How Griboyedov wrote grief from the mind. The creative history of the comedy “Woe from Wit”

Creative tirelessness Bulach Imadutdinovich performed twice on the USSR Central Television, and, as commentators of that time said, with great success. It was then that he was called on Central Television the Dagestan Andronikov. And how many ten years has he been

The history of the creation of the comedy by A.S. Griboedov’s “Woe from Wit” will tell you what prompted the author to write the essay.

"Woe from Wit" creation story

"Woe from Wit"- a comedy in verse by A. S. Griboyedov, a satire on aristocratic Moscow society first half of the 19th century

When was the comedy "Woe from Wit" written?

Date of writing: 1822-1824

For the first time, the comedy “Woe from Wit” with significant cuts was published after the death of the author in 1833, and it was published in full only in 1861.

Griboedov entered the history of Russian literature as the author of the first Russian realistic comedy“Woe from Wit”, although he also wrote other works written earlier (the comedies “The Young Spouses”, “Student” and others). Already early plays Griboyedov contained connection attempts different styles with the aim of creating something new, but authentically innovative work became the comedy “Woe from Wit”, which in 1825, together with the tragedy “Boris Godunov” by Pushkin, opened the realistic stage in the development of Russian literature.

The idea for the comedy arose in 1820 (according to some sources already in 1816), but active work on the text began in Tiflis after Griboedov’s return from Persia. By the beginning of 1822, the first two acts were written, and in the spring and summer of 1823 the first version of the play was completed in Moscow. It was here that the writer could supplement his observations of the life and customs of the Moscow nobility, and “breathe the air” of secular drawing rooms. But even then the work does not stop: in 1824 a new version appears, called “Woe and No Mind” (originally “Woe to Wit”).

Creating “Woe from Wit” as a satirical comedy of manners, Griboedov used Moliere’s classic play “The Misanthrope” as a role model. The main character of this play, Alceste, is related to the main character of “Woe from Wit” Chatsky in the role of an “evil wise guy”: both characters openly and fiercely expose hypocrisy and other vices of the society in which they live.

Upon arrival in St. Petersburg, Griboyedov was invited by the playwright N. I. Khmelnitsky to read his new play in his house, in a narrow circle of friends, among whom were actors I. I. Sosnitsky, V. A. and P. A. Karatygin and playwright V. M. Fedorov. Just before the start of the reading, Griboyedov had a quarrel with the latter: Fedorov inadvertently allowed himself to compare the comedy, which he had not yet read, with his work “Liza, or the Consequences of Pride and Seduction.” This offended the author, so he declared that he would not read in front of Fedorov - the owner of the house failed to hush up the situation, and he was forced to leave the company: “The playwright, because of his unfortunate drama, had to play a comic role, and the comedian almost acted out dramas from -for his comedy."

A.S. Griboyedov, portrait in the manuscript “Woe from Wit”,
transferred to F. Bulgarin

“Griboedov is a “man of one book,” noted V.F. Khodasevich. “If it weren’t for Woe from Wit, Griboyedov would have no place at all in Russian literature.”

Indeed, at the time of Griboedov there was no professional writers, poets, writers of entire “series” of romance novels and low-grade detective stories, the content of which cannot be retained in the memory of even the most attentive reader for long. Engaging in literature at the beginning of the 19th century was not perceived by Russian educated society as something special. Everyone wrote something - for themselves, for friends, for reading with their families and in secular literary salons. In conditions of almost complete absence literary criticism main advantage work of art was not following any established rules or requirements of publishers, but the perception of it by the reader or viewer.

A.S. Griboyedov - Russian diplomat, highly educated socialite, who from time to time “dabbled” in literature, was not constrained by time, means, or methods of expressing his thoughts on paper. Perhaps, due to precisely these circumstances, he managed to abandon the canons of classicism accepted in literature and drama of that time. Griboyedov managed to create a truly immortal, extraordinary work, which produced the effect of a “bomb exploding” in society and, by and large, determined everything further paths development of Russian literature of the 19th century.

The creative history of writing the comedy “Woe from Wit” is extremely complex, and the author’s interpretation of the images is so ambiguous that for almost two centuries it continues to provoke lively discussions among literary experts and new generations of readers.

The history of the creation of "Woe from Wit"

The idea " stage poem"(as A.I. Griboyedov himself defined the genre of the planned work) arose from him in the second half of 1816 (according to S.N. Begichev) or in 1818-1819 (according to the memoirs of D.O. Bebutov).

According to one of the very common versions in literature, Griboyedov once attended a social evening in St. Petersburg and was amazed at how the entire audience worshiped foreigners. That evening she showered attention and care on an overly talkative Frenchman. Griboyedov could not stand it and made a fiery incriminating speech. While he was speaking, someone from the audience declared that Griboedov was crazy, and thus spread the rumor throughout St. Petersburg. Griboedov, in order to take revenge on secular society, decided to write a comedy on this occasion.

However, the writer apparently began working on the text of the comedy only in the early 1820s, when, according to one of his first biographers, F. Bulganin, he saw a “prophetic dream.”

In this dream, Griboedov allegedly appeared to him close friend, who asked if he had written anything for him? Since the poet replied that he had long since deviated from all writing, the friend sadly shook his head: “Give me a promise that you will write.” - “What do you want?” - “You know it yourself.” - “When should it be ready?” - “Definitely in a year.” “I oblige,” Griboedov answered.

One of A.S.’s close friends. Griboyedov S.N. Begichev in his famous “Note about Griboyedov” completely rejects the version of the “Persian dream”, stating that he had never heard anything like this from the author of “Woe from Wit” himself.

Most likely, this is one of the many legends that are shrouded to this day. real biography A.S. Griboedova. In his “Note,” Begichev also claims that already in 1816 the poet wrote several scenes from the play, which were subsequently either destroyed or significantly changed. In the original version of the comedy there were completely different characters and heroes. For example, the author subsequently abandoned the image of Famusov’s young wife, a social coquette and fashionista, replacing her with a number of supporting characters.

According to the official version, the first two acts of the original edition of “Woe from Wit” were written in 1822 in Tiflis. Work on them continued in Moscow, where Griboedov arrived during his vacation, until the spring of 1823. Fresh Moscow impressions made it possible to unfold many scenes that were barely outlined in Tiflis. It was then that it was written famous monologue Chatsky “And who are the judges?” The third and fourth acts of the original edition of “Woe from Wit” were created in the spring and summer of 1823 on the Tula estate of S.N. Begichev.

S.N. Begichev recalled:

“The last acts of Woe from Wit were written in my garden, in the gazebo. He rose at this time almost with the sun, came to us for dinner and rarely stayed with us long after dinner, but almost always left soon and came to tea, spent the evening with us and read the scenes he had written. We always looked forward to this time. I don’t have enough words to explain how pleasant our frequent (and especially in the evenings) conversations between the two of us were for me. How much information he had on all subjects! How fascinating and animated he was when he revealed to me, so to speak, his dreams and the secrets of his future creations, or when he took apart his creations genius poets! He told me a lot about the Persian court and the customs of the Persians, their religious stage performances in the squares, etc., as well as about Alexei Petrovich Ermolov and the expeditions in which he went with him. And how kind and witty he was when he was in a cheerful mood.”

However, in the summer of 1823, Griboedov did not consider the comedy complete. In the course of further work (late 1823 - early 1824), not only the text changed - the surname of the main character changed somewhat: he became Chatsky (previously his surname was Chadsky), the comedy, called "Woe to Wit", received its final name.

In June 1824, having arrived in St. Petersburg, Griboedov made significant stylistic changes to the original edition, changed part of the first act (Sofia’s dream, the dialogue between Sofia and Lisa, Chatsky’s monologue), and in the final act a scene of Molchalin’s conversation with Lisa appeared. The final edition was completed only in the fall of 1824.

Publication

Famous actor and good friend A.I. Griboyedov P.A. Karatygin recalled the author’s first attempt to introduce the public to his creation:

“When Griboyedov brought his comedy to St. Petersburg, Nikolai Ivanovich Khmelnitsky asked him to read it at his home. Griboyedov agreed. On this occasion, Khmelnitsky held a dinner, to which, in addition to Griboyedov, he invited several writers and artists. Among the latter were: Sosnitsky, my brother and me. Khmelnitsky then lived as a master, in his own house on the Fontanka near the Simeonovsky Bridge. At the appointed hour, a small company gathered with him. The dinner was sumptuous, cheerful and noisy. After dinner, everyone went into the living room, served coffee, and lit cigars. Griboyedov put the manuscript of his comedy on the table; the guests began to pull up chairs in impatient anticipation; everyone tried to sit closer so as not to utter a single word. Among the guests here was a certain Vasily Mikhailovich Fedorov, the author of the drama “Liza, or the Triumph of Gratitude” and other long-forgotten plays. He was a very kind and simple man, but he had pretensions to wit. Griboedov didn’t like his face, or maybe the old joker over-salted himself at dinner, telling unwitty jokes, only the owner and his guests had to witness a rather unpleasant scene. While Griboyedov was lighting his cigar, Fedorov, going up to the table, took the comedy (which had been rewritten rather quickly), swung it in his hand and said with an ingenuous smile: “Wow! What a full-bodied one! It’s worth my Lisa.” Griboyedov looked at him from under his glasses and answered through clenched teeth: “I don’t write vulgarities.” Such an unexpected answer, of course, stunned Fedorov, and he, trying to show that he took this sharp answer as a joke, smiled and immediately hastened to add: “No one doubts this, Alexander Sergeevich; “Not only did I not want to offend you by comparison with me, but, really, I’m ready to be the first to laugh at my works.” - “Yes, you can laugh at yourself as much as you like, but I won’t allow anyone to laugh at me.” - “For mercy, I was not talking about the merits of our plays, but only about the number of sheets.” - “You cannot yet know the merits of my comedy, but the merits of your plays have long been known to everyone.” - “Really, you are in vain to say this, I repeat that I did not mean to offend you at all.” - “Oh, I’m sure you said it without thinking, but you can never offend me.” The owner was on pins and needles from these stilettos, and, wanting to somehow hush up the disagreement, which was taking on a serious nature, with a joke, he took Fedorov by the shoulders and, laughing, told him: “For punishment, we will put you in the back row of seats.” Griboyedov, meanwhile, walking around the living room with a cigar, answered Khmelnitsky: “You can put him wherever you want, but I won’t read my comedy in front of him.” Fedorov blushed to his ears and at that moment looked like a schoolboy who is trying to grab a hedgehog - and wherever he touches it, he will prick himself everywhere...”

Nevertheless, in the winter of 1824-1825, Griboyedov eagerly read “Woe from Wit” in many houses in Moscow and St. Petersburg, and was a success everywhere. Hoping for the quick publication of the comedy, Griboyedov encouraged the appearance and dissemination of its lists. The most authoritative of them are the Zhandrovsky list, “corrected by the hand of Griboedov himself” (belonged to A.A. Zhandre), and the Bulgarinsky - a carefully corrected clerk’s copy of the comedy left by F.V. Griboedov. Bulgarin in 1828 before leaving St. Petersburg. On title page On this list, the playwright made the inscription: “I entrust my grief to Bulgarin...”. He hoped that an enterprising and influential journalist would be able to get the play published.

A.S. Griboyedov, "Woe from Wit"
1833 edition

Already in the summer of 1824, Griboyedov tried to publish a comedy. Excerpts from the first and third acts first appeared in F.V.’s almanac. Bulgarin “Russian Waist” in December 1824, and the text was significantly “softened” and shortened by censorship. “Inconvenient” for printing, too harsh statements of the characters were replaced by faceless and “harmless” ones. So, instead of the author’s “To the Scientific Committee,” “Among the Scientists Who Settled” was printed. Molchalin’s “programmatic” remark “After all, you need to depend on others” was replaced with the words “After all, you need to keep others in mind.” The censors did not like the mentions of the “royal person” and “governments”.

“The first outline of this stage poem,” Griboyedov wrote with bitterness, “as it was born in me, was much more magnificent and of higher significance than now in the vain outfit in which I was forced to clothe it. The childish pleasure of hearing my poems in the theater, the desire for them to succeed, forced me to spoil my creation as much as possible.”

However, Russian society early XIX century, the comedy "Woe from Wit" was known mainly from handwritten lists. Military and civilian clerks earned a lot of money by copying the text of the comedy, which literally overnight was dismantled into quotes and “catchphrases.” The publication of excerpts from “Woe from Wit” in the anthology “Russian Waist” caused many responses in the literary community and made Griboyedov truly famous. “His handwritten comedy: “Woe from Wit,” recalled Pushkin, “produced an indescribable effect and suddenly placed him alongside our first poets.”

The first edition of the comedy appeared translated into German in Reval in 1831. Nicholas I allowed the comedy to be published in Russia only in 1833 - “to deprive it of its attractiveness forbidden fruit" First Russian edition, with censorship edits and cuts, was published in Moscow. Two uncensored publications from the 1830s are also known (printed in regimental printing houses). For the first time, the entire play was published in Russia only in 1862, during the era of censorship reforms by Alexander II. The scientific publication of “Woe from Wit” was carried out in 1913 famous explorer N.K. Piksanov in the second volume of the academic Full meeting works of Griboyedov.

Theater productions

The fate of theatrical productions of Griboyedov's comedy turned out to be even more difficult. For a long time theatrical censorship I didn’t allow it to be installed in full. In 1825, the first attempt to stage “Woe from Wit” on the stage of a theater school in St. Petersburg ended in failure: the play was banned because the play was not approved by the censor.

Artist P.A. Karatygin recalled in his notes:

“Grigoriev and I suggested to Alexander Sergeevich that we perform “Woe from Wit” at our school theater, and he was delighted with our proposal... It took a lot of work for us to beg the kind inspector Bok to allow the pupils to take part in this performance... Finally , he agreed, and we quickly got down to business; They wrote out the roles in a few days, learned them in a week, and things went smoothly. Griboedov himself came to our rehearsals and taught us very diligently... You should have seen with what simple-minded pleasure he rubbed his hands, seeing his "Woe from Wit" at our children's theater... Although, of course, we chopped off his immortal a comedy with grief in half, but he was very pleased with us, and we were delighted that we could please him. He brought A. Bestuzhev and Wilhelm Kuchelbecker with him to one of the rehearsals - and they also praised us.” The performance was banned by order of the St. Petersburg Governor-General Count Miloradovich, and the school authorities were reprimanded.”

The comedy first appeared on stage in 1827, in Erivan, performed by amateur actors - officers of the Caucasian Corps. The author was present at this amateur performance.

Only in 1831, with numerous censored notes, “Woe from Wit” was staged in St. Petersburg and Moscow. Censorship restrictions Comedies stopped working on theatrical productions only in the 1860s.

Public perception and criticism

Despite the fact that the full text of the comedy never made it into print, immediately after Bulgarin published excerpts from the play, heated discussions arose around Griboedov’s work. The approval was by no means unanimous.

Conservatives immediately accused Griboedov of exaggerating his satirical colors, which, in their opinion, was a consequence of the author’s “brawling patriotism.” In the articles by M. Dmitriev and A. Pisarev, published in Vestnik Evropy, it was argued that the content of the comedy does not at all correspond to Russian life. "Woe from Wit" was declared a simple imitation of foreign plays and was characterized only as a satirical work directed against aristocratic society, "a gross mistake against local morals." Chatsky especially got it, in whom they saw a clever “madman”, the embodiment of the “Figaro-Griboedov” philosophy of life.

Some contemporaries who were very friendly towards Griboyedov noted many errors in “Woe from Wit”. For example, longtime friend and co-author of playwright P.A. Katenin, in one of his private letters, gave the following assessment of the comedy: “It’s like a ward of intelligence, but the plan, in my opinion, is insufficient, and the main character is confused and knocked down (manque); The style is often charming, but the writer is too pleased with his liberties.” According to the critic, annoyed by the deviations from the rules of classical drama, including the replacement of “good Alexandrian verses” usual for “high” comedy with free iambic, Griboyedov’s “phantasmagoria is not theatrical: good actors they won’t take these roles, and the bad ones will ruin them.”

A remarkable auto-commentary to “Woe from Wit” was Griboyedov’s response to Katenin’s critical judgments, written in January 1825. This is not only an energetic “anti-criticism”, representing the author’s view of comedy, but also a unique aesthetic manifesto of an innovative playwright, refusing to please theorists and satisfy the school demands of classicists.

In response to Katenin’s remark about the imperfection of the plot and composition, Griboedov wrote: “You find the main error in the plan: it seems to me that it is simple and clear in purpose and execution; the girl herself is not stupid, she prefers a fool to an intelligent person (not because our sinners have an ordinary mind, no! and in my comedy there are 25 fools for one sane person); and this person, of course, is in contradiction with the society around him, no one understands him, no one wants to forgive him, why is he a little higher than others... “The scenes are connected arbitrarily.” Just as in the nature of all events, small and important: the more sudden, the more it attracts curiosity.”

The playwright explained the meaning of Chatsky’s behavior as follows: “Someone, out of anger, invented about him that he was crazy, no one believed it, and everyone repeated it, the voice of general hostility reaches him, and, moreover, the dislike of the girl for whom he only appeared to Moscow, it is completely explained to him, he didn’t give a damn to her and everyone and was like that. The queen is also disappointed about her honey sugar. What could be more complete than this?

Griboyedov defends his principles of depicting heroes. He accepts Katenin’s remark that “the characters are portraits,” but considers this not an error, but the main advantage of his comedy. From his point of view, satirical images-caricatures that distort the real proportions in the appearance of people are unacceptable. "Yes! and if I do not have the talent of Moliere, then at least I am more sincere than him; Portraits and only portraits are part of comedy and tragedy; however, they contain features that are characteristic of many other persons, and others that are characteristic of the entire human race, to the extent that each person is similar to all his two-legged brothers. I hate caricatures; you won’t find one in my painting. Here is my poetics...”

Finally, Griboedov considered Katenin’s words that his comedy contained “more talent than art” as the most “flattering praise” for himself. “Art consists only of imitating talent...” noted the author of “Woe from Wit.” “I live and write freely and freely.”

Pushkin also expressed his opinion about the play (the list of “Woe from Wit” was brought to Mikhailovskoye by I.I. Pushchin). In letters to P.A. Vyazemsky and A.A. Bestuzhev, written in January 1825, he noted that the playwright was most successful in “characters and a sharp picture of morals.” In their depiction, according to Pushkin, Griboyedov’s “comic genius” manifested itself. The poet was critical of Chatsky. In his interpretation, this is an ordinary reasoning hero, expressing the opinions of the only “intelligent character” - the author himself. Pushkin very accurately noticed the contradictory, inconsistent nature of Chatsky’s behavior, the tragicomic nature of his position: “... What is Chatsky? An ardent, noble and kind fellow, who spent some time with a very smart man (namely Griboedov) and was imbued with his thoughts, witticisms and satirical remarks. Everything he says is very smart. But to whom is he telling all this? Famusov? Skalozub? At the ball for Moscow grandmothers? Molchalin? This is unforgivable. First sign smart person- at first glance, know who you are dealing with, and not throw pearls in front of Repetilov and the like.”

At the beginning of 1840, V.G. Belinsky, in an article about “Woe from Wit,” as decisively as Pushkin, denied Chatsky practical intelligence, calling him “the new Don Quixote.” According to the critic, the main character of the comedy is a completely ridiculous figure, a naive dreamer, “a boy on a stick on horseback who imagines that he is sitting on a horse.” However, Belinsky soon corrected his negative assessment of Chatsky and comedy in general, declaring the main character of the play to be perhaps the first revolutionary rebel, and the play itself the first protest “against the vile Russian reality.” The frantic Vissarion did not consider it necessary to understand the real complexity of Chatsky’s image, assessing the comedy from the standpoint of the social and moral significance of his protest.

Critics and publicists of the 1860s went even further from the author's interpretation of Chatsky. A.I. Herzen saw in Chatsky the embodiment of the “ultimate thoughts” of Griboyedov himself, interpreting the hero of the comedy as a political allegory. “... This is the Decembrist, this is the man who ends the era of Peter I and is trying to discern, at least on the horizon, the promised land...”

The most original is the judgment of the critic A.A. Grigoriev, for whom Chatsky is “our only hero, that is, the only one who is positively fighting in the environment where fate and passion threw him.” Therefore, the entire play turned into his critical interpretation from a “high” comedy into a “high” tragedy (see the article “On the new edition of an old thing. “Woe from Wit.” St. Petersburg, 1862”).

I. A. Goncharov responded to the production of “Woe from Wit” at the Alexandrinsky Theater (1871) critical study“A Million Torments” (published in the journal “Bulletin of Europe”, 1872, No. 3). This is one of the most insightful analyzes of comedy, which later became a textbook. Goncharov gave deep characteristics individual characters, appreciated the skill of Griboedov the playwright, wrote about the special position of “Woe from Wit” in Russian literature. But, perhaps, the most important advantage of Goncharov’s sketch is its careful attitude to the author’s concept, embodied in the comedy. The writer abandoned the one-sided sociological and ideological interpretation of the play, carefully examining the psychological motivation for the behavior of Chatsky and other characters. “Every step of Chatsky, almost every word in the play is closely connected with the play of his feelings for Sophia, irritated by some lie in her actions, which he struggles to unravel until the very end,” Goncharov emphasized, in particular. Indeed, without taking into account the love affair (its importance was noted by Griboyedov himself in a letter to Katenin), it is impossible to understand the “woe from the mind” of a rejected lover and a lonely lover of truth, the simultaneously tragic and comic nature of Chatsky’s image.

Comedy Analysis

The success of Griboyedov's comedy, which has taken a strong place among Russian classics, is largely determined by the harmonious combination in it of the urgently topical and timeless. Through the brilliantly drawn picture of Russian society of the 1820s by the author (disturbing debates about serfdom, political freedoms, problems of national self-determination of culture, education, etc., masterfully outlined colorful figures of that time, recognizable by contemporaries, etc.) one can discern “ eternal" themes: generational conflict, drama love triangle, antagonism between the individual and society, etc.

At the same time, “Woe from Wit” is an example of the artistic synthesis of traditional and innovative in art. Paying tribute to the canons of classicism aesthetics (unity of time, place, action, conventional roles, mask names, etc.), Griboyedov “revitalizes” the traditional scheme with conflicts and characters taken from life, freely introducing lyrical, satirical and journalistic lines into the comedy.

Precision and aphoristic precision of the language, successful use of free (various) iambic, conveying the element colloquial speech, allowed the comedy text to maintain its sharpness and expressiveness. As predicted by A.S. Pushkin, many lines of “Woe from Wit” have become proverbs and sayings, very popular today:

• The legend is fresh, but hard to believe;
• Happy hours are not observed;
• I would be glad to serve, but being served is sickening;
• Blessed is he who believes - he has warmth in the world!
• Pass us away more than all sorrows
  And lordly anger, and lordly love.
• The houses are new, but the prejudices are old.
• And the smoke of the Fatherland is sweet and pleasant to us!
• Oh! Evil tongues are worse than a gun.
• But who lacks intelligence to have children?
• To the village, to my aunt, to the wilderness, to Saratov!...

Conflict of the play

The main feature of the comedy “Woe from Wit” is interaction of two plot-shaping conflicts: a love conflict, the main participants of which are Chatsky and Sofia, and a socio-ideological conflict, in which Chatsky faces conservatives gathered in Famusov’s house. From the point of view of problems, the conflict between Chatsky and Famusov’s society is in the foreground, but in the development of the plot action the traditional love conflict is no less important: after all, it was precisely for the sake of meeting with Sofia that Chatsky was in such a hurry to Moscow. Both conflicts - love and socio-ideological - complement and strengthen each other. They are equally necessary in order to understand the worldview, characters, psychology and relationships of the characters.

In the two storylines of "Woe from Wit" all the elements are easily detected classic plot: exposition - all scenes of the first act preceding Chatsky’s appearance in Famusov’s house (appearances 1-5); the beginning of a love conflict and, accordingly, the beginning of the action of the first, love plot - the arrival of Chatsky and his first conversation with Sofia (D. I, Rev. 7). The socio-ideological conflict (Chatsky - Famusov's society) is outlined a little later - during the first conversation between Chatsky and Famusov (d. I, appearance 9).

Both conflicts are developing in parallel. Stages of development of a love conflict - dialogues between Chatsky and Sofia. Chatsky’s conflict with Famusov’s society includes Chatsky’s verbal “duels” with Famusov, Skalozub, Molchalin and other representatives of Moscow society. Private conflicts in “Woe from Wit” literally throw many minor characters onto the stage and force them to reveal their position in life in their remarks and actions.

The pace of action in the comedy is lightning fast. Many events that form fascinating everyday “micro-plots” take place before readers and viewers. What happens on stage causes laughter and at the same time makes you think about the contradictions of the society of that time, and about universal human problems.

The climax of “Woe from Wit” is an example of Griboyedov’s remarkable dramatic skill. At the heart of the culmination of the socio-ideological plot (society declares Chatsky crazy; d. III, appearances 14-21) is a rumor, the reason for which was given by Sofia with her remark “to the side”: “He is out of his mind.” The annoyed Sofia dropped this remark by chance, meaning that Chatsky had “gone crazy” with love and had become simply unbearable for her. The author uses a technique based on the play of meanings: Sofia’s emotional outburst was heard by the social gossip Mr. N. and understood it literally. Sofia decided to take advantage of this misunderstanding to take revenge on Chatsky for his ridicule of Molchalin. Having become the source of gossip about Chatsky’s madness, the heroine “burned the bridges” between herself and her former lover.

Thus, the culmination of the love plot motivates the culmination of the socio-ideological plot. Thanks to this, both are externally independent storylines the plays intersect at a common climax - a lengthy scene, the result of which is the recognition of Chatsky as crazy.

After the climax, the storylines diverge again. The denouement of a love affair precedes the denouement of a socio-ideological conflict. The night scene in Famusov's house (d. IV, appearances 12-13), in which Molchalin and Liza, as well as Sofia and Chatsky participate, finally explains the position of the heroes, making the secret obvious. Sofia becomes convinced of Molchalin’s hypocrisy, and Chatsky finds out who his rival was:

Here is the solution to the riddle at last! Here I am donated to!

The denouement of the storyline, based on Chatsky’s conflict with Famus society, is Chatsky’s last monologue, directed against the “crowd of persecutors.” Chatsky declares his final break with Sofia, and with Famusov, and with the entire Moscow society: “Get out of Moscow! I don’t go here anymore.”

Character system

IN character system comedy Chatsky takes center stage. He connects both storylines, but for the hero himself, the paramount importance is not the socio-ideological conflict, but the love conflict. Chatsky understands perfectly well what kind of society he has found himself in; he has no illusions about Famusov and “all the Moscow people.” The reason for Chatsky’s stormy accusatory eloquence is not political or educational, but psychological. The source of his passionate monologues and well-aimed caustic remarks is love experiences, “impatience of the heart,” which is felt from the first to the last scene with his participation.

Chatsky came to Moscow with the sole purpose of seeing Sofia, finding confirmation of his former love and, probably, getting married. Chatsky’s animation and “talkativeness” at the beginning of the play are caused by the joy of meeting with his beloved, but, contrary to expectations, Sofia has completely changed towards him. With the help of familiar jokes and epigrams, Chatsky tries to find a common language with her, “sorts out” his Moscow acquaintances, but his witticisms only irritate Sofia - she responds to him with barbs.

He pesters Sofia, trying to provoke her into frankness, asking her tactless questions: “Is it possible for me to find out / ... Who do you love? "

The night scene in Famusov’s house revealed the whole truth to Chatsky, who had seen the light. But now he goes to the other extreme: instead of love passion, the hero is overcome by other strong feelings - rage and embitterment. In the heat of rage, he shifts responsibility for his own onto others. fruitless efforts love."

Love experiences exacerbate Chatsky’s ideological opposition to Famus society. At first, Chatsky calmly treats Moscow society, almost does not notice its usual vices, sees only the comic sides in it: “I am an eccentric of another miracle / Once I laugh, then I forget...”.

But when Chatsky becomes convinced that Sofia does not love him, everything and everyone in Moscow begins to irritate him. Replies and monologues become impudent, sarcastic - he angrily denounces what he previously laughed at without malice.

Chatsky rejects generally accepted ideas about morality and public duty, but he can hardly be considered a revolutionary, radical, or even a “Decembrist.” There is nothing revolutionary in Chatsky’s statements. Chatsky is an enlightened person who proposes that society return to simple and clear ideals of life, to cleanse from extraneous layers something that is talked about a lot in Famus society, but about which, according to Chatsky, they do not have a correct idea - service. It is necessary to distinguish between the objective meaning of the hero’s very moderate educational judgments and the effect they produce in a conservative society. The slightest dissent is regarded here not only as a denial of the usual ideals and way of life, sanctified by the “fathers” and “elders,” but also as a threat of a social revolution: after all, Chatsky, according to Famusov, “does not recognize the authorities.” Against the backdrop of the inert and unshakably conservative majority, Chatsky gives the impression of a lone hero, a brave “madman” who rushed to storm a powerful stronghold, although among freethinkers his statements would not shock anyone with their radicalism.

Sofia
performed by I.A. Lixo

Sofia- Chatsky’s main plot partner - occupies a special place in the system of characters in “Woe from Wit”. Love conflict with Sofia brought the hero into conflict with the whole society, served, according to Goncharov, as “a motive, a reason for irritation, for that “millions of torments”, under the influence of which he could only play the role indicated to him by Griboedov.” Sofia does not take Chatsky’s side, but she does not belong to Famusov’s like-minded people, although she lived and was raised in his house. She is a closed, secretive person and difficult to approach. Even her father is a little afraid of her.

Sofia’s character has qualities that sharply distinguish her from the people of Famus’s circle. This is, first of all, independence of judgment, which is expressed in its disdainful attitude towards gossip and rumors (“What do I hear? Whoever wants, judges that way...”). However, Sofia knows the “laws” of Famus society and is not averse to using them. For example, she cleverly uses “public opinion” to take revenge on her former lover.

Sofia’s character has not only positive, but also negative traits. “A mixture of good instincts with lies” was seen by Goncharov in her. Willfulness, stubbornness, capriciousness, complemented by vague ideas about morality, make her equally capable of good and bad deeds. Having slandered Chatsky, Sofia acted immorally, although she remained, the only one among those gathered, convinced that Chatsky was a completely “normal” person.

Sofia is smart, observant, rational in her actions, but her love for Molchalin, at the same time selfish and reckless, puts her in an absurd, comical position.

Like an amateur French novels, Sofia is very sentimental. She idealizes Molchalin, without even trying to find out what he really is, without noticing his “vulgarity” and pretense. “God brought us together” - it is this “romantic” formula that exhausts the meaning of Sofia’s love for Molchalin. She managed to like him because he behaves like a living illustration of a novel he just read: “He takes your hand, presses it to your heart, / He sighs from the depths of your soul...”.

Sofia's attitude towards Chatsky is completely different: after all, she does not love him, therefore she does not want to listen, does not strive to understand, and avoids explanations. Sofia, the main culprit of Chatsky’s mental torment, herself evokes sympathy. She completely surrenders to love, not noticing that Molchalin is a hypocrite. Even the oblivion of decency (nightly dates, the inability to hide her love from others) is evidence of the strength of her feelings. Love for her father’s “rootless” secretary takes Sofia beyond Famus’s circle, because she deliberately risks her reputation. For all its bookishness and obvious comedy, this love is a kind of challenge to the heroine and her father, who is preoccupied with finding her a rich careerist groom, and to society, which only excuses open, uncamouflaged debauchery.

In the last scenes of “Woe from Wit”, the features of a tragic heroine clearly appear in the appearance of Sofia. Her fate is approaching tragic fate Chatsky, rejected by her. Indeed, as I.A. Goncharov subtly noted, in the finale of the comedy she has “the hardest time of all, harder even than Chatsky, and she gets “a million torments.” The outcome of the love plot of the comedy turned into “grief” and a life catastrophe for the smart Sofia.

Famusov and Skalozub
performed by K.A. Zubova and A.I. Rzhanova

Chatsky’s main ideological opponent is not the individual characters of the play, but the “collective” character - the many-sided Famusov society. To the lonely lover of truth and ardent defender " free life» opposes large group actors and off-stage characters, united by a conservative worldview and the simplest practical morality, the meaning of which is “to win awards and have fun.” Famus society is heterogeneous in its composition: it is not a faceless crowd in which a person loses his individuality. On the contrary, staunch Moscow conservatives differ among themselves in intelligence, abilities, interests, occupation and position in the social hierarchy. The playwright discovers in each of them both typical and personality traits. But everyone is unanimous on one thing: Chatsky and his like-minded people are “crazy”, “madmen”, renegades. The main reason for their “madness,” according to Famusites, is an excess of “intelligence,” excessive “learning,” which is easily identified with “freethinking.”

Depicting Chatsky’s conflict with Famusov’s society, Griboyedov makes extensive use of the author’s remarks, which report on the reaction of conservatives to Chatsky’s words. Stage directions complement the characters' remarks, enhancing the comedy of what is happening. This technique is used to create the main comic situation of the play - the situation of deafness. Already during the first conversation with Chatsky (d. II, appearances 2-3), in which his opposition to conservative morality was first outlined, Famusov “sees and hears nothing.” He deliberately plugs his ears so as not to hear Chatsky’s seditious, from his point of view, speeches: “Okay, I plugged my ears.” During the ball (d. 3, yavl. 22), when Chatsky pronounces his angry monologue against the “alien power of fashion” (“There is an insignificant meeting in that room ...”), “everyone is twirling in a waltz with the greatest zeal. The old men scattered to the card tables.” The situation of the feigned “deafness” of the characters allows the author to convey mutual misunderstanding and alienation between the conflicting parties.

Famusov
performed by K.A. Zubova

Famusov- one of the recognized pillars of Moscow society. His official position is quite high: he is a “government manager.” The material well-being and success of many people depend on it: the distribution of ranks and awards, “patronage” for young officials and pensions for old people. Famusov’s worldview is extremely conservative: he takes hostility to everything that is at least somewhat different from his own beliefs and ideas about life, he is hostile to everything new - even to the fact that in Moscow “roads, sidewalks, / Houses and everything on new way" Famusov’s ideal is the past, when everything was “not what it is now.”

Famusov is a staunch defender of the morality of the “past century.” In his opinion, to live correctly means to act in everything “as the fathers did,” to learn “by looking at our elders.” Chatsky, on the other hand, relies on his own “judgments” dictated by common sense, so the ideas of these antipodean heroes about “proper” and “improper” behavior do not coincide.

Listening to Famusov’s advice and instructions, the reader seems to find himself in a moral “anti-world”. In it, ordinary vices turn almost into virtues, and thoughts, opinions, words and intentions are declared “vices”. The main “vice,” according to Famusov, is “learnedness,” an excess of intelligence. Famusov’s idea of ​​“mind” is down-to-earth, everyday: he identifies intelligence either with practicality, the ability to “get comfortable” in life (which he evaluates positively), or with “free-thinking” (such a mind, according to Famusov, is dangerous). For Famusov, Chatsky’s mind is a mere trifle that cannot be compared with traditional noble values ​​- generosity (“honor according to father and son”) and wealth:

Be bad, but if there are two thousand family souls, He will be the groom. The other one, at least be quicker, puffed up with all sorts of arrogance, Let him be known as a wise man, But he won’t be included in the family.

(D. II, iv. 5).

Sofia and Molchalin
performed by I.A. Likso and M.M. Sadovsky

Molchalin- one of the most prominent representatives of Famus society. His role in the comedy is comparable to the role of Chatsky. Like Chatsky, Molchalin is a participant in both love and socio-ideological conflict. He is not only a worthy student of Famusov, but also Chatsky’s “rival” in love for Sofia, the third person who has arisen between the former lovers.

If Famusov, Khlestova and some other characters are living fragments of the “past century,” then Molchalin is a man of the same generation as Chatsky. But, unlike Chatsky, Molchalin is a staunch conservative, therefore dialogue and mutual understanding between them is impossible, and conflict is inevitable - their life ideals, moral principles and behavior in society are absolutely opposite.

Chatsky cannot understand “why are other people’s opinions only sacred.” Molchalin, like Famusov, considers dependence “on others” to be the basic law of life. Molchalin is a mediocrity that does not go beyond the generally accepted framework; he is a typical “average” person: in ability, intelligence, and aspirations. But he has “his own talent”: he is proud of his qualities - “moderation and accuracy.” Molchalin's worldview and behavior are strictly regulated by his position in the service hierarchy. He is modest and helpful, because “in ranks... small,” he cannot do without “patrons,” even if he has to depend entirely on their will.

But, unlike Chatsky, Molchalin organically fits into Famus society. This is “little Famusov”, because he has a lot in common with the Moscow “ace”, despite the big difference in age and social status. For example, Molchalin’s attitude towards service is purely “Famusov’s”: he would like to “win awards and live a fun life.” Public opinion for Molchalin, as for Famusov, is sacred. Some of his statements (“Ah! evil tongues worse than a pistol”, “At my age I shouldn’t dare / Have my own judgment”) are reminiscent of Famus’s: “Ah! My God! what will Princess Marya Aleksevna say?

Molchalin is the antipode of Chatsky not only in his beliefs, but also in the nature of his attitude towards Sofia. Chatsky is sincerely in love with her, nothing exists higher than this feeling for him, in comparison with him “the whole world” seemed like dust and vanity to Chatsky. Molchalin only skillfully pretends that he loves Sophia, although, by his own admission, he does not find “anything enviable” in her. Relations with Sofia are entirely determined by Molchalin’s life position: this is how he behaves with all people without exception, this is a life principle learned from childhood. In the last act, he tells Lisa that his “father bequeathed to him” to “please all people without exception.” Molchalin is in love “by position”, “at the pleasure of the daughter of such a man” as Famusov, “who feeds and waters, / And sometimes gives rank...”.

Skalozub
performed by A.I. Rzhanova

The loss of Sofia's love does not mean Molchalin's defeat. Although he made an unforgivable mistake, he managed to get away with it. It is significant that Famusov brought down his anger not on the “guilty” Molchalin, but on the “innocent” Chatsky and the insulted, humiliated Sofia. At the end of the comedy, Chatsky becomes an outcast: society rejects him, Famusov points to the door and threatens to “publicize” his imaginary depravity “to all the people.” Molchalin will probably redouble his efforts to make amends to Sofia. It is impossible to stop the career of a person like Molchalin - this is the meaning of the author’s attitude towards the hero. (“Silent people are blissful in the world”).

Famusov's society in "Woe from Wit" consists of many minor and episodic characters, Famusov's guests. One of them Colonel Skalozub, is a martinet, the embodiment of stupidity and ignorance. He “hasn’t uttered a smart word in his life,” and from the conversations of those around him he understands only what, as it seems to him, relates to the army topic. Therefore, to Famusov’s question “How do you feel about Nastasya Nikolaevna?” Skalozub busily replies: “She and I didn’t serve together.” However, by the standards of Famus society, Skalozub is an enviable bachelor: “He has a golden bag and aspires to be a general,” so no one notices his stupidity and uncouthness in society (or does not want to notice). Famusov himself is “very delusional” about them, not wanting any other groom for his daughter.

Khlestova
performed by V.N. Pashennaya

All the characters who appear in Famusov’s house during the ball actively participate in the general opposition to Chatsky, adding new fictional details to the gossip about the “madness” of the protagonist. Each of the minor characters acts in its own comic role.

Khlestova, like Famusov, is a colorful type: she is an “angry old woman,” an imperious serf-lady of the Catherine era. “Out of boredom,” she carries with her “a blackaa girl and a dog,” has a weakness for young Frenchmen, loves when people “please” her, so she treats Molchalin favorably and even Zagoretsky. Ignorant tyranny is the life principle of Khlestova, who, like most of Famusov’s guests, does not hide her hostility towards education and enlightenment:

(D. III, Rev. 21).

Zagoretsky
performed by I.V. Ilyinsky

Zagoretsky- “an out-and-out swindler, a rogue,” an informer and a sharper (“Beware of him: it’s too much to bear, / And don’t sit down with cards: he’ll sell you”). The attitude towards this character characterizes the morals of Famus society. Everyone despises Zagoretsky, not hesitating to scold him to his face (“He’s a liar, a gambler, a thief,” Khlestova says about him), but in society he is “scold / Everywhere, and accepted everywhere,” because Zagoretsky is “a master of serving.”

"Talking" surname Repetilova indicates his tendency to mindlessly repeat other people’s reasoning “about important mothers.” Repetilov, unlike other representatives of Famus society, is in words an ardent admirer of “learning.” But educational ideas, which Chatsky preaches, he caricatures and vulgarizes, calling, for example, for everyone to study “from Prince Gregory,” where they “will give you champagne to kill.” Repetilov nevertheless let it slip: he became a fan of “learning” only because he failed to make a career (“And I would have climbed into ranks, but I met failures”). Education, from his point of view, is only a forced replacement for a career. Repetilov is a product of Famus society, although he shouts that he and Chatsky “have the same tastes.

In addition to those heroes who are listed in the “poster” - the list of “characters” - and appear on stage at least once, “Woe from Wit” mentions many people who are not participants in the action - these are off-stage characters. Their names and surnames appear in the monologues and remarks of the characters, who necessarily express their attitude towards them, approve or condemn their life principles and behavior.

Off-stage characters are invisible “participants” in the socio-ideological conflict. With their help, Griboedov managed to expand the scope of the stage action, which was concentrated on a narrow area (Famusov's house) and completed within one day (the action begins early in the morning and ends in the morning of the next day). Off-stage characters have a special artistic function: they represent society, of which all participants in the events in Famusov’s house are part. Without playing any role in the plot, they are closely connected with those who fiercely defend the “past century” or strive to live by the ideals of the “present century” - they scream, are indignant, indignant, or, conversely, experience “a million torments” on stage.

It is the off-stage characters who confirm that the entire Russian society is split into two unequal parts: the number of conservatives mentioned in the play significantly exceeds the number of dissidents, “crazy people.” But the most important thing is that Chatsky, a lonely lover of truth on stage, is not at all alone in life: the existence of people spiritually close to him, according to Famusovites, proves that “nowadays there are more crazy people, deeds, and opinions than ever.” Among Chatsky’s like-minded people - cousin Skalozuba, who abandoned a brilliant military career in order to go to the village and start reading books (“The rank followed him: he suddenly left the service, / In the village he began to read books”), Prince Fedor, nephew of Princess Tugoukhovskaya (“The rank does not want to know! He a chemist, he is a botanist..."), and the St. Petersburg "professors" with whom he studied. According to Famusov’s guests, these people are just as crazy, crazy because of “learning,” as Chatsky.

Another group of off-stage characters are Famusov’s “like-minded people.” These are his “idols”, whom he often mentions as models of life and behavior. Such, for example, is the Moscow “ace” Kuzma Petrovich - for Famusov this is an example of a “commendable life”:

The deceased was a venerable chamberlain, with a key, and he knew how to deliver the key to his son; Rich, and married to a rich woman; Married children, grandchildren; Died; everyone remembers him sadly.

(D. II, iv. 1).

Another worthy example to follow, according to Famusov, is one of the most memorable off-stage characters, the “dead uncle” Maxim Petrovich, who made a successful court career (“he served under the Empress Catherine”). Like other “nobles of the occasion,” he had an “arrogant disposition,” but, if the interests of his career required it, he knew how to deftly “curry favor” and easily “bent over backwards.”

Chatsky exposes the morals of Famus society in the monologue “And who are the judges?..” (d. II, iv. 5), talking about the unworthy lifestyle of the “fatherland of their fathers” (“spill themselves in feasts and extravagance”), about the wealth they unjustly acquired ( “rich in robbery”), about their immoral, inhumane acts, which they commit with impunity (“they found protection from the court in friends, in kinship”). One of the off-stage characters mentioned by Chatsky “traded” the “crowd” of devoted servants who saved him “in the hours of wine and fight” for three greyhounds. Another “for the sake of the idea / He drove many wagons to the serf ballet / From the mothers and fathers of rejected children,” who were then “sold off one by one.” Such people, from Chatsky’s point of view, are a living anachronism that does not correspond to modern ideals of enlightenment and humane treatment of serfs.

Even a simple listing of off-stage characters in the monologues of the characters (Chatsky, Famusov, Repetilov) complements the picture of the morals of the Griboyedov era, giving it a special, “Moscow” flavor. In the first act (episode 7), Chatsky, who has just arrived in Moscow, in a conversation with Sofia, “sorts out” many mutual acquaintances, ironizing over their “oddities.”

Dramatic innovation of the play

Griboyedov's dramatic innovation was manifested primarily in the rejection of some genre canons of classic “high” comedy. The Alexandrian verse, with which the “standard” comedies of the classicists were written, was replaced by a flexible poetic meter, which made it possible to convey all the shades of lively colloquial speech - free iambic. The play seems “overpopulated” with characters in comparison with the comedies of Griboyedov’s predecessors. It seems that Famusov’s house and everything that happens in the play is only part big world, who is brought out of his usual half-asleep state by “madmen” like Chatsky. Moscow is a temporary refuge ardent hero, wandering “around the world,” a small “post station” on the “highway” of his life. Here, not having time to cool down from the frenzied gallop, he made only a short stop and, having experienced “a million torments,” set off again.

In “Woe from Wit” there are not five, but four acts, so there is no situation characteristic of the “fifth act”, when all the contradictions are resolved and the lives of the heroes resume their unhurried course. The main conflict of the comedy, socio-ideological, remained unresolved: everything that happened is only one of the stages of the ideological self-awareness of conservatives and their antagonist.

An important feature of “Woe from Wit” is the rethinking of comic characters and comic situations: in comic contradictions the author discovers hidden tragic potential. Without allowing the reader and viewer to forget about the comedy of what is happening, Griboyedov emphasizes the tragic meaning of the events. The tragic pathos is especially intensified in the finale of the work: all the main characters fourth act, including Molchalin and Famusov, do not appear in traditional comedy roles. They are more like heroes of a tragedy. The true tragedies of Chatsky and Sophia are complemented by the “small” tragedies of Molchalin, who broke his vow of silence and paid for it, and the humiliated Famusov, tremblingly awaiting retribution from the Moscow “thunderer” in a skirt - Princess Marya Aleksevna.

The principle of “unity of characters” - the basis of the dramaturgy of classicism - turned out to be completely unacceptable for the author of “Woe from Wit”. “Portraitness,” that is, the life truth of the characters, which the “archaist” P.A. Katenin considered comedy to be an “error”; Griboyedov considered it its main advantage. Straightness and one-sidedness in the image central characters discarded: not only Chatsky, but also Famusov, Molchalin, Sophia are shown as complex people, sometimes contradictory and inconsistent in their actions and statements. It is hardly appropriate and possible to evaluate them using polar assessments (“positive” - “negative”), because the author seeks to show not “good” and “bad” in these characters. He is interested in the real complexity of their characters, as well as the circumstances in which their social and everyday roles, worldview, system life values and psychology. The words spoken by A.S. Pushkin about Shakespeare can rightfully be attributed to the characters of Griboyedov’s comedy: these are “living creatures, filled with many passions...”

Each of the main characters appears to be the focus of a variety of opinions and assessments: after all, even ideological opponents or people who do not sympathize with each other are important to the author as sources of opinions - their “polyphony” makes up the verbal “portraits” of the heroes. Perhaps rumor plays no less a role in comedy than in Pushkin’s novel Eugene Onegin. Judgments about Chatsky are especially rich in various information - he appears in the mirror of a kind of “oral newspaper” created before the eyes of the viewer or reader by the inhabitants Famusovsky house and his guests. It is safe to say that this is only the first wave of Moscow rumors about the St. Petersburg freethinker. “Crazy” Chatsky gave secular gossips food for gossip for a long time. But “evil tongues,” which for Molchalin are “more terrible than a pistol,” are not dangerous to him. Chatsky is a man from another world, only for a short moment he came into contact with the world of Moscow fools and gossips and recoiled from it in horror.

The picture of “public opinion”, masterfully recreated by Griboyedov, consists of the oral statements of the characters. Their speech is impulsive, impetuous, and reflects an instant reaction to other people's opinions and assessments. The psychological authenticity of speech portraits of characters is one of the most important features of comedy. The verbal appearance of the characters is as unique as their place in society, manner of behavior and range of interests. In the crowd of guests gathered in Famusov’s house, people often stand out precisely because of their “voice” and peculiarities of speech.

Chatsky’s “voice” is unique: his “ speech behavior“Already in the first scenes, he reveals that he is a convinced opponent of the Moscow nobility. The hero’s word is his only, but most dangerous “weapon” in the truth-seeker’s “duel” with Famus society that lasts the whole long day. But at the same time, Chatsky the ideologist, who opposes the inert Moscow nobility and expresses the author’s point of view on Russian society, in the understanding of the comedians who preceded Griboedov, cannot be called an “unequivocally positive” character. Chatsky’s behavior is the behavior of an accuser, a judge, a tribune, fiercely attacking the morals, life and psychology of Famusites. But the author indicates the motives for his strange behavior: after all, he did not come to Moscow as an emissary of St. Petersburg freethinkers. The indignation that grips Chatsky is caused by a special psychological state: his behavior is determined by two passions - love and jealousy. In them main reason his ardor. That is why, despite the strength of his mind, Chatsky in love does not control his feelings, which are out of control, and is not able to act rationally. The anger of an enlightened man, combined with the pain of losing his beloved, forced him to “throw pearls in front of the Repetilovs.” Chatsky’s behavior is comical, but the hero himself experiences genuine mental suffering, “a million torments.” Chatsky is a tragic character caught in comic circumstances.

Famusov and Molchalin do not look like traditional comedy “villains” or “stupid people”. Famusov is a tragicomic person, because in final scene not only are all his plans for Sofia’s marriage collapsing, he is in danger of losing his reputation, “ good name"in society. For Famusov, this is a real disaster, and therefore at the end of the last act he exclaims in despair: “Isn’t my fate still deplorable?” The situation of Molchalin, who is in a hopeless situation, is also tragicomic: captivated by Liza, he is forced to pretend to be a modest and resigned admirer of Sophia. Molchalin understands that his relationship with her will cause Famusov’s irritation and bossy anger. But rejecting Sofia’s love, Molchalin believes, is dangerous: the daughter has influence on Famusov and can take revenge and ruin his career. He found himself between two fires: “ lordly love” of the daughter and the inevitable “lordly wrath” of the father.

“The people created by Griboyedov were taken from life at full height, drawn from the bottom real life“,” emphasized the critic A.A. Grigoriev, “they do not have their virtues and vices written on their foreheads, but they are branded with the seal of their insignificance, branded with the vengeful hand of the executioner-artist.”

Unlike the heroes of classic comedies, the main characters“Woe from Wit” (Chatsky, Molchalin, Famusov) are depicted in several social roles. For example, Chatsky is not only a freethinker, a representative of the younger generation of the 1810s. He is both a lover, a landowner (“he had three hundred souls”), and a former military man (Chatsky once served in the same regiment with Gorich). Famusov is not only a Moscow “ace” and one of the pillars of the “past century”. We see him in other social roles: a father trying to “place” his daughter, and a government official “managing a government place.” Molchalin is not only “Famusov’s secretary, living in his house” and Chatsky’s “happy rival”: he, like Chatsky, belongs to the younger generation. But his worldview, ideals and way of life have nothing in common with Chatsky’s ideology and life. They are characteristic of the “silent” majority of noble youth. Molchalin is one of those who easily adapt to any circumstances for the sake of one goal - to rise as high as possible up the career ladder.

Griboedov neglects an important rule of classic dramaturgy - the unity of plot action: in “Woe from Wit” there is no single event center (this led to reproaches from literary Old Believers for the vagueness of the “plan” of the comedy). Two conflicts and two storylines in which they are realized (Chatsky - Sofia and Chatsky - Famus society) allowed the playwright to skillfully combine the depth of social problems and subtle psychologism in the depiction of the characters' characters.

The author of “Woe from Wit” did not set himself the task of destroying the poetics of classicism. His aesthetic credo is creative freedom (“I live and write freely and freely”). The use of certain artistic means and dramatic techniques were dictated by specific creative circumstances that arose during the work on the play, and not by abstract theoretical postulates. Therefore, in those cases where the requirements of classicism limited his capabilities, not allowing him to achieve the desired artistic effect, he resolutely rejected them. But often it was the principles of classicist poetics that made it possible to effectively solve an artistic problem.

For example, the “unities” characteristic of the dramaturgy of the classicists - the unity of place (Famusov’s house) and the unity of time (all events take place within one day) are observed. They help to achieve concentration, “thickening” of action. Griboyedov also masterfully used some particular techniques of the poetics of classicism: the depiction of characters in traditional stage roles (an unsuccessful hero-lover, his nosy rival, a maid - her mistress's confidant, a capricious and somewhat eccentric heroine, a deceived father, a comic old woman, a gossip, etc. .). However, these roles are necessary only as a comedic “highlight”, emphasizing the main thing - the individuality of the characters, the originality of their characters and positions.

In comedy there are many “characters of the setting”, “figurants” (as in the old theater they called episodic characters who created the background, “living scenery” for the main characters). As a rule, their character is fully revealed by their “speaking” surnames and given names. The same technique is used to emphasize main feature in the appearance or position of some central characters: Famusov - known to everyone, on everyone’s lips (from Latin fama - rumor), Repetilov - repeating someone else’s (from French repeter - repeat), Sofia - wisdom (ancient Greek sophia), Chatsky in of the first edition was Chadian, that is, “being in the child”, “beginning”. The ominous surname Skalozub is “shifter” (from the word “zuboskal”). Molchalin, Tugoukhovskiye, Khlestova - these names “speak” for themselves.

In “Woe from Wit”, for the first time in Russian literature (and, what is especially important, in drama), the most important features of realistic art were clearly revealed. Realism not only frees the writer’s individuality from deadening “rules,” “canons,” and “conventions,” but also relies on the experience of other artistic systems.

The history of the creation of the comedy “Woe from Wit,” a work familiar from school, is amazing and unique.

Concept and start of work

The beginning of writing the test took place in Tiflis in 1821-1822. The writer studied the life of noble society, he studied the environment, attending balls and social receptions. He made notes about events at balls, created portraits, and noted the main character traits. The recordings helped convey the situation so realistically that many of the characters began to live outside literary text.

Handwritten lists

Griboyedov knew about the interest in comedy. He wrote: “Everyone asks me for a manuscript and gets annoying.”

The manuscript was submitted by the author F.V. Bulgarin with the inscription: “I entrust my grief...”. The writer was waiting for help in publishing the play. But the comedy saw the light only after the death of the author. The text that Bulgarin had became the basis for the first printed version of “Woe from Wit.” Other lists are still being studied, they are being searched and transferred to literary scholars.

Features of various editions

• the name “Woe to Wit” has a different meaning: “Woe from Wit”;
• the root of the main character's surname Chadsky (chad) became Chatsky;
• monologue of the main character in the first act;
• dialogue between the maid and Sophia;
• dream of the master's daughter.

It is interesting that some dialogues remained base immediately after the first edition, for example, the monologue “Who are the judges?”

Manuscripts changed depending on the audience for which they were read. They tried to soften the author’s harsh judgments, thereby violating their meaning. But it was not possible to change the essence of the play. She was compared to a bomb that blew up the minds of an entire generation.

Key dates in the history of comedy

• 1816 – the emergence of the idea for a future plot
• 1823 – reading of excerpts from the play
• 1825 – text read by A. Pushkin
• 1829 – death of A. Griboyedov
• 1831 – printed version in German.
• 1833 - the appearance of a printed Russian-language test of the play
• 1862 – release of the full author’s version
• 1875 – publication of the text without censored edits