An essay on the topic of the modern sound of comedy woe from wit. “Woe from Wit” in the modern world The modern sound of the comedy Woe from Wit

Alexander Sergeevich Griboyedov is a wonderful Russian writer who has created many works that help you understand yourself and see the truth. "Woe from Wit" is no exception. This comedy was written in 1824. She did not immediately captivate the minds of readers, but over time she was appreciated.

This work raises many questions that are still relevant today.

The main character, Alexander Andreevich Chatsky, is a progressive mind of a new generation who knows how to look deep into a problem and see the imperfections of the world.

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In contrast to it is the “Famus” society, which has long forgotten what honor, conscience and nobility are. They are mired in ignorance, they only care about the thickness of their wallet and the status of their acquaintances, otherwise, without all these embellishments, people are not interesting to them. Chatsky, no matter how hard he tried, could not open the eyes of these people devoid of prudence. They, like blinkered horses, follow the path that past “skillful” generations have trodden for them.

“You would ask, what did the fathers do?

We could learn from our elders."

Pavel Famusov.

In our time, little has changed in society. Many people still try to make money at the expense of others, do not think at all about the consequences of their decisions and do not care about other people's problems. Worship of rank, which was on the first line of the “hit parade” of negative qualities in past times, is not losing ground even now. But, still, some people understand that this is not the truth, that the world needs to be changed. Every day there are more and more Chatskys, they are the hope of this world. People who listen to their conscience; people who are ready to give, and not just take; people striving for the top... These are the ones who will allow progress to go further; those who will move society forward.

So, from everything stated above, we can see that the modernity of comedy is undeniable. Of course, conservatism has interfered and will always interfere with progress, but for every time there is a Chatsky who will make people open their eyes, as the wonderful work “Woe from Wit” did for me.

Updated: 2018-02-08

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The comedy of A. S. Griboyedov still does not lose its relevance. Modern society has the same problems as the past. People have remained the same, despite the fact that a lot of time has passed.

We still have a problem between understanding fathers and children. Every parent, like Famusov himself, wants to provide a good, happy life for their children, but often does not pay attention to the desires of their child, to his dreams.

For example, in this comedy, Famusov wants to marry his daughter Sophia to Skalozub. Skalozub is a former military man. Therefore, Famusov believes that he will be good to Sophia, but at the same time he ignores the fact that his daughter likes a completely different person. Sophia loves Molchalin, and it is in him that she sees the ideal of her man.

Now, as in the work, two different generations collide in ideological views and challenge their rightness. In our country, servility and veneration still remain in high esteem. For example, in Famusov’s society, only rank and wealth are revered, and it doesn’t matter that they were achieved through flattery and sycophancy, which is conveyed in Famusov’s monologue: “That’s just it, you are all proud.” This monologue describes the incident with Uncle Famusov, in which Maxim Petrovich stumbled while worshiping the empress, which made Catherine laugh. Are you enrolling in 2019? Our team will help you save your time and nerves: we will select directions and universities (according to your preferences and expert recommendations); we will fill out applications (all you have to do is sign); we will submit applications to Russian universities (online, by e-mail, by courier); we will monitor competition lists ( we will automate the tracking and analysis of your positions); we will tell you when and where to submit the original (we will evaluate the chances and determine the best option). Entrust the routine to professionals - more details.

The Empress awarded him a rank for this. Maxim Petrovich began to issue pensions and promote him to ranks. Thus, this rank was deserved by buffoonery. Chatsky despises such actions. For him, honor comes first. He is disgusted by the idea of ​​servility and flattery, which can be seen in his statement: “I would be glad to serve, but it is sickening to be served.” He wants to “serve the cause, not persons.” Benefit the country.

So nothing has changed. The same officials still rule, and instead of a professional worker, they will appoint their relative or loved one to the position. Nepotism remains in high esteem. For this reason, the country is losing many professional and intelligent people who go abroad where they will be appreciated. Just like Chatsky, in the end he left Moscow to look for a place where he would be understood

We must develop and give way to new minds, eradicating nepotism

Society needs education because it never stands still

Reading the comedy “Woe from Wit,” we see and feel the very moods that modern people experience, because the play has not yet lost its relevance.

Useful material

The great Woland said that manuscripts do not burn. Proof of this is the fate of Alexander Sergeevich Griboyedov’s brilliant comedy “Woe from Wit” - one of the most controversial works in the history of Russian literature.

A comedy with a political bent, continuing the traditions of such masters of satire as Krylov and Fonvizin, quickly became popular and served as a harbinger of the coming rise of Ostrovsky and Gorky.

Although the comedy was written back in 1825, it was published only eight years later, having outlived its creator. Despite the fact that the manuscript was subjected to tsarist censorship, the people of Russia appreciated it - both ordinary people and representatives of the nobility admired the comedy.

The comedy reveals all the ulcers and vices that plagued the Russian Empire, primarily serfdom.

The main character is Alexander Chatsky - a personality as bright as it is tragic.

What allowed a small work to become one of the immortal creations of the pen? Firstly, the lively writing style, sharp criticism of everything bad and ugly that happened in those days. Almost every phrase in the book has become a catchphrase and has become firmly established in the modern language.

Living language is just one of the many virtues of the book, of which it has many.

The struggle of heart and mind and its influence on the course of ideological battles is a central point in comedy. After all, the main character is pierced by Cupid’s arrow, which prevents him from soberly assessing the situation. His erudition and brilliant intellect were unable to notice the changes that had occurred in his beloved Sophia. Emotions blinded Chatsky, making him look crazy in the eyes of society.

After reading the comedy, the reader sympathizes with Chatsky, sharing his mental anguish.

Almost two centuries have passed, and the cart has not moved. Modern Molchalins, Skalozubs and others like them are still at the pinnacle of power. And worthy people are forced to fight hard for a place in the sun.

The golden calf rules the roost today - power and having millions in the bank are valued higher than spiritual development. To be an intellectual today means dooming yourself to difficulties.

The last cry of the hero's soul pierces the reader to the depths of his heart and one can only admire the prophetic gift of Griboedov, who foresaw the future. It is painful to see that in 174 years society has not changed its priorities.

What is the reason for such inertia, which has persisted for centuries? One of the heroes, Famusov, sees the answer in the fact that there are more madmen than ever before. They themselves are insane, so are the things they do, and the beliefs they follow.

This comedy will always be relevant until the attitude towards culture and education - two pillars of moral development - changes in Russia.

The hidden meaning of “Woe from Wit” encourages people to fight darkness - ignorance, indifference to problems and inertia of thinking.

For today's youth, the most important thing is to follow Chatsky’s principles in relation to education and their activities. Chatsky knew how to have fun when he was resting, but he was serious in business and urged people to never mix fun and work.

In Griboyedov’s comedy “Woe from Wit” we can observe a clash of two different eras, two styles of Russian life, which is realistically shown by the author in his immortal work. The difference in the worldview of the old Moscow nobility and the advanced nobility in the 10-20s of the 19th century constitutes the main conflict of the play - the collision of the “present century” and the “past century”.

“The Past Century” represents in the comedy the Moscow noble society, which adheres to the established rules and norms of life. A typical representative of this society is Pavel Afanasyevich Famusov. He lives the old fashioned way, and considers his ideal to be Uncle Maxim Petrovich, who was a shining example of a nobleman from the time of Empress Catherine. Here's what Famusov himself says about him:

It's not on silver

Ate on gold; one hundred people at your service;

All in orders; I was always traveling in a train;

A century at court, and at what court!

Then it was not the same as now...

However, in order to achieve such a life, he “bent over,” served, played the role of a jester. Famusov idolizes that century, but feels... It means that it is becoming a thing of the past. No wonder he complains: “Then it’s not like it is now...”

A prominent representative of the “present century” is Alexander Andreevich Chatsky, who embodies the features of the advanced noble youth of that time. He is a bearer of new views, which he proves by his behavior, way of life, but especially by his passionate speeches denouncing the foundations of the “past century,” which he clearly disdains. This is evidenced by his words:

And sure enough, 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.

Chatsky considers that century to be the century of “submission and fear.” He is convinced that those morals are a thing of the past and today, “laughter frightens and keeps shame in check.”

However, it's not that simple. The traditions of days gone by are too strong. Chatsky himself turns out to be their victim. With his directness, wit, and audacity, he becomes a disturber of social rules and norms. And society takes revenge on him. At the first meeting with him, Famusov calls him “carbonari.” However, in a conversation with Skalozub, he speaks well of him, says that he is “a smart guy,” “writes and translates well,” and regrets that Chatsky is not serving. But Chatsky has his own opinion on this matter: he wants to serve the cause, not individuals. For now, apparently, this is impossible in Russia.

At first glance, it may seem that the conflict between Famusov and Chatsky is a conflict of different generations, a conflict of “fathers” and “children,” but this is not so. After all, Sophia and Molchalin are young people, almost the same age as Chatsky, but they fully belong to the “past century.” Sophia is not stupid. Chatsky’s love for her can also serve as proof of this. But she absorbed the philosophy of her father and his society. Her chosen one is Molchalin. He is also young, but also a child of that old environment. He fully supports the morals and customs of old lordly Moscow. Both Sofia and Famusov speak well of Molchalin. The latter keeps him in his service “because he’s businesslike,” and Sophia sharply rejects Chatsky’s attacks on her lover. She says: Of course, he doesn’t have this mind, What a genius for others, but for others a plague...

But for her, intelligence is not the main thing. The main thing is that Molchalin is quiet, modest, helpful, disarms the priest with silence, and will not offend anyone. In general, an ideal husband. You can say the qualities are wonderful, but they are false. This is just a mask behind which his essence is hidden. After all, his motto is moderation and accuracy,” and he is ready to “please all people without exception,” as his father taught him. He persistently moves towards his goal - a warm and moneyed place. He plays the role of a lover only because it pleases Sophia herself, the daughter of his master. And Sophia sees in him the ideal husband and boldly moves towards her goal, without fear of “what Princess Marya Aleksevna will say.”

Chatsky, finding himself in this environment after a long absence, is at first very friendly. He strives here, because the “smoke of the Fatherland” is “sweet and pleasant” to him, but this smoke turns out to be carbon monoxide for him. He encounters a wall of misunderstanding and rejection. His tragedy lies in the fact that on stage he alone confronts Famus society.

But the comedy mentions Skalozub’s cousin, who is also “strange” - “he suddenly left his service,” locked himself in the village and began reading books, but he “followed his rank.” There is also a nephew of Princess Tugoukhovskaya, “chemist and botanist” Prince Fyodor. But there is also Repetilov, who is proud of his involvement with a certain secret society, all of whose activities boil down to “make noise, brother, make noise.” But Chatsky cannot become a member of such a secret union.

Chatsky, apparently, is not only a bearer of new views and ideas, but also advocates new standards of life. After all, he traveled through Europe, which was experiencing revolutionary ferment. The comedy does not directly say that Chatsky is a revolutionary, but this can be assumed. After all, his surname is “speaking”, it is consonant with the surname of Chaadaev.

In addition to the public tragedy, Chatsky is also experiencing a personal tragedy. He is rejected by his beloved Sophia, to whom he “flew and trembled.” Moreover, with her light hand he is declared crazy.

So, Chatsky, who does not accept the ideas and morals of the “past century,” becomes a troublemaker in Famus society. And it rejects him. At first glance, it serves it right, because Chatsky is a mocker, a wit, a troublemaker and even an insulter. So, Sophia says to him: Has it ever happened that you laughed? or sad? A mistake? Did they say good things about anyone?

But you can understand Chatsky. He experiences a personal tragedy, he does not find friendly sympathy, he is not accepted, he is rejected, he is expelled, but the hero himself could not exist in such conditions.

“The present century” and the “past century” collide in comedy. The past time is still too strong and gives rise to its own kind. But the time for change in the person of Chatsky is already coming, although it is still too weak. “The “present century” replaces the “past century”, for this is an immutable law of life. The appearance of the Chatsky Carbonari at the turn of historical eras is natural and logical.

Comedy A.S. Griboedov’s “Woe from Wit” has not lost its relevance for the second century. The time is different, but the people are still the same. Modern society is characterized by all the problems that were so close to that time.
In our time, we, just like the characters in the play, are no strangers to the problem of “fathers and sons.” It sounds extremely topical in the unstable times in which we live. Nowadays, misunderstanding between generations is increasing, relations between parents and children are becoming more and more aggressive, but in essence the reasons remain the same as several centuries ago. Just like Famusov, any modern parent is ready to do everything possible for a good life for their child, sometimes completely ignoring the dreams and desires of the child himself. Famusov strives to successfully marry Sophia. None other than Skalozub, a successful military man, according to his caring father, is suitable for the role of Sophia’s future husband. But Sophia herself needs a completely different person; in Molchalin she found the ideal man. We see a similar situation in Galina Shcherbakova’s modern story “The Door to Someone Else’s Life.”
Often two generations clash in their political and ideological views. In our country, nepotism, veneration and sycophancy are still held in high esteem. What Famusov recognizes as intelligence seems to Chatsky to be madness. In Famusov’s society, “he was famous whose neck was more often bent.” Chatsky was disgusted by length of service and patronage, and to Famusov’s reasonable advice to serve, he replied: “I would be glad to serve, it’s sickening to be served.” Nothing has changed, service to the Fatherland is still ambiguous. The ball is run by the same officials, for whom a relative is more important than any professional worker, and a flatterer is first on the list of employees. Because of all this bureaucratic red tape and bureaucracy, the country is losing its minds - more and more people are trying to go abroad, because only there they will be appreciated. Perhaps Chatsky did the same, leaving Moscow with the words: “I don’t go here anymore!”
The problem of upbringing and education raised in the comedy remains key in modern times. Society will always need enlightenment, because it does not stand still, it is always developing. Just as Famusov then read newspapers “from the time of the Ochakovskys and the conquest of the Crimea,” so now the main source of judgment for the older generation is Soviet ideology.
We must not stand still - we must grow and develop, so we do not need “a regiment of teachers, more in number, at a cheaper price,” we must eradicate nepotism and make way for a new generation of purposeful and educated people. Thus, reading the comedy “Woe from Wit”, we feel those moods that are so close to modern man, precisely because the play has not lost its relevance in our time.

Beketova Marina

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Utena Secondary School

THE TOPICALITY OF THE SOUND OF A.S.’S COMEDY GRIBOEDOV “WOE FROM MIND” IN OUR TIMES. HUMAN TYPES

Research work

Performed: Beketova Marina Aleksandrovna,
9th grade student

Scientific director : Tkacheva Valentina Petrovna,
teacher of Russian language and literature

Duck, 2011

Introduction…………………………………………………………………………………3 - 4

Chapter I. The significance of Griboyedov’s work

§1. Biography of the writer………………………………………………………...5 - 7

§2. About the comedy “Woe from Wit”……………………………………7 - 9

Chapter II. Characteristics of the main characters of the comedy

§1. Famusovskaya Moscow. Human types………………….9 - 13

§2. About the main character……………………………………………………………14-16

Chapter III. The topicality of the sound of A.S.’s comedy Griboyedov "Woe from Wit" in our time

§1. “Woe from Wit” in the literature of the 19th century……………………….16-19

§2. Modernity of A.S. Griboedov’s comedy “Woe from Wit” ...19-21

Conclusion………………...………...……..…….……. ………………..22-23

List of references………………………………………………………...24
Application

INTRODUCTION

Griboedov's comedy "Woe from Wit" organically entered the history of Russian literature . I. A. Goncharov called “Woe from Wit” “eternally living, burning satire”, and its heroes - “eternally living images”. This “unsolved to the end” play, according to A. Blok, became both a school for the formation of Russian criticism and a school of excellence for Russian writers of the 19th century. A number of critical articles have repeatedly noted that at the level of individual situations and images in Russian classical literature, “Griboyedov’s silhouettes are constantly visible.” Therefore, questions of interpretation of Griboyedov’s comedy, without a doubt, arouse deep interest. The relevance of the work lies in the study of the topicality of the sound of A.S.’s comedy. Griboyedov "Woe from Wit". Alexander Sergeevich Griboyedov is a rare writer even for Russian literature, so rich in amazing and diverse talents. He is the author of one famous work, about which A.S. Pushkin said: “His handwritten comedy “Woe from Wit” produced an indescribable effect and suddenly placed him alongside our first poets.” Goal: to study the topicality of the sound of A.S. Griboyedov’s comedy “Woe from Wit”, to identify the essence of human types in comedy, their broad generalizing meaning.

- analyze this work

- perform a comparative analysis of the relevance of comedy in the literature of the 19th century and in modern times.

Summarize the results of the work

Object of study: comedy by A.S. Griboyedov "Woe from Wit"

Subject of research: the relevance of the sound of comedy today. Research methods: analysis of literary and Internet sources, interpretation of text, comparison and contrast, generalization of the received material, use of search and research methods for collecting information about the life and work of A.S. Griboedova.

CHAPTER I. THE IMPORTANCE OF A.S. CREATIVITY GRIBOEDOVA

§1. Biography of the writer

Griboyedov Alexander Sergeevich - famous Russian playwright. Comes from an ancient noble family. The financial situation of Griboedov's parents was cramped and confused. However, his mother, a woman of extraordinary intelligence and character, was drawn to the Moscow nobility related to her, and tried with all her might to keep her house at the level of high Moscow society. Dreaming of a brilliant career for her son, she gave him an excellent education, first under the guidance of foreign tutors, then at the Moscow Noble Boarding School, and finally at Moscow University. Having successively graduated from two faculties - literature and law, Griboyedov continued to remain at the university (studying natural sciences and mathematics and preparing for a doctorate) until it was closed in 1812 due to the occupation of Moscow by Napoleon. Excellent knowledge of the main European languages ​​(French, German, English and Italian), to which were later added eastern ones - Arabic and Persian, was completed by musical education. All this made the writer, according to Pushkin, “one of the smartest people in Russia” and one of the most educated people of the era. In 1812, Griboyedov volunteered for one of the formed regiments, from where, thanks to his great connections, he soon became an adjutant to General Kologrivov, who was forming the cavalry reserves. The writer's time in military service included his first appearance in print - correspondence in prose and verse (published in the August issue of "Bulletin of Europe" for 1814). Around the same time, Griboyedov met the theater figure and famous playwright A. A. Shakhovsky and, under his influence, turned to dramatic creativity, for which he had an inclination while still a student. At the end of 1815 he retired and settled in St. Petersburg; in 1817 he entered the service of the State Collegium of Foreign Affairs, which included Pushkin. In 1818, participation in a sensational social duel and the increasingly tangled material affairs of his mother, who brought her Kostroma peasants with unbearable exactions to a rebellion suppressed by military force, forced Griboyedov to leave St. Petersburg and go as secretary of the Russian diplomatic mission to Persia. While driving there, he fought a duel in Tiflis with the future Decembrist Yakubovich, who wounded him in the arm. In Persia, he intensively studied oriental languages ​​and antiquities, financial and political sciences. It was there that the firm outlines of “Woe from Wit” took shape, the initial plans for which, according to contemporaries, arose already in 1812. Staying in the Persian “diplomatic monastery” weighed heavily on Griboyedov, and in 1822 he managed to transfer to Tiflis as secretary for foreign affairs under the famous “proconsul of the Caucasus,” General Ermolov. In Tiflis, G. became close friends with the poet and future Decembrist V.K. Kuchelbecker, to whom he read scene by scene from the “Woe from Wit” he was creating. At the center of everything was the work on “Woe from Wit.” Despite his great connections, all the writer’s efforts to bring the play not only to the stage, but also to print were in vain. The play appeared on stage only after the death of the author (in separate appearances from 1829, completely in 1831). The publication of excerpts from “Woe from Wit” was accompanied by noisy journal controversy. Representatives of the opinion of the old noble-bureaucratic Moscow fiercely attacked the comedy, denying the author not only the correctness of the picture of Moscow life he painted, but also any artistic merits of his play. Chatsky’s statements are close to the Decembrists. He was arrested and brought to St. Petersburg with a courier. During the investigation, Griboyedov behaved boldly and categorically denied belonging to a secret society. He was soon released with a monetary reward and promotion. The opportunity finally opened up for him to have that brilliant career that his mother had been seeking for him all his life. With the text of the Turkmanchay Treaty, Griboedov was sent to the Tsar in St. Petersburg, received a large monetary reward and a brilliant appointment as ambassador plenipotentiary to Persia. Until then, in his own words, “a beggar, a servant of the sovereign made from bread,” “in an instant he became both noble and rich.” . One of the most difficult knots in world politics was being tied in Persia. Griboedov put forward a grandiose project to create the “Russian Transcaucasian Company”. However, the project, which was at least half a century ahead of Russian reality, did not meet with sympathy in Russian government circles. However, the British immediately felt in him a most dangerous enemy, who replaced in Persia, according to a contemporary, “with his single face an army of twenty thousand.” Griboyedov arrived in Persia, getting married along the way in Tiflis, in October 1828 and four months later he died along with the entire staff of the Russian mission (with the exception of the secretary who accidentally escaped) during an attack on it by a crowd fanaticized by the mullahs, apparently acting in turn on orders English.

§2. About the comedy "Woe from Wit"

§ 2. Modernity of A.S. Griboedov’s comedy “Woe from Wit”

“How to compare and see

The present century and the past century...”

(A.S. Griboyedov)

There are brilliant works of literature. And there are brilliant names of brilliant works. Those in which the words that make them up seem to merge into one concept. Because before us is not just the title of a literary work, but the name of a certain phenomenon. There are hardly more than a dozen such titles, such works, even in great literature. Griboedov's comedy is one of them. Alexander Sergeevich Griboyedov turned two hundred years old. From the incompletely established dates of his miraculous birth, one has been chosen, and now we are celebrating! The Famusovs are in the boxes, the Skalozubs have become generals, Sophia and Liza are pleasing to the eyes in the ranks of the social movement “Women of Russia”, the Molchalins are blissful in ministries and committees. Who are the judges? ...

Druzhinin N.M. "A.S. Griboyedov in Russian criticism." Moscow, 1958

There is no play more lively and modern than "Woe from Wit." So it was, so it is, so it will be. A truly great work, such as “Woe from Wit,” resists overestimation. There is no escaping the fact that Griboyedov was closely connected with the Decembrists. Another thing is that our understanding of Decembrism as a social movement has become more precise over the years. We are more clearly aware of some of the tragic features of Russian social life, especially the centuries-old traditions of totalitarianism. This explains a lot in Russian history, right up to the present day. It is important for us that “Woe from Wit” is not a “black and white” satire on the social system. The writer was interested not in the “system”, not in the “system”, but in social psychology. But it is not “black and white” at all. Listen: Famusov and Chatsky often talk about the same thing. “And all the Kuznetsky Bridge, and the eternal French!” - Famusov grumbles. And Chatsky is concerned “so that our smart, cheerful people, even in language, do not consider us to be Germans.” Both of them are unconditional patriots, both are Russian people to the depths of their souls, there is much that separates them, but much that makes them similar, and that is the tragedy of this comedy, that is why there are “a million torments.” And “system”, “system” - well, they can change, but Famusov, Repetilov, Molchalin, Skalozub are eternal. And Chatsky is eternal. When was the last time we saw Chatsky alive? It was Academician Sakharov. Different time, age, appearance, language, but the essence is the same: Chatsky! The same one whom Pushkin condescendingly reproached, claiming that in “Woe from Wit” one smart person is Griboedov himself, and Chatsky is a kind fellow who spent some time in his company and makes smart speeches in his voice - to whom? Before the Skalozubs and Tugoukhovskys? But the fact of the matter is that Pushkin is not entirely right: it is necessary to speak. To those with whom history has brought you together. Without even expecting understanding. What is said will not be lost. Griboyedov convinced of this. Sakharov convinced him of this. What do these two Russian people have in common, besides the fact that they are Russian? Mind. Both of them were outstanding minds of their time. The inexhaustibility of “Woe from Wit” is revealed in the misunderstood Chatsky and the unsolved Repetilov... How to compare and see

The present century and the past... Which Russian hasn’t found his age to be the most incredible? It seems that both Pushkin and Griboyedov more than once had to hear the usual complaints about time, otherwise their such different heroes as Famusov and Duke would not have lamented so unanimously: “A terrible century! You don’t know what to start…” says Famusov. And the Duke echoes him: “Terrible age, terrible hearts!”“Woe from Wit” has long been a national property. Back in the early seventies of the nineteenth century, I.A. Goncharov, who noted that comedy “is distinguished by its youthfulness, freshness and stronger vitality from other works of the word,” predicted it “an imperishable life,” argued that it “will survive many more eras, and everything will not lose its vitality.” This prophecy was completely justified.The great comedy still remains youthful and fresh. She retained her social significance, her satirical salt, her artistic charm. She continues her triumphant march across theater stages. It is taught in schools.Millions of people laugh and are indignant along with Griboedov. The anger of the satirist-accuser is close and understandable to the Russian people, because even now it inspires them to fight against everything inert, insignificant and vile, for everything advanced, great and noble. The struggle between the new and the old is the law of our Russian life. The images created by Griboedov, his apt, striking sayings, living in popular speech, are still capable of serving as a sharp weapon of satire.So, for example, if Molchalin, Famusov, Skalozub see the meaning of life in their well-being, then Chatsky dreams of bringing benefit to the people, whom he respects and considers “smart and cheerful.” At the same time, he despises servility and careerism. He “would be glad to serve,” but “being served is sickening.” Chatsky sharply criticizes this society, mired in hypocrisy and depravity:Where, show us, are the fathers of the fatherland,

Which ones should we take as models?

Aren't these the ones who are rich in robbery?

We found protection from fate in friends, in kinship,

Magnificent building chambers,

Where they indulge in feasts and extravagance... It seems as if these lines were written now! And we are still arguing whether comedy is modern. Despite the historical tragedy of Russian life, Griboedov lives in us with his comedy "Woe from Wit." He returns to us like the light of happiness.

Goncharov I.A. “A Million of Torments” (Critical Study) - In the book: Goncharov I.A. Collection. Op. in 8 vols. M., 1995, vol. 8

CONCLUSION

In the dramatic plans after Woe from Wit, everything was connected with the development and deepening of the democratic, anti-serfdom tendencies of this play. Griboedov's death in 1829 prevented the creation of new works, which promised to constitute a significant page in the history of Russian literature. But what he did gives grounds to place Griboyedov in the cohort of artists of world significance. For Griboedov's contemporaries, his play was a sign of the times. She helped the best people of Russia determine their place in the socio-political struggle. It is no coincidence that the Decembrists said that comedy was for them one of the sources of free thinking.According to the great democratic critic V.G. Belinsky, “Woe from Wit,” along with the novel “Eugene Onegin,” was “the first example of a poetic depiction of Russian reality in the broad sense of the word. In this regard, both of these works laid the foundation for subsequent literature, from which both Lermontov and Gogol emerged.” . The significance of any writer of the past of our time is tested, first of all, by how close his spiritual image is to us, how much his work serves our historical cause. Griboyedov fully withstands this test. He is close and dear to people as a writer, faithful to the truth of life, as a leading figure of his time - a patriot, humanist and freedom-lover, who had a deep and fruitful impact on the development of Russian national culture. Griboyedov and his great comedy are surrounded by truly popular love in our country. Now more than ever, the words inscribed on Griboedov’s gravestone sound loudly and convincingly:“Your mind and deeds are immortal in Russian memory...”The success of the work, which has taken a strong place among Russian classics, is largely determined by the harmonious combination in it of the urgently topical and timeless. Through the brilliantly drawn picture of Russian society, “eternal” themes can be discerned: the conflict of generations, the drama of a love triangle, the antagonism of the individual and society. At the same time, “Woe from Wit” is an example of an artistic synthesis of the traditional and innovative: paying tribute to the canons of the aesthetics of classicism, Griboedov “revives” the scheme with conflicts and characters taken from life, freely introducing lyrical, satirical and journalistic lines into the comedy.The controversy surrounding “Woe from Wit” in the 20s of the 19th century and the ambiguous assessment of the play by contemporaries indicate how innovative Griboedov’s plan was. It was not only the topical content of the comedy that worried contemporaries. The best minds of the time guessed the untimely philosophical depth of her conflict. The comedy “will survive many eras” and will remain a unique, unique work for posterity.There is no other work in our literature that would be assessed so differently by critics and interpreted so differently by directors and actors. Perhaps this is the secret of the constant modernity of Griboyedov’s comedy: Chatsky only changes depending on the time, but each time he organically corresponds to it (the time). The accuracy and aphoristic precision of the language, the successful use of free iambic, conveying the element of colloquial speech, allowed the text of the comedy to maintain its sharpness and expressiveness; as Pushkin predicted, many lines of “Woe from Wit” became proverbs and sayings (“The legend is fresh, but hard to believe,” “Happy people do not watch the clock”). The work turned out to be topical, meeting the urgent needs of its time and the modern one. “Griboedov did his thing,” said Pushkin in response to a remark about the poet’s untimely death, “he has already written “Woe from Wit.”

BIBLIOGRAPHY

1. Andreev N.V. "Great Writers of Russia". Moscow, “Thought”, 1988.
2. Volodin P.M. "History of Russian literature of the 19th century." Moscow, 1962
3. Druzhinin N.M. "A.S. Griboyedov in Russian criticism." Moscow, 1958
4. Medvedeva I. ““Woe from Wit” by A.S. Griboyedov.” Moscow, “Fiction”, 1974.
5. Meshcheryakov V.P. “Things of days gone by...” Moscow, Bustard, 2003.
6. Orlov V. “Griboyedov. Essay on life and creativity." Moscow, Goslitizdat, 1947.
7. Piksanov N.K. “Creative story “Woe from Wit”.” Leningrad, 1983

The great Woland said that manuscripts do not burn. Proof of this is the fate of Alexander Sergeevich Griboyedov’s brilliant comedy “Woe from Wit” - one of the most controversial works in the history of Russian literature.

A comedy with a political bent, continuing the traditions of such masters of satire as Krylov and Fonvizin, quickly became popular and served as a harbinger of the coming rise of Ostrovsky and Gorky.

Although the comedy was written back in 1825, it was published only eight years later, having outlived its creator. Despite the fact that the manuscript was subjected to tsarist censorship, the people of Russia appreciated it - both ordinary people and representatives of the nobility admired the comedy.

The comedy reveals all the ulcers and vices that plagued the Russian Empire, primarily serfdom.

The main character is Alexander Chatsky - a personality as bright as it is tragic.

What allowed a small work to become one of the immortal creations of the pen? Firstly, the lively writing style, sharp criticism of everything bad and ugly that happened in those days. Almost every phrase in the book has become a catchphrase and has become firmly established in the modern language.

Living language is just one of the many advantages of the book, of which it has many.

The struggle of heart and mind and its influence on the course of ideological battles is a central point in comedy. After all, the main character is pierced by Cupid’s arrow, which prevents him from soberly assessing the situation. His erudition and brilliant intellect were unable to notice the changes that had occurred in his beloved Sophia. Emotions blinded Chatsky, making him look crazy in the eyes of society.

After reading the comedy, the reader sympathizes with Chatsky, sharing his mental anguish.

Almost two centuries have passed, and the cart has not moved. Modern Molchalins, Skalozubs and others like them are still at the pinnacle of power. And worthy people are forced to fight hard for a place in the sun.

The golden calf rules the roost today - power and having millions in the bank are valued higher than spiritual development. To be an intellectual today means dooming yourself to difficulties.

The last cry of the hero's soul pierces the reader to the depths of his heart and one can only admire the prophetic gift of Griboedov, who foresaw the future. It is painful to see that in 174 years society has not changed its priorities.

What is the reason for such inertia, which has persisted for centuries? One of the heroes, Famusov, sees the answer in the fact that there are more madmen than ever before. They themselves are insane, so are the things they do, and the beliefs they follow.

This comedy will always be relevant until the attitude towards culture and education - two pillars of moral development - changes in Russia.

The hidden meaning of “Woe from Wit” encourages people to fight darkness - ignorance, indifference to problems and inertia of thinking.

For today's youth, the most important thing is to follow Chatsky’s principles in relation to education and their activities. Chatsky knew how to have fun when he was resting, but he was serious in business and urged people to never mix fun and work.

3) Is the comedy of A.S. modern? Griboyedov "Woe from Wit"

“How to compare and see
The present century and the past century...”
(A.S. Griboyedov)

There are brilliant works of literature. And there are brilliant names of brilliant works. Those in which the words that make them up seem to merge into one concept. Because before us is not just the title of a literary work, but the name of a certain phenomenon. There are hardly more than a dozen such titles, such works, even in great literature. Griboedov's comedy is one of them.
Alexander Sergeevich Griboyedov turned two hundred years old. From the incompletely established dates of his miraculous birth, one has been chosen, and now we are celebrating! The Famusovs are in the boxes, the Skalozubs have become generals, Sophia and Liza are pleasing to the eyes in the ranks of the social movement “Women of Russia”, the Molchalins are blissful in ministries and committees. Who are the judges? ...
There is no play more lively and modern than "Woe from Wit." So it was, so it is, so it will be.
A truly great work, such as “Woe from Wit,” resists overestimation. There is no escaping the fact that Griboyedov was closely connected with the Decembrists. Another thing is that our understanding of Decembrism as a social movement has become more precise over the years. We are more clearly aware of some of the tragic features of Russian social life, especially the centuries-old traditions of totalitarianism. This explains a lot in Russian history, right up to the present day. It is important for us that “Woe from Wit” is not a “black and white” satire on the social system. The writer was interested not in the “system”, not in the “system”, but in social psychology. But it is not “black and white” at all. Listen: Famusov and Chatsky often talk about the same thing. “And all the Kuznetsky Bridge, and the eternal French!” - Famusov grumbles. And Chatsky is concerned “so that our smart, cheerful people, even in language, do not consider us to be Germans.” Both of them are unconditional patriots, both are Russian people to the depths of their souls, there is much that separates them, but much that makes them similar, and that is the tragedy of this comedy, that is why there are “a million torments.” And “system”, “system” - well, they can change, but Famusov, Repetilov, Molchalin, Skalozub are eternal. And Chatsky is eternal.
When was the last time we saw Chatsky alive? It was Academician Sakharov. Different time, age, appearance, language, but the essence is the same: Chatsky! The same one whom Pushkin condescendingly reproached, claiming that in “Woe from Wit” one smart person is Griboedov himself, and Chatsky is a kind fellow who spent some time in his company and makes smart speeches in his voice - to whom? Before the Skalozubs and Tugoukhovskys? But the fact of the matter is that Pushkin is not entirely right: it is necessary to speak. To those with whom history has brought you together. Without even expecting understanding. What is said will not be lost. Griboyedov convinced of this. Sakharov convinced him of this. What do these two Russian people have in common, besides the fact that they are Russian? Mind. Both of them were outstanding minds of their time.
The inexhaustibility of “Woe from Wit” is revealed in the misunderstood Chatsky and the unsolved Repetilov...
How to compare and see
The present century and the past...
Which Russian hasn’t found his age to be the most incredible? It seems that both Pushkin and Griboyedov more than once had to hear the usual complaints about time, otherwise their such different heroes as Famusov and Duke would not have lamented so unanimously: “A terrible century! You don’t know what to start…” says Famusov. And the Duke echoes him: “Terrible age, terrible hearts!”
“Woe from Wit” has long been a national property. Back in the early seventies of the nineteenth century, I.A. Goncharov, who noted that comedy “is distinguished by its youthfulness, freshness and stronger vitality from other works of the word,” predicted it “an imperishable life,” argued that it “will survive many more eras, and everything will not lose its vitality.” This prophecy was completely justified.
The great comedy still remains youthful and fresh. She retained her social significance, her satirical salt, her artistic charm. She continues her triumphant march across theater stages. It is taught in schools.
Millions of people laugh and are indignant along with Griboedov. The anger of the satirist-debunker is close and understandable to the Russian people, because even now it inspires them to fight against everything inert, insignificant and vile, for everything advanced, great and noble. The struggle between the new and the old is the law of our Russian life. The images created by Griboedov, his apt, striking sayings, living in popular speech, are still capable of serving as a sharp weapon of satire.
So, for example, if Molchalin, Famusov, Skalozub see the meaning of life in their well-being, then Chatsky dreams of bringing benefit to the people, whom he respects and considers “smart and cheerful.” At the same time, he despises servility and careerism. He “would be glad to serve,” but “being served is sickening.” Chatsky sharply criticizes this society, mired in hypocrisy and depravity:
Where, show us, are the fathers of the fatherland,
Which ones should we take as models?
Aren't these the ones who are rich in robbery?
We found protection from fate in friends, in kinship,
Magnificent building chambers,
Where they indulge in feasts and extravagance...
It seems as if these lines were written now! And we are still arguing whether comedy is modern. Despite the historical tragedy of Russian life, Griboedov lives in us with his comedy "Woe from Wit." He returns to us like the light of happiness.

Beketova Marina

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Municipal educational institution
Utena Secondary School

THE TOPICALITY OF THE SOUND OF A.S.’S COMEDY GRIBOEDOV “WOE FROM MIND” IN OUR TIMES. HUMAN TYPES

Research work

Performed: Beketova Marina Aleksandrovna,
9th grade student

Scientific director: Tkacheva Valentina Petrovna,
teacher of Russian language and literature

Duck, 2011

Introduction…………………………………………………………………………………3 - 4

Chapter I. The significance of Griboyedov’s work

§1. Biography of the writer………………………………………………………...5 - 7

§2. About the comedy “Woe from Wit”……………………………………7 - 9

Chapter II. Characteristics of the main characters of the comedy

§1. Famusovskaya Moscow. Human types………………….9 - 13

§2. About the main character……………………………………………………………14-16

Chapter III. The topicality of the sound of A.S.’s comedy Griboyedov "Woe from Wit" in our time

§1. “Woe from Wit” in the literature of the 19th century……………………….16-19

§2. Modernity of A.S. Griboedov’s comedy “Woe from Wit” ...19-21

Conclusion………………...………...……..…….……. ………………..22-23

List of references………………………………………………………...24
Application

INTRODUCTION

Griboedov's comedy "Woe from Wit" organically entered the history of Russian literature . I. A. Goncharov called “Woe from Wit” “eternally living, burning satire”, and its heroes - “eternally living images”. This “unsolved to the end” play, according to A. Blok, became both a school for the formation of Russian criticism and a school of excellence for Russian writers of the 19th century. A number of critical articles have repeatedly noted that at the level of individual situations and images in Russian classical literature, “Griboyedov’s silhouettes are constantly visible.” Therefore, questions of interpretation of Griboyedov’s comedy, without a doubt, arouse deep interest. The relevance of the work lies in the study of the topicality of the sound of A.S.’s comedy. Griboyedov "Woe from Wit". Alexander Sergeevich Griboyedov is a rare writer even for Russian literature, so rich in amazing and diverse talents. He is the author of one famous work, about which A.S. Pushkin said: “His handwritten comedy “Woe from Wit” produced an indescribable effect and suddenly placed him alongside our first poets.” Goal: to study the topicality of the sound of A.S. Griboyedov’s comedy “Woe from Wit”, to identify the essence of human types in comedy, their broad generalizing meaning.

Tasks:

- analyze this work

- perform a comparative analysis of the relevance of comedy in the literature of the 19th century and in modern times.

Summarize the results of the work

Object of study: comedy by A.S. Griboyedov "Woe from Wit"

Subject of research: the relevance of the sound of comedy today. Research methods:analysis of literary and Internet sources, interpretation of text, comparison and contrast, generalization of the received material, use of search and research methods for collecting information about the life and work of A.S. Griboedova.

CHAPTER I. THE IMPORTANCE OF A.S. CREATIVITY GRIBOEDOVA

§1. Biography of the writer

Griboyedov Alexander Sergeevich - famous Russian playwright. Comes from an ancient noble family. The financial situation of Griboedov's parents was cramped and confused. However, his mother, a woman of extraordinary intelligence and character, was drawn to the Moscow nobility related to her, and tried with all her might to keep her house at the level of high Moscow society. Dreaming of a brilliant career for her son, she gave him an excellent education, first under the guidance of foreign tutors, then at the Moscow Noble Boarding School, and finally at Moscow University. Having successively graduated from two faculties - literature and law, Griboyedov continued to remain at the university (studying natural sciences and mathematics and preparing for a doctorate) until it was closed in 1812 due to the occupation of Moscow by Napoleon. Excellent knowledge of the main European languages ​​(French, German, English and Italian), to which were later added eastern ones - Arabic and Persian, was completed by musical education. All this made the writer, according to Pushkin, “one of the smartest people in Russia” and one of the most educated people of the era. In 1812, Griboyedov volunteered for one of the formed regiments, from where, thanks to his great connections, he soon became an adjutant to General Kologrivov, who was forming the cavalry reserves. The writer's time in military service included his first appearance in print - correspondence in prose and verse (published in the August issue of "Bulletin of Europe" for 1814). Around the same time, Griboyedov met the theater figure and famous playwright A. A. Shakhovsky and, under his influence, turned to dramatic creativity, for which he had an inclination while still a student. At the end of 1815 he retired and settled in St. Petersburg; in 1817 he entered the service of the State Collegium of Foreign Affairs, which included Pushkin. In 1818, participation in a sensational social duel and the increasingly tangled material affairs of his mother, who brought her Kostroma peasants with unbearable exactions to a rebellion suppressed by military force, forced Griboyedov to leave St. Petersburg and go as secretary of the Russian diplomatic mission to Persia. While driving there, he fought a duel in Tiflis with the future Decembrist Yakubovich, who wounded him in the arm. In Persia, he intensively studied oriental languages ​​and antiquities, financial and political sciences. It was there that the firm outlines of “Woe from Wit” took shape, the initial plans for which, according to contemporaries, arose already in 1812. Staying in the Persian “diplomatic monastery” weighed heavily on Griboyedov, and in 1822 he managed to transfer to Tiflis as secretary for foreign affairs under the famous “proconsul of the Caucasus,” General Ermolov. In Tiflis, G. became close friends with the poet and future Decembrist V.K. Kuchelbecker, to whom he read scene by scene from the “Woe from Wit” he was creating. At the center of everything was the work on “Woe from Wit.” Despite his great connections, all the writer’s efforts to bring the play not only to the stage, but also to print were in vain. The play appeared on stage only after the death of the author (in separate appearances from 1829, completely in 1831). The publication of excerpts from “Woe from Wit” was accompanied by noisy journal controversy. Representatives of the opinion of the old noble-bureaucratic Moscow fiercely attacked the comedy, denying the author not only the correctness of the picture of Moscow life he painted, but also any artistic merits of his play. Chatsky’s statements are close to the Decembrists. He was arrested and brought to St. Petersburg with a courier. During the investigation, Griboyedov behaved boldly and categorically denied belonging to a secret society. He was soon released with a monetary reward and promotion. The opportunity finally opened up for him to have that brilliant career that his mother had been seeking for him all his life. With the text of the Turkmanchay Treaty, Griboedov was sent to the Tsar in St. Petersburg, received a large monetary reward and a brilliant appointment as ambassador plenipotentiary to Persia. Until then, in his own words, “a beggar, a servant of the sovereign made from bread,” “in an instant he became both noble and rich.” . One of the most difficult knots in world politics was being tied in Persia. Griboedov put forward a grandiose project to create the “Russian Transcaucasian Company”. However, the project, which was at least half a century ahead of Russian reality, did not meet with sympathy in Russian government circles. However, the British immediately felt in him a most dangerous enemy, who replaced in Persia, according to a contemporary, “with his single face an army of twenty thousand.” Griboyedov arrived in Persia, getting married along the way in Tiflis, in October 1828 and four months later he died along with the entire staff of the Russian mission (with the exception of the secretary who accidentally escaped) during an attack on it by a crowd fanaticized by the mullahs, apparently acting in turn on orders English.

§2. About the comedy "Woe from Wit"

§ 2. Modernity of A.S. Griboedov’s comedy “Woe from Wit”

“How to compare and see

The present century and the past century...”

(A.S. Griboyedov)

There are brilliant works of literature. And there are brilliant names of brilliant works. Those in which the words that make them up seem to merge into one concept. Because before us is not just the title of a literary work, but the name of a certain phenomenon. There are hardly more than a dozen such titles, such works, even in great literature. Griboedov's comedy is one of them. Alexander Sergeevich Griboyedov turned two hundred years old. From the incompletely established dates of his miraculous birth, one has been chosen, and now we are celebrating! The Famusovs are in the boxes, the Skalozubs have become generals, Sophia and Liza are pleasing to the eyes in the ranks of the social movement “Women of Russia”, the Molchalins are blissful in ministries and committees. Who are the judges? ...

Druzhinin N.M. "A.S. Griboyedov in Russian criticism." Moscow, 1958.

There is no play more lively and modern than "Woe from Wit." So it was, so it is, so it will be. A truly great work, such as “Woe from Wit,” resists overestimation. There is no escaping the fact that Griboyedov was closely connected with the Decembrists. Another thing is that our understanding of Decembrism as a social movement has become more precise over the years. We are more clearly aware of some of the tragic features of Russian social life, especially the centuries-old traditions of totalitarianism. This explains a lot in Russian history, right up to the present day. It is important for us that “Woe from Wit” is not a “black and white” satire on the social system. The writer was interested not in the “system”, not in the “system”, but in social psychology. But it is not “black and white” at all. Listen: Famusov and Chatsky often talk about the same thing. “And all the Kuznetsky Bridge, and the eternal French!” - Famusov grumbles. And Chatsky is concerned “so that our smart, cheerful people, even in language, do not consider us to be Germans.” Both of them are unconditional patriots, both are Russian people to the depths of their souls, there is much that separates them, but much that makes them similar, and that is the tragedy of this comedy, that is why there are “a million torments.” And “system”, “system” - well, they can change, but Famusov, Repetilov, Molchalin, Skalozub are eternal. And Chatsky is eternal. When was the last time we saw Chatsky alive? It was Academician Sakharov. Different time, age, appearance, language, but the essence is the same: Chatsky! The same one whom Pushkin condescendingly reproached, claiming that in “Woe from Wit” one smart person is Griboedov himself, and Chatsky is a kind fellow who spent some time in his company and makes smart speeches in his voice - to whom? Before the Skalozubs and Tugoukhovskys? But the fact of the matter is that Pushkin is not entirely right: it is necessary to speak. To those with whom history has brought you together. Without even expecting understanding. What is said will not be lost. Griboyedov convinced of this. Sakharov convinced him of this. What do these two Russian people have in common, besides the fact that they are Russian? Mind. Both of them were outstanding minds of their time. The inexhaustibility of “Woe from Wit” is revealed in the misunderstood Chatsky and the unsolved Repetilov...How to compare and see

The present century and the past...Which Russian hasn’t found his age to be the most incredible? It seems that both Pushkin and Griboyedov more than once had to hear the usual complaints about time, otherwise their such different heroes as Famusov and Duke would not have lamented so unanimously: “A terrible century! You don’t know what to start…” says Famusov. And the Duke echoes him: “Terrible age, terrible hearts!”“Woe from Wit” has long been a national property. Back in the early seventies of the nineteenth century, I.A. Goncharov, who noted that comedy “is distinguished by its youthfulness, freshness and stronger vitality from other works of the word,” predicted it “an imperishable life,” argued that it “will survive many more eras, and everything will not lose its vitality.” This prophecy was completely justified.The great comedy still remains youthful and fresh. She retained her social significance, her satirical salt, her artistic charm. She continues her triumphant march across theater stages. It is taught in schools.Millions of people laugh and are indignant along with Griboedov. The anger of the satirist-accuser is close and understandable to the Russian people, because even now it inspires them to fight against everything inert, insignificant and vile, for everything advanced, great and noble. The struggle between the new and the old is the law of our Russian life. The images created by Griboedov, his apt, striking sayings, living in popular speech, are still capable of serving as a sharp weapon of satire.So, for example, if Molchalin, Famusov, Skalozub see the meaning of life in their well-being, then Chatsky dreams of bringing benefit to the people, whom he respects and considers “smart and cheerful.” At the same time, he despises servility and careerism. He “would be glad to serve,” but “being served is sickening.” Chatsky sharply criticizes this society, mired in hypocrisy and depravity:Where, show us, are the fathers of the fatherland,

Which ones should we take as models?

Aren't these the ones who are rich in robbery?

We found protection from fate in friends, in kinship,

Magnificent building chambers,

Where they indulge in feasts and extravagance... It seems as if these lines were written now! And we are still arguing whether comedy is modern. Despite the historical tragedy of Russian life, Griboedov lives in us with his comedy "Woe from Wit." He returns to us like the light of happiness.

Goncharov I.A. “A Million of Torments” (Critical Study) - In the book: Goncharov I.A. Collection. Op. in 8 vols. M., 1995, vol. 8

CONCLUSION

In the dramatic plans after Woe from Wit, everything was connected with the development and deepening of the democratic, anti-serfdom tendencies of this play. Griboedov's death in 1829 prevented the creation of new works, which promised to constitute a significant page in the history of Russian literature. But what he did gives grounds to place Griboyedov in the cohort of artists of world significance.For Griboedov's contemporaries, his play was a sign of the times. She helped the best people of Russia determine their place in the socio-political struggle. It is no coincidence that the Decembrists said that comedy was for them one of the sources of free thinking.According to the great democratic critic V.G. Belinsky, “Woe from Wit,” along with the novel “Eugene Onegin,” was “the first example of a poetic depiction of Russian reality in the broad sense of the word. In this regard, both of these works laid the foundation for subsequent literature, from which both Lermontov and Gogol emerged.” . The significance of any writer of the past of our time is tested, first of all, by how close his spiritual image is to us, how much his work serves our historical cause. Griboyedov fully withstands this test. He is close and dear to people as a writer, faithful to the truth of life, as a leading figure of his time - a patriot, humanist and freedom-lover, who had a deep and fruitful impact on the development of Russian national culture. Griboyedov and his great comedy are surrounded by truly popular love in our country. Now more than ever, the words inscribed on Griboedov’s gravestone sound loudly and convincingly:“Your mind and deeds are immortal in Russian memory...”The success of the work, which has taken a strong place among Russian classics, is largely determined by the harmonious combination in it of the urgently topical and timeless. Through the brilliantly drawn picture of Russian society, “eternal” themes can be discerned: the conflict of generations, the drama of a love triangle, the antagonism of the individual and society. At the same time, “Woe from Wit” is an example of an artistic synthesis of the traditional and innovative: paying tribute to the canons of the aesthetics of classicism, Griboedov “revives” the scheme with conflicts and characters taken from life, freely introducing lyrical, satirical and journalistic lines into the comedy.The controversy surrounding “Woe from Wit” in the 20s of the 19th century and the ambiguous assessment of the play by contemporaries indicate how innovative Griboedov’s plan was. It was not only the topical content of the comedy that worried contemporaries. The best minds of the time guessed the untimely philosophical depth of her conflict. The comedy “will survive many eras” and will remain a unique, unique work for posterity.There is no other work in our literature that would be assessed so differently by critics and interpreted so differently by directors and actors. Perhaps this is the secret of the constant modernity of Griboyedov’s comedy: Chatsky only changes depending on the time, but each time he organically corresponds to it (the time). The accuracy and aphoristic precision of the language, the successful use of free iambic, conveying the element of colloquial speech, allowed the text of the comedy to maintain its sharpness and expressiveness; as Pushkin predicted, many lines of “Woe from Wit” became proverbs and sayings (“The legend is fresh, but hard to believe,” “Happy people do not watch the clock”). The work turned out to be topical, meeting the urgent needs of its time and the modern one. “Griboedov did his thing,” said Pushkin in response to a remark about the poet’s untimely death, “he has already written “Woe from Wit.”

BIBLIOGRAPHY

1. Andreev N.V. "Great Writers of Russia". Moscow, “Thought”, 1988.
2. Volodin P.M. "History of Russian literature of the 19th century." Moscow, 1962
3. Druzhinin N.M. "A.S. Griboyedov in Russian criticism." Moscow, 1958
4. Medvedeva I. ““Woe from Wit” by A.S. Griboyedov.” Moscow, “Fiction”, 1974.
5. Meshcheryakov V.P. “Things of days gone by...” Moscow, Bustard, 2003.
6. Orlov V. “Griboyedov. Essay on life and creativity." Moscow, Goslitizdat, 1947.
7. Piksanov N.K. “Creative story “Woe from Wit”.” Leningrad, 1983