What are the features of classicism in woe. Features of classicism, romanticism and realism in A.’s comedy. Features of classicism and realism in A. S. Griboyedov’s comedy “Woe from Wit”

07.04.2019

How classicism and realism are combined in the work of A.S. Griboyedov "Woe from Wit"?

The comedy “Woe from Wit” was created in the early 20s of the 19th century. Main conflict, on which the play is based, is the confrontation between the “present century” and the “past century.” The classicism of the era of Catherine the Great still had power over the literature of that time. But outdated canons limited the playwright’s freedom in describing real life, therefore, Griboyedov, taking classic comedy as a basis, neglected, as necessary, some of the laws of its construction.

Any classic work (drama) had to be built on the principles of unity of time, place and action, constancy of characters.

The first two principles are observed quite strictly in comedy. In the work you can notice more than one love affair, as was customary (Chatsky - Sophia, Sophia - Molchalin, Molchalin - Liza, Liza - Petrusha), but they all seem to line up “in one line”, without violating the unity of action. In classic works, a loving pair of masters was matched by a pair of servants, parodying them. In “Woe from Wit” this picture is blurred: the master’s daughter herself is in love with the “servant” (Molchalin). Thus, Griboyedov wanted to show reality existing type people in the person of Molchalin, whom Famusov “warmed up the rootless and introduced him to the secretary...” (and now Molchalin is preparing to become a nobleman by marrying his daughter).

Most classic works were built on the principle: duty is higher than feelings. In the comedy “Woe from Wit,” a love conflict plays an important role, which develops into a socio-political one.

All heroes of classic works were clearly divided into positive and negative. This principle is observed only in general outline: the so-called “Famus society” is contrasted with a hero expressing new, progressive views. But if we consider each representative of this society separately, it turns out that each of them is not so bad. For example, in the image of Famusov (the main antipode of Chatsky in the social conflict), quite understandable positive human traits: ok loves his daughter, wishes her well (in his understanding), and Chatsky for him - dear person(after the death of Chatsky’s father, Famusov became his guardian and educator) at the beginning of the comedy. Famusov gives Chatsky some very practical advice:

First of all, don't be a whim

Brother, don’t mismanage your property,

And most importantly - go ahead and serve...

The image of the positive hero, the progressive Chatsky, is marked by some negative traits: hot temper, a tendency to demagoguery (it was not for nothing that A.S. Pushkin was perplexed: why main character makes fiery speeches in front of these aunties, grandmothers, repetilovs), excessive irritability, even anger. (“Not a man - a snake” - this is Chatsky’s assessment ex-lover Sophia). This approach to the main characters indicates the emergence of new, realistic trends in Russian literature.

A must in classic comedy happy end, that is, the victory of positive heroes and virtue over negative heroes, over vice. In “Woe from Wit” the number negative heroes many times more than the number of positive ones (positive characters include Chatsky and two other off-stage characters - a relative of Skalozub, about whom he says: “The rank followed him, he suddenly left his service, began to read books in the village”; and the nephew of Princess Tugoukhovskaya, o to which she disdainfully reports: “...he is a chemist, he is a botanist, Prince Fedor, my nephew”). And due to the disparity of forces, the positive heroes in the play are defeated, “they are broken by the old force.” In fact, Chatsky leaves as a winner, since he is confident that he is right. By the way, the use of off-stage characters is also an innovative technique. These heroes help to understand what is happening in Famusov’s house more broadly, on a national scale; they seem to expand, push the boundaries of the narrative.

According to the laws of classicism, the genre of a work strictly determined its content. The comedy had to be either humorous, farcical, or satirical in nature. Griboedov's comedy not only combines these two types, but also incorporates a purely dramatic element. In comedy there are such heroes as Skalozub and Tugoukhovsky, funny in every word and action. Or such as the princesses, who were not even given names (a parody of all Moscow young ladies) Platon Gorich, “a husband-boy, a husband-servant from his wife’s pages, the high ideal of all Moscow husbands”; nameless gentlemen N and P, necessary to show the cruel mechanism of spreading gossip in secular society(elements of satire). Other techniques of comic depiction are also used in comedy: speaking names(Skalozub, Molchaliv, Repetilov, Gorich, Tugoukhovsky, Famusov), “ false mirror”(Chatsky-Repetilov).

Just as the entire work combines humor and satire, its main characters (Chatsky and Famusov) are ambiguous. We laugh merrily at the head of the family and the owner of the house, Famusov, when he flirts with Liza, goes out of his way to marry his daughter to the ridiculous Skalozub, but we think about the structure of society at that time when he, an adult and respected by everyone, is afraid “What will Princess Marya Aleksevna say?”

Chatsky is an even more ambiguous hero. He in some way expresses the author’s point of view (acts as a reasoner), at first he sneers at Moscow residents and their way of life, but, tormented by unrequited love (hero-lover), becoming embittered, he begins to expose everyone and everything (hero-accuser).

So, Griboedov wanted to ridicule the vices of his contemporary society in a comedy built in accordance with the canons of classicism. But in order to more fully reflect the real situation, he had to deviate from the canons of classic comedy. As a result, we can say that in the comedy “Woe from Wit”, through the classicist form of the work, built on the principles of the “past century,” the features of a new literary direction, realism, are visible, which opens up new possibilities for the writer to depict real life.

Collection of essays: The principles of classicism and deviations from them in the comedy “Woe from Wit”

1. Having five actions. In the comedy "Woe from Wit" there is no fifth act, this is due to a violation of the principle of unity of action.

2. The requirement of “three unities”. This requirement is generally met - the action takes place during the day and only in Famusov’s house. But pay attention to the fact that the unity of time and place is not introduced formally, as a necessary convention, but is justified in content. The meaning of unity time is visible from Chatsky’s remark: “You are right: he will come out of the fire unharmed, // Whoever manages to live a day with you, // Breathe the air alone, // And his sanity will survive.” Thus, it is emphasized that one day was enough for this conflict to occur. Chatsky, with his explosive character, and Famus society, with its conservatism and distrust of youth, cannot find common language even with such a short communication. In that psychological significance unity of time.

The unity of the place is also motivated by plot and conflict: “What new will it show me?” - says Chatsky, implying that he is only interested in Sophia. But at the same time, Famusov’s mansion becomes a symbol of all of Moscow. Chatsky’s appearance on the stage means his arrival in Moscow, Chatsky’s departure from the stage means his departure from Moscow (“Get out of Moscow! Here I am.” no longer a rider"). In the remarks of Liza, Famusov and others, what is happening in the house is interpreted “at the level of Moscow” (“Like all Moscow people, your father is like that...”, “All Moscow people have a special imprint...”, etc.). Remember the words I. A. Goncharova says that in this comedy, “like in a mirror,” Griboyedov’s Moscow is reflected. Recreating this Moscow “special imprint” requires not classicist schematization, but realistic typification of characters (remember one of the most famous definitions of realism: “typical characters are depicted in typical circumstances”). (Use this reasoning to expand on the topic “Moscow and the images of Muscovites in Griboyedov’s comedy “Woe from Wit.”)

In addition, the viewer's attention is often switched to off-stage plots, the action of which does not take place in Famusov's house and not even necessarily in Moscow. The space in which the conflict occurs symbolically expands: Famusov’s house - Moscow - Russia - Europe - the whole world (“Silent people are blissful in the world,” “There are such transformations on earth...”, etc.). Thanks to the important remarks of the characters, another house symbolizing Moscow is retained in the viewer’s memory - the “English Club.” (Do you know the Moscow “address” of this club? What is now in this building?) If Famusov’s house at the beginning of the comedy is a symbol of “home » Moscow, then the club is Moscow public (it is visited by such different representatives societies like Famusov, Repetilov, Chatsky). The unity of the place is not canceled by this, but it is noticeably complicated.

The principle of unity of action means that the work must have one conflict (without side plot lines), which is completely resolved at the end, and all misunderstandings are eliminated, virtue finally triumphs and vice is punished (“happy ending”). In “Woe from Wit” neither one of these requirements is not met exactly. In a comedy there are not one, but two conflicts (one is social, the other is love, they develop in parallel, and it is impossible to say which one is more important). So this is not unity, but rather a “dual unity” of action (many critics, including I. A. Goncharov in his article “A Million Torments”) drew attention to this. Love intrigue and social conflict are closely interconnected and interdependent.

In comedy there is no complete resolution of the conflict, the triumph of virtue and the punishment of vice. Chatsky does not fully understand what happened between Sophia and Molchalin, and makes a pathetic, but at the same time absurd speech (final monologue: “I won’t come to my senses, I’m guilty...”), where he rather unfairly accuses Sophia. (For which Chatsky accuses Sophia? Why are these accusations unfair?) Famusov, for his part, also does not understand what the matter is, he thinks that Sophia and Chatsky have (for which he promises to send her “to the village, to her aunt, to the wilderness, to Saratov” ).

3. System of characters: traditional roles, unambiguous characters, “speaking” surnames. In a classic family comedy with a love triangle (most often it is a “matchmaking comedy”), the roles of the characters are easily visible: " noble hero» - “lover”, “heroine”, “second lover”, “soubrette” (younger secondary heroine, usually a maid who performs the functions of an “assistant” in the plot main character), “a noble deceived father”, who in the end finds out everything (in “Woe from Wit” Famusov at the end did not understand what happened, and also did not understand the meaning of Chatsky’s monologue “I won’t come to my senses, I’m guilty...” - about this can be judged by his response, which ends the comedy), a reasoner (a character who pronounces long monologues, sometimes of an accusatory nature). One can recognize the main roles in the characters of "Woe from Wit", but there are also deviations from tradition. Please note that Griboyedov’s character can combine more than one role. Thus, Lisa is not only a soubrette, but also a reasoner (she owns the apt and witty characteristics of the heroes), Chatsky is at the same time a reasoner-accuser, a “noble hero” and a “second lover” (unsuccessful groom). Molchalin is Sophia’s chosen one, but then he must be a positive hero, and this requirement is not met; It’s strange to see such a character in the role of “first lover.” If the “noble hero” is Chatsky, then he should be the chosen one, but we don’t see this either. So unconventional love triangle cannot be resolved in a typical manner. Pay attention also to the parallel love triangle (Liza - Famusov - Skalozub), in which the relationship of the main characters is parodied.

The principle of unambiguous character (the hero of a classic comedy is a personified idea, the embodiment of a specific virtue or vice) is also not always fulfilled. So, for example, Chatsky’s literary predecessors - “The Misanthrope” from the comedy of the same name by J.-B. Moliere and “Talker” from the comedy of the same name by N. Khmelnitsky - were endowed with a vice (slander), which was punished or corrected in the finale. Chatsky is not just a “misanthrope” or a “talker,” he is quite complex, and his ironic “mind” does not receive an unambiguous assessment.

The names (surnames) of the heroes of the comedy of classicism are often “telling”. The proper name is derived from a common noun (“Prostakovy” from “simpleton”, “Skotinin” from “cattle”), directly and unambiguously indicating the main and only character trait, the surnames of the heroes " Woe from Wit” are also often “speaking”, but their function is different than in classicism: surnames have a certain range of associations, which in general does not simplify, but on the contrary, complicates the understanding of character, revealing some new facet in it. Such names , like “Molchalin”, not only retain the original meaning (“to be silent”), but are themselves potential common nouns: this possibility is already realized in the text: (“The silent ones are blissful in the world!”; “In it Zagoretsky will not die!”), and subsequently - in the article by I. A. Goncharov “A Million Torments”, which talks, for example, about “Chatsky » in plural. We can consider "silence" as a social and cultural phenomenon, while it would be inappropriate to talk in this way about “bestialism” or “simpletonism.”

Instead of a system of roles and unambiguous characters-emblems with simple “speaking” surnames, we find in the comedy a system of socially and culturally determined types, depicted according to the principle of realistic typification and individualization. In addition, it can be noted that in Griboyedov’s comedy, “speaking” surnames not only indicate on some aspect of the hero’s character, but also refer to the topic human communication- "speaking" (Famusov from the Latin fama - "rumor"; Repetilov from the French repeter - "repeat"; Khlestova from "biting"; "grind your teeth" (Skalozub); "listening" (Tugoukhovsky), "silence" ( Molchalin).

Thus, the names of the characters are significant not only individually, but also all together: together they form an important symbolic key to understanding the problems of “Woe from Wit”: after all, this is a comedy about the difficulties of communication (which is why the cross-cutting motives in it are deafness and misunderstanding) Such deep symbolism is not characteristic of “speaking” surnames in classicism.

Thus, it turns out that Griboedov only formally preserves the classicist framework, filling it with psychological or socio-psychological content. The psychological authenticity of the characters is combined with the author's irony in relation to the usual style of depiction - classicism. Realism is hidden under the guise of classicism.

In terms of content, "Woe from Wit" is a strictly realistic comedy. Griboyedov reveals the typical features of lordly morals and the lack of rights of a serf. Thus, the image of Lisa in the comedy quite expressively testifies to the serfdom that reigns in the world of the Famusovs. Sympathy for the enslaved masses of the people is the basis of Griboyedov’s depiction of life: the people Chatsky speaks about constitutes an integral background of his comedy. In the statements of Famusov, Chatsky, and others, the image of old Moscow appears. In the images and paintings of the comedy, Russian life is reproduced with historical fidelity. Griboedov's hero is perceived by us as real personality in the light of his biography. It is known what he was like in Famusov’s house in teenage years what happened to him in the next three years. Changes also occur in Sophia's character, but less noticeable.
Griboedov captures the most essential aspects of the reality depicted. Life and customs Famusov society is revealed not only in their common landowner-serf essence, but also as the life and customs of the entire Moscow noble society.
The main feature of realism is the depiction of typical characters in typical circumstances. Realism is confirmed by the fact that many of her heroes were based on living people.
The characters in "Woe from Wit" are revealed in many ways. Famusov is not only a hater of education, but also a loving father, and an important gentleman, the patron of his relatives. Sentimentally inclined, Sophia at the same time has a strong character and is independent.
The comedy depicts such features of life and human relationships that went far beyond early XIX century. Chatsky became a symbol of nobility and love of freedom for the next generation.
The realism of comedy is manifested in the art of verbal individualization of characters: each hero speaks in his own language, thereby revealing his unique character.
The truthfulness and brightness of the depiction of the comedy of Moscow noble life in the 20s of the 19th century, the vitality of the comedy language, subtlety and persuasiveness psychological characteristics- all this suggests that Griboyedov’s comedy is a truly realistic work.

The comedy “Woe from Wit” was created in the early 20s of the 19th century. The main conflict on which the play is based is the confrontation between the “present century” and the “past century.” The classicism of the era of Catherine the Great still had power over the literature of that time. But outdated canons limited the playwright’s freedom in describing real life, so Griboyedov, taking classic comedy as a basis, neglected, as necessary, some of the laws of its construction.

Any classic work (drama) had to be built on the principles of unity of time, place and action, constancy of characters.

The first two principles are observed quite strictly in comedy. In the work you can notice more than one love affair, as was customary (Chatsky - Sophia, Sophia - Molchalin, Molchalin - Liza, Liza - Petrusha), but they all seem to line up “in one line”, without violating the unity of action. In classic works, a loving pair of masters was matched by a pair of servants, parodying them. In “Woe from Wit” this picture is blurred: the master’s daughter herself is in love with the “servant” (Molchalin). Thus, Griboedov wanted to show a really existing type of people in the person of Molchalin, whom Famusov “warmed up the rootless and introduced him to the secretary...” (and now Molchalin is preparing to become a nobleman by marrying his daughter).

Most classic works were built on the principle: duty is higher than feelings. In the comedy “Woe from Wit,” a love conflict plays an important role, which develops into a socio-political one.

All heroes of classic works were clearly divided into positive and negative. This principle is observed only in general terms: the so-called “Famus society” is contrasted with a hero expressing new, progressive views. But if we consider each representative of this society separately, it turns out that each of them is not so bad. For example, in the image of Famusov (the main antipode of Chatsky in the social conflict), quite understandable positive human traits emerge: ok loves his daughter, wishes her well (in his understanding), and Chatsky for him is a dear person (after the death of Chatsky’s father, Famusov became his guardian teacher) at the beginning of the comedy. Famusov gives Chatsky some very practical advice:

... First of all, don’t be a whim,

Brother, don’t mismanage your property,

And most importantly - go ahead and serve...

The image of the positive hero, the progressive Chatsky, is marked by some negative traits: hot temper, a tendency to demagoguery (it was not for nothing that A.S. Pushkin was perplexed: why did the main character make fiery speeches in front of these aunties, grandmothers, repetitovs), excessive irritability, even anger. (“Not a man - a snake” is Chatsky’s assessment of his former lover Sophia). This approach to the main characters indicates the emergence of new, realistic trends in Russian literature.

In a classic comedy, a good ending is required, that is, the victory of positive heroes and virtue over negative heroes, over vice. In “Woe from Wit” the number of negative characters is many times greater than the number of positive ones (the positive characters include Chatsky and two more off-stage characters - a relative of Skalozub, about whom he says: “The rank followed him, he suddenly left his service, and began reading books in the village read”; and the nephew of Princess Tugoukhovskaya, about whom she disdainfully reports: “... he is a chemist, he is a botanist, Prince Fedor, my nephew”). And due to the disparity of forces, the positive heroes in the play are defeated, “they are broken by the old force.” In fact, Chatsky leaves as a winner, since he is confident that he is right. By the way, the use of off-stage characters is also an innovative technique. These heroes help to understand what is happening in Famusov’s house more broadly, on a national scale; they seem to expand, push the boundaries of the narrative.

According to the laws of classicism, the genre of a work strictly determined its content. The comedy had to be either humorous, farcical, or satirical in nature. Griboedov's comedy not only combines these two types, but also incorporates a purely dramatic element. In comedy there are such heroes as Skalozub and Tugoukhovsky, funny in every word and action. Or such as the princesses, who were not even given names (a parody of all Moscow young ladies) Platon Gorich, “a husband-boy, a husband-servant from his wife’s pages, the high ideal of all Moscow husbands”; nameless gentlemen N and P, necessary to show the cruel mechanism of the spread of gossip in secular society (elements of satire). The comedy also uses other techniques of comic portrayal: speaking surnames (Skalozub, Molchaliv, Repetilov, Gorich, Tugoukhovsky, Famusov), “distorting mirror” (Chatsky-Repetilov).

Home artistic feature the play "Woe from Wit" is a combination in one work of the features of classicism and critical realism.

The classicism in “Woe from Wit” retains its high civic content. The idea of comedy can be formulated as follows: in Russian society at the beginning of the 19th century, two social forces are fighting - “the present century” and “the past century.” “The Past Century” is presented in a very diverse way: almost all the characters except Chatsky. “The present century” is Chatsky and several off-stage heroes, about whom we know from conversations characters(Skalozub’s cousin, Princess Tugoukhovskaya’s nephew Prince Fyodor, several of Chatsky’s friends, whom he mentions in passing). In the play, at first glance, the “past century” wins the ideological clash: Chatsky is forced to leave Moscow, where he was declared crazy because of his bold speeches and behavior. However, it is easy to notice that to all Chatsky’s critical remarks about modern life representatives of the Famus camp (“of the past century”) of the noble society cannot essentially answer anything. They are either horrified by the courage young man, or, like Famusov, they simply plug their ears, or pretend that they don’t hear anything at all (the end of the third act, when in response to Chatsky’s accusatory monologue, Famusov’s guests dance). Therefore, following I.A. Goncharov, we can say that Chatsky and his ideas were defeated only by the overwhelming mass of Famusov’s camp, this is a temporary victory, and the optimism of the play, despite its sad end, lies in the fact that the “past century” with its outdated views will very soon have to give way to the more progressive beliefs of the “present century.”

In the aesthetics of classicism, a rational list of necessary characters was developed for plays, and Griboedov uses it: the hero is a young man in love (Chatsky), the heroine is a girl in love (Sofya), the simpleton is a rival or friend of the hero (Molchalin), the noble parents of the hero and heroine (Famusov), a reasoner is a character who, in his remarks, expresses the author’s attitude to the depicted event, (Chatsky), a confidante is a friend or maid, in conversations with whom the heroine reveals her heartfelt secrets, (Liza).

Griboedov also uses formal techniques of classicism: the comedy is written in verse, the characters have “speaking” surnames and names, pronounce lines “to the side” (a conventional technique for conveying the thoughts of the hero). The main characters - especially Famusov and Chatsky - pronounce long monologues. Finally, the comedy implements the “rule of three unities”: the action takes place on one day (unity of time), in different rooms of Famusov’s house (unity of place), Chatsky, without a doubt, is the main character both in the love affair and in the social conflict ( unity of action). Striving for unity of action, Griboedov only outlines, but does not develop side plot lines, for example, Lisa’s love, the relationship of the Gorich couple, etc.

At the same time, the play observes many violations of the principles of classicism in favor of a realistic and critical portrayal of Russian reality in the first place. quarter of the XIX century.

Firstly, Griboyedov took contemporary Russian life as the subject of his comedy, and not ancient myth or a semi-legendary story (the latter is often found in classic plays). The author made the heroes of his comedy middle-income nobles, that is, the most ordinary people, and not outstanding historical figures or kings (the latter is typical for classicist drama). The lifestyle of an average noble house is described through many everyday details: how the owners prepare for the ball, how Famusov scolds the servants or flirts with Liza, how Prince Tugoukhovsky tries to marry off his many daughters, etc.

Secondly, Griboedov, while maintaining a classic set of characters, endowed his heroes with complex and multifaceted characters. In this respect, the playwright also violates the aesthetic norm of classicism, where the characters are depicted schematically, as the embodiment of one main passion. For example, the image of Lisa, who is a classic confidante, combines liveliness of character, sincere affection for the young lady, the ability not only to love the bartender Petrusha, but also to rebuff the advances of Molchalin and the advances of Famusov in order to preserve her human dignity. Being a serf, she expresses a deep thought about the position of a servant and any dependent person: Pass us away more than all sorrows, And lordly anger, and lordly love. (I, 2) V final scene the justice of these words is clear, because Famusov, having found Sophia with Chatsky in the entryway, became extremely angry, and his anger fell first of all on Lisa:

You, quick-eyed, everything comes from your mischief;
Here it is, Kuznetsky Most, outfits and updates;
There you learned how to make lovers meet,
Wait, I'll correct you:
Go to the hut, march, go after the birds... (IV, 14)

Famusov is also endowed with a completely realistic character, who is presented in the play as a loving and caring father, a hospitable host, a hospitable Russian gentleman with the habits of a serf-owner, a middling official and an ideologist of the “past century.”

Thirdly, an important feature of realism in Griboyedov’s comedy is the speech of the characters. If classic heroes - from the servant to the king - speak in similar solemn phrases, rhyming Alexandrian verse, then for realistic heroes speech becomes one of the important characteristics. Skalozub’s speech is masterfully written, illogical and filled with military terms; the cutesy speech of the Tugoukhovsky princesses, the verbose chatter of Repetilov. Particularly expressive is the speech of Famusov, who speaks differently with each character. He speaks politely, affectionately, even ingratiatingly to Skalozub (Sofia's possible fiancé); with Sophia (his beloved daughter) - simply, but his love and admiration for her are noticeable; with his secretary Petrushka - rather rudely, grumpily; At the end of the play he shouts and stamps his feet at Lisa. The speech of all the characters is individualized, lively, only Chatsky expresses himself in the comedy like a classic hero (“What he says! And he speaks as he writes” (II, 2), - Famusov characterizes him). That Griboyedov different ways rhymes different lines, further creating the impression that the characters are explaining to each other not in poetry, but using ordinary spoken language.

Fourthly, the denouement of “Woe from Wit” differs significantly from the traditional one in the classic play, since it does not have an edifying character. At the end of Griboyedov's play, Chatsky, a noble and selfless fighter for progressive social ideals, is forced to leave Moscow. And the impeccable hero of a classic play should not run from his opponents - he must either defeat them or die, otherwise what kind of hero is he! Thus, in “Woe from Wit” it is not Famusov’s evil slanderers who suffer, but the victim of this slander. Contrary to the classic tradition, love also develops. story line: the heroine’s chosen one is not the virtuous lover, but the unworthy hypocrite Molchalin.

Fifthly, in classicism it is completely unacceptable to mix high and low genres in one work. In "Woe from Wit" he connects satirical image Famusov society and high tragedy- the suffering of the noble Chatsky from unjust persecution.

So, it is generally accepted that in the history of Russian literature, two works stand at the origins of realism - “Woe from Wit” and “Eugene Onegin”. It should be noted that in "Woe from Wit", along with the features of realism, there are signs of classicism: serious civic content, a traditional cast of characters, the predominance of monologue speech, remarks "to the side", "speaking" surnames, poetic form, "rule three unities." However, all these classicistic features relate mainly to the external, formal side of the play. In addition, in “Woe from Wit” one can note signs of romanticism (the proud and lonely Chatsky is opposed to the entire Famus society, there is a motive of exile, the hero’s wanderings are mentioned) and signs of sentimentalism (Sofya sincerely loves poor Molchalin).

In essential ways, Griboyedov fundamentally violates the aesthetics of classicism and other previous literary trends. The playwright creates complex, versatile, socially motivated characters in which positive and negative traits. The images of Chatsky and Sophia are shown even in development. Griboyedov did not choose the subject of the image ancient times, and contemporary Russian reality with its social problems and conflicts. The comedy is devoid of outright instructiveness, because in the finale the vice is not punished.

Thus, it can be proven that the comedy “Woe from Wit” was indeed written within the framework of critical realism, but also has signs of classicism.