|. Introduction
The answer to this question is absolutely clear at first glance - Chatsky is smart. This is confirmed by the words of Griboyedov himself: “In my comedy there are twenty-five fools for every sane person.” But the fact of the matter is that the problem seems simple only at first glance. The comedy features different types minds, between which a conflict arises.
II. main part
1. Chatsky's mind. None of the characters in the comedy, even those who are unfriendly towards him, dispute Chatsky’s intelligence. Lisa says about him: “Who is so sensitive, and cheerful, and sharp, like Alexander Andreich Chatsky!” Sophia, too, cannot deny Chatsky’s intelligence: “Oster, smart, eloquent...” Famusov himself recognizes Chatsky’s intelligence: “He writes and translates beautifully... One cannot help but regret that with such a mind...”
What is Chatsky’s mind?
a) Chatsky is a person who received a good education, he is one of those who in those days were called enlightened nobles. He knows a lot, is interested in a lot, has his own judgment about many life problems: about serfdom, about national dignity, about the meaning and purpose of existence, about service to the Fatherland, etc. He lives by his own mind, refusing to take on faith the experience of previous
generations, that’s why he is so bold in his judgments, which horrifies Famusov, Molchalin and others.
b) Chatsky’s form of manifestation of intelligence is unique: he can speak easily, freely, and wittily, which almost all other characters in the comedy are not capable of (according to Famusov, “he speaks as he writes”). He is completely incapable of talking about various vulgarities that so occupy other comedy heroes; he is interested in sublime subjects.
c) Chatsky is not just smart, he is free-thinking, free-thinking is inherent in him. This is important because in the era of Griboedov, one of the synonyms for the word “smart” was the word “free-thinking,” that is, free-thinking.
2. Why “woe from mind”? Smart Chatsky always finds himself in stupid situations and looks almost funny. In Famusov's Moscow, no one needs his intelligence; moreover, it is harmful and unacceptable to society.
a) Chatsky constantly harms himself, and precisely because of his mind. From the very beginning, he irritates Famusov and thereby actually deprives himself of hope for marriage with Sophia; says barbs to Skalozub, Famusov’s guests, Molchalin - he will remember all this when he needs evidence of his madness.
b) Sophia doesn’t need Chatsky’s intelligence: for her, Chatsky is too smart, daring and independent to be good husband(“Oh, if someone loves someone, why look for intelligence and travel so far”), In the third act, Sophia, indirectly characterizing Chatsky’s mind in comparison with Molchalin, will say: “Will such a mind make a family happy?”
c) the general rejection of Chatsky’s mind ultimately leads to him being declared crazy: not just a troublemaker, a “farmazon”, a “carbonari”, but precisely a madman (lost his mind).
3. In the comedy, Chatsky’s mind is contrasted with a practical, everyday mind, which allows him to achieve success in business. Such intelligence is characteristic of most comedy characters, but is most clearly manifested in the image of Molchalin. Molchalin's mind is, first of all, cunning, secrecy, admiration for general opinion and recognized authorities. It is this type of mind that is most valued in society, examples of which are Colonel Skalozub, Famusov, his uncle Maxim Petrovich (about whom Famusov, not by chance, says that he is “smart”), etc.
III. Conclusion
Each character in a comedy has his own intelligence and his own stupidity. The dramatic action is largely based on their collision. The question formulated in the theme of the essay can be answered in the words of Pushkin: “In the comedy “Woe from Wit,” who is the smart character? answer: Griboedov."
Retelling plan
1. The maid Lisa makes sure that no one interferes with the meeting between Sophia and Molchalin.
2. Famusov, Sophia’s father, runs into Molchalin outside his daughter’s room.
3. Arrival of Chatsky.
4. Famusov talks with Chatsky and remains dissatisfied with his way of thinking.
5. Skalozub in the Famusovs’ house.
6. Molchalin falls from his horse. Sophia, seeing this, faints, revealing her affection for Molchalin.
7. Chatsky tries to find out from Sophia who she prefers.
8. Chatsky, in a conversation with Molchalin, learns his life principles.
9. Reception of guests in Famusov’s house.
10. Sophia, angry with Chatsky, starts a rumor about his madness. The whole society willingly picks up this idea.
11. The guests are leaving.
12. Chatsky hears the conversation between Sophia and Molchalin. Insulted, he leaves.
Retelling
Action 1
Phenomenon 1
Early morning. Living room. The maid Lisa makes sure that no one catches Sophia and Molchalin together in the hostess’s room. Lisa is afraid of the appearance of Sophia's father and hurries the young lady, knocks on her door, and deliberately sets the clock in the living room so that it starts chiming.
Phenomenon 2
Famusov enters, begins to flirt with Lisa, tries to hug her. She resists. Famusov replies that no one will be able to catch them, since Sophia is sleeping. To which Lisa says that Sophia, who had been reading all night, just fell asleep. Lisa convinces Famusov to leave so as not to wake up her daughter. Lisa is left alone: “Pass us beyond all sorrows / And lordly anger, and lordly love."
Phenomenon 3
For Sophia the night flew by unnoticed. It started in the house usual life. Lisa asks Molchalin to leave quickly. But he unexpectedly runs into Famusov.
Phenomenon 4
Famusov was very surprised by Molchalin’s early presence near Sophia’s room. Famusov asks Molchalin to stay away: “Friend, is it possible to take a walk / Choose a nook further away?” Famusov blames Sophia for being too interested in books, believes that his daughter is deceiving him, and tells how much effort and money he invested in her training and upbringing. Then Famusov turns to Molchalin so that he does not forget his good deeds: “And if it weren’t for me, you would be smoking in Tver.” Sophia stands up for Molchalin and tells her father a fictitious dream. The father advises to forget all nonsense, calls Molchalin to “sort out the papers”: “My custom is this: / It’s signed, so off your shoulders.”
Phenomenon 5
Lisa convinces Sophia to be careful, she believes that Famusov wants a husband in rank and with stars, such as Skalozub, for his daughter. Sofia: “I don’t care what goes into the water.” Lisa remembers Chatsky: “Who is so sensitive, and cheerful, and sharp...” Sofia: “The desire to wander attacked him, / Ah! If someone loves someone, / Why search for the mind and travel so far!”; “The one I love is not like that: / Molchalin is ready to forget himself for others, / The enemy of insolence, always shyly, timidly...”
Phenomenon 7
Chatsky appears: “It’s barely light and you’re already on your feet!” And I am at your feet." Sofia is cold towards Chatsky, but he is consoled by the assurances that Sofia remembers him: “Blessed is he who believes, he is warm in the world!”
Chatsky recalls their childhood, and then asks: “Aren’t you in love?” Sofia avoids a direct answer. Chatsky starts a conversation about Moscow, speaks ironically about mutual acquaintances, and is interested in Molchalin: “Where is he, by the way? / Has he not yet broken the silence of the seal?.. / However, he will reach known degrees, / After all, nowadays they love the dumb.” Sofia says about Chatsky (to the side): “Not a man, a snake!”
Phenomenon 9
Famusov greets Chatsky, who begins to praise Sophia. Famusov is interested in Chatsky’s journey. Chatsky cannot talk about anything other than Sophia's beauty.
Phenomenon 10
Famusov reflects on which of the young people Sophia prefers: “That beggar, that dandy friend; / Considered a spendthrift, a tomboy; / What a commission, Creator, / To be a father to an adult daughter!”
Act 2
Phenomenon 1
Famusov dictates to the servant a list of visits to be made during the week: “What kind of aces live and die in Moscow!”
Phenomenon 2
Chatsky appears. Seeing the puzzled expression on Famusov’s face, Chatsky wonders if something happened to Sophia?
“Let me woo you, what would you tell me?” Famusov recommends to Chatsky: “...go and serve.” To which he replies: “I would be glad to serve, but being served is sickening.” Famusov tells the story of Uncle Maxim Petrovich, who made a dizzying career at court, falling in front of the highest persons and amusing them with this: “He fell painfully, but got up well.” Chatsky: “No, the world is not like that these days... / Everyone breathes more freely / And is in no hurry to fit into the regiment of jesters.” Famusov My God! He’s a Carbonari!...Dangerous man!” and covers his ears so as not to hear Chatsky’s “liberties.”
Phenomenon 3
The servant reports about Skalozub. Famusov fusses: “Receive him, call him, ask him, tell him that he’s home, / That he’s very glad,” asks Chatsky: “behave modestly in front of him.”
Phenomenon 4
Chatsky is surprised by the fuss around the colonel: “Ah! Tell love the end, / Whoever goes away for three years.”
Phenomenon 5
Famusov warmly welcomes Skalozub. Skalozub answers all questions briefly and often inappropriately, talks about the ways of his career advancement: “Yes, to get ranks, there are many channels; /<...>I just wish I could become a general." Famusov hints to him about marriage: “there is no transfer for brides in Moscow,” talks about the hospitality of Moscow houses: “The door is open for the invited and the uninvited, / Especially from foreign ones”; about Moscow youth, who are already beginning to “teach teachers,” about the ladies: “They are judges of everything, everywhere, there are no judges over them.” Skalozub and Famusov agree that Moscow pleases with new houses and roads. To this Chatsky remarks: “The houses are new, but the prejudices are old.” Famusov regrets that Chatsky did not serve, but he could have: “he’s a guy with a head.” Chatsky pronounces a monologue “Who are the judges?”, in which he angrily condemns the “fatherland of their fathers”: some are “rich in robbery”, others are “noble scoundrels”, hiding “weakness of mind, poverty of reason” behind their uniforms. Famusov hurriedly leaves.
Apparitions 7, 8
Sophia sees through the window how Molchalin falls from his horse and faints. Lisa and Chatsky fuss around Sophia, bringing her to her senses. Sophia reproaches Chatsky for not helping Molchalin. Chatsky replies that everything is fine with Molchalin and that he rushed to save Sophia first of all. He is worried about Sophia’s excitement about Molchalin: “You can only feel this way / When you lose your only friend.”
Phenomenon 11
Molchalin and Liza reprimand Sophia for her incontinence. Molchalin recommends Sophia to be more careful: “Ah! Gossips scarier than a pistol."
Apparitions 12-14
Molchalin flirts with Lisa, offers her gifts, asks her: “Come at lunch, stay with me.” Liza rejects Molchalin, because she loves the bartender Petrusha.
Act 3
Phenomenon 1
Chatsky decides to get a confession from Sophia, “Who is finally dear to her?” Molchalin - “The Most Pitiful Creature”, Skalozub - “Wheezer, Strangled, Bassoon, / Constellation of Maneuvers and Mazurkas.” Sophia evasively answers that she loves “the whole world.” Chatsky, in a passionate speech, confesses his love to Sophia and asks about Molchalin: “But is he worth you?” Sophia speaks about “Molchalin’s virtues”: “compliant, modest, quiet, / Not a shadow of anxiety in his face / And no offenses in his soul.” Chatsky doesn’t believe it: “She doesn’t respect him,” “He’s being naughty, she doesn’t love him,” and starts talking about Skalozub: “He’s a hero with his face and voice...” Sophia interrupts him: “Not my novel.”
Phenomenon 3
Chatsky cannot believe in Sophia’s choice: “Helpful, modest, with a blush in his face. / Here he is on tiptoe and not rich in words.” Molchalin appears, and a conversation ensues between him and Chatsky. Molchalin speaks about his main “talents”: “Moderation and accuracy”, about plans: “And take awards and live happily”, about life attitudes: “At my age one should not dare / to have one’s own judgment”, “After all, one must depend on others." Chatsky is convinced that Sophia laughed at him - she cannot love a person “with such feelings, with such a soul.”
Phenomenon 6
Evening, guests are arriving. It turns out that Chatsky is familiar with Platon Mikhailych, the husband of a young lady, Natalya Dmitrievna. During the conversation, the wife does not allow her husband to say a word, she only complains about his poor health; she completely dominated the former officer to her whims. Chatsky is surprised by the changes in his old friend, and he complains: “Now, brother, I’m not the same.”
Phenomena 7
The Tugoukhovsky couple with six daughters appears. Natalya Dmitrievna begins to discuss outfits with the ladies. Having learned that Chatsky is not married, the prince, on the advice of the princess, goes to invite Chatsky to dinner, but then it turns out that Chatsky is not rich, and the princess shouts to the whole room to her husband to come back.
Phenomenon 9
Platon Mikhailych introduces Chatsky to Zagoretsky: “he is a secular man, / A notorious swindler, a rogue.” Zagoretsky calmly tolerates the offensive recommendation.
Apparitions 10-12
Old woman Khlestova arrives: “Out of boredom, I took with me / Arapka-girl and a dog.” She reports that Zagoretsky, “a liar, a gambler and a thief,” “got two little blacks at the fair” for her. Famusov introduces Skalozub to Khlestova. Molchalin hovers around Khlestova, trying to serve her.
Phenomenon 13
Chatsky ridicules Molchalin in front of Sophia: “Who else will settle everything so peacefully! / There he will pet the pug in time! / The card will fit there! / Zagoretsky will not die in it!..”
Phenomenon 14
Sophia is annoyed by Chatsky’s ridicule: “I’m glad to humiliate, to prick; envious, proud and angry! When Mr. N. approaches her and asks about Chatsky, Sophia replies: “He’s out of his mind.” This is how the rumor about Chatsky’s madness arises. Sophia picks up an accidentally dropped phrase: “Ah! Chatsky, you like to dress everyone up as jesters, / Would you like to try it on yourself?”
Apparitions 15-16
Mr. N. and Mr. D. are discussing the “news” - Chatsky’s madness. Zagoretsky picks up an absurd rumor about Chatsky: “They grabbed him, took him to the yellow house, and put him on a chain.”
Apparitions 17-21
Now Zagoretsky reports the news about Chatsky to the countess-granddaughter, who replies that she herself noticed that not everything is all right with Chatsky. The rumor spreads among the guests. Now everyone is discussing Chatsky, remembering his words, and deciding: “He’s crazy about everything.”
Phenomenon 22
Chatsky enters: “A million torments / Chest from friendly pressure, / Legs from shuffling, ears from exclamations, / And even worse than the head from all sorts of trifles.” The guests gradually fall silent. Chatsky says to Sophia: “My soul here is somehow compressed with grief.” He pronounces a monologue about the “Frenchman from Bordeaux”, about the spirit of “empty, slavish, blind imitation”, about the desire “so that our smart, cheerful people / Although by language they do not consider us Germans.” Gradually, Chatsky finds himself alone: the guests are dancing diligently, the old people are playing cards.
Act 4
Phenomena 1-3
Night in Famusov's house. The guests are leaving. Chatsky is disappointed with the evening: “What did I expect? What did you think you would find here? He's about to leave.
Phenomenon 4
Repetilov appears in the entryway, he talks all sorts of nonsense, Chatsky interrupts him: “Listen! lie, but know when to stop.” Repetilov chatters about “secret meetings”, about the “most secret alliance”, about “decisive people”. It turns out that all the “activities” of these people are contained in one phrase: “We’re making noise, brother, we’re making noise.” They are characterized by expressive surnames: Vorkulov, Udushev, Lakhmotyev, Repetilov himself (from the French “to repeat”).
Phenomenon 5
Repetilov switches to the approaching Skalozub. He stops Repetilov’s chatter: “You won’t faint me with your learning... / I am Prince Gregory and you / I will give you a sergeant-major to Voltaire, / He will line you up in three ranks, / And make a uttered noise, and he will instantly calm you down.”
Appearances 6, 7
Skalozub is replaced by Zagoretsky, who “confesses” to Repetilov: “I’m the same as you: a terrible liberal!”, and then reports the “news” about Chatsky’s madness. Repetilov doesn’t believe it. The departing guests unanimously repeat to Repetilov about Chatsky’s madness: “The whole world knows about this.” The ashamed Repetilov agrees: “Sorry, I didn’t know it was too public.”
Phenomenon 10
Chatsky is amazed at the absurd rumor about himself: “Fools believed it, passed it on to others, / Old women instantly sounded the alarm - / And here is public opinion!” Sophia calls Molchalin from her room on the second floor. Chatsky is excited: “If you’re going to burn, / It’s better right away.” He hides behind a column, wanting to find out everything.
Apparitions 11, 12
Lisa calls Molchalin to Sophia. He flirts with Lisa, not noticing that Sophia sees and hears him. Lisa tries to reason with Molchalin, but he, it turns out, does not at all want to marry Sophia: “We’ll delay the matter without a wedding.” Molchalin reveals himself to Lisa: “My father bequeathed to me: / First, to please all people without exception - / The owner where I happen to live, / The boss with whom I will serve, / His servant who cleans dresses, / The doorman, the janitor, to avoid evil, / To the janitor’s dog, so that it is affectionate.” Molchalin tries to hug Lisa: “Why isn’t she you!”, but Sophia stops him: “Go no further, I’ve heard a lot, / A terrible person! I’m ashamed of myself and the walls.” Sophia threatens to tell her father “the whole truth” if Molchali does not leave their house: “I myself am pleased that I found out everything at night, / There are no reproachful witnesses in my eyes, / Like before, when I fainted, / Chatsky was here... “Chatsky rushes between them: “He’s here, you pretender!” Molchalin, seizing the moment, disappears into his room.
Phenomenon 13
Chatsky is furious: this is who Sophia traded him for! “Silent people are blissful in the world!” Sophia cries: “Don’t continue, I’m blaming myself all around.” There is a noise.
Phenomenon 14
Famusov runs in with a crowd of servants: “Bah! All familiar faces! / Daughter, Sofya Pavlovna! Stranger! / Shameless!” It seems to Famusov that “it’s all a conspiracy,” but not long ago Sophia “she herself called him a madman.” Chatsky is amazed: “So I still owe you this fiction?” Famusov is angry with the servants, with Sophia, with Chatsky. He threatens to send Sophia “away from these grips, / To the village, to her aunt, to the wilderness, to Saratov.” Chatsky is threatened that now “everyone’s door will be locked,” that he will complain “to the Senate... to the ministers, to the sovereign.”
Chatsky is confused, disappointed, annoyed: “Blind! In whom I sought the reward of all my labors!”, reproaches Sophia: “Why did they lure me with hope?”, mockingly advises her to make peace with Molchalin: “A boy-husband, a servant-husband, one of a wife’s pages - / The high ideal of all Moscow husbands,” addresses to Famusov: “I wish you to slumber in happy ignorance, / I do not threaten you with my matchmaking. / There will be another who is well-behaved, / A sycophant and a businessman.” Chatsky’s speech becomes increasingly heated: “So! I have sobered up completely, / Dreams are out of sight - and the veil has fallen... / Everyone is driving me away! everyone curses! A crowd of tormentors / In the love of traitors, in tireless enmity... / He will come out of the fire unharmed, / Whoever manages to spend a day with you, / Will breathe the same air, / And his sanity will survive.” And finally:
Get out of Moscow! I don't go here anymore.
I’m running, I won’t look back, I’ll go looking around the world,
Where is there a corner for an offended feeling!
Carriage for me, carriage!
Phenomenon 15
Famusov, who does not understand anything, turns to Sophia: “Well? Don't you see that he's gone crazy?<...>Have you decided to kill me? / Isn’t my fate still sad? / Ah! My God! What will Princess Marya Aleksevna say?
What is Chatsky fighting for and against?
1. Chatsky is the only one positive hero Griboyedov's comedy "Woe from Wit".
2. The main objects of Chatsky’s criticism:
a – despotism and slavery in all its manifestations
b – serfdom
c – admiration for foreigners and foreignness
d – careerism and servility.
3. Chatsky’s ideals:
a – freedom and dignity of the individual and society
b – national dignity
c – true service to the motherland
3. The immortality of Chatsky’s image (“Every business that requires renewal evokes the shadow of Chatsky” - I. A. Goncharov).
Famusovskaya Moscow in the image of Griboyedov
1. The main conflict of the comedy is the confrontation between Chatsky and Famus society.
2. The main representatives of the Famusov society:
a – Famusov: typical gentleman; formal attitude towards service; immorality of ideals; self-confidence
b – Skalozub: careerism, callousness, narrow-mindedness, stupidity, martinet wit
c – Molchalin: hypocrisy, servility, cunning, everyday practicality, baseness and meanness; careerist-everyman
d - Sophia: the mystery and inconsistency of her character: intelligence, wit, resourcefulness - and hidden power, ideal peaceful life, fear of change
3. Minor representatives of Famus society:
a – Khlestova – authoritativeness and reactionaryness
b – Zagoretsky – immorality
c – Repetilov – fruitless chatter
4. The lack of spirituality of Famus society, hatred of enlightenment. Typical characters.
Topicality of Griboedov's comedy "Woe from Wit" in XIX century and in our time.
1. The time when the comedy was created (1823) and the main problems of our time reflected in it (the War of 1812 and the expectation of freedom, the Decembrist movement).
2. Typical character of the comedy heroes.
3. Perfection, aphoristic language (A.S. Pushkin: “I’m not talking about poetry - half of it should become a proverb”).
4. The immortality of comedy (richness of content, artistic perfection, typical characters, the image of Chatsky).
I. A. Goncharov: “The comedy “Woe from Wit” somehow stands apart in literature and is distinguished by its youthfulness, freshness and stronger vitality from other works of the word. She is like a hundred-year-old man, around whom everyone, having lived out their time in turn, dies and lies down, and he walks, vigorous and fresh, between the graves of old people and the cradles of new people. And it never occurs to anyone that someday it will be his turn.”
The skill of Griboedov the playwright
1. Realism of the comedy “Woe from Wit”
a – a true picture of Moscow noble life in the 20s. XIX century, breadth of social background
b – Griboyedov’s acquaintances served as prototypes for many of the comedy heroes
c – reflection of real and current problems time
2. Comedy composition
a – traces of the influence of classicism: adherence to the three classical unities (place, time, action), “speaking” surnames, the image of the maid Lisa
b – departure from the rules of classicism: in a work of a low genre – comedy – important social and political problems of the time are addressed
c - the action of the comedy from the very beginning develops in two directions, interconnected: in the psychological, personal (Chatsky’s love for Sophia) and in the public (the conflict between Chatsky and Famusovsky society)
3. Mastery of comedy language
a – aphoristic, accurate, colorful language
b – skill speech characteristics characters (Chatsky’s speech is logical, harmonious; Skalozub’s is rude, martinet, etc.)
c – the language of comedy is based on popular speech, which consists of different lexical layers: words, words of common people, books; vocabulary of noble life. Griboyedov uses all the riches of the language, creating a living Russian speech).
4. The comedy verse - free iambic - helps to convey the natural flow of live speech.
5. The skill of Griboyedov as a playwright is the key to the unfading of the comedy “Woe from Wit.”
Plan
1. Morning in Famusov’s house.
2. Arrival of Chatsky. Sophia's coldness towards him.
3. Conversation between Famusov and Chatsky. Famusov's monologue about Uncle Maxim Petrovich.
4. Visit of Skalozub.
5. Chatsky’s monologue about serfdom.
6. Molchalin's fall from his horse.
7. Ball at Famusov’s house.
8. The attitude of the guests towards gossip about Chatsky’s madness.
9. The failed meeting between Sophia and Molchalin, which was interrupted by Chatsky.
10. Chatsky’s departure from Moscow.
Summary
Basic characters: Pavel Afanasyevich Famusov - manager in a government place.
Sophia is his daughter.
Lisa is a maid.
Alexey Stepanovich Molchalin is Famusov’s secretary, living in his house.
Alexander Andreevich Chatsky.
Sergei Sergeevich Skalozub - colonel.
Spouses Natalya Dmitrievna and Platon Mikhailovich Gorichi.
Prince Tugoukhovsky, his wife and six daughters.
Countess-grandmother and Countess-granddaughter of Khryumina.
Anton Antonovich Zagoretsky.
Khlestova is Famusov’s sister-in-law.
Repetilov.
The action takes place in Moscow, in Famusov’s house.
In the morning, Lisa wakes up in the living room, in an armchair. She made sure all night that no one caught Sophia and Molchalin alone during their date. Famusov appears and encounters Molchalin at the door, to whom he recommends “to choose a back street for walks further away,” since he is firmly convinced that the one who is poor is not a match for his daughter.
Lisa, in a conversation with Sophia, remembers Chatsky, with whom she was raised together and who left to wander about three years ago. A servant enters and reports on Chatsky’s arrival.
Chatsky appears. He tries to convince Sophia that he rode almost seven hundred miles without rest just to see her. He asks about mutual friends, then talks about Russian upbringing and education. Confesses his love to Sophia.
Famusov, meanwhile, is trying to guess whether his daughter is in love with Molchalin or Chatsky. He asks Chatsky if he is thinking about marrying Sophia, advising him to first go to serve. Next he talks about his uncle Maxim Petrovich, who achieved a high position in society and made a brilliant career by constantly pleasing his superiors and ingratiating himself at court. He served under Empress Catherine, and once during a reception in the palace he fell, as a result of which he was “bestowed with the highest smile.” In response to this, Maxim Petrovich fell on purpose, and then in the same way for the third time. But Chatsky objects to Famusov, condemning such behavior.
Famusov is visited by Colonel Skalozub, whom the owner is very happy about. Famusov tries to talk with the guest about his relatives, about his brother, but Skalozub is only able to talk about the service.
We're talking about marriage, oh modern society. Chatsky again objects to Famusov and pronounces an angry accusatory monologue, sharply condemning serfdom.
Sophia and Lisa appear in the room and see through the window that Molchalin has fallen from his horse. Sophia loses consciousness. Having woken up and come to her senses after fainting, she is only worried about Molchalin’s well-being. Chatsky begins to suspect that Sophia is in love with Molchalin.
Guests come to Famusov's house for a ball. Here Chatsky meets his old friend Platon Mikhailovich, with whom he once served. Platon Mikhailovich has changed beyond recognition; he lives in Moscow all the time, under the thumb of his wife, Natalya Dmitrievna. Princess and Prince Tugoukhovsky and their six daughters appear. Then the countesses grandmother and granddaughter Khryumina, Zagoretsky, Khlestova, Skalozub, Molchalin enter.
In a conversation with G.N., Sophia says that it seems to her that Chatsky has gone crazy. G. N. shares this news with G. D., who, in turn, tells Zagoretsky that Chatsky has lost his mind.
Everyone immediately believed the gossip about Chatsky’s madness, because he managed to give everyone advice that no one liked. Discussing the reasons for Chatsky’s madness, Famusov claims that teaching is to blame. Chatsky, talking with Sophia, condemns people's thoughtless imitation of everything foreign.
The guests are gradually leaving. Repetilov, rejoicing at meeting Chatsky, invites him to the club, but he refuses.
Chatsky becomes aware of the ridiculous gossip that Sophia spread about him. In addition, he finds out that Sophia has made a date with Molchalin and is keeping an eye on them.
The maid calls Molchalin to Sofya, he flirts with Lisa, assuring her that he does not like Sofya Pavlovna. He says that his father bequeathed to him to please all people, so he loves the owner’s daughter “according to his position.” Sophia hears this conversation and, deceived in her best feelings, orders Molchalin to leave their house before morning. Chatsky comes out from behind the column. He heard everything too. Famusov appears with the servants. Seeing Chatsky and Sophia, he suspects that they are having a secret date. Angry, Famusov threatens his daughter that he will send her to her aunt “in the wilderness, to Saratov.” Chatsky pronounces an angry monologue, reproaching Sophia for choosing Molchalin over him, not telling her that she “turned everything that was before” between them into dust, advising her to make peace with Molchalin, because he will make an excellent husband-servant, and Famusov declares that he will not marry his daughter. Then he demands a carriage and leaves.
History of the comedy
The comedy “Woe from Wit” is the main and most valuable result of the work of A.S. Griboedova. When studying the comedy “Woe from Wit”, analysis should be made, first of all, of the conditions in which the play was written. It touches on the issue of the brewing confrontation between the progressive and conservative nobility. Griboedov ridicules morals secular society early 19th century. In this regard, the creation of such a work was a rather bold step in that period of development of Russian history.
There is a known case when Griboyedov, returning from abroad, found himself at one of the aristocratic receptions in St. Petersburg. There he was outraged by the obsequious attitude of society towards one foreign guest. Griboedov's progressive views prompted him to express his sharply negative opinion on this matter. The guests considered young man crazy, and news of this quickly spread throughout society. It was this incident that prompted the writer to create a comedy.
Themes and issues of the play
It is advisable to begin the analysis of the comedy “Woe from Wit” by referring to its title. It reflects the idea of the play. Feels grief from his sanity main character comedy - Alexander Andreevich Chatsky, who is rejected by society only because he is smarter than the people around him. This also leads to another problem: if society rejects a person of extraordinary intelligence, then how does this characterize society itself? Chatsky feels uncomfortable among people who consider him crazy. This gives rise to numerous verbal clashes between the protagonist and representatives of the society he hates. In these conversations, each party considers itself smarter than the other. Only the intelligence of the conservative nobility lies in the ability to adapt to existing circumstances in order to obtain maximum material gain. Anyone who does not pursue rank and money is considered a madman.
Accepting Chatsky's views for the conservative nobility means beginning to change their lives in accordance with the demands of the time. No one finds this comfortable. It’s easier to declare Chatsky crazy, because then you can simply ignore his accusatory speeches.
In Chatsky’s clash with representatives of aristocratic society, the author raises a number of philosophical, moral, national-cultural and everyday issues. Within the framework of these topics, the problems of serfdom, service to the state, education, family life. All these problems are revealed in comedy through the prism of understanding the mind.
The conflict of a dramatic work and its originality
The uniqueness of the conflict in the play “Woe from Wit” lies in the fact that there are two of them: love and social. Social contradiction lies in the clash of interests and views of representatives of the “present century” represented by Chatsky and the “past century” represented by Famusov and his supporters. Both conflicts are closely related to each other.
Love experiences force Chatsky to come to Famusov’s house, where he has not been for three years. He finds his beloved Sophia in a confused state, she receives him very coldly. Chatsky does not realize that he arrived at the wrong time. Sophia is busy with worries love story with Molchalin, his father’s secretary, living in their house. Endless thoughts about the reasons for the cooling of Sophia’s feelings force Chatsky to ask questions to his beloved, her father, Molchalin. During the dialogues, it turns out that Chatsky has different views with each of his interlocutors. They argue about service, about ideals, about the morals of secular society, about education, about family. Chatsky’s views frighten representatives of the “past century” because they threaten the usual way of life of Famus society. Conservative nobles are not ready for change, so rumors about Chatsky’s madness, accidentally started by Sophia, instantly spread through society. The protagonist's beloved is the source of unpleasant gossip because he interferes with her personal happiness. And here again we see the interweaving of love and social conflicts.
System of comedy characters
In his depiction of characters, Griboyedov does not adhere to a clear division into positive and negative, which was mandatory for classicism. All heroes have both positive and negative traits. For example, Chatsky is smart, honest, brave, independent, but he is also quick-tempered and unceremonious. Famusov is the son of his age, but at the same time he is a wonderful father. Sophia, ruthless towards Chatsky, is smart, courageous and decisive.
But the use of “speaking” surnames in the play is a direct legacy of classicism. Griboedov tries to put the leading feature of his personality into the hero’s surname. For example, the surname Famusov is derived from the Latin fama, which means “rumor.” Consequently, Famusov is the person who is most concerned public opinion. It is enough to remember his final remark to be convinced of this: “...What will Princess Marya Aleksevna say!” Chatsky was originally Chadsky. This surname hints that the hero is in the throes of his struggle with the mores of aristocratic society. The hero Repetilov is also interesting in this regard. His surname is associated with French word repeto - I repeat. This character is a caricature double of Chatsky. He does not have his own opinion, but only repeats the words of others, including the words of Chatsky.
It is important to pay attention to the placement of characters. Social conflict occurs mainly between Chatsky and Famusov. A love confrontation is being built between Chatsky, Sophia and Molchalin. These are the main characters. Unites love and social conflict figure of Chatsky.
The most difficult part in the comedy “Woe from Wit” is the image of Sophia. It is difficult to classify her as a person who adheres to the views of the “past century.” In her relationship with Molchalin, she despises the opinion of society. Sophia reads a lot and loves art. She is disgusted by the stupid Skalozub. But you can’t call her a supporter of Chatsky either, because in conversations with him she reproaches him for his causticity and mercilessness in his words. It was her word about Chatsky’s madness that became decisive in the fate of the main character.
Minor and episodic characters are also important in the play. For example, Lisa and Skalozub are directly involved in the development of a love conflict, complicating and deepening it. The episodic characters who appear as guests of Famusov (Tugoukhovskys, Khryumins, Zagoretsky) more fully reveal the morals of Famusov’s society.
Development of dramatic action
Analysis of the actions of “Woe from Wit” will reveal compositional features works and features of the development of dramatic action.
The exposition of the comedy can be considered all the phenomena of the first act before Chatsky’s arrival. Here the reader gets acquainted with the scene of action and learns not only about love affair Sophia and Molchalin, but also about the fact that Sophia previously had tender feelings for Chatsky, who had left to travel around the world. The appearance of Chatsky in the seventh scene of the first act is the beginning. What follows is the parallel development of social and love conflicts. Chatsky's conflict with Famus society reaches its peak at the ball - this is the culmination of the action. The fourth act, 14th appearance of the comedy (Chatsky’s final monologue) represents the denouement of both social and love lines.
At the denouement, Chatsky is forced to retreat to Famus society because he is in the minority. But he can hardly be considered defeated. It’s just that Chatsky’s time has not yet come; a split among the nobility has only just begun.
The originality of the play
Research and analysis of the work “Woe from Wit” will reveal its striking originality. Traditionally, “Woe from Wit” is considered the first Russian realistic play. Despite this, it retained the features inherent in classicism: “speaking” surnames, unity of time (the events of the comedy take place within one day), unity of place (the play takes place in Famusov’s house). However, Griboyedov refuses the unity of action: in the comedy two conflicts develop in parallel at once, which contradicts the traditions of classicism. In the image of the main character, the formula of romanticism is also clearly visible: an exceptional hero (Chatsky) in unusual circumstances.
Thus, the relevance of the play’s problems, its unconditional innovation, and the aphoristic language of the comedy are not only of great importance in the history of Russian literature and drama, but also contribute to the popularity of the comedy among modern readers.
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