Alexander Sergeevich Griboyedov
1795 – 1829
Griboyedov was born in Moscow into a noble family. His ancestor, Jan Grzybowski, moved from Poland to Russia at the beginning of the 17th century. The surname Griboedov is nothing more than a peculiar translation of the surname Grzhibovsky. Under Tsar Alexei Mikhailovich, Fyodor Akimovich Griboedov was a clerk of the rank and one of the five compilers of the Council Code of 1649.
House of Griboyedovs
The writer's father is retired Second Major Sergei Ivanovich Griboedov (1761 -1814). Mother - Anastasia Fedorovna (1768 -1839), maiden name was also Griboedova.
S. N. Griboyedov
(1761
-1814)
poet's father
Anastasia Fedorovna
(1768
-1839)
poet's mother
According to relatives, already in childhood Alexander was very focused and unusually developed. There is information that he was the great-nephew of Alexander Radishchev (the playwright himself carefully hid this). At the age of 6 he was fluent in three foreign languages, in his youth already six, in particular fluent in English, French, German and Italian. He understood Latin and Ancient Greek very well.
In 1803 he was sent to the Moscow University Noble Boarding School; Three years later, Griboedov entered the literature department of Moscow University. In 1808 he received the title of candidate of literary sciences, but did not leave his studies, but entered the moral and political department, and then the physics and mathematics department.
Young A. S. Griboyedov
in Khmelite
There are many mysteries and gaps in Griboyedov’s biography, especially about his childhood and youth. Neither the year of his birth is known for certain (although the day is precisely known - January 4), nor the year of admission to the University Noble Boarding School. The widely spread version, according to which Griboedov graduated from three faculties of Moscow University and only because of the War of 1812 did not receive a doctorate, is not supported by documents. One thing is certain: in 1806 he entered the Faculty of Literature, and in 1808 he graduated from it. If Griboyedov was really born in 1795, as most biographers believe, he was then thirteen years old. In the early years of the 19th century, this was rare, but it did happen. More reliable information about Griboyedov’s life since 1812. During the invasion of Napoleon, Alexander Sergeevich, like many Moscow nobles, enlisted as an officer in the militia. But he did not have the opportunity to participate in battles: the regiment was in the rear. After the war, for several years the future writer served as an adjutant on the territory of what is now Belarus.
Griboyedov spent his youth stormy. He called himself and his fellow soldiers “stepchildren of common sense” - their pranks were so unbridled. There is a known case when Griboyedov once sat down at the organ during a service in a Catholic church. At first he played sacred music for a long time and with inspiration, and then suddenly switched to Russian dance music. Griboyedov also hung out in St. Petersburg, where he moved in 1816 (he spent a year in retirement, and then became an official in the Ministry of Foreign Affairs). “But he had already begun to study literature seriously,” says V.N. Orlov.
Griboyedov - poet
In the autumn in Moscow, Griboedov plunges headlong into literary and theatrical life. He is close to many writers and actors, especially V.F. Odoevsky and P.A. Vyazemsky. The first of them recalled, talking about himself in the third person: “Music could be one of the reasons for friendly communication between the princes. Odoevsky and Griboyedov. Griboyedov's sister Maria Sergeevna... played the piano excellently, and especially the harp. Music circles were often held in Griboyedov’s house (near Novinsky). Griboyedov himself was an excellent piano player, but moreover, he and Prince. Odoevsky also studied the theory of music as a science, which was very rare at that time; their mutual friends made fun of them then; even in this circle there was a saying: “As soon as Griboyedov and Odoevsky start talking about music, it’s all lost; You won’t understand anything.”
V.F. Odoevsky, together with Kuchelbecker in Moscow, published the almanac Mnemosyne, which, along with the St. Petersburg almanac Polar Star, became a conductor of Decembrist ideas. Griboedov's program poem "David" is published here. This poem stands out against the background of poetic production of the 1820s for its deliberate archaism. Griboedov uses vocabulary that was used only during Trediakovsky’s time, and... creates a typically “Decembrist work.” You can compare the works of Pushkin and Griboyedov. Both poets address the theme of the prophet, but how differently they embody it.
In Pushkin there is only one archaic word “reins”. Everything else is quite perfect, the intonation of the verse is smooth and distinct, each word is linked to the other, the subsequent follows from the previous one. It’s different for Griboyedov. Lexical units seem to be isolated from each other; in any case, semantic “gaps” are felt between individual sentences.
Unglorious among the brethren from childhood,
Father was the youngest,
Shepherd of the parent flock;
And suddenly God gives her strength
My organ was created by my hands,
The psalter was arranged by the fingers
ABOUT! Who's up to the mountain heights
Will he raise sounds to the Lord?
With an almost equal volume of texts, the number of archaisms in Griboyedov exceeds Pushkin’s by almost ten times! It’s as if Griboyedov’s versifying talent is betraying him. What's the matter? This is explained by a number of reasons.
“David” is a very close arrangement in content and even in the number of words of the 151st psalm of King David. Griboyedov's poem differs from the psalm in a change in meaning. Griboedov's hero, as already noted, is close in spirit to the inspired characters of Decembrist poetry, rising up to fight for the common good.
The poet was guided by a reader who not only remembered the Bible, but was also able to fill it from childhood familiar words and images with new meaning. But simple allusion was not enough for Griboyedov; he wanted to raise modernity to mythological heights.
In Griboedov’s poems, writes A. V. Desnitsky, “the speech gives the impression of being created anew, the combinations of words are new, despite the fact that the words used are almost “mossy,” therefore, naturally, the reader has more than one shade , not just one understanding of the author’s thoughts, but a certain polysemy, so broad that only after thinking about it, understanding it, the reader will, when reading, single out from this polysemy what the author wanted to say. Such speech is so unique and original that it becomes the speech of “one person”, “the speech of Griboyedov”... - it was noted very accurately.
Griboedov's contemporaries did not accept his poetry. “Reading his poems makes my cheekbones hurt,” said Ermolov.
In Russian drama, Griboyedov had such predecessors as D. I. Fonvizin, I. A. Krylov, A. A. Shakhovsky. TO early XIX centuries in Russia there has already been a type verse comedy, the driving force of which was, first of all, a love affair, but at the same time social problems were solved, or at least posed.
Attempts to translate works from French
At the beginning of his creative career, Griboedov gravitated towards light, so-called “secular” comedy, far from denunciation social evil. From his duty stations he brought the comedy (translated from French) “The Young Spouses” (1815).
The playwright's first experience was the then widely practiced translation and adaptation from French. Creuset de Lessard's three-act comedy A Family Secret (1809) was turned by the translator into a one-act comedy, which naturally entailed some changes in the plot and composition. Poems that were not in the original also appeared. Griboyedov retained the French names, but introduced individual episodes into the play that were more likely related to Moscow or St. Petersburg than to Parisian life. The future master can already be discerned in them, but for now these are just individual touches.
“Young Spouses” is a typically secular comedy. The conflict in it is based on love misunderstandings; there is no talk of any social contradictions. At least this is how the reader perceives it these days. In 1815, secular comedy, against the backdrop of classical tragedies that had recently been received with great enthusiasm and taught to prefer the state to the personal, looked different. There were other circumstances that contributed to the success of Griboyedov’s dramatic experience. The comedy of Creuset de Lessard was already known to St. Petersburg theatergoers in the translation of A. G. Volkov, who was actively writing for the stage in those years, and already had certain literary skills. Griboyedov was introduced to dramaturgy for the first time - and, nevertheless, his translation is much more economical and elegant. Moreover, Zagoskin was undoubtedly right, who believed that Griboyedov’s translation was “much better” than the original source itself. “The action moves quickly, there is not a single unnecessary or cold scene: everything is in its place.”
“It is also important that Griboedov’s first experience already stated those principles of dramatic style that would later find brilliant implementation in “Woe from Wit”: a quick change of voices, picking up a cue, a combination of ironic coloring of the characters’ speech with intimate lyrical, a tendency towards aphoristic statements , to semantic, situational and intonational contrasts or oppositions,” writes V.I. Babkin.
It was staged in the capital not without success. Then Griboyedov participated as a co-author in several more plays. The stage became his real passion. He became friends with the director of the St. Petersburg theater, playwright Shakhovsky, and especially with the talented poet and theater expert Pavel Katenin. With Vyazemsky, the playwright writes the vaudeville opera “Who is Brother, Who is Sister, or Deception after Deception,” the music for which is created by A. N. Verstovskoy. Of course, it was a “trinket,” a benefit piece intended for the Moscow actress M.D. Lvova-Sinetskaya, who was distinguished by her gift of impersonation and was especially graceful in the roles of a travesty. P. A. Vyazemsky recalls: “...Director of the Moscow Theater F. F. Kokoshin... asked me to write something for a benefit performance by Lvova Sinetskaya... Just before that time, I met Griboyedov in Moscow, already the author of a famous comedy... and suggested that the two of us take on this business. He readily agreed." This is how the notes of the romance from the vaudeville opera by P. A. Vyazemsky and Griboedov to the music of A. N. Verstovsky “Who is brother, who is sister, or Deception after deception” appeared, published in the almanac “Mnemosyne” in 1824.
Griboyedov - musician
Once the actor-playwright P. A. Karatygin said to Griboedov: “Ah, Alexander Sergeevich, how many talents God has given you: you are a poet, a musician, you were a dashing cavalryman and, finally, an excellent linguist!” He smiled, looked at me with his sad eyes from under his glasses and answered me: “Believe me, Petrusha, whoever has many talents does not have a single real one.” He was modest...”
Decembrist Pyotr Bestuzhev spoke of his friend: “The mind is naturally abundant, enriched with knowledge, the thirst for which does not leave him even now, the soul is sensitive to everything high, noble, heroic. Lively character, inimitable manner of pleasant, tempting treatment, without an admixture of arrogance; the gift of speech high degree; his pleasant talent in music, and finally, his knowledge of people make him an idol and adornment of the best societies.”
“According to the tradition accepted in Russian noble families, Alexander Sergeevich studied music from childhood. He played the piano very well and had great knowledge of music theory,” reports P. G. Andreev. There are many memories of Griboedov the pianist. “Griboyedov passionately loved music and from the very beginning youth became an excellent piano player. The mechanical part of playing the piano did not present any difficulty for him, and subsequently he studied music completely, like a deep theorist (K. Polevoy). “I loved listening to his magnificent piano playing... He would sit down with them and begin to fantasize... There was so much taste, strength, and wondrous melody here! He was an excellent pianist and a great connoisseur of music: Mozart, Beethoven, Haydn and Weber were his favorite composers” (P. Karatygin).
N. S. Begichev
Griboedov the pianist often performed among friends and at musical evenings as an improvising soloist and accompanist. His partners in playing music together were amateur singers, artists of the Italian opera troupe, and composers. For example, to his accompaniment, Verstovsky performed for the first time the romance “Black Shawl,” which he had just composed. Much to our chagrin, most of the plays composed by Griboyedov were not recorded on music paper and are irretrievably lost to us. Only two waltzes have survived. They do not have names, so we will call them by musical terms: Waltz in A-flat major and Waltz in E minor. The first of them was written during the winter of 1823/24. E. P. Sokovnina, the niece of S. I. Begichev, talks about this, best friend Griboyedov: “This winter, Griboyedov continued to finish his comedy “Woe from Wit” and, in order to more accurately capture all the shades of Moscow society, he went to balls and dinners, which he had never been in the mood for, and then retired for whole days in his office. I still have a waltz composed and written by Griboyedov himself, which he handed over to me.” This was the first edition of the B-moll waltz. Sokovnina sent his manuscript to the editors of the Istoricheskiy Vestnik with the following note: “I am enclosing this waltz in the confidence that it can still bring pleasure to many.” So, Sokovnina’s testimony establishes that the composition of one of the waltzes dates back to the period of the final finishing of Woe from Wit. Another waltz, As major, was apparently written at the same time.
House of N. S. Begichev in Moscow
However, Griboedov's musical creativity was not limited to the waltzes that have come down to us. The daughter of P. N. Akhverdova, who raised Griboyedov’s future wife, told researcher N. V. Shalamytov that on his first trip to Persia (1818), Griboyedov, visiting her mother’s house in Tiflis, often “sat down at the instrument and played with more part of his composition. She also recalls that Griboyedov, during his second trip to Persia as minister plenipotentiary (1828), again stayed with P.N. Akhverdova and here he often played “dances of his own composition” for children, the melodies of which, she continues, “I still remember clearly, not very beautiful and uncomplicated.”
The publication of Griboedov’s works edited by I. A. Shlyapkin (1889) states: “As we heard, there is also a mazurka written by A. S. Griboyedov.” Unfortunately, Shlyapkin did not indicate the source of his information.
While studying music with his fiancée and then his young wife, Griboyedov, according to her biographer, K. A. Borozdin, was a strict teacher and tried to cultivate taste classical school" One should think that in his creative aspirations Griboyedov relied primarily on classic designs.
On the other hand, we know that Griboedov loved folk songs and accepted them only in pure form. It’s a shame that Alexander Sergeevich’s musical works disappeared without a trace, remaining unrecorded, just as his improvisations disappeared, echoing within the walls of literary and musical salons and living rooms and leaving only memories among listeners. Nevertheless, music for Griboyedov was a genuine part of his being, and not just a detail of his surrounding life.
In the memory of Griboedov's wife, Nina Alexandrovna, who survived him by almost thirty years, his other works were preserved for a long time, including the largest and most significant - the piano sonata. Biographer N.A. Griboedova says: “Nina Alexandrovna knew a lot of plays and his own compositions, very remarkable for the originality of the melody and masterful arrangement - she willingly played them to those who loved music. Of these, one sonata was especially good, full of soulful charm; She knew that this piece was my favorite and, sitting down at the piano, she never refused me the pleasure of listening to it. One cannot help but regret that these plays remained unrecorded by anyone: “Nina Alexandrovna took them with her.” Thus, the most serious musical composition Griboyedov did not reach us. The impressions of contemporaries from Griboyedov’s improvisations and from his compositions that disappeared completely coincide with the characteristics that can be given to two waltzes published in a collection of salon vocal and instrumental miniatures. - “Lyrical album for 1832.” They stand out noticeably from the piano section of the album. One contemporary review of Lyrical Album said: “The dance department is very weak. In it, only Griboyedov's Waltz in E minor deserves attention, long known, but still not losing its freshness, due to its excellent melody. The author himself played this trinket with excellent skill.” M. M. Ivanov, who wrote an opera based on the plot of “Woe from Wit” - an unsuccessful opera, best number which was Griboedov’s B-moll waltz, performed at Famusov’s ball, believes that Chopin and Griboyedov drew from the same source - from the Polish folk song, a melody familiar to both of them.” Both Griboyedov waltzes are small piano pieces, very simple in form and texture; their music is of a lyrical-elegiac nature, lighter in the Waltz in E minor. The first of these waltzes is less known, but the second is now extremely popular. It is well deserved; the music of the waltz in E minor is characterized by some special, tenderly sad poetic comfort; her sincerity and spontaneity touches the soul.
Written for piano, both waltzes exist in large quantities arrangements for various instruments: harp, flute, button accordion and others.
In fact, Griboyedov's Waltz in E Minor is the first Russian waltz that has survived to this day thanks to its artistic merits, and actually sounds in our musical everyday life. He is popular, he is well known to many and is loved by the most wide circles music lovers.
“So, the appearance of Griboyedov as a musician is multifaceted: the great Russian writer possessed not only the creative gift of a composer and improviser, not only the well-known technical perfection of a pianist and some knowledge of other instruments, but also a musical theoretical preparation that was rare in those days,” writes P G. Andreev.
His untimely death did not allow Griboyedov to create 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.
IN literary war Arzamas and Shishkovists Katenin and Griboyedov took a special position. The works of the Arzamas people seemed to them lightweight and unnatural, while the Shishkovists seemed outdated. They themselves were looking for new possibilities for verse, even at the expense of lightness and smoothness. Katenin was not afraid of rudeness that was indecent for the public. Griboyedov supported him: he published an article (1816), where he defended Katenin’s ballad “Olga” from criticism and himself sharply criticized V. A. Zhukovsky’s famous ballad “Lyudmila” on the same plot. This article made Griboedov's name famous in literary world.
Together with Katenin, Griboyedov wrote the best of his early works– comedy in prose “Student”. During Griboedov’s lifetime, it did not appear either on stage or in print. Perhaps the attacks on literary opponents (Zhukovsky, Batyushkov, Karamzin), whose poems were parodied in the play, seemed indecent to the censors. Moreover, in the main character - the fool Benevalsky - it was not difficult to recognize the traits of these writers.
No less than the author's fame, Griboedov was seduced by behind the scenes life theater, an indispensable part of which were romances with actresses. “One of these stories ended tragically,” as S. Petrov reports.
Cornet
A. S. Griboyedov
Two friends of Griboyedov, young revelers Sheremetev and Zavadovsky, competed over the ballerina Istomina. The well-known duelist in the city, Alexander Yakubovich (the future Decembrist), fanned the quarrel, and accused Griboedov of ignoble behavior. Sheremetev had to compete with Zavadovsky, and Yakubovich - with Griboyedov. Both duels were to take place on the same day. But while they were providing assistance to the mortally wounded Sheremetev, time was running out. The next day, Yakubovich was arrested as the instigator and exiled to the Caucasus. Griboedov was not punished for the duel (he was not looking for a quarrel and in the end did not fight), but public opinion found him guilty of Sheremetev's death. The authorities decided to remove from St. Petersburg the official “involved in the story.” Griboyedov was offered a position as secretary of the Russian mission either in Persia or in the United States of America. He chose the former, and it sealed his fate.
A. I. Yakubovich
On the way to Persia, Griboedov stayed in Tiflis for almost a year. There the postponed duel with Yakubovich took place. Griboyedov was wounded in the arm - for him as a musician it was very sensitive.
1817
duel
Griboedov served in Persia for three years, and then moved as a “diplomatic official” to the staff of the Chief Administrator of Georgia, General A.P. Ermolov. Service under this extraordinary man, outstanding commander and the real dictator of the Caucasus, gave him a lot.
In the years when Griboedov conceived and wrote Woe from Wit, a fatal gap for Russia began between the authorities and the thinking part of society. Some European educated people resigned in scandal, many others became members of secret anti-government organizations. Griboyedov saw this, and his idea for a comedy matured. Undoubtedly, the fact that the expulsion of the author himself from St. Petersburg was associated with slander played a role here. “In a word, Griboedov was tormented by a problem - the fate of an intelligent person in Russia,” writes N. M. Druzhinin.
Griboyedov - hussar
The actual plot (“plan,” as they said then) of “Woe from Wit” is simple. Griboedov himself retold it best of all in a letter to Katenin: “A girl who is not stupid prefers a fool.” smart person... and this man, of course, is in contradiction with the society around him... Someone out of anger invented about him that he was crazy, no one believed it and everyone repeated it... he didn’t give a damn to her and everyone and was like that. The queen is also disappointed about her sugar medovich” (i.e. the heroine was disappointed in the “fool”).
And yet, almost none of his contemporaries understood the plan for “Woe from Wit.” The play was so inconsistent with the usual ideas about comedy that even Pushkin saw it as a flaw, not an innovation. Katenin, and even more so Griboyedov’s magazine ill-wishers, shared the same opinion, and he had them.
First of all, readers are accustomed to the “rule of three unities.” In "Woe from Wit" the unity of place and time is observed, but the main thing - the unity of action - is not visible. Even in Griboyedov’s presentation, at least two storylines. Firstly, love triangle: main character Chatsky ("smart man") - Molchalin ("sugar honey") - Sofya Pavlovna ("Queen"). Secondly, the story of the confrontation between the hero and the whole society, which ends with gossip about madness. These lines are connected: after all, it was none other than Sophia who started the gossip. And yet the plot is clearly “bifurcated”.
It was also doubtful to what extent the play had the right to be called a comedy. Of course, in Woe from Wit there are many funny lines and many characters(dignitary Famusov - Sophia's father, Colonel Skalozub, young lady Natalya Dmitrievna, slacker Repetilov). But this is not enough for a real comedy. The plot itself should be comical - some kind of misunderstanding that is resolved in the finale. In addition, according to the literary ideas of Griboyedov’s time, goodies as a result of cunning tricks, as a rule, they win, and negative ones are left in the fool.
Manuscript
"Woe from Wit"
First edition
"Woe from Wit"
In Woe from Wit, as literary scholars have noted, everything is very similar - and everything is not the same. It is Chatsky who finds himself in a funny position: he cannot believe that Sophia really loves the “wordless” Molchalin. But the author and the reader do not laugh at all, but are sad and sympathize with the hero, who in the finale runs “...to search the world where there is a corner for the offended feeling...”.
Sophia becomes convinced that Molchalin never loved her, and this is also a dramatic, not a comic situation. The funny thing, however, is Famusov in the finale, in whose house a scandal broke out. But judging by the “plan”, Famusov is a minor character. In the end, there were no winners, and no one was trying to win. There is no one to laugh at either.
The key to understanding Woe from Wit was given by Griboyedov himself. He wrote: “The first outline of this stage poem, 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.” He immediately names the reason why he gave this “vain outfit” to the play. “The childish pleasure of hearing my poems in the theater, the desire for them to succeed, forced me to spoil my creation...” So, “Woe from Wit” is not a comedy by design, but a work of a different kind, only then adapted to the conditions of the stage. Perhaps it would be most accurate to call the play a “poetic-dramatic story.” The beginning of the play is morning in Famusov’s house. Griboedov talks about his characters in much more detail than is necessary for the course of the drama. An elderly dignitary lives for his own pleasure, visits with guests, gives balls himself, indulges in “monastic behavior” and slowly pesters the maid... He has one concern - to get his daughter married. He has already found a good groom - Skalozub, about whom he says: “And a golden bag, and aims to become a general.” The daughter, a girl raised on sentimental books, is in love with a quiet, poor official and secretly meets with him at night. However, their dates are very chaste:
He will take your hand and press it to your heart,
He will sigh from the depths of his soul,
Not a free word, and so the whole night passes...
In accordance with the laws comedy genre This is where the intrigue would begin: the lovers, with the help of the maid Lisa, must somehow deceive their father and arrange their happiness. But the intrigue doesn't begin. The reader knows nothing about Sophia's plans. Molchalin, as it turns out at the end of the play, did not want to get married at all. And then suddenly Chatsky, Sophia’s childhood friend, returns from a three-year journey. The fact that Chatsky is in love with Sophia adds, of course, trouble to both her (how to get rid of an unnecessary admirer) and Famusov (won’t he cross Skalozub’s path?). But this is not the main thing in comedy. The point, first of all, is that Chatsky brings with him an outsider’s view of the usual Moscow life. Everyone else is completely satisfied with their position, but Chatsky is able to criticize Moscow life. It turns out that there are values that cannot be included in the usual way of life.
Thus, the hero undermines the basis of the existence of this society - everything as a whole and each character individually. The meaning of Sophia’s life is love for Molchalin, and Chatsky laughs at his dumbness and servility. That’s why it comes out of her mouth: “He’s out of his mind.” Sophia herself, of course, does not understand her words literally, but she is glad that her interlocutor understood them in a literal and not a figurative sense.
He is ready to believe!
Ah, Chatsky! You love to dress everyone up as jesters,
Would you like to try it on yourself?
Other characters seriously prove Chatsky's madness.
Khlestova:
There are also some of the funny ones;
I said something, he started laughing.
Molchalin:
He advised me not to serve in the Archives in Moscow.
Countess granddaughter:
He deigned to call me a milliner!
Natalya Dmitrievna:
And he gave my husband advice to live in the village.
For Khlestova, the main thing is the respect of others, for Molchalin it’s a career, for Natalya Dmitrievna it’s social entertainment. And since Chatsky touches all this with his words and actions, he is “insane in everything,” as the informer and rogue Zagoretsky sums up what has been said.
The understanding that life is imperfect, that everything in it is determined by the desire for a calm, secure existence, is what Griboyedov calls “mind.” That is why he wrote that in his play there are “25 fools for one sane person,” although, of course, there are almost no stupid people there. But in society, Chatsky’s mind is useless. “Will such a mind make a family happy?” - says Sophia, and she is right in her own way.
Chatsky is restless everywhere - not only in Moscow. In St. Petersburg he “was not given ranks” - he wanted to be useful to the state and could not: “it’s sickening to serve.” At the first appearance, Sophia’s question: “Where is better?” - Chatsky answers: “Where we are not.” It’s not for nothing that at the beginning of the action he appears from nowhere, and at the end he disappears to nowhere.
The hero of a comedy who rejects society and is rejected by it is a typical hero of romanticism. Chatsky bears very little resemblance to the gloomy and self-confident hero. He has more kinship with the future heroes of the Russian classic novel. No matter how different Lermontov’s Pechorin, Leo Tolstoy’s Prince Andrei, Dostoevsky’s “The Teenager”, Versilov are, they are all wanderers who “search the world” for the truth or suffer from the inability to find it. In this regard, Chatsky is their undoubted ancestor.
The open ending of Woe from Wit is also typical for the Russian novel. The initial calm of life in the finale of the play is destroyed. Sophia has lost Molchalin, he will probably be forced to leave Famusov’s house, and Famusov himself will no longer be able to live as before. There was a scandal, and now this pillar of Moscow society is afraid.
Oh my god! What will he say?
Princess Marya Alekseevna!
But what will happen to the heroes next is unknown, and it doesn’t matter: the “story” is completed. “A Tale”, and not a novel, only because “Woe from Wit” is too small in volume for a novel. The concept of Woe from Wit required that the life of the society that Chatsky encounters be shown in all its everyday details. Hence the most noticeable feature of the play is its language and verse.
For the first time in Russian literature, Griboyedov managed to actually write as they speak, and not as people should speak, according to the author.
Every line of the characters is completely natural, right down to the obvious irregularities of speech: “to the hairdresser”, “headlong”, etc. Chatsky, a graduate of the same “Famusov” Moscow, knows its language. Sometimes you can’t tell where Chatsky is speaking and where Famusov is speaking:
They know how to dress themselves up
Taffeta, marigold and haze,
They won’t say a word in simplicity, everything will be done with a grimace -
This is Famusov.
That others, just as of old,
The regiments are busy recruiting teachers,
More in number, cheaper in price? –
This is Chatsky laughing at his Moscow upbringing. But his words may sound completely different. Some of his monologues are solemn speeches:
Where? Show us, fathers of the fatherland,
Which ones should we take as models?
Aren't these the ones who are rich in robbery?
They found protection from court in friends, in kinship,
Magnificent building chambers...
Others are beautiful sad lyrical poems:
In the carriage so-and-so on the way
On an unimaginable plain, sitting idly,
Everything is visible ahead
Light, blue, varied...
Already this multitude of intonations, inaccessible to other characters (with the partial exception of Sophia), suggests that Chatsky is more humane than them...
Strange as it may seem, it would be more difficult for Griboyedov to achieve such naturalness in prose than in poetry. Russian prose was still insufficiently developed at that time. In his poems, the author had examples of Derzhavin, Krylov, playwright N. Khmelnitsky, and his literary opponents - the Arzamas people. But the traditional verse of “high comedy” - iambic hexameter, too monotonously measured - was not suitable for “Woe from Wit”. Griboedov wrote the play in iambic with a different number of feet (free). In Russian drama, it was used before only in a few forgotten experiments. Later attempts to imitate Griboyedov were not successful: the culture of free iambic was lost. In Griboyedov’s time, this was the most flexible size. Fables have long been written to them: for example, Krylov, even before Griboedov, masterfully imitated in them colloquial speech. The same meter was used in the genre of elegy, where Batyushkov and other poets learned to perfectly convey melancholic feelings. A free iambic may also resemble an ode, as in Chatsky’s accusatory monologues.
The size was perfect for the design. The result is brilliant, light, and when necessary, deep stage dialogue, which is etched in the memory from one reading. At least a hundred of Griboyedov’s poems became proverbs. And the variety of conversational intonations of the text provides truly limitless possibilities for acting and directorial interpretations. The collision of a lonely hero with the world is always exciting. That is why Woe from Wit will be performed on stage as long as the Russian theater exists.
Griboyedov spent 1823 and 1824 on vacation - in Moscow, in the village of the Begichevs, in St. Petersburg. His new work, the comedy Woe from Wit, created a sensation. It was conceived in Persia, started in Tiflis, and finished in the village of the Begichevs. The author read the play in many literary salons. But he failed to publish or stage Woe from Wit. Hardly a comedy was missed because of its political urgency.
“He already understood that literature was his true calling. I conceived new works. He no longer wanted to write comedies. There was something more grandiose in my head - a tragedy from ancient Armenian history- drama about 1812. From all this, only plans remain,” writes P. M. Volodin.
In January 1826, after the Decembrist uprising, Griboyedov was arrested on suspicion of involvement in a conspiracy. There is a legend that Ermolov warned him about the arrest and thereby gave him the opportunity to destroy incriminating papers. During the investigation, Griboyedov behaved boldly, was ready, in turn, to blame his accusers for the wrong arrest (his letter on this matter to the tsar was returned with the remark that “they don’t write to the sovereign in such a tone”), but categorically denied belonging to a secret society. The majority of the Decembrists (with the exception of Obolensky and Trubetskoy, who slandered him) also confirmed this in their testimony. A few months later, he was not only released, but also received another rank, as well as an allowance in the amount of an annual salary. There really was no serious evidence against him, and even now there is no documentary evidence that the writer somehow participated in the activities of secret societies. On the contrary, he is credited with a disparaging description of the conspiracy: “One hundred warrant officers want to turn Russia over!” But perhaps Griboyedov owed such a complete acquittal to the intercession of a relative - General I. F. Paskevich, a favorite of Nicholas I.
A. S. Griboyedov
1827
Paskevich turned out to be Griboyedov’s new boss in the Caucasus. He sincerely loved and appreciated the writer. He was with the general during the war with Persia, and participated in peace negotiations in the village of Turkmenchay. Griboedov drew up the final version of the peace treaty, which was extremely beneficial for Russia. In the spring of 1828, Alexander Sergeevich was sent to St. Petersburg with the text of the agreement. He also brought with him the manuscript of the tragedy in verse “Georgian Night”. Two scenes from it have survived, but whether the author finished the tragedy is unknown.
Griboedov the diplomat
Conclusion
Turkmanchay Treaty
Griboedov took charge of foreign relations with Persia and Turkey, accompanied Paskevich on his campaign against Erivan, and conducted peace negotiations with the heir to the Persian throne, which ended with the conclusion of the Turkmanchay Peace, which was very beneficial for Russia. With the text of the Turkmanchay Treaty, he was sent to the Tsar in St. Petersburg, received a large monetary reward and a brilliant appointment as plenipotentiary ambassador to Persia. Until then, Griboyedov, in his own words, was “a beggar, a servant of the sovereign made from bread,” “in an instant he became both noble and rich.” His “fiery passion... for extraordinary deeds”, for “boundless plans” has now found an outcome.
Conclusion
Turkmanchay Treaty
In June of the same 1828, Griboyedov was appointed envoy plenipotentiary to Persia. On the way, in Tiflis, he fell passionately in love with Princess Nina Chavchavadze, the daughter of his old friend, the Georgian poet Alexander Chavchavadze, and in October he married her. The marital happiness was immeasurable, but it was so short and soon ended. A month after the wedding, the young couple left for Persia. Nina stopped in border Tabriz, and Griboyedov moved further - to the capital of Persia, Tehran. Just a month later, tragedy unfolded there.
Black Rose
Tiflis
Nina Griboyedova
— Chavchavadze
She was 16 years old
he is 38.
Griboyedov was in a hurry...
The Turkmanchay Treaty created a preferential position for Russia in Persia. This inevitably pitted Russia against England, which in turn was interested in predominant influence on Persian affairs. One of the most difficult knots in world politics was being tied in Persia. Griboedov, deeply aware that the outcome of the diplomatic duel with England would depend only on the economic conquest of Persia by Russian capital, in opposition to the East India Trading Company, put forward a grandiose project for the creation of the “Russian Transcaucasian Company”, containing “gigantic plans” for the capitalization of the entire country. In the accompanying note, Griboyedov tried in every possible way to prove that his project did not contain any novelty. However, the project, which was at least half a century ahead of Russian reality, did not meet with sympathy in Russian government circles, in particular, those who were afraid of the exclusive rights that Griboedov demanded for the Company and its main figures. However, the British immediately felt in him a most dangerous enemy, who replaced in Persia, according to one contemporary (who generally did not sympathize with Griboedov), “with his single face a twenty-thousand-strong army.”
But his mission was extremely thankless. He had to strive, among other things, for Persia to release natives of Russia who wanted to return to their homeland. Among them was the Shah's eunuch Mirza Yakub, an Armenian by birth. As the Russian representative, Griboyedov could not help but accept it, but in the eyes of the Iranians it looked like the greatest insult inflicted on their country. They were especially outraged that Mirza Yakub, a Christian by birth who converted to Islam, was planning to renounce Islam. The spiritual leaders of Tehran Muslims ordered the people to go to the Russian mission and kill the apostate. Everything turned out even worse. Griboyedov, along with the entire staff of the Russian mission (with the exception of the secretary who accidentally escaped) during an attack on it by a crowd fanaticized by the mullahs, who in turn acted on the orders of the British.
Monastery of St. David
photo late XIX century
Griboyedov was buried in his beloved Tiflis, in the monastery of St. David on Mount Mtamtsminda. At his grave, the widow erected a monument to him with the inscription: “Your mind and deeds are immortal in Russian memory, but why did my love survive you?”
Monument at the grave
A. S. Griboedova
in the church of St. David
in Georgia
Inscription on Griboedov's grave
“Your mind and deeds are immortal in the memory of Russians,
but why did my love survive you?”
And here are the lines from Pushkin’s memoirs: “Two oxen harnessed to a cart were climbing a steep road. Several Georgians accompanied the cart. “Where are you from?” I asked them. "From Tehran." - “What are you bringing?” - “Griboeda”. It was the body of the murdered Griboedov, which was transported to Tiflis...”
“What a pity that Griboyedov did not leave his notes! It would be up to his friends to write his biography; But wonderful people disappear from us, leaving no trace of themselves. We are lazy and incurious,” says N. M. Druzhinin.
The significance of any writer of the past of our time is tested, first of all, by how close his spiritual image is to us, 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.
And I went to meet him,
and all of Tiflis is with me
Moved by the crowd, he walked to the Erivan outpost.
They cried on the rooftops when I fell unconscious...
Oh, why did my love survive him!!
A. Odoevsky
Griboyedov and his great comedy are surrounded by truly popular love in our country. Now more than ever, the words inscribed on Griboedov’s gravestone sound loudly and convincingly:
“Your mind and deeds are immortal in Russian memory...”
Bibliography:
1. Andreev, N.V. Great writers of Russia [Text] / N.V. Andreev. – M.: Mysl, 1988.
2. Andreev, P. G. Griboyedov - musician [Text] / P. G. Andreev. – M.: Elista, 1963.
3. Babkin, V. M. A. S. Griboyedov in Russian literature [Text] / V. M. Babkin. – L., 1968.
4. Volodin, P. M. History of Russian literature of the 19th century [Text] / P. M. Volodin. – M., 1962
5. Druzhinin, N. M. A. S. Griboedov in Russian criticism [Text] / N. M. Druzhinin. – M., 1958.
6. Orlov, V. N. A. S. Griboedov [Text] / V. N. Orlov. – 2nd ed. – M.
7. Petrov, S. A. S. Griboedov [Text] / S. A. Petrov. – M., 1955.
On January 15 (4), 1790 (according to some sources, 1795), Alexander Sergeevich Griboedov was born in Moscow into the family of a retired major. The biography of this man is full of secrets and mysteries. Even the exact date of his birth is unknown. The father of the future writer was a poorly educated man. The children were raised by the mother, who was famous pianist and a noble lady. Thanks to her, the writer received an excellent home education.
Education
Since childhood, Griboyedov was lucky with teachers and educators. His tutors were Petrosilius and Bogdan Ivanovich Ion - talented and famous people. Therefore, already in childhood, the future playwright knew several foreign languages and learned to play the piano. In 1802 he entered the Moscow University boarding school. For him further education Professor Boulet is watching. The young man studies well, receives awards, and at the age of 13 becomes a candidate of literary sciences.
While still a student, he began to become interested in literature and was a regular participant in literary meetings. At the same time, Griboyedov’s first works were written.
However, the most interesting facts of the writer’s biography are hidden in mature years life.
Military service
Quite strange was the decision of the brilliantly educated young man choose a military career. In 1812, with the beginning of the Patriotic War, Griboyedov’s life changed a lot. He became part of the regiment of Count Saltykov. Alexander Sergeevich never managed to take part in hostilities, and he retired.
Life in the capital
In 1817, he entered the service of the St. Petersburg State Collegium of Foreign Affairs. His passion for literature and theater brings Griboedov closer to many famous people. He meets Kuchelbecker and Pushkin. Having joined the Masonic lodge, he communicates with Pestel, Chaadaev, Benkendorf. Intrigue, gossip secular society darkened this period of life. The shaky financial situation forced the writer to leave the service.
In the Caucasus
Since 1818, Alexander Sergeevich Griboedov has served as secretary at the Russian embassy in Persia. Responsibly public service, he simultaneously studies languages and literature about the culture of the East. As part of the Russian mission in 1819, Griboyedov continued to serve in Tabriz. For successful negotiations with the Persians, which resulted in the release of captured Russian soldiers, he was presented with a reward. A successful diplomatic career does not prevent the writer from doing what he loves. This is where the first pages were written immortal comedy"Woe from Wit."
Return
In 1823, Griboyedov came to Moscow and continued to work on the comedy. To publish his work, the writer goes to St. Petersburg. But he was disappointed: he was unable to publish the comedy in its entirety or stage it on the theater stage. Readers admired the work, but this did not suit Alexander Sergeevich.
Connection with the Decembrists
To escape from sad thoughts, Griboyedov goes to Kyiv. A meeting with friends (Trubetskoy and Bestuzhev) brought him to the camp of the Decembrists. For his participation in the uprising, he was arrested and spent six months in prison.
last years of life
The defeat of the Decembrist uprising, tragic fate comrades had a detrimental effect on state of mind Griboedova. He has a presentiment of his death and constantly talks about it.
In 1826, the government needed an experienced diplomat, as Russia's relations with Turkey were deteriorating. A great writer was appointed to this position.
On the way to his destination in Tiflis, Alexander Sergeevich marries the young princess Chavchavadze.
His happiness was short-lived. Griboedov's death occurred shortly after his arrival in Tehran. On January 30 (February 11), 1829, the Russian embassy was attacked. Heroically defending himself, the writer died.
I am unable to give a short biography of Griboedov. full picture the life of a great writer. During his short life, he created several works: “Student”, “Young Spouses”, “Feigned Infidelity”. However, his most famous work is the comedy in verse “Woe from Wit.” Griboyedov's creativity is not large, many plans were not destined to come true, but his name will remain forever in people's memory.
A.S. Griboedov is a famous Russian playwright, a brilliant publicist, a successful diplomat, one of the smartest people of his time. He entered as the author of one work - the comedy "Woe from Wit". However, Alexander Sergeevich’s creativity is not limited to writing the famous play. Everything that this man undertook bears the imprint of unique talent. His fate was decorated extraordinary events. The life and work of Griboyedov will be briefly outlined in this article.
Childhood
Griboedov Alexander Sergeevich was born in 1795, on January 4, in the city of Moscow. He was brought up in a wealthy and well-born family. His father, Sergei Ivanovich, was a retired second major at the time of the boy’s birth. Alexander’s mother, Anastasia Fedorovna, bore the same last name as a girl as she had when she was married - Griboedova. The future writer grew up as an unusually developed child. At the age of six he already spoke three foreign languages. In his youth, he began to speak Italian, German, French and English easily. (Ancient Greek and Latin) were also an open book for him. In 1803, the boy was sent to a noble boarding school at Moscow University, where he spent three years.
Youth
In 1806, Alexander Sergeevich entered Moscow University. Two years later he became a candidate of literary sciences. However, Griboedov, whose life and work are described in this article, did not abandon his studies. He entered first the moral and political department, and then the physics and mathematics department. The young man's brilliant abilities were obvious to everyone. He could have made an excellent career in science or in the diplomatic field, but war suddenly burst into his life.
Military service
In 1812, Alexander Sergeevich volunteered to join the Moscow Hussar Regiment, commanded by Pyotr Ivanovich Saltykov. Young cornets from the most famous noble families became the young man’s colleagues. Until 1815, the writer was at military service. His first literary experiments date back to 1814. Griboedov's work began with the essay "On Cavalry Reserves", the comedy "Young Spouses" and "Letters from Brest-Litovsk to the Publisher."
in the capital
In 1816, Alexander Sergeevich Griboedov retired. The writer’s life and work began to develop according to a completely different scenario. He met A.S. Pushkin and V.K. Kuchelbecker, became the founder Masonic lodge"Du Bien" and got a job in the diplomatic service as a provincial secretary. In the period from 1815 to 1817, Alexander Sergeevich, in collaboration with friends, created several comedies: “Student”, “Feigned Infidelity”, “Own Family or Married Bride”. Griboyedov's creativity is not limited to dramatic experiments. He's writing critical articles(“On the analysis of the free translation of the Burger ballad “Lenora”) and writes poetry (“Lubochny Theater”).
On South
In 1818, Alexander Sergeevich refused to work as an official in the United States and was appointed secretary to the tsar's attorney in Persia. Before his trip to Tehran, the playwright finished work on the play "Sideshow Trials". Griboyedov, whose work was just gaining fame, began keeping travel diaries on the way to Tiflis. These recordings revealed another facet of the writer’s sparkling talent. He was an original author of ironic travel notes. In 1819, Griboyedov’s work was enriched with the poem “Forgive me, Fatherland.” Around the same time, he completed work on the “Letter to the Publisher from Tiflis dated January 21.” Diplomatic activities in Persia were very burdensome for Alexander Sergeevich, and in 1821, for health reasons, he moved to Georgia. Here he became close to Kuchelbecker and made the first rough sketches of the comedy "Woe from Wit". In 1822, Griboedov began work on the drama "1812".
Capital life
In 1823, Alexander Sergeevich managed to leave the diplomatic service for a while. He devoted his life to creating, continued to work on “Woe from Wit”, composed the poem “David”, the dramatic scene “Youth of the Prophet” and the cheerful vaudeville “Who is Brother, Who is Sister or Deception after Deception”. Griboyedov’s creativity, briefly described in this article, was not limited to literary activity. In 1823, the first edition of his popular waltz "e-moll" was published. In addition, Alexander Sergeevich published discussion entries in the magazine "Desiderata". Here he polemicizes with his contemporaries on issues of Russian literature, history and geography.
"Woe from Wit"
In 1824, a great event took place in the history of Russian drama. Finished work on the comedy "Woe from Wit" by A.S. Griboyedov. The work of this talented person will forever remain in the memory of descendants precisely thanks to this work. The bright and aphoristic style of the play contributed to the fact that it was completely “dispersed into quotations.”
The comedy combines elements of classicism and realism and romanticism, innovative for that time. The merciless satire on the capital's aristocratic society of the first half of the 19th century was striking in its wit. However, the comedy "Woe from Wit" was unconditionally accepted by the Russian public. From now on, everyone recognized and appreciated Griboedov’s literary work. A briefly described play cannot give a complete idea of the genius of this immortal work.
Back to the Caucasus
In 1825, Alexander Sergeevich had to abandon his intention to travel to Europe. The writer needed to return to service, and at the end of May he went to the Caucasus. There he learned Persian, Georgian, Turkish and Arabic languages. On the eve of his trip to the south, Griboyedov completed the translation of the fragment “Prologue in the Theater” from the tragedy “Faust”. He also managed to compile notes for the work of D.I. Tsikulina "Unusual adventures and travels...". On the way to the Caucasus, Alexander Sergeevich visited Kyiv, where he talked with prominent figures of the revolutionary underground: S.P. Trubetskoy, M.P. Bestuzhev-Ryumin. After this, Griboedov spent some time in Crimea. Creativity, briefly presented in this article, has received a new development these days. The writer conceived the idea of creating an epic tragedy about Epiphany in Rus' and constantly kept a travel diary, which was published only thirty years after the death of the author.
Sudden arrest
After returning to the Caucasus, Alexander Sergeevich wrote “Predators on Chegem” - a poem created under the impression of participation in the expedition of A.A. Velyaminova. However, another fateful event soon happened in the life of the writer. In January 1926, he was arrested on suspicion of belonging to the secret society of the Decembrists. Griboedov's freedom, life and work were under threat. A brief biography of the writer gives an understanding of the incredible stress he was under all these days. The investigation was unable to find evidence of Alexander Sergeevich’s involvement in revolutionary movement. Six months later he was released from arrest. Despite his complete rehabilitation, the writer was under secret surveillance for some time.
last years of life
In 1826, in September, A.S. Griboyedov returned to Tiflis. He again took up diplomatic activities. Thanks to his efforts, Russia concluded the beneficial Turkmanchay Peace Treaty. Alexander Sergeevich himself delivered the text of the document to St. Petersburg, received the post of Resident Minister (Ambassador) in Iran and left for his destination. On the way, he made a stop in Tiflis. There he met his friend’s grown-up daughter, Nina Chavchavadze. Struck by the beauty of the young girl, the writer immediately proposed to her. He married Nina a few months later - on August 22, 1828. Alexander Sergeevich took his young wife with him to Persia. This gave the happy couple a few more weeks of life together.
Tragic death
In Persia, Alexander Sergeevich had to work hard. He constantly visited Tehran, where he conducted diplomatic negotiations in a very tough manner. The Russian emperor demanded inexorable firmness from his ambassador. For this, the Persians called the diplomat “hard-hearted.” This policy bore its tragic fruits. In 1929, on January 30, the Russian mission was destroyed by a crowd of rioting fanatics. Thirty-seven people died at the embassy. Among them was A.S. Griboyedov. His torn body could later be identified only by his left hand, which had been injured in his youth. This is how one of the most gifted people of his time died.
Griboyedov never had time to complete many literary projects. The creativity briefly described in this article is replete with unfinished works and talented sketches. One can understand what a gifted writer Russia lost at that moment.
A table of Griboyedov’s life and work is presented below.
Alexander Sergeevich Griboyedov was born. |
|
1806 - 1811 | The future writer is studying at Moscow University. |
Griboyedov joins the Moscow Hussar Regiment with the rank of cornet. |
|
Alexander Sergeevich resigns and begins social life in the capital. |
|
Griboedov becomes an employee |
|
1815-1817 | The playwright writes his first comedies, independently and in collaboration with friends. |
Alexander Sergeevich takes the post of secretary of the Russian diplomatic mission in Tehran. |
|
The writer finished work on the poem "Forgive me, Fatherland!" |
|
Griboyedov is involved as a secretary in the diplomatic unit under General A.P. Ermolov, commander of all Russian troops in the Caucasus. |
|
Alexander Sergeevich is finishing work on the comedy "Woe from Wit". |
|
1826, January | Griboyedov is arrested on suspicion of connections with Decembrist rebels. |
Alexander Sergeevich is released from custody. |
|
Begins Russian-Persian war. Griboyedov goes to serve in the Caucasus. |
|
Conclusion of the Turkmanchay Peace Treaty, signed with the direct participation of Griboyedov |
|
1828, April | Alexander Sergeevich is appointed to the post of Plenipotentiary Minister-Resident (Ambassador) to Iran. |
Griboedov is married to Nina Chavchavadze. The wedding location is Tiflis Sioni Cathedral. |
|
Alexander Sergeevich dies during the defeat of the Russian mission in Tehran. |
Even an abbreviated sketch of Griboyedov’s life and work gives an idea of what an extraordinary personality Alexander Sergeevich was. His life turned out to be short, but surprisingly fruitful. Until the end of his days he was devoted to his homeland and died defending its interests. These are the people our country should be proud of.
2. Stepan Nikitich Begichev(1785–1859) – colonel, Russian memoirist; brother of D. N. Begichev and E. N. Yablochkova. In 1813 he served as adjutant under General A. S. Kologrivov together with his brother Dmitry and A. S. Griboedov. He was a member of the early Decembrist organizations. Was a member of the Welfare Union. In the 1820s, Begichev's house was one of the centers cultural life Moscow. A. S. Griboyedov, V. F. Odoevsky, V. K. Kuchelbecker, D. V. Davydov, A. N. Verstovsky were here. Based on personal memories, he wrote a “Note about A. S. Griboedov” (“Russian Bulletin”, 1892).Prince Alexander Alexandrovich Shakhovskoy (1777–1846) - Russian playwright and theater figure from the Shakhovsky family. From 1802 to 1826 he served in the St. Petersburg Directorate of Imperial Theaters and actually led the theaters of St. Petersburg. In 1811-1815, Shakhovskoy took an active part in the activities of the “Conversations of Lovers of the Russian Word.” At this time he wrote the poetic comedy “A Lesson for Coquettes, or Lipetsk Waters.” In terms of artistic merit, this play rose above everything that was created in Russia in the field of verse comedy after Kapnist’s “Sneak” and before “Woe from Wit.” ()
10. Gnedich Nikolai Ivanovich(1784–1833) – poet and translator. Griboyedov wrote a critical article against Gnedich, who sharply criticized Katenin's translation of Burger's ballad "Lenora". Gnedich considered Zhukovsky’s ballad “Lyudmila” to be an exemplary translation of this work. Griboyedov noted the inaccuracies of Zhukovsky's translation, which softened the style of the original, and defended Katenin's vernacular translation. Despite this harsh criticism, Griboedov valued Gnedich as a writer and translator. In 1824, having returned to St. Petersburg, he considered it necessary to visit him and in a letter to P. A. Vyazemsky on June 27 he wrote: “I saw Gnedich, despite his tie being tied with an examiner, in thoughts and words and did something pompous, but it seems that he is much smarter than many here" (
Griboyedov Alexander Sergeevich is one of the most educated, talented and noble men of the 19th century. An experienced politician, a descendant of the ancient noble family. The scope of his creative activity is extensive. He was not only an excellent playwright and poet, the author of the famous “Woe from Wit,” but also talented composer, a polyglot who spoke ten languages.
Alexander Sergeevich was born on January 15, 1795 in Moscow. His parents gave him an excellent education at home. Since 1803, a student at a boarding school at Moscow University. At the age of 11, a student at the same university. The most educated man of his era, while still a student, mastered nine languages, six European and three Eastern. How true patriot his homeland, volunteered for the war with Napoleon. From 1815, he served in the reserve cavalry regiment with the rank of cornet. This is the time when he begins to write articles, his first play “The Young Spouses”. After retiring in the winter of 1816, he lived in St. Petersburg, where he worked in the Ministry of Foreign Affairs. Here a circle of theatergoers and writers enters, gets acquainted with Pushkin and other poets.
Creation
By 1817 his first attempts to write in literary creativity. These are co-authored plays “Student” (co-author P.A. Katenin) and “Own Family” (wrote the beginning of the second act), collaboration with A.A.Shakhovsky and N.I.Khmelnitsky. Created in collaboration with A.A. Gendre, the comedy “Feigned Infidelity” was staged on the theater stage in Moscow and St. Petersburg throughout 1818. At the same time, he was appointed secretary of the Tsar’s attorney for the Russian mission in Tehran. This event changed a lot in his life. Friends considered the appointment a punishment for participating as a second in a duel between officer V.N. Sheremetev and Count A.P. Zavadovsky because of the ballerina A.I. Istomina. The winter of 1822 was marked by an appointment to a new duty station and the position of secretary for the diplomatic department under the command of General A.P. Ermolov. Here, in Georgia, the first two acts of “Woe from Wit” were born.
In the spring of 1823, Alexander Sergeevich received leave and went to Russia, where he stayed until the end of 1825. The time spent in Russia for Griboyedov was a time of active participation in literary life. Thanks to collaboration with P.A. Vyazemsky, the vaudeville “Who is brother, who is sister, or deception after deception” was created. In 1824, in St. Petersburg, work on the comedy “Woe from Wit” was completed. However, her path turned out to be difficult. The censors did not let the play pass and it was sold in manuscript. Some parts of the comedy were published. But the work of A.S. has already been highly appreciated. Pushkin. A trip to Europe planned in 1825 was postponed due to a call to Tiflis. And at the beginning of the winter of 1826, he was detained in connection with the uprising on Senate Square. The reason was friendship with K.F. Ryleev and A.A. Bestuzhev, publishers of the Polar Star almanac. However, his guilt was not proven; he was released and began service in the fall of 1826.
Last appointment and love
In 1828, he took part in the signing of the beneficial Turkmanchay Peace Treaty. The merits of the talented diplomat were noted by his appointment as Russian Ambassador to Persia. However, he himself was inclined to view this appointment as an exile. Moreover, with this assignment, many creative plans simply collapsed. However, in June 1828 he had to leave St. Petersburg. On the way to Persia, he lived for several months in Tiflis, where he married the 16-year-old Georgian princess Nina Chavchavadze. Their relationship, full of romanticism and love, was imprinted for centuries in her words, engraved on the tombstone of Alexander Sergeevich: “Your mind and deeds are immortal in Russian memory, but why did she outlive you, my love?” They lived only a few months in marriage, but this woman carried loyalty to her husband throughout the rest of her life.
Death
In Persia, British diplomacy, which was against strengthening Russia's position in the East, in every possible way provoked hostility towards Russia. On January 30, 1829, the Russian embassy in Tehran was attacked by a brutal crowd of religious fanatics. A dozen Cossacks, led by Griboedov, who defended the embassy, were brutally killed. But this death once again showed the nobility and courage of this man. The formal reason for the crowd attack on the embassy was the following event. The day before, two captive Armenian Christian girls escaped from the Sultan's harem; they sought salvation at the Russian embassy and were accepted. A crowd of Muslims demanded that they be handed over for execution. Griboyedov, as the head of the mission, refused to hand them over and, with a dozen Cossacks, took on an unequal battle, defending the sisters in faith. All defenders of the mission died, including Griboedov. The coffin with the body was taken to Tiflis, where it was buried in a grotto at the Church of St. David.
A.S. lived only 34 years. Griboyedov. I only managed to create one literary work and two waltzes. But they glorified his name throughout the civilized world.