Comedy “Woe from Wit” by Griboyedov: analysis of the work, materials for composition. Genre originality of the play "Woe from Wit"

Griboyedov's comedy "Woe from Wit" has been known to us since childhood, since it has long been included in school curriculum. In this article we will talk in more detail about the genre of the work, its main themes and idea, consider the plot, images of the main characters, and also give some of the most popular aphorisms.

About the product

We’ll look at the genre (“Woe from Wit”) below, but for now let’s talk about the history of its creation. It is known that Griboedov began writing the play in 1821. During these years, the writer served in Tiflis, but nevertheless found time to work. In 1823, Griboyedov returned to Moscow, where he completed work on the comedy. Here he read the work for the first time among friends.

Genre

It is quite difficult to determine what its genre is. “Woe from Wit” is an innovative work and violates many canonical principles of classicism. Like any traditional play, “Woe from Wit” is based on a love affair, but the main thing turns out to be social conflict, developing in parallel. In addition, the play combines everyday comedy, comedy of characters and social satire, which is unacceptable for classicism.

Doubts also arise as to whether the work can be called a comedy, as the author described it. After all main character It's completely atypical and doesn't make you laugh. On the other hand, all the signs of the declared genre are present - satirical characters and situations.

As a result, modern critics called the work a high comedy, since Griboyedov raises serious social and moral problems. And the changes made to the genre by the author are due to the fact that the implementation of the plan required more opportunities than the classical tradition allowed.

What's new?

The genre (“Woe from Wit”) is not for nothing considered innovative. Let's start with the fact that the author violated the unity of action in the work. That is, instead of one conflict, as was customary in classicism, Griboyedov depicts two - social and love. Also, in classical comedy, vice is inevitably defeated by virtue, but here this does not happen either. Chatsky finds himself outnumbered and forced to flee.

He also portrays Griboedov’s characters differently. They are not divided into negative and positive, and are endowed with more realistic features: they have both impartial and positive qualities. For example, Sophia is experiencing a personal drama, despite the fact that it is difficult to name negative character. The girl was sincerely in love with Molchalin.

From all of the above, we can conclude that the originality of the work lies in the fact that it includes several genres, of which the leading one is social comedy.

Meaning of the name

When analyzing the play, it is impossible not to reveal the meaning of the title. “Woe from Wit” is a title that helps the reader understand the main theme that the author wanted to reveal. Namely, he focused specifically on the category of mind. Let's start with the fact that the name refers us to Russian folk proverb, which describes the clash between the smart and the stupid, ending in the victory of the latter. Thus, even before reading the text, we can already predict the outcome.

This conflict between stupidity and intelligence has always been important to classicism. But Griboyedov rethought it. It is not for nothing that contemporaries immediately asked the question: who is smart in comedy? Critics agree that only two people are endowed with this quality - Molchalin and Chatsky. However, it helps the first to live, and destroys the second. The fact is that we have two types of minds. Molchalin’s is moderate, worldly, while Chatsky’s is ardent and unadapted to reality. Thus, the meaning of the title (“Woe from Wit”) takes on a slightly different meaning. We see that it is not just the mind that brings misfortune, but a certain type of mind.

The main character of the work is Alexander Andreevich Chatsky, a nobleman who, after a three-year journey, returns to his beloved Sophia. Thus, at first we see the usual love plot.

“Woe from Wit” begins with the awakening of Lizonka, who did not get enough sleep due to the nightly meetings of Sophia and Molchalin, because she had to keep the meeting a secret. On the same day, the girl recalls her long-time passion for Chatsky, calling him an intelligent and extraordinary person. However, this was all just a childish hobby, and besides, he offended her with his unexpected departure. At this moment they report the return of Chatsky.

The young man is glad to meet him and intends to marry Sophia, but she greets him very coldly. Famusov also does not want to give his daughter to a nobleman without a high rank. A dispute breaks out about “old” and “new” people.

Gradually, Chatsky begins to suspect that Sophia has another lover. He becomes cold, for which the girl accuses him of insensitivity.

Left alone with Lisa, Molchalin flirts with her.

Third and fourth acts: climax and denouement

Griboyedov's comedy "Woe from Wit" does not give the reader ideal hero: even Chatsky is portrayed as an imperfect person with his own shortcomings.

So, the main character cannot understand who is dear to Sophia. He cannot consider Molchalin a candidate, since he is a “most pitiful creature”, incapable of passionate feelings and selflessness. When it turns out that it was he who became Sophia’s chosen one, Chatsky becomes disappointed in his beloved.

The main character delivers an accusatory monologue about modern society. At the same time, a rumor started by Sophia spreads in the world that Chatsky is mad. As a result, the hero is forced to flee Moscow.

"Woe from Wit": characters

First, let's list the main characters of the comedy.

• Let's start, of course, with Alexander Chatsky. He knew Sophia from childhood and was in love with her. But 3 years before the start of the comedy, he went traveling. It is with his return that the beginning of the play and the outbreak of all conflicts are connected. Chatsky opposes himself to society with all the ardor of his youth. But in the end he is defeated and has to flee the house he has known since childhood.
• Sofya Famusova is a 17-year-old girl who grew up without a mother and was raised by her father. She is selflessly in love with Molchalin and is ready to defend him to the last. Sophia is not stupid; Griboyedov also endowed her with courage and the ability to resist the opinions of others.
• Alexey Molchalin - serves as Famusov’s secretary and lives in his house. He is very careful and prudent, remembering his low origins. Molchalin knows that Sophia loves him. He does not reciprocate and is ready to pretend for the sake of good attitude with your employer.
• And finally, Pavel Afanasyevich Famusov is Sophia’s father, who serves as a manager in a state-owned house. Two things are important to him - rank and the opinion of the world. He is very afraid of enlightenment and educated people.

Minor characters

There are others characters in the play "Woe from Wit". The supporting characters can be said to be divided into two groups - these are representatives of the local society and servants. The first are a reflection of social trends. From them one can judge what is going on in the minds of representatives of high society. Griboyedov portrays them as narrow-minded, ossified, stupid conservatives. These include Skalozub, Tugoukhovsky, Khryumin, Gorichi, as well as Famusov, the head of the house. The genre (“Woe from Wit”) presupposes the presence comic beginning, which was embodied in this society.

Servants do not occupy such a significant place. They, as is customary in Russian literature, reflect the character of the people. Among this group, two stand out - Lizonka, Sophia’s maid, who helps her secretly see Molchalin, and Petrushka, who plays the role of a mocker.

Themes of the work

There is far more than one theme in the play. “Woe from Wit” has a wide range of issues. Griboyedov managed to touch upon almost all the problems of his time. That's why the play for a long time was under censorship. So, let's list the main themes of the comedy: education and upbringing of the nobles, cruelty of the landowners, serfdom, senseless bureaucracy, the pursuit of ranks, the struggle between “old” and “new”, Arakcheevism, Frenchmania, liberalism, love of everything foreign. The writer also addresses such eternal topics as love, marriage, family, relationships between women and men, etc.

Aphorisms from "Woe from Wit"

Quotes from the play have long been loved by readers and “gone to the people.” Now we can’t always even understand that these are words from Griboyedov’s work, we are so accustomed to these expressions.

Here are the most famous ones:

• “And the smoke of the Fatherland is sweet and pleasant to us!”
• “You don’t watch happy hours.”
• “It’s barely light on my feet! And I am at your feet."
• “A carriage for me, a carriage!”

The aphorisms from “Woe from Wit” are so popular due to their accuracy and amazing topicality, which has survived to this day.

Statements about the comedy genre

1) I.A. Goncharov: “...The comedy “Woe from Wit” is both a picture of morals, and a gallery of living types, and an ever-sharp, burning satire, and at the same time a comedy, and let’s say for ourselves - most of all comedy - the kind that can hardly be found in other literatures..."

2) A.A. Blok: “Woe from Wit”... – a brilliant Russian drama; but how amazingly random it is! And she was born in some kind of fairy-tale setting: among Griboyedov’s plays, which were completely insignificant; in the brain of a St. Petersburg official with Lermontov’s bile and anger in his soul and with a motionless face in which “there is no life”; This is not enough: an unkind man with a cold and thin face, a poisonous mocker and skeptic... wrote the most brilliant Russian drama. Having no predecessors, he had no equal followers."

3) N.K. Piksanov: “In essence, “Woe from Wit” should be called not a comedy, but a drama, using this term not in its generic, but in its specific, genre meaning.<...>
The realism of "Woe from Wit" is the realism of high comedy-drama, the style is strict, generalized, laconic, economical to the last degree, as if elevated, enlightened."

4) A.A. Lebedev: “Woe from Wit” is all imbued with the element of laughter, in its most varied modifications and applications... The element of the comic in “Woe from Wit” is a most complexly contradictory element... Here a certain complex alloy of the most different elements, sometimes barely compatible, sometimes contrasting: here there is “light humor”, “quivering irony”, even “sort of caressing laughter” and then “causticity”, “bile”, satire.
...The tragedy of the mind, which is discussed in Griboedov’s comedy, is illuminated wittily. Here on this sharp edge of contact tragic element with comic in "Woe from Wit" and a peculiar subtext of the author's own perception of everything that happens is revealed..."

Arguments for comedy

1. Comic techniques:

A) Main reception, used in Griboedov's comedy, - comic inconsistencies :
Famusov(manager in a government place, but treats his duties negligently):

Comic incongruities in speech and behavior:

Skalozub(the character of the hero does not correspond to his position and the respect that is shown to him in society):

There are also contradictions in the statements of other characters in the comedy about him: on the one hand, he “hasn’t uttered a smart word in his life,” on the other, “he’s a gold bag and aims to be a general.”

Molchalin(inconsistency of thoughts and behavior: cynic, but outwardly obsequious, courteous).

Khlestova:

Lisa about her love for Sophia:

Chatsky(a discrepancy between the mind and the funny situation in which he finds himself: for example, Chatsky makes speeches addressed to Sophia at the most inopportune moment).

b) Comic situations: “conversation of the deaf” (dialogue between Chatsky and Famusov in Act II, monologue of Chatsky in Act III, conversation between the countess-grandmother and Prince Tugoukhovsky).

V) Comic effect creates parody image Repetilova.

d) Reception grotesque in the dispute between Famusov’s guests about the reasons for Chatsky’s madness.

2. Language"Fire from mind" – comedy language(colloquial, apt, light, witty, sometimes sharp, rich in aphorisms, energetic, easy to remember).

Arguments for drama

The main idea of ​​the work “Woe from Wit” is to illustrate meanness, ignorance and servility before ranks and traditions, which were opposed by new ideas, genuine culture, freedom and reason. The main character Chatsky acted in the play as a representative of that same democratic-minded society of young people who openly challenged conservatives and serf owners. Griboyedov managed to reflect all these subtleties that were raging in social and political life using the example of the classic comedy love triangle. It is noteworthy that the main part of the work described by the creator takes place over the course of just one day, and the characters themselves are depicted by Griboyedov very vividly.

Many of the writer's contemporaries awarded his manuscript with sincere praise and advocated for permission to publish the comedy before the Tsar.

The history of writing the comedy "Woe from Wit"

The idea of ​​writing the comedy “Woe from Wit” came to Griboyedov during his stay in St. Petersburg. In 1816, he returned to the city from abroad and found himself at one of the social receptions. He was deeply indignant at the Russian people’s craving for foreign things, after he noticed that the city’s nobility worshiped one of the foreign guests. The writer could not restrain himself and showed his negative attitude. Meanwhile, one of the invitees, who did not share his beliefs, retorted that Griboyedov was crazy.

The events of that evening formed the basis of the comedy, and Griboyedov himself became the prototype of the main character Chatsky. The writer began work on the work in 1821. He worked on comedy in Tiflis, where he served under General Yermolov, and in Moscow.

In 1823, work on the play was completed, and the writer began to read it in Moscow literary circles, receiving rave reviews along the way. The comedy was successfully distributed in the form of lists among the reading population, but it was first published only in 1833, after the request of Minister Uvarov to the Tsar. The writer himself was no longer alive by that time.

Analysis of the work

The main plot of the comedy

The events described in the comedy take place in early XIX century, in the house of the capital official Famusov. His young daughter Sophia is in love with Famusov's secretary, Molchalin. He is a prudent man, not rich, and holds a minor rank.

Knowing about Sophia's passions, he meets with her for convenience. One day, a young nobleman, Chatsky, a family friend who has not been in Russia for three years, comes to the Famusovs’ house. The purpose of his return is to marry Sophia, for whom he has feelings. Sophia herself hides her love for Molchalin from the main character of the comedy.

Sophia's father is a man of the old way of life and views. He is subservient to the ranks and believes that young people should please their superiors in everything, not show their opinions and serve their superiors selflessly. Chatsky, in contrast, is a witty young man with a sense of pride and good education. He condemns such views, considers them stupid, hypocritical and empty. Heated disputes arise between Famusov and Chatsky.

On the day of Chatsky’s arrival, invited guests gather at Famusov’s house. During the evening, Sophia spreads a rumor that Chatsky has gone crazy. The guests, who also do not share his views, actively pick up this idea and unanimously recognize the hero as crazy.

Finding himself the black sheep of the evening, Chatsky is about to leave the Famusovs’ house. While waiting for the carriage, he hears Famusov’s secretary confessing his feelings to the master’s maid. Sophia also hears this and immediately drives Molchalin out of the house.

The denouement of the love scene ends with Chatsky's disappointment in Sophia and secular society. The hero leaves Moscow forever.

Heroes of the comedy "Woe from Wit"

This main character comedy by Griboyedov. He is a hereditary nobleman, in whose possession there are 300 - 400 souls. Chatsky was left an orphan early on, and since his father was a close friend of Famusov, from childhood he was raised together with Sophia in the Famusovs’ house. Later he became bored with them, and at first he settled separately, and then left to wander the world.

Since childhood, Chatsky and Sophia were friends, but he had more than just friendly feelings for her.

The main character in Griboyedov's comedy is not stupid, witty, eloquent. A lover of ridicule of stupid people, Chatsky was a liberal who did not want to bend to his superiors and serve the highest ranks. That is why he did not serve in the army and was not an official, which was rare for the era of that time and his pedigree.

Famusov is an older man with gray hair at the temples, a nobleman. For his age he is very cheerful and fresh. Pavel Afanasyevich is a widower, his only child is Sophia, 17 years old.

The official is on public service, he is rich, but at the same time flighty. Famusov without hesitation pesters his own maids. His character is explosive and restless. Pavel Afanasyevich is grumpy, but with the right people, he knows how to show due courtesy. An example of this is his communication with the colonel, to whom Famusov wants to marry his daughter. For the sake of his goal, he is ready to do anything. Submission, servility before ranks and servility are characteristic of him. He also values ​​society’s opinion of himself and his family. The official does not like to read and does not consider education to be something very important.

Sophia is the daughter of a wealthy official. Pretty and educated best rules Moscow nobility. Left early without her mother, but under the care of the governess Madame Rosier, she reads French books, dances and plays the piano. Sophia is a fickle girl, flighty and easily attracted to young men. At the same time, she is gullible and very naive.

During the course of the play, it is clear that she does not notice that Molchalin does not love her and is with her because of his own benefits. Her father calls her a disgrace and a shameless woman, but Sophia herself considers herself an intelligent and not a cowardly young lady.

Famusov's secretary, who lives in their house, is a single young man from a very poor family. Mine noble title Molchalin received it only during his service, which was considered acceptable in those days. For this, Famusov periodically calls him rootless.

The hero's surname perfectly matches his character and temperament. He doesn't like to talk. Molchalin is a limited and very stupid person. He behaves modestly and quietly, respects rank and tries to please everyone around him. He does this solely for profit.

Alexey Stepanovich never expresses his opinion, due to which those around him consider him quite a handsome young man. In fact, he is vile, unprincipled and cowardly. At the end of the comedy, it becomes clear that Molchalin is in love with the maid Liza. Having confessed this to her, he receives a portion of righteous anger from Sophia, but his characteristic sycophancy allows him to remain in the service of her father further.

Skalozub — minor character comedy, he is an uninitiated colonel who wants to become a general.

Pavel Afanasyevich classifies Skalozub as one of the eligible Moscow bachelors. In Famusov’s opinion, a rich officer with weight and status in society is a good match for his daughter. Sophia herself did not like him. In the work, the image of Skalozub is collected in separate phrases. Sergei Sergeevich joins Chatsky’s speech with absurd reasoning. They betray his ignorance and lack of education.

Maid Lisa

Lizanka is an ordinary servant in Famusov’s house, but at the same time she takes up quite a lot of work. high place among the others literary characters, and she is given quite a lot of different episodes and descriptions. The author describes in detail what Lisa does and what and how she says. She forces other characters in the play to admit their feelings, provokes them to certain actions, pushes them to various solutions, important to their lives.

Mr. Repetilov appears in the fourth act of the work. It's minor, but bright character comedy, invited to Famusov’s ball on the occasion of his daughter Sophia’s name day. His image characterizes a person who chooses the easy path in life.

Zagoretsky

Anton Antonovich Zagoretsky is a secular reveler without ranks and honors, but he knows how and loves to be invited to all receptions. Due to your gift - to be pleasing to the court.

Hurrying to be in the center of events, “as if” from the outside, the minor character A.S. Griboyedov, Anton Antonovich, himself, finds himself invited to an evening at the Faustuvs’ house. From the very first seconds of the action with his person, it becomes clear that Zagoretsky is still a “frame”.

Madame Khlestova is also one of minor characters Comedy, but still her role is very colorful. This is a woman of advanced years. She is 65 years old. She has a Spitz dog and a dark-skinned maid - a blackamoor. Khlestova is aware latest gossip yard and willingly shares his own life stories, in which he easily talks about other characters in the work.

Composition and storylines of the comedy "Woe from Wit"

When writing the comedy "Woe from Wit" Griboyedov used the characteristic of this genre reception Here we can see a classic plot where two men are vying for the hand of one girl at once. Their images are also classic: one is modest and respectful, the second is educated, proud and confident in his own superiority. True, in the play Griboyedov placed accents in the characters’ characters a little differently, making Molchalin, and not Chatsky, sympathetic to that society.

For several chapters of the play there is a background description of life in the Famusovs' house, and only in the seventh scene does the beginning of the love plot begin. A fairly detailed long description during the play tells about just one day. The long-term development of events is not described here. There are two storylines in the comedy. These are conflicts: love and social.

Each of the images described by Griboyedov is multifaceted. Even Molchalin is interesting, towards whom the reader already develops an unpleasant attitude, but he does not cause obvious disgust. It's interesting to watch him in various episodes.

In the play, despite the adoption of fundamental structures, there are certain deviations to construct the plot, and it is clearly evident that the comedy was written at the junction of three literary eras: flourishing romanticism, emerging realism and dying classicism.

Griboyedov's comedy "Woe from Wit" gained its popularity not only for the use of classical plot techniques in a non-standard framework, it reflected obvious changes in society, which were then just emerging and taking their first sprouts.

The work is also interesting because it is strikingly different from all other works written by Griboyedov.

Comedy is the flower of civilization, the fruit of a developed society. To understand the comic, one must be at a high level of education.
V. G. Belinsky

By genre “Woe from Wit” social (ideological) satirical comedy. The theme of this work is the depiction of a socially significant clash of the “present century”, which wants to replace the old public order, to correct the morals of society, and the “past century”, which is afraid of any social changes, because these changes really threaten its well-being. That is, the comedy describes the clash between the progressive and reactionary nobility. Named social contradiction is fundamental for the era that came after Patriotic War 1812, which exposed many of the fundamental vices of Russian society. First of all, these were, of course, absolutism, serfdom, bureaucracy, and cosmopolitanism.

“Woe from Wit” is an ideological comedy, since Griboyedov pays a lot of attention to the heroes’ disputes on the most pressing issues of his time, social and moral. At the same time, the playwright cites statements from both Chatsky, who expresses progressive views, and Famusov, Skalozub, Molchalin and guests who defend a conservative point of view.

The most important issue in Griboedov's contemporary Russia was the question of serfdom, which underlay the economic and political structure of the state. Chatsky, it must be admitted, does not oppose the serfdom, but boldly condemns the abuses of the serf owners, as evidenced by the famous monologue “Who are the judges?” The hero mentions “Nestor of the noble scoundrels,” who exchanged his serf servants for three greyhound dogs, although Zealous, in the hours of wine and fights, both honor and life saved him more than once... (II, 5) Chatsky also talks about the owner serf theater: having gone bankrupt, he sold his serf artists one by one.

All discussions about the cruelty of serfdom do not touch the representatives of Famus society - after all, all of today’s well-being of the nobility is built on serfdom. And how easy it is to manage and push around completely powerless people! This can also be seen in Famusov’s house, who pesters Lisa, scolds the servants, and is free to punish them all when and how he pleases. This is evidenced by Khlestova’s behavior: she orders her dog and the blackamoor girl to be fed in the kitchen. Therefore, Famusov simply does not respond to Chatsky’s angry attacks against the serf owners and leaves the room, and Skalozub from the monologue “Who are the judges?” I only caught the condemnation of the guards uniform, embroidered with gold, (!) and agreed with it.

Chatsky, like Griboedov, believes that the dignity of a nobleman is not in being a serf owner, but in being a faithful servant of the Fatherland. Therefore, Chatsky is convinced that it is necessary to serve “the cause, not the persons” (II, 2). To Famusov’s advice to serve, he reasonably replies: “I would be glad to serve, it’s sickening to serve” (ibid.). Representatives of Famus society have a completely different attitude towards service - for them it is a means of achieving personal well-being, and the ideal is an idle life for their own pleasure. That’s why Pavel Afanasyevich talks with such delight about his uncle Maxim Petrovich, who rose to the rank of chamberlain, entertaining Catherine with buffoonery. "A? What do you think? In our opinion, he’s smart,” exclaims Famusov. Skalozub echoes him:

Yes, to get ranks, there are many channels;
I judge them as a true philosopher:
I just wish I could become a general. (II, 5)

Molchalin advises Chatsky:

Well, really, why would you serve with us in Moscow?
And take awards and have fun? (III,3)

Chatsky respects smart, efficient people, and he himself is not afraid to do bold things. This can be judged from Molchalin’s vague hints about Chatsky’s St. Petersburg activities:

Tatyana Yuryevna said something,
Returning from St. Petersburg,
With ministers about your connection,
Then the break... (III, 3)

In Famus society, people are valued not by their personal qualities, but by their wealth and family ties. Famusov proudly speaks about this in a monologue about Moscow:

For example, we have been doing this since ancient times,
What honor is there between father and son;
Be bad, but if you get enough
Two thousand ancestral souls, -
He's the groom. (II, 5)

People in this circle revere foreigners and foreign culture. However, the low level of education allows Countess-granddaughter Khryumina and the Tugoukhovsky princesses to understand only French fashion - they excitedly discuss folds and fringes on new outfits at the ball. Chatsky in his statements (especially in the monologue “There is an insignificant meeting in that room...” III, 22) very sharply condemns servility before foreign countries. On the contrary, he acts as a patriot of Russia and believes that National history is in no way inferior, for example, to the French, that the Russian people are “smart, cheerful” (ibid.), that while respecting foreign culture, one should not neglect one’s own.

Famus society is afraid of true enlightenment. It associates all troubles with books and “learning.” This opinion is formulated very clearly by Pavel Afanasyevich himself:

Learning is the plague, learning is the reason,
What is worse now than before,
There were crazy people, deeds, and opinions. (III, 21)

All the guests are in a hurry to agree with Famusov on this issue, everyone has words here: Princess Tugoukhovskaya, old woman Khlestova, even Skalozub. Chatsky, as a spokesman for the progressive ideas of his time, cannot agree with such views of Famusov and his guests. On the contrary, he respects those

Who is the enemy of written out faces, frills, curly words,
In whose head, unfortunately,
Five, six there are healthy thoughts,

And he will dare to publicly announce them... (III, 22) A frivolous attitude towards the education and upbringing of noble children naturally follows from the disdain on the part of Famus society for education and science. Loving parents

The regiments are busy recruiting teachers;
More in number, cheaper in price...(I, 7)

Foreigners with dubious pedagogical reputations become educators of noble minors. The sad result of such an education system (admiration for Europe and contempt for the Fatherland) can be observed in the third act:

Oh! France! There is no better region in the world!
The two princesses, sisters, decided, repeating

A lesson that was taught to them from childhood. (III, 22) Since love line is one of two plot-forming elements, since the comedy also examines relationships in noble families. The Gorich couple become an exemplary family for Famus society. The “ideal husband” Gorich turns into the toy of his capricious wife. Chatsky ridicules such relationships, and Platon Mikhailovich himself complains about his life, boring, monotonous, empty (III, 6).

“Woe from Wit” is a satirical comedy, because it evilly ridicules the socially significant vices of the heroes. Almost all the characters in the play are described satirically, that is, their outward appearance hides their inner emptiness and petty interests. This is, for example, the image of Skalozub - an undeveloped man, a martinet, who, however, “aims to become a general” (I, 5). This colonel is only well versed in uniforms, orders, and cane discipline. His tongue-tied phrases indicate primitive thinking, but this “sage” is the hero of all living rooms, Famusov’s desired daughter’s fiancé and relative. Molchalin is satirically depicted - outwardly a quiet, modest young official, but in the last frank conversation with Lisa he reveals himself as a low hypocrite:

My father bequeathed to me:
First, please all people without exception -
The owner, where he will live,
The boss with whom I will serve,
To his servant who cleans dresses,
Doorman, janitor, to avoid evil,
To the janitor's dog, so that it is affectionate. (IV, 12)

Now all his talents take on a different meaning: he appears before the characters of the play and readers as a man without honor and conscience, ready to do any baseness for the sake of a career. Repetilov also has a satirical character. This one hints at secret society, for some important state task, but it all comes down to the empty noise and scream of his drinking companions, because for now there is an important “state matter: It, you see, has not matured” (IV, 4). Of course, Famusov’s guests are also presented satirically: the gloomy old woman Khlestova, the absolutely stupid princesses, the faceless gentlemen N and D, the nosy Zagoretsky. The countess-granddaughter gives an exhaustive description of them all:

Well Famusov! He knew how to name guests!
Some freaks from the other world,

And there is no one to talk to, and no one to dance with. (IV, 1) Satirically depicts Griboedov and Chatsky: this enthusiast preaches noble ideas in Famusov’s living room in front of self-satisfied and empty people who are deaf to the preaching of goodness and justice. A.S. Pushkin pointed out such unreasonable behavior of the main character in his review of “Woe from Wit” (letter to A.A. Bestuzhev at the end of January 1825).

However, the final satirical work not only not funny, but even dramatic: Chatsky lost his beloved girl, whom he dreamed of for three years apart; he is declared crazy and is forced to leave Moscow. Why did Griboyedov call his play a comedy? This issue is still discussed in literary criticism. As it seems, best interpretation Griboyedov’s plan is given by I.A. Goncharov in the article “A Million Torments”: calling “Woe from Wit” a comedy, the playwright wanted to emphasize the optimism of his work. In the struggle between the “present century” and the “past century” Famusov society wins only externally. Chatsky, who alone defends progressive ideas, is broken by the “number of old forces”, while he himself inflicted death blow- after all, to all his critical remarks and reproaches, his ideological opponents could not object to anything on the merits and, without thinking twice, declared him crazy. Chatsky, according to Goncharov, refutes the Russian proverb: one in the field is not a warrior. A warrior, Goncharov objects, if he is Chatsky, and a winner, but at the same time a victim.

So, “Woe from Wit” is an extremely meaningful work of art. The comedy is full of concrete life material from the Griboyedov era, reflecting political struggle of his time, the struggle between the advanced part of the nobility and the inert majority. The playwright raised in a short play the most important social problems (about serfdom, about the appointment of noble service, about patriotism, about upbringing, education, family relationships among the nobility, etc.), presented opposing points of view on these problems.

The serious and multi-problem content determined the genre originality of the work - a social (ideological) satirical comedy, that is, high comedy. The importance of what is raised in "Woe from Wit" social problems becomes clear when comparing this work with other plays of the same time, for example with popular household comedies I.A. Krylova “Lesson for Daughters”, “French Shop”.

The problem of genre. Basic comic techniques (A.S. Griboyedov “Woe from Wit”)

In the comedy "Woe from Wit" there are two storylines: love and socio-political, they are absolutely equivalent, and central character both are Chatsky.

In the dramaturgy of classicism, the action developed due to external reasons: major turning points. In "Woe from Wit" such an event is Chatsky's return to Moscow. This event gives impetus to the action, becomes the beginning of the comedy, but does not determine its course. All the author’s attention is thus focused on the inner life of the characters. Exactly spiritual world characters, their thoughts and feelings create a system of relationships between comedy heroes and determine the course of action.

Griboyedov’s refusal to have a traditional plot outcome and a happy ending, where virtue triumphs and vice is punished, - most important property his comedies. Realism does not recognize clear-cut endings: after all, everything in life is too complicated, every situation can have an unpredictable ending or continuation. Therefore, “Woe from Wit” is not finished logically, the comedy seems to end at the most dramatic moment: when the whole truth was revealed, “the veil fell” and all the main characters were faced with the difficult choice of a new path.

Critics defined the genre of the play in different ways (political comedy, comedy of manners, satirical comedy), but something else is more important to us: Griboyedov’s Chatsky is not a classic character, but “one of the first romantic heroes in Russian drama, and how romantic hero he, on the one hand, categorically does not accept the inert environment familiar to him from childhood, the ideas that this environment gives rise to and propagates; on the other hand, he deeply and emotionally “lives” the circumstances associated with his love for Sophia" (Encyclopedia literary heroes. M., 1998).

Griboedov created a comedy with a wide range of issues. It touches not only topical social problems, but also modern ones in any era. moral issues. The writer comprehends those social and moral-psychological conflicts that make the play truly a work of art. And yet he addressed “Woe from Wit” primarily to his contemporaries. A. S. Griboyedov viewed the theater in the traditions of classicism: not as an entertainment establishment, but as a pulpit, a platform from which he could pronounce the most important thoughts so that Russia could hear them, so that modern society saw her vices - pettiness, vulgarity - and was horrified by them, and laughed at them. Therefore, Griboyedov sought to show Moscow, first of all, as funny.

According to the rules of decency, let us first turn to the owner of the house - Pavel Afanasyevich Famusov. He cannot forget for a minute that he is the father of his daughter-bride. She needs to be married off. But, of course, it’s not easy to “get away with it.” A worthy son-in-law - here the main problem which torments him. “What a commission, creator, to be a father to an adult daughter!” - he sighs. His hopes for good game are connected with Skalozub: after all, he is “a golden bag and aims to become a general.” How shamelessly Famusov fawns over the future general, flatters him, noisily admires every word of this frankly stupid “warrior”, who spent time “in the trench” during the fighting!

Skalozub himself is comical - his intelligence is not even enough to learn the basic rules of decent behavior. He constantly makes loud jokes and laughs, talks about the “many channels” of obtaining ranks, about happiness in comradeship - this is when his comrades are killed and he gets ranks. But here’s what’s interesting: Skalozub, a purely farcical character, is always equally funny. The image of Famusov is much more complex: he is more deeply developed psychologically, he is interesting to the author as a type. And Griboedov makes him funny in different ways. He is simply comical when he fawns over the brave colonel, flirts with Lisa, or pretends to be a saint while reading a moral lesson to Sophia. But his reasoning about the service: “it’s signed, off your shoulders,” his admiration for Uncle Maxim Petrovich, his anger at Chatsky and the humiliated fear of the court of “Princess Marya Aleksevna” are not only funny. They are also terrible, terrible with their deep immorality and unprincipledness. They are scary because they are not unique to Famusov - these are the life attitudes of the entire Famusov world, the entire “past century.” That is why it was important for Griboyedov that his heroes, first of all, evoke laughter - the laughter of the audience at those shortcomings and vices that are characteristic of them. And "Woe from Wit" is truly funny comedy, is a constellation of comedic types.

Here, for example, is the Tugoukhovsky family: a swaggering wife, a husband on errands who did not utter a single articulate line during his stage presence, and six daughters. Poor Famusov, before our very eyes, is bending over backwards to find a home for his one and only daughter, and here are six princesses, and besides, they are certainly not at all shining with beauty. And it was no coincidence that when they saw a new face at the ball - and it, of course, turned out to be Chatsky (always inopportune!) - the Tugoukhovskys immediately began matchmaking. True, upon learning that the potential groom was not rich, they immediately retreated.

And Gorici? Aren't they playing a comedy? Natalya Dmitrievna turned her husband, a young military man who recently retired, into an unreasonable child who must be constantly and importunately taken care of. Platon Mikhailovich sometimes gets a little irritated, but, in general, he stoically endures this supervision, having long since come to terms with his humiliating position.

So, before us is a comedy from social life contemporary Moscow of Griboyedov. What the hell characteristic feature does the author constantly emphasize? Men are strangely dependent on women. They voluntarily gave up their male privilege - to be in charge - and are quite content with their miserable role. Chatsky formulates this wonderfully:

Husband-boy, husband-servant from his wife's pages -

The high ideal of all Moscow men.

Do they consider this state of affairs abnormal? Not at all, they are quite happy. Moreover, pay attention to how consistently Griboedov pursues this idea: after all, women rule not only on stage, but also behind the scenes. Let us remember Tatyana Yuryevna, whom Pavel Afanasyevich mentions in the monologue “Taste, father, excellent manner...”, whose patronage is so dear to Molchalin; Let us remember Famusov’s final remark:

Oh! My God! what will he say

Princess Marya Aleksevna?

For him - a man, a master, a government official of no small size - the court of some Marya Alekseevna is worse than God's court, for her word will determine the opinion of the world. She and others like her - Tatyana Yuryevna, Khlestova, countess grandmother and granddaughter - create public opinion. Female power is, perhaps, the main comic theme of the entire play.

Comedy invariably appeals not to some abstract ideas of the viewer or reader about how things should be. She appeals to our common sense, that's why we laugh when reading "Woe from Wit." What's funny is what's unnatural. But what then distinguishes cheerful, joyful laughter from bitter, bilious, sarcastic laughter? After all, the same society that we just laughed at quite seriously considers our hero insane. The verdict of Moscow society on Chatsky is harsh: “Mad in everything.” The fact is that the author freely uses within one play different types comic. From action to action, the comedy of "Woe from Wit" acquires an increasingly tangible shade of sarcasm and bitter irony. All the characters - not only Chatsky - joke less and less as the play progresses. The atmosphere of the Famusov house, which was once so close to the hero, becomes stuffy and unbearable. By the end, Chatsky is no longer the joker who makes fun of everyone and everything. Having lost this ability, the hero simply ceases to be himself. "Blind!" he cries out in despair. Irony is a way of life and an attitude towards what is not in your power to change. Therefore, the ability to joke, the ability to see something funny in every situation, to make fun of the most sacred rituals of life is not just a character trait, it is the most important feature of consciousness and worldview. And the only way to fight Chatsky and, above all, his with an evil tongue, ironic and sarcastic - to make a laughing stock out of him, to repay him in the same coin: now he is a jester and a clown, although he does not suspect it. Chatsky changes over the course of the play: he moves from a fairly harmless laugh at the immutability of Moscow orders and ideas to caustic and fiery satire, in which he denounces the morals of those who “draw their judgments from forgotten newspapers // The times of the Ochakovskys and the conquest of the Crimea.” The role of Chatsky, according to I.A. Goncharova, “passive”, there is no doubt about it. The dramatic motive grows more and more towards the finale, and the comic one gradually gives way to its dominance. And this is also Griboyedov’s innovation.

From the point of view of the aesthetics of classicism, this is an unacceptable mixture of the genres of satire and high comedy. From the point of view of the reader of modern times, this is the success of a talented playwright and a step towards a new aesthetics, where there is no hierarchy of genres and one genre is not separated from another by a blank fence. So, according to Goncharov, “Woe from Wit” is “a picture of morals, and a gallery of living types, and an ever-sharp, burning satire, and at the same time a comedy... which can hardly be found in other literatures.” N. G. Chernyshevsky precisely defined the essence of comedy in his dissertation “Aesthetic relations of art to reality”: comical “... internal emptiness and insignificance human life, which at the same time is covered by an appearance that has a claim to content and real meaning."

What are the comic techniques in "Woe from Wit"? The technique of “conversation of the deaf” runs through the entire comedy. Here is the first phenomenon of the second act, the meeting of Famusov with Chatsky. The interlocutors do not hear each other, each speaks about his own, interrupting the other:

Famusov. Oh! My God! He's a Carbonari!

Chatsky. No, the world is not like that these days.

Famusov. A dangerous person!