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Key scenes “Woe from Wit. Woe from Wit Genre of the drama "Woe from Wit"

The history of the creation of comedy

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

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

Theme and problems of the play

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

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

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

The conflict of a dramatic work and its originality

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

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

Comedy character system

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

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

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

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

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

Development of dramatic action

An analysis of the actions of "Woe from Wit" will reveal the compositional features of the work and the features of the development of the dramatic action.

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

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

The originality of the play

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

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

Artwork test

The action of the play "Woe from Wit" begins in the morning in Famusov's house. The maid Lisa wakes up and complains that she did not sleep well. The fact is that Sophia was expecting a friend to visit at night - Alexei Stepanovich Molchalin. Lisa had to make sure that Famusov did not find out about this.

Lisa knocks on the door of the mistress's room, asking her to hurry up and say goodbye to Molchalin, because soon everyone in the house will wake up. Famusov finds her doing this and starts flirting with her. Lisa tells the owner that she is afraid that someone will come in, for example Sophia, who has just fallen asleep because she has been reading all night. Famusov wonders how you can read all night, because he falls asleep from reading. Then he leaves.

Lisa reproaches Sophia for being too careful while she says goodbye to Molchalin. At this moment Famusov enters. He wonders why Molchalin came so early.

He replies that he has just returned from a walk. Famusov scolds his daughter for being nice to a young man at such an hour. After all, he so cared about her upbringing after the death of her mother and is himself the best example of morality.

Sophia says that she had a dream: as if she was walking in a meadow, and a young man appeared to her - modest, smart, poor. Suddenly they found themselves In a dark room, and some forces, together with her father, want to separate Sophia and this young man ... At this point, the dream was interrupted. Famusov advises her to put all kinds of nonsense out of her head and leaves with Molchalin.

Lisa asks Sofia to be careful. She believes that the father will not agree to the marriage of his daughter with Molchalin, because he is poor and ignorant. The best match for Sophia is Colonel Sergey Sergeevich Skalozub. Sophia says that she will never agree to this union: “I don’t care what for him, what’s in the water.” Lisa recalls Alexander Andreevich Chatsky, who was brought up in the Famusov house and with whom Sofia grew up together.

Sophia says that Chatsky has gone far and does not give any news about himself. Molchalin is nearby, he is helpful, modest, quiet and timid. Here Chatsky himself appears. He has just returned from abroad, where he spent three years. Chatsky is happy to meet, but surprised by Sophia's coldness. He asks if she is in love with someone. In a conversation with Famusov, Chatsky admires Sophia.

Famusov asks the servant to give him a calendar and remembers which houses and which noble people he should visit this week. Chatsky appears. He is interested in what Famusov would answer if he wooed Sophia. Famusov says that first you need to serve and get a rank.

The ability to curry favor Famusov considers the most useful. He is proud of his uncle Maxim Petrovich, his wealth and orders. Maxim Petrovich, like no one else, knew how to curry favor, which won the praise and favor of the Empress herself. He fell on purpose, which caused her laughter, and for this he was called to receptions more often than others, received a solid pension and universal honor.

Chatsky despises servility and accuses Famusov and others like him of judging a person by rank and wealth. Famusov is afraid because of Chatsky's disrespect for those in power.

Skalozub comes to Famusov. Famusov respects him very much: after all, Skalozub has been serving recently, and already a colonel. He fawns over Skalozub and tries to please him. Famusov wonders if Skalozub is going to get married. They remember the cousin Skalozub, who had 'career prospects, but suddenly dropped everything and retired to the village.

Chatsky joins the conversation. He stigmatizes a society where only rank and wealth are valued, and condemns landowners who treat their serfs like property. Admiration for the uniform causes him contempt and indignation.

Sophia appears, frightened that Molchalin fell off his horse. She faints. Skalozub leaves to help Molchalin. Lisa and Chatsky bring Sophia to her senses. Everything is fine with Molchalin. But Chatsky understands who is busy
Sophia's heart

Enter Skalozub and Molchalin, who only bruised his hand. Skalozub promises to come in the evening. He and Chatsky are removed.

Molchalin reproaches Sofia for imprudence and excessive frankness, but the heroine is not worried about the opinions of others. Molchalin is most afraid of "evil tongues". Sophia promises to pretend to her father that she is cheerful and carefree in order to lull his vigilance. She leaves, and Molchalin, left alone with Lisa, begins to flirt with her, promises her gifts in exchange for favor. Lisa accuses him of duplicity.

Chatsky is trying to find out from Sofia who is more to her heart - Molchalin or Skalozub. Sofia does not answer directly, saying that she appreciates Molchalin for his meekness and modesty. Chatsky mocks Molchalin and does not understand how one can admire such a person.

Chatsky talks with Molchalin to get to know him better. Molchalin is proud of such qualities as "moderation and accuracy." He boasts of his wealthy and noble patrons. Chatsky ridicules such life principles.

A ball is scheduled for the evening at the Famusovs' house. Guests arrive. These are the Gorichi spouses, the Tugoukhovsky family, Countess Khryumina with her granddaughter, the old woman Khlestova - rich and influential people. The guests are talking.

Chatsky is familiar with Gorichi - cutesy and flirtatious Natalia Dmitrievna and bored Platon Mikhailovich. He is unpleasantly surprised by how Platon Mikhailovich, a former brave military man, and now a lazy and submissive husband, has changed.

Ladies praise each other's outfits and ask which of the male guests is not married and whether the potential groom has rank and fortune. Anton Antonovich Zagoretsky, one of the guests, flatters the ladies and tries to please them. Platon Mikhailovich calls him a swindler.

The old woman Khlestova boasts of her new Arapka maid. Famusov is kind to the guests. Skalozub arrives. Molchalin praises Khlestova's dog, which deserves her approval.

Chatsky's behavior is not respectful. He is mocking, ironic, impudent with everyone. Everyone is outraged by his behavior. Molchalin's helpfulness evokes Chatsky's ridicule. Sofia is angry with him. Her accidentally dropped phrase that Chatsky is "out of his mind" instantly spreads among the guests.

Zagoretsky helps to ensure that all the invitees know about Chatsky's madness. The imaginary madness of Chatsky became the main event of the evening. Chatsky is uncomfortable among the guests. He says he is unhappy with Moscow and reflects on meeting a Frenchman who, once in Russia, feels at home.

Chatsky resents foreign influence in Russia and the worship of everything French:

But our North is a hundred times worse for me
Since I gave everything in exchange
in a new way:
And customs, and language, and holy antiquity,
And stately clothes for another ...

Ball ends. The guests are leaving. Chatsky is also going to leave Famusov's house. He does not understand why he was considered crazy and who started this rumor.

Chatsky accidentally witnesses Lisa's conversation with Molchalin. It turns out that Molchalin is not going to marry Sophia and that he does not love her.

He likes Lisa much more, and he takes care of Sophia only because she is Famusov's daughter. Sofia overhears this conversation. Molchalin tries to beg her forgiveness. But she tells him to leave the house immediately, otherwise she will tell her father about everything.

Chatsky appears. He rebukes Sofia. She justifies herself that she did not suspect such meanness and deceit in Molchalin. Famusov enters. From his speeches, Chatsky understands who first called him crazy. Famusov is indignant and threatens to send his daughter to the village.

Chatsky is disappointed. His hopes were not justified, and his best feelings were offended. He blames Sophia for keeping him convinced of her love. But now he does not regret their breakup. And there is no place for him in Moscow. He's leaving here forever.

HISTORY OF CREATION AND MEANING OF THE TITLE

Woe from Wit is a comedy in verse, the first realistic work of Russian literature. The idea for the play came from A. Griboyedov as early as 1820. By this time, he had already written other dramatic works.

Work on the text began in Tiflis after the return of the writer from Persia. In the summer of 1823, the first version of the play was completed, but it was still far from completion. In 1825 excerpts from Acts 1 and 3 of the comedy were printed. However, the author did not receive permission to stage in the theater. Despite this, the comedy was distributed in the lists and became widely known among the enlightened intelligentsia, who enthusiastically accepted the work. Woe from Wit was first published with large cuts in 1833, and in full only in 1861.

Initially, A. Griboyedov conceived to name the comedy "Woe to the mind." In this case, the meaning of the work would be transparent: Chatsky, an intelligent person, is opposed to the surrounding society, but in the end is rejected by him. The meaning of the name would boil down to the following: woe to an intelligent person among narrow-minded and narrow-minded people. But the author, choosing a different title, changed the meaning of the work.

Chatsky, who considers himself a smart person, often behaves stupidly and does not notice the obvious (he cannot believe that Sofia is in love with Molchalin, does not understand that others are laughing at him). From the point of view of Famusov and his guests, Chatsky is stupid (he does not know how to adapt, he is not ready to lie, flatter, trick, does not use his abilities to succeed). He even passed for a madman, which all the characters in the work willingly believed. But the concept of the mind for A. Griboedov does not include prudence (in this sense, Famusov can also be called smart), but implies freethinking, enlightening views, new, different from the established ones. Chatsky denounces the vices of the patriarchal society and opposes himself to it. From this all his troubles.

Chatsky suffers not so much from his mind, but from his own desire to change the world, to make it better. Therefore, he is comical in the Famus society. The author himself, who defined the genre of his work as a comedy, ironically over what is happening.

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Traditionally, the genre of "Woe from Wit" is defined as a comedy in verse. Formally, the play corresponds to the principles of a classical dramatic work. The action takes place in one place within one day. The characters are clearly divided into positive and negative, the position of the author is transparent, and his sympathies are immediately guessed. The plot is based on a love affair. However, comedy has become innovative in many ways. Public conflict relegates love affair to the background. The play raises many serious questions that can cause heated debate and give rise to deep thoughts. Therefore, the work combines the features of both a comedy of characters, and an everyday comedy, and a satirical work.

The play is indeed a comedy. There are comic characters and situations here. The comedy is also based on the discrepancy between the character's idea of himself and who he really is. So, Skalozub imagines himself significant and important, but in fact he is limited and narrow-minded. The main character is not comical. Chatsky, who was in the minority, seems defeated and misunderstood. He must back off, at least for a while. In the finale, there is no triumph of the positive hero, which is mandatory for a classic comedy: vice must be defeated by virtue.

The characters depicted by Griboyedov are close to real people. They are not as unambiguous as they seem at first glance. Each of them is endowed with both positive and negative qualities. For example, Sophia, a positive heroine and beloved of Chatsky, undoubtedly evokes sympathy. At the same time, she constantly lies, is carried away by Molchalin, realizing his insignificance. Famusov, Chatsky's ideological opponent, does not seem to be a sharply negative character. His disagreement with the ideas of Chatsky is determined by his upbringing and lifestyle, that is, by another generation.

Chatsky himself, the only positive character, cannot but arouse sympathy and slight condescension due to the fact that he does not understand the meaninglessness of his tirades in front of Moscow society. Thus, the play, which is based on the comedy of manners, is a mixture of several genres.

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PROBLEMS

The play touches on the most pressing issues that worried the enlightened society of that time: the plight of the Russian people, serfdom, autocratic power, the level of education of society, the principles of educating the younger generation, servility, bribery, etc. A real dispute unfolds between the characters about the meaning of education, the appointment of teachers , the need for knowledge. For Famusov, teachers are "tramps", he does not see the need to educate children and care too much about their development. Chatsky criticizes the low level of education of the Moscow nobility, understanding its superficiality and formal character. The work depicts pictures of landlord arbitrariness in relation to serfs. One gentleman, like Famusov, traded a crowd of faithful servants for three greyhounds, another sells peasants, separating parents and children.

The old woman Khlestova, showing off her new Arapka maid, tells how she made this acquisition. At the same time, she is incredibly gentle with the dog. Chatsky is outraged that the landlords perceive the servants as useful things. Service attitudes are also subject to controversy. Famusov perceives his official duties formally, without delving into the details and not being interested in the details. Molchalin, on the other hand, wants to curry favor and treats Famusov's service as a means of achieving his own selfish goals. Chatsky does not recognize this approach to his duties. He believes that it is necessary to serve the cause, for the good of the Fatherland, and not for the sake of rank, the praise of his own boss or the approval of society. But not only social phenomena give rise to Chatsky's critical statements.

Personal and family relations, characteristic of a noble society, are also not accepted by him. The marital relations of the Gorichs seem artificial to Chatsky and evoke his irony. The fact that Platon Mikhailovich was under the heel of his wife is incomprehensible to Chatsky. Relations between Sophia and Molchalin could line up in a similar way. The lack of a husband's own opinion, outward humility, constant boredom cannot cause positive emotions in the hero. Chatsky turned out to be the spokesman for the views of that part of the enlightened intelligentsia, which did not want to put up with the established way of life.

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FEATURES OF THE CONFLICT

There are two lines in the work - love and social. The love conflict lies on the surface, and the work begins with it. Chatsky wants to marry Sophia, but is faced with a cold attitude from her father. He learns about another contender for Sophia's hand, more worthy, according to Famusov, Skalozub. In addition to him, there is Molchalin, who clearly enjoys the favor of Sofia herself.

The love affair is presented rather superficially. We do not observe the collision and struggle of Chatsky with his rival for the location of Sofia. And the final departure of the hero is connected not only with love failure. The peculiarity of the conflict of the play is that, having started as a love story, it develops into a public one. The heroes are divided into two unequal camps: the entire Famus Moscow and Chatsky himself. Famusov and his entourage are supporters of patriarchal traditions, the usual way of life.

In Famusov's house, everything is built on pretense: Sofia hides her love for Molchalin, Famusov puts on a virtuous look, Molchalin pretends to love Sofia, although he does it out of selfish motives. Famusov supports a huge number of characters - his allies. These are household members, guests, and even heroes who are simply mentioned, but who do not participate in the action. Due to this, the play turns out to be quite densely “populated” with characters, although the main action is connected with members of the same family. The very number of characters opposed to Chatsky speaks of the inequality of forces involved in the conflict. Chatsky is alone, and this is his tragedy.

The public conflict reaches its climax in the scene at the ball in Famusov's house, when Chatsky turns out to be an outcast not only because of his views and impudent speeches, but because of imaginary madness. Other heroes readily believe in his madness. This turned out to be much more convenient to explain Chatsky's behavior than to delve into his speech and try to understand him. Thus, all the actions of Chatsky automatically become meaningless to others. The main conflict of the play is the clash of new progressive views in the person of Chatsky with the old patriarchal world of lordly Moscow.

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CHARACTERISTICS OF CHATSKY

The young nobleman Alexander Andreevich Chatsky, after spending three years outside Russia, returns to Moscow, to the house of Pavel Afanasyevich Famusov, where he was brought up after the death of his parents. Remembering Chatsky, Lisa says: But be a military man, be he a civilian, Who is so sensitive, and cheerful, and sharp, Like Alexander Andreyich Chatsky! And Sofia adds: "Sharp, smart, eloquent."

Chatsky is ardent and hot, he appears before Sophia like a whirlwind and immediately disturbs the calmness of the inhabitants of the Famusovsky house. His loud and ardent speech, stormy joy, laughter, sincerity are out of place here. The impetuousness and enthusiasm of Chatsky confuses other heroes. From the lips of Famusov sound the words: “a dangerous person”, “does not recognize the authorities”, “freedom wants to preach”. Chatsky is dangerous in a society where you have to curry favor, pretend and lie. Chatsky's speech, first of all, testifies to his education and erudition. He quotes Derzhavin (And the smoke of the Fatherland is sweet and pleasant for us!), He refers to the images of world literature (Minerva, Amur, Nestor), in his speech there are both old Slavonicisms and high-style words (hungering, searching, daviche), and romantic pathetic expressions (I love you without memory, I am at your feet). Chatsky's speech is emotional, rich in comparisons, metaphors, combines sublime and purely colloquial vocabulary (black-haired, hoarse, strangled).

Chatsky's views are characteristic of an advanced person. They may seem idealistic and naive. Chatsky believes that it is necessary to serve the cause, and not the boss, that origin and wealth do not make a person better, and superficial education is smarter. The mind tells Chatsky that it is necessary to escape from Famusov's house, but the heart speaks of love for Sofia. He cannot come to terms with her attachment to Molchalin. It is not clear to Chatsky what such a smart girl found in Molchalin, how could she fall in love with such an insignificant and petty person, such an empty person.

Chatsky is a man of action, an enthusiast, energetic and active. But in Famusov's Moscow, no one needs him, because his ideas do not find a response, he only interferes, tries to disrupt the usual way of life.

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FAMUSOV CHARACTERISTICS

Famusov Pavel Afanasyevich - manager in a government place, Sophia's father, widower. The whole action of the comedy takes place in his house. Famusov is an opponent of enlightenment.

Everything new and progressive is perceived as hostile to them. This is a threat to his well-being and measured life. He calls teachers “tramps” and does not understand why they are hired at all: We take tramps both to the house and on tickets, To teach our daughters everything, everything, And dances, and laziness, and tenderness, and sighs, As if we are preparing them for wives buffoons. Books make him sad and sleepy: She can't sleep from French books, And it hurts me to sleep from Russians. Famusov selects a groom for his daughter, based solely on his position in society and wealth (I wish he had a son-in-law with stars and ranks ...). Wealthy Colonel Skalozub is an ideal candidate for suitors. Famusov says to his daughter: Whoever is poor is not a match for you. Only rich and noble people are invited to Famusov's ball.

The hero, himself not very well-born, is concerned about his own position in society. After the scandal with Molchalin, Famusov most of all laments what Princess Marya Aleksevna will say! Famusov is a hypocrite and a hypocrite. Inspiring his daughter with high moral ideals and positioning himself as a champion of morality, he flirts with the maid Lisa, who tries to laugh it off:

Famusov treats the service formally, without delving into the details and not being interested in the details. Getting a rank is the main goal of the service. He does not even think about the benefit to society and the Fatherland: And what matters to me, what does not matter, My custom is this: Signed, so off my shoulders. Famusov is a representative of the patriarchal Moscow nobility. His views on education, education, behavior in society, attitude to service were typical for most nobles and landowners of that time.

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CHARACTERISTICS OF PUPPERS

Skalozub Sergey Sergeevich - Colonel, a good friend of Famusov, a candidate for Sofia's suitor. He is still young, but already has a rank. In addition, he is very rich: Here, for example, Colonel Skalozub: And a golden bag, and aims for generals. When Skalozub appears in Famusov's house, the owner begins to fawn on him and fawn: Sergey Sergeyich, dear, Put down your hat, take off your sword, Here's a sofa for you, spread out on your bed.

The puffer has all the qualities for an ideal groom. He is solid, noble, rich, has an enviable rank, prospects. However, rank is the only goal that Skalozub strives for: Yes, in order to get ranks, there are many channels; About them as a true philosopher, I judge, I just would have got into the generals. The puffer is limited and coarse. This is an example of a real martinet. Sophia is horrified at the thought that he could be her fiancé: How sweet! and fun to me fear To listen about the front and the ranks. He never uttered a clever word, - I don't care what for him, what's in the water. Skalozub is opposed by another representative of the army class. Together with Famusov, they discuss Skalozub's cousin, also a military man. He was the same campaigner as Skalozub, received awards and ranks.

However, he suddenly left the service and retired to the village: Chin followed him: he suddenly left the service, In the village he began to read books. Skalozub and Famusov are sincerely surprised and do not understand why the person suddenly left a promising career, retired, began to read books, to think. Famusov is perplexed by the behavior of Skalozub's relative, but wholeheartedly approves of the behavior of Sergei Sergeevich himself: Here is youth! - read! .. and then grab it! .. You behaved properly, For a long time, colonels, but you serve recently. Such decisions in the society of Famusov and Skalozub are unacceptable. The image of Skalozub is satirical. He personifies the imperial army with its retrograde orders, drill, servility and blind obedience.

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CHARACTERISTIC MOLCHALIN

Molchalin Alexei Stepanovich is a young man, Famusov's secretary, who lives in his house. Taken by Famusov (although he tries to accommodate only relatives and friends) from Tver for diligence and accuracy. The surname Molchalin speaks for itself: to be silent is his main quality, which, nevertheless, hides many other negative features.

Molchalin courts Sophia because of her father's position and connections. He deftly deceives the girl, posing as a sensitive and timid young man: Molchalin is ready to forget himself for others, Enemy of insolence, always shy, timid, Who can you spend the whole night with? We sit, and the yard has long turned white ... Molchalin's shyness is opposed to Chatsky's vehemence, which frightens and embarrasses Sofia. Molchalin, on the contrary, is quiet, modest, sentimental: He takes his hand, presses it to his heart, He sighs from the depths of his soul, Not a free word, and so the whole night passes, hand in hand, and does not take his eyes off me ... Chatsky refers to Molchalin with ridicule and slight contempt, not perceiving him as a rival in the struggle for the girl's heart: It used to be that songs where brand new notebooks He sees, rises: please write off. And by the way, he will reach the known levels, After all, now they love the dumb.

At the ball, Molchalin shows his helpfulness to Famusov's noble guests, which causes Chatsky's contempt. In the actions of Molchalin, his admiration for rank and wealth is manifested. The reader sees the true face of Molchalin in the scenes when he is alone with Lisa. He is no longer shy and admits why he is caring for Sophia, outlining his philosophy of life: My father bequeathed to me: First, to please all people without exception, the Master, where I happen to live, the Chief, with whom I will serve, his Servant, who cleans dress, the doorman, the janitor, to avoid evil, the janitor's dog, so that it was affectionate. Upon learning of the duplicity of Molchalin, Sofia drives him away.

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CHARACTERISTICS OF SOFIA

Sofia Pavlovna Famusova - Famusov's daughter, a young girl. She secretly meets with her father's secretary Molchalin, attracted by his ostentatious modesty and helpfulness. Chatsky notes that Sophia has become very prettier, but not only this attracts Chatsky. The heroine herself is not distinguished by shyness and meek disposition. Sophia is smart, resourceful, brave. She is not afraid to show her feelings for Molchalin, but she tries to hide them from her father. Sofia has a strong character, intelligence, sense of humor.

This is a passionate, ardent and disinterested nature. She is not interested in the rich Puffer. Sofia is in love with Molchalin, although he has neither a title nor a fortune. She is not afraid of public condemnation, she is open and sincere in her feelings. At the same time, Sophia is a product of the Famus society. Lies and hypocrisy are the atmosphere in which she grew up. Realizing that Molchalin will never be accepted by her father as a groom, she hides her love. Sophia adapts to the environment in which she lives. She hides her lover, lies to her father, avoids explanations with Chatsky. Probably, brought up in an atmosphere of patriarchal life, Sophia could not have grown up differently. She did not receive a deep and comprehensive education (although she loves to read).

The days of the heroine were occupied by endless balls and dances in the company of people like Famusov's guests. Sophia's character was formed in an atmosphere of lies and pretense. Even after learning about the duplicity of Molchalin, Sofia orders him to leave, while no one has found out anything. She rejoices that she revealed the truth under the cover of night, without witnesses: She herself is pleased that she found out everything at night, There are no reproachful witnesses in her eyes, Like a daviche, when I fainted, Chatsky was here ...

It is Sofia who, out of anger, spreads a rumor about Chatsky's madness, throwing a careless phrase: "He's out of his mind." It was she who contributed to his alienation from the whole society, all guests, without exception, turn away from him. Even Sophia, by nature positive, benevolent and honest, is unable to understand Chatsky and respond to calls, be inspired by his ideas.

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FAMUSOVSKAYA MOSCOW

The play reflects the irreconcilable struggle between the conservative local nobility and bureaucracy, on the one hand, and the progressive intelligentsia, on the other. Barskaya Moscow is presented not only in the images of Famusov, Skalozub and Molchalin. A string of images of Famusov's guests flashes before us: Gorichi, princes Tugoukhovsky, Countess Khryumina with her granddaughter, old Khlestova.

They gather at Famusov's for a ball. Here they are proud of a noble family, they boast of ranks and titles. Ladies are coquettish and cutesy, mothers are looking for potential suitors for their daughters. Old women are grouchy and arrogant. Natalya Dmitrievna conducts secular conversations with Chatsky. Her husband is a reason to brag, an object that is pleasant to flaunt. Platon Mikhailovich, whom Chatsky knew before, now spends his time in idleness and boredom. Princesses Tugoukhovskaya are looking after the suitors. Khlestova grumbles and teaches everyone. This is patriarchal Moscow, accustomed to living the way its fathers bequeathed: leisurely, habitually, in the old way. And Chatsky, with his ideas, is not able to change the established way of life for centuries.

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THE LANGUAGE OF COMEDY

In the play "Woe from Wit" A. Griboedov turned out to be a true innovator in relation to the language. Language becomes a means of characterizing images. The correct speech of Chatsky betrays his education, at the same time interspersed with well-aimed and vivid colloquial words, reinforcing the ironic nature of his statements. Only Chatsky is characterized by monologues that are in the nature of sermons. They characterize the hero as a skillful speaker. The main participant in the disputes with Chatsky is Famusov. His lines are quite long, which emphasizes his talkativeness.

Famusov is rude to his subordinates, addresses them as you, and with Skalozub he is unctuously kind. Sophia's romanticism is emphasized by high-style words that could be borrowed from sentimental novels. Skalozub's speech is rich in "army" vocabulary, which determines not only his type of activity, but also his limitations and inertia. Molchalin kindly and obsequiously adds a particle -s to the words (short for the word sir). Most of the comedy characters have become household names, and many of their lines have become part of our everyday speech.

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A PLAY IN RUSSIAN CRITICISM

The comedy "Woe from Wit" was incredibly popular with its contemporaries and undoubtedly had a huge impact on all Russian literature. The work caused a lot of responses and criticisms. A. Pushkin was one of the first to express his opinion about comedy in a letter to A. Bestuzhev (1825). He writes that Griboyedov's goal was to depict a picture of morals. The only intelligent character in the work is Griboyedov himself. Chatsky, ardent, noble and kind, “adopted” the thoughts and satirical remarks of the writer.

Pushkin refuses Chatsky's mind, because he wastes words and feelings in front of people like Famusov, Skalozub and Molchalin. At the same time, the poet notes the true talent of the creator of the play. One of the most profound analyzes of the play is presented in I. Goncharov's article "A Million of Torments" (1871). The author writes that the play "is distinguished by its youthfulness, freshness and< … >survivability." He pays special attention to the image of Chatsky, without whom "there would be no comedy itself, but there would, perhaps, be a picture of morals." Goncharov considers him not only smarter than other heroes. He writes that Chatsky is "positively intelligent."

In addition to the mind, the hero has a sensitive heart. At the same time, Chatsky is "impeccably honest." He is active, and in this he is better than Onegin and Pechorin. The critic notes that the comedy, which began with a love affair, develops into a clash of two worldviews: "the century of the past" and "the century of the present." As a result of this unequal struggle, Chatsky received his “million of torments”. He is forced to leave without finding sympathy. Goncharov analyzes Chatsky's emotional state in detail, noting his inner tension throughout the action. The hero's witticisms become more and more bilious, and the remarks become more caustic. The unequal struggle with the Famus society exhausted him. "He, like a wounded man, gathers all his strength, challenges the crowd - and strikes at everyone - but he did not have enough power against the united enemy."

Chatsky is the most lively image in the work. This is a strong and deep nature that cannot be exhausted in comedy. This is a suffering character. “This is the role of all the Chatskys, although at the same time it is always victorious.” Unaware of their victory, such people "only sow, but others reap - and this is their main suffering, that is, the hopelessness of success." Goncharov pays great attention to the ball scene in Famusov's house. Here is a real comedy - scenes from Moscow life. Sophia, according to Goncharov, is not so to blame for what is happening. He pays tribute to her good instincts, her ardor, tenderness.

Goncharov's sympathies are clearly on the side of the heroine. No wonder he compares her with Tatyana Larina. Sophia, like Tatyana, begins an affair herself and is just as passionate about the first love feeling. Goncharov explains the choice of Sofia Molchalin solely by chance. Sophia's trouble is in her upbringing, typical for a girl of noble birth of that time. Goncharov's article notes the bright and original language of the play, which distinguishes it from other works. Such plays "the audience knows by heart", so the actors in the theater should pay special attention to the manner of pronunciation of the lines. In conclusion, I. Goncharov describes in detail the acting of the actors, analyzes the staging of the play and gives instructions for those who will play in the next performances.

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APHORISMS GRIBOYEDOV

Chatsky: There is still a mixture of languages: French with Nizhny Novgorod? After all, today they love the dumb. The legend is fresh, but hard to believe ... I would be glad to serve, it is sickening to serve. Ranks are given by people, And people can be deceived. Houses are new, but prejudices are old. And who are the judges? Women shouted: hurrah! And they threw caps into the air! Get out of Moscow! I don't come here anymore. Carriage for me, carriage! Famusov: What kind of commission, creator, To be a father to an adult daughter!

4.2 / 5. 5

The history of the creation of comedy

Theme and problems of the play

The conflict of a dramatic work and its originality

Comedy character system

Development of dramatic action

An analysis of the actions of "Woe from Wit" will reveal the compositional features of the work and the features of the development of the dramatic action.

The originality of the play

Artwork test

Elena VIGDOROVA

TIME AND SPACE IN COMEDY
"Woe from Wit"

Literary practitioners

Conversation two

The first scene of act I is preceded by a note: “The living room, there is a large clock in it, on the right is the door to Sophia’s bedroom, from where you can hear a piano with a flute, which then fall silent. Lizanka is sleeping in the middle of the room, hanging from her armchairs.
The only thing that turns out to be important in the interior of the living room (namely, the first action takes place in it) is the clock, the “big clock”; the sounds that are heard from behind the door to Sophia's bedroom will then be confirmed by the words of Famusov: “The flute is heard, then it’s like a piano”). The following remark indicates the time when the action begins:

"Morning, a little day dawns."
And Lizanka, suddenly waking up, immediately confirms this: "It's dawning! ..". And he adds: “Ah! how soon the night passed! The fact that "the night has passed" soon, we can not attach, it would seem, special significance: it is generally said so. But it seems that this night was somehow especially short. After all, Sophia will also note: “How fast the nights are.” How much time it really is - this question seems to concern everyone and cannot but interest the viewer, because one way or another they talk about it all the time.
Sophia's conversation with Molchalin, according to Lisa, "went ... overnight." "It's daytime," she says at the beginning of the first monologue. “Yes, go away. Morning,” she says at the end. Sophia responds to her calls with a very specific question: "What time is it?". Lizanka for some reason does not want to answer exactly. She simply reports that "everything in the house has risen", and when Sophia repeats the question, she will say the famous: "Seventh, eighth, ninth." Why does Lizanka not want to answer what the clock shows, why, in addition to the “untruth” that she has already said, she still needs to take action -
I will translate the clock, even though I know: there will be a race,
I'll make them play.
This action was performed and confirmed by the remark: "Climbs on a chair, moves the arrow ...". Famusov immediately comes to watch music. By the way, he informs us that the time is early and that Sophia still usually does not get up at this time: “It would be too early for Sophia.” And it’s also curious: Chatsky, who appeared in Phenomenon 7 of Act I, already after the conversation between Lisa and Famusov, the scandal between Famusov and Sophia, Lisa, Molchalin, and Lizina’s conversation with Sophia, claims that the morning is still early: “A little light - on your feet!"

Let's not analyze the wonderful scene for now - the conversation between Famusov and Liza - we are concerned about the problem of time. We only note that Famusov, having stopped the hour-long music, does not put the arrows in their place. Almost all the action of the comedy takes place in the living room of Famusov's house - this is how one of the conditions characteristic of a classic play is observed - the unity of the place: Moscow, Famusov's house, living room. But as for the unity of time, then ... Or rather, outwardly, it is completely observed: Lizanka wakes up at dawn - this is the beginning of the first act. Even at the beginning of Act IV (Appearance 4), Chatsky, refusing to go with Repetilov, will say: “Where will I jump? For what? in the dead of night? - in other words, the action of the last act, and this is the arrival of Repetilov, takes place at night, “dead night”, conversations with him Chatsky, and then others, Zagoretsky, princesses, departure of guests, Liza’s meeting with Molchalin, rebuke of Sophia Molchalin (“But in order to dawn didn’t find you in the house here”), the last big monologue of Famusov, then Chatsky - thus, the night ended, and the words “Carriage to me, carriage” were clearly uttered again at dawn.
So, a day - this corresponds to the provision on the unity of time ... in a play where a clock with the hands translated is placed on the stage for everyone to see ...
Time is so conditional in Griboedov's comedy, it either tightens or moves apart, the characters treat it somewhat familiarly: they want to - they "observe", they don't want to - they don't pay attention to it.
“Do not watch - your power ...” - Liza says wittily in response to Sophia's words that have become an aphorism, “happy hours are not watched.”
With Lizin, “seventh, eighth, ninth,” one might say, rhymes what Famusov says at the beginning of Act II: “Thursday, one to one, Or maybe Friday, or maybe Saturday, I owe the widow , at the doctor's, to baptize. This widow who has not yet given birth fits perfectly into the strange situation we have noticed - the heroes manage time as they want: how much time has passed since the death of the doctor, her husband, no one will tell us - this, it seems, is not our business, - but Famusov, as he he himself will notice, there is some kind of calculation ...

When does the comedy take place? The war with Napoleon ended, but it is still in the memory of the heroes. The King of Prussia had already visited Moscow (and Friedrich-Wilhelm visited Moscow in 1816), the accusation of three professors of the Pedagogical Institute that they “called for an attempt on the legitimate authority”, and their expulsion from the educational institution took place in 1821, and the comedy was completed in 1824. So, we have roughly determined the time of the comedy. How old is the main character? Almost the same age as Sophia - the "children's friendship" with which they are connected implies a not very big difference in age - 3-4 years. Let's remember Natasha Rostova, who was 13 years old in the summer of 1805, and how she counted on her fingers how long it would take Boris, already a young man, to propose to her... Now Sophia is 17 years old. We know this from Chatsky: “At seventeen, you bloomed charmingly, Inimitably ...”. She was 14 when they parted, slightly older than Natasha when she asked Boris to kiss the doll; it was by that time that Chatsky had managed to move out of Famusov (“he seemed bored with us”), and reduce his visits (“And he rarely visited our house”), and again, as Sophia, offended, not believing in the sincerity of his love, would say, “pretend to be in love”, and also make friends (“I am especially happy in friends”). How old could this especially happy in friends, eloquent, witty young man really be? When he managed to get in touch with the ministers, and then leave the service; experience a passion for the uniform, and then "to him ... renounce tenderness ...". What time is he talking about?

But then who would not be attracted to everyone?
When from the guard, others from the court
They came here for a while, -
Women shouted: hurrah!
And they threw caps into the air!

Pushkin quotes these lines of Griboyedov when he talks about the victory over Napoleon (“The Snowstorm”)... And one more thing: Chatsky “did not write two words for three years”, “he went away for three years”, but how did he succeed “last year , at the end "to see Platon Mikhailovich in the regiment?
No, in Griboyedov's comedy, time is not "calculated according to the calendar", as in Pushkin's novel... three years”, “for faraway lands, in the farthest kingdom”, three sons, three daughters, three conditions - you will go to the right, you will go to the left ... So Griboedov’s heroes seem to use it without introducing a specific meaning:

Dinner:
Eat for three hours, and in three days it will not be cooked!

Refusing calendar accuracy, Griboedov creates a different category of time - yes, these are the details that give rise to a sense of historical authenticity, but they expand the time space, take the situation played out in comedy beyond the given historical context, pointing to its timelessness.
Geographical space is also not so simple. The unity of the place is observed, but how much is outside of Famus's house! Firstly, he himself, this house, is located in Moscow, with its “distances of enormous size”, with its Kuznetsk bridge, Pokrovka, from where “it took an hour to drive” to the Famusov Khlestova, the English Club, and most importantly, with “its own laws” , which we will discuss below.
But even outside of Moscow there are geographical points, such as: Saratov - compared to Moscow, this is a “backwoods” and a “village”, there is St. Petersburg with its “Pe-da-go-gi-che-sky” institute; in Petersburg, as we learn from a conversation between Chatsky and Molchalin (act III, phenomenon 3), there was a certain story with Chatsky (“Tatiana Yuryevna told something, Returning from Petersburg, With the ministers about your connection, Then a break”). Probably, it was from the northern capital that he rode to Sophia (“forty-five hours, without squinting his eyes in an instant, More than seven hundred miles swept - wind, storm; And he was all confused, and fell so many times ...”). But there are also foreign lands, from there, from the “eternal French”, who are not only here on Kuznetsky Most, but also in France, in Paris, in Bordeaux - from there “fashions come to us, and authors, and muses.” This, it must be said, is dissatisfied with both Famusov and his antagonist Chatsky; well, "there are strange rapprochements." However, it is precisely there, in foreign lands, that the protagonist of the comedy, who

Wanted to travel around the world
And did not go round a hundredth.

It is interesting that this image is “the whole world”, just “light” in the meaning of “the whole world” is often found in comedy:

How wonderful is the light! (Famusov, II, 1.)

Blessed is he who believes, he is warm in the world! (Chatsky, I, 7.)

Sprayed the light; don't you want to get married? (Famusov, II, 2.)

And sure enough, the world began to grow stupid... (Chatsky, II, 2.)

No, today the world is not like that. (Chatsky, ibid.)

Here they scour the world, beat the buckets ... (Famusov, II, 2.)

I can guard against madness;
I'll go further - to catch a cold, to get cold,
Do not think about love, but I will be able to
Lost in the world...

(Chatsky, III, 1.)

And, finally, at the end of the comedy, in the 14th apparition, Chatsky's monologue ends with the words:

I'm going to search the world
Where there is a corner for the offended feeling! ..
Carriage for me, carriage!

So, from the living room in Famusov's house, from the clock, where the hands indicate inaccurate time throughout the comedy, the scale of both temporal and geographical space expands to the whole world and - who knows? - until eternity...
It is important for us to remember this in order to assess the true scale of the conflict, the outbreak of which occurs, as it should be, in the first act.

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

comedy feature

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

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

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

Conflict. Composition. Issues

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

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

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

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

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

In the play, which the author himself considered a comedy, oddly enough, the most pressing problems of that period are highlighted: 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 burning disputes about boarding houses, jury trials, censorship and institutions.

Moral aspects, which are no less important for the playwright, give rise to the humanistic pathos of the work. The author shows how the best qualities in a person die under the pressure of the “famus 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 dramaturgy: it reflects real conflicts and non-fictional life circumstances.

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

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

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

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

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

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