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Goncharov's attitude to Chatsky. Goncharov - critic: critical study "Million of torments" for Griboedov's play "Woe from Wit

A. S. Griboyedov's comedy "Woe from Wit" as a socio-political drama

The name of A. S. Griboedov opens one of the brilliant pages in the history of Russian literature. According to V. G. Belinsky, Alexander Sergeevich is one of the “most powerful manifestations of the Russian spirit.” His comedy "Woe from Wit" played an outstanding role in the socio-political and moral education of people.

This work broadly and realistically reflected the life of Moscow in the twenties of the 19th century, as well as the movement of advanced social thought in Russia, when noble revolutionaries - the Decembrists - came out to fight the old world.

I. A. Goncharov, who wrote a profound article about "Woe from Wit", said that "Chatsky begins new Age- and this is all its meaning and all the mind. Without such an understanding, it is impossible to evaluate and correctly comprehend the image of the hero. Chatsky, spokesman for progressive ideas, as well as true patriot, said: “When you wander, you return home, and the smoke of the fatherland is sweet and pleasant to us!”

Having created the image of a new hero, A. S. Griboedov shows that the mind is a powerful force IN The fight against inertia and despotism, and it is he who leads Chatsky to a clash with the Famus society. Already in the very name of the comedy lies the key to its understanding. The writer's work speaks of a person's grief, and this grief is due to the mind. This problem in Griboedov's time was relevant, since the words "smart", "clever" were used as a synonym for the concept of "free-thinking".

It was such a mind in the Famus world that was regarded as madness, madness. It's based on comedy internal development conflict of two worlds: "the present century" and "the past century".

“The current century” is the protagonist of the work, sharply exposing the Moscow nobility, rebelling against ignorance; “the past century” are representatives of the Famus society who hate education, who declared that “learning is a plague”, “if evil is stopped, they would collect all the books and burn them.” Chatsky opposes bureaucracy, serving individuals, not the cause (“I would be glad to serve - it’s sickening to serve”). He is outraged by Famusov's principles: "signed - so off your shoulders", "well, how not to please your dear little man." Main character, selflessly loving their homeland, people, stands for careful attitude to the Russian language, "so that our smart, vigorous people, although in language we are not considered Germans." Chatsky is eloquent, a man of extraordinary intelligence, courageous, honest and sincere. A. S. Griboyedov shows these qualities especially clearly, opposing the hypocritical sycophant Molchalin to the main character. This is a vile person who regularly fulfills his father's covenant "to please all people without exception." Molchalin is “a low-flyer and a businessman”, as Chatsky characterizes him, whose bold speeches stirred up the calmness of the Famus society, caused indignation and a sharp rebuff. old world resists, fights with the hero, using slander. Together they picked up the rumor started by Sophia about the madness of Alexander Andreevich. Famusovsky world is still strong and numerous. And the offended Chatsky flees from the house of Pavel Afanasyevich, flees from Moscow. But the reader is convinced moral victory hero over the old world.

I. A. Goncharov in the article “A Million of Torments” defined the meaning of Griboyedov’s hero in the following way: “he is an eternal denouncer of lies, hiding in a proverb: one is not a warrior in the field. No, warrior, if he is Chatsky and, moreover, a winner.

AS Griboyedov left an indelible mark on the history of Russian culture. In the comedy "Woe from Wit", he put forward the main social and idealistic problem of his turning point - the problem of the irreconcilable enmity of the defenders of the old system and the representatives of the new worldview, the new free life. This topic not only did not lose its significance throughout the entire 19th century, but, on the contrary, is becoming increasingly acute, reflecting the socio-historical contradictions of the bourgeois era. The great comedy remains fresh and relevant in our time. And the current reader is very dear to the patriotism and deep faith in Russia of A. S. Griboyedov, a wonderful national and folk writer.

Comedy "Woe from Wit" - famous work A. S. Griboedova. Having composed it, the author instantly stood on a par with the leading poets of his time. The appearance of this play caused a lively response in literary circles. Many were in a hurry to express their opinion about the merits and demerits of the work. Particularly heated debate was caused by the image of Chatsky, the main character of the comedy. This article will be devoted to the description of this character.

Chatsky's prototypes

The contemporaries of A. S. Griboedov found that the image of Chatsky reminds them of P. Ya. Chaadaev. This was pointed out by Pushkin in his letter to P. A. Vyazemsky in 1823. Some researchers see an indirect confirmation of this version in the fact that the original protagonist of the comedy bore the surname Chadsky. However, many refute this opinion. According to another theory, the image of Chatsky is a reflection of the biography and character of V.K. Kuchelbecker. A disgraced, unfortunate person who had just returned from abroad could well become the prototype of the protagonist of Woe from Wit.

On the similarity of the author with Chatsky

It is quite obvious that the protagonist of the play in his monologues expressed the thoughts and views that Griboedov himself adhered to. "Woe from Wit" is a comedy that has become the author's personal manifesto against the moral and social vices of Russian aristocratic society. Yes, and many of Chatsky's character traits seem to be written off from the author himself. According to contemporaries, Alexander Sergeevich was impetuous and hot, sometimes independent and sharp. Chatsky's views on imitating foreigners, the inhumanity of serfdom, and bureaucracy are the true thoughts of Griboyedov. He repeatedly expressed them in society. The writer was even once really called crazy when at a social event he warmly and impartially spoke about the servile attitude of Russians to everything foreign.

Author's characterization of the hero

In response to the critical remarks of his co-author and longtime friend P. A. Katenin that the character of the protagonist is "confused", that is, very inconsistent, Griboedov writes: "In my comedy there are 25 fools per sane person." The image of Chatsky for the author is a portrait of an intelligent and educated young man who finds himself in a difficult situation. On the one hand, he is in "contradiction with society", since he is "a little higher than the others", he is aware of his superiority and does not try to hide it. On the other hand, Alexander Andreevich cannot achieve the former location of his beloved girl, suspects the presence of an opponent, and even unexpectedly falls into the category of crazy people, which he learns about last. Griboyedov explains the excessive ardor of his hero by a strong disappointment in love. Therefore, in "Woe from Wit" the image of Chatsky turned out to be so inconsistent and inconsistent. He "spit in the eyes of everyone and was like that."

Chatsky in the interpretation of Pushkin

The poet criticized the main character of the comedy. At the same time, Pushkin appreciated Griboyedov: he liked the comedy Woe from Wit. in the interpretation of the great poet is very impartial. He calls Alexander Andreevich an ordinary reasoning hero, a mouthpiece for the ideas of the only smart person in the play - Griboyedov himself. He believes that the main character is a "kind fellow" who picked up extraordinary thoughts and witticisms from another person and began to "throw pearls" in front of Repetilov and other representatives of the Famus Guard. According to Pushkin, such behavior is unforgivable. He believes that Chatsky's contradictory and inconsistent character is a reflection of his own stupidity, which puts the hero in a tragicomic position.

The character of Chatsky, according to Belinsky

A well-known critic in 1840, like Pushkin, denied the protagonist of the play a practical mind. He interpreted the image of Chatsky as an absolutely ridiculous, naive and dreamy figure and dubbed him "the new Don Quixote." Over time, Belinsky somewhat changed his point of view. The characterization of the comedy "Woe from Wit" in his interpretation has become very positive. He called it a protest against "vile racial reality" and considered it "the noblest humanistic work". The critic did not see the true complexity of the image of Chatsky.

The image of Chatsky: interpretation in the 1860s

Publicists and critics of the 1860s began to attribute only socially significant and socio-political motives to Chatsky's behavior. For example, I saw in the protagonist of the play a reflection of Griboyedov's "back thoughts". He considers the image of Chatsky a portrait of a Decembrist revolutionary. The critic sees in Alexander Andreevich a man struggling with the vices of contemporary society. For him, the characters of Woe from Wit are characters not of a "high" comedy, but of a "high" tragedy. In such interpretations, the appearance of Chatsky is extremely generalized and interpreted very one-sidedly.

The appearance of Chatsky at Goncharov

Ivan Alexandrovich in his critical study "A Million of Torments" presented the most insightful and accurate analysis of the play "Woe from Wit". The characterization of Chatsky, according to Goncharov, should be made taking into account his state of mind. Unhappy love for Sophia makes the protagonist of the comedy bilious and almost inadequate, makes him pronounce long monologues in front of people who are indifferent to his fiery speeches. Thus, without taking into account the love affair, it is impossible to understand the comic and at the same time tragic nature of the image of Chatsky.

The problems of the play

The heroes of "Woe from Wit" face Griboedov in two plot-forming conflicts: love (Chatsky and Sofia) and socio-ideological and the main character). Of course, it is the social problems of the work that come to the fore, but also love line very important in the play. After all, Chatsky was in a hurry to Moscow solely to meet with Sofia. Therefore, both conflicts - socio-ideological and love - reinforce and complement each other. They develop in parallel and are equally necessary for understanding the worldview, character, psychology and relationships of comedy characters.

Main character. love conflict

In the system of characters in the play, Chatsky is in the main place. He links two storylines into a whole. For Alexander Andreevich, it is precisely love conflict. He perfectly understands the society of which people he got into, and is not at all going to engage in educational activities. The reason for his stormy eloquence is not political, but psychological. "Impatience of the Heart" young man felt throughout the entire play.

At first, Chatsky's "talkativeness" was caused by the joy of meeting Sophia. When the hero realizes that the girl has no trace of her former feelings for him, he begins to do inconsistent and daring acts. He stays in Famusov's house with the sole purpose of finding out who became Sofia's new lover. At the same time, it is quite obvious that his "mind and heart are not in harmony."

After Chatsky learns about the relationship between Molchalin and Sofia, he goes to the other extreme. Instead of loving feelings, he is overcome by anger and rage. He accuses the girl of "luring him with hope", proudly tells her about the break in relations, swears that he "sobered up ... completely", but at the same time he is going to pour out "all the bile and all the annoyance" on the world.

Main character. Socio-political conflict

Love experiences increase the ideological confrontation between Alexander Andreevich and the Famus society. At first, Chatsky refers to the Moscow aristocracy with ironic calmness: "... I'm a weirdo for another miracle / Once I laugh, then I'll forget ..." However, as he becomes convinced of Sophia's indifference, his speech becomes more and more impudent and unrestrained. Everything in Moscow begins to irritate him. Chatsky touches in his monologues on many actual problems contemporary era: questions about national identity, serfdom, education and enlightenment, real service, and so on. He talks about serious things, but at the same time, from excitement, he falls, according to I. A. Goncharov, into "exaggerations, into almost drunkenness of speech."

The worldview of the protagonist

The image of Chatsky is a portrait of a person with an established system of worldview and morality. He considers the main criterion for evaluating a person to be the desire for knowledge, for beautiful and lofty matters. Alexander Andreevich is not against working for the benefit of the state. But he constantly emphasizes the difference between "serve" and "serve", which he attaches fundamental importance to. Chatsky is not afraid public opinion, does not recognize authorities, preserves its independence, which causes fear among Moscow aristocrats. They are ready to recognize in Alexander Andreevich a dangerous rebel who encroaches on the most sacred values. From the point of view of the Famus society, Chatsky's behavior is atypical, and therefore reprehensible. He "is familiar with the ministers", but does not use his connections in any way. Famusov's offer to live "like everyone else" replies with a contemptuous refusal.

In many respects he agrees with his hero Griboyedov. The image of Chatsky is a type of an enlightened person who freely expresses his opinion. But in his statements there are no radical and revolutionary ideas. Just in a conservative Famus society any deviation from the usual norm seems outrageous and dangerous. Not without reason, in the end, Alexander Andreevich was recognized as a madman. only in this way could they explain for themselves the independent nature of Chatsky's judgments.

Conclusion

IN modern life the play "Woe from Wit" remains more relevant than ever. The image of Chatsky in comedy is the central figure that helps the author to express his thoughts and views to the whole world. By the will of Alexander Sergeevich, the protagonist of the work is placed in tragicomic conditions. His impetuous are caused by disappointment in love. However, the problems that are raised in his monologues are eternal topics. It is thanks to them that comedy entered the list of the most famous works world literature.

The image of Chatsky based on the work of I.A. Goncharova A million torments. the main role, of course, the role of Chatsky, without which there would be no comedy, but, perhaps, there would be a picture of morals. Chatsky is not only smarter than all other people, but also positively smart. His speech boils with intelligence, wit. He has a heart, and at the same time he is impeccably honest. In a word, this person is not only intelligent, but also developed, with feeling, or, as his maid Lisa recommends, he is sensitive, and cheerful, and sharp. He is a sincere and ardent figure. Chatsky strives for a free life and demands service to the cause, and not to individuals. Every step, almost every word in the play is closely connected with the play of his feelings for Sofya, irritated by some kind of lie in her actions, which he struggles to unravel to the very end.

He came to Moscow and to Famusov, obviously, for Sophia and for Sophia alone. He doesn't care about others. Meanwhile, Chatsky managed to drink a bitter cup to the bottom, not finding living sympathy in anyone, and leave, taking with him only a million torments. A million torments and grief, that's what he reaped for everything he managed to sow.

Until now, he was invincible his mind mercilessly hit the sore spots of enemies. He felt his strength and spoke confidently. But the struggle wore him down. Chatsky, like a wounded man, gathers all his strength, makes a challenge to the crowd, and strikes at everyone, but he did not have enough power against the united enemy. He falls into exaggeration, almost into drunkenness of speech, and confirms in the opinion of the guests the rumor spread by Sophia about his madness. He has ceased to control himself and does not even notice that he himself is composing a performance at the ball. Alexander Andreevich is definitely not himself, starting with a monologue about a Frenchman from Bordeaux and remains so until the end of the play.

Only a million torments are replenished ahead. If he had one healthy minute, if a million torments had not burned him, he would, of course, ask himself the question Why and for what did I do all this mess? And, of course, I would not have found an answer. Chatsky is most of all a denouncer of lies and everything that has become obsolete, that drowns out new life, life free.

He is very positive in his demands and declares them in a ready-made program, worked out not by him, but by the century already begun. Chatsky demands a place and freedom for his age, he asks for deeds, but does not want to be served and stigmatizes servility and buffoonery. His ideal of a free life is determinant - it is freedom from all the chains of slavery that fetters society, and then freedom - to stare into science a mind that is hungry for knowledge Every deed , which requires updating, causes Chatsky's shadow. And whoever the figures are, no matter what human matter is, will it be new idea, a step in science, in politics, people were grouped, they could not get away from the two main motives of the struggle - from the advice to study, looking at the elders, on the one hand, and from the thirst to strive from routine to a free life forward and forward, on the other.

That is why Griboedov's Chatsky has not yet grown old, and with him the whole comedy.

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Composition

The main role, of course, is the role of Chatsky, without which there would be no comedy, but, perhaps, there would be a picture of morals. Chatsky is not only smarter than all other people, but also positively smart. His speech boils with intelligence, wit. He has a heart, and at the same time he is impeccably honest. In a word, this person is not only intelligent, but also developed, with feeling, or, as his maid Lisa recommends, he is "sensitive, and cheerful, and sharp." He is a sincere and ardent figure. Chatsky yearns for a "free life" and demands "service to the cause, not to individuals."

Every step, almost every word in the play is closely connected with the play of his feelings for Sofya, irritated by some kind of lie in her actions, which he struggles to unravel to the very end. He came to Moscow and to Famusov, obviously, for Sophia and for Sophia alone. He doesn't care about others.

Meanwhile, Chatsky got to drink a bitter cup to the bottom, not finding "living sympathy" in anyone, and leave, taking with him only "a million torments."

"A million torments" and "woe"! - that's what he reaped for everything that he managed to sow. Until now, he was invincible: his mind mercilessly hit the sore spots of enemies. He felt his strength and spoke confidently. But the struggle wore him down. Chatsky, like a wounded man, gathers all his strength, makes a challenge to the crowd, and strikes at everyone, but he did not have enough power against the united enemy. He falls into exaggeration, almost into drunkenness of speech, and confirms in the opinion of the guests the rumor spread by Sophia about his madness.

He has ceased to control himself and does not even notice that he himself is putting together a performance at the ball. Alexander Andreevich is definitely “not himself,” starting with the monologue “about the Frenchman from Bordeaux,” and remains so until the end of the play. Only “a million torments” are replenished ahead.

If he had one healthy minute, if “a million torments” had not burned him, he would, of course, have asked himself the question: “Why and for what have I done all this mess?” And, of course, there would be no answer.

Chatsky is most of all a denouncer of lies and everything that has become obsolete, that drowns out a new life, “a free life. He is very positive in his demands and declares them in a ready-made program, worked out not by him, but by the century already begun. Chatsky demands a place and freedom for his age: he asks for business, but does not want to be served and stigmatizes servility and buffoonery. His ideal of “free life” is decisive: it is freedom from all the chains of slavery that fetters society, and then freedom - “to stare into science the mind that is hungry for knowledge” ...

Each case that needs updating causes the shadow of Chatsky. And no matter who the figures are, no matter what kind of human business is around - whether it be a new idea, a step in science, in politics - people are grouped, they can’t get away from the two main motives of the struggle: from the advice “to learn by looking at the elders”, on the one hand, and from thirst to strive from the routine to the "free life" forward and forward, on the other.

That is why Griboedov's Chatsky has not yet grown old, and hardly ever will grow old, and with him the whole comedy.

How do Goncharov and Pushkin evaluate Chatsky, Sophia, other heroes of the comedy, the artistic skill of the writer?

Sophia is distinguished, as I. A. Goncharov said, “a mixture of good instincts with lies ... confusion of concepts, mental and moral blindness - all this does not have the character of personal vices in her, but appears in her as common features her circle. In her own, personal physiology, something of her own is hidden, hot, tender, even dreamy. Sophia's personal, considerable potential has so far had no reason to manifest itself in relations with genuine, and not imaginary moral values. The heroine's future is uncertain.

I. A. Goncharov wrote: “Chatsky is broken by the number old force, inflicting a mortal blow on it with the quality of fresh strength. He is the eternal denouncer of lies, hiding in the proverb: "One man in the field is not a warrior." No, a warrior, if he is Chatsky, and, moreover, a winner, but an advanced warrior, skirmisher and always a victim.

And yet, the writer proves throughout the course of action that abstract romantic judgments about the good are somewhat depreciated by the inability of the hero to understand specific, not so difficult circumstances.

Chatsky accuses Sophia of what she did not do: “Why did they lure me with hope?” In the article “A Million of Torments”, I. A. Goncharov wrote that in this case, Chatsky “changes not only the mind, but also common sense.” As A. S. Pushkin rightly noted, there is no great sense in the hero’s attempts to preach his ideas among ignorant people who cannot accept them, but are hostile in advance. However, it is important for the author that Chatsky's accusatory monologues still sound. In them, the “current age” manifests itself in full measure.