Plan summary of the comedy woe from wit. The idea of the comedy "Woe from Wit"
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The story begins early in the morning, when the maid Lisa knocks on the door of Sofia Famusova's bedroom. Sophia is not alone - she spent the whole night talking with her father's secretary Molchalin, but she doesn't want anyone to know about it.
Leaving Sophia's room, Molchalin runs into her father. Famusov is very interested in the question of what his secretary is doing in this place at such an early hour.
And Sophia, left alone with Lisa, remembers how quickly the night flew by. Lisa is funny, and she reminds Sophia of her former hobby - Alexander Andreevich Chatsky, who 3 years ago went to travel and has not yet returned. Sophia says that her passion for Chatsky is nothing more than a childish feeling, and now she likes people who are sensitive, timid, modest and neat - that is, people like Molchalin.
At this moment Chatsky himself appears. He came to the Famusovs’ house straight from the road, not yet having had time to visit his home. Sophia is not too happy about Chatsky's appearance. Moreover, he, asking Sophia about former acquaintances, quite by chance, does not speak very well of Molchalin. Famusov also does not show much joy when seeing Chatsky. He asks him about where he was and what he saw, but Chatsky promises to tell him about everything in the evening, since now he needs to go home.
The next time he appears at Famusov’s house, Chatsky asks him about his daughter. Famusov doesn’t really like such an obvious interest in Sophia - he suspects that Chatsky dreams of marrying Sophia. And indeed, Chatsky asks him a question about what Famusov would say if Chatsky became Sophia’s fiancé. Famusov replies that first Chatsky needs to sort out his affairs and make a career and sets his example to him as his late uncle and Colonel Skalozub, who just appears in the house. Famusov considers Skalozub to be a completely suitable groom for his daughter - he praises him, which irritates Chatsky, who expresses his opinion about those flatterers and serf owners who Famusov likes so much.
At this moment, Sophia runs into the room and says, “Oh, my God, I fell, I was killed!” runs to the window. It turns out that Molchalin fell from his horse. Soon Molchalin himself enters the room and reassures everyone present, saying that he is fine. Chatsky is surprised and alarmed by Sophia’s behavior, but he cannot believe that people like Molchalin, whose main characteristics are “moderation and accuracy,” could please Sophia. Chatsky, in a conversation with Molchalin, finds out that he does not have his own opinion on any issue, since he believes that at his age and in his position it is still impossible to have his own judgment.
The Famusovs have guests. One of the guests, old woman Khlestova, praises Molchalin (Molchalin is the only young man who paid attention to her dog). Chatsky, in a conversation with Sophia, cannot remain silent about this. She is angry with Chatsky - she is hurt by his attitude towards Molchalin, and therefore she takes revenge on him - she tells the guests that he is most likely crazy. Soon the rumor spreads among all the guests. Chatsky also finds out about this, and is concerned about whether Sophia heard it - he doesn’t even allow the thought that it was Sophia who spread this gossip.
Lisa appears in the lobby, where Chatsky is hiding behind a column. Molchalin wanders behind her. Lisa asks him to go to Sophia, but he replies that he likes Lisa, and he is courting Sophia only because he serves her father and wants to make a career. These words are heard by Sophia, who denounces Molchalin and demands that he immediately leave the house. Chatsky is also no longer able to remain silent. He expresses his indignation to Sophia. Famusov immediately appears, having heard the noise. He threatens to send Sophia “to the village, to her aunt, to the wilderness, to Saratov,” and Liza to the poultry house. Chatsky, no longer able to stay in this house, where, indeed, listening to Famusov and those he likes, you can go crazy, leaves it, never to return. And after everything that happened, Famusov is only interested in one thing: what those representatives of the world whom he respects will say about this.
Fragment of an illustration by D. N. Kardovsky “A carriage for me, a carriage!”
Early in the morning, the maid Lisa knocks on the young lady’s bedroom. Sophia does not respond immediately: she spent the whole night talking with her lover, her father’s secretary Molchalin, who lives in the same house.
Sophia's father, Pavel Afanasyevich Famusov, appears silently and flirts with Lisa, who barely manages to fight off the master. Frightened that he might be heard, Famusov disappears.
Leaving Sophia, Molchalin runs into Famusov at the door, who asks what the secretary is doing here at such an early hour? Famusov, who uses his own “monastic behavior” as an example, is somehow calmed down.
Left alone with Liza, Sophia dreamily recalls the night that flashed by so quickly, when she and Molchalin “lost themselves in the music, and time passed so smoothly,” and the maid could barely restrain her laughter.
Lisa reminds the lady of her former heartfelt inclination, Alexander Andreevich Chatsky, who has been wandering in foreign lands for three years. Sophia says that her relationship with Chatsky did not go beyond the boundaries of childhood friendship. She compares Chatsky with Molchalin and finds in the latter virtues (sensitivity, timidity, altruism) that Chatsky does not have.
Suddenly Chatsky himself appears. He bombards Sophia with questions: what's new in Moscow? How are their mutual acquaintances, who seem funny and absurd to Chatsky, doing? Without any ulterior motive, he speaks unflatteringly about Molchalin, who has probably made a career (“after all, nowadays they love the dumb”).
Sophia is so offended by this that she whispers to herself: “Not a person, a snake!”
Famusov enters, also not too happy about Chatsky’s visit, and asks where Chatsky has been and what he’s been doing. Chatsky promises to tell him everything in the evening, since he hasn’t even managed to go home yet.
In the afternoon, Chatsky again appears at Famusov’s house and asks Pavel Afanasyevich about his daughter. Famusov is wary, is Chatsky aiming for a suitor? How would Famusov react to this? - in turn, the young man inquires. Famusov avoids a direct answer, advising the guest to first put things in order and achieve success in his career.
“I would be glad to serve, but it’s sickening to be served,” declares Chatsky. Famusov reproaches him for being too “prideful” and uses his late uncle as an example, who achieved rank and wealth by servilely serving the empress.
Chatsky is not at all happy with this example. He finds that the “age of obedience and fear” is becoming a thing of the past, and Famusov is outraged by these “free-thinking speeches”; he does not even want to listen to such attacks on the “golden age”.
The servant reports the arrival of a new guest, Colonel Skalozub, whom Famusov courtes in every possible way, considering him a profitable suitor. Skalozub innocently boasts of his career successes, which were by no means achieved through military exploits.
Famusov delivers a lengthy panegyric to the Moscow nobility with its hospitality, conservative old men, nobles, power-hungry matrons and girls who know how to present themselves. He recommends Chatsky to Skalozub, and Famusov’s praise for Chatsky almost sounds like an insult. Unable to bear it, Chatsky bursts into a monologue in which he attacks those flatterers and serf-owners who admire the owner of the house, denouncing their “weakness, poverty of reason.”
Skalozub, who understood little from Chatsky’s speeches, agrees with him in his assessment of the pompous guardsmen. The army, in the opinion of the brave servant, is no worse than the “Guardians”.
Sophia runs in and rushes to the window shouting: “Oh, my God, I fell, I killed myself!” It turns out that it was Molchalin who “cracked” from his horse (Skalozub’s expression).
Chatsky wonders: why is Sophia so scared? Soon Molchalin arrives and reassures those present - nothing terrible has happened.
Sophia tries to justify her careless impulse, but only strengthens Chatsky’s suspicions.
Left alone with Molchalin, Sophia worries about his health, and he is concerned about her incontinence (“Evil tongues are worse than a pistol”).
After a conversation with Sophia, Chatsky comes to the conclusion that she cannot love such an insignificant person, but nevertheless struggles with the riddle: who is her lover?
Chatsky starts a conversation with Molchalin and becomes even stronger in his opinion: it is impossible to love someone whose virtues boil down to “moderation and accuracy,” someone who does not dare to have his own opinion and bows down to nobility and power.
Guests continue to come to Famusov for the evening. The first to arrive are the Gorichevs, old acquaintances of Chatsky, with whom he talks in a friendly manner, warmly remembering the past.
Other persons also appear (the princess with six daughters, Prince Tugoukhovsky, etc.) and carry on the most empty conversations. The countess-granddaughter tries to prick Chatsky, but he easily and wittily parries her attack.
Gorich introduces Zagoretsky to Chatsky, characterizing the latter straight to his face as a “swindler” and a “rogue,” but he pretends that he is not at all offended.
Khlestova arrives, a powerful old woman who does not tolerate any objections. Chatsky, Skalozub and Molchalin pass in front of her. Khlestova expresses her favor only to Famusov’s secretary, as he praises her dog. Addressing Sophia, Chatsky is ironic about this. Sophia is infuriated by Chatsky’s sarcastic speech, and she decides to take revenge for Molchalin. Moving from one group of guests to another, she gradually hints that Chatsky seems to be out of his mind.
This rumor immediately spreads throughout the living room, and Zagoretsky adds new details: “They grabbed me, took me to the yellow house, and put me on a chain.” The final verdict is pronounced by the countess-grandmother, deaf and almost out of her mind: Chatsky is an infidel and a Voltairian. In the general chorus of indignant voices, all other freethinkers also get their share - professors, chemists, fabulists...
Chatsky, wandering lost in a crowd of people alien to him in spirit, encounters Sophia and indignantly attacks the Moscow nobility, which bows to nonentity only because it had the good fortune to be born in France. Chatsky himself is convinced that the “smart” and “cheerful” Russian people and their customs are in many ways higher and better than foreign ones, but no one wants to listen to him. Everyone is waltzing with the greatest zeal.
The guests are already beginning to leave when another old acquaintance of Chatsky, Repetilov, runs headlong. He rushes to Chatsky with open arms, right off the bat begins to repent of various sins and invites Chatsky to visit the “most secret union” consisting of “decisive people” who fearlessly talk about “important mothers.” However, Chatsky, who knows Repetilov’s value, briefly characterizes the activities of Repetilov and his friends: “You make noise and that’s all!”
Repetilov switches to Skalozub, telling him the sad story of his marriage, but even here he does not find mutual understanding. Repetilov manages to enter into a conversation with only one Zagoretsky, and even then the subject of their discussion becomes Chatsky’s madness. Repetilov does not believe the rumor at first, but the others persistently convince him that Chatsky is a real madman.
Chatsky, who lingered in the doorman's room, hears all this and is indignant at the slanderers. He is worried about only one thing - does Sophia know about his “madness”? It can’t even occur to him that it was she who started this rumor.
Lisa appears in the lobby, followed by a sleepy Molchalin. The maid reminds Molchalin that the young lady is waiting for him. Molchalin admits to her that he is courting Sophia so as not to lose her affection and thereby strengthen his position, but he really only likes Lisa.
This is heard by Sophia quietly approaching and Chatsky hiding behind a column. An angry Sophia steps forward: “Terrible man! I’m ashamed of myself, the walls.” Molchalin tries to deny what was said, but Sophia is deaf to his words and demands that he leave his benefactor’s house today.
Chatsky also gives vent to his feelings and exposes Sophia’s treachery. A crowd of servants, led by Famusov, comes running to the noise. He threatens to send his daughter to her aunt, into the Saratov wilderness, and to assign Liza to a poultry house.
Chatsky laughs bitterly at his own blindness, and at Sophia, and at all of Famusov’s like-minded people, in whose company it is truly difficult to maintain sanity. Exclaiming: “I’ll go search around the world, / Where there is a corner for the offended feeling!” - he leaves forever the house that was once so dear to him.
Famusov himself is most concerned about “what / Princess Marya Aleksevna will say!”
Retold
Hello guys! In the last lesson we talked about the personality of Alexander Sergeevich Griboyedov, his extraordinary talents and outstanding abilities, about the fate of this man. The apogee of G’s literary activity was the play in verse “Woe from Wit.” Today we will get acquainted with this work and its characters, we will read act 1.
First, let's remember the features of drama as a type of literature. Let's do a reverse dictation - I read the definitions of terms related to drama, and you write down the terms themselves in your notebook.
- form of oral speech, conversation between two or more persons - dialogue
- one of the main types of drama in which the conflict, action and characters are interpreted in the forms of the funny and imbued with the comic - comedy
- explanations with which the playwright precedes or accompanies the course of action in the play - stage directions
- statements of characters, from the cat's dialogue in a dramatic or narrative work - replica
- one of the types of drama, which is based on a particularly intense, irreconcilable conflict, often ending in the death of the hero - tragedy
- in a literary work, the speech of a character addressed to himself or others, independent of the remarks of other characters - monologue
- one of the completed parts into which a play or performance is divided - act\action
Examination: Students compare what they write with the correct answers on the board.
So, now let's remember the definition of drama.
Drama is one of the main types of literature, along with epic and lyric poetry,intended for stage performance.
Griboedov became the creator of one of the greatest dramas of all time. Listen to how he went about writing his great work.
In 1818, G was offered to go to diplomatic service in Persia, and he had to accept this appointment. In August 1818, he left through Moscow for the Caucasus, from where he was supposed to move on.
V M visited relatives. His mother was pleased with his service and did not take his literary pursuits seriously. Then G wrote to his friend Stepan Nikitich Begichev:“Everything about M is not for me. Idleness, luxury, not associated with the slightest feeling for anything good.”
In 1819 he managed to get to Tiflis, where he greedily pounced on Russian magazines and visited society. He wanted to write, he compared the Persian order with the Russian one, and he said that“The officials here and there are disgusting”. It is known that in 1820 G already had the idea of “Woe from Wit” in his head, and the first handwritten text of the play that has survived to this day is dated 1821. Communicating with disgraced (disliked by the authorities) officers in the Caucasus, G learns about army drill, the persecution of education, the cruelty of censorship, all this affects the concept of the play.
In the spring of 1824 he went to the capital, hoping to publish a comedy or stage it in a theater. He finished the play already in M at the Demut Hotel on the Moika. In June he writes to B:“I read it to Krylov, Zhandre, Shakhovsky... There is no end to the thunder, the noise, the admiration, the curiosity.”
But the author’s hopes did not come true: neither literary nor theatrical censorship allowed the comedy to pass. Then friends began to distribute it on lists - they rewrote the comedy by hand and distributed it among loved ones, relatives, and friends.
Completed in 1824 and published during G’s lifetime only in fragments, the play was not allowed on stage by censors for a long time. In 1829, after G.’s death, some acts of the play were staged on stage; in 1831, heavily corrected by censorship, the comedy was staged in full. Subsequently, to this day, “Woe from Wit” is staged in a variety of theaters, in various interpretations; Views of the play change in accordance with time and values, but the work itself never ceases to be included in the list of the greatest dramas of Russian literature.
Let's touch this greatness, let's try to form our own opinion about the play and its characters.
We need to understand in what historical period the comedy takes place. This is not difficult to determine by analyzing the truth of their own selves discussed by the characters in the play. So, the war with Napoleon is already over, but still fresh in the memory of the heroes. The Prussian king Friedrich Wilhelm visited M. It is known that this visit took place in 1816. The characters discuss the accusation of three professors of the Pedagogical Institute of “calling for an attempt on legitimate authority,” their expulsion from the university occurred in 1821. The comedy was completed in 1824. Consequently, the time of action is the first half of the 20s of the 19th century.
Let's turn our attention to the characters in the comedy.
We open the poster. You can see that there are many characters, but G did a masterful job on each of them. Therefore, some features of the character can already be read in the names and surnames of the heroes.What are these first and last names called?(speaking)
So, let's go in order.
Pavel Afanasyevich Famusov, manager at the government office– lat. fama - “rumor” or English. Famous - “famous”. A civil servant occupying a fairly high position.
Sofya Pavlovna, his daughter– Sophia is often called positive heroines, wisdom. (“Minor” by Fonvizin)
Alexey Stepanovich Molchalin, Famusov’s secretary, living in his house- silent, “the enemy of insolence”, “on tiptoe and not rich in words”, “will reach the known degrees - after all, nowadays they love the dumb.”
Colonel Skalozub, Sergei Sergeevich– often reacts inadequately to the words of the heroes, “cliffs”.
Natalya Dmitrievna, a young lady, Platon Mikhailovich, her husband, Gorichi- a woman is not in the first place (!), PM is a friend and like-minded person, but a slave, is under pressure from his wife and society - “grief”.
Prince Tugoukhovsky and Princess, his wife, with six daughters.
– again, many women are actually hard of hearing, the motive is deafness.
Khryumins. – the name speaks for itself – a parallel with pigs.
Repetilov. – Latin, repeats after interlocutors.
Alexander Andreevich Chatsky– originally Chadian (in Chad, Chaadaev); an ambiguous, multifaceted personality whose character cannot be expressed in one word; There is an opinion that Alexander G gave the name to emphasize some similarity with himself. G himself said that in his play there are “twenty-five fools for one sane person,” which he considered Chatsky to be. Perhaps that is why G placed Ch at the very end of the poster, as a hint at his “dissimilarity” from other characters.
Let's move on to action 1. We will read it in part, paying attention to moments that will help us get to know the main characters of the comedy better, find out what conflicts and motives of the play are outlined in act 1. You have to remember that in most plays Act 1 acts as exposition. What it is?
Exposition –
So, act 1 of the comedy begins with the remark:
Living room, there is a large clock in it, on the right is the door to Sofia’s bedroom, from where
you can hear the piano and flute, which then fall silent. Lizanka is sleeping in the middle of the room, hanging from an armchair. (Morning, the day is just dawning)
There is already comedy here. What?(in the discrepancy between the sounds of classical music and the maid sleeping, lounging in a chair)
What interior item does the author draw our attention to?(watch)
Why do you think the living room is not described in more detail?(Obviously, the interior will be specified by the director of the play)
I will read for you 1 scene of the play, and you pay attention to the popular expressions that appear in the text.
What place does 1 phenomenon occupy in the composition of the play? (introduces us to the situation in F’s house and some of the events taking place in it, precedes the first conflict situation)
Why is exposition important in a play? (allows you to introduce the reader/viewer into the atmosphere in which the action takes place)
Teacher: This is how the comedy begins. Already here in Lisa’s actions there is a hint of a motive that will become one of the main ones in Act 1.What did L do?(adjusted the clock --- deceived --- motive of lie)
What do we learn about the relationships of some of the characters?(Sophia has an affair with Molchalin, which she hides from her father)
Is the exact start time of the action determined?(no, Lisa answers vaguely: “Seventh, eighth, ninth...”)
In scene 2 the owner of the house, Famusov, appears. He's openflirts with L, to which she replies rather boldly for a maid: “You are a spoiled person, these faces suit you” and “Come to your senses, you are old people.” About S L she lies that she “read all night” and only “now got to sleep.” L tries to speak loudly to warn S about F’s appearance, but he does not stay. When the master leaves, L utters a phrase that has become a catchphrase: “Pass us more than all sorrows \ Both the master’s anger and the master’s love.” In the 3rd scene, we first see S and M appearing from the door of S’s room. L reproaches the young lady for recklessness, and here another expression appears that has become popular among the people: “Happy people don’t watch the clock,” says S.
F finds S, M and L in the living room. He suspects that it was no coincidence that all three, especially S and M, ended up in the same room at such an early hour, and scolds his secretary and daughter:
Famusov
Friend. Is it possible for a walk?
Should I choose a nook further away?
Why do you think F says this to M?
(he cares about his daughter’s piety, which is why he asks M to stay away from S at such an early time)
And you, madam, almost jumped out of bed,
With a man! with the young one! - Something to do for a girl!
He reads tall tales all night,
And here are the fruits of these books!
And all the Kuznetsky Most, * and the eternal French ,
From there fashion comes to us, both authors and muses:
Destroyers of pockets and hearts!
When the Creator will deliver us
From their hats! caps! and stilettos! and pins!
And bookstores and biscuit shops!..
Kuznetsky Most is a street in the center of Moscow. During the time of Griboyedov, there were many different shops on Kuznetsky Bridge, owned by
mainly to French merchants: bookstores, confectioneries ("biscuit
shops"), fashionable outfits, etc.
F tries to seem like a good father, set himself up as an example to S and show M his place:
Famusov
They will reproach me
That it’s no use I always scold.
Don't cry, I mean it:
Didn't they care about yours?
About education! from the cradle!
Mother died: I knew how to hire
Madame Rosier is a second mother.
I put the old gold woman under your supervision:
She was smart, had a quiet disposition, and rarely had rules.
One thing does not serve her well:
For an extra five hundred rubles a year
She allowed herself to be lured by others.
Yes, the power is not in madame.
No other sample is needed
When your father's example is in your eyes.
Look at me: I don’t boast about my build;
However, he was vigorous and fresh, and lived to see his gray hairs,
Free, widows, I am my own master...
Known for his monastic behavior!..
What aspects of F's personality are revealed in this monologue?(F is a good father, takes care of his daughter’s upbringing, tries to become an example for her)
Lisa
I dare, sir...
Famusov
Be silent!
Terrible century! Don't know what to start!
Everyone was smart beyond their years.
And especially the daughters, and good-natured people themselves.
These languages were given to us!
We take tramps, * both into the house and with tickets, *
To teach our daughters everything, everything -
And dancing! and foam! and tenderness! and sigh!
It’s as if we are preparing them as wives for buffoons. *
What are you, visitor? Why are you here, sir?
I warmed up the rootless one and brought him into my family,
He gave the rank of assessor * and took him on as secretary;
Transferred to Moscow through my assistance;
And if it weren’t for me, you would be smoking in Tver.
“Let’s take the tramps” - meaning teachers and governettes.
“Both in the house and with tickets” - teachers who did not live “in the house”, but “came”, at the end of each lesson received “tickets” (special receipts) from the parents of their students. These tickets were used to pay tuition fees.
Assessor (collegiate assessor) is a civil rank. Receiving this rank
gave the right to personal nobility.
How does F respond to the mores of his contemporary society?(he is opposed to unnecessary learning - languages and the necessary in the light of little things)
Why does he call the age “terrible”?(for him, perhaps, there is too much fuss and worries, especially in studying)
What do we learn about the fate of M and the role of F in it?(M is not from a rich influential family, not even from Moscow, but F contributed to his promotion, and significantly --- F has influence and can afford patronage over someone)
Then S, trying to distract her father, comes up with a strange dream on the fly, which supposedly frightened her and forced her to run into the room from where she heard her father’s voice. The dream, by the way, although fictitious, predicts the appearance of a guest in the house:
Sofia
Let me... see... first
Flowery meadow; and I was looking
Grass
Some, I don’t remember in reality.
Suddenly a nice person, one of those we
We'll see - it's like we've known each other forever,
He appeared here with me; and insinuating and smart,
But timid... You know, who is born in poverty...
S, of course, wants to hint at M, but F doesn’t notice this; something else is more important to him:
Famusov
Oh! Mother, don’t finish the blow!
Anyone who is poor is not a match for you.
This is the first thing F says during S’s story, he even interrupts her.What did F not like about his daughter’s speech and why?(F didn’t like the fact that the hero of the dream, S, was “born in poverty,” and he doesn’t want to give her to a poor person, even a loved one)
As a result, S manages to convince her father without much difficulty that she is here by chance; M, too, without much hesitation, relieves himself of suspicion by saying that he went to F with papers. F is easily distracted without insisting on the truth. Note his final words:
My custom is this:
Signed, off your shoulders.
What character trait does this phrase indicate?(about his reluctance to seriously engage in any business: he will probably sign any paper, as long as it does not cause him trouble, and the further fate of the matter does not interest him)
So why does F allow himself to be deceived, since the situation was quite transparent?
Remember his closing words. (he doesn’t even want to see anything, he’s just too lazy to deal with these problems, he’s afraid of the hassle, because if he takes everything seriously, he’ll have to start a scandal with S, drive M. away, so he accepts any at least somewhat plausible version, and “off his shoulders "down with" the problem. Moreover, he is too carried away with himself, he speaks more than everyone else, not letting anyone talk. Such talkativeness and the inability to focus on one subject of discussion, perhaps, themselves encourage his interlocutors to lie)
In scene 5 L and S discuss possible candidates for S's hand in private.
Lisa
Here, for example, Colonel Skalozub:
And a golden bag, and aims to become a general.
How cute! and it's fun for me to fear
Listen about frunt * and rows;
He never uttered a smart word, -
I don’t care what goes into the water.
How does S relate to Skalozub?(considers him to be narrow-minded, therefore she will not be able to live with him: “What for him, what’s in the water”)
Here they also remember Ch, with whom S was friends in childhood. L speaks of him as a cheerful, witty and, most importantly, person in love with S.
But S doesn't take childhood friendship seriously, and we realize that she really is truly in love with M.
Sofia
The one I love is not like this:
Molchalin, ready to forget himself for others,
The enemy of insolence - always shy, timid
Someone you can spend the whole night with like that!
We are sitting, and the yard has long since turned white,
What do you think? what are you doing?
God knows
Madam, is this my business?
He will take your hand and press it to your heart,
He will sigh from the depths of his soul,
Not a free word, and so the whole night passes,
Hand in hand, and doesn’t take his eyes off me.
Please note that S is very frank with L, but she is just a servant. Why do you think?(they are the same age and, probably, L has been in the Famusovs’ house for a long time, so the girls found a common language, despite their different social statuses)
6 yavl consists of only one remark: a servant enters and announces: “Alexander Andreich Chatsky is here for you.”
Chatsky’s words are read by the teacher, Sophia and Lisa’s remarks are read by a trained student.
What feelings is Chatsky filled with?(delight from meeting S, he is in an elevated, even excited mood, so he is verbose)
Based on Ch’s words, how does S greet him?(rather coldly, hiding behind cliched social pleasantries)
What makes S take on an almost hostile tone?(remark by Ch o M)
Why does Ch try not to attach importance to S’s irony and coldness?(he admires her, tries to return the previous tone of the relationship)
How does Ch speak about Moscow and its morals?(what new will Moscow show me? Yesterday there was a ball, and tomorrow there will be two)
Why then did he return?(from this phenomenon we can conclude that love for S is the reason for coming)
Idioms:
It's barely light on my feet and I'm at your feet
For mercy's sake, it's not you, why be surprised?
Persecution of Moscow!
And the smoke of the fatherland is sweet and pleasant to us!
Mixing languages - French with Nizhny Novgorod
This ends the first act of the comedy.
Have we met all the characters in the comedy?(no, only with a few)
What motives have already emerged in Act 1?(the motive of lies and the motive of deafness as unwillingness to hear the truth)
What emerging conflicts do you think will lead in the play?(Ch’s conflict with Moscow society, its way of life and love conflict, because Ch is in love with S, and she is in love with M)
Conclusion: in the 1st act of the play, some main motives and problems emerged: the motive of lies and deafness (L deceives S, S lies to his father, and he easily succumbs to deception, not wanting to see the truth); dissatisfaction with the Moscow order, still passive; S’s love for M and the uncertainty of his feelings for her; Ch’s desire to restore relations with S. A love conflict has emerged.
Woe from Wit was written by Griboyedov in 1825. The main character of Griboyedov's comedy "Woe from Wit" Chatsky, with his perception of the aristocratic society of St. Petersburg, is a reflection of the creator of the work himself.
A nobleman, a representative of educated young people, possessing brilliant literary and musical talent, speaking several European and Oriental languages.
Griboyedov, leading a secular lifestyle, was outraged at one of the aristocratic receptions by the admiration of those present for everything that was foreign, a merciless assumption was made about his madness. It was during this period that a satirical comedy in verse appeared, in which a harmonious picture of Russian society was presented.
Griboedov begins his acquaintance with representatives of his generation, members of aristocratic society, by meeting Famusov’s family and his entourage.
Action 1
The play begins with a scene where the maid Lizonka has woken up and complains about a sleepless night. The reason for this was the secret meeting of Sophia, the daughter of Famusov, the owner of the house, with her friend Molchalin. She knocks on the owner's room, from which the sounds of music are heard, to warn her of a new day.
Lizonka tries to speed up Sophia’s separation from Molchalin by moving the clock hands forward. Famusov, who appears in the chambers, finds the maid behind this scene and tries to flirt with her, but upon hearing the voice of his daughter calling Lizonka, he hastily leaves. Under the reproaches of the maid for the carelessly prolonged meeting, Sophia says goodbye to Molchalin.
The maid’s opinion that a worthy match for Sophia is Colonel Skalozub, who has both money and ranks, in contrast to Molchalin, a poor man from the periphery. The appearance of Famusov and his interest in the presence of his secretary in his daughter’s chambers is interrupted by the arrival of Chatsky, with whom Sophia has a childhood friendship. Chatsky’s departure makes Famusov wonder which of the young people belongs to his daughter’s heart.
Act 2
Chatsky’s next appearance begins with a question to Famusov about his matchmaking with Sophia. The answer from the beloved’s father is that, first of all, it would be nice to do government service and earn ranks. The young man’s reaction to Famusov’s statement is formulated by Griboyedov with a phrase that has become famous: “I would be glad to serve, but it’s sickening to be served.”
To this view of Chatsky, Famusov cites the example of his uncle Maxim Petrovich, who became rich while “serving” at court. For Famusov, this skill plays a major role in achieving wealth and a high position in society at court. Skalozub's arrival continues Famusov's judgment about Chatsky's freethinking and his reluctance to serve.
Chatsky’s statement that he will not bow to a society with outdated judgments and contempt for freedom. The appearance of Sophia, frightened by Molchalin’s fall from his horse, and her reproaches to Chatsky for his indifference to the victim, lead Chatsky to understand who the girl’s heart is.
Act 3
The action begins with Chatsky declaring his love for Sophia and trying to find out who is dearer to her heart: Skalozub or Molchalin. Sophia avoids a direct answer, mentioning in the conversation that she appreciates Molchalin’s gentleness and modesty. There will be a ball in Famusov's house in the evening, the servants are busy meeting high-ranking and influential people in Moscow. With one of them, Sophia shares her thoughts about Chatsky’s proud character, accidentally expressing the opinion that he is “out of his mind.”
The news instantly becomes the property of everyone gathered in Famusov’s house. The appearance of Chatsky turns the attention of the guests to his person, and new details about his insanity are born. Chatsky, wandering restlessly among the guests, tries to talk to Sophia about the Moscow nobility, which is ready to bow to nonentity only because it had the honor of being born in France. Chatsky heard Repetilov’s appearance and conversation with Zagoretsky about his madness in the next room, not having had time to leave Famusov’s house.
Act 4
Leaving Famusov's apartment, Chatsky reflects on what was the reason to accuse him of madness, who is the source of this evil gossip, whether they reached Sophia or not. Taking refuge in the doorman's room, Chatsky witnesses a showdown between Sophia, Molchalin and the maid Lisa.
Famusov and his daughter determine the fates of their maid Liza and secretary Molchalin who betrayed them. In this scene, Sophia's role in the emergence of rumors about Chatsky's madness is revealed. Chatsky’s last monologue in this action conveys the collapse of his hopes and feelings with which he lived all these years. Having experienced betrayal, he no longer regrets the breakup and decides to leave Moscow forever, because he does not see himself in Famus society.
Idea of the work
Every time has its own heroes. Their destinies pass before a society that exalts them or does not understand them. The creator of the comedy "Woe from Wit" left an indelible mark on his time. The conflict between representatives of developing and losing their positions of social structures, the misunderstanding of the old century of new driving forces, are reflected in the work “Woe from Wit”. Griboyedov in his creation denounces the foundations of the existing secular society, which means it attracts too much attention from censorship.
