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General analysis of grief from the mind. Analysis of the work "Woe from Wit

Woe from Wit, in terms of the richness of its content and artistry of form, was an exceptional comedy, unprecedented for that time in both Russian and Western European dramaturgy. Its significance is extraordinary.

1. First of all, comedy is very important in terms of learning. "Woe from Wit" is a realistically written the big picture life of Russia after the Patriotic War of 1812. ( This material will help to write correctly and on the topic The meaning of the comedy Woe from Wit. Summary does not make it clear the whole meaning of the work, so this material will be useful for a deep understanding of the work of writers and poets, as well as their novels, short stories, stories, plays, poems.) In the rich gallery of images given in comedy (both stage and off-stage), and bureaucratic world, and high-ranking nobility, and feudal landlords, and advanced people, carriers of the Decembrist views.

In the comedy, all the political and public issues: about serfdom, about service, about education, about noble education; topical disputes about jury trials, boarding schools, institutes, mutual education, censorship, etc. have been reflected. educational value comedy. Griboedov sharply criticized the world of violence, arbitrariness, ignorance, sycophancy, hypocrisy: with all clarity and persuasiveness, he showed how the best people perish in this world dominated by the Famusovs and Molchalins. human qualities. With his comedy, Griboyedov aroused hatred and contempt for the people of the Famus society, branded voluntary servility, silence in all its forms. The spirit of struggle for a real person, for his dignity, for the Russian national culture Griboedov's remarkable work is permeated. In the person of Chatsky, an image of a positive hero, a revolutionary Decembrist, that excites love, is given.

"Woe from Wit" was used by the Decembrists in their revolutionary struggle against the autocratic-feudal system.

3. The importance of the comedy "Woe from Wit" in the development of Russian drama is especially great and important. This value is determined primarily by its realism.

In the construction of the comedy, there are some features of classicism: the observance of the three unities, the presence of large monologues, the "speaking" names of some characters. In terms of its content, Griboedov's comedy is a strictly realistic work.

Griboyedov drew material for his comedy from the true life of the Moscow nobility in the 10-20s of the 19th century and reproduced it as a realist artist, revealing the main contradictions of that historical period- the struggle of Decembrist-minded people with the defenders of the autocratic-feudal system.

Griboyedov fully, comprehensively described the heroes of the comedy. Each of them is not the embodiment of any one vice or virtue, but a living person endowed with his characteristic qualities.

Griboyedov, as a brilliant realist writer, showed a person at the same time both as a person with a special individuality and as a typical person who grew up in certain social conditions. While remaining quite individual, Griboedov's characters represent at the same time a typical generalization great strength. Therefore, the names of his heroes have become household names: synonymous with soulless bureaucracy (famusism), sycophancy (silence), rude and ignorant military (skalozubovism), idle talk chasing fashion (Repetilovism).

Creating images of his comedy, Griboyedov solved the most important task for a realist writer (especially a playwright) speech characteristics heroes, that is, the task of individualizing the language of the characters. In Griboedov's comedy, each person speaks in his own lively colloquial language, which was especially difficult to do, because the comedy is written in verse. But Griboyedov managed to give the verse - a colorful iambic - the character of a lively, relaxed conversation. After reading the comedy, Pushkin said: "I'm not talking about poetry - half should go into proverbs." Pushkin's words came true quickly. Already in May 1825, the writer V. F. Odoevsky stated: “Almost all the verses of Griboedov’s comedy became proverbs, and I often happened to hear whole conversations in society, most of which were verses from Woe from Wit.

And many verses from Griboyedov's comedy have entered our colloquial speech, for example:

Happy hours are not observed.

And the smoke of the fatherland is sweet and pleasant to us.

Fresh legend, but hard to believe.

Blessed is he who believes: he is warm in the world. And many others.

Artistic realism and the skill of a writer-citizen, who boldly took to the fight against the social ulcers of his era, determined the fate of the comedy Woe from Wit. Not allowed by the censors during Griboedov's lifetime, the comedy became the property of thousands of people in handwritten form and played an important role in the development of the liberation movement in our country. Staged for the first time on the stage of the theater in St. Petersburg on January 26, 1831, the comedy "Woe from Wit" does not leave the stage today.

Lesson topic: “Analysis of 1 action of A.S. Griboedov’s comedy “Woe from Wit”

Lesson Objectives:

Comment on the 1st act of the comedy by A.S. Griboyedov “Woe from Wit”;

Form initial ideas about the conflict,

To continue the formation of the skill of analyzing a dramatic work, taking into account its genre specifics.

During the classes

I. introduction teachers. A conversation about the perception of comedy.

Today we are starting a conversation about the immortal comedy of A.S. Griboyedov. However, when it appeared, not everyone was delighted with the work of the playwright, some critics could not even imagine that this play would outlive its creator by at least two hundred years.

And what impression did A.S. Griboyedov’s play make on you?

Is the story told in the play by A.S. Griboyedov sad or funny for you?

The work had a difficult road to the stage. A book could also be written about this path.

There are several versions of the history of the comedy:

1. Best friend A.S. Griboedov, S.N. Begichev wrote: “I know that the plan for this comedy was made by him back in St. Petersburg in 1816 and even several scenes were written, but I don’t know if Griboyedov changed a lot in Persia or Georgia them and destroyed some of the actors ... "

2. VV Schneider, Griboedov's classmate at Moscow University, said that Griboedov began writing comedy as early as 1812. Such a point of view exists, although its author, at that time, was over 70 years old, and perhaps he forgot or confused something. True, given the extraordinary abilities of Griboedov, it can be assumed that a 17-year-old boy was able to create such a work.

3. There is also such a version that Griboyedov dreamed of the plot of the comedy. Moreover, the author himself in a letter from Tehran dated November 17, 1820 (the addressee of the letter is not known) confirms it: “... When should it be ready? - In a year, take an oath ... And I took it with trepidation ... I woke up ... the cold of the night dispelled my unconsciousness, lit a candle in my temple, I sit down to write, and vividly remember my promise; in a dream it is not given, in reality it will be fulfilled!

The comedy was completed by the autumn of 1824. The 1st (rough) edition of the play has also been preserved, which is now in the Moscow State Historical Museum.

Griboedov left for Petersburg in the hope of publishing a comedy. He knew that the Moscow censorship would not let her through. In St. Petersburg, he had many influential acquaintances, some of whom were related to the playwright. Griboedov was personally acquainted with Grand Duke Nikolai Pavlovich, the future Emperor NikolaiI, with the Governor-General of St. Petersburg M.A. Miloradovich, with Minister Lansky and other prominent dignitaries. However, the playwright failed to print the comedy or put it on stage. At the same time, in the department of his friend, a prominent official and playwright A.A. Zhandr, the comedy was rewritten in many copies and sold throughout Russia. This manuscript, containing many blots, from which lists were compiled, scattered throughout the country, has also been preserved. It was called the "Gandre Manuscript".

Griboyedov really wanted to see the comedy in print and on stage, but a censorship ban was imposed on it. The only thing that managed to be done after much trouble was to print excerpts with censored edits. However, the comedy reached reading Russia in the form of "lists". The success was amazing: “Thunder, noise, admiration, curiosity have no end” (from a letter to Begichev, June 1824). In another letter, he writes: "Listening to his comedy, I did not criticize, but enjoyed."

Only after the author's death did comedy appear on the professional stage. The first separate edition of Woe from Wit was published in Moscow in 1833 (with censored notes). The original title of the comedy was Woe to Wit. Then the author changes it to "Woe from Wit".

It is impossible to cause grief to the real mind, but from the mind it can very well be grief.

The plot of the work is based on a dramatic conflict, a stormy clash between an intelligent, noble and freedom-loving hero with the noble environment surrounding him. As a result, the hero himself drank the “Woe from his own mind” to the full extent. "Woe from Wit" closes the first period literary activity A.S. Griboyedov.

In the future, it is time for intense creative searches for him. To the questions and wishes of his friends, he answered: “... I won’t write a comedy anymore, my gaiety has disappeared, and without gaiety there is no good comedy.”

Which of the characters in the play do you find the most attractive and which the most repulsive?

What comedy scene do you most vividly imagine?

II Repetition of the concept of "comedy of classicism". (Work in notebooks)

What are genre features works of A.S. Griboyedov?

(Comedy- one of dramatic works. Features of such a work: the absence of the author's narration (but there is a list of characters and remarks); limitation of the action by spatial and temporal frameworks, hence the disclosure of the character's character through moments of confrontation (the role of the conflict); organization of speech in the form of dialogues and monologues, which are addressed not only to other characters, but also to the viewer; stages of conflict development (exposition, plot, development of action with a climax, denouement).

To what style did the classicists classify comedy?

(In the system of genres of classicism, comedy belongs to the lowest style.)

What are the characteristics of classic comedy?

(The principle of the unity of place, time and action; the system of roles, in a play, as a rule, 4 acts - in the third climax, in the fourth denouement. Features of the exposition: the play is opened by minor characters who introduce the viewer to the main characters and tell the background. The action slows down with long monologues Vice is punished - virtue triumphs.)

What are the features of the plot in classic comedy?

(One of the main plot schemes of the comedy of classicism is the struggle of two applicants for the hand of one girl, the positive is poor, but endowed with high moral qualities; everything ends with a happy dialogue.)

Can we claim that this is a classic comedy?

(Of course not, although we see elements of classic comedy: the unity of time, places, speaking names.)

Compiling a table

Rules of the three unities:

Unity of time (the action takes place within one day).

Unity of place (the action takes place in Famusov's house).

Unity of action (the basis for the development of the plot is the arrival of Chatsky in Moscow).

The characters are presented in a versatile way, lacking the one-sidedness inherent in the comedies of classicism.

For additional feature bad guys the author uses "talking" surnames: Khryumins, Molchalin, Tugoukhovskys, etc.

A.S. Griboedov’s comedy “Woe from Wit” is a work in which momentary ideological and political disputes are accurately reproduced and at the same time problems of a national and universal nature are indicated. These problems in the play are born from the collision of a bright personality with an inert social order, according to the author himself, “a sane person” with “twenty-five fools”.

Such a clash, "a contradiction between characters, or characters and circumstances, or within a character, underlying the action," is called conflict. The conflict is the "mainspring", the source of dynamic tension of a literary work, which ensures the development of the plot.

A plot is a chain of events depicted in literary work, i.e. the life of the characters in its spatio-temporal changes, in positions and circumstances replacing each other. The plot not only embodies the conflict, but also reveals the characters of the characters, explains their evolution, etc.

What plot elements do you know?

Which of them are the main ones, which ones are secondary?

What are distinctive features each (exposition, plot, development of action, climax, denouement)?

Is it possible to change them?

What artistic effect is achieved?

III. Analysis of the list of actors.

Reading a poster.

Speaking surnames

Famusov (from lat. Fama - "rumor") - the ability to hide, profitably explain the meaning of one's own and other people's actions was embodied. His dependence on public opinion, rumors and emphasizes his "speaking" surname.

Repetilov (from the French. Repeter - "repeat") - bears the image of a pseudo-oppositionist. Not having his own opinion, Repetilov repeats other people's thoughts and expressions. Its author contrasts Chatsky as an internally empty person, trying on "other people's views and thoughts."

Molchalin - he is timid and silent with Sofya and Famusov, but with Lisa and Chatsky he turns into a "talker" and a rake. Obviously, his surname carries a hint of hidden and important properties of nature.

Tugoukhovsky, Skalozub, Khryumina, Khlestova, Zagoretsky.

Heroes receive a characteristic based on the following criteria: the principle of generosity and a place on the career ladder.

Chatsky and Repetilov are deprived of these characteristics.

Why?!

Surname Chatsky "rhymed" (Chadsky - Chaadaev).

With his comedy, Griboedov foresaw the fate of P.Ya. Chaadaev.

The surname "Chatsky" carries an encrypted allusion to the name of one of the most interesting people of that era: Pyotr Yakovlevich Chaadaev. The fact is that in the draft versions of "Woe from Wit" Griboedov wrote the name of the hero differently than in the final one: "Chadskiy". The surname of Chaadaev was also often pronounced and written with one “a”: “Chadaev”. This is exactly how, for example, Pushkin addressed him in the poem “From the Seashore of Taurida”: “Chadaev, do you remember the past? ..”

Chaadaev participated in Patriotic war 1812, in a foreign anti-Napoleonic campaign. In 1814 he joined the Masonic lodge, and in 1821 he suddenly interrupted his brilliant military career and agreed to join a secret society. From 1823 to 1826, Chaadaev traveled around Europe, comprehended the latest philosophical teachings, met Schelling and other thinkers. After returning to Russia in 1828-30, he wrote and published a historical and philosophical treatise: "Philosophical Letters".

Views, ideas, judgments - in a word, the very system of worldview of the thirty-six-year-old philosopher turned out to be so unacceptable for Nikolaev Russia that the author of the Philosophical Letters suffered an unprecedented and terrible punishment: he was declared crazy by the highest (that is, personally imperial) decree.

It so happened that literary character did not repeat the fate of his prototype, but predicted it. And here we come to the most important question: what is Chatsky's madness?

IV. Analysis of the I action of the comedy.

What is 1 - 5 phenomenon in terms of plot development?

(1 - 5 phenomenon in terms of plot development are exposition).

What is the intrigue at the very beginning?

(secret love a noble daughter and a rootless secretary. The unexpected arrival of Chatsky is the beginning of a comedy action, love conflict: Chatsky is in love with Sofya, she is in love with Molchalin.)

What is the atmosphere of life in Famusov's house and its inhabitants themselves? Let's try to imagine what Famusov's house looks like.

(Famusov and I walk around it in the morning. The house is rich, spacious, and boring. Everything is as it should be - and there are no traces of the owners' identity. They have no hobbies, passions, even no occupation. The house is boring because life here is motionless. Sophia, probably , not only because of love impatience says to Molchalin: “Go; the whole day, we will endure boredom”)

What information do we get about heroes who have not yet appeared on the scene?

(From the words of Lisa, we learn about Chatsky, and about Colonel Skalozub.)

Why did Famusov allow himself to be deceived? After all, the situation was very frank, Sophia's story about the dream is transparent: she cannot immediately renounce the oblivion of music and love; (Molchalin is almost clearly the “hero of the dream” she told (and this is evidence of the sincerity of her love). And the monosyllabicness of Molchalin’s answers, Sophia’s intervention are suspicious for Famusov. But Famusov didn’t find out anything. Why?

(First of all, with all the rudeness, Famusov is simple-minded. Thus, praising his concerns about his daughter, he talks about Madame Rosier, whom he “knew how to accept” as a “second mother”; but it immediately turns out that his insight was not too sharp: “ rare rules" of this "old woman-gold" did not prevent her from escaping to others "for an extra five hundred rubles a year". Asking questions, Famusov almost does not allow others to speak; he is so talkative that, jumping from one subject to another, he almost forgets about his intentions, but it is difficult to explain his willingness to close his eyes to everything he saw.

Perhaps, main reason his blindness lies in the fact that he does not want to see anything, he is simply lazy, he is afraid of "troubles". After all, if you take all this seriously, you have to go to the scandal with Sophia, drive Molchalin ... Famusov does not like change, it is convenient for him to live the way he lives. And the precautions come down to the fact that he scolds everyone and “leaves with Molchalin, lets him go ahead at the door” so as not to leave his secretary with his daughter.

In what phenomenon does Chatsky appear? How does Chatsky enter?

(He is energetic, happy, excited, looking forward to the meeting he has been waiting for so long. This first scene is very important. Here is the beginning of that tragic delusion that will eventually make Chatsky the hero of a comedy.)

What made Chatsky leave Moscow?

(Boredom, which even falling in love with Sophia could not overcome. His exacting criticism inevitably led to "grief", she obscured the joy of love. And Chatsky leaves to "seek the mind", look for the positive foundations of life, its enlightenment. Love for the motherland (not without reason he says about the "smoke of the fatherland") and falling in love with Sophia return him to Moscow.

Chatsky is an action hero, an enthusiast by nature. But in Famus' Moscow, energy and enthusiasm are not only illegal," they have nothing to eat. And Chatsky "rushes" into love, as into a living, direct and deep element of life.)

How does Sophia meet him? (Her behavior is very accurately given by Griboedov in the mirror of Chatsky's remarks.)

Why does Sophia's secular courtesy give way to coldness, irony and hostility? What annoys Sophia in Chatsky?

How is Chatsky trying to return the tone of his former relationship with Sophia? What struck Chatsky most of all in Sophia and why did he not immediately understand that love was lost?

What has changed for Chatsky in Famusov's house and how has he changed? What is the irony of Chatsky directed against?

(Dialogue between Chatsky and Sophia - Chatsky's satirical denunciation of Moscow morals)

What in the way of life and behavior of the Moscow nobility causes Chatsky's condemnation? How is the nature of the hero himself revealed in his accusatory speeches?

Did the conflict manifest itself in the 8th - 10th phenomenon, between whom, what is its nature?

V. Summing up.

The exposition introduces the reader to the house of the Moscow gentleman Famusov. His 17-year-old daughter Sophia is in love with the poor secretary of Father Molchalin. They meet secretly from their father. Sophia's maid Lisa helps in this. From the conversation between Lisa and Sophia, we learn that three years ago Chatsky, who was brought up in the Famusovs' house, left to "seek his mind" in St. Petersburg, then abroad.

The plot of the comedy is the unexpected arrival of Chatsky, who passionately confesses his love to Sophia. This is how external conflict: fight for the bride, love triangle- Sophia loves Molchalin, Chatsky loves Sophia. The dialogue between Sophia and Chatsky reveals Sophia's complete indifference to her childhood friend. The conflict is complicated by the fact that Sofya Famusov's father would not be pleased with either one or the other applicant: Molchalin is poor and rootless, Chatsky is also not rich, in addition he is free-thinking, impudent.

Homework.

2. Individual task: expressive reading of Chatsky's monologues“And for sure, the world began to grow stupid ...”, “And who are the judges?” and Famusov "That's it, you are all proud!", "Taste, father, excellent manner."

3. Answer the questions: "Why does Chatsky enter into a dispute with Famusov. Why is a clash between Chatsky and Famusov's Moscow inevitable?"

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The workers of the pen are one of the most unique people on the planet, they are able to create a multifaceted masterpiece based on a short situation. Almost the same fate befell Griboyedov's comedy "Woe from Wit".

The history of the creation of the work "Woe from Wit"

Once Griboyedov happened to attend one of the dinner parties in aristocratic circles. There he witnessed unusual picture: one of the guests was a foreign citizen. The aristocrats greatly appreciated everything foreign, they wanted to resemble them as much as possible, so any contact with foreign guests, especially noble birth was flattering for representatives of high society. Therefore, the whole time of the dinner was devoted to a reverent attitude towards a foreign guest - Griboyedov, who was hostile to the attempts of the Russian aristocracy to get everything foreign, including behavior, language and lifestyle, could not miss the moment and not speak out about this.

We suggest that you familiarize yourself with the “characteristics of Molchalin” in the comedy “A. Griboyedov "Woe from Wit".

Naturally, his speech was not heard - the aristocrats considered Griboyedov out of his mind and immediately gladly spread a rumor about his mental illness. Outraged, Alexander Sergeevich then decided to write a comedy in which he would denounce all the vices of an aristocratic society. It happened in 1816.

Comedy publishing history

However, Griboyedov began to create the work after some time. In 1823, the first fragments of the comedy were already ready. Griboyedov presented them to the public from time to time, first in Moscow, then in Tiflis.

Also published with for a long time there were difficulties - the text was repeatedly censored and, as a result, revised and revised. Only in 1825 were fragments of the work published.

During Griboyedov's lifetime, his work was never fully published - in the hope that his friend Bulgarin would help in this, Alexander Sergeevich gave him the manuscript of his comedy, which at that time was called "Woe of Wit", but the publication did not follow.

Four years after the death of Griboyedov (in 1833), "Grief" nevertheless saw the light. However, the text of the comedy was distorted by the editorial and censorship commission - there were too many moments in the text that were unacceptable for publication. It was not until 1875 that the work was published uncensored.

Comedy heroes

All the heroes of the play can be divided into three categories - main, secondary and tertiary.

TO central images comedies include Famusov, Chatsky, Molchalin and Sofia Pavlovna

Pavel Afanasyevich Famusov- an aristocrat by origin, a manager in a state institution. He is a dishonest and corrupt official, as a representative of society, he is also far from ideal.
Sofia Pavlovna Famusova- the young daughter of Famusov, despite her young age, she is already actively using the tricks adopted in aristocratic circles - the girl loves to play with the feelings of other people. She likes to be the center of attention.
Alexander Chatsky- a hereditary aristocrat, an orphan. He was taken in by the Famusovs after the death of his parents. For some time, Alexander was in military service, but became disillusioned with this type of activity.
Alexey Stepanovich Molchalin- Famusov's secretary, a man of ignoble origin, who, thanks to the actions of Famusov, acquires a noble rank. Molchalin is a vile and hypocritical person who is driven by the desire to break into aristocratic circles at any cost.

TO secondary characters include the images of Skalozub, Lisa and Repetilov.

Sergei Sergeevich Skalozub- a nobleman, a young officer who is only interested in promotion.
Repetilov- an old friend of Pavel Afanasyevich, a hereditary nobleman.
Lisa- a servant in the Famusovs' house, with whom Molchalin is in love.

TO actors The images of Anton Antonovich Zagoretsky, Anfisa Nilovna Khlestova, Platon Mikhailovich Gorich, Natalya Dmitrievna Gorich, Prince Pyotr Ilyich Tugoukhovsky, Countess Khryumin and Petrushka are of third-rate significance - all of them act briefly in the play, but thanks to their social position they help to depict an accurate and unsightly picture of reality.

The young landowner Chatsky returns home after a three-year absence from Russia. He visits the house of his tutor Famusov in order to woo his daughter, with whom he has long been in love, Sophia.

In Famusov's house, Chatsky notices that during his absence the vices of the aristocracy have only worsened. Young man I am surprised by the self-interest and calculation of representatives of high society. Aristocrats, instead of setting an example of humanism and honesty, set an example of bribery and playing for the public - this discourages Chatsky. The ideal of behavior in the highest circles has become servility - for aristocrats it has become unimportant to serve - now it is in vogue to serve. The denunciation of the opposite position of Chatsky in relation to Famus Society becomes the main reason why he cannot claim Sonya's hand.

We suggest that you familiarize yourself with the “characteristics of Famusov” in the comedy “Woe from Wit” by A. Griboyedov.

Alexander still does not lose hope. He thinks that the girl's favor will be able to change the situation, but even here Chatsky will be disappointed - Sonya actually loves not him, but her father's secretary.

However, Sonya is in no hurry to refuse Chatsky - she hides the true state of affairs from Chatsky and pretends that Alexander's sympathy is pleasant to her. In addition, the girl spreads rumors that

Chatsky has mental health problems. When Alexander finds out the truth, he realizes that such a girl cannot be his wife. The only thing left for Alexander is to leave Moscow.

Poetic size and features of the verse of the play

Griboyedov's play "Woe from Wit" is written in iambic. The number of feet in poetry is not the same (in contrast to the traditional Alexandrian verse, which provided for the use of iambic six-foot) - periodically Alexander Sergeevich changes the number of feet. Their number varies from one to six.

The rhyming system is also unstable. In the play, you can see virtually all options - steam room, cross, belted. In addition, Griboyedov uses internal rhyme.

Themes and problems of the play

The main conflict of the play is determined by the framework of the confrontation between the "current century" and the "past century". Such a concept is not limited solely to the attitude to the service and prosperity of a person - a large array of problems is hidden under these phrases.

First of all, the problem of the type of human activity and their distribution into noble occupations (civil service in public institutions And military service) and shameful (writing, scientific activity).

The second problem of the play was the glorification of sluts - authority and respect in society are earned not by valiant service or roughly done work, but by the ability to please the higher leadership.

The next problem is bribery and mutual responsibility. All problems in society can be solved with money or connections.

The problem of sincerity and honesty is also raised by Griboyedov - people say what is beneficial. They are ready to dissemble and deceive for the sake of gaining some benefits. Few are willing to speak true opinion, especially if it does not coincide with the opinion of the majority.

Most people become dependent on the opinions of others, they are ready to build their lives, guided not by convenience, but by tradition, even when it greatly complicates their lives.

The problem of selfishness has become the reason for the appearance of duplicity on the love front - being monogamous has become out of fashion.

Genre of the work "Woe from Wit"

Features of the themes and problems of the play caused a discussion in literary circles about the genre "Woe from Wit". Researchers are divided on this issue.

Some believe that it is right to assign the genre of comedy to the work, while others are sure that such problems are typical for works of a dramatic nature.

The main reason that allows us to define the play as a drama is the global nature of the problem raised. The conflict of the play is built on a deep sense of disappointment, which is not typical for a comedy. The elements of the comic, which are present in the description of the characters, are minimal and, according to the researchers, are used to enhance the dramatic function in the text.

Proceeding from this position, along with proposals to define the genre as a comedy or drama, proposals for mixing genres began to appear in the course of the discussion. So, for example, N.I. Nadezhdin designated it as a satirical picture.

N.K. Piskanov, analyzing the features of the play, came to the conclusion that it is impossible to define its genre precisely - literary critics have every reason to designate it as a social drama, a realistic everyday play, a psychological drama, and even a musical drama (based on the features of the play's verse).

Despite all the discussions, Griboedov's play "Woe from Wit" continues to be called a comedy. First of all, this is due to the fact that Alexander Sergeevich himself designated the genre of his work in this way. Although the elements of the comic are not widely used in the play, and its structure and plot features are far from traditional comic ones, the influence of satire and humor still had a noticeable place in the play.

Thus, the play by A.S. Griboyedov "Woe from Wit" is a multifaceted and extensive work.

The diversity of the themes and problems of the play, as well as the ways of depicting the essence of the conflict, caused a discussion in terms of the genre of the play.

The problems and topics raised by Griboedov can be classified as "eternal" topics that never lose their relevance.

A. S. Griboyedov is often called "the creator of one book." It is unlikely that the author of the famous comedy "Woe from Wit" can be blamed for negligence and laziness. Alexander Sergeevich was an outstanding diplomat, a gifted musician and a prominent public figure. Everything that this extraordinary person undertook bore the imprint of genius. His life and creative credo was the phrase: "I live as I write - freely and freely." This article is devoted to the analysis of the play "Woe from Wit".

History of creation

The idea of the comedy "Woe from Wit" appeared, according to some sources, as early as 1816. Griboedov spoke with diatribe at one of the social events. He did not like the obsequious admiration of the Russians for everything foreign. Then Alexander Sergeevich was jokingly called crazy. After this incident, a plan arose in the head of the writer future comedy. But he began to write the work only in 1820, while in the service in the city of Tiflis.

The first two acts were completed by early 1822. Griboyedov completed the last parts of the play while on vacation, in the city of Moscow. Here he "breathed the air" of secular living rooms and received additional material for creativity. The first edition of Woe from Wit was completed in 1823. However, already in 1824, the original version of the play underwent a thorough stylistic revision. In the future, censorship diligently worked on the work. As a result, the author's version of the work was published only in 1862. During the life of Alexander Sergeevich, the comedy was distributed in the form of handwritten copies - lists. It evoked a lively response in literary circles. A detailed analysis of "Woe from Wit" will show how innovative this work was for its time.

Elements of classicism in "Woe from Wit"

Griboedov's famous comedy is considered to be the first Russian realistic comedy. At the same time, it combined the features of classicism, which was rapidly developing in that era of romanticism and innovative realism. A thorough analysis of the comedy "Woe from Wit" indicates that the work meets the basic requirements for creating a "high" comedy.

In the play there is a unity of place (Famusov's house) and time (the action takes place within one day). However, there are two conflicts in the work - love and socio-political. This means that Griboedov violated the unity of action in the play.

Comedy has a traditional and closely related system of characters: a heroine, two contenders for her favor, a "noble father", a soubrette servant, and so on. However, Griboyedov "breathed" into his heroes new life. From caricatured comedic characters, they have evolved into complex portrait images.

Alexander Sergeevich endowed his heroes with "talking" surnames: Skalozub, Repetilov, Famusov, Molchalin. At the same time, the characterization of his characters goes far beyond a single feature.

Elements of realism in "Woe from Wit"

First of all, Griboyedov refused schematic representation their heroes. The characters of his characters and the "rare picture of morals" depicted by him in comedy are sometimes frightening with their authenticity. For example, the versatility of Famusov's character is manifested in his dialogues with other characters: he flirts with Lisa, fawns over Skalozub, reads Sofia's instructions.

However, Chatsky in the play is opposed not only by specific representatives of the Famusovsky guard, but by the entire conservative " last century". Analysis of "Woe from Wit" allows us to identify in the work a lot of episodic images designed to expand the scope

A realistic approach to the creation of a work is also manifested in the attitude of the author to the main character. Chatsky sometimes behaves inconsistently and constantly gets into comic situations because of his recklessness and intemperance. He is not absolutely goodie in the work. After all, his motives are, in essence, selfish. He seeks to win Sofia's love.

Language "Woe from Wit"

One of the elements of Griboedov's dramatic innovation is the use of comedy in writing colloquial speech. Flexible poetic size (free iambic) allows Griboyedov to create the verbal image of the characters. Each of them has its own characteristics of speech. The "voice" of the protagonist is unique and betrays in him a fierce opponent of Moscow customs. He sneers at "clumsy wise men", "crafty simpletons", idle and "evil tongues". In his monologues, one can feel a passionate conviction in one's own rightness, a high pathos of asserting real life values. The analysis of the comedy "Woe from Wit" shows that there are no intonational, syntactic and lexical restrictions in the language of the play. This is an "unkempt", "rough" element spoken language, turned by Griboyedov into a miracle of poetry. Pushkin noted that half of the poems written by Alexander Sergeevich "should become a proverb."

Two story lines

Analysis of "Woe from Wit" by Griboyedov allows us to identify two equal conflicts in the work. This is a love line in which Chatsky opposes Sophia, and a socio-political one in which main character faces In the foreground, from the point of view of problems, there are social contradictions. However, personal conflict is an important plot-forming component. After all, it is for the sake of Sofia that Chatsky comes to Moscow, and for her sake he remains in Famusov's house. Both storylines reinforce and complement each other. They are equally necessary in order to conduct a reliable analysis of "Woe from Wit", to understand the psychology, worldview, characters and relationships of the main characters of the comedy.

Socio-political theme of the work

Comedy brings up the most important issues in life Russian society the first half of the 19th century: the harm of honoring rank and bureaucracy, the inhumanity of serfdom, issues of education and enlightenment, honest service to the fatherland and duty, the originality of national Russian culture, and so on. Griboedov did not bypass his attention and the question of the socio-political structure Russian state. All these moral and political questions are passed through the prism of the personal relationships of the characters.

Philosophical theme in the play

The problems of the comedy "Woe from Wit" are very complex and multifaceted. allows you to reveal the philosophical background hidden in the very title of the play. One way or another, all the heroes of the comedy are involved in the discussion of the problem of stupidity and intelligence, madness and insanity, buffoonery and tomfoolery, hypocrisy and pretense. These questions were solved by Alexander Sergeevich on the basis of a variety of mental, social and everyday material. The main figure in this matter is the smart "madman" Alexander Andreevich Chatsky. It is around him that all the diversity of opinions about comedy is concentrated. Let's take a closer look at this character.

The protagonist of the play

Alexander Andreevich returned to Moscow after a long absence. He immediately arrived at Famusov's house to see his beloved Sofia. He remembers her as a smart and mocking girl, who together with him heartily laughed at her father's devotion to the English club, a young aunt and other colorful representatives of Famusov's Moscow. Having met Sophia, Chatsky seeks to find out the course of her thoughts, hoping that she remained his like-minded person. However, the girl strongly condemned his mockery of aristocratic Moscow. Alexander Andreevich asked himself the question: "... Is there really a groom here?" Chatsky's main mistake was that the mind became the main criterion by which he tried to calculate Sophia's beloved. For this reason, he dismisses both Skalozub and Molchalin as possible rivals.

Philosophy of the Moscow gentleman

Much smarter than Chatsky is the author of the comedy "Woe from Wit". He suggests starting an analysis of Sophia's actions with an acquaintance with the environment in which she grew up and formed as a person. Most of all, this society is characterized by Famusov, father main character. This is an ordinary Moscow gentleman. His character is dominated by a mixture of patriarchy and tyranny. He does not burden himself with cares in the service, although he occupies a serious post. His political ideals come down to simple worldly joys: "to take awards and live happily." The ideal for Famusov is a person who has made a career. The funds don't matter. The words of Peter Afanasyevich often disagree with the deed. For example, he boasts of "monastic behavior", but before that he actively flirts with Lisa. This is the main opponent of the sincere and ardent Chatsky.

enviable groom

Famusov immensely likes Colonel Skalozub. He is a "golden bag" and "aims for generals." Pavel Afanasyevich does not even dream of the best groom for his daughter. The colonel is a reliable defender of the "gone century". You won't "fake" him with scholarship; he is ready to destroy all book "wisdom" with drill on the parade ground. Skalozub is a stupid martinet, but in the Famus society it is customary not to notice this. The study of the customs of aristocratic Moscow leads to disappointing conclusions, their detailed analysis. Griboyedov's "Woe from Wit" testifies that studying with St. Petersburg professors and striving for enlightenment is the longest and most inefficient way to achieve career heights.

Characteristics of Molchalin

A living "picture of morals" is presented in the play "Woe from Wit". An analysis of the heroes of the work forces us to turn to the quietest and most insignificant of them - Alexei Stepanovich Molchalin. This character is not harmless at all. With his lackey obsequiousness, he successfully makes his way into high society. His insignificant talents - "moderation and accuracy" - provide him with a pass to the Famus Guard. Molchalin is a staunch conservative who depends on the opinions of others and indulges "all people without exception." Oddly enough, this helped him win Sophia's favor. She loves Alexei Stepanovich without memory.

episodic roles

Griboyedov characterizes the Moscow aristocracy with well-aimed strokes. "Woe from Wit", the analysis of which is presented in this article, is rich in expressive episodic roles that make it possible to reveal the diversity of Famus' society.

For example, the rich old woman Khlestova carries with her secular evenings"Arapka-girl and dog", adores young Frenchmen and, like fire, is afraid of enlightenment. Its main features are ignorance and tyranny.

Zagoretsky in the Famus society is openly called a "rogue" and a "gambler". But this does not prevent him from rotating among the local aristocracy. He knows how to "serve" in time, therefore he enjoys the sympathy of rich people.

Very extensive material for reflection contains "Woe from Wit". Analysis of the work allows us to find out the author's attitude to some "secret" societies that appeared in contemporary Russia. For example, Repetilov is a "noisy" conspirator. He publicly declares that he and Chatsky have "the same tastes", but does not pose any danger to the Famus society. Repetilov himself would have made a career, but "he met failures." Therefore, he made conspiratorial activity a form of secular pastime.

In "Woe from Wit" there are many extra-plot characters, direct participation in comedy not host. They are mentioned in passing by the heroes of the play and provide an opportunity to expand the scope of action to the scale of the entire Russian society.

The worldview of the protagonist

Chatsky is a representative of the "current century". He is freedom-loving, has his own on every issue and is not afraid to voice it. Annoyed by Sophia's indifference, Alexander Andreevich enters into polemics with the "Famus" people around him and in anger denounces their greed, hypocrisy, ignorance and insignificance. Being true patriot Russia, he condemns "the dominance of noble villains" and does not want to have anything to do with them. To Famusov's offer to live "like everyone else", Chatsky replies with a decisive refusal. Alexander Andreevich recognizes the need to serve the Motherland, but draws a clear line between "serve" and "serve." He considers this difference fundamental. Chatsky's daring monologues seem so outrageous to the local secular society that he is unconditionally recognized as crazy.

Alexander Andreevich is the central character of the work, therefore, more than one serious and detailed analysis is devoted to the characterization of his image. Griboyedov's "Woe from Wit" was subjected to scrutiny by V. G. Belinsky, I. A. Goncharov, and other leading writers of the 19th century. And the attitude to the behavior of Chatsky determined, as a rule, the characteristics of the entire work as a whole.

Compositional features

"Woe from Wit" obeys the strict laws of classical plot construction. Both lines (love and socio-ideological) develop in parallel to each other. The exposition consists of all the scenes of the first act before the appearance of the protagonist. The beginning of a love conflict occurs during Chatsky's first meeting with Sofia. The social begins to mature a little later - during the first conversation between Famusov and Alexander Andreevich.

Comedy is characterized by a lightning-fast pace of change of events. Stages of development love line are dialogues between Sofia and Chatsky, during which he tries to find out the reason for the girl's indifference.

The socio-ideological line consists of many private conflicts, verbal "duels" between representatives of the Famus society and the main character. The climax of the play is an example of the outstanding creative skill of the creator of the comedy "Woe from Wit". Analysis of the score in the work demonstrates how highest point tension in the love plot motivates the climax of the socio-ideological conflict. Sophia's occasional line: "He's out of his mind" is taken literally by the gossiper. Wanting to take revenge on Chatsky for mocking Molchalin, the girl confirms that she is convinced of his madness. After that, the independent plot lines of the play meet at one climax - a lengthy scene at the ball, when Chatsky is recognized as crazy. After that, they separate again.

The denouement of the love conflict occurs during the night scene in Famusov's house, when Molchalin and Liza meet, and then Chatsky and Sofia. And the socio-ideological line ends last monologue Chatsky, directed against the "crowd of persecutors". Contemporaries of the author of "Woe from Wit" accused him of the fact that the "plan" of the comedy has no clear boundaries. Time has shown that the intricate weave storylines- Another indisputable advantage of comedy.

Conclusion

Your attention was presented only brief analysis. "Woe from Wit" can be re-read many times and every time you find something new. In this work, the main characteristics of realistic art were very clearly manifested. It not only frees the author from unnecessary canons, conventions and rules, but also relies on the time-tested techniques of other artistic systems.

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Writers are some of the most unique people on the planet, they know how to create a multifaceted masterpiece based on a short situation. Almost the same fate befell Griboyedov's comedy "Woe from Wit".

The history of the creation of the work "Woe from Wit"

Once Griboyedov happened to attend one of the dinner parties in aristocratic circles. There he witnessed an unusual picture: one of the guests was a foreign citizen. The aristocrats greatly appreciated everything foreign, they wanted to be as much like them as possible, so any contact with foreign guests, especially those of noble origin, was flattering for representatives of high society. Therefore, the whole time of the dinner was devoted to a reverent attitude towards a foreign guest - Griboyedov, who was hostile to the attempts of the Russian aristocracy to get everything foreign, including behavior, language and lifestyle, could not miss the moment and not speak out about this.

We suggest that you familiarize yourself with the comedy “A. Griboyedov "Woe from Wit".

Comedy publishing history

There were also difficulties with the publication for a long time - the text repeatedly succumbed to censorship and, as a result, to revision and revision. Only in 1825 were fragments of the work published.

Comedy heroes

All the heroes of the play can be divided into three categories - main, secondary and tertiary.

The central images of the comedy include Famusov, Chatsky, Molchalin and Sofya Pavlovna

Pavel Afanasyevich Famusov- an aristocrat by origin, a manager in a state institution. He is a dishonest and corrupt official, as a representative of society, he is also far from ideal.
Sofia Pavlovna Famusova- the young daughter of Famusov, despite her young age, she is already actively using the tricks adopted in aristocratic circles - the girl loves to play with the feelings of other people. She likes to be the center of attention.
Alexander Chatsky- a hereditary aristocrat, an orphan. He was taken in by the Famusovs after the death of his parents. For some time, Alexander was in military service, but became disillusioned with this type of activity.
Alexey Stepanovich Molchalin- Famusov's secretary, a man of ignoble origin, who, thanks to the actions of Famusov, acquires a noble rank. Molchalin is a vile and hypocritical person who is driven by the desire to break into aristocratic circles at any cost.

The secondary characters include Skalozub, Lisa and Repetilov.

Sergei Sergeevich Skalozub- a nobleman, a young officer who is only interested in promotion.
Repetilov- an old friend of Pavel Afanasyevich, a hereditary nobleman.
Lisa- a servant in the Famusovs' house, with whom Molchalin is in love.

Actors of secondary importance include the images of Anton Antonovich Zagoretsky, Anfisa Nilovna Khlestova, Platon Mikhailovich Gorich, Natalya Dmitrievna Gorich, Prince Pyotr Ilyich Tugoukhovsky, Countess Khryumin and Petrushka - all of them briefly act in the play, but thanks to their social position they help to describe an accurate and unsightly picture of reality.

The young landowner Chatsky returns home after a three-year absence from Russia. He visits the house of his tutor Famusov in order to woo his daughter, with whom he has long been in love, Sophia.

In Famusov's house, Chatsky notices that during his absence the vices of the aristocracy have only worsened. The young man is surprised by the self-interest and calculation of representatives of high society. Aristocrats, instead of setting an example of humanism and honesty, set an example of bribery and playing for the public - this discourages Chatsky. The ideal of behavior in the highest circles has become servility - for aristocrats it has become unimportant to serve - now it is in vogue to serve. The denunciation of the opposite position of Chatsky in relation to the Famusovsky society becomes the main reason why he cannot claim Sonya's hand.

We suggest that you familiarize yourself with the comedy “Woe from Wit” by A. Griboyedov.

However, Sonya is in no hurry to refuse Chatsky - she hides the true state of affairs from Chatsky and pretends that Alexander's sympathy is pleasant to her. In addition, the girl spreads rumors that

Chatsky has mental health problems. When Alexander finds out the truth, he realizes that such a girl cannot be his wife. The only thing left for Alexander is to leave Moscow.

Poetic size and features of the verse of the play

Griboyedov's play "Woe from Wit" is written in iambic. The number of feet in poetry is not the same (in contrast to the traditional Alexandrian verse, which provided for the use of iambic six-foot) - periodically Alexander Sergeevich changes the number of feet. Their number varies from one to six.

The rhyming system is also unstable. In the play, you can see virtually all options - steam room, cross, belted. In addition, Griboyedov uses internal rhyme.

Themes and problems of the play

First of all, the problem of the type of human activity and their distribution into noble occupations (civil service in state institutions and military service) and shameful ones (writing, scientific activity) are singled out.

The next problem is bribery and mutual responsibility. All problems in society can be solved with money or connections.

The problem of sincerity and honesty is also raised by Griboyedov - people say what is beneficial. They are ready to dissemble and deceive for the sake of gaining some benefits. Few people are ready to express a true opinion, especially if it does not coincide with the opinion of the majority.

Most people become dependent on the opinions of others, they are ready to build their lives, guided not by convenience, but by tradition, even when it greatly complicates their lives.

The problem of selfishness has become the reason for the appearance of duplicity on the love front - being monogamous has become out of fashion.

Genre of the work "Woe from Wit"

Features of the themes and problems of the play became the reason for the emergence of a discussion in literary circles about the genre of "Woe from Wit". Researchers are divided on this issue.

Some believe that it is right to assign the genre of comedy to the work, while others are sure that such problems are typical for works of a dramatic nature.

Thus, the play by A.S. Griboyedov "Woe from Wit" is a multifaceted and extensive work.

The diversity of the themes and problems of the play, as well as the ways of depicting the essence of the conflict, caused a discussion in terms of the genre of the play.

The problems and topics raised by Griboedov can be classified as "eternal" topics that never lose their relevance.

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