Three love triangles in grief from the mind. Urgent!!!essay on the topic of love triangle in the comedy "Woe from Wit"
Love triangle in a social play
("Woe from Wit")
Alexander Sergeevich Griboedov's comedy "Woe from Wit" was completed in 1824, on the eve of the Decembrist uprising. Therefore, its author simply could not help but be influenced by the pre-revolutionary atmosphere of those years. However storylines in comedy there are two - social and love, and the second, according to many critics and readers, prevails. Our task is to try to understand how both of these lines are connected and what is the meaning of such a comedy composition.
The play, as has already been said, is based on love drama. Her main actors are Sofya Pavlovna Famusova, Alexander Andreevich Chatsky and Molchalin. It is perhaps difficult to imagine two more different people than Chatsky and Molchalin. The only thing they have in common is their age. Chatsky is an active supporter of new educational ideas, a man striving for knowledge, eager to serve “the cause, not the people.” In Molchalin, everything is the other way around. He is good at “patting a pug at the right time, rubbing in a card at the right time.” Molchalin is not interested in what is happening outside Famusovsky house, all his thoughts are only about his own well-being. Molchalin’s resignation and helpfulness came in very handy even now, and he soon gained the trust of Famusov and other members of the household. Sophia liked him too. She, like Chatsky, is a passionate nature, living with a strong and real feeling. And even if the object of her passion is wretched and pitiful, this does not make the situation funny, on the contrary, it deepens its drama. Sophia reads the sentimental love stories of the poor young man and rich girl. He admires their loyalty and devotion. Molchalin is so similar to romantic hero! There is nothing wrong with a young girl wanting to feel like the heroine of a novel. The other thing is bad - she doesn’t see the difference between romantic fiction and life, she doesn’t know how to distinguish a true feeling from a fake. Chatsky, who sincerely loves Sophia, suffers because she chose the narrow-minded and helpful Molchalin, who has only two talents: “moderation” and “accuracy.”
Underneath Sophia's choice are hidden social and ideological conflicts. In these conflicts, the whole tragedy of Chatsky is visible. How did it happen that an intelligent and deep girl not only fell in love with the scoundrel, the soulless careerist Molchalin, but also committed betrayal by spreading a rumor about the madness of the man who loved her? The answer suggests itself. The whole system female education had the ultimate goal of giving the girl necessary knowledge for a successful secular career, that is, for a successful marriage. Sophia doesn't know how to think - that's her problem. He does not know how to be responsible for his every step. She builds her life according to generally accepted patterns, not trying to find her own path. For all her spiritual inclinations, she belongs entirely to Famusov society. She cannot fall in love with Chatsky, because he is completely opposed to this society by the turn of his mind and soul.
How does Chatsky himself behave in such a situation? He soon becomes disillusioned with Sophia and with everything Moscow" high society", realizing that during his journey everything here remained the same. Chatsky is a man of the new world. He does not accept the laws of life of old Moscow. He has his own idea of \u200b\u200bserving the fatherland. In his opinion, one must serve honestly, "without demanding any places , no promotion in rank." Chatsky opposes people who value only wealth and rank, are afraid of truth and enlightenment. He connects the progress of society with the flourishing of the individual, the development of science and education, which is alien to Famus society. A person who received good upbringing, who has a brilliant mind, does not want to accept people like “Uncle Maxim Petrovich” as models, because he does not see any moral merits in them and can declare this publicly. Such views predetermine his fate as a lonely dreamer in Famus's world. According to Griboyedov, Chatsky will only sow the seeds of future prosperity without seeing the results of his labors. This idea turned out to be prophetic - this is exactly what happened to the Decembrists.
Did the fate of Sophia and Molchalin turn out well? No, and this, perhaps, could be expected. Sophia caught Molchalin, becoming an involuntary witness to his “courtship” of Liza, she was struck to the very heart, she was destroyed, but tragic as it may be, having abandoned Molchalin, Sophia will not refuse the “Molchalin type”: “Husband-boy, husband-servant from the groom's pages - High ideal"all Moscow husbands" - this is how Chatsky says about it. Molchalin will also not disappear after being exposed. He will probably be kicked out of this house, but there are hundreds more such houses in Moscow, and somewhere he will find himself a cozy place. Yes, what can I say, As long as the “Famus society” dominates, “the silent ones are blissful in the world.”
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An essay about: "?" Student of the 9th grade “G” Sergeev Grigory Konstantinovich Teacher: Romanova Lyudmila Anisimovna Rating: good “Woe from Wit” is one of the brightest works of Russian literature. The comedy was written after Patriotic War 1812, during the period of the rise of the spiritual life of Ro...
The comedy "Woe from Wit" became an event in Russian literature early XIX century, was a rare example of its accusatory, satirical direction.
The only character conceived and performed in the comedy "Woe from Wit" as close to Chatsky is Sofya Pavlovna Famusova. Griboedov wrote about her: “The girl herself is not stupid, prefers a fool to an intelligent man.”
The comedy "Woe from Wit" by Griboedov was written during the years of the creation of the secret revolutionary organizations of the Decembrists.
"Woe from Wit" by Griboyedov - socio-political realistic comedy, one of the most topical works of Russian literature. The comedy "Woe from Wit" was written in the 20s of the 19th century, after the Patriotic War of 1812.
Women's images in Griboyedov’s comedy “Woe from Wit” play an important role in realizing the relevance and artistic originality comedies. Sophia and Lisa are typical roles of classic comedy.
Alexander Sergeevich Griboedov's comedy "Woe from Wit" was completed in 1824, on the eve of the Decembrist uprising. Therefore, its author simply could not help but be influenced by the pre-revolutionary atmosphere of those years. However, there are two storylines in the comedy - social and love, and the second, according to many critics and readers, prevails. Our task is to try to understand how both of these lines are connected and what is the significance of such a comedy composition. The basis of the play, as already mentioned, is a love drama. Its main characters are Sofya Pavlovna Famusova, Alexander Andreevich Chatsky and EE Molchalin. It is perhaps difficult to imagine two more different people than Chatsky and Molchalin. The only thing they have in common is their age. Chatsky is an active supporter of new educational ideas, a man striving for knowledge, eager to serve “the cause, not the people.” In Molchalin, everything is the other way around. He is good at “patting a pug at the right time, rubbing in a card at the right time.” Molchalin is not interested in what is happening outside Famusov’s house; all his thoughts are only about his own well-being. Molchalin’s resignation and helpfulness came in very handy even now, and he soon gained the trust of Famusov and other members of the household. Sophia liked him too. She, like Chatsky, is a passionate nature, living with a strong and real feeling. And even if the object of her passion is wretched and pitiful, this does not make the situation funny, on the contrary, it deepens its drama. Sophia reads sentimental love stories between a poor boy and a rich girl. He admires their loyalty and devotion. Molchalin looks so much like a romantic hero! There is nothing wrong with a young girl wanting to feel like the heroine of a novel. The other thing is bad - she doesn’t see the difference between romantic fiction and life, she doesn’t know how to distinguish a true feeling from a fake. Chatsky, who sincerely loves Sophia, suffers because she chose the narrow-minded and helpful Molchalin, who has only two talents: “moderation” and “accuracy.” Social and ideological conflicts are hidden under Sophia’s choice. In these conflicts, the whole tragedy of Chatsky is visible. How did it happen that an intelligent and deep girl not only fell in love with the scoundrel, the soulless careerist Molchalin, but also committed betrayal by spreading a rumor about the madness of the man who loved her? The answer suggests itself. The entire system of women's education had the ultimate goal of giving the girl the necessary knowledge for a successful secular career, that is, for a successful marriage. Sophia doesn't know how to think - that's her problem. He does not know how to be responsible for his every step. She builds her life according to generally accepted patterns, not trying to find her own path. For all her spiritual inclinations, she belongs entirely to Famus society. She cannot fall in love with Chatsky, because he is completely opposed to this society by the turn of his mind and soul. How does Chatsky himself behave in such a situation? He soon becomes disillusioned with Sophia and with the entire Moscow “high society”, realizing that during his travels everything here has remained the same. Chatsky is a man of the new world. He does not accept the laws of life of old Moscow. He has his own idea of serving the fatherland. In his opinion, one must serve honestly, “without demanding either places or promotion to rank.” Chatsky opposes people who value only wealth and rank, who are afraid of truth and enlightenment. He connects the progress of society with the flourishing of personality, the development of science and education, which is alien to Famus society. A person who has received a good upbringing and has a brilliant mind does not want to accept people like “Uncle Maxim Petrovich” as models, because he does not see any moral merits in them and can declare this publicly. Such views predetermine his fate as a lonely dreamer in Famus's world. According to Griboyedov, Chatsky will only sow the seeds of future prosperity without seeing the results of his labors. This idea turned out to be prophetic - this is exactly what happened to the Decembrists. Did the fate of Sophia and Molchalin turn out well? No, and this, perhaps, could be expected. Sophia caught Molchalin, becoming an involuntary witness to his “courtship” of Liza, she was struck to the very heart, she was destroyed, but tragic as it may be, having abandoned Molchalin, Sophia will not refuse the “Molchalin type”: “Husband-boy, husband-servant from the wife's pages - the High ideal of all Moscow husbands" - this is how Chatsky says about it. Molchalin will also not disappear after exposure. He will probably be kicked out of this house, but there are still hundreds of such houses in Moscow, and somewhere he will find a cozy place for himself. Yes, what can I say, as long as the “Famus society” dominates, “silent people are blissful in the world” E
Love triangle
The comedy “Woe from Wit” was completed in 1824, on the eve of the Decembrist uprising, and therefore it could not help but touch upon the topic of social discord that concerned the author’s contemporaries. But there is another storyline in the work that deserves attention. This is the theme of the love of the main characters. She cannot be called happy, because in the end, due to the difference in views and upbringing, no one built their own personal happiness. The love triangle of the play involves Chatsky, Sophia and Molchalin.
Chatsky was orphaned quite early and was brought up in the house of his father’s friend Pavel Afanasyevich Famusov, a man well-known in wide circles and wealthy. Thus, since childhood, the young man spent a lot of time in the company of Sophia, Famusov’s daughter, and was deeply attached to her and even in love. After a three-year absence, he again appeared in the Famusovs’ house to win Sophia’s heart, but unpleasant news awaited him: the girl had already given preference to someone else young man. She secretly met with her father’s secretary, Alexei Molchalin.
There were more people like Molchalin in society, which upset Chatsky. With them tacit consent there was a lot of meanness and injustice. Molchalin himself did not have any special merits; he was interested in only one thing - a secular career and high rank. In order to achieve his goals, he is ready to court anyone. IN in this case he was lucky because Sophia was young, smart, interesting and pleasant-looking. Reading Griboyedov's comedy, we understand that if in her place there was an ugly and old widow, he would happily court her if it would bring him benefits.
However, Sophia does not know all this, who sees in her object of adoration only a timid, taciturn and sensitive person. Chatsky treats him differently - an interested man and a little offended by Sophia’s cold reception. He casually notes that nowadays people like Molchalin are loved in society. He knows that it is precisely such flatterers and sycophants who make a career in the Moscow nobility. At a reception with the Famusovs, when Chatsky sees how Molchalin flatters and tries in every possible way to please the power-hungry old woman Khlestova, he once again makes an attempt to open Sophia’s eyes to her new suitor.
In retaliation for his blatant irony, the girl decides to avenge Molchalin and spreads a rumor among the guests that Chatsky is a “madman.” Fortunately, at the end of the play it is revealed true face Molchalin and Sophia understand who he really is, but the relationship with Chatsky has already been damaged, so each hero of the love triangle is left alone. As noted, Griboyedov did not have a happy ending in this play. Chatsky is too free-thinking and straightforward for the Famusov society. He openly expresses his dissatisfaction with the false behavior of the guests at the ball.
Sophia could become a good friend and future ally for him, but she succumbs to the opinions of others. Unlike other noblewomen, she does not dream of a rich husband. This can be seen in the way she sacrifices her interests for the sake of such small person like Molchalin. Chatsky is impressed by her intelligence, courage, love of freedom, ability to love and feel, but he understands that if tomorrow she is asked to choose between him and another weak-willed “silent”, she will give preference to the latter. After all, having a silent and obedient man as a husband is much more convenient for her than keeping up with Chatsky, developing and accepting the “new.”
Thus, the result in Griboyedov’s work love triangle fails. Sophia's father decides to temporarily expel her from Moscow. The author does not report Molchalin’s fate, and Chatsky decides to leave the Famusovs’ house forever and go to places where there is a corner for “offended feelings.”
Griboyedov A. S.
Essay on a work on the topic: Love triangle in a play with a social sound (Woe from Wit)
Alexander Sergeevich Griboedov's comedy "Woe from Wit" was completed in 1824, on the eve of the Decembrist uprising. Therefore, its author simply could not help but be influenced by the pre-revolutionary atmosphere of those years. However, there are two storylines in the comedy - social and love, and the second, according to many critics and readers, prevails. Our task is to try to understand how both of these lines are connected and what is the meaning of such a comedy composition. The play, as already mentioned, is based on a love drama. Its main characters are Sofya Pavlovna Famusova, Alexander Andreevich Chatsky and EE Molchalin. It is perhaps difficult to imagine two more different people than Chatsky and Molchalin. The only thing they have in common is their age. Chatsky is an active supporter of new educational ideas, a man striving for knowledge, eager to serve “the cause, not the people.” In Molchalin, everything is the other way around. He is good at “patting a pug at the right time, rubbing in a card at the right time.” Molchalin is not interested in what is happening outside Famusov’s house; all his thoughts are only about his own well-being. Molchalin’s resignation and helpfulness came in very handy even now, and he soon gained the trust of Famusov and other members of the household. Sophia liked him too. She, like Chatsky, is a passionate nature, living with a strong and real feeling. And even if the object of her passion is wretched and pitiful, this does not make the situation funny, on the contrary, it deepens its drama. Sophia reads sentimental love stories between a poor boy and a rich girl. He admires their loyalty and devotion. Molchalin looks so much like a romantic hero! There is nothing wrong with a young girl wanting to feel like the heroine of a novel. Another thing is bad - she does not see the difference between romantic fiction and life, she does not know how to distinguish a true feeling from a fake. Chatsky, who sincerely loves Sophia, suffers because she chose the narrow-minded and helpful Molchalin, who has only two talents: “moderation” and “accuracy.” Social and ideological conflicts are hidden under Sophia’s choice. In these conflicts, the whole tragedy of Chatsky is visible. How did it happen that an intelligent and deep girl not only fell in love with the scoundrel, the soulless careerist Molchalin, but also committed betrayal by spreading a rumor about the madness of the man who loved her? The answer suggests itself. The entire system of women's education had the ultimate goal of giving the girl the necessary knowledge for a successful secular career, that is, for a successful marriage. Sophia doesn't know how to think - that's her problem. He does not know how to be responsible for his every step. She builds her life according to generally accepted patterns, not trying to find her own path. For all her spiritual inclinations, she belongs entirely to Famus society. She cannot fall in love with Chatsky, because he is completely opposed to this society by the turn of his mind and soul. How does Chatsky himself behave in such a situation? He soon becomes disillusioned with Sophia and with the entire Moscow “high society”, realizing that during his travels everything here has remained the same. Chatsky is a man of the new world. He does not accept the laws of life of old Moscow. He has his own idea of serving the fatherland. In his opinion, one must serve honestly, “without demanding either places or promotion to rank.” Chatsky opposes people who value only wealth and rank, who are afraid of truth and enlightenment. He connects the progress of society with the flourishing of personality, the development of science and education, which is alien to Famus society. A person who has received a good upbringing and has a brilliant mind does not want to accept people like “Uncle Maxim Petrovich” as models, because he does not see any moral merits in them and can declare this publicly. Such views predetermine his fate as a lonely dreamer in Famus's world. According to Griboyedov, Chatsky will only sow the seeds of future prosperity without seeing the results of his labors. This idea turned out to be prophetic - this is exactly what happened to the Decembrists. Did the fate of Sophia and Molchalin turn out well? No, and this, perhaps, could be expected. Sophia caught Molchalin, becoming an involuntary witness to his “courtship” of Liza, she was struck to the very heart, she was destroyed, but tragic as it may be, having abandoned Molchalin, Sophia will not refuse the “Molchalin type”: “Husband-boy, husband-servant from the wife's pages - the High ideal of all Moscow husbands" - this is how Chatsky says about it. Molchalin will also not disappear after exposure. He will probably be kicked out of this house, but there are still hundreds of such houses in Moscow, and somewhere he will find a cozy place for himself
The main plot of Griboyedov's comedy lies on the love triangle between Sophia, Chatsky and Molchalin. Perhaps, without this conflict, we, the readers, would not have been so interested in the work of Alexander Sergeevich.
Sophia is the daughter of Famusov, a manager in a state-owned house. Smart, educated girl, brought up on French novels. She is annoyed by Chatsky's caustic language. A beautiful girl in love with the hypocritical Molchalin.
Alexey Stepanovich is Famusov's secretary, a silent man. With Sophia, he pretends to be in love, courting her not because he likes her, but because she is the boss’s daughter. He himself openly confesses his love to the maid Lisa.
After a long journey, Chatsky returns to Moscow. It seems that he came for Sophia and only Sophia. He has long been in love with her, although he himself disgusts her.
If Molchalin had not been in Famusov’s house, would the relationship between Sofia and Chatsky have been able to develop? Don't think. Despite the fact that they have had friendly relations since childhood, the girl has changed a lot during Chatsky’s absence.
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