The nature of the conflict and features of the stage action in Griboyedov’s comedy “Woe from Wit. How non-stage characters deepen the conflict of the comedy "Woe from Wit" Conflict and character system of Woe from Wit

THE NATURE OF CONFLICT AND FEATURES OF STAGE ACTION IN A. S. GRIBOEDOV’S COMEDY “WOE FROM MIND”

Chatsky is a representative of the advanced part of the nobility. His clashes with the environment, with his own class - a conflict with Famus society, a struggle for his understanding of life. Famusov’s ideal of life:

...or not on silver,

ate on gold; one hundred people at your service;

All in orders; I always traveled in a train;

A century at court, and at what court!

Chatsky’s ideas about life and ideas are opposite to Famusov’s ideals; they largely reflect the views of Griboyedov and the ideology of the Decembrists. These are ideas such as Chatsky’s protest against serfdom. In the monologue “Who are the judges?” — ideas of serving the fatherland: “Who serves the cause, not the hypocrites.” The idea of ​​Russian national identity can be heard in the words of Chatsky: “Not a Russian sound, not a Russian face.”

Throughout the comedy there is a clash of these opposing sides. The comedy is built in the traditions of classicism, observing the principle of unity of place and time. A departure from these traditions is the lack of unity of action, since there is no single love affair in the plot of the comedy. The main place is occupied by ideological conflict. The construction of the characters' characters is unusual; they are built according to principles that go beyond the traditional role. A departure is also the absence of a happy ending - Chatsky is disappointed in his beloved, he is forced to leave Moscow, but still he triumphs over Famus’s society.

As events unfold, the lines of ideological conflict and love intrigue run parallel. Without a love affair, the action would not be complete, the spirit of Moscow living rooms would not be understandable. And Chatsky’s appearance in Famusov’s house would not have found an explanation, because he came to Sophia, and only to her, and not to those acquaintances about whom he speaks with regret: “I am destined to see them again.”

The plot of the action was Sophia's fainting, when Molchalin fell from his horse - Chatsky understands a lot:

So you can only feel

When you lose your only friend.

The climax is Sophia declaring Chatsky crazy. Sophia punishes him for his witticisms, for his offensive words about Molchalin. Sophia speaks of Chatsky this way: “I’m happy to humiliate, to prick, envious, proud and angry!” And further:

Chatsky, you like to dress everyone up as jesters. Would you like to try it on yourself?

The denouement comes in Act IV - Chatsky learns that he is considered crazy and the attitude of Sophia towards Molchalin and Molchalin towards Liza is revealed: “And so I accept a lover to please the daughter of such a person.”

And, perhaps, if Chatsky had not witnessed this scene, then the relationship between Sophia and Molchalin would have remained the same, Sophia would have been able to forgive, or Famusov would have hastened with Sophia’s wedding to Skalozub. “But now it’s impossible: the next morning, thanks to the scene with Chatsky, all of Moscow will know...” (Goncharov).

Chatsky passionately exclaims: “Blind man! I was looking for the reward of all people! He breaks with Sophia, with the entire Famusov society, leaves Moscow “... to search around the world, “where there is a corner for an offended feeling!”

P>The play “Woe from Wit” was written at a time when romanticism and realism were developing in literature. Griboyedov is a writer who laid the foundations for innovation in Russian drama of the 19th century.
Despite the strict requirements of the classic canons - the presence of 5-8 characters, in “Woe from Wit,” according to the author himself, “twenty-five fools for one sane person.”
The figurative system of comedy is based on the realistic principle of typification. Since realism is based on historicism, the play reflects the era that came after the War of 1812. This was the time of the birth and development of the Decembrist movement. It was at this time that two camps emerged in society: the camp of advanced noble youth and the conservative camp of serf owners.
The Moscow nobility is represented in the play by Famusov and his entourage, and the progressive nobility is represented by Alexander Andreevich Chatsky, a true exponent of Decembrist ideas and sentiments in the comedy. Thus, in “Woe from Wit” there is a social and psychological typification of the heroes.
No, despite the typicality, all the characters in the play are individual. For example, Famusov is not only a Moscow gentleman who defends patriarchal foundations, but also a loving father:
Didn't they care about yours?
About education! From the cradle!
In addition, Famusov is a rather frivolous gentleman, flirting with his daughter’s maid:
After all, what a naughty girl you are...
Oh! Potion, spoiled girl.
In addition, he has a sense of humor:
They were given my voice, and how well
Everyone hears and calls everyone until dawn!
His daughter Sophia is capable of deep feeling (“Molchalin! How my sanity remains intact! You know how dear your life is to me!”) and meanness. It is she who starts gossip about Chatsky’s madness: “He doesn’t
sane!"
Thus, in addition to the characters who are clearly positive or negative, there are heroes whose assessment is ambiguous (Famusov, Sophia, Platon Mikhailovich Gorich, who was once a friend of Chatsky in military service, but turned into a “husband-boy, husband-servant”). Classicism was characterized by a clear division of characters into positive and negative.
From the point of view of love intrigue, the figurative system of “Woe from Wit” basically corresponds to the classic system of roles. The plot of the comedy is based on a love triangle (Chatsky - Sophia - Molchalin). There is also the girl’s father, who has no idea about her love, and there is also a maid who helps arrange love dates for her mistress.
But there are also deviations from traditions. Chatsky is not exactly a hero-lover, since he fails in love:
Blind! In whom I sought the reward of all my labors!
I was in a hurry!.. flying!. trembled!
Happiness, I thought, was close.
Before whom I just now was so passionate and so low
He was a waster of tender words!
On the other hand, Chatsky is a hero-lover and a reasoner at the same time, because many of his statements express the opinion of the author himself: Ah! If we were born to adopt everything, At least from the Chinese we could borrow a little from their Wise ignorance of foreigners. Will we ever be resurrected from the alien power of fashion?
Chatsky’s rival Molchalin does not quite fit the definition of “second lover”, because he is successful in love, but at the same time he is not the first lover, since he is far from ideal and is depicted with a negative author’s assessment. Sophia is also not an ideal heroine.
The secondary characters also go beyond their roles. Liza, Sophia's maid, is not only a soubrette, but also a kind of second reasoner: she gives apt characteristics of the characters and comments on the events taking place:
Like all Moscow people, your father is like this:
He would like a son-in-law with stars and ranks,
And under the stars, not everyone is rich, between us;
Well, of course, then
And money to live on, so he could give balls...
Famusov is not only a father who does not know about his daughter’s love, but also an ideologist of the “past century.”
Thus, the characters do not fit into the framework of traditional roles, they are broader.
In addition to the main one, there are also comic love triangles: Liza - Molchalin - bartender Petrusha and Liza - Famusov - Petrusha.
From the point of view of social conflict, the system of characters is built on the antithesis of the “present century” and the “past century.” Chatsky, the only stage character, is opposed to Famus society. The very appearance of Alexander Andreevich in this atmosphere of sycophancy, tyranny and servility makes his conflict with the “past century” inevitable. He denounces the vices and shortcomings of Famus society and is an ideologist of the “present century.”
A parody of Chatsky is Repetilov, a member of the “most secret union”, who claims to be the ideologist of his circle:
What's the ball? Brother, where are we all night until broad daylight?
We are shackled in decency, we will not break out of the yoke...
The image of Repetilov also correlates with the image of Molchaliv. Alexey Stepanovich tries to please everyone, believes that at “his age he should not dare to have his own judgment.” Repetilov doesn’t trust his opinion either:
I often listen without opening my lips;
I can’t do it, brother, and I feel like I’m stupid.
A clear reflection of the image of Molchalin is the universal pleaser Zagoretsky:
Let me hand it to you, it would be in vain for anyone to take it
Another one to serve you...
Zagoretsky is a true bearer of such traits as servility and sycophancy.
From the point of view of speech characteristics, all heroes are divided into those who speak in monologues (Chatsky, Famusov, Repetilov) and those who speak in replicas (all the rest).
Those who pronounce monologues are ideologists (Famusov and Chatsky) or imitate them (Repetilov). Ideologists do not listen to each other, but the crowd does not hear them either.
During his monologue about the “Frenchman from Bordeaux,” Chatsky looks around and remarks: “everyone is spinning in the waltz with the greatest zeal. The old men scattered to the card tables.”
The guests at the ball form an independent group of images, without which the “gallery of types” of Famusov’s Moscow would be incomplete.
Famusov’s sister-in-law Khlestova is a typical Moscow lady, “a remnant of the Catherine century.” Six princesses and a countess-granddaughter represent a contingent of brides who are preoccupied with finding profitable suitors. Prince Tugoukhovsky and his wife are busy looking for matches for their daughters. Zagoretsky personifies the image of an obvious swindler. Platon Mikhailovich Gorich - “husband-boy, husband-servant”, aware of the absurdity of his situation, speaks to his wife “coolly”, “eyes to the sky”, “with a sigh”.
Colonel Skalozub is a typical representative of the military, who dreams only of “getting promoted to general.” Mask characters, Messrs. N. and V., are needed to spread gossip in society. All these images make up such a concept as Famusov’s Moscow.
Off-stage characters are introduced to typify the conflict. Among them there are representatives of the “present century” and the “past century” who share Famusov’s views. Their career serves as an argument in a dispute with the “present century”; they are an ideal for Famus society. This is the venerable chamberlain Kuzma Petrovich, famous for the fact that “he was with the key, and knew how to deliver the key to his son; rich and married to a rich woman.” These include Maxim Petrovich, who knew how to help himself in a timely manner, and Foma Fomich, who was “the head of a department under three ministers,” and Tatyana Yuryevna, who has useful friends and relatives. These people most clearly embody the morals and ideals of Famus society.
The comedy tells about the inhuman cruelty of serf owners, who deal with their serfs like dogs. This is a landowner-theater who “is fat himself, his artists are skinny”, a landowner-balletomane, “Nestor of noble scoundrels”, Khlestova’s sister Praskovya.
The “past century” also includes foreigners who arrived in Russia “to pursue happiness and rank”: Madame Rosier, Sophia and Chatsky’s mentor, a Frenchman “blown by the wind,” “a Frenchman from Bordeaux.”
Off-stage female characters are just as typical and individual as those on stage, they complement the latter. This is Sophia’s aunt, “Catherine I’s maid of honor,” Praskovya Fedorovna, Tatyana Yuryevna, Pulkheria Andreevna, Irina Vlasevna, Lukerya Aleksevna.
The off-stage characters of the “present century” show that Chatsky is not alone and testify in favor of his future victories. Representatives of the Famusov society recall that among their loved ones there are people similar to Alexander Andreevich. These include Skalozub’s cousin, who “suddenly left his service” and “began to read books in the village,” Prince Fyodor, the nephew of Princess Tugoukhovskaya, who studied chemistry and botany, professors of the Pedagogical Institute, declared to be practicing “schisms and lack of faith.” In his monologue “Who are the judges?..” Chatsky speaks on behalf of an entire generation:
Now let one of us
Among the young people there will be an enemy of quest...
A parody of the “present century” are the members of the most secret union, about whom we learn from Repetilov’s monologue. This is Prince Grigory, Vorkulov Evdokim, Levoy and Borinka, Udushev Ippolit Markelych and their chairman, “a night robber, a duelist,” who is “strongly unclean.”
The introduction of so many off-stage characters was innovative. They play a big role in the development of social conflict and expand the space-time boundaries of comedy.
Revealing the inner world of the characters, Griboedov focuses not on their feelings, experiences, psychology, but on their social views and beliefs. All the characters in the play are convex and multifaceted. These are living types of Russian people.

How off-stage characters deepen the conflict of the comedy Woe from Wit. The comedy Woe from Wit, in the words of I. A. Goncharov, stands apart in literature and is distinguished by its youthfulness and freshness. Griboedov, continuing the traditions of Fonvizin and Krylov, at the same time took a huge step forward. With his comedy, he laid the foundation for critical realism in Russian drama, raised the most pressing social and moral problems of his time. The main theme of the work under consideration is the contradiction between the present century and the past, that is, between the progressive elements that move society forward, and the regressive ones that slow down its development.

There are always more of the latter, but sooner or later the former win. In the comedy Woe from Wit, Griboyedov brings a positive hero to the stage for the first time in Russian literature. The conflict between the Chatsky Ifamus society is the leading storyline of the work. Chatsky is a fighter, he has his own convictions, high ideals. He is deeply disgusted by the life of a society where Famusov, Skalozub, Molchalin, Repetilov reign with all their inertia, hypocrisy, lies, laziness, stupidity. The bright, active mind of the hero requires a different environment, and Chatsky enters the fight and begins a new century. He strives for a free life, for the pursuit of science and art, for serving the cause, and not individuals. But his aspirations are not understood by the society in which he lives. In his work, Griboedov gave a broad description of the life and morals of the Moscow nobility, satirically depicting the capital’s aces Famus, high-ranking martinets Skalozub, noble liberals Repetilov. The author accurately depicted the environment in which these types appear and contrasted Chatsky with them. The conflicts of the comedy are deepened by off-stage characters.

There are quite a lot of them.

They expand the canvas of life of the capital's nobility. Most of them belong to the Famus society. Particularly memorable, of course, is Uncle Maxim Petrovich, who gained the queen’s favor through sycophancy and servility. His life is an example of serving the queen. Uncle is Famusov’s ideal. He fell painfully, but got up well. For this reason, who was invited to whist more often? Who hears a friendly word at court? Maxim Petrovich.

Who knew honor before everyone? Maxim Petrovich. Just kidding! Who promotes you to rank? and gives pensions? Maxim Petrovich! By humiliating their human dignity, losing their honor, representatives of the past century received all the benefits of life. But their time is already passing. No wonder Famusov regrets that times are no longer the same. No less vivid is the portrait of Kuzma Petrovich, who not only managed to arrange his life, but also did not forget about his relatives.

The deceased was the venerable chamberlain Rich, and was married to a rich woman. Married children, grandchildren. What kind of aces live and die in Moscow! admired Pavel Afanasyevich Famusov. Representatives of the fair sex are not inferior to men. Send them to the Senate to attend! Irina Vlasevna! Lukerya Aleksevna! Tatyana Yurievna! Pulcheria Andrevna! Ladies are omnipotent. A bright character is Tatyana Yuryevna, who is closely acquainted with officials and officials. Surely Princess Marya Aleksevna also has great power in society, whose opinion Famusov is very afraid of. Griboedov ridicules these rulers through the lips of Chatsky, revealing their emptiness, stupidity, and absurd character.

In addition to the aces, in noble society there are smaller people. They are typical representatives of the middle nobility. This is Zagoretsky and Repetilov. And among the off-stage characters one can name the little black man, on the legs of cranes, three of the boulevard figures whom Chatsky mentions. All of them, aware of their insignificance before the Moscow ranks, try to serve them, to win their favor with hypocrisy and servility. People like Repetilov strive to show ok pretending that they are also worth something.

Describing the secret society of the English Club, Griboyedov gives satirical characteristics of its best members, liberal talkers. These are Prince Grigory, Evdokim Vorkulov, Ippolit Udushev and a head like no other in Russia. But the only way to destroy the ideas of the Repetilov society is to make noise, brother, make noise. In fact, the most secret union is an ordinary company of carousers, liars, drunkards. Griboyedov the patriot fights for the purity of the Russian language, art, and education.

Making fun of the existing education system, he introduces into the comedy such characters as the Frenchman from Bordeaux, Madame Rosier. And many noble children with such teachers grow up immature and ignorant, just like in Fonvizin’s time. But the most disgusting off-stage characters are the landowners-serfs, the characteristic features of which were absorbed by Nestor of the scoundrels of the nobles, whom the main character denounces in his passionate monologue. Disgusting are the gentlemen who exchange their own servants for greyhounds that sell children taken from their mothers.

The main problem of the comedy is the relationship between the land and serfs. There are many members of the Famus society, they are strong. Is Chatsky really alone in the fight against them? No, Griboyedov answers, introducing into the narrative Skalozub’s story about a cousin who had become firmly established in some new rules. The rank he followed, he suddenly left the service.

In the village I began to read books. Prince Fyodor doesn’t want to know the officials! He is a chemist, he is a botanist. This means that progressive forces are already maturing in the depths of society. And Chatsky is not alone in his struggle. So, off-stage characters can be divided into two groups and one can be attributed to Famus’s society, the other to Chatsky’s. The first deepen the comprehensive characteristics of noble society, the times of Elizabeth show. The second are spiritually connected with the main character, close to his thoughts and goals , spiritual quests, aspirations. I would especially like to note the language of the play.

The comedy is written in iambic meter, which brings poetic speech closer to colloquial speech. Stories about off-stage persons are organically woven into the narrative. So, in the comedy Woe from Wit, Griboyedov revealed the ideological content of the social struggle of the early 19th century, showed the life of the Moscow nobility and, by introducing non-stage characters into the narrative, deepened the conflict of the work and expanded the picture of the morals of the Moscow nobility.

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Innovation of the comedy "Woe from Wit"

Comedy A.S. Griboyedov's "Woe from Wit" is innovative. This is due to the artistic method of comedy. Traditionally, “Woe from Wit” is considered the first Russian realistic play. The main departure from classicist traditions lies in the author’s rejection of the unity of action: there is more than one conflict in the comedy “Woe from Wit”. In the play, two conflicts coexist and flow from one another: love and social. It is advisable to turn to the genre of the play to identify the main conflict in the comedy “Woe from Wit”.

The role of love conflict in the comedy "Woe from Wit"

As in a traditional classic play, the comedy “Woe from Wit” is based on a love affair. However, the genre of this dramatic work is social comedy. Therefore, social conflict prevails over love conflict.

Nevertheless, the play opens with a love conflict. Already in the exposition of the comedy, a love triangle is outlined. Sophia's night date with Molchalin in the very first scene of the first act shows the girl's sensual preferences. Also in the first appearance, the maid Liza remembers Chatsky, who was once connected with Sophia by youthful love. Thus, a classic love triangle unfolds before the reader: Sophia - Molchalin - Chatsky. But as soon as Chatsky appears in Famusov’s house, a social line begins to develop in parallel with the love one. The plot lines closely interact with each other, and this is the uniqueness of the conflict in the play “Woe from Wit.”

To enhance the comic effect of the play, the author introduces two more love triangles into it (Sofya - Molchalin - maid Liza; Liza - Molchalin - bartender Petrusha). Sophia, in love with Molchalin, does not even suspect that the maid Liza is much nicer to him, which he clearly hints to Liza. The maid is in love with the bartender Petrusha, but is afraid to confess her feelings to him.

Social conflict in the play and its interaction with the love story

The social conflict of the comedy was based on the confrontation between the “present century” and the “past century” - the progressive and conservative nobility. The only representative of the “present century,” with the exception of off-stage characters, in the comedy is Chatsky. In his monologues, he passionately adheres to the idea of ​​serving “the cause, not persons.” The moral ideals of Famus society are alien to him, namely the desire to adapt to circumstances, to “serve the favor” if this will help him get another rank or other material benefits. He appreciates the ideas of the Enlightenment, and in conversations with Famusov and other characters he defends science and art. This is a person free from prejudice.

The main representative of the “past century” is Famusov. All the vices of the aristocratic society of that time were concentrated in it. Most of all, he is concerned with the opinion of the world about himself. After Chatsky leaves the ball, his only concern is “what Princess Marya Aleksevna will say.”

He admires Colonel Skalozub, a stupid and shallow man who only dreams of “getting” the rank of general. It is his Famusov who would like to see him as his son-in-law, because Skalozub has the main advantage recognized by the world - money. With rapture, Famusov talks about his uncle Maxim Petrovich, who, after an awkward fall at a reception with the Empress, was “bestowed with the highest smile.” In Famusov’s opinion, the uncle’s ability to “curry favor” is worthy of admiration: to amuse those present and the monarch, he fell two more times, but this time on purpose. Famusov is sincerely afraid of Chatsky’s progressive views, because they threaten the usual way of life of the conservative nobility.

It should be noted that the clash between the “present century” and the “past century” is not at all a conflict between the fathers and children of “Woe from Wit”. For example, Molchalin, being a representative of the “children” generation, shares the views of the Famus society on the need to make useful contacts and skillfully use them to achieve their goals. He has the same reverent love for awards and ranks. In the end, he communicates with Sophia and supports her passion for him only out of a desire to please her influential father.

Sophia, Famusov’s daughter, cannot be attributed either to the “present century” or to the “past century.” Her opposition to her father is connected only with her love for Molchalin, but not with her views on the structure of society. Famusov, who openly flirts with the maid, is a caring father, but is not a good example for Sophia. The young girl is quite progressive in her views, smart, and not worried about the opinions of society. All this is the reason for the disagreement between father and daughter. “What a commission, creator, to be a father to an adult daughter!” - Famusov laments. However, she is not on Chatsky’s side. With her hands, or rather with a word spoken out of revenge, Chatsky is expelled from the society he hates. It is Sophia who is the author of the rumors about Chatsky’s madness. And the world easily picks up these rumors, because in Chatsky’s accusatory speeches everyone sees a direct threat to their well-being. Thus, in spreading the rumor about the protagonist’s madness in the world, a love conflict played a decisive role. Chatsky and Sophia do not clash on ideological grounds. Sophia is simply concerned that her ex-lover could ruin her personal happiness.

conclusions

Thus, the main feature of the conflict in the play “Woe from Wit” is the presence of two conflicts and their close relationship. A love affair opens the play and serves as the reason for Chatsky’s clash with the “past century.” The love line also helps the Famus society to declare its enemy insane and disarm him. However, the social conflict is the main one, because “Woe from Wit” is a social comedy, the purpose of which is to expose the mores of the noble society of the early 19th century.

Work test

Literature lesson 9th grade

(overture to the lesson) skit-situation of conflict

Subject: Love conflict in A.S. Griboedov’s comedy “Woe from Wit”

Target:

Analysis of the emergence, development and resolution of a love conflict in an educational comedy:contribute to the development of your point of view on the work, which will ultimately be recorded in the essay.
developing: the ability to initiate educational interaction with the teacher and classmates - enter into dialogue, ask questions, put forward and defend one’s point of view; skills of business partner communication, monologue and dialogic speech, artistic skills. educating: teaching tolerance in the classroom.

Tasks:
1. find and justify the beginning, development, and resolution of a love conflict
2. work with comedy text
3. be able to isolate in a video the elements of the development and resolution of a love conflict.
4. develop the ability to analyze individual comedy episodes
5. develop students' creative imagination
6. be able to systematize material, generalize, draw conclusions

During the classes:
1.Formulation of the lesson topic
After watching the overture, ask the class:
- What was in front of us?
- Conflict
- What is conflict? (open on the board)
2.Formulation of the lesson problem
The last page of the comedy is closed. Now let's try to understand the spring that moves the action of the play. This spring is a conflict. Let's, based on the definition of the concept of “conflict” and the overture to the lesson, formulate the topic of our work.
“The beginning, development, denouement of the love conflict of Griboyedov’s comedy “Woe from Wit”
Conflict is the main spring, the source of tension in a literary work, ensuring the development of the plot.
3.Analytical work with the text of the work
To isolate the stages of the conflict, let us turn to the text
Act one - starting a conflict
- With what words does Chatsky enter?
- What characteristic precedes the appearance of Chatsky?
- Do his emotions coincide with Sophia’s condition?
- What does Chatsky remember from childhood?
- What does Chatsky remember and what does he laugh at?
-How does Sofia react?
-What hurt Sophia? What is the origin of a love conflict? (Mockery at Molchalin, a love triangle has formed)
Let us characterize the participants of the triangle.
So, the connection has been found.
Act two, third - development of the conflict ( video fragment)
Chatsky is trying to find out if there is any groom here?
- What characteristics does Chatsky give to Molchalin and Skalozub?
- What does Sofia value in Molchalin?
-What conclusions does Chatsky give from Sofia’s words about Molchalin?
- Why doesn’t Chatsky understand that Sofia loves Molchalin?
- Chatsky wants to achieve recognition from Sofia. What comes out of this?

Act four - denouement (video)
What is the comedy and tragedy of this scene?
In what ways does Griboedov depart from the canons of classicism?
What qualities does Molchalin reveal in this scene?
Why doesn't Molchalin love Sophia?
What commandments did he receive from his father?
What qualities does Sophia show in this scene?
How do you understand Chatsky’s phrase “Molchalin is blissful in the world”

Conclusion: Chatsky, who has regained his sight, strives to get out of Moscow
Each of the heroes has his own “millions of torments”
- What is each of the heroes like?
In the first quarter of the 19th century. One of the main comedy plots is the story of the struggle between two contenders for the hand of one girl. One of them, enjoying the favor of the girl’s parents, turns out to be a negative character, endowed with some kind of ducts, and the other achieves love due to his spiritual qualities. His moral superiority over the dandy led to the fact that the sympathies of his parents also went over to his side. As a result, virtue - the positive hero - triumphed, and vice - the negative hero - was expelled.

Do you agree that in the comedy “Woe from Wit” the place of the traditional negative hero in the plot is taken by Chatsky, and the positive one by Molchalin?
Prove your point by citing quotes from the text.
B. Goller in the article “The Drama of a Comedy” wrote: “Griboedov, no worse than his critics, knew how to behave young lady from society... The behavior of the young lady was judged very strictly... The young lady who violated the prohibitions was expected to break with society... And when we hear Sophia’s first words in the play... we must imagine how this girl walks on the edge of a knife! What's really in the Famusovs' houseriot. Against conventional morality... But what action, incident does the author put forward as the beginning of all other events of the play? ... The only thing, the love of this girl ... "
What kind of riot did Sophia stage and who does she still love? In your opinion, is Sophia’s love a genuine feeling or a desire to carry out her “rebellion against morality?”
I.A. Goncharov in the article “A Million Torments” wrote: “Griboyedov himself attributed Chatsky’s grief to his intelligence, and Pushkin denied him any intelligence at all (“... Everything he says is very smart. But who is he saying all this to? ... " ). But Chaikiy is positively smart. His speech boils with intelligence, wit... Only his personal grief did not come from his mind alone, but more from other reasons..."
What reasons, from your point of view, can we talk about in connection with Chatsky’s “grief” - what is this “grief”, what is the reason for the hero’s torment? (refer to the love line of the work).
Compliance of the lesson with the goals set
- educational : students worked with literary material, answering the questions posed to them, then, having formulated their vision of the problem and attitude towards it, they expressed their vision of the problem, defending their point of view. The text of the comedy was read by all students, which allowed them to listen to each other, enter into dialogue, ask questions and ultimately develop their opinion on the problems posed to them.
- developing: Working with the material, the students briefly wrote down their answers, which helped them to holistically present the picture, form their attitude towards it, justifying and defending their point of view. Independent work helped develop business partnership communication skills - the guys communicated, entered into dialogue, and defended their position. Thus, attention and connected speech were improved.