The system of images is in grief from the mind. A

Griboyedov gave his comedy a whole gallery of living and vivid images of noble society, representatives of the “past century.” This is Famusov, a rich landowner and a high-ranking official. He a famous person in the circle of the Moscow nobility. Famusov is a convinced serf owner, ready in anger to exile his serf servants to Siberia, a furious hater of enlightenment, a sycophant, a flatterer, a man devoid of true dignity and honor, groveling before “superiors” in order to obtain ranks and wealth.

Next to Famusov in the comedy stands Skalozub, who “aims to become a general.” Colonel Skalozub is a guest in Famusov's house, he is a typical representative of Arakchiva in the army, a type of careerist officer. Mentally, he is a narrow-minded person. “He didn’t say a smart word right away,” Sophia notes. A service worker, a faithful guardian of the autocratic-serf system, an enemy of enlightenment - such is Skalozub.

The world of Famusov and his guests consists not only of the feudal aces, but also of the silent, sycophantic officials who serve them. Creating the character of Molchalin, Griboyedov showed the corrupting influence of feudal-bureaucratic morality on the development and behavior of a person dependent on the “Famus” society. Molchalin became a common noun for vulgarity and lackeyness. Molchalin's characteristic features: desire for a career, ability to curry favor, hypocrisy, reticence, fear of expressing his opinions. He is sincerely perplexed how in small ranks “you can dare to have your own opinion.” When he commits a vile act, he does not even understand that it is vile. Molchalin grew into a symbol of slavish silence, to which first Arakcheev and then Nikolai 1 tried to accustom Russia. “After all, nowadays they love the dumb,” said Chatsky.

Let's get to know the guests who arrived at the ball at Famusov's house more deeply. This is a large and diverse society. Here is the imperious, capricious, influential old woman Khlestova, who appeared with a dog, and the Countess-grandmother with the Countess-granddaughter, an evil and arrogant gossip, and the couple of princes Tugoukhovsky with six daughters, interested only in the styles of dresses, and Natalya Dmitrievna, a spoiled young lady who has turned into a good-natured person husband into a weak-willed slave.

Present here invisibly is Princess Maria Alekseevna, the formidable legislator of public opinion, and famous Tatiana Yuryevna, who gives balls “from Christmas to Lent, and summer holidays at the dacha.”

The picture of life, morals and moods of Famusov's Moscow is painted brightly and boldly in the comedy. There's a crowd in front of us different people, empty, soulless and vile. The element of this environment: gossip and slander. Here they know every nobleman and will tell you who is rich and who is poor, and how many serf souls Chatsky has: “Four hundred; No! Three hundred". And Khlestova will add offendedly: “I don’t know other people’s estates.”

This united team sensed an ideological enemy in Chatsky’s speeches and instantly picked up gossip about Chatsky’s madness. They, Famusov’s guests, see the reason in enlightenment: “You will really go crazy from these, from some, from boarding houses, schools, lyceums...”

“Learning is a plague,

Learning is the reason."

In this society you need to think like everyone else, here it’s a sin, no matter, rumors are not good. It is not surprising that this society rejects Chatsky as something alien, alien.

Griboyedov remained in the history of Russian literature as the author of a single work, but this comedy is called the “pearl” of Russian drama.

Comedy heroes can be divided into several groups: main characters, secondary characters, masked characters and off-stage characters. All of them, in addition to the role assigned to them in the comedy, are also important as types that reflect certain character traits Russian society early XIX century. The main characters of the play include Chatsky, Molchalin, Sophia and Famusov. The plot of the comedy is based on their relationship. The interaction of these characters with each other drives the play. The secondary characters - Lisa, Khlestova, Gorichi and others - also participate in the development of the action, but have no direct relation to the plot. The images of masked heroes are extremely generalized. The author is not interested in their psychology; they interest him only as important “signs of the times” or as eternal human types. Their role is special, because they create a socio-political background for the development of the plot, emphasize and clarify something in the main characters. Their participation in comedy is based on the “distorting mirror” technique. Masked heroes include Repetilov, Zagoretsky, Messrs. N and D, and the Tugoukhovsky family. The author is not interested in the personality of each of the six princesses; they are important in the comedy only as a social type of “Moscow young lady”. These are truly masks: they all look the same, we cannot distinguish the remark of the first princess from the statement of the second or fifth: 3rd. What a charm my cousin gave me! 4th. Oh! yes, barezhevoy! 5th. Oh! lovely! 6th. Oh! how sweet! These young ladies are funny to Chatsky, the author, and the readers. But they don’t seem funny to Sophia at all. For with all her merits, with all the complexities of her nature, she is from their world, in some ways Sophia and the “chirping” princesses are very, very close. In their society, Sophia is perceived naturally - and we see the heroine in a slightly different light. Unlike the princesses, whom Griboyedov only numbered, without even considering it necessary to give them names in the poster, their father has both a first name and a patronymic: Prince Pyotr Ilyich Tugoukhovsky. But he is also faceless, and he is a mask. He doesn’t say anything except “uh-hmm”, “a-hmm” and “uh-hmm”, doesn’t hear anything, isn’t interested in anything, own opinion completely deprived... In it, the traits of “a boy-husband, a servant-husband”, which constitute the “high ideal of all Moscow husbands,” are brought to the point of absurdity, to the point of absurdity. Prince Tugoukhovsky is the future of Chatsky’s friend, Plato. Mikhailovich Gorich. At the ball, gossip about Chatsky's madness is spread by Messrs. N and D. Again, no names or faces. The personification of gossip, living gossip. These characters focus all the base traits of Famus society: indifference to the truth, indifference to personality, passion for “washing bones,” hypocrisy, hypocrisy... This is not just a mask, it is rather a mask-symbol. Masked heroes play the role of a mirror placed opposite the “high society”. And here it is important to emphasize that one of the author’s main tasks was not just to reflect the features of modern society, but make society recognize itself in the mirror. This task is facilitated by off-stage characters, that is, those whose names are mentioned, but the heroes themselves do not appear on stage and do not take part in the action. And if the main characters of “Woe from Wit” do not have any specific prototypes (except for Chatsky), then in the images of some minor characters and off-stage characters, the features of the author’s real contemporaries are completely recognizable. Thus, Repetilov describes to Chatsky one of those who are “making noise” in the English Club: You don’t need to name him, you’ll recognize him from the portrait: Night robber, duelist, Was exiled to Kamchatka, returned as an Aleut, And has a strong hand in dishonesty. And not only Chatsky, but also the majority of readers “recognized from the portrait” the colorful figure of that time: Fyodor Tolstoy - the American. It’s interesting, by the way, that Tolstoy himself, having read “Woe from Wit” in the list, recognized himself and, when meeting with Griboedov, asked to change the last line as follows: “He’s dishonest when it comes to cards.” He corrected the line in this way with his own hand and added an explanation: “For the fidelity of the portrait, this amendment is necessary so that they do not think that he is stealing snuff boxes from the table.”

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“The Inspector General” (1836) is a realistic, purely social comedy in Russian literature. In terms of the strength and depth of ideas, in terms of artistic mastery, “The Inspector General” stands on a par with such masterpieces of Russian classical drama, like “The Minor” by Fonvizin, “Woe from Wit” by Griboyedov, as well as with the best works Ostrovsky, Chekhov and other playwrights.

In the genre of social comedy, Gogol already had predecessors (Griboyedov, Fonvizin), but in The Inspector General he created a fundamentally new type. Gogol's innovation was expressed in the absence of a love affair, in the fact that in the play there is not only no clear division of heroes into positive and negative, but there is also no positive hero at all. The methods, plot and nature of its development were also new to the dramaturgy of the 30s of the 19th century.

Having been staged on the stage of the Alexandria Theater in 1836, the comedy caused a wide resonance in society and became a huge event in Russian literature and dramaturgy. The sharpness of his ideas and topicality determined his great political effectiveness.

The Inspector General broadly and vividly reflected the era that came after the Decembrist uprising. This was the dark era of Nicholas I, when System denunciations and investigations, “incognito” inspector raids were common.

In the comedy, truly Russian characters are brought to the stage, revealed social vices: bribery, embezzlement, extortion of officials.

The central image, in The image system of the comedy “The Inspector General”- the image of a county town. In terms of the concentration of all kinds of abuses here, it is unrealistic, but at the same time typical; the county town became the prototype of everything Russian state. The main aspects of Russian reality are represented by the officials of the district city: most of urban strata and all aspects of government.

At the head of the city bureaucracy in the comedy “The Inspector General” is Anton Antonovich Skvoznik-Dmukhanovsky. As the author reports in remarks for gentlemen actors, the mayor is a man who managed to rise from the lower ranks, having grown old in the service. Thanks to common sense, dexterity, cunning calculation, Anton Antonovich made a career and made a fortune. His influence and authority among the bureaucrats is enormous. He has absolute authority over the city. Taking bribes, the rogue and swindler Skvoznik-Dmukhanovsky considers bribery a natural phenomenon, which should be limited only by rank and social position. "Look! You’re not taking it according to rank!” - he says to the policeman.

The mayor “does not like to miss what is in his hands,” therefore, without disdaining anything, he uses his position, fills his pocket: he appropriates the money allocated for the construction of the church; takes away merchants' goods. At the same time, he considers himself quite well-mannered and decent, since he regularly attends church.

The mayor, “not stupid in his own way,” disdainfully treats the people, the merchant class and citizenship, behaves completely differently with the auditor: he pleases him in everything, ingratiates himself, strives to win his favor. Now Anton Antonovich himself is trying to give a bribe, “screwing” Khlestakov four hundred rubles instead of two hundred. .

Like the mayor, all officials view service as an opportunity to make money at someone else’s expense. They do not commit major atrocities, but as a result of their “sins”, lawlessness and arbitrariness and window dressing reign in the city.

Bound by mutual responsibility, the officials of the district town are unique in their individual characteristics. For example, judge Ammos Fedorovich Lyapkin-Tyapkin is known for his “Voltairianism.” He has read five or six books in his entire life, so he is “somewhat free-thinking,” allows himself to be independent even with the mayor, and tries to have intelligent conversations about politics. Lyapkin-Tyapkin takes bribes in a special way: with greyhound puppies. He believes that he is acting legally and does not see anything reprehensible in this kind of bribery. For fifteen years now, Lyapkin-Tyapkin has been “sitting on the court chair,” and in the court documents everything is in confusion, the assessor is a drunkard, and dogs are kept in public places.

Strawberry, a trustee of charitable institutions, practically robs the sick and is not even embarrassed when the mayor advises, before the arrival of the auditor, to restore some order in the hospitals, “to make it look decent.” Strawberries are despised by poor people, they refuse to the common man in law

On human attitude. It is clearly shown that Strawberry, with his certain cruelty and indifference, is completely unsuitable for the rank of trustee of charitable institutions. In addition, he is a big “weasel and rogue.” Trying to please the auditor, Strawberry talks about true position things in the city administration, exposing the rest of the bureaucracy, without saying anything about himself.

The superintendent of schools, Luka Lukich Khlopov, is the embodiment of ignorance, timidity and humility. This is the image of a typical official of the Nicholas era. Main feature Luki Lukic - constant fear of his superiors, even of his name alone.

Postmaster Shpekin has a passion for reading other people's letters, and he does this, first of all, out of curiosity; he values “edification” most of all. “Death loves to find out what’s new in the world,” says Shpekin. His lexicon poor, and knowledge and ability to appreciate literature is ostentatious.

The police are represented by the private bailiff Ukhovertov and several police officers (Svistunov, Pugovitsyn, Derzhimorda). Rudeness, drunkenness, and beatings flourish here; The private bailiff does not even hide the fact that he is returning from service “drunk.” The order and devastation that reign throughout the city have also penetrated into police affairs: soldiers walk around naked, they are starved in prisons.

Each of The system of images in the comedy “The Inspector General”, created by Gogol, is typical and at the same time individual, but together this bureaucracy creates the appearance of the entire bureaucratic apparatus that governs the country.

Despite the fact that Khlestakov is not an official of a district town, his image (of a metropolitan official) complements the image of the entire bureaucracy. Khlestakov later became a symbol of the era, since his image concentrated the characteristic features of the Nicholas era: the desire to appear “higher in rank,” to show off, to shine. At first, Khlestakov does not even realize who he is being mistaken for, and is immersed in the “pleasantness” of his new position. Khlestakov gets the opportunity to lie, fantasize, and show off. Being an “empty” person in the service, the false auditor strives to become significant and respected. Talking about his magnificent life, about his power, Khlestakov really believes in what he says. Drawing a picture of the life of the capital’s boss, he also mentions “an official for writing, a kind of rat,” in whom one can recognize the true Khlestakov.

Khlestakovism is a product of its time, the other side, a consequence political system based on embezzlement, bribery, and veneration of rank. The features of this image are present in each of Image system officials In the comedy "The Inspector General" county town. For each of them, the life of the St. Petersburg boss described by Khlestakov was cherished dream, ideal.

This is how bureaucracy, district and capital, is presented in the comedy (Khlestakov). However, Gogol introduced several other characters who were representatives of other urban strata. For example, the main gossips of the district town Bobchinsky and Dobchinsky are landowners. Noticing down to the smallest details everything that happens, being present at all events, these are so similar friend the heroes spread the news to all their friends, and Bobchinsky and Dobchinsky have plenty of them in the city. Like officials, these people also have their “sins”, but to a greater extent they are afraid of the auditor because everyone around them is afraid of him. When it comes to bribes, landowners, risking the displeasure of the auditor, “borrow” relatively small money. While stingy with bribes, they, however, do not spare money for food, as can be seen from the description of their appearance (each has a small belly), as well as from what they order at the tavern. For Bobchinsky and Dobchinsky, the auditor is a representative high spheres life, from where both punishment and grace come. Wanting to join these circles, to become known not only in the district city, but also in the high society of the capital, Bobchinsky turns to Khlestakov with the “lowest request”: to inform the St. Petersburg “various nobles” about his existence.

There are also merchants in the comedy (including Abdulin) who come to complain to the auditor about the mayor. They themselves are also full of “sins”: all accessible ways they try to rob customers, deceive authorities and the state, and do not hesitate to bribe and forge documents.

Gogol showed the philistinism in the person of the locksmith Poshlepkina and the non-commissioned officer's widow Ivanova, who both suffered due to the disorder, confusion, and lawlessness reigning in the city.

There are others in comedy female characters. Mainly, these are the wife and daughter of the mayor, Anna Andreevna and Maria Antonovna. The ladies of the district town admire everything in the capital; their speeches often contain distorted French words, they only read novels. The attitude of officials towards people depends on their rank and position in society. They do not have sincere, good relationships with each other. Thus, Anna Andreevna treats her daughter selfishly and jealously and envies her youth. Ladies also love to gossip among themselves or with others about those around them. They curry favor with Osip, trying to find out more about his master, and discuss the wives and daughters of other officials.

So, all the images of the comedy “The Inspector General” are negative. Collected together they create single image county town. All the vices of society shown by Gogol, all the terrible and dirty things that happen in comedy, are familiar to all of Russia, since everything Russian society lived and lives by these imperfect standards. The city becomes a model of the world, just as the province will become a model of the world in “ Dead souls" The only one positive image, invisibly present in all comedy scenes, is laughter. According to the author, only he can correct vicious people and all the imperfections of society.

Composition: The system of images in the comedy “The Inspector General”

The system of images and principles of their depiction in the comedy of A.S. Griboyedov "Woe from Wit".

The success of “Woe from Wit,” which appeared on the eve of the Decembrist uprising, was extremely great. “There is no end to the thunder, noise, admiration, curiosity,” - this is how Griboyedov himself described the atmosphere of friendly attention, love and support that surrounded the comedy and its author among the progressive Russian people of the twenties.

According to Pushkin, the comedy “produced an indescribable effect and suddenly placed Griboyedov alongside our first poets.” In world literature, you can’t find many works that, like “I’m on Fire,” would have gained such undoubted national fame in a short time. At the same time, contemporaries fully felt the socio-political relevance of comedy, perceiving it as a topical work that originated in Russia new literature, which set as its main task the development of “its own wealth” (that is, material national history and modern Russian life) - and with their own, original, non-borrowed funds. Plot basis“Woe from Wit” was a dramatic conflict of a stormy clash between an intelligent, noble and freedom-loving hero and the inert environment of reactionaries surrounding him. This conflict depicted by Griboyedov was vitally truthful and historically reliable. From a young age, moving in the circle of advanced Russian people who had embarked on the path of struggle with the world of autocracy and serfdom, living in the interests of these people, sharing their views and beliefs, Griboyedov had the opportunity close and to observe every day the most important, characteristic and exciting phenomenon of social life of our time - the struggle of two worldviews, two ideologies, two ways of life, two generations.

After Patriotic War, during the years of the formation and rise of the socio-political and general cultural movement of the noble revolutionaries-Decembrists, the struggle of the new - emerging and developing - with the old - obsolete and inhibiting the movement forward - was most acutely expressed in the form of just such an open clash between the young heralds of “free life” and militant guardians of the Old Testament, reactionary orders, as depicted in “Woe from Wit.” Griboedov himself, in a widely known, constantly quoted letter to P. A. Katenin (January 1825, with the utmost clarity revealed the content and ideological meaning of the dramatic collision underlying “Woe from Wit”) mindʼʼ: "...in my comedy there are 25 fools for one sane person; and this person, of course, is contrary to his society to those around No one understands him, no one wants to forgive him, why is he a little higher than others?

And further Griboedov shows how systematically and uncontrollably, becoming more and more aggravated, the “contradiction” between Chatsky and Famusovsky society how this society anathematizes Chatsky, which has the character of a political denunciation, - Chatsky is publicly declared a troublemaker, a carbonari, a person encroaching on the “legitimate” state and social order; how, finally, the voice of universal hatred spreads vile gossip about Chatsky’s madness: “At first he is cheerful, and this is a vice: “To joke and joke forever, how will you get on with it!” - Lightly goes over the oddities of former acquaintances, what to do if there is no noblest noticeable feature in them! His ridicule is not sarcastic, as long as it does not infuriate him, but still: “Happy to humiliate, prick, envious! proud and angry!" Does not tolerate meanness: "ah! “Oh my God, he’s a carbonari.” Someone out of anger thought up about him that he was crazy, no one believed it and they kept repeating it, the voice of general unkindness reaches him, and, moreover, the dislike of the girl for whom he only appeared to Moscow, it is completely explained to him, he didn’t give a damn to her and everyone and was like that.” Griboyedov told in his comedy about what happened in one Moscow house during one day. But what is the latitude this story! The spirit of the times, the spirit of history breathes in it. Griboyedov, as it were, pushed aside the walls of Famusov's house and showed the whole life of the noble society of his era - with the contradictions that tore this society apart, the boiling of passions, the enmity of generations, the struggle of ideas. In frames dramatic picture The hero's clash with his environment Griboedov included the enormous socio-historical theme of the turning point that has emerged in life - the theme of the turn of two eras - the “present century” and the “past century”.

Hence the extraordinary richness of the ideological content of the comedy. In some form and to some extent, Griboyedov touched upon in “Woe from Wit” many of the most serious issues of social life, morality and culture, which had the most relevant, most topical significance in the Decembrist era. These were questions about the situation of the Russian people, oppressed by the yoke of serfdom, about future destinies Russia, Russian statehood and Russian culture, about the freedom and independence of the human person, about the social vocation of man, about his patriotic and civic duty, about a new understanding of personal and civil honor, about strength human mind and knowledge about the tasks, ways and means of education and upbringing. The genius of Griboedov responded to all these questions, and this response was filled with such an ardent civic-patriotic passion, such indomitable indignation at evil and untruth, that the comedy could not fail to make the deepest and most striking impression both in the progressive circles of Russian society and in reactionary camp.

Here, in this society, there were “noble scoundrels” and petty scoundrels, notorious swindlers and “sinister old women”, bigots and informers, united, like a mutual guarantee, by irreconcilable hostility to “free life”, to culture, to enlightenment, to the slightest manifestation of independent thought and freedom. feelings. In this world, without a shadow of embarrassment, they exchanged serf slaves for greyhounds, obtained wealth and honors through obvious robbery, “were indulged in feasts and extravagance”, and considered learning a “plague”, a harmful and flammable invention of the “cursed Voltaireans”. The people of this cruel world lived according to the precepts and legends “ last centuryʼʼ - ʼʼcenturies of obedience and fearʼʼ. Their “morality” was based on groveling before the strong and on the oppression and humiliation of the weak. The ideal person for them was the successful nobleman of blessed feudal times - Famusov’s uncle Maxim Petrovich, who reached “well-known degrees” thanks to his shameless servility and buffoonery in the royal palace.

The most typical representative of this world - Famusov himself, a militant obscurantist, a bigot and a despot, threatening his slaves with Siberian hard labor. All his relatives, friends and guests match Famusov.

In the image of Colonel Skalozub, Griboedov recreated the type of Arakcheevite, a stupid, narcissistic and ignorant “hero” of parade exercises, shagistics and cane drills, a sworn enemy of free thought. This “wheezer, a strangled man, a bassoon, a constellation of maneuvers and mazurkas,” chasing ranks, orders and a rich bride, embodies the spirit of reactionary “Prussianism,” which was artificially implanted by tsarism in the Russian army and aroused the hatred of all advanced officers, guarded who lived Suvorov and Kutuzov traditions ( in the draft edition of “Woe from Wit” Skalozub himself speaks about himself: “I am the school of Friedrich....”).

All the other characters of lordly Moscow depicted in “Woe from Wit” are outlined with sharp, typical features: the imperious serf-lady old woman Khlestova, Countess Khryumina, the princely family of Tugoukhovskys, Zagoretsky - a social sharper, a swindler and an informer, according to all sources - a secret one agent political police, Repetilov is the “soul” of noble society, a jester, a gossip and a windbag, who, in order to keep up with fashion, has inserted himself into the circle of some pseudo-liberal talkers, Platon Mikhailovich Gorich is a former friend of Chatsky, a degraded man, inert, internally reconciled with Famusov’s world .

How your accepted into this world Famusov’s “rootless” secretary is Molchalin. In his person, Griboedov created an exceptionally expressive generalized image of a scoundrel and a cynic, a “low-worshipper and a businessman,” still a petty scoundrel who, however, will be able to reach “the known degrees.” The entire lackey “philosophy of life” of this bureaucrat and sycophant, who does not dare to “have his own judgment,” is revealed in his famous confession:

My father bequeathed to me:

Firstly, to please all people without exception -

The owner, where he will live,

The boss with whom I will serve,

To his servant who cleans dresses,

Doorman, janitor, to avoid evil,

To the janitor's dog, so that it is affectionate.

The gallery of typical images of old noble, lordly Moscow, created by Griboyedov, includes those who do not directly act in the comedy, but are only mentioned in the cursory characteristics given to them by the characters. Among them are such bright, relief, complete images as the “dark-skinned” one who always attends all the balls and dinners, and the feudal theater-goer, and the obscurantist member of the “Scientific Committee”, and the deceased chamberlain Kuzma Petrovich, and the influential old woman Tatyana Yuryevna, and the impudent “fraternal” ntzuzik from Bordo, and Repetilov's club friends, and many others - right up to Princess Marya Aleksevna, the guardian of public opinion in the Famus world, with whose name the comedy significantly ends. All these faces do not appear on stage, but, nevertheless, they are very important for revealing the content of “Woe from Wit” - and this constitutes one of the innovative features of the comedy.

Griboyedov’s social criticism, developed in “Woe from Wit,” by its very breadth and concreteness was an exceptional phenomenon in the literature of the early 19th century. If satirical-moralistic comedians writing in the traditions of classicism followed conventional and abstract criteria legitimized by its aesthetics, and ridiculed, as a rule, any one, separately taken social “vice” or abstract moral category (for example, only covetousness, only ignorance, only stinginess, only hypocrisy, etc.), then Griboyedov in his comedy touched upon and exposed in the spirit of social -political ideas of Decembrism, a wide range of very specific phenomena of social life in feudal Russia.

The topical meaning of Griboyedov's criticism is now, of course, not felt with such acuteness as it was felt by Griboyedov's contemporaries. But at one time the comedy sounded, among other things, topical. And the issues of noble education in “boarding houses, schools, lyceums”, and the question of “Lankart mutual education”, and debates about the parliamentary system and judicial reform, and individual episodes of Russian public life in the period after Napoleonic wars, reflected in Chatsky’s monologues and in the remarks of Famusov’s guests - all this had the most current meaning, in particular in the Decembrist environment, precisely in those years when Griboyedov wrote his comedy.

The richness and specificity of the social content embedded in “Woe from Wit” gives the comedy the meaning of a broad and holistic picture of Russian social life of the late 1810s - early 1820s, depicted in all its historical accuracy and authenticity.

At one time (in 1865), D. I. Pisarev drew attention to this meaning of comedy, claiming that “Griboedov, in his analysis of Russian life, reached that extreme limit beyond which a poet cannot go without ceasing to be a poet and without turning into scientific researcher. And in this regard, Pisarev quite rightly noted that in order for a writer or poet to be able to paint such a reliable and accurate historical picture, he “needs to be not only an attentive observer, but also, in addition, a remarkable thinker; from the diversity of faces, thoughts, words, joys, sorrows, stupidities and meannesses that surround you, you need to choose exactly what concentrates in itself the whole meaning of a given era, what leaves its stamp on the whole mass of secondary phenomena, what squeezes into its framework and modifies with its influence all other sectors of private and public life. Such a huge task was truly accomplished for Russia in the twenties by Griboedov.

“The nature of all events” - such was, in Griboedov’s words, the life material that he studied so carefully, so thoroughly. But he did not scatter his investigative powers of observation over the vast variety of “all sorts of events”, over the details and trifles of everyday life. No, he gathered his attention, as it were, into one ray of light and directed it to those phenomena of life in which the very essence was revealed with the greatest completeness and clarity the main socio-historical conflict of the era. Being a truly remarkable, deep and courageous thinker, armed with the most progressive ideas of the century, he chose from the boundless and colorful material of the real life that surrounded him exactly what the meaning of his era was concentrated in: a struggle that with the unprecedented bitterness flared up between the deadening “spirit of slavery”, which penetrated everything and everyone in the Arakcheev-Famusov world, and the life-giving “spirit of the time”, which inspired the younger generation of patriots and freedom lovers.

Continuing the accusatory anti-serfdom tradition introduced into Russian literature by the great revolutionary Radishchev, developing and deepening the fruitful traditions of Russian social satire of the 18th century - the satire of Fonvizin, Novikov and Krylov, Griboedov created a work, the entire content of which testified to its socio-political orientation.

It is not for nothing that criticism of the 1820s - 1830s immediately and rightly assessed “Woe from Wit” as the first “political comedy” in Russian literature. In this sense, bringing it closer to Beaumarchais’s comedy “The Marriage of Figaro”, which at one time (in 1784) caused the strongest a blow to absolutism and feudal remnants in pre-revolutionary France, criticism pointed out that ʼʼBeaumarchais and Griboyedov... brought satire to the stage with equal causticity political concepts and the habits of the societies in which they lived, measuring with a proud gaze folk morality their fatherlands." And later the historian V.O. Klyuchevsky even called

""Library for reading", 1834, vol. 1, no. 1, department VI, p.
Posted on ref.rf
44. Also, A. I. Herzen, speaking about the socio-historical significance of “Woe from Wit,” recalled in this regard the comedy of Beaumarchais, which, according to Herzen, had the meaning of a “coup d’etat.”

Griboyedov's comedy "the most serious political work Russian literature of the 19th century.

There were, in fact, very good reasons for such an assessment. And not only because “Woe from Wit” is one of the most remarkable monuments of Russian and world accusatory-satirical literature, but also because comedy has a rich positive, positive content, which, in turn, has acquired an equally strong social political sound, as well as an angry denunciation of the feudal world.

Woe from Wit, of course, remains one of the masterpieces of punitive social satire. But true satire is never one-sided, because a satirist, if he stands at the forefront of ideological and artistic positions, always denounces evil and vices in the name of goodness and virtues, in the name of establishing a certain positive ideal - social, political , moral. Also, Griboedov in “Woe from Wit” not only exposed the world of the serf-owners, but also asserted his positive ideal, full of deep socio-political meaning. Found this ideal artistic embodiment in the image of the only true hero plays by Chatsky.

As a national and popular writer, Griboyedov, naturally, could not limit himself to one image of Famus’s world, but he certainly had to reflect in his historical picture the other side of reality - the ferment of young, fresh, progressive forces, undermining the strongholds of the autocratic-serf system.

This task was also brilliantly accomplished by Griboyedov. Ideological content“Woe from mind”, of course, is not limited to exposing the orders and morals of serf society. The comedy is given a really broad and true in every detail historical picture of all Russian life in Griboyedov’s time - both its shadow and light sides. The comedy reflected not only the life and customs of old noble Moscow, who lived in Old Testament legendsʼʼtimes of the Ochakovskys and

"V. Klyuchevsky. Course of Russian history, vol. V, M., Gospolitizdat, 1958, p. 248.

the conquest of Crimea, but also the social ferment of the era - that struggle of the new with the old, in the conditions of which the Decembrist movement arose and revolutionary ideology took shape in Russia.

Famusism is a reaction, inertia, routine, cynicism, a stable, once forever defined way of life. Here, most of all, they are afraid of rumors ("sin is not a problem, rumor is not good") and they keep silent about everything new, alarming, that does not fit into the norm and ranking.
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The motif of “silence” runs like a red thread through all the scenes of the comedy dedicated to Famus’s world, where “Silent people are blissful in the world.” And into this musty world, like a discharge of a refreshing thunderstorm, Chatsky bursts in with his anxiety, dreams, thirst for freedom and thoughts about the people. - a real troublemaker in the circle of the Famusovs, Skalozubovs and Molchalins; they are afraid even of his laughter. He spoke openly, publicly, about what was diligently kept silent in their circle - about freedom, about conscience, about honor, about nobility, - and his passionate speech was picked up by all the advanced Russian literature of the 19th century.

Portraying Chatsky as an intelligent and noble man, a man of “lofty thoughts” and progressive beliefs, a herald of “free life” and a zealot for Russian national identity. Griboyedov solved the problem facing progressive Russian literature of the twenties of creating the image of a positive hero. The tasks of civic, ideologically oriented and socially effective literature in the writer’s understanding of the Decembrist movement were not at all limited to just a satirical denunciation of the orders and morals of serf-dominated society. This literature set itself other, no less important goals: to serve as a means of revolutionary socio-political education, to arouse love for the “public good” and to inspire the fight against despotism. This literature was supposed to not only condemn vices, but also praise civic virtues.

Griboyedov responded to both of these demands put forward by life itself and the course of the liberation struggle.

Returning to the remarkably correct thought of D.I. Pisarev that in “Woe from Wit” an almost scientific analysis of Russian historical reality Decembrist

era, it should be emphasized for complete clarity that Griboedov entered history and our lives not as a scientist-researcher and not as a thinker, even a remarkable one, but as a brilliant poet. Studying reality as an inquisitive analyst, he reflected it as an artist, and as a brave innovator.
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He drew his exact and a reliable picture using techniques, means and paints artistic image. He embodied the meaning of what he noticed and studied in artistic images. And because of this, the picture he painted of ideological life in the Decembrist era turned out to be much brighter, deeper, more voluminous than even the most attentive research scientist could have done.

When the truth of life becomes the content of art, the power of its influence on people’s thoughts and feelings increases even more. This is the “secret” of art, that it allows people to see even what they know well more clearly, more distinctly, and sometimes from a new, not yet familiar side. The phenomenon of life, visible to everyone, known to everyone, even familiar, being transformed by the great generalizing power of art, often appears as if in a new light, grows in its meaning, reveals itself to contemporaries with such completeness that was previously inaccessible to them.

“Woe from Wit” is, of course, one of the most tendentious works of Russian world literature. Griboyedov set himself a completely definite moral and educational goal and was concerned with to this goal became clear to the reader and viewer of the comedy. He wrote “Woe from Wit”, which ridiculed and stigmatized the serfdom world, at the same time important The task was for Griboyedov to reveal his positive ideal to the reader and viewer, to convey to them his thoughts and feelings, his moral and social ideas.

Griboyedov did not retreat in “Woe from Wit” in the face of open tendentiousness, and it did not cause any damage to his creation, for no correct, historically justified tendency will ever harm art, if it is artistically implemented, if it flows logically and naturally from the essence and content of the conflict underlying the work, from the clash of passions, opinions, characters.

“Woe from Wit” embodies a whole system of ideological views in connection with the most acute, most pressing topics and issues of our time, but these views are expressed with the greatest artistic tact - not in the form of direct declarations and maxims, but in images, in composition, in the plot in speech characteristics, in short - in the very artistic structure comedy, in its very artistic fabric.

Related to this is the important question of how Griboedov solved the main problem of the “formed artistic realism- the problem of typicality.

The task of creating a typical character in typical circumstances that he sets for himself realistic art, provides for revealing the meaning of the phenomenon of socio-historical reality on which the artist’s attention focused. In “Woe from Wit,” the socio-historical situation itself is typical, since it truly and deeply reflects the conflict that is quite characteristic of this era. It is in connection with this that all human images, created by Griboyedov. In this regard, we need to dwell first of all on the image of Chatsky. In the individual and special embodiment of his character, the essence of that new, progressive social force that came to the fore in Griboyedov’s time was clearly and clearly expressed. historical scene in order to enter into a decisive struggle with the reactionary forces of the old world and win this struggle. The realist artist keenly discerned this then still maturing force in the reality around him and realized that the future belonged to it.

During the time of Griboedov, the cause of the liberation struggle was carried out by a few ʼʼ the best people from the nobility (according to V.I. Lenin), distant from the people and powerless without the support of the people. But their work was not lost, because, as Lenin said, they “...helped awaken the people,” because they prepared a further rise revolutionary movement in Russia.

The system of images and principles of their depiction in the comedy of A.S. Griboyedov "Woe from Wit". - concept and types. Classification and features of the category "The system of images and principles of their depiction in A.S. Griboedov's comedy "Woe from Wit." 2017, 2018.

Minor
Analysis of the work

The play was conceived by D.I. Fonvizin as a comedy on one of the main themes of the era of enlightenment - as a comedy about education. But later the writer’s plan changed. The comedy “Nedorosl” is the first Russian socio-political comedy, and the theme of education is connected in it with the most important problems XVIII century.
Main themes;
1. theme of serfdom;
2. condemnation of autocratic power, the despotic regime of the era of Catherine II;
3. the topic of education.
Originality artistic conflict the play is that love affair, associated with the image of Sophia, turns out to be subordinate to the socio-political conflict.
The main conflict of the comedy is the struggle between the enlightened nobles (Pravdin, Starodum) and the serf owners (landowners Prostakovs, Skotinin).
“Nedorosl” is a bright, historically accurate picture of Russian life in the 18th century. This comedy can be considered one of the first films in Russian literature. social types. At the center of the story is the nobility in close connection with the serf class and the supreme power. But what is happening in the Prostakovs’ house is an illustration of more serious social conflicts. The author draws a parallel between the landowner Prostakova and high-ranking nobles (they, like Prostakova, are devoid of ideas about duty and honor, crave wealth, subservience to the nobles and push around the weak).
Fonvizin's satire is directed against the specific policies of Catherine II. It acts as the immediate predecessor republican ideas Radishcheva.
The genre of “Minor” is a comedy (the play contains many comic and farcical scenes). But the author’s laughter is perceived as irony directed against the current order in society and the state.

System of artistic images

The image of Mrs. Prostakova
The sovereign mistress of her estate. Whether the peasants are right or wrong, this decision depends only on her arbitrariness. She says about herself that “she doesn’t lay down her hands: she scolds, she fights, and that’s what the house rests on.” Calling Prostakova a “despicable fury,” Fonvizin claims that she is not at all an exception to general rule. She is illiterate; in her family it was considered almost a sin and a crime to study.
She is accustomed to impunity, extends her power from the serfs to her husband, Sophia, Skotinin. But she herself is a slave, devoid of self-esteem, ready to grovel before the strongest. Prostakova is a typical representative of the world of lawlessness and tyranny. She is an example of how despotism destroys the person in man and destroys the social ties of people.
Image of Taras Skotinin
The same ordinary landowner, like his sister. He has “every fault to blame”; no one can fleece the peasants better than Skotinin. The image of Skotinin is an example of how “bestial” and “animal” lowlands take over. He is an even more cruel serf owner than his sister Prostakova, and the pigs in his village live much better than the people. “Isn’t a nobleman free to beat a servant whenever he wants?” - he supports his sister when she justifies her atrocities with reference to the Decree on the Liberty of the Nobility.
Skotinin allows his sister to play with him like a boy; he is passive in his relationship with Prostakova.
Image of Starodum
He consistently sets out the views of an “honest man” on family morality, on the duties of a nobleman engaged in the affairs of civil government and military service. Starodum’s father served under Peter I and raised his son “in the way of that time.” He gave “the best education for that century.”
Starodum wasted his energy and decided to dedicate all his knowledge to his niece, the daughter of his deceased sister. He earns money where “they don’t exchange it for conscience” - in Siberia.
He knows how to control himself and does not do anything rashly. Starodum is the “brain” of the play. In Starodum's monologues, the ideas of enlightenment that the author professes are expressed.

Composition
Ideological and moral content of D.I.’s comedy

The system of images is in grief from the mind. A

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