The idea and pathos of the work is woe from the mind. The ideological and aesthetic richness of Comedy A

In world literature you can not find many works that, like the comedy of A. S. Griboyedov, short term would have gained such great national fame. At the same time, contemporaries fully felt the socio-political relevance of the comedy, perceiving it as a topical work of the new literature emerging in Russia, which set as its main task the development of “its own wealth” (that is, material national history and modern Russian life) and with their own, original, non-borrowed funds. The plot basis of “Woe from Wit” was a dramatic conflict: the clash of an intelligent, noble and freedom-loving hero with the inert environment of reactionaries surrounding him. This conflict depicted by Griboyedov was vitally truthful and historically reliable. From a young age, moving in the circle of advanced Russian people who had embarked on the path of struggle against the world of autocracy and serfdom, living in the interests of these people, sharing their views and beliefs, Griboedov had the opportunity to observe closely and on a daily basis the most important, characteristic and exciting phenomenon public life of its time - the struggle of two worldviews, two ideologies, two ways of life, two generations.

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

And further Griboyedov shows how systematically and uncontrollably, becoming more and more aggravated, the “contradiction” between Chatsky and Famusovsky society, how this society betrays Chatsky with anathema, which has the character of a political denunciation, - Chatsky is publicly declared to be a troublemaker, a Carbonari, a person encroaching on the “legitimate” state and social order; like finally a voice universal hatred spreads vile gossip about Chatskogo's madness. At first he is cheerful, and this is a vice: “To joke and joke forever, how will you get on with it!” He slightly goes over the oddities of his former acquaintances, but what can he do if there is no noble trait in them! His ridicule is not sarcastic for the time being,

but still: “I’m happy to humiliate, to prick, I’m envious! Proud and gender!” Does not tolerate meanness: “Ah! My God, he’s a Carbonari.” Out of anger, someone thought he was crazy. The voice of general unkindness reaches him, and the dislike of the girl for whom he came to Moscow alone is completely explained to him; he did not give a damn to her and everyone else and was like that. Griboyedov told in his comedy about what happened in one Moscow house during one day. But what breadth in this story! It contains the spirit of the times, the spirit of history. Griboyedov, as it were, pushed aside the walls of Famusov’s house and showed the entire life of the noble society of his era - with all the contradictions, boiling passions, enmity of generations, struggle of ideas. Within the framework of the dramatic picture of the hero’s collision with the environment, Griboedov included the enormous socio-historical theme of the turning point that has emerged in life - the theme of the turn of two eras - the “present century” and the “past century.”

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

Here, in this society, flourish “noble scoundrels” and petty scoundrels, notorious swindlers and “sinister old women”, bigots and informers, united, like a mutual guarantee, by irreconcilable hostility to “free life”, to culture, to enlightenment. -niyu, to the slightest manifestation of independent thought and free feeling. In this world, without a shadow of embarrassment, they exchanged serf slaves for greyhounds, obtained wealth and honors through obvious robbery, “wasted themselves in feasts and extravagance,” and teaching was considered a “plague,” a harmful and flammable invention of the “damned Voltaireans.” The people of this cruel world lived according to the precepts and traditions of the “past century” - “the century of obedience and fear.” Their “morality” was based on groveling before the strong and on the oppression and humiliation of the weak. For them, the ideal person was a successful nobleman of blessed feudal times - such as Famusov’s uncle Maxim Petrovich, who reached “famous degrees” thanks to his shameless servility and buffoonery at court.

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

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

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

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

Firstly, to please all people without exception -The owner, where I happen to live, the boss, with whom I will serve, his servant, who cleans the dresses, the doorman, the janitor, to avoid evil, the janitor’s dog, so that he is affectionate.

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

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

The topical meaning of Griboyedov's criticism is now, of course, not felt with such acuteness as it was felt by Griboyedov's contemporaries. But at one time the comedy sounded, among other things, topical. And issues of noble education in “boarding houses, schools, lyceums”, and debates about the parliamentary system and judicial reform, and individual episodes of Russian public life in the period after the Napoleonic wars, reflected in Chatsky’s monologues and in the remarks of Famusov’s guests - all this had the most vital significance, in particular in the Decembrist environment, precisely in those years when Griboyedov wrote his comedy. The richness and specificity of the social content embedded in “Woe from Wit” gives the comedy a broad and complete picture Russian social life of the late 1810s - early 1820s, depicted in all its historical accuracy and authenticity.

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

The ideological meaning of the comedy “Woe from Wit” is to depict the clash of two socio-political camps. The conflict of the play reveals the typical features, socio-historical essence, strength and weakness of the noble liberation movement.
Chatsky's drama was a reflection of an even broader pan-European phenomenon. He suffers grief from his mind, which is deep in its critical attitude towards the egoistic and the world of famus and rock-toothed people, but still weak in determining the right ways to fight for the transformation of reality.

He was a true representative of the Age of Enlightenment and saw the reasons for the ugliness of life and the unreasonableness of society. He believed that the serf system could be changed and corrected through the influence of noble humane ideas. Life dealt a terrible blow to these hopes and dreams, revealing the idealistic nature of the Enlightenment understanding of reality, complicated by romantic dreams. Thus, Chatsky’s social drama reflected the weakness of the noble liberation movement. At the same time, Griboyedov to a certain extent captured an important historical moment in spiritual development peoples of Europe - the crisis of rationalist philosophy of the Enlightenment.

The pathos of the comedy is optimistic. It is not only Chatsky who experiences grief from his mind. The Chatskys deal a terrible blow with their denunciations of Famus and Silence. The calm and carefree existence of Famus's society is over. His parasitic egoism was exposed, his philosophy of life was condemned, and people rebelled against him. If the Chatskys are still weak in their struggle, then the Famusovs are powerless to stop the development of education and advanced ideas, The fight against the Famusovs did not end in comedy. It was just beginning in Russian life. The Decembrists and the exponent of their ideas, Chatsky, were representatives of the first early stage Russian liberation movement.

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I. INTRODUCTION

II. MAIN PART

1) Famusovskaya Moscow

a) Opponents of Chatsky

b) Pavel Afanasyevich Famusov

d) Off-stage characters in the comedy “Woe from Wit”

e) The image of the main character

2) About the main character

3) Is A.S. Griboedov’s comedy “Woe from Wit” modern?

III. CONCLUSION

IV. LIST OF REFERENCES USED

I. Introduction

Comedy “Woe from Wit”, written by A. S. Griboedov in early XIX century, is also relevant for today’s Russia. In this work, the author reveals in all depth the vices that afflicted Russian society at the beginning of the last century. However, reading this work, we also find in it heroes of the present day.

Alexander Sergeevich Griboedov is the creator of the brilliant comedy “Woe from Wit,” which scattered into hundreds of “catchphrases” and expressions, becoming like a collection of aphorisms. The author initially called the comedy “Woe to Wit,” indicating the main reason for the ill-being of a person in his contemporary society. Chatsky is an intelligent person, an ardent and passionate nature, looking for real work, but not finding a use for himself; a mind that wants to serve “the cause, not individuals”...

Here everyone envyes not their intelligence, but their luck and rank; not merits to the fatherland - the main thing is: you need to be “at the feeding trough”, “be with the key yourself and deliver the key to your son.”

Some kind of “very sophisticated” feeling self-esteem, if it is valued in money. This is a corrupt society, everything here is bought and sold, a price is determined for everything, this bargaining is only covered up with beautiful and lofty phrases, but the essence is the same. When there is a person who calls everything by its proper name, who wants to be sincere and unselfish, who values science, friendship, love, then he will instantly be dubbed crazy.

The comedy of Alexander Sergeevich Griboedov is a complex synthesis of three literary methods, a combination, on the one hand, of their individual features, and on the other, a holistic panorama of Russian life at the beginning of the 19th century.

That is why the play by A.S. Griboyedov’s “Woe from Wit” remains relevant in our time.

To better understand the ideological content and problems of the comedy “Woe from Wit”, the socio-political problems of the comedy, let’s remember characteristic features historical era reflected in the play.

There are certain difficulties with dating Woe from Wit, primarily due to the fact that the author did not leave precise instructions about the beginning of work on the play.

Researchers call 1816, 1818, and 1821. The only documented time is when the work was completed: 1824.

II. Main part

1) Famusovskaya Moscow

a) Opponents of Chatsky

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

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

All the other characters of lordly Moscow depicted in “Woe from Wit” are also outlined with sharp, typical features: the imperious serf-lady old woman Khlestova, the Countesses Khryumina, the princely family of the Tugoukhovskys.

The most striking of them: Zagoretsky - a secular sharper, a swindler and an informer, according to all sources - a secret agent of the political police; Repetilov is the “soul” of noble society, a jester, a gossip and a windbag, who, in order to keep up with fashion, has wormed his way into the circle of some pseudo-liberal talkers; Platon Mikhailovich Gorich is a former friend of Chatsky, a degraded, inert person, internally reconciled with Famusov’s world.

b) Pavel Afanasyevich Famusov

Famusov is one of the main characters in the comedy, a representative of the serf-owners’ camp. A nobleman, a landowner living in Moscow and serving as a manager in a government office. He is a famous person in the circle of the Moscow nobility. His surname speaks about this (when translated from Latin, the surname Famusov means “famous”, “enjoyed by fame”). Famusov belongs to the representatives of noble noble families. A widower, he loves his daughter, takes care of her, and believes that he did everything to raise her. Looking for a suitable groom for Sophia, he wants to marry her to the rich Skalozub. Famusov boasts of “monastic behavior,” but flirts with the pretty maid Liza and counts the days when the doctor’s widow is due to give birth.

Famusov is a fan of antiquity, admires morals high society at the court of Catherine II. He is a supporter of serfdom. It seems to him legal and completely fair to own and dispose of serfs at his own discretion. He does not see people in serfs, does not take them into account human dignity. He scolds them without mincing words, calls them “donkeys”, “blocks”, regardless of their age. He threatens Liza with sending her to the village: “Go to the hut and go after the birds.”

Being a landowner, Famusov, however, occupies a prominent position in Moscow. Service for him is only a means to receive awards, ranks and money. The most important thing for Famusov is the ability to get along with superior people, please them on time and thus curry favor.

He hates and fears people with a progressive worldview. He treats Skalozub's cousin with disapproval. He calls Chatsky “carbonarius”, dangerous person. The reasons for his indignation are clear: Chatsky speaks out against that system, those orders that for Famus are the basis of all his well-being.

c) Alexey Stepanovich Molchalin

Adulation and servility to superiors - this is Molchalin’s life principle, which already brings him famous success. “Since I’ve been listed in the Archives, I’ve received three awards,” he tells Chatsky, adding that he has two talents: “moderation and accuracy.” Ready for the meanness of wealth and rank, he approaches others with the same standard. Thinking that Lisa’s favor is easy to buy, he promises to give her a “cunning toilet.” At the decisive moment, when Sophia interrupts his embrace with Liza, Molchalin begins to crawl humiliatingly on his knees in front of her, not because he felt guilty before Sophia, but because he was afraid for his career. When Chatsky appears, Molchalin, completely afraid, flees. “The silent ones are blissful in the world!” Chatsky exclaims with anger and indignation. But the Molchalins should not be underestimated, because they are not as harmless and funny in their servility as it seems at first glance. Time has shown that Molchalin is tenacious and invulnerable. But what’s most terrible is that it was such an empty, insignificant person who was the culprit of “a million torments” of the smart, noble Chatsky, the culprit of Sophia’s tragedy.

d) Off-stage characters of the comedy “Woe from Wit”

Gallery typical images old noble, lordly Moscow, created by Griboyedov, includes those who do not directly act in the comedy, but are only mentioned in the cursory characteristics that the characters give them. There are quite a lot of them. They expand the canvas of life metropolitan nobility. Most they are adjacent to the Famus society. Particularly memorable, of course, is Uncle Maxim Petrovich, who gained the queen’s favor through sycophancy and servility. His life is an example of serving the queen.

Uncle is Famusov's ideal.

Who hears a friendly word at court?

Maxim Petrovich. Who knew honor before everyone?

Maxim Petrovich. Joke!

Who promotes you to rank? and gives pensions?

Maxim Petrovich!

Among the off-stage characters, one can also name such bright, prominent, complete images as the “dark little one” who is a regular at all balls and dinners, and the serf-owner of the theater, and the obscurantist member of the “Scientific Committee”. No less vivid is the portrait of Kuzma Petrovich, who not only managed to arrange his life, but also did not forget about his relatives. “The deceased was a respectable chamberlain... Rich, and he was married to a rich woman. I married children and grandchildren.” But the most disgusting characters are the feudal landowners, characteristic features which were absorbed by “Nestor of the noble scoundrels,” exchanging his servants for greyhounds, selling children taken from their mothers, whom the main character denounces in his passionate monologue.

And the influential old woman Tatyana Yuryevna, and the impudent “Frenchman from Bordeaux”, and Repetilov’s club friends, and many others - right up to Princess Marya Aleksevna, the guardian of public opinion in the Famusov world, with whose name the comedy significantly ends - all these persons do not appear on stage , but, nevertheless, are very important for revealing the content of “Woe from Wit” - and this constitutes one of the innovative features of the comedy.

e) The image of the main character

One of the most contradictory characters in the play "Woe from Wit" Sophia is endowed. This is stated very well in I. A. Goncharov’s article “A Million Torments.” He talks about the mixture in Sophia of “good instincts with lies”, “a lively mind with the absence of any hint of conviction.” But it is “ruined in the stuffiness, where not a single ray of light, not a single stream of light penetrates fresh air". Goncharov saw in her "the makings of a remarkable nature," and therefore "it was not for nothing that Chatsky loved her."

By nature, Sophia is endowed good qualities: strong mind, independent character. She is capable of deeply experiencing and sincerely loving. This girl received a good education and upbringing. The heroine enjoys reading French literature. But, unfortunately, all these positive character traits of Sophia could not be developed in Famus society. She drew ideas about people from sentimental French novels, this literature developed dreaminess and sensitivity in Sophia. Therefore, it was no coincidence that she drew attention to Molchalin, who, with his features and behavior, reminded her of her favorite heroes. However, it cannot be said that Sophia is blinded: she is able to evaluate her chosen one sensibly and critically:

Of course, he doesn’t have this mind,

What a genius is to some, and a plague to others,

Which is fast, brilliant and will soon become disgusting.

Griboyedov introduced us to the heroine of the comedy as a dramatic person. This is the only character who is conceived and executed as close to Chatsky. If Sophia had grown up in a different environment, she might have chosen Chatsky. However, she chooses the person who is most suitable for her, since she cannot imagine any other hero. But, according to the same Goncharov, “heaviest of all, even Chatsky” is Sofya.

So, in the comedy “Woe from Wit” Griboyedov showed the life of the Moscow nobility and, by introducing non-stage characters into the narrative, deepened the conflict of the work and expanded the picture of the morals of the Moscow nobility. One more distinguishing feature comedy is the first and brilliant experience in Russian literature artistic image the spiritual life of a woman using the example of the drama experienced by Sofia Famusova.

2) About the main character

“The main role, of course, is the role of Chatsky, without

which there would not be a comedy, but, there would be,

perhaps a picture of morals.”

(I.A. Goncharov)

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

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

This task was also brilliantly accomplished by Griboyedov. Ideological content“Woe from Wit,” of course, is not limited to exposing the orders and morals of feudal society. The comedy is given a really broad and true in all details historical picture of all Russian life in Griboyedov’s time - both its shadow and light sides. The comedy reflected not only the life and customs of the old noble Moscow, which lived according to the Old Testament legends of “the times of the Ochakovskys and the conquest of the Crimea,” but also the social ferment of the era - that struggle of the new with the old, in the conditions of which the Decembrist movement arose and revolutionary ideology took shape in Russia.

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

So, at the center of the comedy is the conflict between “one sensible person” (Griboyedov’s assessment) and the conservative majority.

As always in a dramatic work, the essence of the main character’s character is revealed, first of all, in the plot. Griboedov, faithful life's truth, showed the plight of a young progressive man in this society. Those around him are taking revenge on Chatsky for the truth that stings his eyes, for his attempt to disrupt the usual way of life. The girl he loves, turning away from him, hurts the hero the most by spreading gossip about his madness. Here is a paradox: the only sane person is declared insane!

"So! I have completely sobered up!” Chatsky exclaims at the end of the play. What is this - defeat or insight? Yes, the end of this comedy is far from cheerful, but Goncharov is right when he said about the ending like this: “Chatsky is broken by the amount of old power, inflicting it in turn death blow quality of fresh strength." Goncharov believes that the role of all Chatskys is “suffering”, but at the same time always victorious. But they do not know about their victory, they only sow and others reap.

Chatsky also belongs to the noble society, but his behavior and statements are the opposite of his origin. Chatsky is noble, honest, eloquent and smart. He always strives for greater knowledge, unlike Famus society, he is not interested in money, career, or the highest position in society, because he doesn’t just want to receive awards and profit, he wants to benefit society. The image of Chatsky is intertwined with the image of Griboedov itself. He is also brave and courageous, smart, he does not like the political structure of the country, so he boldly enters the battle for the future of his Motherland. There are few such people among the “Famus society” that was formed in those days. There are only a few such people.

It is surprising that even now it is impossible to read about the suffering of Alexander Andreevich without worry. But such is the power of true art. Griboyedov, perhaps for the first time in Russian literature, managed to create a truly realistic image positive hero. Chatsky is close to us because he is not written as an impeccable, “iron” fighter for truth and goodness, duty and honor - we meet such heroes in the works of classicists. No, he is a man, and nothing human is alien to him. “The mind and heart are not in harmony,” says the hero about himself. The ardor of his nature, which often prevents him from maintaining mental balance and composure, the ability to fall in love recklessly, does not allow him to see the shortcomings of his beloved, to believe in her love for another - these are such natural traits! “Ah, it’s not difficult to deceive me, I myself am glad to be deceived,” wrote Pushkin in the poem “Confession.” And Chatsky could say the same about himself. And his humor and witticisms are so attractive. All this gives such vitality and warmth to this image, forcing us to empathize with the hero.

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

3) Is A. S. Griboedov’s comedy “Woe from Wit” modern?

“How to compare and see

The present century and the past century...”

(A.S. Griboyedov)

There are brilliant works of literature. And there are brilliant names brilliant works. Those in which the words that make them up seem to merge into one concept. Because this is not just a title literary composition, but the name of some phenomenon. Such titles, such works, even in great literature there will be hardly more than a dozen. Griboedov's comedy- one of them.

Alexander Sergeevich Griboyedov turned two hundred years old. From inconclusive set dates one was chosen for his miraculous birth, and here we are celebrating! The Famusovs are in the boxes, the Skalozubs have become generals, Sophia and Liza are pleasing to the eyes in the ranks of the social movement “Women of Russia”, the Molchalins are blissful in ministries and committees. Who are the judges? ...

There is no play more lively and modern than "Woe from Wit." So it was, so it is, so it will be.

A truly great work, such as “Woe from Wit,” resists overestimation. There is no escaping the fact that Griboyedov was closely connected with the Decembrists. Another thing is that our understanding of Decembrism as a social movement has become more precise over the years. We are more clearly aware of some tragic features of Russian public life, especially centuries-old traditions totalitarianism. This explains a lot about national history, right up to the present day. It is important for us that “Woe from Wit” is not a “black and white” satire on the social system. The writer was interested not in the “system”, not in the “system”, but in social psychology. But it is not “black and white” at all. Listen: Famusov and Chatsky often talk about the same thing. “And all the Kuznetsky Bridge, and the eternal French!” - Famusov grumbles. And Chatsky is concerned “so that our smart, cheerful people, even in language, do not consider us to be Germans.” Both of them are unconditional patriots, both are Russian people to the depths of their souls, much divides them, but much makes them similar, that is the tragedy of this comedy, that is why there are “a million torments.” And “system”, “system” - well, they can change, but Famusov, Repetilov, Molchalin, Skalozub are eternal. And Chatsky is eternal.

When we're in last time Have you seen Chatsky alive? It was Academician Sakharov. Different time, age, appearance, language, but the essence is the same: Chatsky! The same one whom Pushkin condescendingly reproached, claiming that in “Woe from Wit” one smart person is Griboyedov himself, and Chatsky is a kind fellow who spent some time in his company and makes smart speeches in his voice - to whom? Before the Skalozubs and Tugoukhovskys? But the fact of the matter is that Pushkin is not entirely right: it is necessary to speak. To those with whom history has brought you together. Without even expecting understanding. What is said will not be lost. Griboyedov convinced of this. Sakharov convinced him of this. What do these two Russian people have in common, besides the fact that they are Russian? Mind. Both of them were outstanding minds of their time.

The inexhaustibility of “Woe from Wit” is revealed in the misunderstood Chatsky and the unsolved Repetilov...

How to compare and see

The present century and the past...

Which Russian hasn’t found his age to be the most incredible? It seems that both Pushkin and Griboedov more than once had to hear the usual complaints about time, otherwise there would be so many of them different heroes, like Famusov and Duke, would not have lamented so unanimously: “A terrible century! You don’t know what to start…” says Famusov. And the Duke echoes him: “Terrible age, terrible hearts!”

“Woe from Wit” has long been a national property. Back in the early seventies of the nineteenth century, I.A. Goncharov, who noted that comedy “is distinguished by its youthfulness, freshness and stronger vitality from other works of the word,” predicted it “incorruptible life”, argued that it “will survive many more eras, and everything will not lose its vitality.” This prophecy was completely justified.

The great comedy still remains youthful and fresh. She kept hers public importance, its satirical salt, its artistic charm. She continues her triumphant march across theater stages. It is taught in schools.

Millions of people laugh and are indignant along with Griboyedov. The anger of the satirist-debunker is close and understandable to the Russian people, because even now it inspires them to fight against everything inert, insignificant and vile, for everything advanced, great and noble. The struggle between the new and the old is the law of our Russian life. The images created by Griboyedov, his apt, striking sayings, living in folk speech, are still capable of serving as a sharp weapon of satire.

4) “Woe from Wit” in the literature of the 19th century

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

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

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

In 1865, D.I. Pisarev drew attention to this significance of comedy, arguing that “one must be not only an attentive observer, but also, in addition, a remarkable thinker; from the diversity of faces, thoughts, words, joys, sorrows, stupidities and meannesses that surround you, you need to choose exactly that which concentrates in itself the whole meaning of a given era, that leaves its stamp on the whole mass of secondary phenomena, that squeezes into its framework and modifies with its influence all other sectors of private and public life. Griboyedov really accomplished such a huge task for Russia in the twenties.”

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

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

During the time of Griboedov, the cause of the liberation struggle was carried out by a few “best people from the nobility”1, far from the people and powerless without the support of the people. But their work was not lost, because they “...helped awaken the people”1, because they prepared a further rise revolutionary movement in Russia.

Even though in the time of Griboedov, on the eve of the Decembrist uprising, Famusovism still seemed to be a solid foundation of social life in an autocratic serfdom state, even though the Famusovs, Skalozubs, Molchalins, Zagoretskys occupied a dominant position at that time, but as a social force it was already rotting and was doomed to die. There were still very few Chatskys, but they embodied that fresh, youthful strength that was destined to develop and which was therefore irresistible.

Boldly and innovatively solving the problem of typicality in “Woe from Wit,” Griboyedov thereby with complete clarity He said with his work, in the name of what, in the name of what ideals, he exposed Famusism. Having penetrated with creative thought into the essence of the main social and ideological contradictions of his time, showing that Chatsky represented in his person the growing and developing force of Russian society, generously endowing his character with heroic traits, Griboyedov thereby solved the political problem. This was primarily the impact of Griboedov’s socio-political position, and this was where the ideological orientation of his work was most convincingly revealed.

III. Conclusion

Griboyedov comedy woe

In the dramatic plans after Woe from Wit, everything was connected with the development and deepening of the democratic, anti-serfdom tendencies of this play. Griboedov's death in 1829 prevented the creation of new works, which promised to constitute a significant page in the history of Russian literature. But what he did gives grounds to place Griboyedov in the cohort of artists of world significance.

For Griboedov's contemporaries, his play was a sign of the times. She helped the best people Russia to determine its place in the socio-political struggle. It is no coincidence that the Decembrists said that comedy was for them one of the sources of free thinking.

According to the great democratic critic V.G. Belinsky, “Woe from Wit,” along with the novel “Eugene Onegin,” was “the first example of a poetic depiction of Russian reality in the broad sense of the word. In this regard, both of these works laid the foundation for subsequent literature, from which both Lermontov and Gogol emerged.”1

The significance of any writer from the past of our time is tested, first of all, by how close he is to us. spiritual appearance how much his work serves our historical cause. Griboyedov fully withstands this test. He is close and dear to people as a writer, faithful to the truth of life, as a leading figure of his time - a patriot, humanist and lover of freedom, who had a deep and fruitful impact on the development of Russian national culture.

Griboyedov and his great comedy are surrounded by truly popular love in our country. Now more than ever, the words inscribed on the grave monument Griboyedov:

“Your mind and deeds are immortal in Russian memory...”

The success of the work, 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 pre-Decembrist era, “eternal” themes are discerned: generational conflict, drama love triangle, antagonism between the individual and society. At the same time, “Woe from Wit” is an example of artistic synthesis of the traditional and innovative: paying tribute to the canons of the aesthetics of classicism, Griboyedov “revitalizes” the scheme with conflicts and characters taken from life, freely introducing lyrical, satirical and journalistic lines into the comedy.

IV. References

1. Andreev N.V. "Great Writers of Russia". Moscow, “Thought”, 1988.

2. Volodin P.M. "History of Russian literature of the 19th century century." Moscow, 1962

3. Druzhinin N.M. "A.S. Griboyedov in Russian criticism." Moscow, 1958

4. Medvedeva I. “Woe from Wit” by A.S. Griboedov.” Moscow, " Fiction", 1974

5. Meshcheryakov V.P. “Things of days gone by...” Moscow, Bustard, 2003.

6. Orlov V. “Griboyedov. Essay on life and creativity." Moscow, Goslitizdat, 1947.

7. Piksanov N.K. " Creative history“Woe from Wit.” Leningrad, 1983

8. Smolnikov I.F. “Comedy by A.S. Griboyedov “Woe from Wit.” Moscow, Enlightenment, 1986.

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