Features of the poetic language of “Woe from Wit” and its stage life. Comedy language

The language of "Woe from Wit" differed significantly from the language of the comedy of those years. Griboedov contrasted sentimentalist aestheticism and sensitivity, as well as the classicist “theory of three calms,” with the realistic principle of nationality. The speech of the characters in the play is, first of all, the speech that could actually be heard in salons and living rooms, “while driving around on the porch,” at inns, in clubs and in officer meetings. Such a rejection of the basic provisions belles lettres caused critical controversy. The already mentioned Dmitriev reproached Griboedov for a number of phrases and speech patterns that, in the critic’s opinion, could not be acceptable in literature. However, most critics praised the playwright's linguistic innovation. “I’m not talking about poetry, half of it should become a proverb” - this is how Pushkin assessed Griboedov’s skill. “As for the poems with which “Woe from Wit” is written, - in this regard, Griboyedov killed for a long time any possibility of Russian comedy in verse. A brilliant talent is needed to continue with success the work begun by Griboyedov...” wrote in one from his articles Belinsky.

Indeed, many lines from the comedy began to be perceived as aphorisms, idioms, living their independent life. Saying: "happy hours do not watch"; "went into a room, ended up in another"; "sin is not a problem, rumor is not good"; “and grief awaits around the corner”; "and the smoke of the Fatherland is sweet and pleasant to us"; "a larger number, a cheaper price"; "with feeling, with sense, with arrangement"; "I would be glad to serve, it's sickening to serve"; "fresh tradition, but hard to believe"; " gossips worse than a gun"; "the hero is not my novel"; "lie, but know the measure"; "ba! all familiar faces" - many people do not remember where these phrases come from.

Language in comedy is both a means of individualizing characters and a method of social typification. Skalozub, for example, like social type military personnel very often uses army vocabulary (“frunt”, “ranks”, “sergeant major”, “trench”), and individual characteristics his speeches reflect his self-confidence and rudeness (“you won’t faint me with learning,” “but make a uttered noise, it will instantly calm you down”), insufficient education, manifested in the inability to construct a phrase (“on the third of August, we sat in a trench: it was given to him with a bow, to me on the neck") and in an inaccurate choice of words ("with this estimate" instead of "sharpness"). At the same time, he tries to make jokes (“she and I didn’t serve together”).

Famusov’s speech is the so-called Moscow noble vernacular (“they don’t blow anyone’s mouth,” “you should smoke in Tver,” “I scared you,” “trouble in the service”), replete with diminutive forms (“to the little cross, to shtetl", "outlet"). This character appears in the play in different situations, that’s why his speech is so varied: sometimes it’s ironic (“After all, I’m somewhat akin to her,” he says about Sophia to Chatsky), sometimes it’s angry (“To work with you! To settle you!”), sometimes scared.

Especially the monologues and remarks of Chatsky, who appears as a new social type, close in speech characteristics to the Decembrist pathos, required a lot of author’s work. In his speech there are often rhetorical questions (“Oh! if someone penetrated into people: what is worse in them? soul or language?”), inversions (“Aren’t you the one to whom I was still from the shrouds, for some kind of plans?” incomprehensible, did they take children to bow?"), antitheses ("He himself is fat, his artists are skinny"), exclamations and special vocabulary ("weakness", "vilest", "hungry", "slavish", "holiest"). At the same time, in Chatsky’s speech one can find Moscow vernacular (“okrome”, “I won’t remember”). The main character's language contains the most aphorisms, irony, and sarcasm. Moreover, this speech conveys a wide range of psychological characteristics character: love, anger, friendly sympathy, hope, wounded pride, etc. The language also reveals the negative sides of Chatsky’s character - harshness and willfulness. So, to Famusov’s question: “...would you like to get married?” - he replies: “What do you need?”, and Sophia declares: “Has your uncle jumped off his life?” The hero's monologues and remarks are always right on target, and it is always difficult to avoid or parry them. He does not miss a serious reason, not the slightest reason for a strike, and does not give the opportunity to retreat with honor, and then his opponents unite. Chatsky is truly a warrior, as Goncharov convincingly showed, but war always entails grief and suffering.

“Kozma Prutkov” - Alexey Konstantinovich Tolstoy. Alexander Mikhailovich Zhemchuzhnikov. The mystery of Kozma Prutkov. Such a fable, of course, did not go unpunished. Most Kozma spent time on literature. Creators biography aphorisms poems titles of plays. The poet's desire. The young man studied well. There was prose and poetry.

"White Bim" - Troepolsky Gabriel Nikolaevich. From the black cloud It is snowing, and Bim is still waiting... The leaves will soon fall from the trees, and Bim is still waiting... For some reason, the friend does not come, but Bim is still waiting... Despite his efforts good people, evil triumphs. Creation. The great good is to believe. And love.” Friendship and trust are not bought or sold.

“Writer Goncharov” - Problems. Treigut family. The ideals of eternal friendship are fading. Hopes for eternal love. Novel "Break" ("Artist"). He died when Goncharov was 7 years old. Goncharov Turgenev Druzhinin Ostrovsky Tolstoy Grigorovich. From 1847 to 1858. published in 1859. Novel " An ordinary story" Pupils of I.A. Goncharov.

“L. Andreev Kusaka” - Why wasn’t Kusaka taken to the city? Oh, how the mind can withstand the mighty hurricane of fate. How does Kusaka express his hatred and love? Nature is also not indifferent to Kusaka’s fate. 16. We break the hearts of friends and family and cripple each other’s souls. Let's define the theme and idea of ​​the work. "Bite" (1901). (1871 - 1919).

“Victor Dragunsky” - A patient with chicken pox Wash the dishes yourself (The tricky way) Ш (“The Enchanted Letter”). Ksenia Dragunskaya. Which Dragunsky story has the shortest title? Deniska Dragunsky with her dad. Books by Victor Dragunsky. What does it look like when your foot doesn't reach the bicycle pedal? Chicken... Which patient looks like a green leopard?

"Yuri Kazakov" - . M. Gorky. New layers of literature, thematic and stylistic, were maturing. The first collection of stories in Moscow was “At the Stop Station” (1959). Competition for literature teachers "Victoria" "Creativity of Y.P. Kazakov." Yuri Kazakov came to literature when urgency in talents of this kind.

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"Woe from Wit" follows the rules that apply to the comedy genre according to the theory of three styles - this work is written in simple spoken language. However, here too there is one deviation from the canons: Chatsky’s monologues, main character, pronounces high style, which would be more appropriate in a tragedy. With the help of this technique, Griboedov emphasizes the fact that Chatsky is unlike the society around him, he is superior to it.

Features of the poetic language “Woe from Wit”

The comedy is filled with phrases and expressions that later entered the language as "winged". This was predicted by A.S. Pushkin in his: he said that at least half of the text should turn into proverbs and sayings.

People still use Griboyedov’s expressions today, without even thinking about where they came from. For example, " Happy Hours do not observe”, “And the smoke of the Fatherland is sweet and pleasant to us”, “I would be glad to serve, it’s sickening to be served!”, “What kind of commission, Creator, to be adult daughter father! Everyone knows these statements, and not everyone knows their author.

This serves as proof that comedy has not yet lost and will never lose its relevance, because it describes eternal problems and unchanging human characters. All those images that are present in the comedy are still alive today, they just have been slightly adapted to modern realities. Griboyedov managed to perfectly reflect not only all the ins and outs Russian society early XIX centuries, but all facets of human nature.

Stage life "Woe from Wit"

This is precisely what the features of the scenes in “Woe from Wit” are connected with. In this comedy, the scenery is not so important: it can change, because it is just a background. The main thing is the selection of actors and their manner of speaking. Each actor and director imagines comedy heroes in their own way.

Sophia is portrayed either as a tender girl in love, or as a suffering heroine, or as the future powerful wife of a henpecked husband. Liza is either a simple, cheerful servant, or a vulgar serf girl, or someone extremely rational.

The image of Chatsky, the main character, causes the most theatrical controversy. Some portray him as a slightly boring “preacher at the ball” (as the critic Lotman called him), others as a suffering and lost intellectual in society.

It is very important to ensure that the characters pronounce the text in the correct manner. The language of the comedy “Woe from Wit” is such that it cannot be read in an overly artistic or pretentious way; the more naturalness there is in the speech of the actors, the better for the production.

Therefore, directors often resort to all sorts of tricks. For example, in one of the productions of “Woe from Wit,” Famusov delivered his famous educational monologue ( “That’s it, you’re all proud...”), playing tag with young people.

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The comedy by A. S. Griboyedov “Woe from Wit” was written after Patriotic War 1812, during the period of the rise of the spiritual life of Russia. The comedy raises topical issues public issues of that time: the situation of the Russian people, the relationship between landowners and peasants, autocratic power, the insane wastefulness of the nobles, the state of enlightenment, the principles of upbringing and education, independence and freedom of the individual, national identity. The ideological meaning of the comedy lies in the opposition of two social forces, lifestyles, worldviews : old, serfdom, and new, progressive, in exposing everything backward and proclaiming advanced ideas that time. The conflict of comedy is the conflict between Chatsky and Famusovsky society, between “the present century and the past century.” The society in the comedy was named after Pavel Afanasyevich Famusov. This hero is a typical representative of old Moscow society. He has all the advantages that are valued here - wealth, connections, so Famusov is an example to follow. Chatsky is a representative of the “present century”, an exponent of the advanced ideas of his time. His monologues reveal a holistic political program: he exposes serfdom and its products - inhumanity, hypocrisy, stupid military, ignorance, false patriotism. Representatives of the Moscow nobility are deprived of any civic thoughts and interests. They see the meaning of life, first of all, in material and life well-being. These are careerists and hypocrites who are in power, occupy high social status. The Famus people view the service only as a source of income, as a means to receive undeserved honors. The confession of Famusov himself is very indicative: And what is my business, what is not my business, My custom is this: Signed, off your shoulders. In the society of Moscow nobles, such phenomena as nepotism and nepotism are common. Famusov says: “Well, how can you not please your own little person,” and does not hide the fact that his “foreign employees are very rare: More and more sisters, sisters-in-law, children.” These people are deprived of a sense of humanity, they are enemies of freedom and stranglers of enlightenment, their innermost desire - “to take all the books and burn them.” One of them trades a crowd of his servants for three greyhounds. Another, for the sake of empty amusement, drives “rejected children from mothers and fathers” to the serf ballet, and then sells them off one by one. Satirically denouncing the local and bureaucratic nobility, the entire feudal-serf system, A. S. Griboyedov clearly saw the positive social forces of his era: the emergence and growth of new, progressive aspirations and ideas. So, Skalozub complains to Famusov that he cousin, having accumulated "some new rules", neglected the rank that followed him, left the service and "began to read books in the village." Princess Tugoukhovskaya says that her relative, who studied at the Pedagogical Institute, "does not want to know the ranks!" Famusov, referring to the widespread freethinking, calls his time "a terrible age." But with the greatest completeness, the awakening of national, social self-consciousness is embodied in the image of Chatsky. This is undoubtedly an ardent patriot, a fearless opponent of serfdom and despotic autocracy, a merciless judge of all lies and falsehood, of everything that is hostile to the new, that stands in the way of reason. Chatsky stigmatizes ignorance, denounces nobility and acts as an ardent propagandist of science, education, and art. In comedy, the conflict ends with the general recognition of Chatsky as crazy, and the love drama ends with exposure love affair, which was conducted by Molchalin. At the end of the play, Chatsky feels abandoned by everyone, the feeling of alienation from the society to which he once belonged intensifies in him. Denouement love drama affects the main conflict: Chatsky leaves all contradictions unresolved and leaves Moscow. In a clash with the Famus society, Chatsky is defeated, but, losing, he remains undefeated, as he understands the need to fight against the “gone century”, its norms, ideals, life position. As the first in new Russian literature realistic comedy“Woe from Wit” carries signs of a bright artistic originality. The realism of comedy is manifested in the art of speech individualization of characters: each character speaks his own language, thereby revealing his own unique character. Griboyedov the realist significantly enriched the language of new Russian literature with elements colloquial speech, including vernacular and mastering the vernacular. Before Woe from Wit, comedies were written in iambic six-foot, and the dialogues lost their touch of lively speech.

In this lesson we will learn what the work “Woe from Wit” conveys. We will also look at the language in which the comedy is written.

Topic: Russian masterpieces literature of the 19th century century

Lesson: Features of the characters and language of the comedy “Woe from Wit”

We continue to talk about the comedy "Woe from Wit". Whenever we talk about language, there is a certain feeling of boredom. The fact is that those Russian language lessons that were held at school in past years and are being held now, as a rule, evoke this very boredom. But there is nothing more fun than the language of comedy, which constantly provides reasons for laughter.

Speech styles as a way of characterization

There is a fairly clear explanation of how the modes of verbal expression, called stylistic features speech. The style of speech mainly determines everything that speech can achieve. Style is a way of speech determined by its purpose.

The story begins with Griboyedov modern theater in Russia. Each of the characters in his comedy speaks in a very special way, and there is a character who is generally silent, silent until they force him to say something, his name is Molchalin. Each character is characterized most fully by the style with which he constructs his speech. Lizonka, fluttering with light phrases from one interlocutor to another. Sophia, who constructs her speech like a page of translation from French novel. Chatsky, who flares up with his tirades like a speaker gathering a circle around him at a social ball. Famusov, skillfully combining his teachings, his moral teachings, and the orders that he gives to his subordinates. Each of them has their own individual style. By how the character of each is revealed in these remarks, we can monitor the integrity of the plan.

There is a legend that Griboedov tried to read his comedy for the first time by I.A. Krylov, who perfectly mastered free speech, relaxed, easily combining different characters. So, according to this version, Griboyedov agreed with Krylov that he would listen as much as he wanted, at the very moment when he got tired, he could get up and leave. Krylov had a reputation as a rude, direct old man who avoided social decorum and formalities. Krylov did not interrupt the reading of Griboedov, and then hugged him, kissed him and recognized him as his successor.

One witty writer has a very apt expression: "Laughter is the exposure of someone's stupidity." So, Griboyedov’s comedy is built on exposing stupidity. Language is the main means of exposing it.

We are talking about the meaning that is expressed in forms of speech. The meaning of what Griboedov does is that characters are not depicted, but the feelings that his stage characters carry with them are directly expressed. Viewers, actors, and readers recognize themselves, their contemporaries, and acquaintances in them.

Griboedov's comedy was rewritten many times. This method contributed to the development of comedy throughout its existence until it was staged in 1833, after the death of Griboyedov. Comedy exists in orally. This is exactly what A.S. imagined. Pushkin, one of the most thoughtful listeners, not readers. In 1825, in a letter to Bestuzhev, Pushkin wrote this: “I listened to Chatsky, but only once and not with the attention that he deserves. That’s what I caught a glimpse of.” Everything that Pushkin notices, he notices by ear, and in order for us to understand and appreciate how Griboedov sculpts the characters with the help of language, it is fundamentally important for us to hear, and not see, this text. Just as a sculptor sculpts clay with his hands, creating what he wants to show the viewer, so a playwright, with the help of words, with the help of sound images, sculpts what he wants to show. Therefore, by depicting his characters with sounds, the playwright sets before us a very specific task of perception. All playwrights created their stories in approximately the same way. dramatic works. “A dramatic writer must be judged according to the laws that he himself has recognized above himself” - the words that Pushkin wrote in that very letter to Bestuzhev, where they talked about Chatsky’s audition. The main character for Pushkin is not Famusov, but Chatsky, whose speech contains all the impressions that Griboyedov wants to express plastically. He expresses the feelings that his generation shares.

Chatsky's tirades

Of all the speeches that Griboyedov’s characters pronounce from the stage, the tirades uttered by Chatsky sound most expressively and clearly. No wonder Pushkin said that he “listened to Chatsky.” Famusov with all his speeches builds a treatise on the decline of morals contemporary to that time of Russia. All that Chatsky says in response to him is a response about a change in morals, about the need to reconsider those political and state convictions that guided the people of the past century. In essence, the dispute between fathers and sons, which will then continue throughout Russian literature, at the very beginning reaches high voltage and extreme sharpness. In response to Famusov’s monologue about Uncle Maxim Petrovich, Chatsky utters something that carries the main semantic difference, the opposition of what is main idea the present century and the idea of ​​the past century. Everything he says is smart. But what matters to us is not what he says, but how. The fervor with which this entire sequence of thoughts is presented is of very special interest.

“..And exactly, the world began to grow stupid,

You can say with a sigh;

How to compare and see

The present century and the past:

The legend is fresh, but hard to believe,

As he was famous for, whose neck bent more often;

As not in the war, but in the world they took it with their foreheads,

They hit the floor without regret!

Who needs it: those are arrogant, they lie in the dust,

And for those who are higher, flattery was woven like lace.

It was an age of obedience and fear,

All under the guise of zeal for the king.

I'm not talking about your uncle;

We will not disturb his ashes:

But in the meantime, who will the hunt take?

Even in the most ardent servility,

Now, to make people laugh,

Bravely sacrifice the back of your head?..”

In the way Chatsky constructs periods in his speech, clear traces of the rhetoric of the very science that Griboedov studied at the university noble boarding school are visible. These are rhetorical periods, built in strict accordance with the canons of ancient rhetoric. Chatsky says how statesman, in contrast to Famusov, who thinks of himself as a service man. “I would be glad to serve, but being served is sickening,” says Chatsky.

And this is how Chatsky ends his monologue:

“...Although there are hunters everywhere to be mean,

Yes, nowadays laughter frightens and keeps shame in check;

No wonder the sovereigns favor them sparingly..."

By mentioning laughter and shame, Chatsky generally takes the dispute with Famusov to a different plane. Laughter stops a person before committing any act; this is laughter, which we now call public opinion. For Famusov, such a concept does not exist at all. Yes, there is the opinion of Princess Marya Alekseevna, which can affect his reputation, but Famusov does not have the concept of “public opinion”. But Chatsky is guided by precisely this idea; he believes that the opinion of society opinion is more important individuals. Also the concept of shame, which Famusov does not have, but for Chatsky it is decisive. The speech of the characters turns out completely different levels consciousness.

The structure of this language requires special explanation. The fact is that in our everyday speech we use language that is determined by the situation. Sometimes we speak in formal, strict language, but in most cases we speak in everyday language. Everyday language does not have certain rules; we may not finish sentences or words. We can simply leave hints without revealing our thought, although it will be clear. This language is similar to sign language. Words can be replaced with gestures or facial expressions.

This living, direct everyday language, completely unacceptable in books, is necessary for stage speech. In order to get an idea of ​​the person on stage, you need to convey in short strokes, in separate words, the feeling of communicating with this person. It’s as if we are communicating with the characters that Griboyedov brings to the stage. The principle of unity of place is observed: all the action takes place at the same time on the stage, which is designed as a room in the Famusovs’ house and is very organically connected with the home theater where Griboedov’s comedy is to be presented. The principle of unity of action is observed: everything that happens in Griboyedov’s comedy happens inextricably, in one piece - here and now. Famusov's house becomes a kind of similarity to the house in which that home theater is located.

Unity of time, unity of place, unity of action - three formal principles classic drama for Griboyedov they turn out to be a completely different kind of technique. This is a technique that provides a direct, natural perception of everything that happens on stage and in the auditorium too. The stage and the auditorium have something in common, and phrases heard from the stage are perceived as a direct conversation with the audience. Therefore, there is a feeling of a kind of tight rope. In a conversation between two people, there is a feeling that they understand each other from half a word, from half a glance, sometimes they understand each other without words at all. We also understand them without words. The words that are spoken at the same time serve only to maintain this emotional tension.

Consider the first scene of the comedy. Lizonka is sitting in the living room, guarding the peace of Sophia and Molchalin, and suddenly master Famusov enters... The way they exchange phrases in this situation, expressing those very feelings about which it is impossible to say in any way, illustrates our thesis. The master entered, Lizonka was scared, now the master finds out that Sophia is in the bedroom with a man, and this man is Molchalin, who has no place in the young lady’s bedroom. So this fear cannot be told, it can only be shown. Here's how it happens:

Lisa

Oh! master!

Famusov

Master, yes.

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??

Lisa

No, sir, I... just by chance...

Famusov

Just by chance, take notice of you;

Yes, that's right, with intent.

Oh! potion, spoiler.

And then Famusov clings to Lisa. It is clear that the words in this case are those speech means, plastic means of expression, find themselves in some kind of contradiction with the meanings that arise. So for you and me, what is important is not what is said in a comedy, but how the characters speak. And this is crucial for the perception of any dramatic work.

In what each of the characters says, one can find signs of intelligence, and signs of stupidity, and signs of that great madness that distinguishes wise men. But every time these words take on true meaning and meanings only when they sound together with intonation, rhythm of speech, along with the meaning that the actor puts into it.

Pushkin, in his letter to Bestuzhev, already known to us, says that Chatsky is “an ardent, noble and kind fellow who spent some time with a very smart person" So he says very smart things, but who is he saying to? He says this to fools. “Is it worth throwing pearls in front of Repetilov?” - writes Pushkin and asks to give this letter to Griboyedov. It is quite obvious that Chatsky is not the mouthpiece of the author’s idea, whom we are accustomed to meeting on stage in classical drama. This is a completely independent character. And the author, Griboyedov, is a man of epic qualities who imbued him with thoughts. In the same way, we can talk about every character in a comedy, whether he is smart or stupid, whether he is evil or kind, depends on how the actor does it. Later it depended on the director, who dictated his will to the actors. And how the reader, viewer, listener will perceive it depends on him.

The language of the spectator and the language of the actor in the hall must coincide - this is a very important condition. The replica that sounds from the stage should be perceived in the hall as if it were alive, as an address to the audience. Everything that the characters say from the stage is addressed not so much to each other as to the audience. This is absolutely special welcome, reception of that fair booth folk theater, from which it grew European theater, which was soon imitated by Russian classicists, and his own Russian theater. But Griboyedov’s theater is not oriented towards Shakespeare, Molière, Schiller, it is mainly oriented towards that very popular squabble of throwing words around that exists in a fair booth. Characters exchange words like jugglers exchange words in an arena. different objects. In this sense, Griboyedov apparently laid the foundations of a theater that had not yet been born in Europe at that time. A theater that will appear in the 20th century and which will find itself in another crisis in the 21st century. But this is the topic of our next lessons.

1. Korovina V.Ya., Zhuravlev V.P., Korovin V.I. Literature. 9th grade. M.: Education, 2008.

2. Ladygin M.B., Esin A.B., Nefedova N.A. Literature. 9th grade. M.: Bustard, 2011.

3. Chertov V.F., Trubina L.A., Antipova A.M. Literature. 9th grade. M.: Education, 2012.

1. Tell us about the features of the comedy “Woe from Wit”

2. Why is Chatsky the main character of the comedy for Pushkin?

3. The language of the viewer and the language of the actor, what is their feature?