A complete analysis of the comedy Woe from Wit. Woe from mind

At first glance, the play is written in the spirit classicism: there are antagonistic heroes, the plot reveals the struggle of two contenders for the hand of one heroine. The main thing that distinguishes classic work, - three unities: place (everything happens in Famusov’s house), time (a day passes from the moment Chatsky appears until his departure) and action (all the action unfolds around Sophia). But Griboyedov makes significant changes to genre features plays, violating almost all the laws of classicism.

Comedy begins with a lie. In Famusov's house, all relationships are built on lies, which serve as a tool of pretense (like Molchalin) or take the form of virtue (like Famusov). Sophia, Famusov's daughter, is forced to hide her love for "rootless" Secretary Molchalin, because my father needs a groom "with stars and ranks". Molchalin pretends to love Sophia for career reasons. The head of the house hides from his daughter everything that contradicts the reputation of the respectable head of the family.

And in such an atmosphere of general deception appears main character- Alexander Andreich Chatsky. Three years ago he fled from this overwhelming boredom "search your mind". "Smoke of the Fatherland" And tender feelings they return him to Moscow to Sophia. Having not been to the capital for three years, he expects changes, but everything turns out to be the same: all the same hobbies, the same faces, the same boredom from which he fled. Why does Chatsky stay now? The answer is simple: he sees in front of him not a teenage girl, but a young lady who, at seventeen years old, "bloomed beautifully". And he remains in the hope of evoking a reciprocal feeling from Sophia.

In addition, Chatsky notices that Famusov is concerned about his appearance. Realizing that the young man is ready to get married, he sets a condition: he must put things in order, go to serve, and most importantly, not be proud. Pavel Afanasyevich cites Uncle Maxim Petrovich as a worthy example, and Famusov’s speech is more reminiscent of an attack, and Chatsky involuntarily has to defend himself: he pronounces his first monologue about stupidity Famusov society, which caused Sophia’s father a panicky fear of the young man’s revolutionary mood.

Chatsky naively believes "past century", century "submission and fear", has already passed, but the refutation of this thought is the appearance of Colonel Skalozub. And again restraint betrays Chatsky. He is shocked: is he being handed over to Skalozub for trial? His monologue “Who are the judges? ..." born as a protest against this. But insight had not yet come to the ardent young man. After Molchalin’s fall from his horse and Sophia’s subsequent fainting, he should have guessed who his childhood friend is in love with, but worry about Sophia does not allow him to correctly perceive what is happening.

Chatsky, according to the hero himself, “The mind and heart are not in harmony”. The mind suggests that it is necessary to sever all relations with Famus society, but the heart demands Sophia’s love. But Chatsky’s noble mind cannot admit the fact that the girl is in love with a nonentity - Molchalin. He asks Sophia what attracts her to this man. It turns out that he "yielding, modest, quiet". Chatsky assures himself that she is joking: you cannot love a person for this. And having learned from Molchalin about his ideals and life aspirations, the young man in love makes a fatal conclusion for himself:

With such feelings, with such a soul
We love you! ... The deceiver laughed at me!

However, Sophia builds her life according to generally accepted models, in accordance with the morality accepted in Moscow society. For a society lady you need "husband-boy, husband-servant", and Molchalin is suitable for this role. Chatsky hit the nail on the head by defining main feature character of your opponent: “After all, nowadays they love the dumb”. Yes, that’s why Sophia loves him, but in Chatsky’s mouth it sounds like an insult to her. That’s why she so easily commits meanness by spreading gossip at the ball about the fact that Chatsky allegedly went crazy.

You love to dress everyone up as jesters,
Would you like to try it on yourself?

Why did the gossip spread so quickly among Famusov’s guests and did not even raise doubts in anyone? From his first appearance on stage, the hero attracts the viewer with his straightforward judgment, intolerance of lies, and ardor. He "smart, witty, eloquent", but too impatient. And if this impatience only makes the viewer smile, then the representatives of Moscow’s high society are offended. Chatsky rejected them life principles, and this causes irritation in society, which so easily resulted in the spread of gossip about Chatsky’s madness.

Each of the guests named his own reason for the insanity, but Famusov turned out to be the most “original” of all. He saw the root of evil in education:

Learning is the plague, learning is the reason...

The appearance of Chatsky frightens the guests, but he is so depressed in spirit "empty, slavish, blind imitation", that, having burst into another monologue about "French from Bordeaux", does not notice how he was declared crazy. But his anger is incomprehensible to Famusov’s guests; they confuse lofty ideas with scandalousness and run away in horror. So the ball becomes the culmination of the conflict "this century" And "of the past century". But there is still a denouement ahead - a night of epiphanies.

Sophia will have to find out how low her beloved Molchalin is; Chatsky will be shocked by Sophia’s betrayal, having learned that it was she who started the rumor about his insanity. Famusov will make sure that his daughter, “like her mother, deceased”, “already somewhere with a man”.

Each of the heroes will experience their "a million torments". But if Chatsky leaves Moscow forever, which so easily mistook him for a madman, saying goodbye to his last monologue, exposing "mob tormentors", then Sophia’s situation seems more tragic. She rejected Chatsky, was disappointed in her loved one, remained a toy in the hands of an angry father, threatening to exile “to the village, to my aunt, to the wilderness, to Saratov”.

Is Chatsky right in being confident that she will make peace with Molchalin? Will Sophia be able to survive the insult and reconcile with the Moscow circle, choosing "a sycophant and a businessman"? These questions remain unanswered. But the reader understands how tragic the fate of the girl is, whose sharp mind collides with the dogmas of society. So the name of the comedy “Woe from Wit” relates to both Chatsky and Sophia. Such ambiguity of images indicates their inconsistency with the traditions of classicism.

Article menu:

Writers are among the most unique people on the planet, they know how to create a multifaceted masterpiece based on a short situation. Almost the same fate befell Griboyedov’s comedy “Woe from Wit.”

The history of the creation of the work “Woe from Wit”

Once Griboedov had a chance to attend one of the dinner parties in aristocratic circles. There he was a witness unusual picture: one of the guests was a foreign citizen. Aristocrats really appreciated everything foreign, they wanted to be as much like them as possible, so any contact with foreign guests, especially noble birth was flattering to the representatives high society. Therefore, the entire dinner was devoted to a reverent attitude towards the foreign guest - Griboedov, who was hostile to the attempts of the Russian aristocracy to acquire everything foreign, including behavior, language and features of life, could not miss the moment and not speak out on this matter.

We invite you to familiarize yourself with the “characteristics of Molchalin” in the comedy “A. Griboyedov “Woe from Wit”.

Naturally, his speech was not heard - the aristocrats considered Griboyedov to be out of his mind and immediately happily started rumors about his mental illness. Indignant Alexander Sergeevich then decided to write a comedy in which he would expose all the vices of aristocratic society. This happened in 1816.

Comedy publication history

However, Griboyedov began creating the work after some time. In 1823, the first fragments of the comedy were ready. Griboedov presented them to society from time to time, first in Moscow, then in Tiflis.

With publication also for a long time There were difficulties - the text was repeatedly subject to censorship and, as a result, to revision and revision. Only in 1825 were fragments of the work published.

During Griboedov’s lifetime, his work was never fully published - in the hope that his friend Bulgarin would help with this, Alexander Sergeevich gives him the manuscript of his comedy, which at that time was called “Woe of Wit,” but publication did not follow.

Four years after Griboedov’s death (in 1833), “Grief” finally saw the light of day. However, the text of the comedy was distorted by the editorial and censorship commission - there were too many moments in the text that were unacceptable for publication. It was not until 1875 that the work was published without censorship.

Comedy heroes

All the characters in the play can be divided into three categories - main, secondary and tertiary.

TO central images comedies include Famusov, Chatsky, Molchalin and Sofya Pavlovna

• Pavel Afanasyevich Famusov- an aristocrat by birth, managing a government agency. He is a dishonest and corrupt official, and as a representative of society, he is also far from ideal.
• Sofya Pavlovna Famusova– Famusov’s young daughter, despite her young age, she is already actively using tricks accepted in aristocratic circles – the girl loves to play with the feelings of other people. She likes to be the center of attention.
• Alexander Chatsky– hereditary aristocrat, orphan. He was taken in by Famusov after the death of his parents. For some time, Alexander was in military service, but became disillusioned with this type of activity.
• Alexey Stepanovich Molchalin- Famusov’s secretary, a man of ignoble origin, who, thanks to Famusov’s actions, acquires the rank of nobility. Molchalin is a vile and hypocritical person who is driven by the desire to break into aristocratic circles at any cost.

TO minor characters include the images of Skalozub, Lisa and Repetilov.

• Sergey Sergeevich Skalozub- a nobleman, a young officer who is only interested in promotion.
• Repetilov- an old friend of Pavel Afanasyevich, a hereditary nobleman.
• Lisa- a servant in the Famusovs’ house, with whom Molchalin is in love.

Characters of tertiary importance include the images of Anton Antonovich Zagoretsky, Anfisa Nilovna Khlestova, Platon Mikhailovich Gorich, Natalya Dmitrievna Gorich, Prince Pyotr Ilyich Tugoukhovsky, Countesses Khryumin and Petrushka - all of them act briefly in the play, but thanks to their social position they help to depict an accurate and unsightly picture of reality.

The young landowner Chatsky returns home after a three-year absence from Russia. He visits the house of his teacher Famusov in order to woo his daughter, with whom he has long been in love, Sophia.

In Famusov’s house, Chatsky notices that during his absence the vices of the aristocracy have only worsened. The young man is surprised by the self-interest and calculation of representatives of high society. Aristocrats, instead of setting an example of humanism and honesty, set an example of bribery and playing to the public - this discourages Chatsky. The ideal of behavior in high circles has become servility - for aristocrats it has become unimportant to serve - now it is in fashion to serve. Reproof opposite position Chatsky in relation to the Famus society becomes the main reason why he cannot claim Sonya’s hand.

We invite you to familiarize yourself with the “characteristics of Famusov” in the comedy “Woe from Wit” by A. Griboyedov.

Alexander still does not lose hope. He thinks that the girl’s favor will be able to change the situation, but even here Chatsky will be disappointed - Sonya actually loves not him, but her father’s secretary.

However, Sonya is in no hurry to refuse Chatsky - she is hiding from Chatsky true position things and pretends that Alexander’s sympathy is pleasant to her. In addition, the girl is spreading rumors that

Chatsky has mental health problems. When Alexander finds out the truth, he realizes that such a girl cannot be his wife. The only thing that remains for Alexander is to leave Moscow.

Poetic size and features of the verse of the play

Griboyedov's play "Woe from Wit" is written in iambic. The number of feet in poetry is not the same (unlike traditional Alexandrian verse, which involved the use of iambic hexameter) - Alexander Sergeevich periodically changes the number of feet. Their number varies from one to six.

The rhyme system is also not stable. In the play you can see virtually all the options - double, cross, belted. In addition, Griboyedov uses internal rhyme.

Themes and issues of the play

The main conflict of the play is defined by the framework of the confrontation between the “present century” and the “past century.” This concept is not limited solely to the attitude to service and a person’s wealth - a large array of problems is hidden under these phrases.

First of all, the problem of the type of human activity and their distribution into noble pursuits (civil service in government institutions And military service) and shameful (writing, scientific activity).

The second problem of the play was the glorification of suck-ups - authority and respect in society are earned not by valiant service or exemplary work done, but by the ability to please higher management.

The next problem is bribery and mutual responsibility. All problems in society can be solved with money or connections.

The problem of sincerity and honesty is also raised by Griboyedov - people say what is beneficial. They are ready to dissemble and deceive in order to gain some benefits. Rarely is anyone ready to express a true opinion, especially if it does not coincide with the opinion of the majority.

Most people become dependent on the opinions of others; they are ready to build their lives, guided not by convenience, but by tradition, even when it significantly complicates their lives.

The problem of selfishness has become the reason for the emergence of duplicity on the love front - being a monogamist has become unfashionable.

Genre of the work: “Woe from Wit”

Features of the themes and issues of the play became the reason for the emergence of discussion in literary circles about the genre "Woe from Wit". Researchers' opinions on this issue are divided.

Some believe that it is correct to assign the comedy genre to a work, while others are sure that such problems are typical for works of a dramatic nature.

The main reason that allows us to define the play as a drama is the global nature of the problem raised. The conflict of the play is built on a deep feeling of disappointment, which is not typical for comedy. The comic elements that are present in the description of the characters are minimal and, according to researchers, are used to enhance the dramatic function in the text.

Based on this position, along with proposals to define the genre as comedy or drama, proposals to mix genres began to appear in the course of the discussion. So, for example, N.I. Nadezhdin designated it as satirical picture.

N.K. Piskanov, analyzing the features of the play, came to the conclusion that it is impossible to determine exactly its genre - literary scholars have every reason to designate it as social drama, a realistic everyday play, a psychological drama and even musical drama(based on the features of the verse of the play).

Despite all the discussions, Griboyedov's play "Woe from Wit" continues to be called a comedy. First of all, this is due to the fact that Alexander Sergeevich himself designated the genre of his work this way. Although comic elements are not widely used in the play, and its structure and plot features are far from traditional comic ones, the influence of satire and humor had a noticeable place in the play.

Thus, the play by A.S. Griboedov’s “Woe from Wit” is a multifaceted and extensive work.

The variety of themes and issues of the play, as well as the ways of depicting the essence of the conflict, have become the cause of discussion in terms of the genre of the play.

The problems and topics raised by Griboyedov can be classified as “eternal” topics that never lose their relevance.

Comedy “Woe from Wit” by Griboyedov: analysis of the work, materials for composition

Griboedov's innovation lay in the fact that he created Russia's first realistic, social, national comedy. It starts traditionally, like love play. Griboedov connected two lines together: love and social. The author showed how public drama grows from personal drama.

The plot is the arrival of Chatsky. The culmination of the plot is a ball at which Chatsky is declared crazy.

In constructing the comedy, Griboedov deviates from traditional canons: the play consists of four acts, and three unities (place, time and action) are also violated.

This work contains the most important problems that time:

1. the problem of attitude towards the people;
2. the problem of creating a national culture;
3. problem civil service. People with progressive views then demonstratively did not serve anywhere;
4. the problem of enlightenment, education, upbringing;
5. personality problem.

The main thing is in the content of this work is a struggle between two socio-political camps: new and old, anti-serfdom and serfdom, which became widespread after Patriotic War 1812. Griboedov showed in the comedy, which was originally called “Woe to Wit,” the process of breaking away the advanced part of the nobility from the inert environment and its struggle with its class. He was able to see the advanced hero in real life. Therefore, the writer’s realism was manifested primarily in the choice of a life conflict, which he comprehended not in an abstract or allegorical form, as was customary in classicism and romanticism, but by transferring it into a play characteristic features social and everyday phenomena. Various indications of modernity, which the work is saturated with, characterize its historicism in the depiction of reality.

The action of this comedy has clear chronological boundaries. For example, it was established that, when mentioning a committee demanding that “no one knows or learns to read and write,” Chatsky was talking about the reactionary Committee created by the government. Khlestova speaks angrily about the Lancastrian system, which the Decembrists used to teach soldiers to read and write in their regiments; Lancastrian mutual education began to develop in Russia, and the Decembrists implanted it in their regiments. Professors of St. Petersburg are also mentioned pedagogical institute, accusing her of “schisms and lack of faith,” in the words of Princess Tugoukhovskaya. In addition, Famusov’s exclamation about Chatsky: “Ah! My God! He's a Carbonari! - reflects the conversations of Moscow nobles about revolutionary movement Italian patriots, which reached its highest point in 1820-1823. All of the above questions are the subject of heated discussions between the characters in the comedy, which reflected the tense atmosphere in noble society on the eve of 1825.

In "Woe from Wit" for the first time the clash of characters takes place on ideological grounds; before that, in the plays there was only a clash of characters, ages, tastes and social provisions. Even the traditional conflict between two rivals who are trying to achieve reciprocity from the heroine is here subordinated to the characters’ struggle for their understanding of the meaning of life. Molchalin also expresses his opinion about the rules of behavior and honor as generally accepted moral norms. Chatsky, for a long time and stubbornly, does not want to recognize him as his rival, refusing to believe that Sophia is capable of loving such a person, since they are too different in intellectual and moral development. The author completely shares Chatsky's position, ending the play with his moral victory over his opponents.

Another achievement of Griboyedov’s realism was the images he created.

Chatsky embodied the traits advanced person that time. He is the first in Russian realistic literature the image of a noble intellectual, cut off from his class environment. Main character in many of his judgments and statements he is close to the Decembrists.

In his monologues, Chatsky sharply condemned the evils of his contemporary society. For example, in the monologue “Who are the judges?” he denounces “noble scoundrels” who exchange their servants for greyhounds, driving “rejected children from their mothers and fathers” to the serf ballet, then selling them off one by one.

Chatsky left the service because “I would be glad to serve, but being served is sickening.” In addition, he criticizes the noble society for its admiration for everything foreign and for its contempt for native language and customs. Chatsky's main ideological opponent is the reactionary Famusov, who lives by prejudice and considers enlightenment to be the source of all evil in the world. He is a typical Moscow serf-owner, a strict master of the house, who is rude to his subordinates, but flatteringly helpful to those who are higher than him in position and wealth.

Molchalin is an official serving Famusov, following the path of flattery and sycophancy.

In a more grotesque way, the image of Colonel Skalozub is given, very limited person, whose only dream is the rank of general. It represents a reliable support for the throne and the stick mode.

The most controversial character in the play is the image of Sophia. She fell in love with someone unequal to herself, thereby, as it were, challenging the house-building traditions. Finding herself deceived in her feelings, she is not afraid of the condemnation of the people around her. But at the same time, she has not yet grown spiritually, so Chatsky’s mocking and independent mind frightens her and leads her to the camp of his opponents.

In addition, Griboyedov enriched the language of fiction with elements of living colloquial speech, taken from the common Russian language. Like other Russian realist writers, the author learned from the people to express his thoughts and feelings clearly, briefly, accurately and figuratively.

Speech characteristics in this comedy are very important, since they fully and clearly express the writer’s attitude towards this acting person plays.

From his first remarks, Repetilov shows himself to be a talkative, irresponsible and worthless person.

Lisa, a maid in Famusov’s house, has a special speech style. In her conversation, elements of common speech, such as “the young lady is calling you”, “he’s not cunning”, are combined with specific phrases characteristic of a more noble society, probably heard by her more than once in the manor’s house. This is why Lisa’s language contains phrases like “I don’t flatter myself” and others. Material from the site

In Colonel Skalozub’s speech there are many words and phrases from specific military service terminology, which help the author to describe even more clearly and more plausibly a serviceable military man who has only military service on his mind. At the same time, the writer forces him, in the words of military jargon, to speak about phenomena and events of a completely different meaning and content, as a result of which a special comic effect. For example, Famusov asks the colonel a question: “How do you feel about Natalya Nikolaevna?”, to which Skalozub replies: “I don’t know, sir, it’s my fault, we didn’t serve together with her.”

In Sophia’s speech style there are many Gallicisms, peculiar “cripples” of French expressions, for example: “doing laughter”, “I really see” and many others. What was fashionable at that time was reflected here literary movements, in her words one can feel the mannerism of the sentimental school.

Only the speech of the main character Chatsky is lively, relaxed and very emotional. Despite the fact that it also contains elements of colloquial vernacular, for example, such as pushe, tea, daviche, okrome, nevertheless, intonationally it sounds in a completely different way and is stylistically painted in completely different colors. This is explained by the fact that Chatsky, by the essence of his character, necessarily had to speak differently, not like representatives of Famus society, because he thinks and reasons differently. The world of his feelings and experiences is much richer and wider than his ideological opponents, and this must certainly be reflected in the speech of the main character.

It should be noted that many idioms from Griboyedov's comedy "Woe from Wit" have long been included in the everyday speech of the general public masses and became the property of the phraseological composition of the national language.

Didn't find what you were looking for? Use the search

On this page there is material on the following topics:

• theme woe from mind
• brief analysis of hell from mind
• Griboyedov grief from mind analysis of the work
• morality of the work woe from mind
• woe from mind analysis of the work

The comedy of the Russian classic Griboyedov “Woe from Wit” is divided into four acts. The first takes place in the house of the big official Famusov, here the daughter Sophia, a spoiled girl and a smart girl, is caught by the priest having a secret meeting with a minor official Molchalin. Then Chatsky arrives, a man of progressive views, who has been in love with Sophia since childhood, without reciprocity.

Analysis of the second act of “Woe from Wit”: here the main problems of the work are raised: the conflict of freethinking, freethinking with the old despotic foundations. There is also a conflict of selfish interests and sincere, unconditional, ardent feelings. In a conversation with Colonel Skalozub, Famusov expresses his opinion: you have your own estate and service - a groom. No - go for a walk, Vasya!

Chatsky has a conversation with Famusov, where the second is horrified by his free views young man: “He doesn’t recognize the authorities!” “When it is necessary to serve, and he bent over” - around this sample successful person A dispute arises between the owner and Chatsky, the latter refuses the example offered to him.

At this time, Molchalin falls from his horse, the frightened lover Sophia faints when she sees this. Her feelings for Molchalin, which she carefully hid, become clear to the inhabitants of the house.

Analysis of the third act of “Woe from Wit”: The topic of dependence on public opinion, idleness, herdism and stupidity in society. The carefree crowd at the ball treats Chatsky as crazy thanks to bad joke Sophia: no one wants to admit that they were not the first to learn about this news. Suddenly, rich and distinguished individuals resemble a flock of sheep. People trust authorities unconditionally: “if the princes know, then it’s true!” And they behave with herd cruelty, for the most part with indifference to Chatsky’s fate: everyone is afraid of him, afraid to speak: “Suddenly he’ll rush!”

Analysis fourth act"Woe from Mind". At the end of the comedy, the topic and problem of self-esteem is raised. Molchalin, caught, crawls on his knees in front of Sophia, but she is already disgusted by his indignity. Self-esteem rises in her at this moment. The same sense of self-esteem awakens in Chatsky and forces him to leave home and sleepy Moscow, where the girl who attracted him played stupid games with him, where he felt sick and stuffy being in society.

Famusov's image: Famusov is the owner of the house, a manager in a government place, Sophia’s father, a power-hungry and voluptuous man, as evidenced by his intention to flirt with the servants. "Oh! away from the gentlemen. They have troubles ready for you every hour,” says Lisa, the maid, about the owner. Famusov was used to commanding other people, he was used to wealth. He gives his daughter Sophia such a hard time on all occasions that hold on: Famusov knows how to pour a torrent of words on the head of another person perfectly. His veneration for rank exceeds all reasonable limits. He does not encourage his daughter’s teaching, since he did not find anything for himself in the books; he considers Sophia his property:

“Tell me that it’s not good to spoil her eyes,

And reading is of little use:

She can't sleep from French books,

And the Russians make it hard for me to sleep...

He reads tall tales all night,

And here are the fruits of these books!..."

Sophia's image: Sophia is Famusov's daughter, a lover of French novels; the girl is proud, freedom-loving and disobedient to her father: “What do I hear? Whoever wants, judges that way...” she says, showing courage in her choice. Sophia has her own opinion and is able to make choices. But this girl’s mind is focused on intrigue more than anything positive. He cruelly laughs at Chatsky, who is in love, spreads rumors about him, and plays dirty tricks like a child. The intimidated Molchalin, a hidden intriguer, and an external sheep, for her, is a suitable match.

The image of Chatsky. Alexander Chatsky is a man of rebellious character: “I would be glad to serve, but it’s sickening to be served....” It is necessary to serve the cause, not individuals - this is what Chatsky believes. He is a man with mature feelings, has pride and principles, and develops his mind. Unfortunately, Sophia is unable to appreciate this.

Image of Molchalin: Alexey Stepanovich Molchalin is a man “on his own mind.” He does not experience passionate feelings for Sophia, and probably does not experience any, and this is how he conquers her. IN free time he is having an affair with Lisa. He is a reserved, obsequious, quiet man, zealous in his service, submissive to Famusov: “At my age I should not dare to have my own judgment,” laconic:

"Oh! Sophia! Was Molchalin really chosen for her?

Why not a husband? There is only little intelligence in him;

But to have children,

Who lacked intelligence?

Helpful, modest, with a blush in his face...”

The comedy was written alive and in easy language, excellent rhymes are selected, the text is full of colorful images and comparisons. The work is filled bright images, aphorisms, witty expressions and author’s sayings, which later became widespread among the people: “Pass us more than all sorrows, and lordly anger, and lordly love...”.

Analysis of the work

Griboedov's innovation lay in the fact that he created Russia's first realistic, social, national comedy. It begins traditionally, like a love play. Griboedov connected two lines together: love and social. The author showed how public drama grows from personal drama.

The plot is the arrival of Chatsky. The culmination of the plot is a ball at which Chatsky is declared crazy.

In constructing the comedy, Griboedov deviates from traditional canons: the play consists of four acts, and three unities (place, time and action) are also violated.

This work poses the most important problems of that time:

1) the problem of attitude towards the people;

2) the problem of creating a national culture;

3) the problem of public service. People with progressive views did not ostentatiously serve anywhere at that time;

4) the problem of enlightenment, education, upbringing;

5) personality problem.

The main thing in the content of this work is the struggle between two socio-political camps: new and old, anti-serfdom and serfdom, which became widespread after the Patriotic War of 1812. Griboyedov showed in the comedy, which was originally called “Woe to Wit,” the process of breaking away the advanced part of the nobility from the inert environment and its struggle with its class. He was able to see the advanced hero in real life. Therefore, the writer’s realism was manifested primarily in the choice of a life conflict, which he interpreted not in an abstract or allegorical form, as was customary in classicism and romanticism, but by transferring characteristic features of social and everyday phenomena into the play. The various references to modernity that pervade the work characterize its historicism in its depiction of reality.

The action of this comedy has clear chronological boundaries. For example, it was established that, when mentioning a committee demanding that “no one knows or learns to read and write,” Chatsky was talking about the reactionary Committee created by the government. Khlestova speaks angrily about the Lancastrian system, which the Decembrists used to teach soldiers to read and write in their regiments; Lancastrian mutual education began to develop in Russia, and the Decembrists implanted it in their regiments. Professors of the St. Petersburg Pedagogical Institute are also mentioned, accused of “schisms and lack of faith,” in the words of Princess Tugoukhovskaya. In addition, Famusov’s exclamation about Chatsky: “Ah! My God! He's a Carbonari! - reflects the conversations of Moscow nobles about the revolutionary movement of Italian patriots, which reached its highest point in 1820-1823. All of the above questions are the subject of heated discussions among the characters in the comedy, reflecting the tense atmosphere in noble society on the eve of 1825.

In “Woe from Wit”, for the first time, a clash of characters occurs on ideological grounds; before that, in plays there was only a clash of characters, ages, tastes and social positions. Even the traditional conflict between two rivals who are trying to achieve reciprocity from the heroine is here subordinated to the characters’ struggle for their understanding of the meaning of life. Molchalin also expresses his opinion about the rules of behavior and honor as generally accepted moral norms. Chatsky, for a long time and stubbornly, does not want to recognize him as his rival, refusing to believe that Sophia is capable of loving such a person, since they are too different in intellectual and moral development. The author completely shares Chatsky's position, ending the play with his moral victory over his opponents.

Another achievement of Griboedov’s realism was the images he created.

Chatsky embodied the features of a leading man of that time. He is the first image in Russian realistic literature of a noble intellectual who has broken away from his class environment. The main character in many of his judgments and statements is close to the Decembrists.

In his monologues, Chatsky sharply condemned the vices of his contemporary society. For example, in the monologue “Who are the judges?” he denounces “noble scoundrels” who exchange their servants for greyhounds, driving “rejected children from their mothers and fathers” to the serf ballet, then selling them off one by one.

Chatsky left the service because “I would be glad to serve, but it’s sickening to be served.” In addition, he criticizes noble society for its admiration for everything foreign and for its contempt for its native language and customs. Chatsky’s main ideological opponent is the reactionary Famusov, who lives by prejudice and considers enlightenment to be the source of all evil in the world. He is a typical Moscow serf-owner, a strict master of the house, who is rude to his subordinates, but flatteringly attentive to those above him in position and wealth.

Molchalin is an official serving Famusov, following the path of flattery and sycophancy.

On a more grotesque level, the image of Colonel Skalozub is given, a very limited person whose only dream is the rank of general. It represents a reliable support for the throne and the stick mode.

The most controversial character in the play is the image of Sophia. She fell in love with someone unequal to herself, thereby, as it were, challenging Domostroevsky traditions. Finding herself deceived in her feelings, she is not afraid of the condemnation of the people around her. But at the same time, she has not yet grown spiritually, so Chatsky’s mocking and independent mind frightens her and leads her to the camp of his opponents.

In addition, Griboedov enriched the language of fiction with elements of lively colloquial speech taken from the popular Russian language. Like other Russian realist writers, the author learned from the people to express his thoughts and feelings clearly, briefly, accurately and figuratively.

Speech characteristics in this comedy are very important, since they fully and clearly express the writer’s attitude towards this character in the play.

From his first remarks, Repetilov shows himself to be a talkative, irresponsible and worthless person.

Lisa, a maid in Famusov’s house, has a special speech style. In her conversation, elements of common speech, such as “the young lady is calling you”, “he’s not cunning”, are combined with specific phrases characteristic of a more noble society, probably heard by her more than once in the manor’s house. That is why Lisa’s language contains the expressions “I don’t flatter my interests” and others.

In Colonel Skalozub’s speech there are many words and phrases from specific military service terminology, which help the author to describe even more clearly and more plausibly a serviceable military man who has only military service on his mind. At the same time, the writer forces him to speak in military jargon about phenomena and events of a completely different meaning and content, as a result of which a special comic effect is achieved. For example, Famusov asks the colonel a question: “How do you feel about Natalya Nikolaevna?”, to which Skalozub replies: “I don’t know, sir, it’s my fault, we didn’t serve together with her.”

In Sophia’s speech style there are many Gallicisms, peculiar “crippled” French expressions, for example: “to share laughter”, “I see very much” and many others. The literary trends that were fashionable at that time were reflected here; the mannerism of the sentimental school is felt in her words.

Only the speech of the main character Chatsky is lively, relaxed and very emotional. Despite the fact that it also contains elements of colloquial vernacular, for example, such as pushe, chai, daviche, okrome, it nevertheless sounds intonationally in a completely different way and is stylistically painted with completely different colors. This is explained by the fact that Chatsky, by the essence of his character, necessarily had to speak differently, not like representatives of Famus society, because he thinks and reasons differently. The world of his feelings and experiences is much richer and wider than that of his ideological opponents, and this must certainly be reflected in the speech of the protagonist.

It should be noted that many catchphrases from Griboyedov’s comedy “Woe from Wit” have long been included in the everyday speech of the broad masses and have become part of the phraseological composition of the national language.

Griboyedov, Analysis of the work Woe from Wit

Searched on this page:

• analysis of woe from mind
• woe from mind analysis
• woe from mind analysis of the work
• analysis of the work Woe from Wit
• Griboyedov grief from mind analysis