The main idea of ​​the work “Woe from Wit” is to illustrate meanness, ignorance and servility before ranks and traditions, which were opposed by new ideas, genuine culture, freedom and reason. The main character Chatsky acted in the play as a representative of that same democratic-minded society of young people who openly challenged conservatives and serf owners. Griboedov managed to reflect all these subtleties that were raging in social and political life using the example of a classic comedic love triangle. It is noteworthy that the main part of the work described by the creator takes place over the course of just one day, and the characters themselves are depicted by Griboyedov very vividly.

Many of the writer's contemporaries awarded his manuscript with sincere praise and advocated for permission to publish the comedy to the Tsar.

The history of writing the comedy "Woe from Wit"

The idea of ​​writing the comedy “Woe from Wit” came to Griboyedov during his stay in St. Petersburg. In 1816, he returned to the city from abroad and found himself at one of the social receptions. He was deeply indignant at the Russian people’s craving for foreign things, after he noticed that the city’s nobility worshiped one of the foreign guests. The writer could not restrain himself and showed his negative attitude. Meanwhile, one of the invitees, who did not share his beliefs, retorted that Griboedov was crazy.

The events of that evening formed the basis of the comedy, and Griboedov himself became the prototype of the main character Chatsky. The writer began work on the work in 1821. He worked on comedy in Tiflis, where he served under General Yermolov, and in Moscow.

In 1823, work on the play was completed, and the writer began to read it in Moscow literary circles, receiving rave reviews along the way. The comedy was successfully distributed in the form of lists among the reading population, but it was first published only in 1833, after the request of Minister Uvarov to the Tsar. The writer himself was no longer alive by that time.

Analysis of the work

The main plot of the comedy

The events described in the comedy take place at the beginning of the 19th century, in the house of the capital official Famusov. His young daughter Sophia is in love with Famusov's secretary, Molchalin. He is a prudent man, not rich, and holds a minor rank.

Knowing about Sophia's passions, he meets with her for convenience. One day, a young nobleman, Chatsky, a family friend who has not been in Russia for three years, comes to the Famusovs’ house. The purpose of his return is to marry Sophia, for whom he has feelings. Sophia herself hides her love for Molchalin from the main character of the comedy.

Sophia's father is a man of the old way of life and views. He is subservient to the ranks and believes that young people should please their superiors in everything, not show their opinions and serve their superiors selflessly. Chatsky, in contrast, is a witty young man with a sense of pride and a good education. He condemns such views, considers them stupid, hypocritical and empty. Heated disputes arise between Famusov and Chatsky.

On the day of Chatsky’s arrival, invited guests gather at Famusov’s house. During the evening, Sophia spreads a rumor that Chatsky has gone crazy. The guests, who also do not share his views, actively pick up this idea and unanimously recognize the hero as crazy.

Finding himself the black sheep of the evening, Chatsky is about to leave the Famusovs’ house. While waiting for the carriage, he hears Famusov’s secretary confessing his feelings to the master’s maid. Sophia also hears this and immediately drives Molchalin out of the house.

The denouement of the love scene ends with Chatsky's disappointment in Sophia and secular society. The hero leaves Moscow forever.

Heroes of the comedy "Woe from Wit"

This is the main character of Griboedov's comedy. He is a hereditary nobleman, in whose possession there are 300 - 400 souls. Chatsky was left an orphan early on, and since his father was a close friend of Famusov, from childhood he was raised together with Sophia in the Famusovs’ house. Later he became bored with them, and at first he settled separately, and then left to wander the world.

Since childhood, Chatsky and Sophia were friends, but he had more than just friendly feelings for her.

The main character in Griboyedov's comedy is not stupid, witty, eloquent. A lover of ridicule of stupid people, Chatsky was a liberal who did not want to bend to his superiors and serve the highest ranks. That is why he did not serve in the army and was not an official, which was rare for the era of that time and his pedigree.

Famusov is an older man with gray hair at the temples, a nobleman. For his age he is very cheerful and fresh. Pavel Afanasyevich is a widower; his only child is Sophia, 17 years old.

The official is in the civil service, he is rich, but at the same time flighty. Famusov without hesitation pesters his own maids. His character is explosive and restless. Pavel Afanasyevich is grumpy, but with the right people, he knows how to show proper politeness. An example of this is his communication with the colonel, to whom Famusov wants to marry his daughter. For the sake of his goal, he is ready to do anything. Submission, servility before ranks and servility are characteristic of him. He also values ​​society’s opinion of himself and his family. The official does not like to read and does not consider education to be something very important.

Sophia is the daughter of a wealthy official. Pretty and educated in the best rules of the Moscow nobility. Left early without her mother, but under the care of the governess Madame Rosier, she reads French books, dances and plays the piano. Sophia is a fickle girl, flighty and easily attracted to young men. At the same time, she is gullible and very naive.

During the course of the play, it is clear that she does not notice that Molchalin does not love her and is with her because of his own benefits. Her father calls her a disgrace and a shameless woman, but Sophia herself considers herself an intelligent and not a cowardly young lady.

Famusov's secretary, who lives in their house, is a single young man from a very poor family. Molchalin received his noble title only during his service, which was considered acceptable in those days. For this, Famusov periodically calls him rootless.

The hero's surname perfectly matches his character and temperament. He doesn't like to talk. Molchalin is a limited and very stupid person. He behaves modestly and quietly, respects rank and tries to please everyone around him. He does this solely for profit.

Alexey Stepanovich never expresses his opinion, due to which those around him consider him a completely handsome young man. In fact, he is vile, unprincipled and cowardly. At the end of the comedy, it becomes clear that Molchalin is in love with the maid Liza. Having confessed this to her, he receives a portion of righteous anger from Sophia, but his characteristic sycophancy allows him to remain in the service of her father further.

Skalozub is a minor hero of the comedy; he is a lack-of-initiative colonel who wants to become a general.

Pavel Afanasyevich classifies Skalozub as one of the eligible Moscow bachelors. In Famusov’s opinion, a rich officer with weight and status in society is a good match for his daughter. Sophia herself did not like him. In the work, the image of Skalozub is collected in separate phrases. Sergei Sergeevich joins Chatsky’s speech with absurd reasoning. They betray his ignorance and lack of education.

Maid Lisa

Lizanka is an ordinary servant in Famus’s house, but at the same time she occupies a fairly high place among other literary characters, and she is given quite a lot of different episodes and descriptions. The author describes in detail what Lisa does and what and how she says. She forces other characters in the play to confess their feelings, provokes them to certain actions, pushes them to various decisions that are important for their lives.

Mr. Repetilov appears in the fourth act of the work. This is a minor but bright character in the comedy, invited to Famusov’s ball on the occasion of his daughter Sophia’s name day. His image characterizes a person who chooses the easy path in life.

Zagoretsky

Anton Antonovich Zagoretsky is a secular reveler without ranks and honors, but he knows how and loves to be invited to all receptions. Due to your gift - to be pleasing to the court.

Hurrying to be in the center of events, “as if” from the outside, the secondary hero A.S. Griboyedov, Anton Antonovich, himself, finds himself invited to an evening at the Faustuvs’ house. From the very first seconds of the action with his person, it becomes clear that Zagoretsky is still a “frame”.

Madame Khlestova is also one of the minor characters in the comedy, but still her role is very colorful. This is a woman of advanced years. She is 65 years old. She has a Spitz dog and a dark-skinned maid - a blackamoor. Khlestova is aware of the latest gossip of the court and willingly shares her own life stories, in which she easily talks about other characters in the work.

Composition and storylines of the comedy "Woe from Wit"

When writing the comedy “Woe from Wit,” Griboyedov used a technique characteristic of this genre. Here we can see a classic plot where two men are vying for the hand of one girl at once. Their images are also classic: one is modest and respectful, the second is educated, proud and confident in his own superiority. True, in the play Griboyedov placed accents in the characters’ characters a little differently, making Molchalin, and not Chatsky, sympathetic to that society.

For several chapters of the play there is a background description of life in the Famusovs' house, and only in the seventh scene does the beginning of the love plot begin. A fairly detailed long description during the play tells about just one day. The long-term development of events is not described here. There are two storylines in the comedy. These are conflicts: love and social.

Each of the images described by Griboyedov is multifaceted. Even Molchalin is interesting, towards whom the reader already develops an unpleasant attitude, but he does not cause obvious disgust. It's interesting to watch him in various episodes.

In the play, despite the adoption of fundamental structures, there are certain digressions to construct the plot, and it is clearly evident that the comedy was written at the junction of three literary eras: thriving romanticism, emerging realism and dying classicism.

Griboedov's comedy "Woe from Wit" gained its popularity not only for the use of classical plot techniques in a non-standard framework, it reflected obvious changes in society, which were then just emerging and taking their first sprouts.

The work is also interesting because it is strikingly different from all other works written by Griboedov.

Fragment of an illustration by D. N. Kardovsky “A carriage for me, a carriage!”

Early in the morning, the maid Lisa knocks on the young lady’s bedroom. Sophia does not respond immediately: she spent the whole night talking with her lover, her father’s secretary Molchalin, who lives in the same house.

Sophia's father, Pavel Afanasyevich Famusov, appears silently and flirts with Lisa, who barely manages to fight off the master. Frightened that he might be heard, Famusov disappears.

Leaving Sophia, Molchalin runs into Famusov at the door, who asks what the secretary is doing here at such an early hour? Famusov, who uses his own “monastic behavior” as an example, is somehow calmed down.

Left alone with Liza, Sophia dreamily recalls the night that flashed by so quickly, when she and Molchalin “lost themselves in the music, and time passed so smoothly,” and the maid could barely restrain her laughter.

Lisa reminds the lady of her former heartfelt inclination, Alexander Andreevich Chatsky, who has been wandering in foreign lands for three years. Sophia says that her relationship with Chatsky did not go beyond the boundaries of childhood friendship. She compares Chatsky with Molchalin and finds in the latter virtues (sensitivity, timidity, altruism) that Chatsky does not have.

Suddenly Chatsky himself appears. He bombards Sophia with questions: what's new in Moscow? How are their mutual acquaintances, who seem funny and absurd to Chatsky, doing? Without any ulterior motive, he speaks unflatteringly about Molchalin, who has probably made a career (“after all, nowadays they love the dumb”).

Sophia is so offended by this that she whispers to herself: “Not a person, a snake!”

Famusov enters, also not too happy about Chatsky’s visit, and asks where Chatsky has been and what he’s been doing. Chatsky promises to tell him everything in the evening, since he hasn’t even had time to go home yet.

In the afternoon, Chatsky again appears at Famusov’s house and asks Pavel Afanasyevich about his daughter. Famusov is wary, is Chatsky aiming for a suitor? How would Famusov react to this? - in turn, the young man inquires. Famusov avoids a direct answer, advising the guest to first put things in order and achieve success in his career.

“I would be glad to serve, but it’s sickening to be served,” declares Chatsky. Famusov reproaches him for being too “prideful” and uses his late uncle as an example, who achieved rank and wealth by servilely serving the empress.

Chatsky is not at all happy with this example. He finds that the “age of obedience and fear” is becoming a thing of the past, and Famusov is outraged by these “free-thinking speeches”; he does not even want to listen to such attacks on the “golden age.”

The servant reports the arrival of a new guest, Colonel Skalozub, whom Famusov courtes in every possible way, considering him a profitable suitor. Skalozub innocently boasts of his career successes, which were by no means achieved through military exploits.

Famusov delivers a lengthy panegyric to the Moscow nobility with its hospitality, conservative old men, nobles, power-hungry matrons and girls who know how to present themselves. He recommends Chatsky to Skalozub, and Famusov’s praise for Chatsky almost sounds like an insult. Unable to bear it, Chatsky bursts into a monologue in which he attacks those flatterers and serf-owners who admire the owner of the house, denouncing their “weakness, poverty of reason.”

Skalozub, who understood little from Chatsky’s speeches, agrees with him in his assessment of the pompous guardsmen. The army, in the opinion of the brave servant, is no worse than the “Guardians”.

Sophia runs in and rushes to the window shouting: “Oh, my God, I fell, I killed myself!” It turns out that it was Molchalin who “cracked” from his horse (Skalozub’s expression).

Chatsky wonders: why is Sophia so scared? Soon Molchalin arrives and reassures those present - nothing terrible has happened.

Sophia tries to justify her careless impulse, but only strengthens Chatsky’s suspicions.

Left alone with Molchalin, Sophia worries about his health, and he is concerned about her incontinence (“Evil tongues are worse than a pistol”).

After a conversation with Sophia, Chatsky comes to the conclusion that she cannot love such an insignificant person, but nevertheless struggles with the riddle: who is her beloved?

Chatsky starts a conversation with Molchalin and becomes even stronger in his opinion: it is impossible to love someone whose virtues boil down to “moderation and accuracy,” someone who does not dare to have his own opinion and bows to nobility and power.

Guests continue to come to Famusov for the evening. The first to arrive are the Gorichevs, old acquaintances of Chatsky, with whom he talks in a friendly manner, warmly remembering the past.

Other persons also appear (the princess with six daughters, Prince Tugoukhovsky, etc.) and carry on the most empty conversations. The countess-granddaughter tries to prick Chatsky, but he easily and wittily parries her attack.

Gorich introduces Zagoretsky to Chatsky, characterizing the latter straight to his face as a “swindler” and a “rogue,” but he pretends that he is not at all offended.

Khlestova arrives, a powerful old woman who does not tolerate any objections. Chatsky, Skalozub and Molchalin pass in front of her. Khlestova expresses her favor only to Famusov’s secretary, as he praises her dog. Addressing Sophia, Chatsky is ironic about this. Sophia is infuriated by Chatsky’s sarcastic speech, and she decides to take revenge for Molchalin. Moving from one group of guests to another, she gradually hints that Chatsky seems to be out of his mind.

This rumor immediately spreads throughout the living room, and Zagoretsky adds new details: “They grabbed me, took me to the yellow house, and put me on a chain.” The final verdict is pronounced by the countess-grandmother, deaf and almost out of her mind: Chatsky is an infidel and a Voltairian. In the general chorus of indignant voices, all other freethinkers also get their share - professors, chemists, fabulists...

Chatsky, wandering lost in a crowd of people alien to him in spirit, encounters Sophia and indignantly attacks the Moscow nobility, which bows before nonentity only because it had the good fortune to be born in France. Chatsky himself is convinced that the “smart” and “cheerful” Russian people and their customs are in many ways higher and better than foreign ones, but no one wants to listen to him. Everyone is waltzing with the greatest zeal.

The guests are already beginning to leave when another old acquaintance of Chatsky, Repetilov, rushes in headlong. He rushes to Chatsky with open arms, right off the bat begins to repent of various sins and invites Chatsky to visit the “most secret union” consisting of “decisive people” who fearlessly talk about “important mothers.” However, Chatsky, who knows the value of Repetilov, briefly characterizes the activities of Repetilov and his friends: “You make noise and that’s all!”

Repetilov switches to Skalozub, telling him the sad story of his marriage, but even here he does not find mutual understanding. Repetilov manages to enter into a conversation with only one Zagoretsky, and even then the subject of their discussion becomes Chatsky’s madness. Repetilov does not believe the rumor at first, but the others persistently convince him that Chatsky is a real madman.

Chatsky, who lingered in the doorman's room, hears all this and is indignant at the slanderers. He is worried about only one thing - does Sophia know about his “madness”? It can’t even occur to him that it was she who started this rumor.

Lisa appears in the lobby, followed by a sleepy Molchalin. The maid reminds Molchalin that the young lady is waiting for him. Molchalin admits to her that he is courting Sophia so as not to lose her affection and thereby strengthen his position, but he really only likes Lisa.

This is heard by Sophia quietly approaching and Chatsky hiding behind a column. An angry Sophia steps forward: “Terrible man! I’m ashamed of myself, the walls.” Molchalin tries to deny what was said, but Sophia is deaf to his words and demands that he leave his benefactor’s house today.

Chatsky also gives vent to his feelings and exposes Sophia’s treachery. A crowd of servants, led by Famusov, comes running to the noise. He threatens to send his daughter to her aunt, into the Saratov wilderness, and to assign Liza to a poultry house.

Chatsky laughs bitterly at his own blindness, and at Sophia, and at all of Famusov’s like-minded people, in whose company it is truly difficult to maintain sanity. Exclaiming: “I’ll go search around the world, / Where there is a corner for the offended feeling!” - he leaves forever the house that was once so dear to him.

Famusov himself is most concerned about “what / Princess Marya Aleksevna will say!”

Retold

1 Our modern society is built solely on consumption, advertising constantly and quietly brainwashes us, urging us to buy more and more useless goods. Women are the most stupid and gullible, which makes them excellent cash cows. Fortunately, there are people who perfectly understand how the surrounding reality works, and this is why they are noticeably different from those around them. Acquaintances and friends of such clever people usually do not understand, and they say about them - Woe from mind, which means you can read a little lower. On our website you can find many more interpretations of various tricky expressions and words that will make you think. Be sure to add our resource site to your bookmarks, since only here you can find the most complete transcripts of street slang, fashionistas' jargon, criminal argot, etc.
However, before I continue, I would like to point out a couple of our really popular publications on the topic of phraseological units. For example, what does C'est la vie mean? how to understand Burn Bridges; meaning of the expression I know that I know nothing; which means the Word is silver, silence is gold, etc.
So let's continue what does grief from mind mean?? This expression comes from the title of the work " Woe from mind", the great Russian writer Griboyedov, and since then it has become actively used among the people.

More popular phrases from the work Woe from Wit:

All familiar faces.

It's good where we are not.

Not at ease.

If we decide to carefully study Griboedov's play, we will find that the character Chatsky feels like " out of place"His intelligence and progressiveness were far ahead of his time. He does not like communicating with people who are busy with everyday meaningless worries and responsibilities. For such citizens, everything is built on pure materialism and financial well-being, and they reduce all their actions and actions to the base and animalistic .
Therefore, when a broad-minded, erudite and intelligent person appears in such a society, he immediately becomes a “black sheep” that everyone tries to poke their fat finger at. And what’s interesting is that no one is ashamed of their superficiality and illiteracy, dependence on the opinion of the majority and stereotyping. It follows that for a strong personality in this environment, all the positive qualities bring only grief and negativity, and people begin to consider him a stranger among their own.

In our time, the decoding of this phraseology has expanded slightly, and the explanation that it is difficult for a wise and intelligent person to be in the company of limited people, mired in philistinism, is only one of many. There are also other interpretations of this great phrase.

Woe from mind- an intelligent person, sometimes succumbing to an impulse, can go a little too far, and in a situation when he should decide with his heart, and show a bit of feelings and emotions, he does everything based on his cold mind

I want to say that he analyzes any incident, event, fleeting meeting, as if he were a cyborg, not a human. He lets any situation and other people’s views pass through him, trying to sort everything out with his cold and bright intellect. At the same time, he discards as unnecessary everything that does not lend itself to logical thinking and sober calculation.

And finally, being a very smart and informed person is great, but it doesn't work in all cases. Sometimes the truth that is revealed to this inquisitive citizen is so creepy and terrible that it can unsettle him for a long time, drive him crazy and even make him self-cut. As a result, this individual, with sadness and devastation in his heart, says to himself - " It would be better if I were a simple tradesman and vegetate in ignorance than to constantly think about it and worry greatly". As they say, great knowledge gives rise to great sorrows. I mean that a person who knows economics, mathematics, psychology well, having analyzed what an unfair world he lives in, falls into a stupor, while a simple layman will take in " store" "pivandria", and will go to the beach with his chicule, and will be completely happy at the same time.

After reading this short article, you learned what does grief from mind mean?, and now you can clearly explain this phraseological unit to your friends and acquaintances.

SCENE 1 Living room, there is a large clock in it, on the right is the door to Sofia’s bedroom, from where you can hear a piano and flute, which then fall silent. Lizanka is sleeping in the middle of the room, hanging from an armchair. (Morning, the day is just breaking) Lizanka (suddenly wakes up, gets up from her chair, looks around) It’s getting light!.. Ah! how quickly the night has passed! Yesterday I asked to sleep - refusal, “We are waiting for a friend.” - You need an eye and an eye, Don't sleep until you roll out of your chair. Now I just took a nap, It’s already day!.. tell them... (Knocks on Sofia’s door.) Gentlemen, Hey! Sofya Pavlovna, trouble. Your conversation went on overnight; Are you deaf? - Alexey Stepanych! Madam!.. – And fear does not take them! (Moves away from the door.) Well, the guest is uninvited, Perhaps the priest will come in! I ask you to serve the young lady in love! (Back to the door) Yes, leave. Morning. - What? (Sofia's voice) What time is it? Lizanka Everything in the house rose. Sofia (from her room) What time is it? Lizanka Seventh, eighth, ninth. Sofia (from the same place) Not true. Lizanka (away from the door) Ah! cupid * damned! And they hear, they don’t want to understand, so why would they take away the shutters? I'll change the clock, even though I know there will be a race, I'll make them play. (Climbs onto a chair, moves the hand, the clock strikes and plays.) SCENE 2 Lisa and Famusov. Lisa Ah! master! Famusov Barin, yes. (Stops the hour-long music) After all, what a naughty girl you are. I couldn’t figure out what kind of trouble this was! Now you hear a flute, now it’s like a piano; Would it be too early for Sophia?? Liza No, sir, I... just by chance... Famusov Just by chance, keep an eye on you; Yes, that's right, with intent. (Pulls closer to her and flirts) Oh! potion, * pampered girl. Lisa You are a spoiler, these faces suit you! Famusov is modest, and has nothing but pranks and the wind on her mind. Liza Let me go, you flighty people, come to your senses, you are old people... Famusov Almost. Lisa Well, who will come, where are we going? Famusov Who should come here? After all, Sophia is sleeping? Lisa is taking a nap now. Famusov Now! And the night? Lisa spent the whole night reading. Famusov Look, what whims have developed! Lisa Reads everything in French, aloud, locked up. Famusov Tell me that it’s not good for her to spoil her eyes, And reading is of little use: French books keep her from sleeping, And Russian books make it painful for me to sleep. Liza I’ll report when he gets up. If you please, go, wake me up, I’m afraid. Famusov Why wake up? You wind the clock yourself, you sound a symphony throughout the whole block. Lisa (as loudly as possible) Come on, sir! Famusov (clamps her mouth) Have mercy, the way you scream. Are you going crazy? Lisa I'm afraid this won't work out. .. Famusov What? Lisa It's time, sir, for you to know that you are not a child; Girls' morning sleep is so thin; You creak the door a little, you whisper a little: Everyone can hear... Famusov You are all lying. Sofia's voice Hey Lisa! Famusov (hurriedly) Shh! (Sneaks out of the room on tiptoe.) Lisa (alone) Gone... Ah! away from the gentlemen; They prepare troubles for themselves at every hour, Pass us by more than all sorrows, And the lordly anger, and the lordly love. APPEARANCE 3 Lisa, Sofia with a candle, followed by Molchalin. Sofia What, Lisa, attacked you? You're making noise... Lisa Of course, it's hard for you to break up? Locked up until daylight, and it seems like everything is not enough? Sofia Oh, it really is dawn! (Puts out the candle.) Both light and sadness. How fast the nights are! Liza Complain, know that there is no urine from the outside, Your father came here, I froze; I spun around in front of him, I don’t remember that I was lying; Well, what have you become? bow, sir, give it. Come on, my heart is not in the right place; Look at your watch, look out the window: People have been pouring down the streets for a long time; And in the house there is knocking, walking, sweeping and cleaning. Sofia Happy hours do not watch. Lisa Don't watch, your power; And what in return for you, of course, I will get. Sofia (to Molchalin) Go; We'll be bored all day long. Lisa God be with you; take your hand away. (Separates them, Molchalin runs into Famusov at the door.) APPEARANCE 4 Sofia, Lisa, Molchalin, Famusov. Famusov What an opportunity! * Molchalin, are you, brother? Molchalin Ya–s. Famusov Why here? and at this hour? And Sophia!.. Hello, Sophia, why are you up so early! A? for what concern? And how did God bring you together at the wrong time? Sofia He just came in. Molchalin Now from a walk. Famusov Friend. Is it possible to choose a nook further away for walks? And you, madam, almost jumped out of bed, With a man! with the young one! - Something to do for a girl! He reads fables all night, and these are the fruits of these books! And all the Kuznetsky Most, * and the eternal French, From there fashion comes to us, and authors, and muses: Destroyers of pockets and hearts! When will the creator deliver us from their hats! caps! and stilettos! and pins! And bookstores and biscuit shops!.. Sofia Excuse me, father, my head is spinning; I can barely catch my breath from fright; You deigned to run in so quickly, I was confused... Famusov I humbly thank you, I soon ran in to them! I'm in the way! I scared! I, Sofya Pavlovna, am upset myself, the whole day there is no rest, I rush about like mad. According to the position, the service is a hassle, One pesters, the other, everyone cares about me! But was I expecting new troubles? to be deceived... Sofia By whom, father? Famusov They will reproach me for always reproaching me to no avail. Don’t cry, I mean it: Don’t you care about your upbringing! from the cradle! Mother died: I knew how to hire a second mother to Madame Rosier. He put the old golden woman in charge of your supervision: She was smart, had a quiet disposition, and rarely had rules. One thing does not serve her well: For an extra five hundred rubles a year, she allowed herself to be lured by others. Yes, the power is not in madame. There is no need for another example, When the example of the father is in the eyes. Look at me: I don’t boast about my build; However, I am vigorous and fresh, and lived to see my gray hairs, Free, widowed, I am my own master... Known for my monastic behavior!.. Lisa I dare, sir... Famusov Be silent! Terrible century! Don't know what to start! Everyone was smart beyond their years. And especially the daughters, and good-natured people themselves. These languages ​​were given to us! We take tramps, * both into the house and on tickets, * So that we can teach our daughters everything, everything - And dancing! and foam! and tenderness! and sigh! It’s as if we are preparing them as wives for buffoons. * You, visitor, what? Why are you here, sir? He warmed up Bezrodny and brought him into my family, gave him the rank of assessor * and took him as secretary; Transferred to Moscow through my assistance; And if it weren’t for me, you would be smoking in Tver. Sofia I can’t explain your anger in any way. He lives in the house here, what a great misfortune! I walked into the room and ended up in another. Famusov Did he get in or did he want to get in? Why are you together? It can't happen by accident. Sofia This is, however, the whole case: How recently you and Liza were here, Your voice frightened me extremely, And I rushed here as fast as I could... Famusov Perhaps he will blame all the fuss on me. At the wrong time my voice alarmed them! Sofia In a vague dream, a trifle disturbs; Tell you a dream: then you will understand. Famusov What's the story? Sophia tell you? Famusov Well, yes. (Sits down.) Sofia Let me... see... first the Flowery Meadow; and I was looking for some kind of Grass, I don’t remember in reality. Suddenly, a dear man, one of those whom we will see - as if we had known each other for centuries, appeared here with me; and insinuating and smart, But timid... You know who was born in poverty... Famusov Ah! Mother, don’t finish the blow! Anyone who is poor is not a match for you. Sofia Then everything disappeared: the meadows and the skies. - We are in a dark room. To complete the miracle, the floor opened up - and you are from there, Pale as death, with your hair on end! Then the doors opened with thunder. Some people, not animals, separated us - and tormented the one sitting with me. It’s as if he is dearer to me than all the treasures, I want to go to him - you drag him with you: We are seen off by the moaning, roaring, laughter, whistling of monsters! He shouts after him!.. - I woke up. “Someone is speaking,” your voice was; what, I think it's so early? I run here and find you both. Famusov Yes, it’s a bad dream, as I see it. Everything is there, if there is no deception: Devils and love, fears and flowers. Well, my sir, what about you? Molchalin I heard your voice. Famusov That's funny. My voice was given to them, and how well it is heard by everyone, and calls everyone until dawn! He hurried to my voice, for what? - speak. Molchalin With papers – s. Famusov Yes! they were missing. Have mercy on the sudden zeal for writing! (Gets up.) Well, Sonyushka, I’ll give you peace: Sometimes dreams are strange, but in reality it’s stranger; You were looking for some herbs for yourself, You quickly came across a friend; Get rid of the nonsense from your head; Where there are miracles, there is little stock. - Go, lie down, go to sleep again. (To Molchalin) Let's go sort out the papers. Molchalin I was only bringing them for the report, That it cannot be used without certificates, without others, There are contradictions, and much is not practical. Famusov I am afraid, sir, I am mortally afraid of one, So that many of them do not accumulate; If you had given it free rein, it would have settled; But for me, whatever it is, whatever it isn’t, my custom is this: Signed, off your shoulders. (He leaves with Molchalin and lets him through at the door.) APPEARANCE 5 Sofia, Lisa. Lisa Well, it's a holiday! Well, here's some fun for you! However, no, it’s no laughing matter now; The eyes are dark and the soul is frozen; Sin is not a problem, rumor is not good. Sofia What do I hear? Whoever wants to, judges so, Yes, the priest will force you to think: Grouchy, restless, quick, Always like this, and from now on... You can judge... Liza I’m not judging by stories; He forbids you, - good is still with me; Otherwise, God have mercy, get Me, Molchalin and everyone out of the yard at once. Sofia Just think how capricious happiness is! It can be worse, you can get away with it; When sad nothingness comes to mind, we forget ourselves about the music, and time passes so smoothly; Fate seemed to be protecting us; No worries, no doubts... And grief awaits around the corner. Liza That's it, sir, you never favor my stupid judgment: But here's the problem. What better prophet do you need? I kept repeating: there will be no good in this love, Not forever and ever. Like all Moscow people, your father is like this: He would like a son-in-law with stars, but with ranks, And with the stars, not everyone is rich, between us; Well, of course, that would include money so he could live, so he could give balls; Here, for example, Colonel Skalozub: And the golden bag, and aims to become a general. Sofia How sweet! and it’s fun for me to hear about the frunt * and the rows; He hasn’t uttered a smart word for a long time, - I don’t care what’s for him, what’s in the water. Liza Yes, sir, so to speak, he is talkative, but not very cunning; But be a military man, be a civilian, * Who is so sensitive, and cheerful, and sharp, Like Alexander Andreich Chatsky! Not to confuse you; It’s been a long time, I can’t turn it back, But I remember... Sofia What do you remember? He knows how to make everyone laugh; He chats, jokes, it’s funny to me; You can share laughter with everyone. Lisa And that's all? as if? - He shed tears, I remember, poor thing, how he parted with you. - Why, sir, are you crying? live laughing... And he answered: “It’s not for nothing, Lisa, that I’m crying: Who knows what I’ll find when I return? And how much I might lose!” The poor thing seemed to know that in three years... Sofia Listen, don’t take too many liberties. I acted very carelessly, perhaps, And I know, and I’m guilty; but where did it change? To whom? so that they could reproach with infidelity. Yes, it’s true, we were brought up with Chatsky, we grew up: The habit of being together every day inseparably bound us with childhood friendship; but then He moved out, he seemed bored with us, and rarely visited our house; Then again he pretended to be in love, demanding and distressed!!. Sharp, smart, eloquent, Especially happy with friends, He thought highly of himself... The desire to wander attacked him, Ah! If someone loves someone, Why bother searching and traveling so far? Lisa Where are you running? in what areas? He was treated, they say, in sour waters, * Not from illness, tea, from boredom - more freely. Sofia And, truly, he is happy where the people are funnier. The one I love is not like that: Molchalin, ready to forget himself for others, Enemy of insolence, always shyly, timidly Kissing the night with anyone you can spend like that! We are sitting, and the yard has long since turned white. What do you think? what are you doing? Lisa God knows, Madam, is this my business? Sofia He takes your hand, presses it to your heart, He sighs from the depths of your soul, Not a free word, and so the whole night passes, Hand in hand, and does not take his eyes off me. - You're laughing! is it possible! What reason did I give you to laugh like that! Lisa To me, sir?.. your aunt now came to mind, How a young Frenchman ran away from her house. Darling! I wanted to bury my annoyance, but I couldn’t: I forgot to blacken my hair, and three days later I turned gray. (Continues to laugh.) Sofia (with chagrin) That’s how they’ll talk about me later. Lisa Excuse me, really, as God is holy, I wanted this stupid laughter to help cheer you up a little. APPEARANCE 6 Sofia, Lisa, servant, followed by Chatsky. Servant To you, Alexander Andreich Chatsky. (Exits.) APPEARANCE 7 Sofia, Lisa, Chatsky. Chatsky It’s barely light on your feet! and I am at your feet. (Kisses your hand passionately.) Well, kiss it, weren’t you waiting? speak! Well, for the sake of it? * No? Look at my face. Surprised? and that's all? here's the welcome! It was as if no week had passed; It’s as if yesterday we were both tired of each other; Not a hair of love! how good they are! And meanwhile, I don’t remember, without a soul, I spent forty-five hours, without squinting my eyes in a moment, more than seven hundred versts flew by - the wind, the storm; And he was completely confused, and fell so many times - And here is the reward for his exploits! Sofia Ah! Chatsky, I am very glad to see you. Chatsky Are you for this? good morning. However, who is sincerely happy like that? It seems to me that in the end I was chilling people and horses, I was just amusing myself. Lisa Here, sir, if you were outside the doors, By God, it’s not five minutes since we remembered you here. Madam, tell me yourself. Sofia Always, not just now. - You cannot reproach me. Whoever flashes by will open the door, On the way, by chance, from a stranger, from afar - I ask a question, even if I were a sailor: Did I meet you somewhere in the mail carriage? Chatsky Let's assume that it is so. Blessed is he who believes, he is warm in the world! - Ah! My God! Am I really here again, in Moscow! at your place! how can we recognize you! Where is the time? where is that innocent age, When, on a long evening, you and I would appear, disappear here and there, play and make noise on chairs and tables. And here is your father and madam, behind the picket; * We are in a dark corner, and it seems that we are in this! Do you remember? Let's startle when the table or door creaks... Sofia Childishness! Chatsky Yes, sir, and now, at the age of seventeen, you have blossomed charmingly, inimitably, and you know this, And therefore you are modest, do not look at the light. Aren't you in love? I ask you to give me an answer, Without thinking, I am completely embarrassed. Sofia Yes, at least someone will be confused by quick questions and a curious look... Chatsky For mercy, not you, why be surprised? What new will Moscow show me? Yesterday there was a ball, and tomorrow there will be two. He made a match - he succeeded, but he missed. All the same meaning, * and the same poems in the albums. Sofia Gonenie to Moscow. What does it mean to see the light! Where is it better? Chatsky Where we are not. Well, what about your father? all the English club An ancient, faithful member to the grave? Has your uncle jumped back his eyelid? And this one, what’s his name, is he Turkish or Greek? That dark little one, on the legs of a crane, I don’t know what his name is, Wherever you go: right there, in the dining rooms and in the living rooms. And three of the tabloid personalities, * Who have been looking young for half a century? They have millions of relatives, and with the help of their sisters they will become related throughout Europe. What about our sun? our treasure? On the forehead is written: Theater and Masquerade; * The house is painted with greenery in the form of a grove, He himself is fat, his artists are skinny. At the ball, remember, the two of us discovered Behind the screens, in one of the more secret rooms, There was a man hidden and clicking a nightingale, A singer of winter and summer weather. And that consumptive, your kin, the enemy of books, who settled in the academic committee * and screamed for oaths, so that no one knew or learned to read and write? I am destined to see them again! Will you get tired of living with them, and in whom you won’t find any stains? When you wander, you return home, And the smoke of the Fatherland is sweet and pleasant to us! Sofia I wish I could bring you and my aunt together, so that I could count all my friends. Chatsky And auntie? all girl, Minerva? * All maid of honor * Catherine the First? Is the house full of pupils and mosquitoes? Oh! Let's move on to education. That now, just as in ancient times, they are trying to recruit regiments of teachers, in larger numbers, at a cheaper price? It’s not that they are far off in science; In Russia, under a great fine, We are ordered to recognize everyone as a Historian and Geographer! Our mentor, * remember his cap, his robe, his index finger, all the signs of learning How our timid ones disturbed our minds, How from an early time we were accustomed to believe, That without the Germans there is no salvation for us! And Guillaume, the Frenchman, blown by the wind? Is he not married yet? Sofia On whom? Chatsky At least on some princess Pulcheria Andrevna, for example? Sofia Dancemaster! is it possible! Chatsky Well, he is a gentleman. We will be required to be with property and in rank, And Guillaume!.. - What is the tone here today at congresses, at large ones, on parish holidays? A mixture of languages ​​still prevails: French with Nizhny Novgorod? Sofia Mix of languages? Chatsky Yes, two, you can’t live without it. Sofia But it’s tricky to tailor one of them like yours. Chatsky At least not inflated. Here's the news! - I’m taking advantage of the moment, I’m lively and talkative due to my meeting with you; But isn’t there a time when I’m dumber than Molchalin? Where is he, by the way? Have you not yet broken the silence of the seal? There were songs where he saw a new notebook and pestered: please write it off. However, he will reach the known levels, Because nowadays they love the dumb. Sofia Not a person, a snake! (Loudly and forcefully.) I want to ask you: Has it ever happened that you laughed? or sad? A mistake? did they say good things about anyone? At least not now, but in childhood, maybe. Chatsky When is everything so soft? both tender and immature? Why so long ago? Here's a good deed for you: The bells have just rattled And day and night through the snowy desert, I hasten to you, headlong. And how do I find you? in some strict rank! I can endure the cold for half an hour! The face of the most holy praying mantis!.. - And yet I love you without memory. (A minute’s silence.) Listen, are my words really all caustic? And tend to harm someone? But if so: the mind and heart are not in harmony. I am an eccentric of another miracle Once I laugh, then I forget: Tell me to go into the fire: I’ll go as if for dinner. Sofia Yes, okay - will you burn, if not? APPEARANCE 8 Sofia, Lisa, Chatsky, Famusov. Famusov Here's another one! Sofia Oh, father, sleep in hand. (Leaves.) Famusov (following her in a low voice) Damn dream. APPEARANCE 9 Famusov, Chatsky (looks at the door through which Sofia came out) Famusov Well, you threw away the trick! I haven’t written two words for three years! And it suddenly burst out as if from the clouds. (They hug.) Great, friend, great, brother, great. Tell me, is your tea ready? Any important news? Sit down, announce it quickly. (They sit down.) Chatsky (absent-mindedly) How Sofya Pavlovna has become prettier for you! Famusov You, young people, have nothing else to do, How to notice girlish beauties: She said something casually, and you, I am tea, were carried away with hopes, bewitched. Chatsky Ah! No; I'm not spoiled enough by hopes. Famusov “A dream in your hand” - she deigned to whisper to me, So you have an idea... Chatsky Me? - Not at all. Famusov Who was she dreaming about? what's happened? Chatsky I am not a dream teller. Famusov Don’t trust her, everything is empty. Chatsky I believe my own eyes; I haven’t met you in ages, I’ll give you a subscription, so that it’s at least a little like her! Famusov He is all his own. Yes, tell me in detail, Where were you? I've been wandering for so many years! Where from now? Chatsky Now who cares? I wanted to travel around the whole world, but I didn’t travel a hundredth part. (Gets up hastily.) Excuse me; I was in a hurry to see you as soon as possible, I didn’t stop by home. Farewell! I’ll appear in an hour, I won’t forget the slightest detail; You first, then you tell it everywhere. (At the door.) How good! (Exits.) APPEARANCE 10 Famusov (one) Which of the two? "Oh! Father, sleep in hand! And he says it out loud to me! Well, my fault! What a blessing I gave to the hook! Molchalin made me doubtful. Now... yes, halfway out of the fire: That beggar, that dandy friend; Known * to be a spendthrift, a tomboy, What a commission, * Creator, To be a father to an adult daughter! (Leaves.) 1822–1824

The action of the play “Woe from Wit” begins in the morning in Famusov’s house. The maid Lisa wakes up and complains that she didn’t sleep well. The fact is that Sophia was expecting a friend, Alexei Stepanovich Molchalin, to visit her at night. Lisa had to make sure that Famusov did not find out about this.

Lisa knocks on the door of the hostess’s room, asking her to hurry up and say goodbye to Molchalin, because soon everyone in the house will wake up. Famusov finds her doing this and begins to flirt with her. Lisa tells the owner that she’s afraid that someone might come in, like Sofia, who just fell asleep because she’d been reading all night. Famusov is surprised how he can read all night, because reading makes him fall asleep. Then he leaves.

Lisa reproaches Sofia for being out of caution while she says goodbye to Molchalin. At this moment Famusov enters. He wonders why Molchalin came so early.

He replies that he has just returned from a walk. Famusov scolds his daughter for being nice to a young man at such an hour. After all, he cared so much about her upbringing after the death of her mother and is himself the best example of morality.

Sofia says that she had a dream: as if she was walking through a meadow, and a young man appeared to her - modest, smart, poor. Suddenly they found themselves in a dark room, and some forces, together with her father, want to separate Sofia and this young man... At this point the dream was interrupted. Famusov advises her to throw all sorts of nonsense out of her head and leaves with Molchalin.

Lisa asks Sofia to be careful. She believes that the father will not agree to his daughter’s marriage to Molchalin, because he is poor and ignorant. The best match for Sofia is Colonel Sergei Sergeevich Skalozub. Sofia says that she will never agree to this union: “I don’t care whether it’s for him or not.” Lisa remembers Alexander Andreevich Chatsky, who was brought up in Famusov’s house and with whom Sofia grew up.

Sofia says that Chatsky has gone far away and is not giving any news about himself. Molchalin is nearby, he is helpful, modest, quiet and timid. Here Chatsky himself appears. He had just returned from abroad, where he spent three years. Chatsky is glad to meet, but is surprised by Sofia’s coldness. He wonders if she is in love with someone. In a conversation with Famusov, Chatsky admires Sofia.

Famusov asks the servant to give him a calendar and remembers which houses and which noble people he should go to for a visit this week. Chatsky appears. He wonders what Famusov would answer if he wooed Sofia. Famusov says that first you need to serve and receive a rank.

Famusov considers the ability to curry favor as the most useful. He is proud of his uncle Maxim Petrovich, his wealth and orders. Maxim Petrovich, like no one else, knew how to curry favor, which won the praise and favor of the empress herself. He deliberately fell, which made her laugh, and for this he was invited to receptions more often than others, received a substantial pension and universal honor.

Chatsky despises servility and accuses Famusov and others like him of judging a person by rank and wealth. Famusov experiences fear because of Chatsky’s disrespect for those in power.

Skalozub comes to Famusov. Famusov respects him very much: after all, Skalozub has only recently served, and is already a colonel. He ingratiates himself with Skalozub and tries to please him. Famusov wonders if Skalozub is going to get married. They remember Skalozub’s cousin, who had career prospects, but suddenly gave up everything and retired to the village.

Chatsky joins the conversation. He stigmatizes a society where only rank and wealth are valued, and condemns landowners who treat their serfs as property. Admiration for the uniform evokes contempt and indignation in him.

Sofia appears, frightened by the fact that Molchalin fell from his horse. She faints. Skalozub leaves to help Molchalin. Lisa and Chatsky bring Sofia to her senses. Everything is fine with Molchalin. But Chatsky understands who is busy
Sofia's heart.

Enter Skalozub and Molchalin, who only hurt his hand. Skalozub promises to come in the evening. He and Chatsky leave.

Molchalin reproaches Sofia for carelessness and excessive frankness, but the heroine is not bothered by the opinions of others. Molchalin is most afraid of “evil tongues.” Sofia promises to pretend to her father that she is cheerful and carefree in order to lull his vigilance. She leaves, and Molchalin, left alone with Lisa, begins to flirt with her, promising her gifts in exchange for favors. Lisa reproaches him for his duplicity.

Chatsky is trying to find out from Sofia who she likes more - Molchalin or Skalozub. Sofia does not answer directly, saying that she appreciates Molchalin for his meekness of character and modesty. Chatsky mocks Molchalin and does not understand how one can admire such a person.

Chatsky talks with Molchalin to get to know him better. Molchalin is proud of such qualities as “moderation and accuracy.” He boasts of his rich and noble patrons. Chatsky ridicules such life principles.

In the evening, a ball is planned at the Famusovs' house. Guests appear. These are the Gorichi couple, the Tugoukhovsky family, Countess Khryumina with her granddaughter, old woman Khlestova - rich and influential people. The guests are talking.

Chatsky is familiar with the Gorichs - the cutesy and flirtatious Natalya Dmitrievna and the bored Platon Mikhailovich. He is unpleasantly surprised by how Platon Mikhailovich, a former brave military man, and now a lazy and submissive husband, has changed.

The ladies praise each other's outfits and ask which of the male guests is single and whether the potential groom has rank and wealth. Anton Antonovich Zagoretsky, one of the guests, flatters the ladies and tries to serve them. Platon Mikhailovich calls him a swindler.

The old woman Khlestova boasts about her new blackamoor maid. Famusov is polite to the guests. Skalozub arrives. Molchalin praises Khlestova’s dog, which earns her approval.

Chatsky's behavior is not respectful. He is mocking, ironic, and impudent with everyone. Everyone is outraged by his behavior. Molchalin's helpfulness evokes Chatsky's ridicule. Sofia is angry with him. Her accidentally dropped phrase that Chatsky is “out of his mind” instantly spreads among the guests.

Zagoretsky ensures that all invitees learn about Chatsky’s madness. Chatsky's imaginary madness became the main event of the evening. Chatsky feels uncomfortable among the guests. He says that he is dissatisfied with Moscow and reflects on meeting a Frenchman who, once in Russia, feels like he is at home.

Chatsky is outraged by foreign influence in Russia and the worship of everything French:

But our North is a hundred times worse for me
Since I gave everything in exchange
in a new way:
And morals, and language, and holy antiquity,
And majestic clothes for another...

The ball ends. The guests are leaving. Chatsky is also going to leave Famusov’s house. He does not understand why he was considered crazy and who started this rumor.

Chatsky accidentally witnesses a conversation between Lisa and Molchalin. It turns out that Molchalin is not going to marry Sofia and that he does not love her.

He likes Lisa much more, and he only looks after Sofia because she is Famusov’s daughter. Sofia hears this conversation. Molchalin tries to beg her forgiveness. But she tells him to leave the house immediately, otherwise she will tell her father about everything.

Chatsky appears. He reproaches Sofia. She justifies herself that she did not suspect such meanness and deceit in Molchalin. Famusov enters. From his speeches, Chatsky understands who was the first to call him crazy. Famusov is indignant and threatens to send his daughter to the village.

Chatsky is disappointed. His hopes were not justified, and his best feelings were insulted. He blames Sofia for supporting his conviction of her love. But now he doesn't regret their breakup. And there is no place for him in Moscow. He's leaving here forever.

HISTORY OF CREATION AND MEANING OF THE TITLE

“Woe from Wit” is a comedy in verse, the first realistic work of Russian literature. The idea for the play originated with A. Griboyedov back in 1820. By this time he had already written other dramatic works.

Work on the text began in Tiflis after the writer returned from Persia. In the summer of 1823, the first version of the play was completed, but it was still far from completion. In 1825, excerpts from acts 1 and 3 of the comedy were published. However, the author did not receive permission to stage it in the theater. Despite this, the comedy was distributed in lists and became widely known among the enlightened intelligentsia, who enthusiastically accepted the work. “Woe from Wit” was first published with large cuts in 1833, and in its entirety only in 1861.

Initially, A. Griboedov intended to call the comedy “Woe to Wit.” In this case, the meaning of the work would be transparent: Chatsky, an intelligent man, is opposed to the surrounding society, but in the end he is rejected by it. The meaning of the name would boil down to the following: woe to an intelligent person among limited and narrow-minded people. But the author, by choosing a different name, changed the meaning of the work.

Chatsky, who considers himself an intelligent person, often behaves stupidly and does not notice the obvious (he cannot believe that Sofia is in love with Molchalin, does not understand that others are laughing at him). From the point of view of Famusov and his guests, Chatsky is stupid (he does not know how to adapt, is not ready to lie, flatter, insinuate, and does not use his abilities to achieve success). He even became known as a madman, which all the characters in the work readily believed. But the concept of intelligence for A. Griboyedov does not include prudence (in this sense, Famusov can also be called smart), but implies freethinking, educational views, new, different from the established ones. Chatsky exposes the vices of patriarchal society and opposes himself to it. This is the source of all his troubles.

Chatsky suffers not so much from his mind as from his own desire to change the world, to make it better. Therefore, he is comical in Famus society. The author himself, who defined the genre of his work as a comedy, is ironic about what is happening.

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Traditionally, the genre of “Woe from Wit” is defined as a comedy in verse. Formally, the play corresponds to the principles required for a classical dramatic work. The action takes place in one place within one day. The characters are clearly divided into positive and negative, the author’s position is transparent, and his sympathies are immediately guessed. The plot is based on a love affair. However, the comedy was innovative in many ways. Social conflict pushes the love affair into the background. The play raises many serious questions that can cause heated debate and give rise to deep thought. Therefore, the work combines the features of character comedy, everyday comedy, and satirical work.

The play really has the characteristics of a comedy. There are comic characters and situations. The comedy is also based on the discrepancy between the character's self-image and who he really is. So, Skalozub imagines himself to be significant and important, but in reality he is limited and narrow-minded. The main character himself is not comical. Chatsky, who finds himself in the minority, seems defeated and misunderstood. He must retreat, at least for a while. In the finale there is no triumph of the positive hero, which is mandatory for a classic comedy: vice must be defeated by virtue.

The characters depicted by Griboyedov are close to real people. They are not as clear as they seem at first glance. Each of them is endowed with both positive and negative qualities. For example, Sofia, the positive heroine and beloved of Chatsky, undoubtedly evokes sympathy. At the same time, she constantly lies, is carried away by Molchalin, understanding his insignificance. Famusov, Chatsky’s ideological opponent, does not seem to be a sharply negative character. His disagreement with Chatsky’s ideas is determined by his upbringing and lifestyle, that is, by another generation.

Chatsky himself, the only positive character, cannot help but evoke sympathy and slight condescension due to the fact that he does not understand the meaninglessness of his tirades in front of Moscow society. Thus, the play, which is based on a comedy of manners, is a mixture of several genres.

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ISSUES

The play touches on the most pressing issues that worried the enlightened society of that time: the plight of the Russian people, serfdom, autocratic power, the level of education of society, the principles of educating the younger generation, veneration of rank, bribery, etc. A real dispute unfolds between the characters about the meaning of education, the appointment of teachers , the need for knowledge. For Famusov, teachers are “vagabonds”; he does not see the need to teach children and worry too much about their development. Chatsky criticizes the low level of education of the Moscow nobility, understanding its superficiality and formal nature. The work depicts pictures of landlord tyranny towards serfs. One master, like Famusov, exchanged a crowd of faithful servants for three greyhounds, another sold peasants, separating parents and children.

The old woman Khlestova, boasting about her new blackamoor maid, tells how she made this acquisition. At the same time, she is incredibly gentle with the dog. Chatsky is outraged that landowners perceive servants as useful things. Attitudes towards service are also becoming a subject of debate. Famusov perceives his job responsibilities formally, without delving into details and without being interested in details. Molchalin wants to curry favor and treats Famusov’s service as a means of achieving his selfish goals. Chatsky does not recognize this approach to his duties. He believes that one must serve the cause, for the good of the Fatherland, and not for the sake of rank, the praise of one’s own boss or the approval of society. But it is not only social phenomena that give rise to Chatsky’s critical statements.

Personal and family relationships characteristic of noble society are also not accepted by them. The Gorichs' marital relationship seems artificial to Chatsky and evokes his irony. The fact that Platon Mikhailovich found himself under his wife’s heel is incomprehensible to Chatsky. The relationship between Sofia and Molchalin could be built in a similar way. The husband’s lack of his own opinion, outward humility, and constant boredom cannot evoke positive emotions in the hero. Chatsky turned out to be the spokesman for the views of that part of the enlightened intelligentsia who did not want to put up with the established way of life.

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FEATURES OF THE CONFLICT

There are two lines in the work - love and social. The love conflict lies on the surface, and the work begins with it. Chatsky wants to marry Sofia, but is faced with a cool attitude from her father. He learns about another contender for Sofia’s hand, more worthy, in Famusov’s opinion, Skalozub. Besides him, there is Molchalin, who clearly enjoys the favor of Sofia herself.

The love affair is presented rather superficially. We do not observe the clash and struggle between Chatsky and his rival for Sofia’s favor. And the final departure of the hero is connected not only with love failure. The uniqueness of the conflict in the play is that, having begun as a love conflict, it develops into a social conflict. The heroes are divided into two unequal camps: all of Famus’s Moscow and Chatsky himself. Famusov and his entourage are supporters of patriarchal traditions and the usual way of life.

In Famusov’s house, everything is built on pretense: Sofia hides her love for Molchalin, Famusov puts on a virtuous appearance, Molchalin pretends to love Sofia, although he does it for selfish reasons. Famusov is supported by a huge number of characters - his allies. These are household members, guests, and even heroes who are simply mentioned, but who do not participate in the action. Due to this, the play turns out to be quite densely “populated” with characters, although the main action is connected with members of the same family. The very number of characters opposed to Chatsky speaks of the inequality of forces involved in the conflict. Chatsky is lonely, and this is his tragedy.

The social conflict reaches its climax in the scene at the ball in Famusov's house, when Chatsky turns out to be an outcast not only because of his views and daring speeches, but because of imaginary madness. Other heroes readily believe in his madness. This turned out to be much more convenient to explain Chatsky’s behavior than to delve into his speeches and try to understand him. Thus, all of Chatsky’s actions automatically become meaningless for those around him. The main conflict of the play is the clash of new progressive views in the person of Chatsky with the old patriarchal world of lordly Moscow.

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CHARACTERISTICS OF CHATSKY

The young nobleman Alexander Andreevich Chatsky, after spending three years outside of Russia, returns to Moscow, to the house of Pavel Afanasyevich Famusov, where he was raised after the death of his parents. Remembering Chatsky, Lisa says: But be a military man, be a civilian, Who is so sensitive, and cheerful, and sharp, Like Alexander Andreich Chatsky! And Sofia adds: “Sharp, smart, eloquent.”

Chatsky is ardent and hot, he appears before Sofia like a whirlwind and immediately disturbs the calm of the inhabitants of Famus’s house. His loud and passionate speech, wild joy, laughter, and sincerity are inappropriate here. Chatsky's impetuosity and enthusiasm confuses other heroes. From Famusov’s lips come the words: “dangerous person,” “does not recognize the authorities,” “he wants to preach freedom.” Chatsky is dangerous in a society where you have to curry favor, pretend and lie. Chatsky’s speech, first of all, testifies to his education and erudition. He quotes Derzhavin (And the smoke of the Fatherland is sweet and pleasant to us!), refers to images of world literature (Minerva, Cupid, Nestor), in his speech there are both Old Slavonicisms and words of high style (hungry, quest, daviche), and romantic pathetic expressions (I love you without memory, I am at your feet). Chatsky’s speech is emotional, rich in comparisons, metaphors, and combines sublime and purely colloquial vocabulary (black-haired, hoarse, strangled).

Chatsky's views are characteristic of an advanced person. They may seem idealistic and naive. Chatsky believes that one must serve the cause, not the boss, that origin and wealth do not make a person better, and superficial education does not make a person smarter. The mind tells Chatsky that he needs to escape from Famusov’s house, but his heart speaks of love for Sofia. He cannot come to terms with her attachment to Molchalin. Chatsky is unclear what such an intelligent girl found in Molchalin, how she could fall in love with such an insignificant and petty person, such an empty personality.

Chatsky is a man of action, enthusiastic, energetic and active. But in Famusov’s Moscow, no one needs him, because his ideas do not find a response, he only interferes, tries to disrupt the usual way of life.

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CHARACTERISTICS OF FAMUSOV

Famusov Pavel Afanasyevich - manager in a government place, Sofia's father, widower. The entire action of the comedy takes place in his house. Famusov is an opponent of enlightenment.

Everything new and progressive is perceived with hostility. This is a threat to his well-being and measured life. He calls teachers “tramps” and does not understand why they are hired at all: We take tramps into the house and on tickets, So that we can teach our daughters everything, everything, And dancing, and laziness, and tenderness, and sighs, As if we were preparing them to be wives buffoons. Books make him sad and sleepy: French books make her sleepless, but Russian books make it painful for me to sleep. Famusov selects a groom for his daughter based solely on his position in society and wealth (He would like a son-in-law with stars and ranks...). The wealthy Colonel Skalozub is an ideal candidate for a groom. Famusov says to his daughter: Whoever is poor is not a match for you. Only rich and noble people are invited to Famusov’s ball.

The hero, who is not very well-born himself, is concerned about his own position in society. After the scandal with Molchalin, Famusov most of all laments what Princess Marya Aleksevna will say! Famusov is a hypocrite and a hypocrite. Instilling in his daughter high moral ideals and positioning himself as a champion of morality, he himself flirts with the maid Lisa, who tries to laugh it off: Let me go, you flighty people, Remember, you are old people...

Famusov treats his service formally, without delving into details and without being interested in details. Getting a rank is the main goal of the service. He doesn’t even think about the benefit to society and the Fatherland: But with me, what matters and what does not matter, My custom is this: It’s signed, so off my shoulders. Famusov is a representative of the patriarchal Moscow nobility. His views on enlightenment, education, behavior in society, and attitude towards service were characteristic of most nobles and landowners of that time.

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CHARACTERISTICS OF SKALOTOOTH

Skalozub Sergei Sergeevich is a colonel, a good friend of Famusov, a candidate for Sofia’s groom. He is still young, but already has rank. Moreover, he is very rich: For example, Colonel Skalozub: And a golden bag, and aims to become a general. When Skalozub appears at Famusov’s house, the owner begins to fawn over him and ingratiate himself: Dear Sergei Sergeich, Put down your hat, take off your sword, Here’s a sofa for you, lie down on your bed.

Skalozub has all the qualities suitable for an ideal groom. He is respectable, noble, rich, has an enviable rank and prospects. However, rank is the only goal to which Skalozub strives: Yes, to achieve rank, there are many channels; I judge them as a true philosopher, I just wish I could become a general. The skalozub is limited and rough. This is an example of a real martinet. Sofia is horrified at the thought that he could be her fiancé: How sweet! and it’s fun for me to hear about the frunt and the rows. He hasn’t uttered a smart word for a long time, - I don’t care what’s for him, what’s in the water. Skalozub is opposed by another representative of the army class. Together with Famusov, they discuss Skalozub’s cousin, also a military man. He was the same servant as Skalozub, received awards and ranks.

However, he suddenly left the service and retired to the village: The rank followed him: he suddenly left the service and began reading books in the village. Skalozub and Famusov are sincerely surprised and do not understand why a person suddenly left a promising career, retired, began to read books, and think. Famusov is perplexed by the behavior of Skalozub’s relative, but wholeheartedly approves of the behavior of Sergei Sergeevich himself: What youth! - read! .. and then grab it! .. You behaved properly. You have been colonels for a long time, but you have only served recently. Such decisions are unacceptable in the society of Famusov and Skalozub. The image of Skalozub is satirical. He personifies the imperial army with its retrograde orders, drill, veneration of rank and blind obedience.

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CHARACTERISTICS OF MOLCHALIN

Molchalin Alexey Stepanovich is a young man, Famusov’s secretary, who lives in his house. Taken by Famusov (although he tries to place only relatives and acquaintances) from Tver for diligence and accuracy. Molchalin's surname speaks for itself: silence is his main quality, which, however, hides many other negative traits.

Molchalin courtes Sofia because of her father's position and connections. He cleverly deceives the girl, posing as a sensitive and timid young man: Molchalin is ready to forget himself for others, The enemy of insolence - always shy, timid, Who can you spend a whole night with like that? We are sitting, and the courtyard has long since turned white... Molchalin’s timidity is contrasted with Chatsky’s ardor, which frightens and confuses Sofia. Molchalin, on the contrary, is quiet, modest, sentimental: He will take a hand, press it to the heart, He will sigh from the depths of his soul, Not a free word, and so the whole night passes, hand to hand, and does not take his eyes off me... Chatsky treats Molchalin with mockery and slight contempt, not perceiving him as a rival in the fight for the girl’s heart: It used to be that when he sees a new notebook, he asks: please write it off. However, he will reach the known levels, Because nowadays they love the dumb.

At the ball, Molchalin shows his helpfulness to Famusov’s high-ranking guests, which earns Chatsky’s contempt. Molchalin’s actions reveal his admiration for rank and wealth. The reader sees Molchalin's true face in the scenes when he finds himself alone with Lisa. He is no longer timid and admits why he is courting Sophia, setting out his life philosophy: My father bequeathed to me: First, to please all people without exception, the Master where I happen to live, the Chief with whom I will serve, his Servant who cleans dresses, To the doorman, to the janitor, to avoid evil, To the janitor's dog, so that it is affectionate. Having learned about Molchalin's duplicity, Sofia drives him away.

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CHARACTERISTICS OF SOFIA

Sofia Pavlovna Famusova is Famusov’s daughter, a young girl. She secretly meets with her father's secretary Molchalin, attracted by his ostentatious modesty and helpfulness. Chatsky notes that Sofia has become very prettier, but this is not the only thing that attracts Chatsky. The heroine herself is not distinguished by timidity and meek disposition. Sofia is smart, resourceful, brave. She is not afraid to show her feelings for Molchalin, but tries to hide them from her father. Sofia has a strong character, intelligence, and sense of humor.

This is a passionate, ardent and selfless nature. She is not interested in the rich Skalozub. Sofia is in love with Molchalin, although he has neither title nor fortune. She is not afraid of public condemnation, she is open and sincere in her feelings. At the same time, Sofia is a product of Famus society. Lies and hypocrisy are the atmosphere in which she grew up. Realizing that Molchalin will never be accepted by her father as a groom, she hides her love. Sofia adapts to the environment in which she lives. She hides her lover, lies to her father, avoids explanations with Chatsky. Probably, brought up in an atmosphere of patriarchal life, Sofia could not have grown up any other way. She did not receive a deep and comprehensive education (although she loves to read).

The heroine's days were filled with endless balls and dances in the company of people like Famusov's guests. Sofia's character was formed in an atmosphere of lies and pretense. Even after learning about Molchalin’s duplicity, Sofia orders him to leave before anyone finds out anything. She is glad that she discovered the truth under the cover of darkness, without witnesses: She herself is pleased that she found out everything at night, There are no reproachful witnesses in her eyes, Like before, when I fainted, Chatsky was here...

It is Sofia who, out of anger, starts a rumor about Chatsky’s madness, throwing out a careless phrase: “He’s out of his mind.” It was she who contributed to his alienation from the whole society; all the guests, without exception, turn away from him. Even Sofia, who is positive, friendly and honest by nature, turns out to be unable to understand Chatsky and respond to calls and be inspired by his ideas.

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FAMUSOVSKAYA MOSCOW

The play reflects the irreconcilable struggle between the conservative landed nobility and bureaucracy, on the one hand, and the progressive intelligentsia, on the other. The lordly Moscow is represented not only in the images of Famusov, Skalozub and Molchalin. A string of images of Famusov’s guests flashes before us: Gorichi, princes Tugoukhovsky, Countess Khryumina with her granddaughter, old woman Khlestova.

They gather at Famusov's for a ball. Here they are proud of their noble family, boasting of ranks and titles. The ladies are flirtatious and cutesy; mothers look for potential suitors for their daughters. Old women are grumpy and arrogant. Natalya Dmitrievna conducts small talk with Chatsky. For her, her husband is a reason to brag, an object that is pleasant to display. Platon Mikhailovich, whom Chatsky knew before, now spends his time in idleness and boredom. The Tugoukhovsky princesses look after the suitors. Khlestova grumbles and lectures everyone. This is patriarchal Moscow, accustomed to living as the fathers bequeathed: slowly, habitually, in the old way. And Chatsky with his ideas is not able to change the established way of life for centuries.

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LANGUAGE OF COMEDY

In the play "Woe from Wit" A. Griboyedov turned out to be a true innovator in terms of language. Language becomes a means of characterizing images. Chatsky’s correct speech reveals his education, at the same time interspersed with apt and vivid colloquial words that enhance the ironic nature of his statements. Only Chatsky is characterized by monologues that are in the nature of sermons. They characterize the hero as a skilled speaker. The main participant in the disputes with Chatsky is Famusov. His remarks are quite long, which emphasizes his loquaciousness.

Famusov is rude to his subordinates, addresses them on a first-name basis, and is unctuously polite to Skalozub. Sofia's romanticism is emphasized by high-style words that could have been borrowed from sentimental novels. Skalozub’s speech is rich in “army” vocabulary, which determines not only his type of activity, but also his limitations and inertia. Molchalin kindly and obsequiously adds the particle -s (short for the word sir) to the words. Most of the comedy characters have become household names, and many of their lines have become part of our everyday speech.

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THE PLAY IN RUSSIAN CRITICISM

The comedy "Woe from Wit" was incredibly popular among its contemporaries and, undoubtedly, had a huge influence on all Russian literature. The work caused a lot of responses and critical statements. A. Pushkin was one of the first to express his opinion about comedy in a letter to A. Bestuzhev (1825). He writes that Griboyedov's goal was to depict a picture of morals. The only intelligent character in the work is Griboyedov himself. Chatsky, ardent, noble and kind, “adopted” the thoughts and satirical remarks of the writer.

Pushkin denies Chatsky intelligence because he wastes words and feelings in front of people like Famusov, Skalozub and Molchalin. At the same time, the poet notes the true talent of the creator of the play. One of the most profound analyzes of the play is presented in I. Goncharov’s article “A Million Torments” (1871). The author writes that the play “is distinguished by its youthfulness, freshness and< … >survivability." He pays special attention to the image of Chatsky, without which “there would be no comedy itself, but there would, perhaps, be a picture of morals.” Goncharov considers him not only smarter than other heroes. He writes that Chatsky is “positively smart.”

In addition to intelligence, the hero has a sensitive heart. At the same time, Chatsky is “impeccably honest.” He is active, and in this he is better than Onegin and Pechorin. The critic notes that the comedy, which began with a love affair, develops into a clash of two worldviews: “the century of the past” and “the century of the present.” As a result of this unequal struggle, Chatsky received his “millions of torments.” He is forced to leave without finding sympathy. Goncharov analyzes in detail Chatsky’s emotional state, noting his internal tension throughout the entire action. The hero's witticisms become more and more bilious, and his remarks become more caustic. The unequal struggle with Famus society exhausted him. “He, like a wounded man, gathers all his strength, challenges the crowd - and strikes everyone - but he did not have enough power against the united enemy.”

Chatsky is the most vivid image in the work. This is a strong and deep nature that cannot be exhausted in comedy. This is a suffering character. “This is the role of all Chatskys, although at the same time it is always victorious.” Unaware of their victory, such people “only sow, but others reap - and this is their main suffering, that is, in the hopelessness of success.” Goncharov pays much attention to the ball scene in Famusov’s house. This is where real comedy is presented - scenes from Moscow life. Sofia, according to Goncharov, is not so to blame for what is happening. He pays tribute to her good instincts, her ardor, her tenderness.

Goncharov's sympathies are clearly on the side of the heroine. No wonder he compares her with Tatyana Larina. Sofia, just like Tatyana, begins a romance herself and is just as carried away by the first feeling of love. Goncharov explains Sofia’s choice of Molchalin solely by chance. Sofia's trouble is in her upbringing, typical of a girl of noble birth at that time. Goncharov’s article notes the bright and original language of the play, which distinguishes it from other works. “The public knows such plays by heart,” so actors in the theater need to pay special attention to the manner in which they pronounce lines. In conclusion, I. Goncharov describes in detail the actors’ performances, analyzes the production of the play and gives instructions for those who will play in the following performances.

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APHORISMS OF GRIBOEDOV

Chatsky: A mixture of languages ​​still prevails: French with Nizhny Novgorod? After all, nowadays they love the dumb. The legend is fresh, but hard to believe... I would be glad to serve, but it is sickening to be served. Ranks are given by people, but people can be deceived. The houses are new, but the prejudices are old. Who are the judges? The women shouted: hurray! And they threw caps into the air! Get out of Moscow! I don't go here anymore. Carriage for me, carriage! Famusov: What a commission, creator, to be the father of an adult daughter!

4.2 / 5. 5