Peculiarities of poetic language: woe from mind. "Minor": classicism and realism in the work

Comedy by A. S. Griboedov “Woe from Wit”

The comedy “Woe from Wit” by A. S. Griboedov, written between 1815 and 1820 and published in 1824, remains in Russian literature greatest monument. The author, who said about himself: “As I live, so I write freely and freely,” created, which marked the formation of something new for Russian literature of the 19th century century, realistic artistic style.

Griboyedov also said that he strives to depict the “nature of events,” which was for him both a source and a subject of art. But at the same time, he did not set out to copy reality; he called naturalistic images caricatures: “I hate caricatures, you won’t find a single one in my picture. This is my poetry." This was the poetics of a realist artist, who through the power of art transforms the “nature of events” and is able to highlight the most essential and typical in it. Griboyedov was the same realist artist and innovator in the field literary language. In resolving issues of language, he was ahead of most writers - his contemporaries. The critic Orlov believed that, along with Krylov and Pushkin, Griboyedov was the true creator of our literary language. On the one hand, he sought to get away from the smooth, impersonal language of secular love comedies, which was written by playwrights who were fashionable in those days. On the other hand, he tried to rid his verse of the ponderous techniques of ancient book speech.

Griboedov considered his artistic task to be the enrichment of the literary language through living practice. colloquial speech. Therefore, in “Woe from Wit” he widely used colloquial language and, in addition, endowed each of his characters with his own special speech characteristics. Thus, Skalozub’s speech is full of military terms, phrases similar to military orders, rude military expressions: “learning will not faint me,” “teach in our way: one, two.” Silent speech is laconic, insinuating, delicate, filled with respectful words. The experienced Moscow lady Khlestova speaks in a rude, unceremonious language, clearly reflecting her essence. Chatsky’s speech is very diverse and rich in shades. It sounds either romantic sensitivity, fiery passion, or harsh satire, exposing the vices of Famus society. At the same time, he is able to accurately and expressively reveal the low essence of the representatives of this society with only two or three words. The hero subtly senses the originality and richness of his native language. Being human high culture, he rarely resorts to foreign words, consciously making this his principle: “so that our smart, cheerful people, even by language, do not consider us to be Germans.” The same cannot be said at all about the speech of lordly Moscow, in which a monstrous mixture of French and Nizhny Novgorod appears. In his comedy, Griboedov subtly and evilly ridicules the fact that most members of the nobility do not speak their native language.

The literary community of the 20s of the 19th century was delighted with the skill with which Griboyedov “transformed” the living “colloquial language” into easy rhymes. Talking about verse comedies of that time, critic V.F. Odoevsky wrote: “In Griboedov alone we find a relaxed, easy, completely similar language to what is spoken in our societies; in him alone we find Russian flavor in his syllable.” The brilliance and nationality of the poetic language of Griboyedov’s comedy evoked rave reviews not only from his contemporaries. I. A. Goncharov, who wrote the literary-critical article “” in 1872, which still remains classic work about the comedy “Woe from Wit”, was delighted with his conversational liveliness, aphorism and accuracy. “Salt, an epigram, a satire, this colloquial verse,” he wrote, “seem to never die, just like the sharp and caustic, living Russian mind scattered in them, which Griboyedov imprisoned, like some kind of wizard spirit, in his castle and it crumbles there evil laugh. It is impossible to imagine that another, more natural, simpler, more taken from life speech could ever appear. Prose and verse merged here into something inseparable, then, it seems, so that it would be easier to retain them in memory and put into circulation again all the author’s collected intelligence, humor, jokes and anger of the Russian mind and language.”

The verse of the comedy, as well as its language, amazed contemporaries with its ease and naturalness. Using the usual iambic hexameter, he at the same time intersperses it with other meters - from monometer to pentameter. Thanks to this, his verse becomes light, colorful and diverse. The poetic form itself in “Woe from Wit” brings a lot of new things. Here the author has achieved an amazing lightness of verse, which is almost imperceptible in the dialogue and at the same time is unusually clear and expressive. Griboyedov's free style of writing prepared the transition of Russian drama, in particular comedy, to prose language.

He created a work that still remains in Russian literature the greatest monument of linguistic realism, reflecting all the diversity, all the flexibility of living Russian speech. He turned to the wealth of the nation national language and much more. learned from them. On the other hand, and his creative work became public property. We often say: “Blessed is he who believes.”, “ happy hours they don’t observe,” “the legend is fresh, but it’s hard to believe,” without even noticing that we are speaking in Griboedov’s poetry.

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The comedy by A. S. Griboyedov “Woe from Wit” was written after Patriotic War 1812, during the period of the rise of the spiritual life of Russia. The comedy raised topical social issues of that time: the situation of the Russian people, the relationship between landowners and peasants, autocratic power, the insane wastefulness of the nobles, the state of enlightenment, the principles of upbringing and education, independence and personal freedom, national identity. The ideological meaning of the comedy lies in the opposition of two social strength, lifestyles, worldviews: old, serfdom, and new, progressive, in exposing everything that was backward and proclaiming the advanced ideas of that time. The conflict of the comedy is the conflict between Chatsky and Famusov’s society, between “the present century and the past century.” The society in the comedy was named after Pavel Afanasyevich Famusov. This hero is typical representative old Moscow society. He has all the advantages that are valued here - wealth, connections, so Famusov is an example to follow. Chatsky is a representative of the “present century”, an exponent of the advanced ideas of his time. His monologues reveal a holistic political program: he exposes serfdom and its products - inhumanity, hypocrisy, stupid military, ignorance, false patriotism. Representatives of the Moscow nobility are deprived of any civic thoughts and interests. They see the meaning of life, first of all, in material and life well-being. These are careerists and hypocrites who are in power, occupy high social status. The Famus people view the service only as a source of income, as a means to receive undeserved honors. The confession of Famusov himself is very indicative: And what is my business, what is not my business, My custom is this: Signed, off your shoulders. In the society of Moscow nobles, such phenomena as nepotism and nepotism are common. Famusov says: “Well, how can you not please your own little person,” and does not hide the fact that his “foreign employees are very rare: More and more sisters, sisters-in-law, children.” These people are deprived of a sense of humanity, they are enemies of freedom and stranglers of enlightenment, their innermost desire - “to take all the books and burn them.” One of them trades a crowd of his servants for three greyhounds. Another, for the sake of empty amusement, drives “rejected children from mothers and fathers” to the serf ballet, and then sells them off one by one. Satirically denouncing the local and bureaucratic nobility, the entire feudal-serf system, A. S. Griboyedov clearly saw the positive social forces of his era: the emergence and growth of new, progressive aspirations and ideas. So, Skalozub complains to Famusov that he cousin, having acquired “some new rules,” neglected the rank that followed him, left the service and “began reading books in the village.” Princess Tugoukhovskaya says that her relative, who studied at pedagogical institute, “officials don’t want to know!” Famusov, referring to the widespread prevalence of freethinking, calls his time a “terrible century.” But the awakening of national, social self-consciousness is most fully embodied in the image of Chatsky. This is, undoubtedly, an ardent patriot, a fearless opponent of serfdom and despotic autocracy, a merciless judge of all lies and falsehood, of everything that is hostile to the new, that stands in the way of reason. Chatsky stigmatizes ignorance, denounces the nobility and acts as an ardent propagandist of science, education, and art. In the comedy, the conflict ends with the general recognition of Chatsky as crazy, and the love drama ends with the revelation love affair, which was conducted by Molchalin. At the end of the play, Chatsky feels abandoned by everyone, and his feeling of alienation from the society to which he once belonged intensifies. Denouement love drama influences the main conflict: Chatsky leaves all contradictions unresolved and leaves Moscow. In a clash with Famus society, Chatsky is defeated, but, losing, he remains undefeated, since he understands the need to fight the “past century,” its norms, ideals, and life position. As the first in new Russian literature realistic comedy“Woe from Wit” carries signs of a bright artistic originality. The realism of comedy is manifested in the art of verbal individualization of characters: each hero speaks in his own language, thereby revealing his unique character. Griboedov the realist significantly enriched the language of new Russian literature with elements of colloquial speech, including vernacular and mastering the folk language. Before Woe from Wit, comedies were written in iambic hexameter, and the dialogues lost the flavor of lively speech.

In this lesson we will learn what the work “Woe from Wit” conveys. We will also look at the language in which the comedy is written.

Topic: Masterpieces of Russian literature of the 19th century

Lesson: Features of the characters and language of the comedy “Woe from Wit”

We continue to talk about the comedy "Woe from Wit". Whenever we talk about language, there is a certain feeling of boredom. The fact is that those Russian language lessons that were held at school in past years and are held now, as a rule, evoke this same boredom. But there is nothing more fun than the language of comedy, which constantly provides reasons for laughter.

Speech styles as a way of characterization

There is a fairly clear explanation of how the modes of verbal expression, called stylistic features speech. The style of speech mainly determines everything that speech can achieve. Style is a way of speech determined by its purpose.

The story begins with Griboyedov modern theater in Russia. Each of the characters in his comedy speaks completely in a special way, and there is a character who is generally silent, silent until they force him to say something, his name is Molchalin. Each character is characterized most fully by the style with which he constructs his speech. Lizonka, fluttering with light phrases from one interlocutor to another. Sophia, who constructs her speech like a page of translation from French novel. Chatsky, who flares up with his tirades like a speaker gathering a circle around him at a social ball. Famusov, skillfully combining his teachings, his moral teachings, and the orders that he gives to his subordinates. Each of them has their own individual style. By how the character of each is revealed in these remarks, we can monitor the integrity of the plan.

There is a legend that Griboedov tried to read his comedy for the first time by I.A. Krylov, who perfectly mastered free speech, relaxed, easily combining different characters. So, according to this version, Griboyedov agreed with Krylov that he would listen as much as he wanted, at the very moment when he got tired, he could get up and leave. Krylov had a reputation as a rude, straightforward old man who avoided social decency and formalities. Krylov did not interrupt Griboedov’s reading, and then hugged him, kissed him and recognized him as his successor.

One witty writer has a very accurate expression: “Laughter is exposing someone’s stupidity.” So, Griboyedov’s comedy is built on exposing stupidity. Language is the main means of exposing it.

We are talking about the meaning that is expressed in forms of speech. The point of what Griboyedov does is that characters are not depicted, but those feelings that carry him with them are directly expressed. stage characters. Viewers, actors, and readers recognize themselves, their contemporaries, and acquaintances in them.

Griboedov's comedy was rewritten many times. This method contributed to the development of comedy throughout its existence until its production on stage in 1833, after Griboedov’s death. Comedy exists in orally. This is exactly what A.S. imagined. Pushkin, one of the most thoughtful listeners, not readers. In 1825, in a letter to Bestuzhev, Pushkin wrote this: “I listened to Chatsky, but only once and not with the attention that he deserves. That’s what I caught a glimpse of.” Everything that Pushkin notices, he notices by ear, and in order for us to understand and appreciate how Griboedov sculpts the characters with the help of language, it is fundamentally important for us to hear, and not see, this text. Just as a sculptor sculpts clay with his hands, creating what he wants to show the viewer, so a playwright, with the help of words, with the help of sound images, sculpts what he wants to show. Therefore, by depicting his characters with sounds, the playwright sets before us a very specific task of perception. All playwrights created their stories in approximately the same way. dramatic works. “A dramatic writer must be judged according to the laws that he himself has recognized above himself” - the words that Pushkin wrote in that very letter to Bestuzhev, where they talked about Chatsky’s audition. The main character for Pushkin is not Famusov, but Chatsky, whose speech contains all the impressions that Griboedov wants to express plastically. He expresses the feelings that his generation shares.

Chatsky's tirades

Of all the speeches that Griboyedov’s characters pronounce from the stage, the tirades uttered by Chatsky sound most expressively and clearly. No wonder Pushkin said that he “listened to Chatsky.” Famusov with all his speeches builds a treatise on the decline of morals contemporary to that time of Russia. All that Chatsky says in response to him is a response about a change in morals, about the need to reconsider those political and state convictions that guided the people of the past century. In essence, the dispute between fathers and sons, which will then continue throughout Russian literature, at the very beginning reaches high voltage and extreme sharpness. In response to Famusov’s monologue about Uncle Maxim Petrovich, Chatsky utters something that carries the main semantic difference, the opposition of what is main idea the present century and the idea of ​​the past century. Everything he says is smart. But what matters to us is not what he says, but how. The fervor with which this entire sequence of thoughts is presented is of very special interest.

“..And exactly, the world began to grow stupid,

You can say with a sigh;

How to compare and see

The present century and the past:

The legend is fresh, but hard to believe,

As he was famous for, whose neck bent more often;

As not in war, but in peace they took it head on,

They hit the floor without regret!

Who needs it: those are arrogant, they lie in the dust,

And for those who are higher, flattery was woven like lace.

It was an age of obedience and fear,

All under the guise of zeal for the king.

I'm not talking about your uncle;

We will not disturb his ashes:

But in the meantime, who will the hunt take?

Even in the most ardent servility,

Now, to make people laugh,

Bravely sacrifice the back of your head?..”

In the way Chatsky constructs periods in his speech, clear traces of the rhetoric of the very science that Griboedov studied at the university noble boarding school are visible. These are rhetorical periods, built in strict accordance with the canons of ancient rhetoric. Chatsky says how statesman, in contrast to Famusov, who thinks of himself as a service man. “I would be glad to serve, but being served is sickening,” says Chatsky.

And this is how Chatsky ends his monologue:

“...Although there are hunters everywhere to be mean,

Yes, nowadays laughter frightens and keeps shame in check;

No wonder the sovereigns favor them sparingly..."

By mentioning laughter and shame, Chatsky generally takes the dispute with Famusov to a different plane. Laughter stops a person before committing any act; this is laughter, which we now call public opinion. For Famusov, such a concept does not exist at all. Yes, there is the opinion of Princess Marya Alekseevna, which can affect his reputation, but the concept of “ public opinion“Famusov doesn’t have it. But Chatsky is guided by precisely this idea; he believes that the opinion of society is more important than the opinion of individuals. Also the concept of shame, which Famusov does not have, but for Chatsky it is decisive. The speech of the characters turns out completely different levels consciousness.

The structure of this language requires special explanation. The fact is that in our everyday speech we use language that is determined by the situation. Sometimes we speak in formal, strict language, but in most cases we speak in everyday language. Everyday language does not have certain rules; we may not finish sentences or words. We can simply leave hints without revealing our thought, although it will be clear. This language is similar to sign language. Words can be replaced with gestures or facial expressions.

This living, direct everyday language, completely unacceptable in books, is necessary for stage speech. In order to get an idea of ​​the person on stage, you need to convey in short strokes, in separate words, the feeling of communicating with this person. It’s as if we are communicating with the characters that Griboyedov brings to the stage. The principle of unity of place is observed: all the action takes place at the same time on the stage, which is designed as a room in the Famusovs’ house and is very organically connected with the home theater where Griboedov’s comedy is to be presented. The principle of unity of action is observed: everything that happens in Griboyedov’s comedy happens inextricably, in one piece - here and now. Famusov's house becomes a kind of similarity to the house in which that home theater is located.

Unity of time, unity of place, unity of action - the three formal principles of classic drama for Griboedov turn out to be a completely different kind of device. This is a technique that provides a direct, natural perception of everything that happens on stage and in the auditorium too. The stage and the auditorium have something in common, and phrases heard from the stage are perceived as a direct conversation with auditorium. Therefore, there is a feeling of a kind of tight rope. In a conversation between two people, there is a feeling that they understand each other from half a word, from half a glance, sometimes they understand each other without words at all. We also understand them without words. The words that are spoken at the same time serve only to maintain this emotional tension.

Consider the first scene of the comedy. Lizonka is sitting in the living room, guarding the peace of Sophia and Molchalin, and suddenly master Famusov enters... The way they exchange phrases in this situation, expressing those very feelings about which it is impossible to say in any way, illustrates our thesis. The master entered, Lizonka was scared, now the master finds out that Sophia is in the bedroom with a man, and this man is Molchalin, who has no place in the young lady’s bedroom. So this fear cannot be told, it can only be shown. Here's how it happens:

Lisa

Oh! master!

Famusov

Master, yes.

After all, what a naughty girl you are.

I couldn’t figure out what kind of trouble this was!

Now you hear a flute, now it’s like a piano;

Would it be too early for Sophia??

Lisa

No, sir, I... just by chance...

Famusov

Just by chance, take notice of you;

Yes, that's right, with intent.

Oh! potion, spoiler.

And then Famusov clings to Lisa. It is clear that the words in this case are those speech means, plastic means of expression, find themselves in some kind of contradiction with the meanings that arise. So for you and me, what is important is not what is said in a comedy, but how the characters speak. And this is crucial for the perception of any dramatic work.

In what each of the characters says, one can find signs of intelligence, and signs of stupidity, and signs of that great madness that distinguishes wise men. But every time these words take on true meaning and meanings only when they sound together with intonation, rhythm of speech, along with the meaning that the actor puts into it.

Pushkin, in his letter to Bestuzhev, already known to us, says that Chatsky is “an ardent, noble and kind fellow who spent some time with a very smart person" So he says very smart things, but who is he saying to? He says this to fools. “Is it worth throwing pearls in front of Repetilov?” - writes Pushkin and asks to give this letter to Griboyedov. It is quite obvious that Chatsky is not the mouthpiece of the author’s idea, whom we are accustomed to meeting on stage in classical drama. This is a completely independent character. And the author, Griboyedov, is a man of epic qualities who imbued him with thoughts. In the same way, we can talk about every character in a comedy, whether he is smart or stupid, whether he is evil or kind, depends on how the actor does it. Later it depended on the director, who dictated his will to the actors. And how the reader, viewer, listener will perceive it depends on him.

The language of the spectator and the language of the actor in the hall must coincide - this is a very important condition. The replica that sounds from the stage should be perceived in the hall as if it were alive, as an address to the audience. Everything that the characters say from the stage is addressed not so much to each other as to the audience. This is absolutely special welcome, reception of that fair booth folk theater, from which grew both the European theater, which was soon imitated by Russian classicists, and its own Russian theater. But Griboyedov’s theater is not oriented towards Shakespeare, Molière, Schiller, it is mainly oriented towards that very popular squabble of throwing words around that exists in a fair booth. Characters exchange words like jugglers exchange words in an arena. different objects. In this sense, Griboyedov apparently laid the foundations of a theater that had not yet been born in Europe at that time. The theater, which will appear in the 20th century and which will be in another crisis in the 21st century. But this is the topic of our next lessons.

1. Korovina V.Ya., Zhuravlev V.P., Korovin V.I. Literature. 9th grade. M.: Education, 2008.

2. Ladygin M.B., Esin A.B., Nefedova N.A. Literature. 9th grade. M.: Bustard, 2011.

3. Chertov V.F., Trubina L.A., Antipova A.M. Literature. 9th grade. M.: Education, 2012.

1. Tell us about the features of the comedy “Woe from Wit”

2. Why is Chatsky the main character of the comedy for Pushkin?

3. The language of the viewer and the language of the actor, what is their feature?

The comedy by A. S. Griboyedov “Woe from Wit” was written after the Patriotic War of 1812, during the period of the rise of the spiritual life of Russia. The comedy raised topical social issues of that time: the situation of the Russian people, the relationship between landowners and peasants, autocracy, the insane wastefulness of the nobles, the state of enlightenment, the principles of upbringing and education, independence and personal freedom, national identity.

The ideological meaning of comedy lies in the opposition of two social forces, ways of life, worldviews: the old, serfdom, and the new, progressive, in exposing everything that is backward and proclaiming the advanced ideas of that time. The conflict of the comedy is the conflict between Chatsky and Famusov’s society, between “the present century and the past century.”

The comedy society was named after Pavel Afanasyevich Famusov. This hero is a typical representative of old Moscow society. He has all the advantages that are valued here - wealth, connections, so Famusov is an example to follow. Chatsky is a representative of the “present century”, an exponent of the advanced ideas of his time. His monologues reveal a holistic political program: he exposes serfdom and its products - inhumanity, hypocrisy, stupid military, ignorance, false patriotism.

Representatives of the Moscow nobility are deprived of any civic thoughts and interests. They see the meaning of life, first of all, in material and life well-being. These are careerists and hypocrites who are in power and occupy a high social position. The Famus people view the service only as a source of income, as a means to receive undeserved honors. The confession of Famusov himself is very revealing:

And what matters to me, what doesn’t matter,

My custom is this:

Signed, off your shoulders.

In the society of Moscow nobles, such phenomena as nepotism and nepotism are common. Famusov says: “Well, how can you not please your own little person,” and does not hide the fact that his “employees from strangers are very rare: More and more sisters, sisters-in-law and children.”

These people are deprived of a sense of humanity, they are enemies of freedom and stranglers of enlightenment, their deepest desire is “to take all the books and burn them.” One of them trades a crowd of his servants for three greyhounds. Another, for the sake of empty amusement, drives “rejected children from their mothers and fathers” to the serf ballet, and then sells them off one by one.

Satirically denouncing the local and bureaucratic nobility, the entire feudal-serf system, A. S. Griboedov clearly saw the positive social forces of his era: the emergence and growth of new, progressive aspirations and ideas. Thus, Skalozub complains to Famusov that his cousin, having acquired “some new rules,” neglected the rank that followed him, left the service and “began reading books in the village.” Princess Tugoukhovskaya says that her relative, who studied at the pedagogical institute, “doesn’t want to know the ranks!” Famusov, referring to the widespread prevalence of freethinking, calls his time a “terrible century.” But the awakening of national and social self-awareness is most fully embodied in the image of Chatsky.

This is, undoubtedly, an ardent patriot, a fearless opponent of serfdom and despotic autocracy, a merciless judge of all lies and falsehood, of everything that is hostile to the new, that stands in the way of reason. Chatsky stigmatizes ignorance, denounces the nobility and acts as an ardent propagandist of science, education, and art.

In the comedy, the conflict ends with the general recognition of Chatsky as crazy, and the love drama ends with the exposure of the love affair led by Molchalin. At the end of the play, Chatsky feels abandoned by everyone, and his feeling of alienation from the society to which he once belonged intensifies. The denouement of the love drama affects the main conflict: Chatsky leaves all contradictions unresolved and leaves Moscow.

In a clash with Famusov’s society, Chatsky is defeated, but, losing, he remains undefeated, since he understands the need to fight the “past century,” its norms, ideals, and position in life.

As the first realistic comedy in new Russian literature, “Woe from Wit” bears in itself signs of a bright artistic originality. The realism of comedy is manifested in the art of verbal individualization of characters: each hero speaks in his own language, thereby revealing his unique character. Griboyedov the realist significantly enriched the language of new Russian literature with elements of colloquial speech, including vernacular and mastering the folk language.

Before Woe from Wit, comedies were written in iambic hexameter, and the dialogues lost the flavor of lively speech. Griboyedov, making extensive use of the experience of Krylov’s fables, introduced free iambic into his comedy. The verse acquired extraordinary flexibility.

Depicting the socio-political struggle between the conservative and progressive camps in the comedy “Woe from Wit”, public characters, morals and life of Moscow, Griboedov reproduces the situation of the whole country. “Woe from Wit” is a mirror of feudal-serf Russia with its social contradictions, the struggle of the outgoing world and the new one, called to win.

Municipal budget educational institution gymnasium No. 18 of the city of Krasnodar

Literature lesson notes

in 9th grade

LANGUAGE OF COMEDY

A.S. GRIBOEDOV “WOE FROM MIND”

Prepared

teacher of Russian language and literature

CHESNOVA Lyudmila Dmitrievna

Krasnodar city

2014

LANGUAGE OF COMEDY A.S. GRIBOEDOVA

"WOE FROM MIND"

Lesson objectives:

Identification of the main features of the language of comedy by A.S. Griboyedov "Woe from Wit". Revealing the aphorism of the language of comedy, its “nationality”. Determining the role of the characters' speech characteristics.

Lesson objectives:

Cultivating love and respect for native language using the example of A.S. Griboyedov’s attitude towards him.

during the classes

True love for your country

Unthinkable without love for your language

K. Paustovsky

(Griboyedov's "Waltz" sounds) Teacher: Alexander Sergeevich Griboedov, a subtle diplomat, talented poet, composer, went down in the history of Russian literature as the author of the only brilliant comedy “Woe from Wit”. A man with an excellent education, Griboedov devoted his entire life to serving his homeland, believing that the more enlightened a person is, the more useful he is to his fatherland. Let's turn to the epigraph. It is not for nothing that K. Paustovsky’s statement about love for one’s fatherland through love for one’s native language was chosen for the lesson. One of Griboyedov’s contemporaries recalled: “I have never in my life, in any nation, seen a person who loved his fatherland so ardently, so passionately, as Griboyedov loved Russia. He understood Russian subtly national character, admired the breadth of scope, spiritual beauty and intelligence of the Russian person.” Indeed, a fiery patriotic feeling, love for the people, careful attitude to the native language, to its origins was characteristic of all the work of the poet-playwright. He persistently fought for the identity of Russian culture, to preserve centuries-old wealth multinational culture, created by the people, from dissolving into the fashionable external “Europeanism” of the noble class, alien to the people. He was deeply indignant that most of the “Frenchized” representatives of the nobility do not adequately speak their native language, and often consider it a sign of bad taste to speak it in secular society. This was also noted by Griboyedov’s contemporary I.M. Muravyov-Apostol: “Enter into any society: a very amusing mixture of languages, different dialects, French and Russian in half.” And Griboyedov in his comedy through the mouth of Chatsky says: …What's the tone here these days? At conventions, at big ones, on parish holidays? A confusion of languages ​​still prevails: French with Nizhny Novgorod?
In the last monologue of Act 3, Chatsky speaks indignantly about the blind, stupid, slavish imitation of the Western way of life. Let's read this monologue and comment on it.(One of the students reads Chatsky’s monologue “ There is an insignificant meeting in that room...")

Teacher:

What worries the hero who has seen Russia?

Chatsky's language. Chatsky's language is broader and richer than the language of other characters in the comedy. Chatsky – educated person, writer. This, naturally, is reflected in his conversational manner: he “speaks as he writes” (Famusov about Chatsky), often uses bookish figures of speech (“a mind hungry for knowledge”, “will arouse the ardor for creative, high and beautiful arts”). His speech is precise and expressive, he is a master of short and exact specifications: “a constellation of maneuvers and mazurkas” - about Skalozub, “a sycophant and a businessman” - about Molchalin. He is ironic, mocking, uses to the point expressions that have become popular (“The legend is fresh, but hard to believe”, “I would be glad to serve, it’s sickening to serve”), and is able to characterize the situation in one sentence (“After all, nowadays they love the dumb”). Chatsky reveals the richness and beauty of the Russian language; it differs from the speech of other characters in its emotionality, decisiveness and independence of judgment. The character is a representative of the “present century”, and his speech characteristic emphasizes this. Teacher: We were able to make sure that the language of the characters, while remaining within the framework of national living colloquial speech, is so colorful that the features of individual human character clearly appear through it. Griboyedov, coloring his speech style actor unique individually characteristic words and phrases, created typical and at the same time individually expressive images (words are projected on the screen). Write these words down. Teacher: Let us turn once again to the notes that were made during the lesson. ( The words recorded during the lesson appear on the screen. The student reads all three provisions). So, summarizing what was said in the lesson, we can come to the conclusion that Griboedov’s comedy “Woe from Wit” owes its enduring success largely to a hitherto unprecedented nature spoken language in poetry that amazes, attracts, and attracts attention. Final word teachers. Having created the comedy "Woe from Wit", Griboedov became not only a realist artist, but also an innovator in the field of literary language. Issues of language in comedy play exclusively important role. A skillful, careful attitude to the use of the real, living Russian language in poetic form is only possible for a person who sincerely loves his Fatherland. It is safe to say that, along with Krylov and Pushkin, Griboyedov became the true creator of our literary language. (Grades are given for the lesson. Homework is assigned)

Literature:

Griboyedov A.S. “Woe from Wit” M.: “ Fiction» 1985 Zolotareva I.V. Universal lesson developments on literature

Big literary encyclopedia Ed. Krasovsky E.V. M.: “The Word”. 2005 Selected Works(Fonvizin D.I., Griboedov A.S., Ostrovsky A.N.) M.: “Fiction” 1989