Frankly, the brilliant comedy in the verses of the great Russian classic Alexander Sergeevich Griboedov, after each re-reading of it, evokes,
I personally have a lot of emotions and thoughts. Of course, it is worth noting that this literary masterpiece has not been
stops diverging into numerous quotes. As for the comedy, it was written according to real events that occurred directly, personally with
by the author. As you know, having returned from abroad, Alexander Sergeevich Griboedov managed to find himself in the glorious city on the Neva (St. Petersburg) on one of
social events. That evening, the author of the future brilliant comedy was deeply impressed by the audience admiring the foreign guests. Not
having endured, the author more than “walked” through the audience gathered that evening, with a fiery incriminating speech. As a result, one of the guests called Griboyedov
crazy, and a little later, this rumor flew headlong throughout the “northern capital”. But Griboyedov would not have been a brilliant author if he had not taken revenge
secular society. As a result, today the whole world knows him. Millions are talking about "Woe from Wit".
As for the plot and heroes of the comedy, so many works have already been written about them - it’s impossible to count them, there have been a lot of discussions and debates - it’s impossible to listen to them again.
The clash of “old” and “new” views regarding serfdom, society, the development of the state in merging with the ordinary, everyday human
behavior - the author managed to express all this in literary work. Personally, I won’t tell anything new in my essay. No, of course I have my own thoughts
views regarding heroes, their images, characters, psychology, but I’m just saying that all these arguments will come down to a single constant.
Before I move directly to several heroes of the comedy, I would like to mention once again that in the comedy the author followed only two classic
unity: time and place, action - absent.
In my opinion, there are no main characters in a comedy. Everyone is equal, the heroes carry their own idea, each has its own, some kind of truth. Each of the heroes has
outlined appearance.
I would like to start, perhaps, with Pavel Afanasyevich Famusov, the main ideological opponent of Alexander Chatsky. In its own way life position he gives me something
Reminds me of the heroine of Fonvizin’s “The Minor,” Mrs. Prostakova. Famusov is an ardent hater of education and a soulless person. Constantly
refers to authorities, customs, foundations. The main, from my point of view, negative feature of Famusov is living with prejudices. In addition, Famusov, being
a wealthy landowner, an admirer of noble Moscow, acts as an opponent of novelty in all areas of political and public life.
Undoubtedly, this hero refers to representatives of the “past century”. In the so-called “Famus” society, everything rests on connections, so the hero himself,
along with other members of Moscow society, he considers this model of life ideal. Famusov is two-faced. On the one hand, it is famous for its “monastic behavior”,
on the other hand, he does not forget to woo the maid Liza. The latter behavior, moreover, was considered the norm in society at that time. In a conversation with Chatsky Famusov
covers his ears, afraid to hear bold and loud speeches. Unfortunately, Pavel Afanasyevich, despite his status and position in the plot, is being deceived
everyone who is not too lazy: own daughter Sophia, devoted secretary Molchalin, maid Liza.
The next person I would like to go to would be Pavel Afanasyevich’s daughter, Sophia. Raised by her father and Madame Rosier according to all the norms and rules of Moscow
young ladies, Sophia imagines herself in the role of the heroine of the novel. As a result, in the comedy we are presented with a girl who is incapable of understanding people, not
able to think, unable to be responsible for her every step. The heroine cannot distinguish a true feeling from a fake. Of course, the problem is not only
in Sofya itself, or to be more precise, first of all, in the system female education that time. After all, the main ultimate goal of that time was to give
everyone necessary knowledge for a girl to build a successful secular career, which subsequently had a positive impact on marriage. Yes, Sophia -
extraordinary personality. She is characterized by passion and dedication. In the comedy, she occupies a middle place in the conflict between Chatsky and “Famus” society.
Is one of the components love triangle- Chatsky-Sofya-Molchalin. Contrary to her father's opinion, she chooses Molchalin, a person with one
the shy, compliant, respectful side, and, forgive me, in my opinion, the “bastard” side: cunning, hypocritical, insignificant. In comedy sentimental
Sophia's appearance was completely ruined after she spread a rumor about Chatsky's madness, who, in turn, spoke so sarcasticly about Molchalin.
Along with her father, the heroine also stayed with broken hearted, having learned that Molchalin was flirting with Lisa. But, telling Molchalin that everything will become known to her
father, it becomes clear that the heroine did not have love, as such, in relation to Alexei Stepanovich.
I cannot deprive of my attention, perhaps, one of my favorite and most interesting heroes in literature - Alexey Stepanovich Molchalin. Yes, as I wrote earlier,
For me personally, Molchalin is a “bastard nature.” But how interesting is this nature? Do you agree? Creeps, hypocrites, fawns, gets out
before the "elite society". Cunning, slippery, I would say, a real tenacious character. The main advantage of Molchalin is that he always goes, and most likely
will go towards his goals, no matter what. Being Sophia's inspiration, he cares for Lisa without looking back. Having been caught red-handed, he did not lose his head. Many
they call Molchalin a scoundrel, a scoundrel, an insignificant person. I partly agree with this. In essence, Molchalin is a “wordless chameleon” playing
an exciting game filled with "elite society" ordinary people, their relationships. "Silent people are blissful in the world!" - exclaims Chatsky with
anger and indignation. As a result, in the comedy, the empty, insignificant Molchalin becomes the culprit of the “millions of torments” of the noble Chatsky and the culprit
Sophia's tragedy.
Another hero I would like to talk about is Sergei Sergeevich Skalozub. As I wrote earlier, to every hero of the comedy "Woe from Wit"
characterized by individual appearance, features, character. For me, Skalozub is an “empty” character, one of my least favorite characters in literature. Being rich and content
being a colonel, a military man who has made a career largely thanks to his comrades, Skalozub is rude in nature, uneducated, far from
smart person. According to Pavel Afanasyevich, he is best suited for his daughter Sophia to be a husband, despite the fact that she herself
Sophia considers him “the hero of a novel that is not her own.” Of course, Skalozub is part of the “elite society” and knows his worth. Acts as an opponent of the bookstore
wisdom. He speaks with all disparagement about his cousin reading literature in the village. He dresses in army fashion, wearing belts, and
sticking out his chest.
A few words should be said about Lisa, the cunning, intelligent, quick-witted servant. Her image is typical of classic comedy. Love affairs "Woe from Wit"
do not take place without her participation. Lisa is something of a reasoner who determines the characteristics of some heroes. Unlike Sophia, Lisa is famous
practical thinking, with a sober look for life and the ability to understand people. Griboedov managed to masterfully show Liza seeing Molchalin’s personality
through. Seeing all the cunning and prudence of Alexei Stepanovich. Personally, I believe that without heroes like Lisa, many comedies would hardly be successful.
Well, and finally, he... One of the brightest heroes of domestic and foreign literature.
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Municipal educational institution
Utena Secondary School
THE TOPICALITY OF THE SOUND OF A.S.’S COMEDY GRIBOEDOV “WOE FROM MIND” IN OUR TIMES. HUMAN TYPES
Research work
Performed: Beketova Marina Aleksandrovna,
9th grade student
Scientific director: Tkacheva Valentina Petrovna,
teacher of Russian language and literature
Duck, 2011
Introduction…………………………………………………………………………………3 - 4
Chapter I. The significance of Griboyedov’s work
§1. Biography of the writer………………………………………………………...5 - 7
§2. About the comedy “Woe from Wit”……………………………………7 - 9
Chapter II. Characteristics of the main characters of the comedy
§1. Famusovskaya Moscow. Human types………………….9 - 13
§2. About the main character……………………………………………………………14-16
Chapter III. The topicality of the sound of A.S.’s comedy Griboyedov "Woe from Wit" in our time
§1. “Woe from Wit” in the literature of the 19th century……………………….16-19
§2. Modernity of A.S. Griboedov’s comedy “Woe from Wit” ...19-21
Conclusion………………...………...……..…….……. ………………..22-23
List of references………………………………………………………...24
Application
INTRODUCTION
Griboyedov's comedy "Woe from Wit" organically entered the history of Russian literature . I. A. Goncharov called “Woe from Wit” “eternally living, burning satire”, and its heroes - “eternally living images”. This “unsolved to the end” play, according to A. Blok, became both a school for the formation of Russian criticism and a school of excellence for Russian writers of the 19th century. In a number of critical articles it has been noted more than once that at the level of individual situations and images in Russian classical literature“Griboyedov’s silhouettes are constantly visible.” Therefore, questions of interpretation of Griboyedov’s comedy, without a doubt, arouse deep interest. The relevance of the work lies in the study of the topicality of the sound of A.S.’s comedy. Griboyedov "Woe from Wit". Alexander Sergeevich Griboyedov is a rare writer even for Russian literature, so rich in amazing and diverse talents. He is the author of one famous work, about which A.S. Pushkin said: “His handwritten comedy “Woe from Wit” produced an indescribable effect and suddenly placed him alongside our first poets.” Purpose: to study the topicality of the sound of A.S. Griboedov’s comedy “Woe from Wit”, to identify the essence human types in comedy, their broad general meaning.
Tasks:
- analyze this work
- perform a comparative analysis of the relevance of comedy in the literature of the 19th century and in modern times.
Summarize the results of the work
Object of study: comedy by A.S. Griboyedov "Woe from Wit"
Subject of research: the relevance of the sound of comedy today. Research methods:analysis of literary and Internet sources, interpretation of text, comparison and contrast, generalization of the obtained material, use of search and research methods for collecting information about the life and work of A.S. Griboedova.
CHAPTER I. THE IMPORTANCE OF A.S. CREATIVITY GRIBOEDOVA
§1. Biography of the writer
Griboyedov Alexander Sergeevich- famous Russian playwright. Comes from an ancient noble family. The financial situation of Griboedov's parents was cramped and confused. However, his mother, a woman of extraordinary intelligence and character, was drawn to the Moscow nobility related to her, tried to last bit of strength keep your home at the level of high Moscow society. Dreaming about brilliant career For her son, she gave him an excellent education, first under the guidance of foreign tutors, then at the Moscow Noble Boarding School, and finally at Moscow University. Having successively graduated from two faculties - literature and law, Griboyedov continued to remain at the university (studying natural sciences and mathematics and preparing for a doctorate) until it was closed in 1812 due to the occupation of Moscow by Napoleon. Excellent knowledge of the main European languages (French, German, English and Italian), to which were later added eastern ones - Arabic and Persian, was completed musical education. All this made the writer, according to Pushkin, “one of the most smart people in Russia" and one of the most educated people of the era. In 1812, Griboyedov volunteered for one of the formed regiments, from where, thanks to his great connections, he soon became an adjutant to General Kologrivov, who was forming the cavalry reserves. To the writer's stay on military service This includes his first appearance in print - correspondence in prose and verse (published in the August issue of "Bulletin of Europe" for 1814). Around the same time, Griboedov met theatrical figure and the famous playwright A. A. Shakhovsky and under his influence turned to dramatic creativity, for which he felt an inclination while still a student. At the end of 1815 he retired and settled in St. Petersburg; in 1817 he entered the service of the State Collegium of Foreign Affairs, which included Pushkin. In 1818, participation in a sensational social duel and the increasingly tangled material affairs of his mother, who brought her Kostroma peasants with unbearable exactions to a rebellion suppressed by military force, forced Griboyedov to leave St. Petersburg and go as secretary of the Russian diplomatic mission to Persia. While driving there, he fought a duel in Tiflis with the future Decembrist Yakubovich, who wounded him in the arm. In Persia, he intensively studied oriental languages and antiquities, financial and political sciences. It was there that the firm outlines of “Woe from Wit” took shape, the initial plans of which, according to contemporaries, arose already in 1812. His stay in the Persian “diplomatic monastery” weighed heavily on Griboyedov, and in 1822 he managed to transfer to Tiflis as secretary for foreign affairs under the famous “Proconsul of the Caucasus” ", General Ermolov. In Tiflis, G. became close friends with the poet and future Decembrist V.K. Kuchelbecker, to whom he read scene by scene from the “Woe from Wit” he was creating. At the center of everything was the work on “Woe from Wit.” Despite his great connections, all the writer’s efforts to bring the play not only to the stage, but also to print were in vain. The play appeared on stage only after the death of the author (in separate appearances from 1829, completely in 1831). The publication of excerpts from “Woe from Wit” was accompanied by a noisy magazine controversy. Representatives of the opinion of the old noble-bureaucratic Moscow fiercely attacked the comedy, denying the author not only the correctness of the picture of Moscow life he painted, but also any artistic merits of his play. Chatsky’s statements are close to the Decembrists. He was arrested and brought to St. Petersburg with a courier. During the investigation, Griboedov behaved boldly and categorically denied belonging to secret society. He was soon released with monetary reward and promotion. The opportunity finally opened up for him to have that brilliant career that his mother had been seeking for him all his life. With the text of the Turkmanchay Treaty, Griboedov was sent to the Tsar in St. Petersburg, received a large monetary reward and a brilliant appointment as ambassador plenipotentiary to Persia. Until then, in his own words, “a beggar, a servant of the sovereign made from bread,” “in an instant he became both noble and rich.” . One of the most difficult knots in world politics was being tied in Persia. Griboyedov put forward a grandiose project to create the “Russian Transcaucasian Company”. However, the project, which was at least half a century ahead of Russian reality, did not meet with sympathy in Russian government circles. However, the British immediately felt in him a most dangerous enemy, who replaced in Persia, according to a contemporary, “with his single face an army of twenty thousand.” Griboedov arrived in Persia, getting married along the way in Tiflis, in October 1828 and four months later he died along with the entire staff of the Russian mission (with the exception of the secretary who accidentally escaped) during an attack on it by a crowd fanaticized by the mullahs, apparently acting in turn on orders English.
§2. About the comedy "Woe from Wit"
§ 2. Modernity of A.S. Griboedov’s comedy “Woe from Wit”
“How to compare and see
The present century and the past century...”
(A.S. Griboyedov)
There are brilliant works of literature. And there are brilliant names of brilliant works. Those in which the words that make them up seem to merge into one concept. Because this is not just a title literary composition, but the name of some phenomenon. Such titles, such works, even in great literature there will be hardly more than a dozen. Griboedov's comedy is one of them. Alexander Sergeevich Griboyedov turned two hundred years old. From the inconclusively established dates of his have a wonderful birth one has been chosen, and now - let's celebrate! The Famusovs are in the boxes, the Skalozubs have become generals, Sophia and Liza are pleasing to the eye in the ranks of the social movement “Women of Russia”, the Molchalins are blissful in ministries and committees. Who are the judges? ...
Druzhinin N.M. "A.S. Griboyedov in Russian criticism." Moscow, 1958.
There is no play more lively and modern than "Woe from Wit." So it was, so it is, so it will be. A truly great work, such as “Woe from Wit,” resists overestimation. There is no escaping the fact that Griboyedov was closely connected with the Decembrists. Another thing is that our understanding of Decembrism as a social movement has become more precise over the years. We are more clearly aware of some of the tragic features of Russian social life, especially the centuries-old traditions of totalitarianism. This explains a lot about national history, right up to the present day. It is important for us that “Woe from Wit” is not a “black and white” satire on social order. The writer was not interested in the “system”, not the “system”, but social Psychology. But it is not “black and white” at all. Listen: Famusov and Chatsky often talk about the same thing. “And all the Kuznetsky Bridge, and the eternal French!” - Famusov grumbles. And Chatsky is concerned “so that our smart, cheerful people, even in language, do not consider us to be Germans.” Both of them are unconditional patriots, both are Russian people to the depths of their souls, there is much that separates them, but much that makes them similar, and that is the tragedy of this comedy, that is why there are “a million torments.” And “system”, “system” - well, they can change, but Famusov, Repetilov, Molchalin, Skalozub are eternal. And Chatsky is eternal. When we're in last time Have you seen Chatsky alive? It was Academician Sakharov. Different time, age, appearance, language, but the essence is the same: Chatsky! The same one whom Pushkin condescendingly reproached, claiming that in “Woe from Wit” there is only one clever man- Griboedov himself, and Chatsky is a kind fellow who spent some time in his company and makes smart speeches in his voice - to whom? Before the Skalozubs and Tugoukhovskys? But the fact of the matter is that Pushkin is not entirely right: it is necessary to speak. To those with whom history has brought you together. Without even expecting understanding. What is said will not be lost. Griboyedov convinced of this. Sakharov convinced of this. What do these two Russian people have in common, besides the fact that they are Russian? Mind. Both of them were outstanding minds of their time. The inexhaustibility of “Woe from Wit” is revealed in the misunderstood Chatsky and the unsolved Repetilov...How to compare and see
The present century and the past...Which Russian hasn’t found his age to be the most incredible? It seems that both Pushkin and Griboedov more than once had to hear the usual complaints about time, otherwise there would be so many of them different heroes, like Famusov and Duke, would not have lamented so unanimously: “A terrible century! You don’t know what to start…” says Famusov. And the Duke echoes him: “Terrible age, terrible hearts!”“Woe from Wit” has long been a national property. Back in the early seventies of the nineteenth century, I.A. Goncharov, who noted that comedy “is distinguished by its youthfulness, freshness and stronger vitality from other works of the word,” predicted it “an imperishable life,” argued that it “will survive many more eras, and everything will not lose its vitality.” This prophecy was completely justified.The great comedy still remains youthful and fresh. She kept hers public importance, its satirical salt, its artistic charm. She continues her triumphant march across theater stages. It is taught in schools.Millions of people laugh and are indignant along with Griboyedov. The anger of the satirist-accuser is close and understandable to the Russian people, because even now it inspires them to fight against everything inert, insignificant and vile, for everything advanced, great and noble. The struggle between the new and the old is the law of our Russian life. The images created by Griboyedov, his apt, striking sayings, living in folk speech, are still capable of serving as a sharp weapon of satire.So, for example, if Molchalin, Famusov, Skalozub see the meaning of life in their well-being, then Chatsky dreams of bringing benefit to the people, whom he respects and considers “smart and cheerful.” At the same time, he despises servility and careerism. He “would be glad to serve,” but “being served is sickening.” Chatsky sharply criticizes this society, mired in hypocrisy and depravity:Where, show us, are the fathers of the fatherland,
Which ones should we take as models?
Aren't these the ones who are rich in robbery?
We found protection from fate in friends, in kinship,
Magnificent building chambers,
Where they indulge in feasts and extravagance... It seems as if these lines were written now! And we are still arguing whether comedy is modern. Despite the historical tragedy of Russian life, Griboyedov lives in us with his comedy "Woe from Wit." He returns to us like the light of happiness.
Goncharov I.A. “A Million of Torments” (Critical Study) - In the book: Goncharov I.A. Collection. Op. in 8 vols. M., 1995, vol. 8
CONCLUSION
In the dramatic plans after “Woe from Wit” everything was connected with the development and deepening of the democratic, anti-serfdom tendencies of this play. Griboyedov's death in 1829 prevented the creation of new works, which promised to constitute a significant page in the history of Russian literature. But what he did gives grounds to place Griboyedov in the cohort of artists of world significance.For Griboedov's contemporaries, his play was a sign of the times. She helped the best people Russia to determine its place in the socio-political struggle. It is no coincidence that the Decembrists said that comedy was for them one of the sources of free thinking.According to the great democratic critic V.G. Belinsky, “Woe from Wit,” along with the novel “Eugene Onegin,” was “the first example of a poetic depiction of Russian reality in the broad sense of the word. In this regard, both of these works laid the foundation for subsequent literature, from which both Lermontov and Gogol emerged.” . The significance of any writer from the past of our time is tested, first of all, by how close his spiritual image is to us, how much his work serves our historical cause. Griboyedov fully withstands this test. He is close and dear to people as a writer, faithful to the truth of life, as a leading figure of his time - a patriot, humanist and freedom lover, who had a deep and fruitful impact on the development of Russian national culture. Griboyedov and his great comedy are surrounded by truly popular love in our country. Now more than ever, the words inscribed on Griboedov’s gravestone sound loudly and convincingly:“Your mind and deeds are immortal in Russian memory...”The success of the work, which has taken a strong place among Russian classics, is largely determined by the harmonious combination in it of the urgently topical and timeless. Through the brilliantly drawn picture of Russian society, “eternal” themes can be discerned: the conflict of generations, the drama of a love triangle, the antagonism of the individual and society. At the same time, “Woe from Wit” is an example of an artistic synthesis of the traditional and innovative: paying tribute to the canons of the aesthetics of classicism, Griboedov “revives” the scheme with conflicts and characters taken from life, freely introducing lyrical, satirical and journalistic lines into the comedy.Controversy around “Woe from Wit” in the 20s years XIX centuries, mixed assessment Contemporaries of the play talk about how innovative Griboedov's idea was. It was not only the topical content of the comedy that worried contemporaries. The best minds of the time guessed the untimely philosophical depth of her conflict. The comedy “will survive many eras” and will remain a unique, unique work for posterity.There is no other work in our literature that would be assessed so differently by critics and interpreted so differently by directors and actors. Perhaps this is the secret of the constant modernity of Griboyedov’s comedy: Chatsky only changes depending on the time, but each time he organically corresponds to it (the time). Precision and aphoristic accuracy of the language, successful use of free iambic, conveying the elements colloquial speech, allowed the comedy text to maintain its sharpness and expressiveness; as Pushkin predicted, many lines of “Woe from Wit” became proverbs and sayings (“The legend is fresh, but hard to believe,” “Happy people do not watch the clock”). The work turned out to be topical, meeting the urgent needs of its time and the modern one. “Griboedov did his thing,” Pushkin said in response to a remark about the poet’s untimely death, “he has already written “Woe from Wit.”
BIBLIOGRAPHY
- Andreev N.V. "Great Writers of Russia". Moscow, “Thought”, 1988.
- Volodin P.M. "History of Russian literature of the 19th century century." Moscow, 1962
- Druzhinin N.M. "A.S. Griboyedov in Russian criticism." Moscow, 1958
- Medvedeva I. ““Woe from Wit” by A.S. Griboyedov.” Moscow, " Fiction", 1974
- Meshcheryakov V.P. “Things of days gone by...” Moscow, Bustard, 2003.
- Orlov V. “Griboyedov. Essay on life and creativity." Moscow, Goslitizdat, 1947.
- Piksanov N.K. " Creative history“Woe from Wit.” Leningrad, 1983
In Griboedov’s comedy “Woe from Wit” we can observe a clash of two different eras, two styles of Russian life, which is realistically shown by the author in his immortal work. The difference in the worldview of the old Moscow nobility and the advanced nobility in the 10-20s XIX century constitutes the main conflict of the play - the collision of the “present century” and the “past century”.
“The Past Century” represents in the comedy the Moscow noble society, which adheres to the established rules and norms of life. A typical representative of this society is Pavel Afanasyevich Famusov. He lives the old fashioned way and considers his ideal to be Uncle Maxim Petrovich, who was a shining example nobles from the time of Empress Catherine. Here's what Famusov himself says about him:
It's not on silver
Ate on gold; one hundred people at your service;
All in orders; I was always traveling in a train;
A century at court, and at what court!
Then it was not the same as now...
However, in order to achieve such a life, he “bent over,” served, played the role of a jester. Famusov idolizes that century, but feels... It means that it is becoming a thing of the past. No wonder he complains: “Then it’s not like it is now...”
A prominent representative of the “present century” is Alexander Andreevich Chatsky, who embodies the features of the advanced noble youth of that time. He is a bearer of new views, which he proves by his behavior, way of life, but especially by his passionate speeches denouncing the foundations of the “past century,” which he clearly disdains. This is evidenced by his words:
And sure enough, the world began to grow stupid,
You can say with a sigh;
How to compare and see
The present century and the past:
The legend is fresh, but hard to believe;
As he was famous for, whose neck bent more often.
Chatsky considers that century to be the century of “submission and fear.” He is convinced that those morals are a thing of the past and today, “laughter frightens and keeps shame in check.”
However, it's not that simple. The traditions of days gone by are too strong. Chatsky himself turns out to be their victim. With his directness, wit, and audacity, he becomes a troublemaker social rules and normal. And society takes revenge on him. At the first meeting with him, Famusov calls him “carbonari.” However, in a conversation with Skalozub, he speaks well of him, says that he is “a guy with a head,” “writes and translates well,” and regrets that Chatsky is not serving. But Chatsky has his own opinion on this matter: he wants to serve the cause, not individuals. For now, apparently, this is impossible in Russia.
At first glance, it may seem that the conflict between Famusov and Chatsky is a conflict different generations, the conflict between “fathers” and “children,” but this is not so. After all, Sophia and Molchalin are young people, almost the same age as Chatsky, but they fully belong to the “past century.” Sophia is not stupid. Chatsky’s love for her can also serve as proof of this. But she absorbed the philosophy of her father and his society. Her chosen one is Molchalin. He is also young, but also a child of that old environment. He fully supports the morals and customs of old lordly Moscow. Both Sofia and Famusov speak well of Molchalin. The latter keeps him in his service “because he’s businesslike,” and Sophia sharply rejects Chatsky’s attacks on her lover. She says: Of course, he doesn’t have this mind, What a genius for others, but for others a plague...
But for her, intelligence is not the main thing. The main thing is that Molchalin is quiet, modest, helpful, disarms the priest with silence, and will not offend anyone. In general, an ideal husband. You can say the qualities are wonderful, but they are false. This is just a mask behind which his essence is hidden. After all, his motto is moderation and accuracy,” and he is ready to “please all people without exception,” as his father taught him. He persistently moves towards his goal - a warm and moneyed place. He plays the role of a lover only because it pleases Sophia herself, the daughter of his master. And Sophia sees in him the ideal husband and boldly moves towards her goal, without fear of “what Princess Marya Aleksevna will say.”
Chatsky, finding himself in this environment after a long absence, is at first very friendly. He strives here, because the “smoke of the Fatherland” is “sweet and pleasant” to him, but this smoke turns out to be carbon monoxide for him. He encounters a wall of misunderstanding and rejection. His tragedy lies in the fact that on stage he alone confronts Famus society.
But the comedy mentions Skalozub’s cousin, who is also “wondering” - he “suddenly left his service,” locked himself in the village and began reading books, but he “followed his rank.” There is also a nephew of Princess Tugoukhovskaya, “chemist and botanist” Prince Fyodor. But there is also Repetilov, who is proud of his involvement with a certain secret society, all of whose activities boil down to “make noise, brother, make noise.” But Chatsky cannot become a member of such a secret union.
Chatsky, apparently, is not only the bearer of new views and ideas, but also advocates new standards of life. After all, he traveled through Europe, which was experiencing revolutionary ferment. The comedy does not directly say that Chatsky is a revolutionary, but this can be assumed. After all, his surname is “speaking”, it is consonant with the surname of Chaadaev.
In addition to the public tragedy, Chatsky is also experiencing a personal tragedy. He is rejected by his beloved Sophia, to whom he “flew and trembled.” Moreover, with her light hand he is declared crazy.
So, Chatsky, who does not accept the ideas and morals of the “past century,” becomes a troublemaker in Famusov society. And it rejects him. At first glance, it serves it right, because Chatsky is a mocker, a wit, a troublemaker and even an insulter. So, Sophia says to him: Has it ever happened that you laughed? or sad? A mistake? Did they say good things about anyone?
But you can understand Chatsky. He experiences a personal tragedy, he does not find friendly sympathy, he is not accepted, he is rejected, he is expelled, but the hero himself could not exist in such conditions.
“The present century” and the “past century” collide in comedy. The past time is still too strong and gives rise to its own kind. But the time for change in the person of Chatsky is already coming, although it is still too weak. “The “present century” replaces the “past century”, for this is an immutable law of life. The appearance of the Chatsky Carbonari at the turn of the century historical eras natural and natural.
Is A.S. Griboedov’s comedy “Woe from Wit” modern?
How to compare and see
A.S.Griboyedov
There are brilliant works of literature. And there are brilliant names of brilliant works. Those in which the words that make them up seem to merge into one concept. Because before us is not just the title of a literary work, but the name of a certain phenomenon. There are hardly more than a dozen such titles, such works, even in great literature. Griboedov's comedy is one of them.
Alexander Sergeevich Griboyedov turned two hundred years old. From the incompletely established dates of his miraculous birth, one has been chosen, and now - Let's celebrate! The Famusovs are in the boxes, the Skalozubs have become generals, Sophia and Liza are pleasing to the eye in the ranks of the social movement “Women of Russia”, the Molchalins are blissful in ministries and committees. Who are the judges?...
There is no play more lively and modern than "Woe from Wit." So it was, so it is, so it will be.
A truly great work, such as “Woe from Wit,” resists overestimation. There is no escaping the fact that Griboyedov was closely connected with the Decembrists. Another thing is that our understanding of Decembrism as a social movement has become more precise over the years. We are more clearly aware of some of the tragic features of Russian social life, especially the centuries-old traditions of totalitarianism. This explains a lot in Russian history, right up to the present day. It is important for us that “Woe from Wit” is not a “black and white” satire on the social system, as they taught in school. The writer was interested not in the “system”, not in the “system”, but in social psychology. But it is not “black and white” at all. Listen: Famusov and Chatsky often talk about the same thing. “And all the Kuznetsky Bridge, and the eternal French!...” grumbles Famusov. And Chatsky is concerned that “our smart, cheerful people, even though based on our language, do not consider us to be Germans.” Both of them are unconditional patriots, both are Russian people to the depths of their souls, there is much that separates them, but much that makes them similar, and that is the tragedy of this comedy, that is why there are “a million torments.” And “system”, “system” - well, they can change, but Famusov, Repetilov, Molchalin, Skalozub are eternal. And Chatsky is eternal.
When was the last time we saw Chatsky alive? It was Academician Sakharov. Different time, age, appearance, language, but the essence is the same: Chatsky! The same one whom Pushkin condescendingly reproached, claiming that in “Woe from Wit” the only smart person is Griboyedov himself, and Chatsky is a kind fellow who spent some time in his company and makes smart speeches in his voice - to whom? Before the Skalozubs and Tugoukhovskys? But the fact of the matter is that Pushkin is not entirely right: it is necessary to speak. To those with whom history has brought you together. Without even expecting understanding. What is said will not be lost. Griboyedov convinced of this. Sakharov convinced of this. What do these two Russian people have in common, besides the fact that they are Russian? Mind. Both of them were outstanding minds of their time.
The inexhaustibility of “Woe from Wit” is revealed in the misunderstood Chatsky and the unsolved Repetilov...
How to compare and see
The present century and the past...
Which Russian hasn’t found his age to be the most incredible? It seems that both Pushkin and Griboyedov more than once had to hear the usual complaints about time, otherwise their so different heroes, like Famusov and Duke, would not have lamented so unanimously: “A terrible century! You don’t know what to start...” says Famusov. And the Duke echoes him: “Terrible age, terrible hearts!”
Perhaps we too will guess that times differ only in their affiliation: whether it is ours or not.
Plot basis“Woe from Wit” constitutes a conflict between the young nobleman Chatsky and the society from which he himself came. Events unfold in one Moscow aristocratic house during the day. But Griboedov managed to expand the temporal and spatial boundaries, giving full picture the life of the noble society of that time and showing what was new that was emerging within its borders.
Chatsky is a man of extraordinary intelligence, honest, sincere. In his disputes with Famusov, the appearance of a man who is able to think soberly, a man who sees the vices of society and wants to fight them, emerges. Griboedov shows these qualities of Chatsky especially clearly, contrasting him with the sycophant and hypocrite Molchalin. This vile man, who has nothing sacred, regularly fulfills his father’s behest: “to please all people without exception.” Molchalin is “a sycophant and a businessman,” as Chatsky characterizes him.
Famusov is a high-ranking official, a conservative to the core, a stupid martinet Skalozub - these are the people Chatsky meets. If Molchalin, Famusov, Skalozub see the meaning of life in their well-being, then Chatsky dreams of bringing benefit to the people, whom he respects and considers “smart and cheerful.” At the same time, he despises servility and careerism. He “would be glad to serve,” but he “is sick of being served.” Chatsky sharply criticizes this society, mired in hypocrisy and depravity:
Where, show us, are the fathers of the fatherland,
Which ones should we take as models?
Aren't these the ones who are rich in robbery?
We found protection from fate in friends, in kinship,
Magnificent building chambers,
Where they indulge in feasts and extravagance...
My God, it’s like it’s written now! And we are still arguing whether comedy is modern. What a joy this play is! Like all of us together and each individually, Griboyedov dreamed of happiness and freedom. And, like no one else, he deserved freedom and happiness.
Despite the historical tragedy of Russian life, Griboedov lives his comedy “Woe from Wit” in us. He returns to us like the light of happiness.
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Is A.S. Griboyedov’s comedy “Woe from Wit” modern?
How to compare and see
A.S.Griboyedov
There are brilliant works of literature. And there are brilliant names
of genius works. Those in which the words that make them up
seem to merge into one concept. Because in front of us is not just zag-
the name of a literary work, but the name of a certain phenomenon. These are called
However, even in great literature there are hardly any such works
more than a dozen. Griboedov's comedy is one of them.
Alexander Sergeevich Griboyedov turned two hundred years old. From neo-
of the definitively established dates of his miraculous birth, one was chosen, and
here - Let's celebrate! The Famusovs are in the boxes, the Skalozubs are promoted to generals,
Sophia and Liza are pleasing to the eyes in the ranks of the social movement "Women
Russia", the Molchalins are blissful in ministries and committees. And the judges
There is no play more lively and modern than "Woe from Wit." That's how it was, that's how it was
yes, it will be so.
A truly great work, such as “Woe from Wit”, con-
resists overestimations. There is no escaping the fact that Griboyedov was
blood related to the Decembrists. Another thing is that our understanding of December
Rism as a social movement has been refined over the years. We are more clearly aware
We note some tragic features of Russian social life,
especially the centuries-old traditions of totalitarianism. This explains a lot about
national history, right up to the present day. It is important for us that "Grief
from the mind" - this is not a "black and white" satire on the social system, as was taught
At school. The writer was interested not in the “system”, not in the “system”, but in social psychology.
chology. But it is not “black and white” at all. Listen: Famusov and Chatsky
they often talk about the same thing. "And all the Kuznetsky Bridge, and the eternal
French!..." - grumbles Famusov. And Chatsky is concerned that "so that smart,
our cheerful people, although by language they did not consider us to be Germans." Both of them were be-
absolute patriots, both Russian people to the core, many of them share
similar, but many things are similar, that’s the tragedy of this comedy, that’s why
"a million torments." And “structure”, “system” - well, they can change,
but Famusov, Repetilov, Molchalin, Skalozub are eternal. And Chatsky is eternal.
When was the last time we saw Chatsky alive? It was Academician Sa-
Kharov. Different time, age, appearance, language, but the essence is the same:
Chatsky! The same one whom Pushkin condescendingly reproached, claiming
that in “Woe from Wit” one smart person is Griboyedov himself, and Chatsky is
a kind fellow who had spent some time in his company and said
mi? But the fact of the matter is that Pushkin is not entirely right: it is necessary to speak. Pe-
ed by those with whom history has brought you together. Without even expecting understanding.
What is said will not be lost. Griboyedov convinced of this. Sakha convinced him of this
ditch What do these two Russian people have in common, except that they
Russians? Mind. Both of them were outstanding minds of their time.
The inexhaustibility of "Woe from Wit" is revealed in the misunderstood Chatsky and
unsolved Repetilov...
How to compare and see
The present century and the past...
Which Russian hasn’t found his age to be the most incredible? Seems,
both Pushkin and Griboedov more than once heard the usual complaints about
time, otherwise their so different heroes, like Famusov and Duke, would not crush
would be so unanimous: “It’s a terrible age! You don’t know what to start..,” - go-
says Famusov. And the Duke echoes him: “Terrible age, terrible hearts!”
Maybe we will guess that times differ only in
belongings: is it ours or not.
The plot basis of "Woe from Wit" is the conflict of the young nobleman -
Nina Chatsky with the society from which he himself came. Events
unfold in a Moscow aristocratic house over the course of
day. But Griboedov managed to expand the time and space boundaries,
giving a complete picture of the life of the noble society of that time and showing
something new that was born within its borders.
Chatsky is a man of extraordinary intelligence, honest, sincere. In his way
rah with Famusov, the appearance of a man who is capable of sober
think, a person who sees the evils of society and wants to fight
them. Griboyedov especially clearly shows these qualities of Chatsky, against
contrasting him with the sycophant and hypocrite Molchalin. This vile man
for whom nothing is sacred, regularly fulfills his father’s behest: “to please
to all people without exception." Molchalin is a "low-worshipper and businessman," like a ha-
Chatsky characterizes it.
Famusov is a high-ranking official, a conservative to the core.
hey, the stupid martinet Skalozub - these are the people Chatsky meets.
If Molchalin, Famusov, Skalozub see the meaning of life in their well-being,
chii, then Chatsky dreams of benefiting the people he
respects and considers him “smart and cheerful.” At the same time, he despises people-pleasers.
quality, careerism. He “would be glad to serve,” but he “sickens being served.”
Chatsky sharply criticizes this society, mired in hypocrisy and depravity:
Where, show us, are the fathers of the fatherland,
Which ones should we take as models?
Aren't these the ones who are rich in robbery?
We found protection from fate in friends, in kinship,
Magnificent building chambers,
Where they indulge in feasts and extravagance...
My God, it’s like it’s written now! And we are still arguing whether it is modern
comedy. What a joy this play is! How we are all together and everyone is away
efficiency, Griboyedov dreamed of happiness and freedom. And like no one else,
he deserved freedom and happiness.
Despite the historical tragedy of Russian life, Griboyedov lives
with his comedy "Woe from Wit" in us. He comes back to us like light
