The plot and composition of the comedy. A. S. Griboyedov worked a lot as a playwright - both alone and in collaboration with many well-known writers of that time, but for readers he remained for the rest of his life the author of one comedy, the brightest and most cheerful - “Woe from Wit”. This work is unusual for its time: it combines the features of classicism that is fading into the past and realism that is gaining its rights. What remains from classicism in the play is strict adherence to the “three unities”: place, time and action. The events take place in Famusov's house over the course of one day; there are no characters or episodes that do not relate to the main conflict of the comedy. The characters of some of the heroes can be considered classic: the good-natured “father of the family” Famusov, the quick-tongued maid Liza, the faithful friend of her mistress.
But in the plot of the comedy, features are already appearing that distinguish it from the usual classical canons. First of all, it has two storylines that are closely interconnected: the social conflict between Chatsky and Famus society and the personal relationship between Chatsky and Sophia. Both lines are connected so closely that all compositional moments: beginning, climax, denouement - they exactly coincide.
In a comedy, the situation in Famusov’s house before Chatsky’s arrival can be called exposition—events occurring before the action begins. From Lisa’s words, from her conversations with Famusov and Sophia, we learn about the dates of Molchalin and Sophia, about Famusov’s desire to marry his daughter to Skalozub, that Chatsky was formerly Sophia’s friend, was brought up in this house, but then left to travel for three I haven’t written a single line in a year. It is clear that Sophia is offended by his departure: “Oh, if someone loves someone, why look for the brains and travel so far!” And probably, in revenge for Chatsky who left, she chose Molchalin - modest, agreeing with her in everything, the complete opposite of the obstinate Chatsky. At the same time, Sophia does not at all share the opinion of her father, who considers Skalozub the best groom for his daughter: “He hasn’t uttered a smart word in his life - I don’t care what’s for him, what’s in the water.”
But the plot of the comedy lies in the arrival of the main character. Only with his appearance do both storylines begin to develop. Chatsky is hot, impetuous, all in motion, from his first remark: “It’s barely light and you’re already on your feet!” And I’m at your feet” - and to the last: “Carriage for me, carriage!” He immediately draws attention to Sophia’s coldness and tries to understand the reason for such inattention: who is the hero of the novel now? Listing all his old acquaintances and asking about them, he gives each an apt, caustic characterization, and Sophia finds it amusing to listen to him until he just as caustically makes fun of Molchalin. Sophia feels insulted and begins to avoid Chatsky, trying not to reveal her feelings for Molchalin. This is how the hero’s personal drama begins. In parallel with it, it develops social conflict: after all, Chatsky boldly and passionately expresses his views on the structure of society, on serfdom, the need to serve the state. This scares Famusov, Molchalin cannot accept this, Skalozub does not understand this, and, finally, with this Chatsky alienates all the guests in Famusov’s house. The ball scene is the culmination of both storylines. The offended Sophia, taking advantage of an accidental slip of the tongue, convinces Mr. N that Chatsky is “out of his mind,” he conveys the news to Mr. D, and there the gossip grows, like snowball, enriched with ever new details. The guests, whom Chatsky inadvertently turned against himself, joyfully slander, looking for the reason for his madness: either it was hereditary, or he drank a lot, or from “learning.” And when, during one monologue, Chatsky looks around him, he sees that no one is listening to him - “everyone is twirling in the waltz with the greatest zeal.” The ostentatious zeal of the dancers and the loneliness of the hero are the climax of the play, the highest point in the development of action for both storylines.
The decoupling also arrives simultaneously. When the guests are leaving, Chatsky's carriage is missing for a long time, and he accidentally witnesses a conversation between the guests about his madness, and then a meeting between Sophia and Molchalin, and hears a conversation between Molchalin and Lisa. Sophia also hears this conversation, learning the truth about true attitude Molchalin to her. For her, this is a cruel blow, but Chatsky at this moment does not think about the girl’s feelings. He doesn’t even think about the need to be careful; the main thing for him is that he learned: “Here, finally, is the solution to the riddle! Here I am sacrificed to whom!” Therefore, it is not surprising that Molchalin managed to quietly disappear, and Famusov and the servants, attracted by the noise, find Chatsky with Sophia and consider him the hero of the scandal. And here the conflict is finally resolved: Famusov lets slip that it was Sophia who called him crazy. The hero is used to being condemned in Famus society, but the fact that Sophia treats him the same way is too hard for him: “So I still owe you this fiction? “Having suffered a crushing defeat both in the social circle and in love, he is in a hurry to leave. This is the ending of the comedy. However, it should be noted that Griboedov leaves the ending open and open-ended. After all, Chatsky left without changing his convictions, without doubting them for a minute. Society will also not change its views on life and main life values, which means that the conflict has not been resolved, it will continue in the future.
A special feature of the comedy is also the vivid and imaginative speech characteristics of the characters. For each of the characters, speech serves as a means of creating an individual character: for the modest Molchalin, who does not attract attention to himself, for the limited Skalozub, for the not very educated but confident old woman Khlestova, or the French-speaking fashionista of Countess Khryumina, the granddaughter.
In the speech of the heroes there are often well-aimed witty phrases, which became winged: “ Gossips worse than a pistol”, “Happy people don’t watch the clock”, “Who are the judges?”, “The legend is fresh, but hard to believe.”
Griboedov also uses “speaking” surnames traditional for Russian comedy for his characters: Molchalin, Skalozub, Famusov (from the Latin fama - fame, rumor), Repetilov (from the Latin repeto - repeat).
And finally, a significant role in comedy is played by the so-called off-stage characters - heroes who do not participate in the action, but are mentioned along the way. Some of them are like-minded people of Chatsky, but the majority still cannot be called his supporters; they are his same opponents, the “tormenting crowd” that prevails in secular society.
These are the main features of the plot and composition of the comedy "Woe from Wit", these are the artistic and language means, which helped the author achieve main goal- make your work unforgettable for readers.
One of the most common and persistent accusations brought against Griboedov as the author of a comedy by his contemporaries was the remark about the lack of a coherent and thoughtful plan. Moreover, this accusation was made by both friends and foes. Katenin and Pushkin wrote about this in friendly responses; One of Griboedov’s first ill-wishers, the famous vaudeville actor A.I., also spoke about this. Pisarev on the pages of the magazine “Bulletin of Europe”.
Contemporaries did not see internal unity in Griboyedov’s comedy “Woe from Wit,” although it would seem that the so-called “trinity” was preserved: place (Famusov’s house), time (one day), action (love triangle). But this was also an apparent adherence to tradition: the house turned into a space not only for Moscow, but for all of Russia; one crazy day became a symbol of the era, and the love triangle consisted of solid angles and was not so much love as ideological: everyone ended up with nothing, there was not even a hint of a happy ending.
But with internal unity the situation was even more complicated: in the comedy “Woe from Wit” by Griboyedov it was not there, but there were two lines of development of the action and plot. When Pisarev reproached Griboyedov for the lack of communication, i.e. plan, he meant one of two things: either a single love affair, or a consistently consistent moral and descriptive satirical task. In Griboedov’s comedy there is something else, but it is deeply interconnected, and the classical interpretation of such a synthesis is given by I.A. Goncharov. “Two comedies,” he wrote, “seem to be nested within one another: one, so to speak, private, petty, domestic, between Chatsky, Sophia, Molchalin and Liza; This is the intrigue of love, the everyday motive of all comedies. When the first one is interrupted, another unexpectedly appears in the interval, and the action begins again, a private comedy plays out into a general battle and is tied into one knot.” The composition of the comedy “Woe from Wit” is the key to understanding this paradox of “internal form”, and therefore let us turn to its consideration.
Woe from Wit has four acts. And this was also a reason for bewilderment among contemporaries: why not the traditional and legalized five? First of all, Griboyedov’s comedy is noticeably divided into two dialectically interacting parts. The first half (acts one and two) is dominated by comedy, based on the love affair, and therefore these acts are relatively sparsely populated. In the second half (third and fourth acts), social comedy dominates, and these actions are presented to the reader and viewer, according to the witty remark of P.A. Vyazemsky, “people characters" But the social theme does not arise with the beginning of the 3rd act, and the love theme does not end with the end of the 2nd. Chatsky’s clash with Famusov’s Moscow begins from his very first appearance on stage: first, in a conversation with Sophia, with humorous epigrams addressed to acquaintances (“Well, what about your father, and auntie? Still a girl, Minerva?”). In the second act, it intensifies to an irritated intonation (“And sure enough, the world began to grow stupid, // And who are the judges?”). In the third act it reaches a climax and is catastrophically resolved in the fourth (“I won’t come to my senses, it’s my fault...”) as a result of a meeting with Repetilov, Sophia’s accidentally overheard conversation with Molchalin and an explanation with Sophia. Thus, according to emotional stress and intensity center of gravity social comedy falls on the final two acts, but the material for this feeling is already contained in the first two acts.
A love affair goes through the same stages, with some differences in composition and tempo. Moreover, the space of its greatest intensity is the first and second actions. It is they who are oversaturated with the question that intrigues all the heroes: “Which of the two?”: for Famusov - Molchalin or Chatsky, for Chatsky - Molchalin or Skalozub. Two planned love triangle: dramatic - Sophia, Molchalin, Chatsky and almost vaudeville - Liza, Famusov, Molchalin, which complement and balance each other. Moreover, it is curious that they are identical in their dramatic properties - in both of them, two unsuccessful rivals are opposed by a happy third: Sophia, rejecting Chatsky and Skalozub, loves Molchalin, and Liza, rejecting the advances of Molchalin and Famusov, admits: “And I... I am the only one who is afraid of love to death. — // How can you not fall in love with the bartender Petrusha!” This is the final line of the second act, and then the love affair subsides: “the scales fell from my eyes.” The love affair is resolved simultaneously with the social drama in the comedy finale. This is approximately the dialectic of two large parts of the text.
In turn, each action is divided into two relatively independent pictures, and these pictures are arranged in such a way that, within the entire comedy, in the center are public paintings, framed with love ones. Each character takes part in two actions and lives in two spaces. This can be represented in the following table:
Act I
Act II
Act III
IV action
Thus, overall plan The play is classically structured: the basis of the composition “Woe from Wit” by Griboedov is the relationship, the interweaving of love intrigue and Chatsky’s social drama, which not only interact, but also alternate rhythmically, like the encircling rhymes in two quatrains: abba and abba. The general compositional principle of “Woe from Wit” can be defined as the law of artistic symmetry or as the principle mirror composition. In such an architectonics, the fifth act turned out to be unnecessary, since it violated the harmonious unity of the two lines. At the same time, the four-act sequence had a meaningful meaning: the comedy ended in open space, its hero went into life as a spiritual winner.
Speaking about the pre-Griboedov comedy (and here, first of all, the names of Sumarokov, Fonvizin, Kapnist must be mentioned), it should be noted that its conflict was born from the collision of everyday and existential principles, which determined the presence of two types artistic images: satirical, morally descriptive and heroic ideologists or lovers. And if the first in the tradition of satire had texture, volume, and a pronounced individuality, then the second in the tradition of the odic world image were ethereal and resonant.
Lesson objectives:
Educational:
- expand knowledge about A. S. Griboyedov’s comedy “Woe from Wit”;
- learn to analyze the list of actors;
- analyze the key actions of the comedy;
- identify the features of the conflict, reveal the main stages of the comedy plot.
Educational:
- develop the ability to substantiate your point of view with evidence;
- develop the ability to interact in a team.
Equipment: text of the play by A.S. Griboedov’s “Woe from Wit” is on every student’s desk.
Hello guys! In the last lesson we talked about the personality of Alexander Sergeevich Griboyedov, his extraordinary talents and outstanding abilities, about the fate of this man. Apogee literary activity Griboyedov’s play in verse “Woe from Wit”, which will be discussed today.
So, first, let's remember the definition of drama.
Drama is one of the main types of literature, along with epic and lyric poetry, intended for production on stage.
Griboedov became the creator of one of the greatest dramas of all time.
Let's touch this greatness, let's try to form our own opinion about the play and its characters.
We need to understand in what historical period a comedy takes place. This is easy to determine by analyzing historical events discussed by the characters in the play. So, the war with Napoleon is already over, but still fresh in the memory of the heroes. The Prussian king Friedrich Wilhelm visited Moscow. It is known that this visit took place in 1816. The characters discuss the accusation of three professors Pedagogical Institute in “calling for an attempt on legitimate power,” their expulsion from the university occurred in 1821. The comedy was completed in 1824. Consequently, the time of action is the first half of the 20s of the 19th century.
We open the poster. What do we pay attention to first? ? (Title, list of characters and location)
Read the comedy poster. Think about what in its content resembles elements of classicism? (Unity of place, “speaking” names)
We talked about speaking names. What are they telling us? Let's comment.
Pavel Afanasyevich Famusov, manager in a government place - lat. fama - “rumor” or English. Famous - “famous”. A civil servant occupying a fairly high position.
Sofya Pavlovna, his daughter– Sophias are often called positive heroines, wisdom (remember “The Minor” by Fonvizin)
Alexey Stepanovich Molchalin, Famusov’s secretary, who lives in his house, is silent, “the enemy of insolence,” “on tiptoe and not rich in words,” “will reach the famous levels - after all, nowadays they love the dumb.”
Alexander Andreevich Chatsky– originally Chadian (in Chad, Chaadaev); an ambiguous, multifaceted personality whose character cannot be expressed in one word; There is an opinion that the author gave the name Alexander to emphasize some similarity with himself. Griboyedov himself said that in his play there were “twenty-five fools for one sane person,” which he considered Chatsky to be.
The surname “Chatsky” carries an encrypted hint to the name of one of most interesting people that era: Pyotr Yakovlevich Chaadaev. The fact is that in the draft versions of “Woe from Wit” Griboedov wrote the hero’s name differently than in the final version: “Chadsky”. 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 Sea Shore of Taurida”: “Chadaev, do you remember the past?..”
Chaadaev participated in Patriotic War 1812, in the anti-Napoleonic campaign abroad. In 1814 he joined the Masonic lodge, and in 1821 he suddenly interrupted his brilliant military career and agreed to join 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.”
The 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 Nicholas Russia that the author “ Philosophical letters“suffered an unprecedented and terrible punishment: by the highest (that is, personally imperial) decree, he was declared crazy.
Colonel Skalozub, Sergei Sergeevich– often reacts inadequately to the words of the heroes, “cliffs”.
Natalya Dmitrievna, young lady, Platon Mikhailovich, her husband, - Gorichi- a woman is not in the first place (!), Platon Mikhailovich is a friend and like-minded person of Chatsky, but a slave, is under pressure from his wife and society - “grief”.
Prince Tugoukhovsky And Princess, his wife, with six daughters - again there are many women who actually have difficulty hearing, the motive is deafness.
Khryumins– the name speaks for itself – a parallel with pigs.
Repetilov– (from the French Repeter – “to repeat”) – carries the image of a pseudo-oppositionist. Having no opinion of his own, Repetilov repeats other people's thoughts and expressions. The author contrasts him with Chatsky as an internally empty person who tries on “other people’s views and thoughts.”
§ Try to determine its key themes by the title of the comedy and the poster.
When reading dramatic work it is very important to be able to highlight individual scenes, follow general development actions.
How many key scenes can be roughly distinguished from the comedy “Woe from Wit”? What scenes are these?
15 key scenes:
1 – events in Famusov’s house on the morning of Chatsky’s arrival through the eyes of Lisa;
2 – Chatsky’s arrival at Famusov’s house;
3 – morning events and their development through the eyes of Famusov;
4 – the first clash between Chatsky and Famusov;
5 – scene with Skalozub;
6 – Chatsky’s reflections on Sophia’s coldness;
7 – Sophia fainting, Molchalin’s declaration of love to Liza;
8 – explanation of Sophia and Chatsky;
9 – verbal duel between Chatsky and Molchalin;
10 – guests in Famusov’s house, the emergence of gossip about Chatsky’s madness;
11 – spreading gossip;
12 – Chatsky’s “fight” with his opponents;
13 – departure of guests from the ball;
14 – clash between Chatsky and Repetilov;
15 – Chatsky’s departure from Famusov’s house.
Now remember the main components of the plot of a dramatic work. Commencement – development of action – climax – denouement.
Which scene in the comedy “Woe from Wit” can be considered the beginning? The arrival of Chatsky, as the main conflicts arise - love and social. The climax? The last scene (immediately before the denouement - the final monologue and Chatsky’s departure), in which Molchalin’s pretense towards Sophia is revealed and Chatsky learns that he owes the rumors about his madness to Sophia. The denouement? Chatsky's departure, his greatest disappointment.
Even summary highlighted scenes allows us to say that the work is based on at least 2 intrigues. Which? (Love - Chatsky loves Sophia, she loves Molchalin, and social - the clash between Chatsky and Famus society).
The first such scene is the arrival of Alexander Andreevich Chatsky at the Famusovs’ house. “It’s barely light and you’re already on your feet! And I’m at your feet!” - this is how he greets Sofya Pavlovna, Famusov’s daughter, with whom he was in love as a child.
Actually, it is for the sake of meeting this girl that he returns from abroad, in such a hurry to get a visit. Chatsky does not yet know that during the three years of separation, Sophia’s feelings for him have cooled, and now she is passionate about Molchalin, her father’s secretary.
However, Chatsky, having arrived at the Famusovs, does not limit himself to attempts at amorous explanations with Sophia. During the years spent abroad, he adopted many liberal ideas that seemed rebellious in Russia early XIX century, especially for people whose most of their lives passed back in Catherine’s era, when favoritism flourished. Chatsky begins to criticize the way of thinking of the older generation.
Therefore, the next key scenes of this comedy are Chatsky’s argument with Famusov about “the present century and the past century,” when both of them pronounce their famous monologues: Chatsky asks, “Who are the judges?..”, wondering whose authority Famusov is referring to. He believes that the heroes of the 18th century are not at all worthy of such admiration.
Famusov, in turn, points out that “We should have watched what our fathers did!” - in his opinion, the behavior of the favorites of Catherine’s era was the only correct one; serving the authorities is commendable.
The next key scene of the comedy is the scene of the ball in the Famusovs’ house, at which many people close to the owner of the house come. This society, living according to the rules of Catherine’s era, is shown very satirically - it is emphasized that Gorich is under the thumb of his wife, the old woman Khlestova does not even consider her little black maid a person, and the ridiculous Repetilov actually does not represent anything.
Chatsky, being a liberal, does not understand such people. He is especially offended by the Gallomania accepted in society - the imitation of everything French. He takes on the character of a “preacher at a ball” and pronounces a whole monologue (“There is an insignificant meeting in that room...”), the essence of which boils down to the fact that many peasants in Russia consider their masters almost foreigners, because there are no almost nothing natively Russian.
However, the public gathered at the ball is not at all interested in listening to his reasoning; everyone prefers to dance.
The last key episode is the denouement of the comedy. When Chatsky and Famusov catch Sophia on a secret date with Molchalin, something happens in the lives of all the characters. sharp turn: The father is going to send Sophia from Moscow “to the village, to her aunt, to the wilderness, to Saratov,” and her maid Liza also wants to send her to the village “to fetch chickens.”
And Chatsky is shocked by this turn of events - he could not imagine that his beloved Sophia could be carried away by the poor, helpful secretary Molchalin, could prefer him to Chatsky himself.
After such a discovery, he has nothing to do in this house. In the final monologue (“I won’t come to my senses, it’s my fault...”), he admits that his arrival and behavior may have been a mistake from the very beginning. And he leaves the Famusovs’ house - “A carriage for me, a carriage!”
Target: get into the atmosphere of action; identify exposure, features of the conflict; analyze the list of actors; pay attention to the aphorism of speech
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A.S. Griboyedov. "Woe from Wit." Content overview. Reading key scenes of the play. Features of comedy composition. Features of classicism and realism in comedy, imagery and aphorism of its language. Meet the heroes.
Target: get into the atmosphere of action; identify exposure, features of the conflict; analyze the list of actors; pay attention to the aphorism of speech
During the classes
I Organizational moment
II Studying new material.
The comedy by A. S. Griboedov “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 identified. These problems in the play are born of the collision of a bright personality with an inert social structure, in the words of the author himself, “a sane person” with “twenty-five fools.”
Such a clash, "the contradiction between characters, or characters and circumstances, or within character, underlying action" is called conflict . Conflict is the “mainspring”, the source of dynamic tension in a literary work, ensuring the development of the plot.
Plot is “the chain of events depicted in literary work, i.e. the life of the characters in its spatio-temporal changes, in changing positions and circumstances.” The plot not only embodies the conflict, but also reveals the characters' characters, explains their evolution, etc.
What plot elements do you know?
Which ones are major and which are secondary?
What are distinctive features each (exposition, plot, development of action, climax, denouement)?
Is it possible to rearrange them?
What artistic effect is achieved?
1. Conversation about the composition of comedy.
Let's see which of the laws of classicism are preserved in the play, and which are violated.
1) The rule of “three unities”: - unity of time (1 day);
Unity of place (Famusov's house);
Unity of action (no, there is more than one conflict in the play).
The author touches on many serious issues of social life, morality, and culture. He talks about the situation of the people, about serfdom, about future fate Russia, about freedom and independence human personality, about a person’s vocation, about duty, about the tasks and ways of enlightenment and upbringing, etc.
2) In comedy, the compositional principle is observed: 4 acts,
in the 3rd - the climax, in the 4th - the denouement.
3) The presence of a love triangle.
4) The presence of a reasoner (Chatsky and Lisa).
5) “Talking” names (we read the poster: Molchalin, Famusov, Repetilov, Tugoukhovsky, Khlestova, Skalozub, Khryumin).
a) Famusov (from Latin Fama - rumor). Repetilov (from the French repeter - repeat).
Molchalin, Tugoukhovsky, Skalozub, Khryumina, Khlestova.
b). Heroes are characterized based on the following criteria:
the principle of birth and place on the career ladder.
V). Chatsky and Repetilov are deprived of these characteristics. Why?!
G). Two characters are designated conventionally G.N. and G,D. Why?
Surname Chatsky “Rhymed” (Chadsky - Chaadaev). With his comedy, Griboyedov foresaw the fate of PYa. Chaadaeva.
The surname “Chatsky” carries an encrypted hint to the name of one of the most interesting people of that era: Pyotr Yakovlevich Chaadaev. In the draft versions of “Woe from Wit,” Griboedov wrote the hero’s name differently than in the final version: “Chadsky.” 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 Sea Shore of Taurida”: “Chadaev, do you remember the past? .."
Chaadaev took part in the Patriotic War of 1812, in the anti-Napoleonic campaign abroad. 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, learned the latest philosophical teachings, and met Schelling and other thinkers. After returning to Russia in the 1828-1830s, he wrote and published the historical and philosophical treatise “Philosophical Letters”.
The 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 Nicholas Russia that the author of the “Philosophical Letters” suffered an unprecedented and terrible punishment: by the highest (i.e. personally imperial) decree he was declared crazy.
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 issue: what is Chatsky’s madness?
2. Work on the text of the comedy.
So, the action of the comedy takes place in the Famusovs’ house, in Moscow, but in the conversations and remarks of the characters, both the capital’s ministries of St. Petersburg and the Saratov “wilderness”, where Sophia’s aunt lives, appear. People of different types perform in comedy social status: from Famusov and Khlestova to serf servants.
Imagine the house of a rich Moscow gentleman half of the 19th century V. We enter the living room.
- Reading by roles of the 1st and 2nd phenomena of Act I.
Reading will be accompanied by elements of analysis.
Working in notebooks, students record the following material during or after reading and conversation: “catchphrase” expressions, characteristics of characters (including quotes), observations of the development of the conflict.
2) Conversation on the content of what was read.
What are phenomena 1-5 in terms of plot development? (Exhibition) What is the atmosphere of life in Famusov’s house and its inhabitants themselves, how does Griboyedov create their characters?
What information and how do we get about heroes who have not yet appeared on the scene?
What characters and situations are comical?
Can we imagine the individual appearance of each hero?
What have we learned about the characters’ hobbies and activities?
What kind of person is Famusov? How does he treat others?
Why does Pavel Afanasyevich pretend that he does not notice his daughter’s meetings with Molchalin?
What phenomenon begins the action? (From the 7th, when Chatsky appears.)
The last question will make it possible to draw attention to the peculiarity of the language of comedy and the skill of Griboedov, the poet. We emphasize that the poet adheres to the principles of simplicity and colloquial (but not vernacular) language, the speech of the characters is individualized; free iambic is used as the most flexible and mobile size; Griboyedov’s rhymes are interesting (what is the rhyme in Famusov’s monologue about Sophia’s upbringing - “mother” - “accept” worth).
3) Reading by roles of the 7th phenomenon.
4) Conversation on the content of the 7th phenomenon.
How does Chatsky appear? Where he was? What traits of his character immediately catch your eye?
How does Sophia greet him?
How does Chatsky try to return the “tone of the previous relationship” with his beloved?
When does Sophia begin to treat Chatsky with open hostility? Why?
Why is Famusov worried about Chatsky’s arrival? Why doesn’t he see worthy candidates for his daughter’s hand in either Molchalin or Chatsky?
After getting acquainted with phenomena 8-10, we find out whether a conflict has manifested itself, between whom, and what nature it is.
C onclusion: Analyzing action 1, we got acquainted with the characters and notedtwo main conflicts: "love" with which the play begins, and social , when “the present century” and “the past century” are contrasted. Social conflict does not fit into the framework of a love plot, it is broader. Act I develops mainly love line, the social is only outlined by Chatsky’s petty remarks about old Moscow.
III. Lesson summary.
Homework
1. Read Act II. 2. Individual task: prepare an expressive reading of Chatsky’s monologues “And exactly, the world began to grow stupid...”, “Who are the judges?” and Famusov “That’s it, you are all proud!”, “Taste, father, excellent manners”
The plot and composition of "Woe from Wit"
The plot of Griboyedov's comedy in itself is already quite original and unusual. I cannot agree with those who consider it banal. At first glance, it may seem that the main plot is the love story of Chatsky for Sophia. Indeed, this story occupies the work great place, giving liveliness to the development of action. But still, the main thing in comedy is Chatsky’s social drama. The title of the play indicates this. The story of Chatsky's unhappy love for Sophia and the story of his conflict with the Moscow nobility, closely intertwined, are combined into a single plot line. Let's follow its development. The first scenes, morning in Famusov's house - an exposition of the play. Sophia, Molchalin, Liza, Famusov appear, the appearance of Chatsky and Skalozub is prepared, the characters and relationships of the characters are described. The movement and development of the plot begins with the first appearance of Chatsky. And before this, Sophia spoke very coldly about Chatsky, and now, when he, animatedly sorting through his Moscow acquaintances, laughed at Molchalin at the same time, Sophia’s coldness turned into irritation and indignation: “Not a man, a snake!” So Chatsky, without suspecting it, turned Sophia against himself. Everything that happened to him at the beginning of the play will receive its continuation and development in the future: he will be disappointed in Sophia, and his mocking attitude towards his Moscow acquaintances will grow into a deep conflict with Famusovsky society. From Chatsky’s dispute with Famusov in the second act of the comedy, it is clearly clear that this is not just a matter of dissatisfaction with each other. Here two worldviews collided.
In addition, in the second act, Famusov’s hints about Skalozub’s matchmaking and Sophia’s fainting pose Chatsky with a painful riddle: could Sophia’s chosen one really be Skalozub or Molchalin? And if this is so, then which one of them?.. In the third act the action becomes very intense. Sophia makes it clear to Chatsky that she does not love him and openly admits her love for Molchalin, but she says about Skalozub that this is not the hero of her novel. It seems that everything has become clear, but Chatsky does not believe Sophia. This disbelief strengthens in him even more after a conversation with Molchalin, in which he shows his immorality and insignificance. Continuing his sharp attacks against Molchalin, Chatsky arouses Sophia’s hatred of himself, and it is she, first by accident, and then intentionally, who starts a rumor about Chatsky’s madness. The gossip is picked up, spreads with lightning speed, and they begin to talk about Chatsky in the past tense. This is easily explained by the fact that he has already managed to turn not only the hosts, but also the guests against himself. Society cannot forgive Chatsky for protesting against his morality.
This is how the action reaches its highest point, its climax. The denouement comes in the fourth act. Chatsky learns about the slander and immediately observes the scene between Molchalin, Sophia and Liza. “Here is the solution to the riddle at last! Here I am sacrificed to someone!” - this is the final insight. With enormous internal pain, Chatsky pronounces his last monologue and leaves Moscow. Both conflicts are brought to an end: the collapse of love becomes obvious, and the clash with society ends in a break. Vice is not punished and virtue does not triumph. However, from happy ending Griboyedov refused, abandoning the fifth act.
Discussing the clarity and simplicity of the composition of the play, V. Kuchelbecker noted: “In “Woe from Wit” ... the whole plot consists of Chatsky’s opposition to other persons; ... here ... there is no what in drama is called intrigue. Dan Chatsky , other characters are given, they are brought together, and it is shown what the meeting of these antipodes must necessarily be like - and that’s all. It’s very simple, but in this simplicity there is news, courage”... The peculiarity of the composition “Woe from Wit” in. the fact that its individual scenes and episodes are connected almost arbitrarily. It is interesting to see how, with the help of the composition, Griboedov emphasizes Chatsky’s loneliness. At first, Chatsky sees with disappointment that he ex-friend Platon Mikhailovich “became not the same” in a short time; Now Natalya Dmitrievna directs his every move and praises him with the same words that later Molchalin did for the Spitz: “My husband is a wonderful husband.” So, old friend Chatsky turned into an ordinary Moscow "husband - a boy, husband - a servant." But this is not a very big blow for Chatsky. Nevertheless, throughout the entire time when the guests arrive at the ball, he talks with Platon Mikhailovich. But Platon Mikhailovich later recognizes him as crazy and, for the sake of his wife and everyone else, abandons him. Further on, Griboedov, in the middle of his fiery monologue, first addressed to Sophia, Chatsky looks back and sees that Sophia has left without listening to him, and in general “everyone is spinning in the waltz with the greatest zeal. The old people have scattered to the card tables.” And finally, Chatsky’s loneliness is especially acutely felt when Repetilov begins to force himself on him as a friend, starting a “sensible conversation... about vaudeville.” The very possibility of Repetilov’s words about Chatsky: “He and I... we have... the same tastes” and a condescending assessment: “he’s not stupid” shows how far Chatsky is from this society, if he no longer has anyone to talk to , except for the enthusiastic chatterbox Repetilov, whom he simply cannot stand.
The theme of falling and the theme of deafness runs through the entire comedy. Famusov recalls with pleasure how his uncle Maxim Petrovich fell three times in a row to make Empress Ekaterina Alekseevna laugh; Molchalin falls from his horse, tightening the reins; Repetilov stumbles, falls at the entrance and “hastily recovers”... All these episodes are interconnected and echo the words of Chatsky: “And he was completely confused, and fell so many times”... Chatsky also falls to his knees in front of Sophia, who no longer loves him. The theme of deafness is also constantly and persistently repeated: Famusov covers his ears so as not to hear Chatsky’s seditious speeches; the universally respected Prince Tugoukhovsky does not hear anything without a horn; Khryumina, the countess-grandmother, herself completely deaf, not hearing anything and confusing everything, edifyingly says: “Oh! Deafness is a great vice.” Chatsky and later Repetilov hear no one and nothing, carried away by their monologues.
There is nothing superfluous in “Woe from Wit”: not a single unnecessary character, not a single unnecessary scene, not a single wasted stroke. All episodic persons were introduced by the author for a specific purpose. Thanks to off-stage characters, of which there are many in the comedy, the boundaries of Famusov’s house and the boundaries of time expand.
Baev Andrey
