Episode titles are woe. Key scenes of "Woe from Wit"

not fully solved" (A. Blok)

The comedy "Woe from Wit" was written between 1815 and 1820. The content of the play is closely related to the historical events of that time in Russia. The work remains relevant in our time. At that time, society included defenders of serfdom and Decembrists, imbued with love for the Motherland and opposing violence against individuals.

The comedy describes the clash of two centuries: the “present century” with the “past century.” A striking example of the old times is the so-called Famus society. These are acquaintances and relatives of Pavel Afanasyevich Famusov, a wealthy Moscow gentleman, in whose house the play takes place. These are Khlestova, the Gorichi spouses, Skalozub, Molchalin and others. All these people are united by one point of view on life. They are all cruel serf owners; human trafficking is considered normal among them. The serfs save their lives and honor, serve sincerely, and they can exchange them for a pair of greyhounds. So at Famusov’s ball, Khlestova tells Sophia to give her a sop from dinner for her blackamoor - a girl and a dog. She doesn't see any difference between them. This remains relevant today. When a rich person with power and money can humiliate another person of lower level. The ideals for today's society are rich people in ranks. Famusov uses Kuzma Petrovich as an example to Chatsky, who was a venerable chamberlain, “with a key,” “rich and was married to a rich woman.” Pavel Afanasyevich wants a groom like Skalozub for his daughter, because he “has a golden bag and aspires to be a general.”

All representatives of Famus society are characterized by an indifferent attitude towards affairs. Famusov, a “manager in a government place,” deals with affairs only once; at Molchalin’s insistence, he signs the papers, despite the fact that they “contradict and contain many things.” He thinks: “It’s signed, off your shoulders.” The saddest thing is that these days people think exactly the same as Famusov. Almost everyone has an irresponsible attitude towards work. This is the unsurpassability of great comedy; it remains vital and relevant in the 20th century.

The main character of the play is Chatsky, through whom the author expresses his progressive ideas. He opposes the senseless imitation of everything foreign. He wants to punish those around him that they must love and respect Russian culture. Chatsky says that a Frenchman from Bordeaux, who came to Moscow, did not hear “a word of a Russian” and did not see “a Russian face” here. The comedy "Woe from Wit" is unique in world literature, since no one except Griboedov reveals the whole reality of the events taking place.

In the comedy, Chatsky is declared crazy because representatives of Famus society do not understand his ideas. He alone does not want to put up with the humiliation of people over people. Chatsky failed to correctly prove the correctness of his beliefs and still cannot reveal the secret. The comedy remains unsolved because humanity blindly follows life events without wanting to change anything.

How does Chatsky turn all the guests against himself?
When does the first clash between Chatsky and Famusov take place?
It is known that the main conflict in comedy is social conflict. What views of representatives of the “past century” and “present century” are opposed in the comedy?
Why did "Woe from Wit" get such a name?
What do you see the difference between the titles “Woe to Wit” and “Woe from Wit”? Give reasons for your answer.

I need an essay on one of these topics:
1. "Chatsky - winner or loser"
2. Chatsky is an exponent of the ideas of his time.
3. Master's Moscow in Griboedov's comedy "Woe from Wit"
4. How dangerous are molchalins?
5. "The present century and the past century"
6. Author and hero in Griboyedov's comedy "Woe from Wit."
If anyone has an essay on one of these topics, please respond. If it's good, with a plan, and I can't find a copy, I'll pay 40 points

The plot of the work is constructed according to the nature of the conflict. "Woe from Wit" - two parallel intrigues. But the social intrigue is broader; it kind of frames the love affair. The combination of two intrigues at all stages of plot development gives significance and life-like plausibility to the clashes of characters.

But Chatsky immediately concerns the aunts. When he, not yet realizing that Molchalin was his rival in love, compared himself with him: “Am I more stupid than Molchalin? Where is he, by the way?” - Sophia is indignant at him. She throws the phrase aside: “Not a person, a snake!” From this moment on, the nature of her attitude towards Chatsky was completely determined for the reader and viewer. But Chatsky does not yet suspect what kind of sick nerve he touched. Then, step by step, Chatsky’s torment is depicted. Sophia's fainting, as it seemed to him, reveals everything: now there can be no doubt - Sophia loves Molchalin. This scene is a turning point in the development of the comedy's love affair. If before this, Chatsky, seeking Sophia’s reciprocity, referred to his long-standing love for her, now he is trying with new fervor to explain to Sophia her terrible delusion. But in response he hears praise for Molchalin. Moreover, the subsequent conversation between Chatsky and Molchalin, in which he spoke to the end, convinces Chatsky that Sophia looks at many things in life through the eyes of Molchalin. From now on, for Chatsky, the halo that surrounded Sophia fades. Now his sarcasm falls on her too. She joins the ranks of his persecutors and, in revenge for herself and everyone else, she is the first to spread rumors about his madness.

As the action unfolds, a peculiar regrouping of persons occurs. Chatsky was brought to Famusov's house by his love for Sophia. Even before his appearance on stage, Lisa speaks sympathetically about him; Chatsky’s caustic remarks initially do not concern any of those present. He “slightly goes over the oddities” of his acquaintances: Sophia’s father, a faithful member of the English Club, her uncle, then that little darkie who, “wherever you go: right here, right there,” three “boulevard persons who have been getting younger for half a century” and have “relatives million,” finally, the “consumptive” enemy of books, “settled” in the “scientific committee.”

A.S. considered this incredulity of Chatsky to be one of the “charming” and “natural” features of comedy. Showing the clash of heroes, he stands entirely on the side of Chatsky and ends the play with his moral victory over his opponents.

"Woe from Wit" is a great work of Russian realism. According to V. G. Belinsky’s definition, this is “the noblest humane work, an energetic and, moreover, the first protest against the vile racial reality.” In terms of the depth and severity of the conflict, the clarity of its resolution, the saturation of concrete material of political modernity, innovative dramatic techniques, the prominence of images and the liveliness of the language, “Woe from Wit” is one of the most outstanding works of Russian literature X

The action of the play “Woe from Wit” begins in the morning in Famusov’s house. The maid Lisa wakes up and complains that she didn’t sleep well. The fact is that Sophia was expecting a friend, Alexei Stepanovich Molchalin, to visit her at night. Lisa had to make sure that Famusov did not find out about this.

Lisa knocks on the door of the hostess’s room, asking her to hurry up and say goodbye to Molchalin, because soon everyone in the house will wake up. Famusov finds her doing this and begins to flirt with her. Lisa tells the owner that she’s afraid that someone might come in, like Sofia, who just fell asleep because she’d been reading all night. Famusov is surprised how he can read all night, because reading makes him fall asleep. Then he leaves.

Lisa reproaches Sofia for being out of caution while she says goodbye to Molchalin. At this moment Famusov enters. He wonders why Molchalin came so early.

He replies that he has just returned from a walk. Famusov scolds his daughter for being nice to a young man at such an hour. After all, he cared so much about her upbringing after the death of her mother and is himself the best example of morality.

Sofia says that she had a dream: as if she was walking through a meadow, and a young man appeared to her - modest, smart, poor. Suddenly they found themselves in a dark room, and some forces, together with her father, want to separate Sofia and this young man... At this point the dream was interrupted. Famusov advises her to throw all sorts of nonsense out of her head and leaves with Molchalin.

Lisa asks Sofia to be careful. She believes that the father will not agree to his daughter’s marriage to Molchalin, because he is poor and ignorant. The best match for Sofia is Colonel Sergei Sergeevich Skalozub. Sofia says that she will never agree to this union: “I don’t care whether it’s for him or not.” Lisa remembers Alexander Andreevich Chatsky, who was brought up in Famusov’s house and with whom Sofia grew up.

Sofia says that Chatsky has gone far away and is not giving any news about himself. Molchalin is nearby, he is helpful, modest, quiet and timid. Here Chatsky himself appears. He had just returned from abroad, where he spent three years. Chatsky is glad to meet, but is surprised by Sofia’s coldness. He wonders if she is in love with someone. In a conversation with Famusov, Chatsky admires Sofia.

Famusov asks the servant to give him a calendar and remembers which houses and which noble people he should go to for a visit this week. Chatsky appears. He wonders what Famusov would answer if he wooed Sofia. Famusov says that first you need to serve and receive a rank.

Famusov considers the ability to curry favor as the most useful. He is proud of his uncle Maxim Petrovich, his wealth and orders. Maxim Petrovich, like no one else, knew how to curry favor, which won the praise and favor of the empress herself. He deliberately fell, which made her laugh, and for this he was invited to receptions more often than others, received a substantial pension and universal honor.

Chatsky despises servility and accuses Famusov and others like him of judging a person by rank and wealth. Famusov experiences fear because of Chatsky’s disrespect for those in power.

Skalozub comes to Famusov. Famusov respects him very much: after all, Skalozub has only recently served, and is already a colonel. He ingratiates himself with Skalozub and tries to please him. Famusov wonders if Skalozub is going to get married. They remember Skalozub’s cousin, who had career prospects, but suddenly gave up everything and retired to the village.

Chatsky joins the conversation. He stigmatizes a society where only rank and wealth are valued, and condemns landowners who treat their serfs as property. Admiration for the uniform evokes contempt and indignation in him.

Sofia appears, frightened by the fact that Molchalin fell from his horse. She faints. Skalozub leaves to help Molchalin. Lisa and Chatsky bring Sofia to her senses. Everything is fine with Molchalin. But Chatsky understands who is busy
Sofia's heart.

Enter Skalozub and Molchalin, who only hurt his hand. Skalozub promises to come in the evening. He and Chatsky leave.

Molchalin reproaches Sofia for carelessness and excessive frankness, but the heroine is not bothered by the opinions of others. Molchalin is most afraid of “evil tongues.” Sofia promises to pretend to her father that she is cheerful and carefree in order to lull his vigilance. She leaves, and Molchalin, left alone with Lisa, begins to flirt with her, promising her gifts in exchange for favors. Lisa reproaches him for his duplicity.

Chatsky is trying to find out from Sofia who she likes more - Molchalin or Skalozub. Sofia does not answer directly, saying that she appreciates Molchalin for his meekness of character and modesty. Chatsky mocks Molchalin and does not understand how one can admire such a person.

Chatsky talks with Molchalin to get to know him better. Molchalin is proud of such qualities as “moderation and accuracy.” He boasts of his rich and noble patrons. Chatsky ridicules such life principles.

In the evening, a ball is planned at the Famusovs' house. Guests appear. These are the Gorichi couple, the Tugoukhovsky family, Countess Khryumina with her granddaughter, old woman Khlestova - rich and influential people. The guests are talking.

Chatsky is familiar with the Gorichs - the cutesy and flirtatious Natalya Dmitrievna and the bored Platon Mikhailovich. He is unpleasantly surprised by how Platon Mikhailovich, a former brave military man, and now a lazy and submissive husband, has changed.

The ladies praise each other's outfits and ask which of the male guests is single and whether the potential groom has rank and wealth. Anton Antonovich Zagoretsky, one of the guests, flatters the ladies and tries to serve them. Platon Mikhailovich calls him a swindler.

The old woman Khlestova boasts about her new blackamoor maid. Famusov is polite to the guests. Skalozub arrives. Molchalin praises Khlestova’s dog, which earns her approval.

Chatsky's behavior is not respectful. He is mocking, ironic, and impudent with everyone. Everyone is outraged by his behavior. Molchalin's helpfulness evokes Chatsky's ridicule. Sofia is angry with him. Her accidentally dropped phrase that Chatsky is “out of his mind” instantly spreads among the guests.

Zagoretsky ensures that all invitees learn about Chatsky’s madness. Chatsky's imaginary madness became the main event of the evening. Chatsky feels uncomfortable among the guests. He says that he is dissatisfied with Moscow and reflects on meeting a Frenchman who, once in Russia, feels like he is at home.

Chatsky is outraged by foreign influence in Russia and the worship of everything French:

But our North is a hundred times worse for me
Since I gave everything in exchange
in a new way:
And morals, and language, and holy antiquity,
And majestic clothes for another...

The ball ends. The guests are leaving. Chatsky is also going to leave Famusov’s house. He does not understand why he was considered crazy and who started this rumor.

Chatsky accidentally witnesses a conversation between Lisa and Molchalin. It turns out that Molchalin is not going to marry Sofia and that he does not love her.

He likes Lisa much more, and he only looks after Sofia because she is Famusov’s daughter. Sofia hears this conversation. Molchalin tries to beg her forgiveness. But she tells him to leave the house immediately, otherwise she will tell her father about everything.

Chatsky appears. He reproaches Sofia. She justifies herself that she did not suspect such meanness and deceit in Molchalin. Famusov enters. From his speeches, Chatsky understands who was the first to call him crazy. Famusov is indignant and threatens to send his daughter to the village.

Chatsky is disappointed. His hopes were not justified, and his best feelings were insulted. He blames Sofia for supporting his conviction of her love. But now he doesn't regret their breakup. And there is no place for him in Moscow. He's leaving here forever.

HISTORY OF CREATION AND MEANING OF THE TITLE

“Woe from Wit” is a comedy in verse, the first realistic work of Russian literature. The idea for the play originated with A. Griboyedov back in 1820. By this time he had already written other dramatic works.

Work on the text began in Tiflis after the writer returned from Persia. In the summer of 1823, the first version of the play was completed, but it was still far from completion. In 1825, excerpts from acts 1 and 3 of the comedy were published. However, the author did not receive permission to stage it in the theater. Despite this, the comedy was distributed in lists and became widely known among the enlightened intelligentsia, who enthusiastically accepted the work. “Woe from Wit” was first published with large cuts in 1833, and in its entirety only in 1861.

Initially, A. Griboedov intended to call the comedy “Woe to Wit.” In this case, the meaning of the work would be transparent: Chatsky, an intelligent man, is opposed to the surrounding society, but in the end he is rejected by it. The meaning of the name would boil down to the following: woe to an intelligent person among limited and narrow-minded people. But the author, by choosing a different name, changed the meaning of the work.

Chatsky, who considers himself an intelligent person, often behaves stupidly and does not notice the obvious (he cannot believe that Sofia is in love with Molchalin, does not understand that others are laughing at him). From the point of view of Famusov and his guests, Chatsky is stupid (he does not know how to adapt, is not ready to lie, flatter, insinuate, and does not use his abilities to achieve success). He even became known as a madman, which all the characters in the work readily believed. But the concept of intelligence for A. Griboyedov does not include prudence (in this sense, Famusov can also be called smart), but implies freethinking, educational views, new, different from the established ones. Chatsky exposes the vices of patriarchal society and opposes himself to it. This is the source of all his troubles.

Chatsky suffers not so much from his mind as from his own desire to change the world, to make it better. Therefore, he is comical in Famus society. The author himself, who defined the genre of his work as a comedy, is ironic about what is happening.

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Traditionally, the genre of “Woe from Wit” is defined as a comedy in verse. Formally, the play corresponds to the principles required for a classical dramatic work. The action takes place in one place within one day. The characters are clearly divided into positive and negative, the author’s position is transparent, and his sympathies are immediately guessed. The plot is based on a love affair. However, the comedy was innovative in many ways. Social conflict pushes the love affair into the background. The play raises many serious questions that can cause heated debate and give rise to deep thought. Therefore, the work combines the features of character comedy, everyday comedy, and satirical work.

The play really has the characteristics of a comedy. There are comic characters and situations. The comedy is also based on the discrepancy between the character's self-image and who he really is. So, Skalozub imagines himself to be significant and important, but in reality he is limited and narrow-minded. The main character himself is not comical. Chatsky, who finds himself in the minority, seems defeated and misunderstood. He must retreat, at least for a while. In the finale there is no triumph of the positive hero, which is mandatory for a classic comedy: vice must be defeated by virtue.

The characters depicted by Griboyedov are close to real people. They are not as clear as they seem at first glance. Each of them is endowed with both positive and negative qualities. For example, Sofia, the positive heroine and beloved of Chatsky, undoubtedly evokes sympathy. At the same time, she constantly lies, is carried away by Molchalin, understanding his insignificance. Famusov, Chatsky’s ideological opponent, does not seem to be a sharply negative character. His disagreement with Chatsky’s ideas is determined by his upbringing and lifestyle, that is, by another generation.

Chatsky himself, the only positive character, cannot help but evoke sympathy and slight condescension due to the fact that he does not understand the meaninglessness of his tirades in front of Moscow society. Thus, the play, which is based on a comedy of manners, is a mixture of several genres.

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ISSUES

The play touches on the most pressing issues that worried the enlightened society of that time: the plight of the Russian people, serfdom, autocratic power, the level of education of society, the principles of educating the younger generation, veneration of rank, bribery, etc. A real dispute unfolds between the characters about the meaning of education, the appointment of teachers , the need for knowledge. For Famusov, teachers are “vagabonds”; he does not see the need to teach children and worry too much about their development. Chatsky criticizes the low level of education of the Moscow nobility, understanding its superficiality and formal nature. The work depicts pictures of landlord tyranny towards serfs. One master, like Famusov, exchanged a crowd of faithful servants for three greyhounds, another sold peasants, separating parents and children.

The old woman Khlestova, boasting about her new blackamoor maid, tells how she made this acquisition. At the same time, she is incredibly gentle with the dog. Chatsky is outraged that landowners perceive servants as useful things. Attitudes towards service are also becoming a subject of debate. Famusov perceives his job responsibilities formally, without delving into details and without being interested in details. Molchalin wants to curry favor and treats Famusov’s service as a means of achieving his selfish goals. Chatsky does not recognize this approach to his duties. He believes that one must serve the cause, for the good of the Fatherland, and not for the sake of rank, the praise of one’s own boss or the approval of society. But it is not only social phenomena that give rise to Chatsky’s critical statements.

Personal and family relationships characteristic of noble society are also not accepted by them. The Gorichs' marital relationship seems artificial to Chatsky and evokes his irony. The fact that Platon Mikhailovich found himself under his wife’s heel is incomprehensible to Chatsky. The relationship between Sofia and Molchalin could be built in a similar way. The husband’s lack of his own opinion, outward humility, and constant boredom cannot evoke positive emotions in the hero. Chatsky turned out to be the spokesman for the views of that part of the enlightened intelligentsia who did not want to put up with the established way of life.

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FEATURES OF THE CONFLICT

There are two lines in the work - love and social. The love conflict lies on the surface, and the work begins with it. Chatsky wants to marry Sofia, but is faced with a cool attitude from her father. He learns about another contender for Sofia’s hand, more worthy, in Famusov’s opinion, Skalozub. Besides him, there is Molchalin, who clearly enjoys the favor of Sofia herself.

The love affair is presented rather superficially. We do not observe the clash and struggle between Chatsky and his rival for Sofia’s favor. And the final departure of the hero is connected not only with love failure. The uniqueness of the conflict in the play is that, having begun as a love conflict, it develops into a social one. The heroes are divided into two unequal camps: all of Famus’s Moscow and Chatsky himself. Famusov and his entourage are supporters of patriarchal traditions and the usual way of life.

In Famusov’s house, everything is built on pretense: Sofia hides her love for Molchalin, Famusov puts on a virtuous appearance, Molchalin pretends to love Sofia, although he does it for selfish reasons. Famusov is supported by a huge number of characters - his allies. These are household members, guests, and even heroes who are simply mentioned, but who do not participate in the action. Due to this, the play turns out to be quite densely “populated” with characters, although the main action is connected with members of the same family. The very number of characters opposed to Chatsky speaks of the inequality of forces involved in the conflict. Chatsky is lonely, and this is his tragedy.

The social conflict reaches its climax in the scene at the ball in Famusov's house, when Chatsky turns out to be an outcast not only because of his views and daring speeches, but because of imaginary madness. Other heroes readily believe in his madness. This turned out to be much more convenient to explain Chatsky’s behavior than to delve into his speeches and try to understand him. Thus, all of Chatsky’s actions automatically become meaningless for those around him. The main conflict of the play is the clash of new progressive views in the person of Chatsky with the old patriarchal world of lordly Moscow.

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CHARACTERISTICS OF CHATSKY

The young nobleman Alexander Andreevich Chatsky, after spending three years outside of Russia, returns to Moscow, to the house of Pavel Afanasyevich Famusov, where he was raised after the death of his parents. Remembering Chatsky, Lisa says: But be a military man, be a civilian, Who is so sensitive, and cheerful, and sharp, Like Alexander Andreich Chatsky! And Sofia adds: “Sharp, smart, eloquent.”

Chatsky is ardent and hot, he appears before Sofia like a whirlwind and immediately disturbs the calm of the inhabitants of Famus’s house. His loud and passionate speech, wild joy, laughter, and sincerity are inappropriate here. Chatsky's impetuosity and enthusiasm confuses other heroes. From Famusov’s lips the following words are heard: “a dangerous man”, “he does not recognize the authorities”, “he wants to preach freedom”. Chatsky is dangerous in a society where you have to curry favor, pretend and lie. Chatsky’s speech, first of all, testifies to his education and erudition. He quotes Derzhavin (And the smoke of the Fatherland is sweet and pleasant to us!), refers to images of world literature (Minerva, Cupid, Nestor), in his speech there are both Old Slavonicisms and words of high style (hungry, quest, daviche), and romantic pathetic expressions (I love you without memory, I am at your feet). Chatsky’s speech is emotional, rich in comparisons, metaphors, and combines sublime and purely colloquial vocabulary (black-haired, hoarse, strangled).

Chatsky's views are characteristic of an advanced person. They may seem idealistic and naive. Chatsky believes that one must serve the cause, not the boss, that origin and wealth do not make a person better, and superficial education does not make a person smarter. The mind tells Chatsky that he needs to escape from Famusov’s house, but his heart speaks of love for Sofia. He cannot come to terms with her attachment to Molchalin. Chatsky is unclear what such an intelligent girl found in Molchalin, how she could fall in love with such an insignificant and petty person, such an empty personality.

Chatsky is a man of action, enthusiastic, energetic and active. But in Famusov’s Moscow, no one needs him, because his ideas do not find a response, he only interferes, tries to disrupt the usual way of life.

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CHARACTERISTICS OF FAMUSOV

Famusov Pavel Afanasyevich - manager in a government place, Sofia's father, widower. The entire action of the comedy takes place in his house. Famusov is an opponent of enlightenment.

Everything new and progressive is perceived with hostility. This is a threat to his well-being and measured life. He calls teachers “tramps” and does not understand why they are hired at all: We take tramps into the house and on tickets, So that we can teach our daughters everything, everything, And dancing, and laziness, and tenderness, and sighs, As if we were preparing them to be wives buffoons. Books make him sad and sleepy: French books make her sleepless, but Russian books make it painful for me to sleep. Famusov selects a groom for his daughter based solely on his position in society and wealth (He would like a son-in-law with stars and ranks...). The wealthy Colonel Skalozub is an ideal candidate for a groom. Famusov says to his daughter: Whoever is poor is not a match for you. Only rich and noble people are invited to Famusov’s ball.

The hero, who is not very well-born himself, is concerned about his own position in society. After the scandal with Molchalin, Famusov most of all laments what Princess Marya Aleksevna will say! Famusov is a hypocrite and a hypocrite. Instilling in his daughter high moral ideals and positioning himself as a champion of morality, he himself flirts with the maid Lisa, who tries to laugh it off: Let me go, you flighty people, Remember, you are old people...

Famusov treats his service formally, without delving into details and without being interested in details. Getting a rank is the main goal of the service. He doesn’t even think about the benefit to society and the Fatherland: But with me, what matters and what does not matter, My custom is this: It’s signed, so off my shoulders. Famusov is a representative of the patriarchal Moscow nobility. His views on enlightenment, education, behavior in society, and attitude towards service were characteristic of most nobles and landowners of that time.

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CHARACTERISTICS OF SKALOTOOTH

Skalozub Sergei Sergeevich is a colonel, a good friend of Famusov, a candidate for Sofia’s groom. He is still young, but already has rank. Moreover, he is very rich: For example, Colonel Skalozub: And a golden bag, and aims to become a general. When Skalozub appears at Famusov’s house, the owner begins to fawn over him and ingratiate himself: Dear Sergei Sergeich, Put down your hat, take off your sword, Here’s a sofa for you, lie down on your bed.

Skalozub has all the qualities suitable for an ideal groom. He is respectable, noble, rich, has an enviable rank and prospects. However, rank is the only goal to which Skalozub strives: Yes, to achieve rank, there are many channels; I judge them as a true philosopher, I just wish I could become a general. The skalozub is limited and rough. This is an example of a real martinet. Sofia is horrified at the thought that he could be her fiancé: How sweet! and it’s fun for me to hear about the frunt and the rows. He hasn’t uttered a smart word for a long time, - I don’t care what’s for him, what’s in the water. Skalozub is opposed by another representative of the army class. Together with Famusov, they discuss Skalozub’s cousin, also a military man. He was the same servant as Skalozub, received awards and ranks.

However, he suddenly left the service and retired to the village: The rank followed him: he suddenly left the service and began reading books in the village. Skalozub and Famusov are sincerely surprised and do not understand why a person suddenly left a promising career, retired, began to read books, and think. Famusov is perplexed by the behavior of Skalozub’s relative, but wholeheartedly approves of the behavior of Sergei Sergeevich himself: What youth! - read! .. and then grab it! .. You behaved properly. You have been colonels for a long time, but you have only served recently. Such decisions are unacceptable in the society of Famusov and Skalozub. The image of Skalozub is satirical. He personifies the imperial army with its retrograde orders, drill, veneration of rank and blind obedience.

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CHARACTERISTICS OF MOLCHALIN

Molchalin Alexey Stepanovich is a young man, Famusov’s secretary, who lives in his house. Taken by Famusov (although he tries to place only relatives and acquaintances) from Tver for diligence and accuracy. Molchalin's surname speaks for itself: silence is his main quality, which, however, hides many other negative traits.

Molchalin courtes Sofia because of her father's position and connections. He cleverly deceives the girl, posing as a sensitive and timid young man: Molchalin is ready to forget himself for others, The enemy of insolence - always shy, timid, Who can you spend a whole night with like that? We are sitting, and the courtyard has long since turned white... Molchalin’s timidity is contrasted with Chatsky’s ardor, which frightens and confuses Sofia. Molchalin, on the contrary, is quiet, modest, sentimental: He will take a hand, press it to the heart, He will sigh from the depths of his soul, Not a free word, and so the whole night passes, hand to hand, and does not take his eyes off me... Chatsky treats Molchalin with mockery and slight contempt, not perceiving him as a rival in the fight for the girl’s heart: It used to be that when he sees a new notebook, he asks: please write it off. However, he will reach the known levels, Because nowadays they love the dumb.

At the ball, Molchalin shows his helpfulness to Famusov’s high-ranking guests, which earns Chatsky’s contempt. Molchalin’s actions reveal his admiration for rank and wealth. The reader sees Molchalin's true face in the scenes when he finds himself alone with Lisa. He is no longer timid and admits why he is courting Sophia, setting out his life philosophy: My father bequeathed to me: First, to please all people without exception, the Master where I happen to live, the Chief with whom I will serve, his Servant who cleans dresses, To the doorman, to the janitor, to avoid evil, To the janitor's dog, so that it is affectionate. Having learned about Molchalin's duplicity, Sofia drives him away.

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CHARACTERISTICS OF SOFIA

Sofia Pavlovna Famusova is Famusov’s daughter, a young girl. She secretly meets with her father's secretary Molchalin, attracted by his ostentatious modesty and helpfulness. Chatsky notes that Sofia has become very prettier, but this is not the only thing that attracts Chatsky. The heroine herself is not distinguished by timidity and meek disposition. Sofia is smart, resourceful, brave. She is not afraid to show her feelings for Molchalin, but she tries to hide them from her father. Sofia has a strong character, intelligence, and sense of humor.

This is a passionate, ardent and selfless nature. She is not interested in the rich Skalozub. Sofia is in love with Molchalin, although he has neither title nor fortune. She is not afraid of public condemnation, she is open and sincere in her feelings. At the same time, Sofia is a product of Famus society. Lies and hypocrisy are the atmosphere in which she grew up. Realizing that Molchalin will never be accepted by her father as a groom, she hides her love. Sofia adapts to the environment in which she lives. She hides her lover, lies to her father, avoids explanations with Chatsky. Probably, brought up in an atmosphere of patriarchal life, Sofia could not have grown up any other way. She did not receive a deep and comprehensive education (although she loves to read).

The heroine's days were filled with endless balls and dances in the company of people like Famusov's guests. Sofia's character was formed in an atmosphere of lies and pretense. Even after learning about Molchalin’s duplicity, Sofia orders him to leave before anyone finds out anything. She is glad that she discovered the truth under the cover of darkness, without witnesses: She herself is pleased that she found out everything at night, There are no reproachful witnesses in her eyes, Like before, when I fainted, Chatsky was here...

It is Sofia who, out of anger, starts a rumor about Chatsky’s madness, throwing out a careless phrase: “He’s out of his mind.” It was she who contributed to his alienation from the whole society; all the guests, without exception, turn away from him. Even Sofia, who is positive, friendly and honest by nature, turns out to be unable to understand Chatsky and respond to calls and be inspired by his ideas.

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FAMUSOVSKAYA MOSCOW

The play reflects the irreconcilable struggle between the conservative landed nobility and bureaucracy, on the one hand, and the progressive intelligentsia, on the other. The lordly Moscow is represented not only in the images of Famusov, Skalozub and Molchalin. A string of images of Famusov’s guests flashes before us: Gorichi, princes Tugoukhovsky, Countess Khryumina with her granddaughter, old woman Khlestova.

They gather at Famusov's for a ball. Here they are proud of their noble family, boasting of ranks and titles. The ladies are flirtatious and cutesy; mothers look for potential suitors for their daughters. Old women are grumpy and arrogant. Natalya Dmitrievna conducts small talk with Chatsky. For her, her husband is a reason to brag, an object that is pleasant to display. Platon Mikhailovich, whom Chatsky knew before, now spends his time in idleness and boredom. The Tugoukhovsky princesses look after the suitors. Khlestova grumbles and lectures everyone. This is patriarchal Moscow, accustomed to living as the fathers bequeathed: slowly, habitually, in the old way. And Chatsky with his ideas is not able to change the established way of life for centuries.

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LANGUAGE OF COMEDY

In the play "Woe from Wit" A. Griboyedov turned out to be a true innovator in terms of language. Language becomes a means of characterizing images. Chatsky’s correct speech reveals his education, at the same time interspersed with apt and vivid colloquial words that enhance the ironic nature of his statements. Only Chatsky is characterized by monologues that are in the nature of sermons. They characterize the hero as a skilled speaker. The main participant in the disputes with Chatsky is Famusov. His remarks are quite long, which emphasizes his loquaciousness.

Famusov is rude to his subordinates, addresses them on a first-name basis, and is unctuously polite to Skalozub. Sofia's romanticism is emphasized by high-style words that could have been borrowed from sentimental novels. Skalozub’s speech is rich in “army” vocabulary, which determines not only his type of activity, but also his limitations and inertia. Molchalin kindly and obsequiously adds the particle -s (short for the word sir) to the words. Most of the comedy characters have become household names, and many of their lines have become part of our everyday speech.

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THE PLAY IN RUSSIAN CRITICISM

The comedy "Woe from Wit" was incredibly popular among its contemporaries and, undoubtedly, had a huge influence on all Russian literature. The work caused a lot of responses and critical statements. A. Pushkin was one of the first to express his opinion about comedy in a letter to A. Bestuzhev (1825). He writes that Griboyedov's goal was to depict a picture of morals. The only intelligent character in the work is Griboyedov himself. Chatsky, ardent, noble and kind, “adopted” the thoughts and satirical remarks of the writer.

Pushkin denies Chatsky intelligence because he wastes words and feelings in front of people like Famusov, Skalozub and Molchalin. At the same time, the poet notes the true talent of the creator of the play. One of the most profound analyzes of the play is presented in I. Goncharov’s article “A Million Torments” (1871). The author writes that the play “is distinguished by its youthfulness, freshness and< … >survivability." He pays special attention to the image of Chatsky, without which “there would be no comedy itself, but there would, perhaps, be a picture of morals.” Goncharov considers him not only smarter than other heroes. He writes that Chatsky is “positively smart.”

In addition to intelligence, the hero has a sensitive heart. At the same time, Chatsky is “impeccably honest.” He is active, and in this he is better than Onegin and Pechorin. The critic notes that the comedy, which began with a love affair, develops into a clash of two worldviews: “the century of the past” and “the century of the present.” As a result of this unequal struggle, Chatsky received his “millions of torments.” He is forced to leave without finding sympathy. Goncharov analyzes in detail Chatsky’s emotional state, noting his internal tension throughout the entire action. The hero's witticisms become more and more bilious, and his remarks become more caustic. The unequal struggle with Famus society exhausted him. “He, like a wounded man, gathers all his strength, challenges the crowd - and strikes everyone - but he did not have enough power against the united enemy.”

Chatsky is the most vivid image in the work. This is a strong and deep nature that cannot be exhausted in comedy. This is a suffering character. “This is the role of all Chatskys, although at the same time it is always victorious.” Unaware of their victory, such people “only sow, but others reap - and this is their main suffering, that is, in the hopelessness of success.” Goncharov pays much attention to the ball scene in Famusov’s house. This is where real comedy is presented - scenes from Moscow life. Sofia, according to Goncharov, is not so to blame for what is happening. He pays tribute to her good instincts, her ardor, her tenderness.

Goncharov's sympathies are clearly on the side of the heroine. No wonder he compares her with Tatyana Larina. Sofia, just like Tatyana, begins a romance herself and is just as carried away by the first feeling of love. Goncharov explains Sofia’s choice of Molchalin solely by chance. Sofia's trouble is in her upbringing, typical of a girl of noble birth at that time. Goncharov’s article notes the bright and original language of the play, which distinguishes it from other works. “The public knows such plays by heart,” so actors in the theater need to pay special attention to the manner in which they pronounce lines. In conclusion, I. Goncharov describes in detail the actors’ performances, analyzes the production of the play and gives instructions for those who will play in the following performances.

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APHORISMS OF GRIBOEDOV

Chatsky: A mixture of languages ​​still prevails: French with Nizhny Novgorod? After all, nowadays they love the dumb. The legend is fresh, but hard to believe... I would be glad to serve, but it is sickening to be served. Ranks are given by people, but people can be deceived. The houses are new, but the prejudices are old. Who are the judges? The women shouted: hurray! And they threw caps into the air! Get out of Moscow! I don't go here anymore. Carriage for me, carriage! Famusov: What a commission, creator, to be the father of an adult daughter!

Elena VIGDOROVA

TIME AND SPACE IN COMEDY
"WOE FROM MIND"

For practicing literati

Second conversation

The first scene of Act I is preceded by a remark: “The living room, there is a large clock in it, on the right is the door to Sofia’s bedroom, from where you can hear a piano and flute, which then fall silent. Lizanka is sleeping in the middle of the room, hanging from an armchair.”
The only thing that turns out to be important in the interior of the living room (namely, where Act I takes place) is the clock, the “big clock”; the sounds that are heard from behind the door to Sophia’s bedroom will later be confirmed by the words of Famusov: “You can hear a flute, then it’s like a piano”). The following note indicates the time when the action begins:

“It’s morning, the day is just dawning.”
And Lizanka, suddenly waking up, immediately confirms this: “It’s dawning!” And he adds: “Ah! How quickly the night has passed! It would seem that we may not attach much importance to the fact that “the night is over” soon: that’s what they generally say. But it seems that this night was somehow especially short. After all, Sophia will note: “How fast the nights are.” How long is it really - this question seems to worry everyone and cannot but interest the viewer, because it is constantly talked about one way or another.
Sophia’s conversation with Molchalin, according to Lisa, “went... overnight.” “It’s already day,” she says at the beginning of the first monologue. “Yes, disperse. Morning,” she will say at the end. Sophia responds to her calls with a very specific question: “What time is it?” For some reason Lizanka doesn’t want to answer exactly. She simply reports that “everything in the house has risen,” and when Sophia repeats the question, she will say the famous: “Seventh, eighth, ninth.” Why doesn’t Lizanka want to answer what the clock shows, why, in addition to the “lies” that she has already told, she still needs to take action -
I'll change the clock, at least I know: there will be a race,
I'll make them play.
This action was carried out and confirmed by the remark: “Climbs onto a chair, moves the arrow...”. Famusov immediately comes to the hour-long music. By the way, he tells us that the time is early and that Sophia usually doesn’t get up at this time: “It would be too early for Sophia.” And it’s also curious: Chatsky, who appeared in Act 7, Act I, after the conversation between Liza and Famusov, Famusov’s scandal with Sofia, Lisa, Molchalin, as well as Liza’s conversation with Sofia, claims that the morning is still early: “It’s barely light - already on your feet!”

Let's not analyze the wonderful scene for now - the conversation between Famusov and Lisa - we are concerned about the problem of time. Let us only note that Famusov, having stopped the hour-long music, does not put the hands back in place. Almost the entire action of the comedy takes place in the living room of Famusov's house - this is how one of the conditions characteristic of a classic play is observed - the unity of place: Moscow, Famusov's house, the living room. But as for the unity of time, then... Or rather, outwardly it is completely observed: Lizanka wakes up at dawn - this is the beginning of Act I. Even at the beginning of Act IV (Appearance 4), Chatsky, refusing to go with Repetilov, will say: “Where am I going to ride? For what? in the dead of night? - in other words, the action of the last act, and this is the arrival of Repetilov, takes place at night, “in the dead of night,” Chatsky’s conversations with him, and then others, Zagoretsky, the princesses, the departure of the guests, Lisa’s meeting with Molchalin, Sophia’s rebuke to Molchalin (“But so that the dawn didn’t find you in the house here”), the last big monologue of Famusov, then Chatsky - thus, the night ended, and the words “Carriage for me, carriage” were clearly spoken again at dawn.
So, a day - this corresponds to the position of the unity of time... in a play where a clock with translated hands is brought onto the stage for everyone to see...
Time is so conventional in Griboyedov’s comedy, it either contracts or moves apart, the characters treat it somewhat familiarly: if they want, they “observe”, if they don’t want, they don’t pay attention to it.
“Don’t watch - your power...” says Lisa wittily in response to Sophia’s words, which have become an aphorism, “happy people don’t watch the clock.”
With Lizin, “seventh, eighth, ninth,” one might say, rhymes what Famusov says at the beginning of Act II: “On Thursday, one to one, Or maybe on Friday, and maybe on Saturday, I owe the widow , at the doctor’s, baptize.” This widow who has not yet given birth fits perfectly into the strange situation we noticed - the heroes manage their time as they want: no one will tell us how much time has passed since the death of the doctor, her husband - this seems to be none of our business - but with Famusov, how he you will notice that there is some kind of calculation...

When does the comedy take place? The war with Napoleon is over, but the heroes still remember it. The King of Prussia had already visited Moscow (and Friedrich Wilhelm visited Moscow in 1816), three professors of the Pedagogical Institute were accused of “calling for an attack on legitimate power,” and their expulsion from the educational institution occurred in 1821, and the comedy was completed in 1824. So, we have approximately determined the time of action of the comedy. How old is the main character? Almost the same age as Sophia - the “childhood friendship” by which they are connected implies a not very big difference in age - 3-4 years. Let us remember Natasha Rostova, who was 13 years old in the summer of 1805, and how she counted on her fingers how long it would take for Boris, already a young man, to propose to her... Now Sophia is 17 years old. We know this from Chatsky: “At seventeen you blossomed charmingly, inimitably...”. When they broke up, she was 14, a little older than Natasha, when she asked Boris to kiss the doll; It was by that time that Chatsky managed to move away from Famusov (“he seemed bored with us”) and cut down his visits (“And he rarely visited our house”), and again, as the offended Sophia, who did not believe in the sincerity of his love, would say, “pretend to be in love”, and also make friends (“I’m especially happy with friends”). How old could this particularly happy, eloquent, witty young man really be? When he managed to establish contact with the ministers and then leave the service; experience a passion for the uniform, and then “towards it... to renounce tenderness...”. What time is he talking about:

But who wouldn’t follow everyone then?
When from the guard, others from the court
We came here for a while -
The women shouted: hurray!
And they threw caps into the air!

Pushkin quotes these lines from Griboedov when he talks about the victory over Napoleon (“Blizzard”)... And one more thing: Chatsky “didn’t write two words for three years,” “went away for three years,” but how did he manage “last year , at the end” to see Platon Mikhailovich in the regiment?
No, in Griboyedov’s comedy time is not “calculated according to the calendar”, as in Pushkin’s novel... The number “three”, so often found here, is most likely of an absolutely abstract nature, a kind of fabulous, almost conventional “three” - “thirty years and three years”, “far distant lands, in the thirtieth kingdom”, three sons, three daughters, three conditions - you will go to the right, you will go to the left... So Griboyedov’s heroes seem to use it without introducing a specific meaning:

Dinner:
Eat for three hours, but in three days it won’t cook!

Refusing calendar accuracy, Griboedov creates a different category of time - yes, these are the details that give rise to a feeling of historical authenticity, but these are the ones that expand the time space, taking the situation played out in the comedy beyond the limits of the given historical context, indicating its timelessness.
Geographic space is also not so simple. The unity of the place is respected, but there is so much outside the Famus house! Firstly, this house itself is located in Moscow, with its “huge distances”, with its Kuznetsky Bridge, Pokrovka, from where “I drove for an hour” to Khlestova’s Famusovs, the English Club, and most importantly, with “its own laws” , which we will discuss below.
But even outside Moscow there are geographical points, such as: Saratov - in comparison with Moscow it is a “wilderness” and a “village”, there is St. Petersburg with its “Pedagogical” Institute; in St. Petersburg, as we learn from Chatsky’s conversation with Molchalin (Act III, Scene 3), a certain story happened with Chatsky (“Tatyana Yuryevna told something, Returning from St. Petersburg, With the ministers about your relationship, Then a break”). It was probably from the northern capital that he drove to Sofya (“forty-five hours, without squinting his eyes in a moment, more than seven hundred versts flew by - the wind, the storm; And he was completely confused, and fell so many times...”). But there are also foreign lands, from there, from the “eternal French”, who are not only here on Kuznetsky Most, but also in France, in Paris, in Bordeaux - from there “fashions come to us, and authors, and muses.” It must be said that both Famusov and his antagonist Chatsky are dissatisfied with this; Well, “strange convergences happen.” However, it is there, to foreign lands, that the main character of the comedy, who

I wanted to travel around the world
And he didn’t travel a hundredth part.

It is interesting that this image is “the whole world”; it’s just that “light” in the meaning of “the whole world” is often found in comedy:

How wonderful the light has been created! (Famusov, II, 1.)

Blessed is he who believes, he is warm in the world! (Chatsky, I, 7.)

Searched the light; don't you want to get married? (Famusov, II, 2.)

And sure enough, the world began to grow stupid... (Chatsky, II, 2.)

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

Here they are scouring the world, throwing their hats... (Famusov, II, 2.)

I can guard against madness;
I’m going further away - to catch a cold, get cold,
Don't think about love, but I will be able to
Getting lost in the world...

(Chatsky, III, 1.)

And finally, at the end of the comedy, in the 14th scene, Chatsky’s monologue ends with the words:

I'll go search around the world,
Where is there a corner for an offended feeling!..
Carriage for me, carriage!

So, from the living room in Famusov’s house, from the clock, where throughout the comedy the hands indicate inaccurate time, the scale of both temporal and geographical space expands to the whole world and - who knows? - until eternity...
It is important for us to remember this in order to assess the true scale of the conflict, the beginning of which occurs, as it should be, in Act I.

Comedy A.S. Griboyedov's "Woe from Wit" is a classic work, therefore, it complies with many genre laws of comedy. However, not all, because Griboedov's work at that time was strongly influenced by romanticism. ().

Comic and satirical beginnings in the play

Firstly, in this work the author does not observe one of the “three unities” of comedy - the unity of action. In "Woe from Wit" two conflicts collide, love and social. The requirement of five acts is also violated - there is no resolution to the comedy, since it is not clear who Sophia will ultimately marry.

However, other laws of comedy are observed. For example, hero-masks are used: Mrs. Sophia, father Famusov, soubrette Liza and three grooms - Molchalin, Chatsky and Skalozub. There are speaking surnames required for comedy. But, nevertheless, here too there are deviations from the canons of comedy.

Firstly, the soubrette Liza does not care at all about the choice of her mistress Sophia, the maid lives her own life. Secondly, the lady herself must sympathize with the “positive” groom, and Sophia is in love with the negative one - Molchalin. Thirdly, in comedy there is no hero-reasoner.

Many critics consider “Woe from Wit” a work not comic, but satirical. Therefore, every episode in it is significant and fundamental in its own way. You can highlight those scenes that are a kind of milestones of the plot.

Key scenes of "Woe from Wit"

The first such scene- the arrival of Alexander Andreevich Chatsky to the Famusovs’ house. “It’s barely light and you’re already on your feet! And I’m at your feet!”- this is how he greets Sofya Pavlovna, Famusov’s daughter, with whom he was in love as a child.

Actually, it is for the sake of meeting this girl that he returns from abroad, in such a hurry to get a visit. Chatsky does not yet know that during the three years of separation, Sophia’s feelings for him have cooled, and now she is passionate about Molchalin, her father’s secretary.

However, Chatsky, having arrived at the Famusovs, does not limit himself to attempts at amorous explanations with Sophia. During his years abroad, he adopted many liberal ideas that seemed rebellious in early 19th-century Russia, especially for people who spent most of their lives in the Catherine era, when favoritism flourished. Chatsky begins to criticize the way of thinking of the older generation.

That's why following key scenes this comedy is a dispute between Chatsky and Famusov about “the present century and the past century,” when both of them pronounce their famous monologues: Chatsky questions "Who are the judges?..", wondering whose authority Famusov is referring to. He believes that the heroes of the 18th century are not at all worthy of such admiration.

Famusov, in turn, points out that “We should have seen what our fathers did!”- in his opinion, the behavior of the favorites of Catherine’s era was the only correct one; serving the authorities was commendable.

Next key scene The comedy is the scene of a ball in the Famusovs' house, at which many people close to the owner of the house come. This society, living according to the rules of Catherine’s era, is shown very satirically - it is emphasized that Gorich is under the thumb of his wife, the old woman Khlestova does not even consider her little black maid a person, and the ridiculous Repetilov actually does not represent anything.

Chatsky, being a liberal, does not understand such people. He is especially offended by the Gallomania accepted in society - the imitation of everything French. He takes on the character of a “preacher at the ball” and delivers a whole monologue ( "There's an insignificant meeting in that room..."), the essence of which boils down to the fact that many peasants in Russia consider their masters to be almost foreigners, because there is almost nothing original Russian left in them.

However, the public gathered at the ball is not at all interested in listening to his reasoning; everyone prefers to dance.

The last key episode it is worth calling the denouement of the comedy. When Chatsky and Famusov catch Sophia on a secret date with Molchalin, a sharp turn takes place in the lives of all the characters: Sophia’s father is going to send her away from Moscow. "to the village, to my aunt, to the wilderness, to Saratov", her maid Liza also wants to send to the village "follow the chickens".

And Chatsky is shocked by this turn of events - he could not imagine that his beloved Sophia could be carried away by the poor, helpful secretary Molchalin, could prefer him to Chatsky himself.

After such a discovery, he has nothing to do in this house. In the final monologue ( “I won’t come to my senses, it’s my fault...”) he admits that his arrival and behavior may have been a mistake from the very beginning. And leaves the Famusovs’ house - "Carriage for me, carriage!".

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