Overall assessment of the work: Woe from Wit. Analysis of Griboyedov's "woe from mind"
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Writers are among the most unique people on the planet, they know how to create a multifaceted masterpiece based on a short situation. Almost the same fate befell Griboyedov’s comedy “Woe from Wit.”
The history of the creation of the work “Woe from Wit”
Once Griboedov had a chance to attend one of the dinner parties in aristocratic circles. There he was a witness unusual picture: one of the guests was a foreign citizen. Aristocrats really appreciated everything foreign, they wanted to be as much like them as possible, so any contact with foreign guests, especially noble birth was flattering to members of high society. Therefore, the entire dinner was devoted to a reverent attitude towards the foreign guest - Griboedov, who was hostile to the attempts of the Russian aristocracy to acquire everything foreign, including behavior, language and features of life, could not miss the moment and not speak out on this matter.
We invite you to familiarize yourself with the comedy “A. Griboyedov “Woe from Wit”.
Naturally, his speech was not heard - the aristocrats considered Griboyedov to be out of his mind and immediately happily started rumors about his mental illness. Indignant Alexander Sergeevich then decided to write a comedy in which he would expose all the vices of aristocratic society. This happened in 1816.
Comedy publication history
However, Griboyedov began creating the work after some time. In 1823, the first fragments of the comedy were ready. Griboedov presented them to society from time to time, first in Moscow, then in Tiflis.
There were also difficulties with publication for a long time - the text was repeatedly subject to censorship and, as a result, to revision and revision. Only in 1825 were fragments of the work published.
During Griboyedov’s lifetime, his work was never fully published - in the hope that his friend Bulgarin would help with this, Alexander Sergeevich gives him the manuscript of his comedy, which at that time was called “Woe of Wit,” but publication did not follow.
Four years after Griboyedov’s death (in 1833), “Grief” finally saw the light of day. However, the text of the comedy was distorted by the editorial and censorship commission - there were too many moments in the text that were unacceptable for publication. It was not until 1875 that the work was published without censorship.
Comedy heroes
All the characters in the play can be divided into three categories - main, secondary and tertiary.
TO central images comedies include Famusov, Chatsky, Molchalin and Sofya Pavlovna
- Pavel Afanasyevich Famusov- an aristocrat by birth, managing a government agency. He is a dishonest and corrupt official, and as a representative of society, he is also far from ideal.
- Sofya Pavlovna Famusova– Famusov’s young daughter, despite her young age, she is already actively using tricks accepted in aristocratic circles – the girl loves to play with the feelings of other people. She likes to be the center of attention.
- Alexander Chatsky– hereditary aristocrat, orphan. He was taken into care by Famusov after the death of his parents. For some time, Alexander was in military service, but became disillusioned with this type of activity.
- Alexey Stepanovich Molchalin- Famusov’s secretary, a man of ignoble origin, who, thanks to Famusov’s actions, acquires the rank of nobility. Molchalin is a vile and hypocritical person who is driven by the desire to break into aristocratic circles at any cost.
TO minor characters include the images of Skalozub, Lisa and Repetilov.
- Sergey Sergeevich Skalozub- a nobleman, a young officer who is only interested in promotion.
- Repetilov- an old friend of Pavel Afanasyevich, a hereditary nobleman.
- Lisa- a servant in the Famusovs’ house, with whom Molchalin is in love.
Characters of tertiary importance include the images of Anton Antonovich Zagoretsky, Anfisa Nilovna Khlestova, Platon Mikhailovich Gorich, Natalya Dmitrievna Gorich, Prince Pyotr Ilyich Tugoukhovsky, Countesses Khryumin and Petrushka - all of them act briefly in the play, but thanks to their social position they help to depict an accurate and unsightly picture of reality.
The young landowner Chatsky returns home after a three-year absence from Russia. He visits the house of his teacher Famusov in order to woo his daughter, with whom he has long been in love, Sophia.
In Famusov’s house, Chatsky notices that during his absence the vices of the aristocracy have only worsened. The young man is surprised by the self-interest and calculation of representatives of high society. Aristocrats, instead of setting an example of humanism and honesty, set an example of bribery and playing to the public - this discourages Chatsky. The ideal of behavior in high circles has become servility - for aristocrats it has become unimportant to serve - now it is fashionable to serve. Reproof opposite position Chatsky in relation to the Famus society becomes the main reason why he cannot claim Sonya’s hand.
We invite you to familiarize yourself with the comedy “Woe from Wit” by A. Griboyedov.
Alexander still does not lose hope. He thinks that the girl’s favor will be able to change the situation, but even here Chatsky will be disappointed - Sonya actually loves not him, but her father’s secretary.
However, Sonya is in no hurry to refuse Chatsky - she is hiding from Chatsky true position things and pretends that Alexander’s sympathy is pleasant to her. In addition, the girl is spreading rumors that
Chatsky has mental health problems. When Alexander finds out the truth, he realizes that such a girl cannot be his wife. The only thing that remains for Alexander is to leave Moscow.
Poetic size and features of the verse of the play
Griboyedov's play "Woe from Wit" is written in iambic. The number of feet in poetry is not the same (unlike traditional Alexandrian verse, which involved the use of iambic hexameter) - Alexander Sergeevich periodically changes the number of feet. Their number varies from one to six.
The rhyme system is also not stable. In the play you can see virtually all the options - double, cross, belted. In addition, Griboyedov uses internal rhyme.
Themes and issues of the play
The main conflict of the play is defined by the framework of the confrontation between the “present century” and the “past century.” This concept is not limited solely to the attitude to service and a person’s wealth - a large array of problems is hidden under these phrases.
First of all, the problem of the type of human activity and their distribution into noble pursuits (civil service in government institutions And military service) and shameful (writing, scientific activity).
The second problem of the play was the glorification of suck-ups - authority and respect in society are earned not by valiant service or exemplary work done, but by the ability to please higher management.
The next problem is bribery and mutual responsibility. All problems in society can be solved with money or connections.
The problem of sincerity and honesty is also raised by Griboyedov - people say what is beneficial. They are ready to dissemble and deceive in order to gain some benefits. Rarely is anyone ready to express a true opinion, especially if it does not coincide with the opinion of the majority.
Most people become dependent on the opinions of others; they are ready to build their lives, guided not by convenience, but by tradition, even when it significantly complicates their lives.
The problem of selfishness has become the reason for the emergence of duplicity on the love front - being a monogamist has become unfashionable.
Genre of the work: “Woe from Wit”
Features of the themes and issues of the play became the reason for the emergence of discussion in literary circles about the genre "Woe from Wit". Researchers' opinions on this issue are divided.
Some believe that it is correct to assign the comedy genre to a work, while others are sure that such problems are typical for works of a dramatic nature.
The main reason that allows us to define the play as a drama is the global nature of the problem raised. The conflict of the play is built on a deep feeling of disappointment, which is not typical for comedy. The comic elements that are present in the description of the characters are minimal and, according to researchers, are used to enhance the dramatic function in the text.
Based on this position, along with proposals to define the genre as comedy or drama, proposals to mix genres began to appear in the course of the discussion. So, for example, N.I. Nadezhdin designated it as satirical picture.
N.K. Piskanov, analyzing the features of the play, came to the conclusion that it is impossible to precisely determine its genre - literary scholars have every reason to designate it as a social drama, a realistic everyday play, a psychological drama, and even, musical drama(based on the features of the verse of the play).
Despite all the discussions, Griboyedov's play "Woe from Wit" continues to be called a comedy. First of all, this is due to the fact that Alexander Sergeevich himself designated the genre of his work this way. Although comic elements are not widely used in the play, and its structure and plot features are far from traditional comic ones, the influence of satire and humor had a noticeable place in the play.
Thus, the play by A.S. Griboedov’s “Woe from Wit” is a multifaceted and extensive work.
The variety of themes and issues of the play, as well as the ways of depicting the essence of the conflict, have become the cause of discussion in terms of the genre of the play.
The problems and topics raised by Griboyedov can be classified as “eternal” topics that never lose their relevance.
Comedy “Woe from Wit” by Griboyedov: analysis of the work, materials for composition
1. Introduction. Immortal comedy A. S. Griboedov's "" is included in the golden fund of Russian literature.
The best recognition of the work was the fact that many phrases from the comedy became firmly established in the Russian language.
2. History of creation. In 1818 he was appointed secretary of the Persian mission and went to a new duty station. On the way, he visited Moscow, which he had not been to for about six years.
There are sufficient grounds to assume that it was at this time that the writer conceived the idea of “Woe from Wit.” But service in Persia and eastern impressions delayed the implementation of the plan. Griboedov began work on the comedy only in 1821 in Tiflis, and finished it three years later, having received leave.
3. The meaning of the name. The title reflects central conflict Main character. His education and extraordinary intelligence, experience of foreign travel cannot find their worthy use. Moreover, Chatsky's mind is perceived by high society as undoubted evil posing a serious danger. A paradoxical situation arises: the most clever man declared crazy.
4. Genre. Comedy play
5. Theme. The main theme of the work is a harsh denunciation of high society, which an honest, intelligent and noble man alone opposes.
6. Issues. Firmly rooted in Russian society is servility and veneration of rank, the unquestioned power of generally recognized “authorities.” The inevitable submission of young people to the laws and rules accepted in society. The incredible difficulty of fighting against established traditions.
7. Heroes. A. A. Chatsky, P. A. Famusov, A. S. Molchalin, Sofya, Skalozub.
8. Plot and composition. The action takes place in the house of the state manager P. A. Famusov. His daughter Sophia and personal secretary A.S. Molchalin live with him. Famusov is one of the main negative characters in comedy. He is firmly convinced that the main dignity in a person is a respectful, even humiliating, attitude towards his superiors and, in general, towards superior people.
Famusov has a negative attitude towards those who neglect their service for the sake of science. Molchalin is an ideal, from Famusov’s point of view, young man. He never dares to express his own opinion, relying on everything everyday experience its owner. Molchalin looks like a simpleton, but this is his mask, behind which hides a cunning and resourceful mind.
Secretary Famusov was raised by his father in the spirit of obedience and humility. In this way, he expects to gradually win the favor of his superiors and rise to the top himself. As a child, she was a lively and inquisitive girl who dreamed of an honest and truthful life. The atmosphere in Famusov's house gradually distorted her. The girl understood all the benefits of a worthy position in high society. She readily accepts his laws and guidelines.
A coward in her eyes becomes a worthy groom. Sophia forgot about her previous ideals. It seems to her that readiness for humiliation - required quality in a person who is destined to occupy a higher position. The sleepy, measured life in Famusov's house is disrupted by sudden appearance Chatsky. This young man was once a frequent visitor to the house. They had a real childhood friendship with Sophia. In the past, they often dreamed together of a happy future without lies and deception.
Chatsky spent a long time abroad. He has significantly increased his knowledge and looks at the life of Russian high society with completely different eyes. Chatsky is sure that his childhood friend could not change, and they will again talk for hours about highest ideals humanity. Chatsky is cruelly mistaken, but cannot realize his mistake. Moreover, he immediately falls in love with the matured and prettier Sophia. Her cold tone he perceives it as women's game over a man in love. Chatsky, of course, understands that during his long absence, rivals could appear vying for the girl’s hand.
After talking with Molchalin and listening to Skalozub’s reasoning, he laughs and rejects his suspicions. Chatsky was deeply convinced that Sophia could not fall in love with either a stupid and cowardly secretary or a brainless military man. In Chatsky's conversations with Famusov, it is revealed central problem comedies. There is a clash between the old and the new. Compromise is simply impossible. Famusov's beliefs come into sharp conflict with Chatsky's ideals. In his passionate and fiery speech, the thoughts of the author himself about the inevitable triumph of knowledge and justice are heard.
Chatsky speaks with anger about old men who have lost their minds, proud of the fact that in their lives they only knew how to serve their superiors in a timely manner. Famusov is amazed and stunned by such views, which undermine the basis of his worldview. Chatsky’s proud refusal to serve in any way causes real horror in him. Famusov announces young man rebel and revolutionary. The events reach their highest point at a ball in Famusov’s house. Guests come to him, representing the entire flower of Moscow high society.
From the conversations of the “elite” it becomes clear that their lives are empty and meaningless. Showing each other honor and respect, they accumulate real anger and hatred in their souls. Central theme for conversation - gossip and incredibly inflated rumors. looks at all these people with contempt. He can't resist making a few ironic remarks. Gradually, Chatsky turns all the guests against himself. General discontent is expressed in the rumor started by Sophia about Chatsky's madness. This slander falls on fertile soil. All those gathered readily accept this news, claiming that they themselves noticed something similar.
When Chatsky finds out that he is considered crazy, he is only worried about Sophia’s opinion. But an even stronger blow awaits him. It turns out that the girl herself started this rumor. In addition, Chatsky’s beloved chose the deceiver Molchalin over him. Chatsky’s disappointment is so great that he cannot immediately gather his strength and soberly think about the situation. Having come to his senses, he says his famous phrase: “Carriage for me, carriage!” Chatsky can no longer remain in this rotten, lying society. Having experienced “woe from the mind,” he leaves Moscow.
9. What the author teaches. The moralizing meaning of the comedy is that in no case should you suppress your sincere impulses towards goodness and justice. Chatsky lost love and was slandered, but this does not mean that he was wrong. The main character retained his beliefs. There is no doubt that he will still meet honest and noble people and will succeed.
A. S. Griboyedov is often called “the creator of one book.” It is unlikely that the author of the famous comedy "Woe from Wit" can be accused of negligence and laziness. Alexander Sergeevich was an outstanding diplomat, a gifted musician and a prominent public figure. Everything that this extraordinary man undertook bore the imprint of genius. His life and creative credo was the phrase: “As I live, so I write - freely and freely.” This article is devoted to the analysis of the play "Woe from Wit".
History of creation
The idea for the comedy "Woe from Wit" appeared, according to some sources, back in 1816. Griboyedov made an accusatory speech at one of the social events. He did not like the servile admiration of the Russians for everything foreign. Then Alexander Sergeevich was jokingly called crazy. After this incident, a plan for a future comedy arose in the writer’s head. But he began writing the work only in 1820, while serving in the city of Tiflis.
The first two acts were completed by the beginning of 1922. Griboedov wrote the last parts of the play while on vacation in Moscow. Here he “breathed the air” of secular drawing rooms and received additional material for creativity. The first edition of "Woe from Wit" was completed in 1823. However, already in 1824, the original version of the play underwent careful stylistic editing. Subsequently, censorship worked diligently on the work. As a result, the author's version of the work was published only in 1862. During the life of Alexander Sergeevich, the comedy was distributed in the form of handwritten copies - lists. It caused a lively response in literary circles. A detailed analysis of “Woe from Wit” will show how innovative this work was for its time.
Elements of classicism in "Woe from Wit"
The famous comedy by Griboyedov is considered to be the first Russian realistic comedy. At the same time, it combined the features of classicism, which was rapidly developing in that era of romanticism and innovative realism. A thorough analysis of the comedy "Woe from Wit" indicates that the work complies with the basic requirements for creating a "high" comedy.
The play contains unity of place (Famusov's house) and time (the action takes place over the course of one day). However, there are two conflicts in the work - love and socio-political. This means that Griboyedov violated the unity of action in the play.
In comedy there is a traditional and closely related system of characters: a heroine, two contenders for her favor, a “noble father,” a maid-soubrette, and so on. However, Griboedov “breathed” into his heroes new life. From caricatured comedy characters, they turned into complex portrait images.
Alexander Sergeevich endowed his heroes with “speaking” surnames: Skalozub, Repetilov, Famusov, Molchalin. At the same time, the characteristics of his characters go far beyond one trait.
Elements of realism in "Woe from Wit"
First of all, Griboyedov abandoned the schematic representation of his heroes. The characters of his characters and " rare painting morals", depicted by him in the comedy, are sometimes frightening in their authenticity. For example, the versatility of Famusov’s character is manifested in his dialogues with other characters: he flirts with Lisa, fawns over Skalozub, reads Sofia’s instructions.
However, Chatsky in the play is opposed not only by specific representatives of the Famus guard, but also by the entire conservative " last century". Analysis of "Woe from Wit" allows us to identify many episodic images designed to expand the scope
A realistic approach to creating a work is also manifested in the author’s attitude towards the main character. Chatsky sometimes behaves inconsistently and constantly gets into comic situations because of his recklessness and lack of restraint. He is not absolutely positive hero in the work. After all, his motives are essentially selfish. He strives to win Sofia's love.
Language "Woe from Wit"
One of the elements dramatic innovation Griboedov is used in comedy writing colloquial speech. Flexible poetic meter(free iambic) allows Griboyedov to create the verbal appearance of the characters. Each of them has its own speech characteristics. The protagonist's "voice" is unique and reveals him as a fierce opponent of Moscow customs. He sneers at “clumsy clever people,” “crafty simpletons,” idle and “evil tongues.” In his monologues one can feel the passionate conviction of his own rightness, the high pathos of affirming the real life values. An analysis of the comedy "Woe from Wit" indicates that the language of the play lacks intonation, syntactic and lexical restrictions. This is an “unkempt”, “rough” element spoken language, turned by Griboyedov into a miracle of poetry. Pushkin noted that half of the poems written by Alexander Sergeevich “should become proverbs.”
Two storylines
An analysis of Griboyedov's "Woe from Wit" allows us to identify two equal conflicts in the work. This is a love line in which Chatsky confronts Sofia, and a socio-political one in which main character collides with In the foreground, from the point of view of problems, there are social contradictions. However, personal conflict is also an important plot-forming component. After all, it is for Sofia that Chatsky comes to Moscow, and for her sake he stays in Famusov’s house. Both storylines reinforce and complement each other. They are equally necessary in order to conduct a reliable analysis of “Woe from Wit”, to understand the psychology, worldview, characters and relationships of the main characters of the comedy.
Socio-political themes of the work
Comedy rises the most important problems in life Russian society the first half of the 19th century: the harm of rank and bureaucracy, the inhumanity of serfdom, issues of education and enlightenment, honest service to the fatherland and duty, the originality of the national Russian culture, and so on. Griboedov also did not ignore the question of the socio-political structure of the Russian state. All these moral and political issues are passed through the prism of the personal relationships of the characters.
Philosophical theme in the play
The problems of the comedy "Woe from Wit" are very complex and multifaceted. allows us to reveal the philosophical background hidden in the very title of the play. One way or another, all the heroes of the comedy are involved in a discussion of the problem of stupidity and intelligence, madness and insanity, buffoonery and tomfoolery, acting and pretense. These questions were solved by Alexander Sergeevich using a variety of mental, social and everyday material. The main figure in this issue is the smart “madman” Alexander Andreevich Chatsky. It is around him that all the diversity of opinions about comedy is concentrated. Let's take a closer look at this character.
The main character of the play
Alexander Andreevich returned to Moscow after a long absence. He immediately came to Famusov’s house to see his beloved, Sofia. He remembers her as a smart and mocking girl, who together with him heartily laughed at her father’s devotion to the English Club, her young aunt and other colorful representatives of Famus’s Moscow. Having met Sofia, Chatsky seeks to find out her train of thought, hoping that she remains his like-minded person. However, the girl strongly condemned his ridicule of aristocratic Moscow. Alexander Andreevich asked the question: “...Isn’t there really a groom here?” Chatsky’s main mistake was that intelligence became the main criterion by which he tried to identify Sofia’s lover. For this reason, he dismisses both Skalozub and Molchalin as possible rivals.
The philosophy of the Moscow master
The author of the comedy "Woe from Wit" turns out to be much smarter than Chatsky. He suggests starting the analysis of Sophia’s actions with an acquaintance with the environment in which she grew up and was formed as a person. Most of all, this society is characterized by Famusov, the father of the main character. This is an ordinary Moscow gentleman. A mixture of patriarchy and tyranny prevails in his character. He does not burden himself with career worries, although he occupies a serious post. His political ideals boil down to simple everyday joys: “win awards and have fun.” The ideal for Famusov is a person who has made a career. The means don't matter. The words of Pyotr Afanasyevich often disagree with the deeds. For example, he boasts of “monastic behavior,” but before that he actively flirts with Lisa. This is the main opponent of the sincere and passionate Chatsky.
Eligible groom
Famusov likes Colonel Skalozub immensely. He is a “golden bag” and “aims to become a general.” ABOUT best groom Pavel Afanasyevich doesn’t even dream about it for his daughter. The Colonel is a reliable defender of the “past century.” You can’t “faint” him with erudition; he is ready to destroy all bookish “wisdom” with drills on the parade ground. Skalozub is a stupid soldier, but in Famus society it is customary not to notice this. A study of the customs of aristocratic Moscow leads to disappointing conclusions, their detailed analysis. “Woe from Wit” by Griboedov indicates that studying with St. Petersburg professors and striving for enlightenment is the longest and most ineffective path to achieving career heights.
Characteristics of Molchalin
A living “picture of morals” is presented in the play “Woe from Wit.” Analysis of the heroes of the work forces us to turn to the quietest and most insignificant of them - Alexei Stepanovich Molchalin. This character is not at all harmless. With his lackey obsequiousness he successfully makes his way into high society. His insignificant talents - “moderation and accuracy” - provide him with a pass to the Famus guard. Molchalin is a convinced conservative, dependent on the opinions of others and pandering to “all people without exception.” Oddly enough, this helped him win Sofia's favor. She loves Alexei Stepanovich without memory.
Episodic roles
Griboyedov characterizes the Moscow aristocracy with apt strokes. "Woe from Wit", the analysis of which is presented in this article, is rich in expressive episodic roles, allowing us to reveal the diversity of Famus society.
For example, the rich old woman Khlestova carries “a blackaa girl and a dog” with her to social evenings, adores young Frenchmen and is afraid of enlightenment like fire. Its main features are ignorance and tyranny.
Zagoretsky is openly called a “rogue” and a “gambler” in Famus society. But this does not prevent him from moving among the local aristocracy. He knows how to “help” in a timely manner, so he enjoys the sympathy of rich people.
“Woe from Wit” contains very extensive material for reflection. Analysis of the work makes it possible to clarify the author’s relationship to some “secret” societies that appeared in contemporary Russia. For example, Repetilov is a “noisy” conspirator. He publicly declares that he and Chatsky have “the same tastes,” but does not pose any danger to Famus society. Repetilov would have made a career himself, but he “met failures.” Therefore, he made conspiratorial activity a form of social pastime.
In "Woe from Wit" there are many extra-plot characters who do not directly participate in the comedy. They are mentioned in passing by the characters in the play and make it possible to expand the scope of the action to the scale of the entire Russian society.
The protagonist's worldview
Chatsky is a representative of the “present century”. He is freedom-loving, has his own opinion on every issue and is not afraid to voice it. Frustrated by Sofia’s indifference, Alexander Andreevich enters into polemics with the “Famusovites” around him and angrily denounces their self-interest, hypocrisy, ignorance and insignificance. Being a true patriot Russia, he condemns the “dominance of noble scoundrels” and does not want to have anything to do with them. To Famusov’s proposal to live “like everyone else,” Chatsky responds with a decisive refusal. Alexander Andreevich recognizes the need to serve the Motherland, but draws a clear line between “serving” and “serving.” He considers this difference fundamental. Chatsky’s impudent monologues seem so outrageous to the local secular society that he is unconditionally recognized as crazy.
Alexander Andreevich - central character work, therefore more than one serious and detailed analysis is devoted to the characteristics of his image. Griboyedov's "Woe from Wit" was reviewed by V. G. Belinsky, I. A. Goncharov, and other leading writers of the 19th century. And the attitude towards Chatsky’s behavior determined, as a rule, the characteristics of the entire work as a whole.
Compositional features
"Woe from Wit" obeys the strict laws of classical plot construction. Both lines (love and socio-ideological) develop parallel to each other. The exposition consists of all the scenes of the first act before the appearance of the main character. The outbreak of a love conflict occurs during Chatsky’s first meeting with Sofia. The social one begins to brew a little later - during the first conversation between Famusov and Alexander Andreevich.
The comedy is characterized by a lightning-fast pace of change of events. Stages of development love line are the dialogues between Sofia and Chatsky, during which he tries to find out the reason for the girl’s indifference.
The socio-ideological line consists of many private conflicts, verbal “duels” between representatives of Famus society and the main character. The climax of the play is an example of the outstanding creative skill of the creator of the comedy "Woe from Wit." Analysis of the ball in the work demonstrates how highest point The tension in the love plot motivates the culmination of the socio-ideological conflict. Sofia's random remark: “He's out of his mind” is taken literally by the social gossip. Wanting to take revenge on Chatsky for ridiculing Molchalin, the girl confirms that she is convinced of his madness. After this, the independent plot lines of the play meet at one climax - a lengthy scene at the ball, when Chatsky is recognized as crazy. After this they separate again.
The resolution of the love conflict occurs during a night scene in Famusov’s house, when Molchalin and Liza meet, and then Chatsky and Sofia. And the socio-ideological line ends with Chatsky’s last monologue, directed against the “crowd of persecutors.” Contemporaries of the author of "Woe from Wit" accused him of the fact that the "plan" of the comedy had no clear boundaries. Time has shown that complex weaving storylines- another undeniable advantage of comedy.
Conclusion
We have presented to your attention only brief analysis. “Woe from Wit” can be re-read many times and each time you find something new. This work shows the main characteristics very clearly. realistic art. It not only frees the author from unnecessary canons, conventions and rules, but also relies on time-tested techniques of other artistic systems.
The comedy of the Russian classic Griboyedov “Woe from Wit” is divided into four acts. The first takes place in the house of the big official Famusov, here the daughter Sophia, a spoiled girl and a smart girl, is caught by the priest having a secret meeting with a minor official Molchalin. Then Chatsky arrives, a man of progressive views, who has been in love with Sophia since childhood, without reciprocity.
Analysis of the second act of “Woe from Wit”: here the main problems of the work are raised: the conflict of freethinking, freethinking with the old despotic foundations. There is also a conflict of selfish interests and sincere, unconditional, ardent feelings. In a conversation with Colonel Skalozub, Famusov expresses his opinion: you have your own estate and service - a groom. No - go for a walk, Vasya!
Chatsky has a conversation with Famusov, where the second is horrified by the young man’s free views: “He doesn’t recognize the authorities!” “When it is necessary to serve, and he bent over” - around this sample successful person A dispute arises between the owner and Chatsky, the latter refuses the example offered to him.
At this time, Molchalin falls from his horse, the frightened lover Sophia faints when she sees this. Her feelings for Molchalin, which she carefully hid, become clear to the inhabitants of the house.
Analysis of the third act of “Woe from Wit”: here the theme of dependence on public opinion, idleness, herdism and stupidity in society is raised. The carefree crowd at the ball treats Chatsky as crazy thanks to bad joke Sophia: no one wants to admit that they were not the first to learn about this news. Suddenly, rich and distinguished individuals resemble a flock of sheep. People trust authorities unconditionally: “if the princes know, then it’s true!” And they behave with herd cruelty, for the most part with indifference to Chatsky’s fate: everyone is afraid of him, afraid to speak: “Suddenly he’ll rush!”
Analysis fourth act"Woe from Mind". At the end of the comedy, the topic and problem of self-esteem is raised. Molchalin, caught, crawls on his knees in front of Sophia, but she is already disgusted by his indignity. Self-esteem rises in her at this moment. The same sense of self-esteem awakens in Chatsky and forces him to leave home and sleepy Moscow, where the girl who attracted him played stupid games with him, where he felt sick and stuffy being in society.
Famusov's image: Famusov is the owner of the house, a manager in a government place, Sophia’s father, a power-hungry and voluptuous man, as evidenced by his intention to flirt with the servants. "Oh! away from the gentlemen. They have troubles ready for you every hour,” says Lisa, the maid, about the owner. Famusov was used to commanding other people, he was used to wealth. He gives his daughter Sophia such a hard time on all occasions that hold on: Famusov knows how to pour a torrent of words on the head of another person perfectly. His veneration for rank exceeds all reasonable limits. He does not encourage his daughter’s teaching, since he did not find anything for himself in the books; he considers Sophia his property:
“Tell me that it’s not good to spoil her eyes,
And reading is of little use:
She can't sleep from French books,
And the Russians make it hard for me to sleep...
He reads tall tales all night,
And here are the fruits of these books!..."
Sophia's image: Sophia is Famusov's daughter, a lover of French novels; the girl is proud, freedom-loving and disobedient to her father: “What do I hear? Whoever wants, judges that way...” she says, showing courage in her choice. Sophia has her own opinion and is able to make choices. But this girl’s mind is focused on intrigue more than anything positive. He cruelly laughs at Chatsky, who is in love, spreads rumors about him, and plays dirty tricks like a child. The intimidated Molchalin, a hidden intriguer, and an external sheep, for her, is a suitable match.
The image of Chatsky. Alexander Chatsky is a man of rebellious character: “I would be glad to serve, but it’s sickening to be served....” It is necessary to serve the cause, not individuals - this is what Chatsky believes. He is a man with mature feelings, has pride and principles, and develops his mind. Unfortunately, Sophia is unable to appreciate this.
Image of Molchalin: Alexey Stepanovich Molchalin is a man “on his own mind.” He does not experience passionate feelings for Sophia, and probably does not experience any, and this is how he conquers her. IN free time he is having an affair with Lisa. He is a reserved, obsequious, quiet man, zealous in his service, submissive to Famusov: “At my age I should not dare to have my own judgment,” laconic:
"Oh! Sophia! Was Molchalin really chosen for her?
Why not a husband? There is only little intelligence in him;
But to have children,
Who lacked intelligence?
Helpful, modest, with a blush in his face...”
The comedy was written alive and in easy language, excellent rhymes are selected, the text is full of colorful images and comparisons. The work is filled bright images, aphorisms, witty expressions and author’s sayings, which later became widespread among the people: “Pass us more than all sorrows, and lordly anger, and lordly love...”.
History of the comedy
The comedy "Woe from Wit" is the main and most valuable result creativity of A.S. Griboedova. When studying the comedy “Woe from Wit”, analysis should be made, first of all, of the conditions in which the play was written. It touches on the issue of the brewing confrontation between progressive and conservative nobility. Griboyedov ridicules the mores of secular society of the early 19th century. In this regard, the creation of such a work was a rather bold step in that period of development of Russian history.
There is a known case when Griboyedov, returning from abroad, found himself at one of the aristocratic receptions in St. Petersburg. There he was outraged by the obsequious attitude of society towards one foreign guest. Griboedov's progressive views prompted him to express his sharply negative opinion on this matter. The guests considered the young man crazy, and news of this quickly spread throughout society. It was this incident that prompted the writer to create a comedy.
Themes and issues of the play
It is advisable to begin the analysis of the comedy “Woe from Wit” by referring to its title. It reflects the idea of the play. The main character of the comedy, Alexander Andreevich Chatsky, who is rejected by society only because he is smarter than the people around him, experiences grief from his sanity. This also leads to another problem: if society rejects a person of extraordinary intelligence, then how does this characterize society itself? Chatsky feels uncomfortable among people who consider him crazy. This gives rise to numerous verbal clashes between the protagonist and representatives of the society he hates. In these conversations, each party considers itself smarter than the other. Only the intelligence of the conservative nobility lies in the ability to adapt to existing circumstances in order to obtain maximum material gain. Anyone who does not pursue rank and money is considered a madman.
Accepting Chatsky's views for the conservative nobility means beginning to change their lives in accordance with the demands of the time. Nobody finds this comfortable. It’s easier to declare Chatsky crazy, because then you can simply ignore his accusatory speeches.
In Chatsky’s clash with representatives of aristocratic society, the author raises a number of philosophical, moral, national-cultural and everyday issues. Within the framework of these topics, the problems of serfdom, service to the state, education, and family life are discussed. All these problems are revealed in comedy through the prism of understanding the mind.
The conflict of a dramatic work and its originality
The uniqueness of the conflict in the play “Woe from Wit” lies in the fact that there are two of them: love and social. Social contradiction lies in the clash of interests and views of representatives of the “present century” represented by Chatsky and the “past century” represented by Famusov and his supporters. Both conflicts are closely related to each other.
Love experiences force Chatsky to come to Famusov’s house, where he has not been for three years. He finds his beloved Sophia in a confused state, she receives him very coldly. Chatsky does not realize that he arrived at the wrong time. Sophia is busy with worries love story with Molchalin, his father’s secretary, living in their house. Endless thoughts about the reasons for the cooling of Sophia's feelings force Chatsky to ask questions to his beloved, her father, Molchalin. During the dialogues, it turns out that Chatsky has different views with each of his interlocutors. They argue about service, about ideals, about the morals of secular society, about education, about family. Chatsky’s views frighten representatives of the “past century” because they threaten the usual way of life of Famus society. Conservative nobles are not ready for change, so rumors about Chatsky’s madness, accidentally started by Sophia, instantly spread through society. The protagonist's beloved is the source of unpleasant gossip because he interferes with her personal happiness. And here again we see the interweaving of love and social conflicts.
System of comedy characters
In his depiction of characters, Griboyedov does not adhere to a clear division into positive and negative, which was mandatory for classicism. All heroes have both positive and negative traits. For example, Chatsky is smart, honest, brave, independent, but he is also quick-tempered and unceremonious. Famusov is the son of his age, but at the same time he is a wonderful father. Sophia, ruthless towards Chatsky, is smart, courageous and decisive.
But the use of “speaking” surnames in the play is a direct legacy of classicism. Griboedov tries to put the leading feature of his personality into the hero’s surname. For example, the surname Famusov is derived from the Latin fama, which means “rumor.” Consequently, Famusov is the person who is most concerned public opinion. It is enough to remember his final remark to be convinced of this: “...What will Princess Marya Aleksevna say!” Chatsky was originally Chadsky. This surname hints that the hero is in the throes of his struggle with the mores of aristocratic society. The hero Repetilov is also interesting in this regard. His surname is associated with French word repeto - I repeat. This character is a caricature double of Chatsky. He does not have own opinion, but only repeats other people’s words, including Chatsky’s words.
It is important to pay attention to the placement of characters. Social conflict occurs mainly between Chatsky and Famusov. A love confrontation is being built between Chatsky, Sophia and Molchalin. These are the main characters. Unites love and social conflict figure of Chatsky.
The most difficult part in the comedy “Woe from Wit” is the image of Sophia. It is difficult to classify her as a person who adheres to the views of the “past century.” In her relationship with Molchalin, she despises the opinion of society. Sophia reads a lot and loves art. She is disgusted by the stupid Skalozub. But you can’t call her a supporter of Chatsky either, because in conversations with him she reproaches him for his causticity and mercilessness in his words. It was her word about Chatsky’s madness that became decisive in the fate of the main character.
Minor and episodic characters are also important in the play. For example, Lisa and Skalozub are directly involved in the development of a love conflict, complicating and deepening it. Episodic characters, who appear as guests of Famusov (Tugoukhovskys, Khryumins, Zagoretsky), more fully reveal the morals of Famusov’s society.
Development of dramatic action
Analysis of the actions of “Woe from Wit” will reveal the compositional features of the work and the features of the development of dramatic action.
The exposition of the comedy can be considered all the phenomena of the first act before Chatsky’s arrival. Here the reader gets acquainted with the scene of action and learns not only about the love affair between Sophia and Molchalin, but also about what Sophia used to harbor tender feelings to Chatsky, who left to travel around the world. The appearance of Chatsky in the seventh scene of the first act is the beginning. What follows is the parallel development of social and love conflicts. Chatsky's conflict with Famusovsky society reaches its peak at the ball - this is the culmination of the action. The fourth act, 14th appearance of the comedy (Chatsky’s final monologue) represents the denouement of both social and love lines.
At the denouement, Chatsky is forced to retreat to Famus society because he is in the minority. But he can hardly be considered defeated. It’s just that Chatsky’s time has not yet come; a split among the nobility has only just begun.
The originality of the play
Research and analysis of the work “Woe from Wit” will reveal its striking originality. Traditionally, “Woe from Wit” is considered the first Russian realistic play. Despite this, it retained the features inherent in classicism: “speaking” surnames, unity of time (the events of the comedy take place within one day), unity of place (the action of the play takes place in Famusov’s house). However, Griboyedov refuses the unity of action: in the comedy two conflicts develop in parallel at once, which contradicts the traditions of classicism. In the image of the main character, the formula of romanticism is also clearly visible: an exceptional hero (Chatsky) in unusual circumstances.
Thus, the relevance of the play’s problems, its unconditional innovation, and the aphoristic language of the comedy are not only of great importance in the history of Russian literature and drama, but also contribute to the popularity of the comedy among modern readers.
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