And the lord's anger. Winged expressions from the comedy "Woe from Wit" Griboyedov

6. BOTH THE MANAGER'S ANGER AND THE MANAGER'S LOVE...

The year forty-eight was approaching Magadan, with gloomy inevitability breaking through the twilight of the icy fog, through the gloomy anger of people.

This time, not so much prisoners and former convicts, as freemen, carried a furious charge of anger. The monetary reform at the end of forty-seven, perhaps more painfully than the inhabitants of any other corner of the country, hit them, the Kolyma conquistadors, the local simple Soviet millionaires. In the upper stratum of the treaties, the detachments of these socialist millionaires were already quite significant. But even average freemen who lived in Kolyma for several years counted hundreds and hundreds of thousands on their passbooks.

All these people, accustomed to feeling like the beloved children of the Soviet regime, were stunned by the blow that fell upon them. How! Do likewise with them, with those who constituted the stronghold of the regime in this land inhabited by enemies of the people! With those who survived so many cold winters here, depriving their bodies of vitamins!

For many, this reform was the beginning of the collapse of the illusory world in which they lived and which seemed to them so impeccably organized. I remember a conversation with the former commander of the Tuscan Vohra platoon. I met this "acquaintance" on the street, on my way to work, and he kept me for a long time so that I could take on the explosion of his words. Oh, and these were amazing words! The commander's voice hissed, gurgled, choked.

Justice is called! For seven years he mantulated like a damned man! He risked his life... What bison he guarded! My grandmother left the children for the benefit of the saints, she ran to work herself, she beat out these percentages. And now ... Only, you understand, they took shape on the mainland, quit Dalstroy. Well, we think we'll buy a hut in the Poltava region, all sorts of junk ... We'll go to the resorts ... And now - on you! You can buy spruce pine here...

I willingly led mass educational work with such an unusual interlocutor. Say, war and all that ... Inflation ... Recovery of the economy ...

Oh come on, you understand! It’s good for you, hungry people, to talk about the economy! You have nothing to lose... Yes, and you are desperate people. They didn’t spare not only money, but their children, they turned into enemies ... - And suddenly he interrupted himself, looked at me intently, waved his hand and growled: - Or maybe everyone lied about you! Damn him!

The mood of the freemen was also spoiled by the fact that new stages of prisoners appeared, who received fresh terms precisely for the machinations associated with the reform. They were given the article "economic counter-revolution", and thus they again fell into the category of enemies of the people. There were such cases among the residents of Magadan.

In the corners they whispered anxiously, passing sensational details various monetary transactions. The very essence of fraud was absolutely incomprehensible to me: someone warned someone, someone sold it to someone, someone took money from the book at the wrong time, or, on the contrary, put it on the book at the right time. But the denouement in all cases was standard: ten, sometimes eight years in prison for economic counter-revolution.

Yulia rejoiced like a child that we had not suffered at all from the monetary reform. Not a single dime!

I'm fine, I'm an orphan! - she joked and added: - No, I still have an intuition ... As if some inner voice told me: buy a second folding bed!

We made this capital outlay with Vaska's forthcoming arrival in mind. But so far, all this has remained within the limits of baseless dreams, because by the beginning of the forty-eighth year I had already received eight - EIGHT from the personnel department of Dalstroy! - refusals to issue my son a pass to Magadan.

The whole technology of "permanent" filing of applications was already worked out for me with the utmost clarity. I left the room where they told me "You were denied", and immediately went into the next room, where I handed in a new, pre-prepared application. New applications were accepted mechanically and flawlessly. Each time they said: "You will come for an answer on such and such a date." And after that, despair again gave way to deceptive hopes.

Yes, I was still hoping for a meeting with Vaska. Because there were letters from him. Stingy, rare, but went. And he expressed in them an interest in the forthcoming, the first long journey in his life.

But the thought of Anton and his fate woke me up in the middle of the night with a push to the very heart, poured cold sweat over me, covered my eyes with cloudy darkness.

After the sack of pine nuts, long months dragged on without any news, without signs of life. I developed a frenzied energy. I wrote to all of our people who, after leaving the camp, lived in the area of ​​Yagodnoye and Shturmovoye. And just before the New Year, an answer came, worse than which it was hard to imagine. One of my acquaintances from Elgen found out everything and told me that Anton had long been gone from Shturmovy. He was sent to the stage, and under very strange circumstances. In strict secrecy. Without any violation of the regime on his part. They sent one by special escort. It seems that on demand from somewhere above.

On sleepless nights, pictures of the recent war years floated before me. How many German prisoners (Soviet citizens) went to secret stages in the same way, never to arrive anywhere. True, now the war is over. But who will vouch for the Kolyma authorities! I drew scenes of beatings, interrogations, execution. I saw the taiga prison "Serpantinka", about which no one knew anything, because not a single person had yet returned from there.

Worst of all was the consciousness of his own impotence. I could not even make a formal request about his fate. Because I'm not a relative. On reflection, she wrote to Kazakhstan to one of his four sisters, who were in exile there. She asked her to make a request on behalf of her relatives. They wrote. They didn't answer.

In the meantime, my work was also undergoing significant changes. Shortly after our return from the "Northern Artek", where I was given a certificate of honor, I was summoned by the head of the children's institutions, Dr. Gorbatova. She began the conversation by saying that she was very pleased with my work.

You have everything: education, diligence, affection for children. But...

I got cold under my stomach. The meaning of this BUT was clear. Probably, the personnel department is killing her from the world because she keeps a terrorist-Turzach on the "ideological front". And now this kind woman looking for words to soften the blow. My God, what am I going to send Vaska?

No, no, no one is firing you,” Gorbatova exclaimed, reading all this on my face, “I just want to take some measures to strengthen your position ...

It turned out that a place for a music worker was being vacated in our kindergarten. Our manager, who concurrently led music lessons, goes to the 1st kindergarten. Thus, a wonderful opportunity is presented to me.

I was told that you play well.

It doesn't matter. I studied a long time ago, in deep childhood.

Nothing. Exercise - restore. But, you know...

And then Gorbatova spoke so openly, as if she herself were not a boss, but a terrorist terrorist.

In the near future, several graduate teachers will arrive from the Krasnoyarsk Preschool Pedagogical School. Then it will be next to impossible for me to defend you any further. And the pianist... There are no pianists among them. This is a defensive additional qualification for you. In addition, the word "pianist" sounds somehow more neutral. Away from ideology ... Well, do you agree? The salary is the same.

These arguments could not arouse objections. But still, I reluctantly agreed. After all, this is not the taiga Tuskan, where it was enough to disassemble the "Songs of a Preschooler". Here you will have to hold matinees with a large audience, play bravura marches in fast pace. In a word - it was necessary to urgently return the lost equipment.

I sent a telegram to Rybinsk, where my mother lived after the war, remaining at the place of my evacuation from Leningrad. Poor girl, she kept thinking that Rybinsk might even let me… Now I asked to send the sheet music, not really hoping that she would be able to buy what she needed in Rybinsk. But the package arrived, and I was surprised to find my old childhood notes in it. How did she manage to save them, to take them out of two conflagrations, her own and mine? However, the fact is that I had in my hands my own Ganon, over which I, an eight-year-old, once suffered. The yellowed glued pages were full of the teacher's sharp pencil marks, and I remembered her large hand, circling purple circles over those notes on which I was out of tune. On one page it was written in crooked childish letters: "I don't know how to take an octave. I don't have enough hands!" And "I can" - through YAT.

Ganon! I looked at him with deep remorse. After all, it was in him that all the forces of the old world once embodied for me. It was this notebook that I threw away when I applied to the Komsomol and announced to my parents that now I have more important worries. Let the daughters of the world bourgeoisie study Ganon!

Did I then think that the day would come when the rejected Ganon would arrive on Far North save me from being fired from work, from trouble, from all sorts of villainy? Forgive me, Ganon! And forgive me, Czerny and Clementi!

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

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

Portrait of Alexander Griboedov, artist Ivan Kramskoy, 1875, painted from a lithograph

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

"Woe from Wit" Act I

1. “... Bypass us more than all sorrows

And the lord's anger, and the lord's love. (Lisa, phenomenon 2)

2. “happy hours not watching." (Sofia, phenomenon 3)

3. “And all the Kuznetsk bridge, and the eternal French,

Destroyers of pockets and hearts!

When the Creator delivers us

From their hats! bonnets! and studs! and pins!

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

4. “No other sample is needed,

When in the eyes of an example of a father. (Famusov, phenomenon 4)

5. “Blessed is he who believes, he is warm in the world!” (Chatsky, phenomenon 6)

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

7. “You will get tired of living with them, and in whom can you not find spots?

When you wander, you return home,

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

8. “However, he will reach certain degrees,

After all, today they love the dumb.” (Chatsky, phenomenon 6)

"Woe from Wit" Act II- popular expressions, aphorisms, quotes:

9. “I would be glad to serve, it’s sickening to serve.” (Chatsky, phenomenon 2)

10. "Fresh tradition, but hard to believe." (Chatsky, phenomenon 2)

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

Who wants to welcome us, if you please;

The door is open to the invited and the uninvited,

Especially from foreign ones;

Though fair man, though not

It’s equal for us, dinner is ready for everyone.” (Famusov about Muscovites, phenomenon 6)

12. “Houses are new, but prejudices are old.

Rejoice, they will not exterminate

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

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

14. “Where, show us, fathers of the fatherland,

Which should we take as samples?

Are not these rich in robbery?

They found protection from court in friends, in kinship,

Magnificent building chambers,

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

15. “Yes, and who in Moscow did not clamp their mouths

Lunches, dinners and dances?” (Chatsky, phenomenon 5)

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

"Woe from Wit" Act II I- popular expressions, aphorisms, quotes:

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

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

18. “Ranks are given by people,

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

19. "Evil, in girls for a century, God will forgive her." (Princess, appearance 8)

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

Two princesses decided, sisters, repeating

A lesson taught to them from childhood.

Where to go from the princesses! -

I odal sent wishes

Humble, but out loud

So that the Lord destroyed this unclean spirit

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

"Woe from Wit" Act I V- popular expressions, aphorisms, quotes:

21. “Oh! if someone penetrated people:

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

Written by A.A. Bestuzhev: "I'm not talking about poetry, half of it should become a proverb."

Many of Griboedov's aphorisms have become part of everyday speech:

We use popular expressions, no longer thinking about their authorship.

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

Griboedov's catchphrases given below are correlated with actors plays. Their characteristics were obtained through catchphrases. There are eighty proverbs in total.

The most popular, and therefore the most relevant, are placed in the headings. this person proverbs.

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

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

Sofia - The Hero of Not My Romance

Chatsky - And who are the judges?

Puffer - In my opinion, the fire contributed to her much to the decoration

Molchalin - Oh! evil tongues are worse than a gun

Khlestova - Everyone lies calendars.

Repetilov - Look and something

Princess - He is a chemist, he is a botanist

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

Idioms from the comedy "Woe from Wit" you can often hear in a speech in what meaning they were pronounced by the hero of the text. What has changed over time?

Most Quoted Expressions

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

"Mind and heart are not in harmony". The phrase is spoken by Chatsky. He explains his condition to her. The heart of a lover does not hear the mind. A person is not able to analyze what is happening around, does not notice deceit and deceitful deeds. Blinded by feelings, he does not hear the truth in speech. He leads himself astray, which later becomes a fatal mistake. IN modern life expression finds a place not only in the emotional sphere, describing feelings of mutual affection. The mind does not help those who are blinded by their luck in business, in gambling.

"The Hero of Not My Novel". Sofya Pavlovna used the phrase to explain that one of the contenders for her hand could not be her lover. Today, the expression allows you to remove from the gentlemen those who cannot become a groom according to the individual choice and preferences of either sex.

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

"Day after day, today, like yesterday". This is how Alexei Molchalin describes his life. This is how contemporaries characterize life, if interesting events leave it, there remains one routine that repeats every day. The state of hopelessness is heard behind the words, melancholy and despondency. I want to get out of this state as soon as possible.

“Bypass us more than all sorrows. And the lord's anger, and the lord's love ". The phrase is put into the mouth of the maid Liza. The girl understands the danger of both love and disfavor. I want to avoid excessive care, anger and hostility. Any feeling on the part of those in power, superiors and leaders often ends negatively for the employee. That is why I want bright manifestations on their part to be bypassed.

"To whom it is appointed, sir, do not escape fate". Wise words are spoken by Lisa. Faith in predestination and fate did not disappear among contemporaries either. An event that occurs in life, often negative, impossible to explain, is reduced to the manifestation of forces from above. Fate is responsible for everything.

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

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

All character expressions

Chatsky's quotes:

I'm strange, but who's not strange? The one who looks like all the fools.

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

Tell me to go into the fire: I'll go to dinner.

More in number, cheaper price.

Here are our strict connoisseurs and judges!

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

Singer winter summer weather.

On the forehead is written: Theater and Masquerade.

But if so: mind and heart are not in harmony.

And here is the reward for the feats!

The meanest traits of the past life.

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

Blessed is he who believes - he is warm in the world!

And Guillaume, the Frenchman, knocked out by the breeze?

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

Sophia's quotes:

And grief awaits around the corner.

Happy hours are not observed.

You can share laughter with everyone.

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

Think how capricious happiness is!

Will such a mind make a family happy?

The hero is not my novel.

Quick questions and a curious look…

What is my rumor? Who wants to judge.

Went to a room, got into another.

Molchanin quotes:

Oh! evil tongues are worse than a gun.

Outside a mirror, and a mirror inside.

Everyone has their own talent.

There are contradictions, and much is not efficient.

We find patronage where we do not aim.

Day after day, today is like yesterday.

Quotes from Reptilov:

Noise, brother, noise!

About Byron, well, about important mothers.

No place to explain now and lack of time.

He rejected everything: laws! conscience! faith!

And I have an attraction to you, a kind of illness.

Lizanka's quotes:

Sin is not a problem, rumor is not good.

Your conversation has gone overnight.

And the golden bag, and marks the generals.

And they hear, they do not want to understand.

To whom it is appointed, sir, do not escape fate.

Bypass us more than all sorrows. And the lord's anger, and the lord's love.

These faces suit you.

And who is in love - ready for anything.

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

The girls' morning sleep is so thin.

Quotes from Anfisa Khlestova:

Everyone's calendars lie.

Tea, drank beyond his years.

There are wonderful adventures in the world! In his summer crazy jumped off!

No! three hundred! I don’t know other people’s estates!

Quotes by Platon Mikhailovich:

We are scolded. Everywhere, and everywhere they accept.

I'll tell you the truth about you, which is worse than any lie.

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

Moscow opera houses increasingly began to turn to the modern repertoire. Previously, Onegins and La Traviata dominated the scenes, and the works new era forlornly showed up once a decade, if not less often. True, he was in the capital Chamber musical Boris Pokrovsky, who was known as the "laboratory of modern opera" and regularly worked with living composers. Now, newfangled opuses are a good tone in the best opera houses. There are those in Stasik and in New Opera”, even the stronghold of conservatism - the Bolshoi - descends not only to Shostakovich and Britten, who are still among us in the modern department, but also to Weinberg and Banevich. The restless "Helikon" does not lag behind colleagues. Not so long ago, he only sometimes diluted the mainstream poster with novelties (as a rule, they did not stay for long), and proven classical masterpieces made the theater box office. Now, however, cooperation with contemporary composers looks like one of the strategic directions of Dmitry Bertman's multi-vector activity.

The librettists (Manotskov and his partner, artist Pavel Kaplevich, the author of the project idea) took the immortal Griboedov's comedy"Woe from Wit". The plot, dramaturgy, characters and roles, and the lion's share of the aphoristic text - all from the textbook classics, known to everyone since school. But, in order not to bind themselves with the need to strictly follow Griboedov, the directors came up with a clever move - they combined Chatsky, the “superfluous person” of Russian literature, with Chaadaev, “ an extra person"Russian reality of the XIX century, supplementing the text of the comedy with excerpts from the latter's "Philosophical Letters" and modifying the name of the protagonist. The result was a significant symbiosis, allowing us to talk about Russia and its timeless problems.

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

The no less fashionable Kirill Serebrennikov was called to direct the world premiere. The situation around the Gogol Center headed by him attracted additional attention to the production. For PR - just a gift, especially considering that modern opera, as a rule, scares the public. Serebrennikov remained true to himself, although this production of his does not differ in particular radicalism. The action begins with a crowd of naked men. To the sounds of Griboedov's waltz in E minor, the guys of athletic build change their costumes in order to take up their usual work - knead clay with their feet or, more precisely, stomp black, scorched earth and carry huge platforms on their hands, where, in fact, the highest light. The idea of ​​social inequality, segregation, presented more than intelligibly, if not to say - in the forehead, there is little novelty in it, it is read at a time. Everything else worked out on “recognition”: conversations on mobile phones (including the sacramental “Carriage to me, carriage!”), Olympic costumes with the inscription “RUSSIA” on the inhabitants of the Famusov’s house, soulless bureaucracy in business office deuces and secular ball a la russe in kokoshniks (with a hint of the famous Romanov costumed masquerade of 1903).

Signs of the present time are scattered throughout the performance, strung like beads on each stage - they cause the audience to giggle approvingly, where on premiere screenings, of course, a fair amount of admirers of the director's talent. He speaks in his usual language, the satisfied audience understands this, which is inexpressibly glad. There were also some small obscenities. The maid of the Famusovs, Liza, for matters of the heart, chooses for herself a textured cavalier from the people (the bartender Petrusha), an “atlant” supporting the platform, but before taking him to the social top, she strips him naked and washes him of dirt, pouring water from a hose. Lisa, in another picture, is raped by Molchalin - while Famusov makes pathetic speeches, she rhythmically screeches in an ultra-high tessitura. In general, nothing sensational. We regularly see something similar on the stage. drama theater, and not only at Serebrennikov. In a word, put it in any way you like, and everything will be fine, all in a suit, straight into the history of the national scene.

The question, what does Chaadaev have to do with it, remains open.

Let's not forget that we still have an opera in front of us, a work for musical theater, for singers, orchestra and choir, and apart from hot topic and fashionable directing, it would be nice if the score were a phenomenon. Somehow this part didn't work at all. Even in comparison with Manotskov's previous opuses (for example, Guidon and Titius the Impeccable), Chaadsky appears to be the least expressive and striking product. The music is monotonous and boring, does not have its own face, does not captivate or shock, leaving the listener absolutely indifferent. Griboedov's exploited waltzes are the only thing that can "hook on the ear", the rest is a set of commonplaces: postmodernist scraping in the bottom of the barrel, that is, in all musical styles of the past. And the performance leaves much to be desired. Whether it is the fault of the soloists, conductor, composer or sound engineers (the use of subsound is quite obvious), but the singing is poorly audible, and the words cannot be made out - all hope is for your own memory and the running line. Maestro Felix Korobov courageously collects the score of "Chaadsky" into a single canvas, but he does not quite succeed either - it seems that the monotony of the sound context tires even such an experienced interpreter of modern music.

Photo on the announcement: Dmitry Serebryakov/TASS