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 censorship and would soon become a full-fledged performance. However, he soon realized: the comedy "no skip". It was possible to publish only fragments (in 1825 in the anthology "Russian Thalia"). The entire text of the play was published much later, in 1862. The 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, therefore, while romanticism and realism were developing in literature, classicism still dominated the stage. Griboyedov's play combines features of all three directions: "Woe from Wit" is a classicistic work in form, but realistic dialogues and problems related to the realities of Russia in the 19th century bring it closer to realism, and the romantic hero (Chatsky) and the conflict of this hero with society - a characteristic opposition for romanticism. How are the classicist canon, romantic motives and a general realistic attitude towards vitality combined in Woe from Wit? 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 move among writers, served in a diplomatic mission, and therefore his consciousness was free from many stereotypes that prevented authors from experimenting.
The genre of the drama "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 can in no way 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 formulation: only tragedy can be “high”, and comedy, by default, is “low” calm. The play was not unambiguous and typical, it was pulled out of the existing theatrical and literary clichés, therefore it was so highly appreciated by both contemporaries and the current generation of readers.
Conflict. Composition. Problematic
The play is traditionally distinguished two types of conflict: private (love drama) and public (opposition of old and new times, "Famus society" and Chatsky). Since this work is partly related to romanticism, we can argue that there is a romantic conflict between the personality (Chatsky) and society (Famusovsky society) in the play.
One of the strict canons of classicism is the unity of action, which presupposes a causal relationship between 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 heroes walk here and there, 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 grasp 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 the writers of the late 18th and early 19th centuries exposed individual vices, then Griboyedov's satire fell upon the entire conservative way of life, saturated with these vices. Ignorance, careerism, soldierism, cruelty and bureaucratic inertia - all these are the realities of the Russian Empire. The Moscow nobility with its ostentatious puritanical morality and lack of principle in business represents Famusov, dull military careerism and blinkered consciousness - Skalozub, servility and hypocrisy of bureaucracy - Molchalin. Thanks to episodic characters, the viewer and reader get acquainted with all types of "Famus society" and see that their cohesion is the result of the solidarity of vicious people. The many-faced and variegated clique has absorbed all the vulgarity, lies and stupidity that society is used to worshiping and yielding to. Characters not only on stage, but also behind the stage, mentioned in the replicas of the actors (the legislator of morality Princess Marya Aleksevna, the writer of "exemplary nonsense" Foma Fomich, the influential and all-powerful Tatyana Yurievna and others).
The meaning and innovation of the play "Woe from Wit"
The play, which the author himself considered a comedy, oddly enough, highlights the most pressing problems of that period: the injustice of serfdom, an imperfect state apparatus, ignorance, the problem of education, etc. Griboyedov also included, it would seem, in an entertaining work, the pressing disputes about boarding houses, juries, censorship and institutions.
The moral aspects, which are no less important for the playwright, give rise to the humanistic pathos of the work. The author shows how the best qualities in a person perish under the pressure of the “Famusian society”. 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 drama: it reflects real conflicts and unthinkable life circumstances.
The composition of the drama is sustained in the classicist style: the observance of three unities, the presence of large monologues, the speaking names of the characters, etc. The content is realistic, so the performance is still sold out in many theaters in Russia. The 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 next to him, and Chatsky immediately takes offense, jealous and hysterically denounces everything around him only because his beloved forgot him. The hot-tempered and quarrelsome character does not paint the main character.
It is worth noting the spoken language of the play, where each character has his own speech patterns. This plan was complicated by the fact that the work was written in verse (with iambic in different grades), but Griboyedov was able to recreate the effect of a casual conversation. Already in 1825 the writer V.F. Odoevsky stated: "Almost all the verses of Griboyedov's comedy have become proverbs, and I often heard in society, the whole conversations of which were most of the verses from Woe from Wit."
Its useful to note speaking surnames in "Woe from Wit": for example, "Molchalin" means the hidden and hypocritical nature of the hero, "Skalozub" is an inverted word "scoffing", meaning boorish behavior in society.
Why is Griboyedov's comedy "Woe from Wit" readable now?
Nowadays, people often use quotes from Griboyedov without knowing it. Phraseologisms "fresh tradition, but hard to believe", "happy hours do not watch", "and the smoke of the fatherland is sweet and pleasant to us" - all these catch phrases are familiar to everyone. The play is still relevant due to the light aphoristic author's style of Griboyedov. He was one of the first to write a drama in real Russian, in which people still speak and think. The heavy and pompous vocabulary of his time was not remembered by his contemporaries for anything, but the innovative style of Griboyedov found its place in the linguistic memory of the Russian people. Can the play "Woe from Wit" be called relevant in the 21st century? Yes, if only because we say it in quotes in everyday life.
Interesting? Keep it on your wall!Not being officially published, the comedy "Woe from Wit" becomes one of the most popular works in Russia, and above all among the Decembrists. It was not at all accidental: problematic comedy fully met the ideological and moral aspirations of the Decembrists. Griboyedov did not become a member of the secret society of the Decembrists, although he was very sympathetic to many Decembrist ideas and was also opposed to the government. It is no coincidence that the Decembrists highly appreciated the accusatory pathos of comedy and perceived it as a poetic declaration of the ideas of Decembrism. However, the special quality of Griboyedov's comedy was that the depth of its content became more and more tangible with the passage of time. On the one hand, the comedy was illuminated by the tragic gleam of the Decembrist uprising and revealed the fundamental depth of the concrete historical conflict. In the clash of the ardent lover of truth, Chatsky, with the Famusian world, an abyss became obvious that separated the democratically-minded intelligentsia from the bulk of the serf lordship. Griboyedov's comedy became a vivid artistic document of the Decembrism era. Thus, the plot basis of "Woe from Wit" is a conflict that expresses the main content of its time - the clash of the "present century" and the "past century".
the main idea of the comedy "Woe from Wit" - revolutionary : exposure of obscurantism, abolition of serfdom, honor in mind, freedom of the individual. Griboyedov himself was realized in this great idea, therefore the great Russian poet took off his hat in front of the dead Griboyedov. At this moment, Pushkin bowed before the future freedom of our Fatherland!
As a truly great national and folk writer, Griboyedov posed and resolved in his work the main, most important issues related to the life and fate of the Russian people. Griboyedov's comedy "Woe from Wit" played an outstanding role in the social, political and moral education of several generations of Russian people. She armed them to fight against violence and arbitrariness, meanness and ignorance in the name of freedom and reason, in the name of the triumph of advanced ideas and genuine culture.
The brilliant mind of the author of the work, embodied in Alexander Andreevich Chatsky, the protagonist of comedies, is merciless to the stupid and overweight inhabitants of the Moscow "world", mired in lazy idleness and nostalgia. education, humanism. Its representative is Chatsky, who for the first time in our literature challenged the society of serf-owners and conservatives.
The action of Griboyedov's play is developing rapidly. Choosing for the plot .classic "love triangle" and retaining the traditional form of comedy (the action takes place in one place - the Famusov mansion for one day, and the circle of characters is constant). Griboyedov immediately lets us know: personal intrigue gives way to a conflict of a different kind - social. Nevertheless, Sophia's "secret" is revealed to Chatsky only in the finale, until which he still hopes for something. Who knows, had it not been for this hope, he would have come into collision with Famusov. Skalozubom and the like. Would you say what he thinks of them? .. But he did it. His monologues, it is true, are still warnings, these are still only words, but what words!
The conflict develops all the more interesting because at first glance, a purely external trifle (the reply of an irritated Sophia is a typical reaction of a spoiled creature) is immediately picked up by others and swollen to social proportions. Chatsky's madness is convenient, beneficial to society, because it gives its representatives some chance to justify themselves. "Dangerous dreamers" like Chatsky are too unceremonious to tear off the masks of hypocritical well-being. And now Famusov is no longer. a respectable official and a loving father, not a hospitable and hospitable owner, but a ruthless serf-owner, an enemy of enlightenment. The owner of the brilliant colonel's uniform, Skalozub, is a stupid soldier, the "witts" Repetilov is an empty talker, and Zagoretsky, who is always needed by everyone, is an arrogant swindler. And around them - crowds of ghosts like the countess-grandmother and the princes of Tugoukhovsky ...
Griboyedov idealizes his hero, whose sincere monologues are somewhat long, and their wit rather frightens than convinces the audience gathered at Famusov's. But after all, Chatsky's words were actually heard in our literature for the first time! And not just boldly, hotly, but cleverly, deeply
At all times there were, are and. probably there will be their own Griboedovs, Chatskys. Wazir-Mukhtars, who, primarily due to their brilliant and far-sighted mind, become prophets in their homeland. As a rule, this violates the established social order, the "natural" course of things, and society enters into conflict with the individual.
In the comedy Woe From Wit, the writer reflects the collision of two camps: young Russia, presented by Chatsky and the camp cruel serfs presented by Famusov, Skalozub, Khlestova, Molchalin and others. This conflict is not an artistic invention of the author of the work, he shows in the play a generation of future Decembrists who are imbued with love for their homeland and for the people, they are revolutionaries who are fighting moral violence against individuals. In the work, Chatsky opposes this. He is the son of a late friend Famusov, grew up in his house, was brought up and studied with Sophia. Chatsky is an educated man, engaged in literary work: "He writes gloriously, translates", served in the military service, had connections with ministers, was abroad for three years, this enriched him with new views, broadened his horizons, but did not make him a fan of everything foreign. The struggle between Chatsky and Famus society is becoming more and more fierce, it turns into Chatsky's personal drama, the collapse of his hopes for personal happiness. If Famusov is the defender of the old century, the time of serfdom, then Chatsky indignantly speaks about serfdom, about serfdom. In a monologue "Who are the judges?" he angrily speaks out against the order of the Catherine age, dear to Famusov's heart, Chatsky's ideal is not Maxim Petrovich, an arrogant nobleman and a independent, free personality ... For Famusov, Skalozub is the ideal, considering service as a source of personal benefits. Chatsky, on the other hand, breaks off ties with the ministers, leaves the service, because he wants to serve the Motherland, and not serve the authorities. "I would be glad to serve, it is sickening to serve!" he says. Chatsky - for the development of Russian culture. He himself "looked for the mind" during his stay in the West, but he is against the empty, meaningless, blind imitation of foreigners. Chatsky defends freedom of speech and thought, he believes that everyone has the right to express their opinion. In the comedy, Chatsky is forced to fight himself. But among the non-stage images, like-minded people who share his views are mentioned. The comedy does not end with Chatsky's defeat, although he is declared insane, readers do not get the impression that he is defeated. He leaves Moscow to join the members of the secret society in order to continue the struggle for the liberation of the people from serfdom.
The problem of the mind in the comedy of A.S. Griboyedov's "Woe from Wit" is key. The name itself bears witness to this. Speaking about comedy, its subject matter and imaginative system, the problem of mind and insanity has been relevant at all times. Clever, progressive people of their time were declared insane and often remained misunderstood by their contemporaries. Ideas that went against the generally accepted and preached by the advanced people of our time were persecuted. It is no coincidence that Griboyedov touches on this problem in his work. The comedy "Woe from Wit" was written before the December uprising and tells about the reaction of society to the emergence of an advanced mind in Russia. The original title of the comedy was "Woe to the Wit", then the author replaced it with Woe from Wit. Woe from wit "makes us think about whether Chatsky needs a mind at all in such an environment, and we understand that this mind is bad for the hero himself. That is, the problem becomes two-sided. But in fact, the" grief "from Chatsky's mind is not only for him but also to Famusov's society. Education and enlightenment inflict an irreparable blow on old Moscow. We see that Chatsky alone quite frightened everyone present at the evening at Famusov's, and only by their number they were able to oust the "foreign body" from their circle. , like Chatsky, there will be many, then the Famus society will suffer a final and crushing defeat. highly educated people like Chatsky, and Famus society looks like something deathly pale and dying in its attempts to resist this. 44 The image of Chatsky citizen patriot
The time of the creation of the comedy "Woe from Wit" fell on a turning point in the history of our country. After Russia's victory in the Patriotic War of 1812, the young generation of nobles who participated in this war saw that the defeated peoples of Europe were in a better position than the Russian people. It became clear that Russia needed urgent reforms, and as a result, various secret societies of future Decembrists began to arise. Griboyedov knew all these attitudes of youth and understood the need for reforms. And it was this theme of the confrontation between the "present century" and the "past century" that formed the basis of the comedy "Woe from Wit". The main character of the play is Alexander Chatsky. In his image, the writer embodied the features of an advanced man of that time, the features of the Decembrists from the circle of Griboyedov's acquaintances. Chatsky is a man of new views, a real citizen and a patriot. He is an enlightened person, striving for freedom and self-improvement. He is distinguished by such features as love for his people, criticism of serfdom, patriotism. Chatsky refuses to serve the state, saying: "I would be glad to serve, it is sickening to serve," and seeing in the service only servility, honor and sycophancy. However, Chatsky is not alone in his desire for change! In his monologues, he uses the pronoun "we", thereby emphasizing that there are many people like him. Indeed, Princess Tugoukhovskaya recalls her nephew, who, one might say, followed in the footsteps of Chatsky: Therefore, we still have the hope that Russia will nevertheless come to some positive changes. Chatsky defends his views, entering into a dispute with the whole society, and not with its individual representatives. He is a fighter calling for the reign of justice, the abolition of serfdom and the destruction of the patriarchal way of life. Chatsky always speaks clearly, ardently and passionately, and his monologues show the absolute irreconcilability of the positions of two hostile parties: "the present century" and "the past century". Chatsky is convinced that he is right and does not need the support or approval of others. He is simply trying to convey to people the essence and the need for reforms in their lives. Therefore, we can say for sure that Chatsky embodies the thoughts and ideas that were inherent in the progressive people of that time - the Decembrists.
The main thing is the social relations that existed in Russia. Serfdom was hated by every free-thinking person. Chatsky is portrayed in the comedy not just as a "desert sower of freedom", but as a future Decembrist: With anger and pain he denounces ardent serf-owners in his monologues Chatsky, a humanist, defender of freedom and individual independence. He is especially angry at the landlord's mockery of the personality of the peasant: Chatsky loves people , calls him "kind and smart", hence his suffering about the fate of the people. Chatsky's vices are especially made to suffer. This society slows down everything that is advanced, blocks its path to the people. They especially hate enlightenment: The fact that society violently resists the influence of noble ideas strikes at the philosophy of Chatsky and adds torment to him. These people see the ideal in the army. This is a product of the era of Arakcheev, who saw in the army a stronghold of serfdom. Serfdom and the throne are held on the puffers, which is why they are so dear to the famus and hated by Chatsky. Admiration is also caused by the foreigner's tailcoat, which is also painful to see Chatsky. Chatsky opposes "empty, slavish, blind imitation." But when Chatsky says these words, everyone is convinced that he is crazy. The image of Chatsky is the image of a citizen in the highest sense of the word. Chatsky opposes the slave morality of the Famus and the silent honor and duty ; he is ready to serve the Motherland, its interests ... "I would be glad to serve, to serve sickeningly"... This is also the suffering of the hero. High awareness of duty - the bright side of Chatsky's personality. The tragic collision between duty and feeling tragically cuts off everything in Chatsky's soul.
He does not tolerate lies and injustice. Therefore, Alexander Andreevich sees his duty and life calling in serving the Motherland. He is outraged by the traditions that have formed in high society in these times. He does not like servility, he prefers "to serve the cause, not the people," he does not mix "fun or tomfoolery with work." All this is not to Chatsky's liking, so he angrily denounces the “noble scoundrels” (Famus society). Griboyedov, through the image of Chatsky, wanted to show how he represents a true patriot of the Motherland. A man who has the courage to condemn high society, to oppose the king and serfdom. The protagonist understands the danger of his too sincere speeches, but he never backs down from the work he has begun. He knows exactly what he is fighting for and what is his goal in life. He is not lost in his speeches and actions. Chatsky fought for better changes in the life of ordinary Russian people, for a free life, not dependent on "noble villains", which are characterized by servility, sycophancy, hypocrisy and meanness. the image of Chatsky is intertwined with the very image of Griboyedov. He is also brave and brave, he is smart, he does not like the political structure of the country, so he boldly enters the battle for the future of his homeland. There are few such people among the “Famusian society” that was formed at that time. These are only a few people. The only thing that kept Chatsky in Famusov's house was his love for Sophia. After he realized that there were no mutual feelings between them, he decided to leave Moscow forever ... Chatsky chose the word with his weapon. What precise, well-aimed and merciless characteristics he gives to the Moscow rich: "their enmity is irreconcilable to a free life," "... they are rich in robbery," "... they are poured into feasts and extravagance!" In accusatory monologues, Chatsky rises to high civic pathos. The hero is convinced that it is necessary to judge people not by their position and wealth, but by their business and moral qualities. Because of this, Chatsky is hated by society as a new person. And society takes its own measures to render it harmless - slandering it. Will it reconcile itself to the condemnation of Chatsky's system of education, when young people despise their people, national culture? He puts all the passion of his soul into exposing "empty, slavish, blind imitation." Chatsky dared to "publicly announce" his sound thoughts, but such and such people are hated in society, calling them "dangerous dreamers," crazy. And wouldn't that be how you would have treated Chatsky if cm were among our contemporaries? Until recently, all dissidents were declared insane, hid in psychiatric hospitals, expelled from the country, and imprisoned. Chatsky's grief is not only from wit, but also from love. He found out that Sophia did not love him. But this grief can be lived through. If Sophia fell in love with another Chatsky, Alexander Andreich would certainly be hard and painful, but he would have survived. The greatest suffering is caused to Chatsky by the fact that it was Molchalin who was able to become the hero of Sophia. This is where the tragedy lies. It is terrible that Sophia is in the crowd of tormentors, among those who persecute and curse. Chatsky realized that he was surrounded by enemies, and no one, even his beloved girl, understood him. How many examples of such dramas can be seen today! After all, even now "the taciturns are blissful in the world," they are loved because they know how to please everyone. For us today, Chatsky remains primarily a Russian person who has realized not only his national pride, but also the high moral tasks of a citizen. The time of Griboyedov is an era far from us, but the bold struggle of the patriot Chatsky against everything backward, vulgar and low in man and society evokes the sympathy and sympathy of the modern reader and viewer. Griboyedov's comedy helps our struggle against servility in front of everything foreign, against such social phenomena as careerism, money-grubbing, sycophancy / bureaucracy, servility, reminds us of high moral concepts and goals worthy of a Russian person.
The main idea of the work "Woe from Wit" is an illustration of meanness, ignorance and servility before the ranks and traditions, which were opposed by new ideas, genuine culture, freedom and reason. The main character Chatsky appeared in the play as a representative of that very democratic society of young people who threw down an open challenge to conservatives and serf-owners. All these subtleties that raged in social and political life, Griboyedov managed to reflect on the example of the 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 by Griboyedov are displayed very vividly.
Many of the writer's contemporaries honored his manuscript with sincere praise and stood up to the tsar 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 Griboyedov during his stay in St. Petersburg. In 1816, he returned to the city from abroad and found himself at one of the secular receptions. He was deeply indignant at the craving of the Russian people for the foreign, after he noticed that the nobility of the city bows before one of the foreign guests. The writer could not restrain himself and showed his negative attitude. Meanwhile, one of the invitees, who did not share his convictions, retorted that Griboyedov was crazy.
The events of that evening formed the basis of the comedy, and Griboyedov himself became the prototype of the main character, Chatsky. The writer began work on the work in 1821. He worked on comedy in Tiflis, where he served under General Ermolov, and in Moscow.
In 1823, work on the play was completed, and the writer began to read it in Moscow literary circles, receiving rave reviews along the way. The comedy was successfully sold in the form of lists among the reading population, but it was first published only in 1833, after the petition of Minister Uvarov to the tsar. The writer himself was no longer alive by that time.
Analysis of the work
The main plot of the comedy
The events described in the comedy take place at the beginning of the 19th century, in the house of the capital's official Famusov. His young daughter Sophia is in love with Famusov's secretary, Molchalin. He is a calculating person, not rich, occupying a small rank.
Knowing about Sophia's passions, he meets with her of convenience. One day, a young nobleman Chatsky, a family friend who has not been to Russia for three years, comes to the Famusovs' house. The purpose of his return is to marry Sophia, for whom he has feelings. Sophia herself hides her love for Molchalin from the main character of the comedy.
Sophia's father is a man of the old way and views. He subservience to the ranks and believes that the young should please the authorities in everything, not express their opinion and serve their superiors selflessly. Chatsky, in contrast, is a witty young man with a sense of pride and a good education. He condemns such views, considers them stupid, hypocritical and empty. Heated disputes arise between Famusov and Chatsky.
On the day of Chatsky's arrival, the invited guests gather in Famusov's house. During the evening, Sophia spreads the rumor that Chatsky has gone mad. The guests, who also do not share his views, actively pick up this idea and unanimously recognize the hero as crazy.
Finding himself a black sheep at the evening, Chatsky is going to leave the Famusovs' house. While waiting for the carriage, he hears the secretary of Famusov confess his feelings to the servant of the masters. Sophia hears this and immediately drives Molchalin out of the house.
The denouement of the love scene ends with Chatsky's disappointment in Sophia and high 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 became 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 after that he left to wander the world altogether.
Since childhood, Chatsky and Sophia were friends, but he felt not only friendly feelings for her.
The main character in Griboyedov's comedy is not stupid, witty, eloquent. A lover of ridicule of the stupid, Chatsky was a liberal who did not want to bow before the authorities and serve the higher ranks. That is why he did not serve in the army and was not an official, which is a rarity for the era of that time and his genealogy.
Famusov is an aged man with gray hair at the temples, a nobleman. For his age, he is very cheerful and fresh. Pavel Afanasevich is a widower, of the children he has the only Sophia, 17 years old.
The official is in the civil service, he is rich, but at the same time windy. Famusov does not hesitate to stick to his own maids. His character is explosive, restless. Pavel Afanasevich is grumpy, but with the right people, he knows how to show due politeness. An example of this is his communication with the colonel, to whom Famusov wants to marry his daughter. For the sake of his goal, he is ready for anything. Submission, subservience 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 reading and does not consider education to be something very important.
Sophia is the daughter of a wealthy official. Nice and educated in the best rules of the Moscow nobility. Left early without a mother, but under the care of Madame Rosier's governess, 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 gullible 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 a shameless woman, while Sophia herself considers herself an intelligent and not a cowardly young lady.
Famusov's secretary, who lives in their house, is a single young man from a very poor family. Molchalin received his title of nobility only during the service, which at that time was considered acceptable. For this, Famusov periodically calls him rootless.
The hero's surname, as well as possible, corresponds to his character and temperament. He doesn't like to talk. Molchalin is a narrow-minded and very stupid person. He behaves modestly and quietly, honors ranks and tries to please everyone who is around him. It does it solely for profit.
Alexey Stepanovich never expresses his opinion, due to which those around him consider him quite a handsome young man. In fact, he is sneaky, unprincipled and cowardly. At the end of the comedy, it becomes clear that Molchalin is in love with the servant 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.
Skalozub is a minor character in the comedy, he is an inactive colonel who wants to become a general.
Pavel Afanasevich 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 game for his daughter. Sophia herself did not like him. In the work, the image of Skalozub is collected in separate phrases. Sergei Sergeevich joins Chatsky's speech with absurd reasoning. They betray his ignorance and ignorance.
The maid Lisa
Lizanka is an ordinary servant in the Famus house, but at the same time she occupies a rather high place among other literary characters, and she has been assigned a lot of different episodes and descriptions. The author describes in detail what Lisa does and what and how she speaks. She forces other characters in the play to confess their feelings, provokes them to certain actions, pushes them to various decisions that are important for their lives.
Mr. Repetilov appears in the fourth act of the piece. This is a minor, but vivid character of the comedy, invited to the ball to Famusov on the occasion of the birthday of his daughter Sophia. His image characterizes a person who chooses an easy path in life.
Zagoretsky
Anton Antonovich Zagoretsky is a secular revelry without ranks and honors, but who knows how, and loves to be invited to all receptions. At the expense of 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, his own person, is invited to an evening at the Faustuvs' house. From the very first seconds of the action with his persona it becomes clear - Zagoretsky is still a "shot".
Madame Khlestova is also one of the minor characters in the comedy, but her role is still very colorful. This is a woman of advanced years. She is 65 years old. She has a Pomeranian dog and a black maid - arap. Khlestova is aware of the latest gossip of the court and willingly shares her own stories from life, in which she easily talks about other characters in the work.
Composition and storylines of the comedy "Woe from Wit"
When writing the comedy Woe from Wit, Griboyedov used a technique typical of this genre. Here we can see a classic storyline, where two men compete for the hand of one girl at once. Their images are also classic: one is modest and respectful, the second is educated, proud and confident in his own superiority. True, in the play, Griboyedov placed accents in the character of the heroes a little differently, making it attractive for that society, namely Molchalin, and not Chatsky.
For several chapters of the play, there is a background description of life in the Famusovs' house, and only in the seventh phenomenon does the plot of a love story begin. A rather detailed long description in the course of the play tells only about one day. Long-term development of events is not described here. There are two plot lines in the comedy. These are conflicts: love and social.
Each of the images described by Griboyedov is multifaceted. Even Molchalin is interesting, towards whom, already the reader has an unpleasant attitude, 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 for building the plot, and it can be clearly seen that the comedy was written at the junction of three literary eras at once: flourishing romanticism, nascent realism and dying classicism.
Griboyedov's comedy "Woe from Wit" gained its popularity not only for the use of classical plotting techniques in a non-standard framework for them, it reflected the obvious changes in society, which were then just emerging and sprouting.
The work is also interesting in that it is strikingly different from all other works written by Griboyedov.
“Although there are hunters everywhere,
Yes, laughter is frightening today.
And keeps shame in check. "
A. Griboyedov
The meaning of the comedy "Woe from Wit", I believe, is in showing the spirit of Moscow of that time, its mores. In the comedy, a confrontation between two forces unfolds: the old world of aristocrats, who does not want to leave the stage of life, and a new generation of progressive-minded people Russian Federation.
A clash between Chatsky and Famusov is inevitable, because the old aristocrats do not like changes, they are accustomed to living and living as they please. In this sense, the life of society is of little interest to them.
Famusov immediately felt that with the arrival of Chatsky, various troubles and disturbances of order would begin, although he did not yet know about his views. A young, strong, flowering beginning in a person already in itself gives people like Famusov a reason for concern. And what can we say about the reaction to the bold judgments of Chatsky.
The world that Famusov so diligently protects from external influences is a sheer lie of relationships and depressing immorality. Sophia hides her poetic feelings for Molchalin, fearing that they will not be understood. And Molchalin, in turn, pretends to be in love.
Famusov's balls have a spirit of arrogance and arrogance. Princes Tugoukhovsky, for example, are deaf to everything in the world, except for wealth and titles.
In the relationship between the guests, there is a coldness of caution and hostility towards each other.
Naturally, Chatsky, having fallen into such an environment, fell into a blues and boredom. Even falling in love with Sophia did not help him to cheer up in any way. He leaves, but love for Sophia and for his homeland still returns him to Moscow, already energetic, full of creative aspirations. But new disappointments await him: no one needs his energy and noble impulses in Famous Moscow. Love also fails: after a conversation with Famusov, Chatsky suspected that he was dreaming of giving Sophia for General Skalozub. Yes, Chatsky himself, gradually recognizing Sophia, is disappointed in her. He notices that she sees the world distorted. Hearing how admiringly she talks about Molchalin, Chatsky is convinced that she does not at all understand his true essence. He asks her: “But is there that passion in him? That feeling? The ardor is that? So that, besides you, the whole world seemed to him ashes and vanity? " Then he adds: “And Skalozub! What a lovely sight! .. "
The main idea that Alexander Griboyedov put into his comedy is to show the way of life, the customs of his contemporary society, his contemporary Moscow. In the work, two camps, two worldviews collide - the old conservative conformist aristocrats worshiping ranks, wealth, trying with all their might to preserve the existing customary way of life and progressive people striving for change, wanting a better life than they have.
In the work, there is a confrontation between Chatsky and Famusov, and this collision is completely predictable. This conflict should have been, because old inhabitants like Famusov, accustomed to caring only about personal welfare, and indifferent to the aspirations of others, hate people like Chatsky, "sowing confusion", violating the established order, striving to establish justice. In people like Chatsky, Famusov sees a real enemy, a threat to his high position, his comfortable, idle-numbing life. The spirit of pride and arrogance reigns at Famusov's balls. Chatsky, having got to one of the balls, fell into unbearable boredom because of that host living there (even falling in love did not save him from boredom, everything was so depressing). And all because their interests are limited only to banknotes and titles. In addition, all the guests are wary of each other, an atmosphere of hostility and arrogance hovers among them.
What did Griboyedov want to tell us with this work? What is the meaning of comedy? It consists in Chatsky's loyalty to his convictions, despite mental anguish and multiple failures. In the vile house of Famusov, he plays the role of an accuser of ignorant philistines, retrogrades making every effort to maintain the existing order, not striving for a more honest and just life, thinking about themselves. Such subjects hinder our time, the development of the world, and those like Chatsky make our planet turn and progress. People like him are trying to free ordinary people from unbearable oppression.
In the play Woe from Wit, the essence lies in the conflict between a gifted, progressive personality (prone to Decembrism) and Famus society (reverence for money, ranks, vanity and hypocrisy), which appears as a struggle for human rights and dignity. Through the mouth of Chatsky, the author's position in relation to the contemporary society was expressed. A lot of images from the work have become common nouns, and some passages have become aphorisms.
Option 2
A satirical comedy written by one of the famous Russian authors of the 19th century - Alexander Sergeevich Griboyedov. Initially, Griboyedov conceived of writing a comedy about the rather strange and cruel living conditions of ordinary peasants during the time of serfdom.
Since comedy touches on satire, this work makes the reader understand that even the smartest person who has not done anything bad can also become the object of various gossips, discussions, and so on. The main theme of the comedy is the vices of humanity, which both ridicule and try to hide. Hypocrisy and respect for dignity makes the reader wonder how these two main vices can affect the outcome of the work.
The title of the work, "Woe from Wit," hides a small meaning, which is revealed in the work itself. After all, it is easier to accuse another person of illiteracy or insanity than to change yourself and try to live in accordance with the new directions and styles of life itself, which came with the onset of a new century.
Also, the comedy touches upon serfdom, court customs and much more, which affects the very meaning of the work and its essence. When reading this work, one can notice its connection with Decembrism, however, Griboyedov himself was not part of the Decembrist societies and did not share the main directions of Decembrism with friends or in literature.
Not the deepest meaning of the comedy is manifested in the fact that Chatsky, with all his efforts, despite his failures during the action of the comedy and despite moral principles and torment, did not retreat, but remained faithful to his inner ideals.
Griboyedov did not hesitate to add a kind of opposition to this work, on the one hand aristocrats spoke who did not want to leave the brightness of life, and on the other hand a society of progressive-minded people who wanted to fill their lives with bright emotions and unforgettable memories came forward. In other words, in this comedy two generations collided - the new generation of the then 19th century and the generation of the past, the 18th century. This disagreement between the two generations has not disappeared even now, in the 21st century.
Several interesting compositions
- Composition based on Shishkin's painting Rye grade 4 description
In the foreground of the painting is a sun-golden rye, neatly divided into two parts by a thin path. Rye glitters in the world, shimmering in a bizarre way against the background of distant trees and flying birds
- The tragedy of conscience in the drama The Thunderstorm of Ostrovsky composition
In his work, Ostrovsky described a merchant family in which his daughter Catherine grew up in prosperity. Parents allowed Catherine to make an independent choice, and she had the right to make
- The meaning of the title of the play Chekhov's Cherry Orchard composition
It is impossible to live life and not be wrong. Every person and every generation that lives on earth makes a mistake. It is impossible to gain experience without making mistakes.
Evgenia Komelkova is one of the key figures in the story "The Dawns Here Are Quiet ...". Her life story is tragic. An anti-aircraft gunner, who came with her battalion to the care of Fedot Evgrafych, along with the same young girls like herself.
