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Historical analysis of grief from the mind. The meaning of the comedy Woe from Wit - artistic analysis

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 young man crazy, and the news of this quickly spread through the community. It was this incident that prompted the writer to create a comedy.

Theme and problems of the play

It is advisable to start the analysis of the comedy "Woe from Wit" by referring to its title. It reflects the idea of the play. Woe from his sanity is experiencing main character comedies - Alexander Andreevich 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 with experiences love story with Molchalin, his father's secretary, who lives in their house. Endless thoughts about the reasons for the cooling of Sophia's feelings make Chatsky ask questions of his beloved, her father, Molchalin. During the dialogues, it turns out that Chatsky's views differ from each of the interlocutors. They argue about service, about ideals, about the mores of secular society, about education, about the family. The views of Chatsky frighten the representatives of the "past century", because they threaten the usual way of life of the Famus society. Conservative nobles are not ready for change, so a rumor about Chatsky's madness, accidentally launched by Sophia, instantly spreads in society. The protagonist's lover is the source of unpleasant gossip because it interferes with her personal happiness. And this again sees the interweaving of love and social conflicts.

Comedy character system

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

But the use of "speaking" surnames in the play is a direct legacy of classicism. In the name of the hero, Griboedov tries to put the leading feature of his personality. For example, the surname Famusov is derived from the Latin fama, which means "rumour". Consequently, Famusov is the person who is most concerned about public opinion. It is enough to recall his final remark to be convinced of this: “... What will Princess Marya Aleksevna say!”. Chatsky was originally Chadsky. This surname hints that the hero is in the midst of his struggle with the mores of an aristocratic society. The hero Repetilov is also interesting in this respect. His last name is associated with 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. Unites love and public conflict the figure of Chatsky.

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

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

All the phenomena of the first act before the arrival of Chatsky can be considered an exposition of the comedy. Here the reader gets acquainted with the scene of action and learns not only about love affair Sophia and Molchalin, but also about the fact 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

1. Introduction. The immortal comedy of A. S. Griboyedov "" is included in the golden fund of Russian literature.

The best recognition of the work was the fact that many phrases from the comedy have become part of the Russian language.

2. History of creation. In 1818 he was appointed secretary of the Persian mission and went to a new duty station. On the way, he visited Moscow, which he had not been to for about six years.

There are sufficient grounds to assume that it was at this time that the writer had the idea of "Woe from Wit". But service in Persia and eastern impressions postponed the execution of the plan. Griboyedov began work on the comedy only in 1821 in Tiflis, and finished it three years later, having received a vacation.

3. The meaning of the name. The title reflects the central conflict of the protagonist. His education and outstanding mind, the experience of foreign trips cannot find their worthy application. Moreover, the mind of Chatsky is perceived by high society as an undoubted evil, representing a serious danger. A paradoxical situation arises: the most intelligent person is declared crazy.

4. Genre. Comedy play

5. Theme. The main theme of the work is a harsh denunciation of high society, which alone is opposed by an honest, intelligent and noble person.

6. Issues. Subservience and servility firmly rooted in Russian society, the indisputable power of generally recognized "authorities". The inevitable subordination of young people to the laws and rules adopted in society. The incredible difficulty of dealing with established traditions.

7. Heroes. A. A. Chatsky, P. A. Famusov, A. S. Molchalin, Sophia, Skalozub.

8. Plot and composition. The action takes place in the house of the state manager P. A. Famusov. His daughter Sofya and his personal secretary A. S. Molchalin live with him. Famusov is one of the main negative characters in comedy. He is firmly convinced that the main dignity in a person is a respectful, up to humiliation, attitude towards his superiors and, in general, towards superior people.

Famusov has a negative attitude towards those who neglect the service for the sake of science. Molchalin is an ideal, from the point of view of Famusov, a young man. He never dares to express his own opinion, relying in everything on the worldly experience of his master. Molchalin looks like a simpleton, but this is his mask, behind which lies a cunning and dodgy mind.

Famusov's secretary was brought up by his father in the spirit of humility and humility. In this way, he expects to gradually win the favor of his superiors and rise himself. as a child, she was a lively and inquisitive girl who dreamed of an honest and true life. The atmosphere in Famusov's house gradually perverted her. The girl understood all the benefits of a worthy position in high society. She readily accepts his laws and regulations.

A coward in her eyes becomes a worthy groom. Sophia forgot about her former ideals. It seems to her that the readiness for humiliation - required quality in a person who is to occupy a higher position. The sleepy measured life in the Famus house is broken with the sudden appearance of Chatsky. This young man was once a frequent visitor to the house. With Sophia, they were connected by a real childhood friendship. In the past, they often dreamed together of a happy future without lies and deceit.

Chatsky spent a long time abroad. He significantly increased his baggage of knowledge and looks at the life of Russian high society with completely different eyes. Chatsky is sure that a childhood friend could not change, and they will again talk for hours about the highest ideals of humanity. Chatsky is cruelly mistaken, but he cannot realize his mistake in any way. Moreover, he immediately falls in love with the matured and prettier Sophia. Her cold tone he perceives as women's game over a man in love. Chatsky, of course, understands that in his long absence, rivals could appear who claim the girl's hand.

After talking with Molchalin and listening to Skalozub's reasoning, he laughingly rejects his suspicions. According to Chatsky's deep conviction, Sophia could not fall in love with either a stupid and cowardly secretary or a brainless military man. Chatsky's conversations with Famusov reveal central problem comedy. The old meets the new. Compromise is simply impossible. Famusov's beliefs come into sharp conflict with Chatsky's ideals. In his passionate and fiery speech, the thoughts of the author himself about the inevitable triumph of knowledge and justice sound.

Chatsky speaks with anger about old men who have gone out of their minds, proud of the fact that in their lives they only knew how to serve their superiors in time. Famusov is amazed and stunned by such views, which undermine the basis of his worldview. The proud refusal of Chatsky from any service causes real horror in him. Famusov declares the young man a rebel and a revolutionary. Events reach their climax at a ball in Famusov's house. Guests come to him, representing the whole color of Moscow high society.

From the conversations of the "elite" it becomes clear that their life is empty and meaningless. Showing respect and respect to each other, they accumulate real anger and hatred in their souls. central theme for conversation - gossip and incredibly inflated rumors. looks at all these people with contempt. He cannot help but make a few ironic remarks. Gradually, Chatsky sets all the guests against him. General dissatisfaction is expressed in Sophia's rumor about Chatsky's madness. This slander falls on fertile ground. All those gathered readily accept this news, claiming that they themselves noticed something similar.

When Chatsky finds out that he is considered crazy, he only cares about Sophia's opinion. But an even bigger blow awaits him. It turns out that the girl herself started this rumor. In addition, Chatsky's beloved preferred the deceiver Molchalin to him. Chatsky's disappointment is so great that he cannot immediately gather his strength and soberly think over the situation. Coming to himself, he pronounces his famous phrase: "Carriage to me, carriage!". Chatsky can no longer remain in this rotten deceitful society. Having experienced "woe from wit", he leaves Moscow.

9. What does the author teach. The moralizing meaning of the comedy is that in no case should one suppress in oneself sincere impulses for goodness and justice. Chatsky lost love and was slandered, but this does not mean that he was wrong. The protagonist retained his beliefs. There is no doubt that he will meet honest and noble people and will succeed.

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

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

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

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

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

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

Analysis 2

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

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

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

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

Second, no less important foundation works is a love line. Griboyedov went beyond the generally accepted, destroying " love triangle and creating a "love square". In the center of this "square" is the girl Lisa - the maid of the Famusov house. She is in love with another servant, Petrushka. At the same time, Famusov and Molchalin show signs of attention to the girl. Famusov's daughter, Sophia, is in love with the latter. In which, in turn, Chatsky and Skalozub are in love. We end up with a long string of comedy love affairs.

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

Woe from Wit - Analysis

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

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

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

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

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

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

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

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

In our time, you can often hear such turns of speech as "fresh legend, but hard to believe", " happy hour do not observe" - the author of all these lines is the master of the word Alexander Griboyedov.

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

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Introduction

Analysis of the comedy "Woe from Wit" Griboedov A.S.

1 History of the creation and publication of the work

1.2 The ideological and philosophical content of the work

3 Comedy genre

4 Comedy plot

5 Features of building a character system

6 Language and features of comedy verse

2. The immortal work of Griboyedov

Conclusion

List of used literature

Introduction

In the history of literature there are authors who are also called "authors of one work." A classic example of such a writer is Griboyedov. The talent of this man is truly phenomenal. His knowledge was vast and versatile, he learned many languages, was a good officer, a capable musician, an outstanding diplomat with the makings of a major politician. But for all that, few people would remember him if it were not for the comedy Woe from Wit, which put Griboedov on a par with the greatest Russian writers.

The comedy "Woe from Wit" scattered across catchphrases, quatrains, expressions have not yet become well known. Is this not a true confession? We often say: “And who are the judges?”, “A little light is already on my feet! And I’m at your feet”, “A terrible age!”, “Friend, is it possible to choose a nook for walking further away”, without thinking that these are phrases from brilliant comedy "Woe from Wit".

Accurately and truthfully, Griboyedov not only depicted the characters of the heroes of the first quarter of the 19th century, but also presented a wonderful storehouse of wisdom, sparkling humor, from which we have been drawing treasures for more than a hundred years, but it is still not depleted. A picture of the life of the Moscow nobility was no less brilliantly created.

All the action of the comedy takes place in one house (Famusov's house) and lasts one day, but leaves the impression of a peaceful acquaintance with the life of the Moscow nobility. This is "and a picture of manners, and a gallery of living types, and an eternally sharp burning satire." (N. A. Goncharov).

"Griboedov is a 'man of one book,'" VF Khodasevich remarked. "If it weren't for Woe from Wit, Griboedov would have no place at all in Russian literature." Griboyedov in his comedy touched upon and exposed in the spirit of the socio-political ideas of Decembrism a wide range of very specific phenomena in the social life of feudal Russia.

The topical meaning of Griboedov's criticism today, of course, is not felt with such sharpness as it was felt by his contemporaries. But at one time, the comedy sounded just topical. And questions of noble education in "boarding houses, schools, lyceums", and the question of "lankart mutual education"; and debates about the parliamentary system and the reform of the judiciary, and individual episodes of Russian public life, reflected in the monologues of Chatsky and in the remarks of Famusov's guests - all this was of the most relevant importance.

All of the above factors determine the relevance and significance of the subject matter of the work at the present stage, aimed at a deep and comprehensive study of the system of characters and prototypes of A.S. Griboyedov "Woe from Wit".

This control work is the systematization, accumulation and consolidation of knowledge about the characters of A.S. Griboyedov "Woe from Wit".

In accordance with this goal, the following tasks are supposed to be solved in the work:

- do analysis of the comedy "Woe from Wit";

consider a gallery of human portraits in the comedy by A.S. Griboyedov;

Goal and tasks term paper determined the choice of its structure. The work consists of an introduction, two chapters, a conclusion, a list of literature used in writing the work.

This construction of the work most fully reflects the organizational concept and logic of the material presented.

When writing the work, the works of domestic authoritative authors in the field of studying the issue under consideration were used: Bat L.I., Ilyushina L.A., Vlashchenko V., Vyazemsky P.A., Gladysh I.A., and others.

1. Analysis of the comedy "Woe from Wit" Griboyedov A.S.

.1 History of creation and publication of the work

Information about the history of the creation of the main artwork Griboyedov are rather stingy. According to the writer's friend, S.N. Begichev, the idea for the comedy arose as early as 1816. It was supposed to write 5 acts, in which Famusov's wife, "a sentimental fashionista and aristocrat," played an important role. Subsequently, the number of actions was reduced, and from the important female image the playwright refused. Apparently, this was not actually about the work that we know, but about a sketch similar in plot to a comedy, but still not being its first edition. The date of commencement of work on "Woe from Wit" is considered to be 1820. A letter from Griboedov from Persia dated November 17, 1820 to an unknown person has been preserved, where a dream is recounted in detail, in which the writer allegedly saw the main points of the future work.

The original version of the play's title is "Woe to the Mind". In a letter to Katenin, the writer formulated the main intrigue of the future comedy as follows: "The girl, herself not stupid, preferred a fool smart person"However, social contradictions did not fit into the indicated plot scheme. In addition, the name itself sounded like a sentence to every mind for all time. Griboyedov, on the other hand, sought to present such a paradoxical, but, alas, typical situation in which the positive quality of a person - the mind - brings misfortune It is this situation that is reflected in the new name - "Woe from Wit".

Direct study of the first and second actions was carried out in 1822 in the Caucasus. An important role in depicting social confrontation was played by communication with Kuchelbecker, whose observations Griboyedov took into account. Work on the 3rd and 4th acts was carried out in 1823 at the estate of S.N. Begichev, and it was burned and rewritten, again the first act. The completely original version of the comedy was completed in 1824 in Moscow and presented to the same Begichev (the so-called Museum autograph). For censorship permission, the writer leaves for St. Petersburg, continuing to make changes to the text along the way. So the scene of Molchalin's flirting with Lisa in the 4th act was completed and the entire finale was changed. Arriving in the capital, Griboedov reads a play by A.A. Gendru, who was in charge of the whole office. The latter instructs the scribes to make lists of the work. The playwright presented the list with his signature straightened out by his own hand to his friend (Jandre's manuscript). main role in the distribution of the play during this period, the future Decembrists played.

The second half of 1824 and the beginning of 1825 passed in trouble: the writer met with the Minister of the Interior, B.C. Lansky, Minister of Education A.S. Shishkov, Governor of St. Petersburg M.A. Miloradovich, was introduced to the Grand Duke (future Emperor) Nikolai Pavlovich. All of them reacted favorably to the playwright, but it was not possible to achieve the publication of the entire work. Only phenomena 7-10 of the first act and the third act with censored abbreviations were printed in F.V. Bulgarin "Russian Waist for 1825". To him, leaving in 1828 for the East, Griboyedov presented the last authorized version of the work (Bulgarin list). After the death of the writer, permission was finally obtained for theatrical production in a highly distorted form. In 1833 a theatrical "edition" of the comedy was published.

Completely without censored cuts, the play was published abroad in 1858, and in Russia - only in 1862. By this time, there were several tens of thousands of handwritten copies in the country, which significantly exceeded all the print runs known at that time. At the same time, the handwritten versions contained serious inconsistencies, due both to simple scribes' mistakes and their desire to make their own additions and changes to the text. These difficulties could not be fully overcome by the editors of the 1862 edition. Piksanov, on the basis of a comparison of the Museum autograph, the Zhandrovskaya manuscript and the Bulgarinsky list, the version of the text of the comedy that we have today was established.

Artistic method of comedy

Traditionally, "Woe from Wit" is considered the first Russian realistic comedy. This fact is indisputable. At the same time, the features of classicism were preserved in the play (for example, the unity of time and place, "speaking surnames", traditional roles: "deceived father", "narrow-minded military man", "confidante sobrette") and elements of romanticism were manifested, reflected in a number of exceptional features. the personality of the protagonist, in his incomprehensibility by others and loneliness, in his maximalism, opposition to all the reality surrounding him and putting forward his ideal ideas in opposition to this reality, as well as in the pathos of his speech. Realism was expressed primarily in the typification of characters and circumstances, as well as in the author's conscious refusal to follow the numerous norms of constructing classicist plays. Griboedov violated a number of genre and plot-compositional canons<#"justify">.4 Comedy plot

Considering the conflict and the plot organization of Woe from Wit, it must be remembered that Griboedov approached the classicist theory of three unities in an innovative way. Observing the principles of unity of place and unity of time, the playwright did not consider it necessary to be guided by the principle of unity of action, which, according to the existing rules, was supposed to be based on one conflict and, starting at the beginning of the play, get a denouement in the final, and main feature The denouement consisted in the triumph of virtue and the punishment of vice. Violation of the rules of construction of intrigue caused sharp disagreements in criticism. So, Dmitriev, Katenin, Vyazemsky spoke about the absence of a single action in Woe from Wit, emphasized the dominant role of events rather than conversations, seeing this as a stage flaw. The opposite point of view was expressed by Küchelbecker, who argued that in the comedy itself there is much more movement than in plays built on traditional intrigue.

The essence of this movement lies precisely in the consistent disclosure of the points of view of Chatsky and his antipodes, "... in this very simplicity - news, courage, greatness ..." Griboyedov. The result of the controversy was later summed up by Goncharov, who singled out two conflicts and, accordingly, two closely intertwined with each other. storylines, which form the basis of the stage action: love and social. The writer showed that, having started as a love conflict at first, the conflict is complicated by opposition to society, then both lines develop in parallel, culminate in the 4th act, and then the love affair gets a denouement, while the resolution of the social conflict is taken out of the scope of the work - Chatsky is expelled from Famusov's society, but remains true to his convictions. Society does not intend to change its views - therefore, further clashes are inevitable.

In this kind of "openness" of the finale, as well as in the refusal to show the obligatory triumph of virtue, Griboedov's realism was reflected, striving to emphasize that in life, unfortunately, there are often situations when vice triumphs. The uncommonness of the plot decisions with regularity led to an unusual compositional structure: instead of the three or five actions prescribed by the rules, the playwright creates a comedy of four. If the love affair were not complicated by a social conflict, then three actions would probably be enough to resolve it; if we assume that the author would set out to show the final outcome of the social conflict, then, obviously, he would need to write the fifth act.

.5 Features of building a character system

Considering the features of building a system of characters and revealing characters, it is necessary to keep in mind the following circumstances. Firstly, the author creates the images of his heroes according to the principles of realism, while maintaining, however, fidelity to some features of classicism and romanticism. Secondly, Griboedov abandoned the traditional division of characters into positive and negative, which was reflected in the difference in critical assessments given to the images of Chatsky, Sophia, Molchalin. Chatsky, for example, in addition to positive qualities - intelligence, honor, courage, versatile education - also has negative ones - excessive ardor, self-confidence and arrogance.

Famusov, in addition to numerous shortcomings, has an important advantage: he is a caring father. Sophia, who slandered Chatsky so mercilessly and dishonestly, is smart, freedom-loving and resolute. Obsequious, secretive and double-minded Molchalin is also not stupid and stands out for his business qualities. Attempts by critics to absolutize positive or, on the contrary, negative sides heroes led to their one-sided perception and, consequently, to distortion author's position. The writer fundamentally opposed the traditional way of creating characters, based on the classical roles and hyperbolization of any one character trait ("cartoons", according to Griboedov), the way of depicting social types, drawn through individual detailing as versatile and multidimensional characters (called by the author "portraits" ).

The playwright did not set himself the task of absolutely accurately describing any of the familiar faces, while contemporaries recognized them by separate bright details. Of course, the characters had prototypes, but even there were several prototypes of one character. So, for example, both Chaadaev (due to the similarity of the surname and an important life circumstance: Chaadaev, like Chatsky, was declared crazy), and Kuchelbeker (who returned from abroad and immediately fell into disgrace), and, finally, the author himself, who found himself at some evening in the situation of Chatsky and later declared: “I will prove to them that I am in my mind. Gorich, Zagoretsky, Repetilov, Skalozub, Molchalin and other characters have several prototypes. The situation with Khlestova's prototype looks most definite: most researchers point to the famous N.D. Ofrosimov, who also became the prototype of MD. Akhrosimova in L.N. Tolstoy "War and Peace", although there are indications of other persons. For example, attention is drawn to the fact that the behavior and character of Khlestova resemble the features of Griboyedov's mother, Nastasya Fedorovna.

It is very important to remember that both generalizing and individual traits of heroes are created thanks to a whole arsenal of artistic means and tricks. It is the possession of dramatic technique, the ability to create bright, lively, memorable pictures and images that form the basis of the artist's skill. The main personality trait, which the author considered central to the corresponding stage role, is denoted by a "speaking" surname. So, Famusov (from lat. fama - rumor) is a person who depends on public opinion, on rumor ("Ah! My God! What will he say / Princess Marya Aleksevna!"). Chatsky (the original version of the surname Chadsky) - who is in a child of passion and struggle. Gorich is a derivative of "woe". As grief, apparently, one should consider his marriage and the gradual transformation from an efficient officer into a "husband-boy", "husband-slut". The surname Skalozub testifies both to the habit of rude mockery and aggressiveness. The surname Repetilov (from lat. repeto - I repeat) suggests that its owner does not have his own opinion, but is inclined to repeat someone else's. Other surnames are quite transparent in terms of meaning. Messrs. N. and D. are as nameless as they are faceless.

Important means of creating images are also the actions of characters, their views on existing life problems, speech, characterization given by another character, self-characterization, comparison of characters with each other, irony, sarcasm. So, if one of the heroes goes to "look at how cracked" Molchalin fell from the horse, "chest or sideways", then the other at the same time rushes to help Sophia. The characters of both are manifested in their actions. If one assessment of the personality is given behind the eyes (for example: "... a dandy friend; declared a wast, a tomboy ..."), and in the eyes - another ("... he is small with a head; and writes and translates nicely") , then the reader gets the opportunity to form an idea of both the characterized and the characterizing. It is especially important to follow the sequence of changes in the assessments (from, say, "Sharp, smart, eloquent, especially happy in friends ..." to "Not a man - a snake"; from "Carbonari", "Jacobin", "Voltairian" to "crazy ") and understand what caused such extremes.

In order to get an idea about the system of characters as a whole, it is necessary to analyze the interaction of the levels of its organization - the main, secondary, episodic and off-stage. Which heroes can be considered the main ones, which - secondary, which - episodic, depends on their role in the conflict, in posing problems, in stage action. Since the public confrontation is built primarily along the lines of Chatsky - Famusov, and the love affair is based mainly on the relationship between Chatsky, Sofia and Molchalin, it becomes obvious that of the four main characters, it is the image of Chatsky that bears the main burden. In addition, Chatsky in comedy expresses a set of thoughts that are closest to the author, partly performing the classic function of a reasoner. This circumstance, however, in no way can serve as a basis for identifying the author with his hero - the creator is always more complex and multidimensional than his creation.

Famusov appears in the play both as the main ideological antipode of Chatsky, and as an important character in a love affair (“What kind of commission, Creator, (To be adult daughter father!"), and as a certain social type - a major official, and as an individual character - either imperious and straightforward with subordinates, or flirting with the maid, or trying to "reason" and "set the true" young man on the path, or discouraged by his answers and shouting at him, now affectionate and gentle with his daughter, now throwing thunder and lightning at her, helpful and polite with an enviable groom, an amiable host, who, however, can argue with the guests, deceived, at the same time funny and suffering in the finale of the play.

Even more complex is the image of Sophia. A witty and resourceful girl opposes her right to love the will of her father and social norms. At the same time, brought up on French novels, it is from there that she borrows the image of her beloved - an intelligent, modest, chivalrous, but poor man, the image that she seeks to find in Molchalin and is cruelly deceived. She despises the rudeness and ignorance of Skalozub, she is disgusted by the bilious, caustic language of Chatsky, who, however, speaks the truth, and then she answers no less biliously, not disdaining vindictive lies. Sophia, who is skeptical of society, although not striving for confrontation with it, turns out to be the force with which society inflicts the most painful blow on Chatsky. Not loving falsehood, she is forced to fake and hide, and at the same time finds the strength to make it clear to Chatsky that Molchalin has been chosen by her, which, however, Chatsky refuses to believe. Frightened and forgetting all caution at the sight of her lover who has fallen from a horse, proudly standing up for his defense, she comes to a severe shock when she witnesses the love harassment of her chosen "knight" to her own maid. Courageously enduring this blow, taking the blame on herself, she is also forced to endure her father's anger and Chatsky's mocking proposal to make peace with Molchalin. The latter is hardly possible, given the strength of Sophia's character.

Not absolutely unambiguous in the play and the image of Molchalin, Pushkin wrote about him: "Molchalin is not quite sharply vile; was it not necessary to make a coward out of him?" Of all the characters in the Famus circle, Molchalin, perhaps, is better than the rest can adapt to existing conditions. Possessing, among other things, outstanding business qualities, he is able to achieve high position in society. Molchalin is that type of people, not rich and not noble, who, with their work, perseverance, ability to find mutual language with people slowly and steadily make a career. However, he finds himself in a rather difficult position. Respectful of Famusov, he deceives his boss in favor of his daughter, for whom, however, he does not have any feelings. Given a choice, he seeks to please both. As a result, in order to save his career and not make dangerous enemies, he lies to both Famusov and Sofya. Forced to play so many roles as a duty - both a secretary, and a lover, and a courteous interlocutor, and a card partner, and sometimes even a servant - Molchalin shows only one living feeling (an attraction to Liza), for which he pays: his career is in jeopardy.

Minor characters correlated with the main acting limes, but at the same time they are of great independent importance and directly influence the course of events. So, Skalozub is a type of military man, narrow-minded, but self-confident and aggressive. His appearance complicates both love and social conflict. Liza is a servant-confidante. Without this image, it is impossible to imagine both the emergence and the denouement of a love affair.

At the same time, Liza is witty, ironic, and gives accurate characteristics to various characters. She is compared with her mistress, and in a number of cases this comparison is resolved in her favor. At the same time, with the help of this image, Griboyedov emphasizes the confrontation between the nobility and the serfs (“Pass us beyond all sorrows / And master's wrath, and lordly love").

Noteworthy is the figure of Zagoretsky, who is a type of people without whom no society can do: they know how to be necessary. This character is the antithesis of Chatsky's image. The latter is honest, but expelled from society, while Zagoretsky is dishonest, but accepted everywhere. It is he who, first of all, forms public opinion, picking up, coloring and spreading gossip about Chatsky's madness in all corners.

Compared with the main character and two other characters - Repetilov and Gorich. The first is a type of pseudo-oppositionist. For the author, obviously, it was important to distinguish between a person who has his own deeply thought-out beliefs and someone who is inclined to repeat others. The fate of the second shows what could happen to Chatsky if he tried to fulfill Famusov's conditions and become like everyone else.

Episodic characters - Khlestova, Khryumins, Tugoukhovskys, Mr. N., Mr. D. - take part in public confrontation, pick up and spread gossip about Chatsky's madness. They are additional social types, thanks to the presence of which the picture becomes more satirical. In their depiction, the author widely used the techniques of hyperbole, irony, and sarcasm. It is also important to pay attention not only to what unites them, making them the so-called representatives of the Famus society, but also to how they differ from each other, to their individual traits and to the contradictions that arise between them.

There are unusually many off-stage characters in the comedy, there are even more of them than stage ones.

They also represent one or another of the opposing sides, with their help the scope of the conflict expands: from the local, taking place in one house, it becomes public; the narrow boundaries of the unity of place and time are overcome, the action is transferred from Moscow to St. Petersburg, from the 19th to the 18th centuries; the picture of the mores of those times becomes more complicated and even more concretized.

In addition, thanks to off-stage characters, the reader gets the opportunity to more accurately assess the views of the persons acting on the stage.

.6 Language and features of comedy verse

The language of "Woe from Wit" was significantly different from the language of the comedy of those years. Griboyedov contrasted sentimentalist aestheticism and sensitivity, as well as the classicist "theory of three calms", with the realistic principle of nationality. The speech of the heroes of the play is, first of all, the speech that could really be heard in the salons and living rooms, "when driving on the porch", in inns, in clubs and in officers' meetings. This rejection of the basic tenets of belles lettres has sparked critical controversy. Dmitriev, already mentioned, reproached Griboyedov with a number of phrases and turns of speech, which, in the opinion of the critic, could not be allowed in literature. However, most critics praised the playwright's linguistic innovation. "I'm not talking about poetry, half of it should become a proverb" - this is how Pushkin assessed Griboedov's skill. “As for the verses in which Woe from Wit is written, in this respect Griboyedov killed for a long time any possibility of Russian comedy in verse. A brilliant talent is needed to continue the work begun by Griboyedov with success ...” - wrote in one of his articles by Belinsky.

Indeed, many lines from the comedy began to be perceived as aphorisms, winged expressions, living their own independent life. Saying: "happy hours do not watch"; "went into a room, ended up in another"; "sin is not a problem, rumor is not good"; "and sorrow awaits from around the corner"; "and the smoke of the Fatherland is sweet and pleasant to us"; "a larger number, a cheaper price"; "with feeling, with sense, with arrangement"; "I would be glad to serve, it's sickening to serve"; "fresh tradition, but hard to believe"; "evil tongues are worse than a gun"; "the hero is not my novel"; "lie, but know the measure"; "bah! all familiar faces" - many people do not remember where these phrases come from.

Language in comedy is both a means of individualization of characters and a method of social typification. Skalozub, for example, as a social type of a military man, very often uses army vocabulary (“frunt”, “ranks”, “sergeant major”, “trench”), and the individual characteristics of his speech reflect his self-confidence and rudeness (“you won’t fool me with learning”, " but utter a peep, it will instantly calm you down"), insufficient education, manifested in the inability to build a phrase ("for the third of August, we sat in a trench: he was given with a bow, on my neck") and in an inaccurate choice of words ("with this estimate" instead of "sharpness"). At the same time, he also tries to be wisecracking ("we did not serve together with her").

Famusov’s speech is the so-called Moscow noble vernacular (“they don’t blow anyone’s mustache”, “would you smoke in Tver”, “I scared you”, “trouble in the service”), replete with diminutive forms (“whether to the cross, to the shtetl "," breather "). This character appears in the play in various situations, and therefore his speech is so diverse: either ironic (“After all, I’m somewhat akin to her,” he says about Sofya Chatsky), then angry (“Get you to work! Settle you!”), then scared.

The monologues and remarks of Chatsky, who also appears as a new social type, close in speech features to the Decembrist pathos, demanded a particularly large amount of authorial work. In his speech, there are often rhetorical questions ("Oh! if someone penetrated into people: what is worse in them? soul or language?"), incomprehensible, children were taken to bow?"), antitheses ("He is fat, his artists are skinny"), exclamations and special vocabulary ("weakness", "meanest", "hungering", "slave", "most holy"). At the same time, in Chatsky's speech, one can meet Moscow vernacular (“alongside”, “I don’t remember”). In the language of the protagonist, most of all aphorisms, irony, sarcasm. In addition, this speech conveys a wide range of psychological characteristics of the character: love, anger, friendly concern, hope, offended pride, etc. The language also reveals the negative aspects of Chatsky's character - harshness and willfulness. So, to Famusov's question: "... do you want to get married?" - he replies: "What do you need?", and Sofya declares: "Did your uncle jump back his eyelid?" The hero's monologues and lines are always right on target and hard to dodge or parry. He does not miss a serious reason, not the slightest reason to strike, and does not give an opportunity to retreat with honor, and then his opponents unite. Chatsky is really a warrior, which Goncharov convincingly showed, but war always entails grief and suffering.

2. The immortal work of Griboyedov

comedy Griboedov hero speech

"For more than 150 years, Griboyedov's immortal comedy "Woe from Wit" has been attracting readers, each new generation rereads it anew, finding in it consonance with what worries him today."

Goncharov in his article "A Million of Torments" wrote about "Woe from Wit" - that it "everything lives its imperishable life, will survive many more epochs and everything will not lose its vitality." I fully share his opinion. After all, the writer drew the real picture manners, created living characters. So alive that they survived to our times. It seems to me that this is the secret of the immortality of the comedy of A. S. Griboyedov. After all, our Famusovs, taciturns, pufferfish, still make Chatsky contemporary to us feel grief from the mind.

The author of the only fully mature and complete work, moreover, not published in its entirety during his lifetime, Griboedov gained extraordinary popularity among his contemporaries and had a huge impact on the subsequent development of Russian culture. For almost a century and a half, the comedy "Woe from Wit" has been living, not aging, exciting and inspiring many generations, for whom it has become part of their own spiritual life, entered their consciousness and speech.

After several years when criticism did not mention Griboyedov's comedy, Ushakov wrote an article. He correctly defines historical meaning comedy "Woe from Wit". He calls Griboedov's work an "immortal creation" and sees the best proof of the "high dignity" of comedy in its extraordinary popularity, in the fact that every "literate Russian" knows it almost by heart.

Belinsky also explained the fact that, despite the efforts of censorship, it “spread over Russia in a stormy stream even before printing and presentation” and acquired immortality.

The name of Griboyedov invariably stands next to the names of Krylov, Pushkin and Gogol.

Goncharov, comparing Chatsky with Onegin and Pechorin, emphasizes that Chatsky, unlike them, is "a sincere and ardent figure": "they end their time, and Chatsky begins new Age, and this is his whole meaning and his whole mind, ”and therefore“ Chatsky remains and will always remain alive. ”He is“ inevitable with each change of one century to another.

"Woe from Wit" appeared before Onegin, Pechorin, survived them, passed unharmed through the Gogol period, lived these half a century from the time of its appearance and still lives its imperishable life, will survive many more epochs and everything will not lose its vitality.

The epigram, the satire, this colloquial verse, it seems, will never die, just like the sharp and caustic, living Russian mind scattered in them, which Griboyedov has imprisoned, like a magician of some spirit, in his castle, and it crumbles there with malicious laughter. It is impossible to imagine that another, more natural, simpler, more taken from life speech could ever appear. Prose and verse merged here into something inseparable, then, it seems, to make it easier to keep them in memory and put back into circulation all the mind, humor, joke and anger of the Russian mind and language collected by the author.

The great comedy is still young and fresh. She has retained her social sound, her satirical salt, her artistic charm. She continues her triumphal procession through the stages Russian theaters. It is taught at school.

Russian people who built a new life, showed all mankind a straight and wide road to a better future, remembers, appreciates and loves the great writer and his immortal comedy. Now, more than ever, the words written on the grave monument of Griboyedov sound loud and convincing: "Your mind and deeds are immortal in Russian memory ..."

Conclusion

The comedy of Alexander Sergeevich Griboyedov "Woe from Wit" became an event in Russian literature early XIX century, was the rarest example of accusatory, satirical direction.

A brilliant playwright, a talented poet and composer, an outstanding diplomat, A.S. Griboedov, according to Belinsky, belonged to "the most powerful manifestation of the Russian spirit." With the immortal comedy "Woe from Wit", the "pearl" of the Russian stage, Griboyedov marked the beginning of the flowering of Russian realistic drama.

The success of the comedy was unheard of. Pushkin gave a brilliant and profound characterization of Woe from Wit. According to the poet, the purpose of comedy is "characters and a sharp picture of morals."

Griboedov created a typical image of a "new man" - a public Protestant and a fighter - in the typical circumstances of his historical time. He showed how systematically and irresistibly, more and more aggravated, the contradiction of the main character, Chatsky, with the Famus society is growing. This society anathematizes Chatsky, which is in the nature of a political denunciation: Chatsky is declared publicly to be a troublemaker, carbonarius, a person who encroaches on the "legitimate" state and social system.

Woe from Wit, of course, remains one of the masterpieces of punishing social satire. But true satire is not one-sided, because a satirist writer, if he stands at the forefront of ideological and artistic positions, always denounces evil and vices in the name of goodness and is virtuous, in the name of affirming some positive ideal - social, political, moral. Griboyedov in "Woe from Wit" not only exposed the world of feudal lords, but also affirmed his positive ideal in the image of the only true hero of the play - Chatsky.

List of used literature

1. A.S. Griboyedov. Point of view. Series "Classical Gymnasium". Comp. biogr. references and notes. A.I. Ostrovskaya. M. Laida, 1994.- p. 187.

Petrieva L.I., Prantsova G.V. A.S. mushroom eaters. Studying at school: Teaching aid.-M.: Flint: Science 2001.-216 p.: ill.

Dictionary of characters in Russian literature: The second half of the 18th-19th centuries - M.-St. Petersburg: Universal book, 200. 362 p.

Aikhenwald Yu. Silhouettes of Russian writers: V 2v, T1 / Foreword. In Kreida.-M.: TERRA.-Book Club; Republic, 1998.-304 p.:

Russian literature XIX-XX centuries: In 2 volumes. T.1: Russian literature of the 19th century. Tutorial for applicants to Moscow State University. M.V. Lomonosov / Comp. And scientific ed. B.S. Bugrov, M.M. Golubkov. 2nd ed., add. And a reworker.

Svetopolk-Mirsky D.P. History of Russian literature since ancient times / D.P. Svyatopolk-Mirsky.-M.: Eksmo, 2008.-608 p.: ill. - (Encyclopepia of Russia).

100 great names in literature: popular science. Ed. / under. Ed. V.P. Sitnikova / V.V. Bykov, G.N. Bykova, G.P. Shalaeva and others - M .: Philol. O-vo "Word", 1998.-544 p.

Encyclopedia for children. T.9. Russian literature. Part 1. / Chief ed. M.D. Aksenova.- M.: Avanta+, 1999.- 672 pp.- pp.- 439-446.

Lanshchikova A.P. "Woe from Wit" as a mirror of Russian life. // Literature at school. - 1997. - No. 5. pp. 31-43.

Vlashchenko V. Lessons according to Griboyedov.// Literature.- 1999.- No. 46.S. 5-12.

11.helper.ru/p_Istoriya_sozdaniya_i_analiz_komedii_Gore_ot_uma_Griboedova_A_S

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The history of the creation of comedy

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 title. It reflects the idea of the play. Grief from his sanity is experienced by the main character of the comedy - Alexander Andreyevich Chatsky, who is rejected by society only because he is smarter than the people around him. Another problem follows from this: if 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.

The conflict of a dramatic work and its originality

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

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.

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.