesuvius. The painting “The Last Day of Pompeii” was painted by Bryullov in 1833 in Italy. In 1834 it was brought to St. Petersburg and exhibited in the Hermitage.

K. Bryullov painted a grandiose and, in his words, “living picture of death.” Buildings and statues are collapsing, people are rushing along the street in the glare of lightning and the glow of the volcano. In the center of the composition is the prostrate body of a young woman who has fallen from a chariot, and a child calling for her dead mother. The tragedy of the situation is enhanced by the alarming flaming coloring. Parents protect their children, a warrior and a boy carry away his old father, a young man saves his bride.

The painting made such a strong impression on Gogol that, under its influence, he wrote the article “The Last Day of Pompeii (Painting by Bryullov).” The writer was delighted with the genius of the artist, who was able to convey the horror of the “end of the world” through the depiction of petrified figures. The principle of depicting people gripped by the horror of doomsday is transferred by Gogol to the last page of “The Inspector General,” where the heroes of the comedy froze, as if petrified.

At home, think about the question: “How did K. Bryullov’s painting “The Last Day of Pompeii” help N.V. Gogol in creating final scene, which lasted at least 2 - 3 minutes? "

5. Summing up the lesson. Grading.

The comedy of the Russian classic Griboyedov “Woe from Wit” is divided into four acts. The first takes place in the house of the big official Famusov, here the daughter Sophia, a spoiled girl and a smart girl, is caught by the priest having a secret meeting with a minor official Molchalin. Then Chatsky arrives, a man progressive views, in love with Sophia since childhood, without reciprocity.

Analysis of the second act of “Woe from Wit”: here the main problems of the work are raised: the conflict of freethinking, freethinking with the old despotic foundations. There is also a conflict of selfish interests and sincere, unconditional, ardent feelings. In a conversation with Colonel Skalozub, Famusov expresses his opinion: you have your own estate and service - a groom. No - go for a walk, Vasya!

Chatsky has a conversation with Famusov, where the second is horrified by the young man’s free views: “He doesn’t recognize the authorities!” “When it is necessary to serve, and he bent over” - around this sample successful person A dispute arises between the owner and Chatsky, the latter refuses the example offered to him.

At this time, Molchalin falls from his horse, the frightened lover Sophia faints when she sees this. Her feelings for Molchalin, which she carefully hid, become clear to the inhabitants of the house.

Analysis of the third act of “Woe from Wit”: The topic of dependence on public opinion, idleness, herdism and stupidity in society. The carefree crowd at the ball treats Chatsky as crazy thanks to bad joke Sophia: no one wants to admit that they were not the first to learn about this news. Suddenly, rich and distinguished individuals resemble a flock of sheep. People trust authorities unconditionally: “if the princes know, then it’s true!” And they behave with herd cruelty, for the most part with indifference to Chatsky’s fate: everyone is afraid of him, afraid to speak: “Suddenly he’ll rush!”

Analysis fourth act"Woe from Mind". At the end of the comedy, the topic and problem of self-esteem is raised. Molchalin, caught, crawls on his knees in front of Sophia, but she is already disgusted by his indignity. Self-esteem rises in her at this moment. The same sense of self-esteem awakens in Chatsky and forces him to leave home and sleepy Moscow, where the girl who attracted him played stupid games with him, where he felt sick and stuffy being in society.

Famusov's image: Famusov is the owner of the house, a manager in a government place, Sophia’s father, a power-hungry and voluptuous man, as evidenced by his intention to flirt with the servants. "Oh! away from the gentlemen. They have troubles ready for you every hour,” says Lisa, the maid, about the owner. Famusov was used to commanding other people, he was used to wealth. He gives his daughter Sophia such a hard time on all occasions that hold on: Famusov knows how to pour a torrent of words on the head of another person perfectly. His veneration for rank exceeds all reasonable limits. He does not encourage his daughter’s teaching, since he did not find anything for himself in the books; he considers Sophia his property:

“Tell me that it’s not good to spoil her eyes,

And reading is of little use:

She can't sleep from French books,

And the Russians make it hard for me to sleep...

He reads tall tales all night,

And here are the fruits of these books!..."

Sophia's image: Sofia - Famusov's daughter, amateur French novels; the girl is proud, freedom-loving and disobedient to her father: “What do I hear? Whoever wants, judges that way...” she says, showing courage in her choice. Sophia has her own opinion and is able to make choices. But this girl’s mind is focused on intrigue more than anything positive. He cruelly laughs at Chatsky, who is in love, spreads rumors about him, and plays dirty tricks like a child. The intimidated Molchalin, a hidden intriguer, and an external sheep, for her, is a suitable match.

The image of Chatsky. Alexander Chatsky is a man of rebellious character: “I would be glad to serve, but it’s sickening to be served....” It is necessary to serve the cause, not individuals - this is what Chatsky believes. He is a man with mature feelings, has pride and principles, and develops his mind. Unfortunately, Sophia is unable to appreciate this.

Image of Molchalin: Alexey Stepanovich Molchalin is a man “on his own mind.” He does not experience passionate feelings for Sophia, and probably does not experience any, and this is how he conquers her. In his free time, he has an affair with Lisa. He is a reserved, obsequious, quiet man, zealous in his service, submissive to Famusov: “At my age I should not dare to have my own judgment,” laconic:

"Oh! Sophia! Was Molchalin really chosen for her?

Why not a husband? There is only little intelligence in him;

But to have children,

Who lacked intelligence?

Helpful, modest, with a blush in his face...”

The comedy was written alive and in easy language, excellent rhymes are selected, the text is full of colorful images and comparisons. The work is filled bright images, aphorisms, witty expressions and original sayings, which later became widespread among the people: “Pass us more than all sorrows, and lordly anger, and lordly love...”