System of images. The work is innovative both in terms of issues, style, and composition, “Woe from Wit”; became the first Russian realistic comedy that reflected the most significant socio-political and moral problems era. For the first time in Russian drama, the task was set to show not mask images corresponding to the traditional roles of classicist comedies, but living, real types of people - Griboyedov’s contemporaries. “Portraits, and only portraits, are part of comedy and tragedy; however, they contain features characteristic of many other persons, and others of the entire human race... I hate caricatures, you won’t find a single one in my picture,” the author wrote about their heroes. The system of images “Woe from Wit” is based on this principle of realistic typification. There is no clear division of characters into positive and negative, as in the works of classicism. According to Goncharov, “the whole play seems to be some kind of circle of faces familiar to the reader,” in which “both the general and the details, all this is not composed, but is entirely taken from Moscow living rooms
and transferred to the book and to the stage.”
In the comedies of classicism, the action was usually based on a “love triangle”, which consisted of heroes with a clearly defined function in the plot and character. Into this “role system”; included: the heroine and two lovers - a lucky one and an unlucky one, a father who has no idea about his daughter’s love and a maid who arranges dates for the lovers - the so-called soubrette. Some semblance of such “roles”; is also in Griboedov's comedy.
Chatsky would have to play the role of the first, successful lover, who in the finale, having successfully overcome all difficulties, successfully marries his beloved. But the development of the comedy and especially its ending refute the possibility of such an interpretation: Sophia clearly prefers Molchalin, she gives rise to gossip about Chatsky’s madness, which forces Chatsky to leave not only Famusov’s house, but also Moscow and, at the same time, give up hopes for Sophia’s reciprocity . In addition, Chatsky also has the traits of a hero-reasoner, who in the works of classicism served as an exponent of the author’s ideas.
Molchalin would fit the role of a second lover, especially since the presence of a second – comic – “love triangle” is also associated with him; (Molchalin - Lisa). But in fact, it turns out that he is the one who is lucky in love, Sophia has a special affection for him, which is more suitable for the role of the first lover. But here, too, Griboyedov departs from tradition: Molchalin is clearly not goodie, which is mandatory for the role of the first lover, and is portrayed with a negative author’s assessment.
Griboedov also abandons tradition in his portrayal of the heroine. In the classic “role system”; Sophia should have become ideal heroine, but in “Woe from Wit”; this image is interpreted very ambiguously. On the one hand, this is an extraordinary personality, a strong, large character. She, of course, differs in many ways from Moscow young ladies like the Tugoukhovsky princesses. As Goncharov rightly noted, Sophia has excellent soul qualities, and the rest is upbringing.
Even her preference for Molchalin, who is clearly inferior to Chatsky in nobility and intelligence, honesty and culture and many other wonderful qualities, is understandable. She, like Pushkin's Tatiana, had a chance to be deceived in her expectations. After all, her choice fell on a person unusual for her circle, which required considerable courage and independence. The girl’s imagination endowed the “wordless”; Silent with all qualities ideal hero, and for the time being he successfully hid his true face and genuine interests.
At the same time, this choice can also be explained by the desire to command, which is how Sophia is related to her father. “Husband-servant”, the ideal of Moscow ladies, could well suit Sophia. In any case, Chatsky’s sharp and independent character is clearly not to her liking, and it is she who starts gossip about Chatsky’s madness. So the image of Sophia turned out to be very multifaceted, ambiguous, and in the finale there will be no happy marriage, but a deep disappointment.
The author also deviates from the norms of classicism in the depiction of the soubrette, Lisa. As a soubrette, she is cunning, quick-witted, resourceful and quite courageous in her relations with gentlemen. She is cheerful and relaxed, which, however, does not prevent her, as befits her role, from taking an active part in the love affair. But at the same time, Griboyedov endows Lisa with features that are quite unusual for such a role, making her similar to the hero-reasoner: she gives clear, even aphoristic characteristics to other heroes, formulates some of the most important positions of Famus society (“sin is not a problem, rumor is not good”;, “and a golden bag, and aims to become a general”; about Skalozub).
Famusov in the “role system”; plays the role of a noble father, unaware of his daughter’s love, but by changing the traditional ending, Griboyedov deprives this character of the opportunity to successfully complete the development of the action: usually in the end, when everything was revealed, the noble father, caring for his daughter’s happiness, blessed the lovers for marriage and it all ended with a wedding.
Nothing like that in the finale of “Woe from Wit”; doesn't happen. Famusov knows nothing about the real state of affairs until the very end. But even there he still remains blissfully unaware of his daughter’s true passions - he believes that Sophia is in love with Chatsky, and he doesn’t even think about Molchalin as the object of his daughter’s sighs, otherwise everything would have ended much worse, especially for Molchalin. Indeed, in addition to what the role of a noble father implies, the image of Famusov includes the features of a typical Moscow “ace”, a big boss, a master who is not used to his subordinates allowing themselves much lesser liberties - it’s not for nothing that Molchalin is so afraid of manifestations towards him sympathy from Sophia, despite all the girl’s precautions.
All participants in this “triangle”; They went so far beyond their role precisely because, when creating realistic images, Griboedov could not endow them with any standard set of features. And as full-blooded, living images, they began to behave completely differently from the rules of classicism.
From the point of view of social conflict, the comedy image system is built on the antithesis of the “present century”; and “the century of the past”;. Chatsky, the only one stage characters, opposed Famusov society. He is a typical representative of that part of Russian society first quarter of the XIX century, which carried new views, thoughts, ideals and moods - “the present century”; - as, after the advent of comedy, the young generation of nobles began to be called. Subsequently, these people were often correlated with the Decembrists, participants in the uprising of December 14, 1825. “The figure of Chatsky... appears on the eve of the indignation on Isaac-Evskaya Square; this is the Decembrist”; (A.I. Herzen).
The image of Chatsky truly reflected the ideals, morals and spirit of the Decembrist part of society of that era. People like him could not come to terms with a life filled with “lunch, dinner and dancing”;. They demand personal and social freedom, strive for the ideals of enlightenment, education, genuine national culture.
First of all, Chatsky is similar to the Decembrists in his views. The main thing that brings them together is their protest against serfdom (monologue “Who are the judges?”;). Like the Decembrists, Chatsky speaks of the need to serve the cause, “not individuals.” Protest against the system of favoritism, opposition to the authorities of the past - “decisive and strict judges”; - Chatsky combines with the affirmation of a person’s right to freely choose his vocation. He speaks with great sympathy about people who in Famusov’s society are called “dangerous dreamers”; people.
Along with this, Chatsky, like the Decembrists, considers it necessary to develop education. This is a “past century”; he is mortally afraid, because a developed, intelligent person cannot be forced to live according to the rules prescribed to him; he is free in his choice. That is why education, according to the Famus society, is the basis of all new and very dangerous trends. “Learning is the problem,” Famusov says about this.
The question of true enlightenment is closely related to the problem of national culture. Chatsky is concerned about the “Mixing of languages: French with Nizhny Novgorod”; admiration for everything foreign that reigns in Russian society. And the main thing for him, as for the Decembrists, is to overcome the chasm that separates educated Russian people and the people. “So that our smart, cheerful people, even in language, do not consider us to be Germans,” Chatsky demands.
IN real life There weren’t very many people like Chatsky. Griboyedov maintains the same situation in his comedy. In the stage action there is only one of his like-minded people - Repetilov, but he also turns out to be an imaginary comrade-in-arms of Chatsky, only emphasizing the loneliness of the main character. This is a parody image. The essence of this character is expressed in the words: “We’re making noise, brother, we’re making noise.”
From the comedy we know that Chatsky’s way of thinking is shared by Prince Fyodor (“chemist and botanist”;) and Skalozub’s brother, who, having left the service, took up reading books in the village. They are part of the comedy's off-stage characters, which are even more numerous than the stage characters. They are necessary to reveal the full true breadth of the conflict, and also help clarify the positions of the stage characters and can relate to both the “present century” and the “past century”. Thus, the venerable chamberlain Kuzma Petrovich or Famusov’s uncle Maxim Petrovich are off-stage characters who most successfully embody the morals and ideals of Famusov’s society: the ability to “curry favor” in order to take a high place in society and enjoy all the privileges due to it. “Famous”; Tatyana Yuryevna helps to get an idea of influential ladies who have “useful” ones; friends and family.
On stage is “a bygone century”; represents the Famus society. Among them, individual figures stand out: the Moscow “ace”, the major boss Famusov; a minor employee from his department, Molchalin; Colonel Skalozub, representing the army. The guests at Famusov’s ball form an independent group, without whom there is a “gallery of types”; Famusov's Moscow would be incomplete, but they are not outlined in such detail. Here we see a kind of “contingent of brides”; (six princesses and the Countess’s granddaughter) and “happy”; married couple: “;husband-servant”; Platon Mikhailovich Gorich and his wife Natalya Dmitrievna; “remnant of Catherine’s century”; - the influential Moscow lady Khlestova and the rogue and swindler Zagoretsky, despised by everyone, but necessary because he is a “master of service”;. Each of these characters is a unique character with its own unique characteristics. But they all have common features, which allow you to combine them into one group.
This is a rather closed society, into which only the most senior and rich people can enter. Their well-being rests on serfdom- after all, thanks to the ownership of rich estates, they can “take rewards and live happily”;. In Famusov’s Moscow, it is customary not only to maintain this order of things, but also to evaluate other people in accordance with it. “Be inferior, but if there are two thousand family souls, he will be the groom,” - this is what Famusov says about the applicant worthy of his daughter’s hand. It is obvious that these estimates do not last role They also play ranks, which can be obtained through kinship and patronage. The main thing in the service for these people, of course, is not the business - no one here does that - but the benefits that the official position promises. For the sake of rank, they are ready to humiliate themselves and serve, as Molchalin does. Having reached “known degrees”, like Famusov, you can no longer bother yourself with business - “signed - off your shoulders”;.
In the army there is the same “order”;: “channels”;, thanks to which Colonel Skalozub achieved a high rank, are obviously similar - after all, during the war of 1812, he sat in the rear, and others performed feats, who died and thereby helped to open “vacancies”; for people like the character in Griboyedov’s comedy.
Skalozub’s story also demonstrates the true face of the patriotism of Famus society; there is no place for true feeling here, there is only an ostentatious impulse: “The women shouted hurray! And they threw caps into the air.” But what admiration reigns in this society for everything foreign! This also applies to fashions in clothes, and the desire to flaunt French words in society, however, the result is a “Mixing of languages: French with Nizhny Novgorod”;.
The fashion for everything foreign and foreigners has reached the point that even the upbringing and education of children is entrusted to very dubious teachers - “more in number, at a cheaper price”; This is not surprising, because a good, real education, like genuine culture, is not of interest to Famusov’s Moscow, but seriously frightens it. Her main activities and interests are “lunches, dinners, and dances”; during which you can not only have a good time, but also make the necessary acquaintances, find profitable suitors for your daughters, patronage for your sons, and also gossip behind your own backs. acquaintances
But, despite the external bustle, the life of Famusov’s Moscow flows very monotonously. It is so conservative that three years later, during which Moscow survived the Napoleonic invasion, Chatsky finds practically no changes here: “What new will Moscow show me? Yesterday there was a ball, and tomorrow there will be two.” The energy of Famus society is gathered only to preserve its foundations, to fight dissent - sensing in Chatsky someone who disturbs the peace, the measured course of ordinary life, Famus society declares war on him and uses its most terrible weapon - gossip. Everyone understands its power. But as soon as the enemy is defeated and driven out, “the elements”; returns to its shores, and they are even ready to regret Chatsky - at least in words.
Thus, “in a group of twenty faces, like a ray of light in a drop of water, the whole of the former Moscow, its drawing, its then spirit, was reflected, historical moment and morals." But at the same time, human types, making up this Moscow and shown to us by Griboedov, in some way turn out to be independent of time, place, and social order. They contain something that relates to the eternal phenomena of life. And if it is true that every new business “raises the shadow of Chatsky,” then there will always be Famusov, who, no matter what happens, will only say: “Ah! My God! what will Princess Marya Aleksevna say!”
Glossary:
- system of images woe from mind
- system of images in grief from mind
- system of images in the comedy Woe from Wit
- woe from mind image system
- Chatsky in the system of images of the comedy Woe from Wit
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Comedy “Woe from Wit” - greatest work Russian literature. It contains extremely important issues the era that came after the War of 1812 - the time of the birth and development of the Decembrist movement in the country.
Specifics of the conflict genre originality, the features of the language and style of comedy are used by the author to achieve the main goal - showing the struggle between two eras of Russian life - “the present century” and the “past century”. Griboedov is an innovator of his time. Departing from the canons of classicism, he exceeds the permissible number of characters. In addition, a large number of off-stage characters are introduced into the comedy, the number of which exceeds the stage ones, which is also an innovation for a classic work.
We can divide all the images in the comedy into three groups: the main characters - they participate in a personal conflict (Sofya, Silent, Chatsky, Famusov and Lisa), secondary and off-stage. The second group includes guests of the Famusov dance evening. The third includes all off-stage characters, which we learn about from the dialogues of the characters on stage.
This character system is not accidental. The main characters are introduced to us close up, secondary ones complement them, helping to develop the characters in the deepest way, and off-stage characters expand the spatial and temporal framework of the play. “Woe from Wit” is a realistic comedy, accordingly, all the characters are the embodiment typical features typical characters in typical circumstances.
Such heroes can be divided into two large camps - representatives of the “past century” and representatives of the “present century”.
The first and most prominent representative of the “past century” is Famusov. A serf-owning gentleman, “like all Moscow people,” who dreams of getting a son-in-law “with stars and ranks” for his daughter. Service for Famusov, as for all representatives of noble Moscow, is only a means of moving up the career ladder. He adheres to the custom - “it’s signed, off your shoulders.”
Famusov does not want to accept anything new. Old customs and orders suit the entire patriarchal society, and any changes can lead to the loss of their social and material well-being. Therefore, it is not surprising that Pavel Afanasyevich is an ardent opponent of all teachings, professors of the Pedagogical Institute, who “practice in schisms and unbelief.” “They would take all the books and burn them,” he declares. Like all of Griboyedov’s Moscow, Famusov leads an idle life, “fills himself in feasts and extravagance”: “on Tuesday I am called to the trout”, “on Thursday I am called to the funeral”, and on Friday or Saturday I must “baptize at the doctor’s house”, which “according to his calculations” “should give birth” - this is how Pavel Afanasyevich’s week goes. On the one hand, Famusov, like all heroes, is typical, but, on the other hand, he is individual. Here Griboyedov no longer has a strict division into positive and negative heroes, as it was during the period of classicism. Famusov is not only a serf-lord who oppresses his peasants, but also a loving father, master of the house, flirting with his maid.
His daughter Sophia stands out among other people. Passionate about reading French novels, she imagines herself as their heroine. That’s why there are many psychological motives in her speech (“I’m ashamed of myself, I’m ashamed of the walls,” “don’t dare expect reproaches, complaints, my tears, you’re not worth them”). Possessing an imperious character and a practical mind, Sophia in the future will be the same as Natalya Dmitrievna, pushing around her “husband-boy, husband-servant.” There are no Gallicisms in the girl’s speech. She was brought up with Chatsky. Sophia boldly expresses her opinion: “Whoever I want, I love,” and at the same time does not care what “Princess Marya Aleksevna will say.” That is why she gives her preference to Molchalin. Sophia understands that he will become “the ideal of all Moscow husbands,” and will be grateful to the end of his life for the fact that she raised him to her level and introduced him into society.
Silent - a bright representative of Famus society. He has been serving in Famusov’s house for three years, “listed in the archives,” and has already “received three awards.” He values two qualities in himself, “two talents” - “moderation and accuracy”, he is sure that “at his age one should not dare to have one’s own judgment”, that “one must depend on others.”
The goal of his life is to be in right time V in the right place, and most importantly - to follow the behests of his father: “to please all people without exception.” He is a man of few words, uses cutesy words in his speech, which not only corresponds to his lifestyle, but also to his last name - “Molchalin”. Every word and step he takes is thought out. He skillfully pretends to be the lover of his master’s daughter, although he himself has sympathy for the maid Liza (“Her position, you...”).
The main character of the comedy, representing the “present century,” is Alexander Andreevich Chatsky, educated and smart. A clear and sharp mind proves that he is not just smart man, but also a “freethinker.” He is a hero-lover and the main reasoner at the same time. And if Chatsky fails completely in love, then he fulfills his socially accusatory mission. Being the main exponent of Decembrist ideas in comedy, the hero in his angry speeches exposes the ignorance, treachery, harshness and serf-based basis of Famus society.
An important role is played by Lisa, Sophia's maid, an intelligent, lively, lively girl. On the one hand, she is a soubrette (a traditional role of classicism) and helps her mistress arrange love dates. In addition, Lisa is the second reasoner on stage. She gives apt characteristics to the heroes: “Who is so sensitive, and cheerful, and sharp, like Alexander Andreich Chatsky”, “Like all Moscow, your father is like this: he would like a son-in-law with stars and with ranks”, “And Skalozub, like his own crest will spin, tell, faint, add a hundred embellishments.”
The secondary characters are presented in the third act of the comedy at Famusov's dance party. They complement the picture of the Moscow nobility.
A striking example of militaryism and Arakcheevism is Colonel Skalozub, in whose image military careerism and passion for drill are exposed. Limited and rude, he is respected in society, because he is “both a gold bag and aims to be a general.” His speech, like that of all heroes, is authorized. Skalozub speaks in monosyllabic and incoherent sentences, often constructing phrases incorrectly: “I am ashamed, like an honest officer!” And Sophia says that “he never said a smart word.”
Next, we see a whole gallery of representatives of the Moscow nobility. These are the Gorichi, who are a typical noble family, where “the husband is a boy, the husband is a servant,” and the powerful, narcissistic wife who plays the role of a guardian: “Move away from the door, the wind blows through there from behind.” Even in the recent past, Platon Mikhailovich “ran around on a greyhound stallion”, and now he suffers from “rumatism and headaches”, “camp noise, comrades and brothers” have been replaced by another activity: “On the flute I repeat the A-mole duet.”
This is Prince Tugoukhovsky with his wife and six dowry-free daughters, who travels to balls in search of suitors. These are Countess Khryumina: the countess-granddaughter is an old maid, always dissatisfied with everything, and her grandmother, who no longer sees or hears anything, but stubbornly attends entertaining evenings.
This is the “fraudster, rogue” Zagoretsky, who found “protection from court” in best houses Moscow. These are Messrs. N. and O., who are needed only to spread gossip about Chatsky’s madness, and Repetilov - a pathetic parody of representatives of a secret society. All of them embody such a concept as “Famusov’s Moscow.”
Finally, the comedy contains a large number of off-stage characters, the number of which exceeds the number of stage characters, which is a violation of the canons of classicism. The role of these characters is great: they expand both the temporal and spatial boundaries of the comedy. It is thanks to them that Griboyedov manages to cover the period of time from Empress Catherine II to the beginning of the reign of Nicholas I. Without the off-stage characters, the picture would not be so complete. Like all stage plays, they can be divided into two opposing camps - the “past century” and the “present century”. From dialogues and remarks we learn about “Nestor of the noble scoundrels,” who exchanged his devoted servants “for three greyhounds,” about the balletomane landowner, “who did not agree to the debtors’ deferment,” as a result of which “Zephyrs and Cupids were all sold one by one,” about Khlestova’s sister Praskovya, for whom Zagoretsky “got two little blacks at the fair,” and about many others.
We also learn about their attitude to service, their servility and respect for rank. This is Maxim Petrovich, who, if necessary, “bent over,” and Kuzma Petrovich, who “was a respectable chamberlain, with a key, and knew how to deliver the key to his son; rich and was married to a rich woman,” and Foma Fomich, who “was the head of a department under three ministers,” and Molchalin’s father, who bequeathed to his son “to please all people without seizure,” and others.
The favorite pastime of Moscow ladies is gossip. So, Tatyana Yuryevna, who “returned from St. Petersburg,” talked about Chatsky’s “connection with the ministers.”
Many foreigners who went to Russia “with fear and tears”, but because of the ignorance of Moscow society, found that “there is no end to the caresses.” This is Madame Rosier, and the Frenchman from Bordeaux, and the dancing master Guillaume, who, due to their foreign origin, enjoyed great respect.
Representatives of the secret society that Repetilov speaks about also belong to the “past century.” All this is just a pathetic parody of the Decembrist meetings. Anglomaniac Prince Gregory, amateur Italian opera Vorkulov Evdokim, “wonderful guys” Levoy and Borinka, the genius writer Udushev Ippolit Markelych, and their chairman “night robber, duelist” - these are those who apply for the role advanced people of its time.
But there are also representatives of the “present century”. These are the professors of the Pedagogical Institute, who “practice in schisms and unbelief,” and Skalozub’s cousin, who “suddenly left his service and began reading books in the village,” and Princess Tugoukhovskaya’s nephew Fyodor, who studies chemistry and botany, and all the progressive youth, on whose behalf Chatsky speaks in his monologue “And who are the judges?..”
And although there are many characters in the play, there is nothing superfluous in it: not a single extra hero, scenes, a wasted word, not a single unnecessary stroke. The main characters in the comedy are shown in close-up, the secondary ones complement the picture, and the off-stage characters expand its temporal and spatial boundaries. This system of images is aimed at revealing the main conflict of the play.
The comedy “Woe from Wit” by A. S. Griboedov is one of the outstanding examples of Russian drama in the first quarter of the 19th century. The comedy was created at a time when classicism dominated the stage in Russia, but the playwright sought to realistically depict contemporary Russian reality, that is, according to Goncharov, “to take it entirely from Moscow living rooms and transfer it to a book and to the stage.” This is the reason for Griboedov's innovation - in his comedy the leading principle of depicting life is realistic.
The militant revolutionary content, the sharpness of ideas, and the topicality of images determined the high political effectiveness of comedy. A deep ideological connection with the progressive movement of the era allowed the writer to raise in his work the most pressing political issues of the time.
The comedy reflected the era that came after Patriotic War 1812. This was the era of the birth and development of the Decembrist movement.
“Woe from Wit” is a socio-political comedy, although the play is based on a love conflict, which fades into the background as the action progresses, and the social conflict comes to the fore - the clash of the “present century” with the “past century”.
The former is presented in the comedy in the image of Chatsky, the latter in the images of Famusov, Molchalin, Skalozub and many other “Moscow” people. Moreover, all the characters in the play are typical characters. Distinctive Features representatives of Moscow society were embodied in the images of comedy so vividly that I. A. Goncharov compares them with a deck of cards. For example, Chatsky is a typical progressive nobleman who has broken away from his class environment and, as a “friend of humanity,” angrily denounces the vices of society: serfdom, veneration of rank, nepotism, the dominance of foreigners and much more. One of Chatsky’s main opponents is Molchalin, a typical little official who dreams of achieving a certain position in society. He wants to become the same as his patron Famusov. Molchalin firmly grasped his father’s commandments - “to please all people without exception,” and also “one should not dare to have one’s own judgment.”
The images of “Woe from Wit” are devoid of the schematic character that was inherent in the heroes of classic plays; they are convex and multifaceted, combining both positive and negative traits. So, Chatsky - a passionate and emotional nature - because of his ardent spontaneity, sometimes finds himself in a funny, or even stupid, position. For example, in the middle of another monologue, he notices that everyone is spinning in the waltz “with the greatest zeal.” The image of Molchalin is not limited to showing only his negative traits: sycophancy and the ability to “put on appearances.” He tries to win the favor of Lisa, the maid in Famusov’s house, by bribing with “interests”; in some cases, he is capable of accidentally pricking his interlocutor. So, he asks Chatsky: “Were you not given ranks? Failure in service?”
So, in the comedy “Woe from Wit” Griboyedov widely uses the realistic principle when creating characters.
It should be noted that the number of characters significantly exceeded the norms of dramaturgy of that time: five to eight characters. In Griboyedov’s comedy “25 fools for one sane person,” which increased the scale of the stage action.
In addition, the playwright introduced a large number of off-stage characters into his play, the number of which exceeded those on stage. They represent the same Moscow society and reflect the struggle of two eras in it. That is why among the off-stage characters there are like-minded people of Chatsky (Skalozub’s cousin, Prince Fyodor, “chemist and botanist”, professors of the Pedagogical Institute, “practicing in schisms and unbelief”), and representatives of Famus society (Moscow “aces” Maxim Petrovich and Kuzma Petrovich , serf owners exchanging their devoted servants for dogs or selling off their “Cupids” and “Zephyrs” one by one, Moscow ladies - “judges of everything, everywhere, there are no judges above them” and others).
Thus, off-stage characters contribute to expanding the display of reality in comedy, and most importantly, they take it beyond the scope of Famusovsky house.
Both Chatsky and his main opponent Famusov get “each his own “millions of torments”; the latter will probably never become an “ace,” and Chatsky is forced to go “search around the world where there is a corner for an offended feeling.” No one wins an unconditional victory on stage. Griboedov, as a realist, could not show the victory of the “present century” over the “past century,” although all his sympathies and the sympathies of the audience are on the side of the first.
The creator of “Woe from Wit” was an innovator in the field of language. First of all, the speech of comedy characters is individualized; it is one of the means of revealing characters. This is especially noticeable in the example of Chatsky’s speech. The logic and harmony of his monologues, their accusatory pathos reveal him as a person with a whole system of views and beliefs, with his own view of the world. Correct literary language Chatsky testifies to his education and erudition, and the abundance of exclamatory sentences and the passion of his speeches prove that before us is an internally rich, emotional and passionate nature. Chatsky’s speeches are imbued with high civic pathos, this speaks of his free-thinking, that he is characterized by “beautiful impulses of the soul”:
Thus, the passion of Chatsky’s speeches brings him closer to the romantic Decembrists.
As A. S. Pushkin predicted, many lines of the comedy “have become proverbs and sayings”: “The legend is fresh, but hard to believe,” “The houses are new, but the prejudices are old,” “Blessed is he who believes, he is warm in the world.” , “I would be glad to serve, but being served is sickening” and others.
Griboyedov replaced the venerable Alexandrian verse with free iambic, which made it possible to convey the natural intonations of human speech. It can be argued that with this “Woe from Wit” prepared the transition of Russian drama from poetry to prose (“The Inspector General” by Gogol).
“Woe from Wit” is the first realistic social comedy in Russian literature, in which the author managed to capture typical characters in typical circumstances and recreate Russian life in the first quarter of the 19th century in a broad and multifaceted way.
P>The play “Woe from Wit” was written at a time when romanticism and realism were developing in literature. Griboedov is a writer who laid the foundations of innovation in Russian dramaturgy XIX century.
Despite the strict requirements of the classic canons - the presence of 5-8 characters, in “Woe from Wit,” according to the author himself, “twenty-five fools for one sane person.”
The figurative system of comedy is based on the realistic principle of typification. Since realism is based on historicism, the play reflects the era that came after the War of 1812. This was the time of the birth and development of the Decembrist movement. It was at this time that two camps emerged in society: the camp of advanced noble youth and the conservative camp of serf owners.
The Moscow nobility is represented in the play by Famusov and his entourage, and the progressive nobility is represented by Alexander Andreevich Chatsky, a true exponent of Decembrist ideas and sentiments in the comedy. Thus, in “Woe from Wit” there is a social and psychological typification of the heroes.
No, despite the typicality, all the characters in the play are individual. For example, Famusov is not only a Moscow gentleman who defends patriarchal foundations, but also a loving father:
Didn't they care about yours?
About education! From the cradle!
In addition, Famusov is a rather frivolous gentleman, flirting with his daughter’s maid:
After all, what a naughty girl you are...
Oh! Potion, spoiled girl.
In addition, he has a sense of humor:
They were given my voice, and how well
Everyone hears and calls everyone until dawn!
His daughter Sophia is capable of deep feeling (“Molchalin! How my sanity remains intact! You know how dear your life is to me!”) and meanness. It is she who starts gossip about Chatsky’s madness: “He doesn’t
out of your mind!”
Thus, in addition to characters that are clearly positive or negative, there are heroes whose assessment is ambiguous (Famusov, Sophia, Platon Mikhailovich Gorich, who was once Chatsky’s friend from military service, but turned into a “husband-boy, husband-servant”). Classicism was characterized by a clear division of characters into positive and negative.
From a love affair point of view figurative system“Woe from Wit” basically corresponds to the classical system of roles. The plot of the comedy is based on a love triangle (Chatsky - Sophia - Molchalin). There is also the girl’s father, who has no idea about her love, and there is also a maid who helps arrange love dates for her mistress.
But there are also deviations from traditions. Chatsky is not exactly a hero-lover, since he fails in love:
Blind! In whom I sought the reward of all my labors!
I was in a hurry!.. flying!. trembled!
Happiness, I thought, was close.
Before whom I just now was so passionate and so low
He was a waste of tender words!
On the other hand, Chatsky is a hero-lover and a reasoner at the same time, because many of his statements express the opinion of the author himself: Ah! If we were born to adopt everything, At least from the Chinese we could borrow a little from their Wise ignorance of foreigners. Will we ever be resurrected from the alien power of fashion?
Chatsky’s rival Molchalin does not quite fit the definition of “second lover”, because he is successful in love, but at the same time he is not the first lover, since he is far from ideal and is depicted with a negative author’s assessment. Sophia is also not an ideal heroine.
Go beyond the role and minor characters. Liza, Sophia’s maid, is not only a soubrette, but also a kind of second reasoner: she gives apt characteristics acting persons, comments on the events taking place:
Like all Moscow people, your father is like this:
He would like a son-in-law with stars and ranks,
And under the stars, not everyone is rich, between us;
Well, of course, then
And money to live on, so he could give balls...
Famusov is not only a father who does not know about his daughter’s love, but also an ideologist of the “past century.”
Thus, the characters do not fit into the framework of traditional roles, they are broader.
In addition to the main one, there are also comic love triangles: Lisa - Molchalin - bartender Petrusha and Lisa - Famusov - Petrusha.
From the point of view of social conflict, the system of characters is built on the antithesis of the “present century” and the “past century.” Chatsky, the only stage character, is opposed to Famus society. The very appearance of Alexander Andreevich in this atmosphere of sycophancy, tyranny and servility makes his conflict with the “past century” inevitable. He denounces the vices and shortcomings of Famus society and is an ideologist of the “present century.”
A parody of Chatsky is Repetilov, a member of the “most secret union”, who claims to be the ideologist of his circle:
What's the ball? Brother, where are we all night until broad daylight?
We are shackled in decency, we will not break out of the yoke...
The image of Repetilov also correlates with the image of Molchaliv. Alexey Stepanovich tries to please everyone, he believes that at “his age he should not dare to have his own judgment.” Repetilov doesn’t trust his opinion either:
I often listen without opening my lips;
I can’t do it, brother, and I feel like I’m stupid.
A clear reflection of the image of Molchalin is the universal pleaser Zagoretsky:
Let me hand it to you, it would be in vain for anyone to take it
Another one to serve you...
Zagoretsky is a true bearer of such traits as servility and sycophancy.
From the point of view speech characteristics, all the heroes are divided into those who speak in monologues (Chatsky, Famusov, Repetilov), and those who speak in replicas (all the rest).
Those who pronounce monologues are ideologists (Famusov and Chatsky) or imitate them (Repetilov). Ideologists do not listen to each other, but the crowd does not hear them either.
During his monologue about the “Frenchman from Bordeaux,” Chatsky looks around and remarks: “everyone is spinning in the waltz with the greatest zeal. The old men scattered to the card tables.”
The guests at the ball form an independent group of images, without which the “gallery of types” of Famusov’s Moscow would be incomplete.
Famusov's sister-in-law Khlestova is a typical Moscow lady, “a remnant of the Catherine century.” Six princesses and a countess-granddaughter represent a contingent of brides who are preoccupied with finding profitable suitors. Prince Tugoukhovsky and his wife are busy looking for matches for their daughters. Zagoretsky personifies the image of an obvious swindler. Platon Mikhailovich Gorich - “husband-boy, husband-servant”, aware of the absurdity of his position, speaks to his wife “coolly”, “eyes to the sky”, “with a sigh”.
Colonel Skalozub is a typical representative of the military, who dreams only of “getting promoted to general.” Mask characters, Messrs. N. and V., are needed to spread gossip in society. All these images make up such a concept as Famusov’s Moscow.
Off-stage characters are introduced to typify the conflict. Among them there are representatives of the “present century” and the “past century” who share Famusov’s views. Their career serves as an argument in a dispute with the “present century”; they are an ideal for Famus society. This is the venerable chamberlain Kuzma Petrovich, famous for that “he had the key, and knew how to deliver the key to his son; rich and married to a rich woman.” These include Maxim Petrovich, who knew how to help himself in a timely manner, and Foma Fomich, who was “the head of a department under three ministers,” and Tatyana Yuryevna, who has useful friends and relatives. These people most clearly embody the morals and ideals of Famus society.
The comedy tells about the inhuman cruelty of serf owners, who deal with their serfs like dogs. This is a landowner-theater, who “is fat himself, his artists are skinny”, a landowner-balletomane, “Nestor of noble scoundrels”, Khlestova’s sister Praskovya.
The “past century” also includes foreigners who arrived in Russia “to pursue happiness and rank”: Madame Rosier, Sophia and Chatsky’s mentor, a Frenchman “blown by the wind,” “a Frenchman from Bordeaux.”
Off-stage female characters They are just as typical and individual as the stage ones, they complement the latter. This is Sophia’s aunt, “Catherine I’s maid of honor,” Praskovya Fedorovna, Tatyana Yuryevna, Pulkheria Andreevna, Irina Vlasevna, Lukerya Aleksevna.
The off-stage characters of the “present century” show that Chatsky is not alone and testify in favor of his future victories. Representatives of the Famusov society recall that among their loved ones there are people similar to Alexander Andreevich. These include Skalozub’s cousin, who “suddenly left his service” and “began reading books in the village,” Prince Fyodor, the nephew of Princess Tugoukhovskaya, who studied chemistry and botany, professors of the Pedagogical Institute, declared to be practicing “schisms and lack of faith.” In his monologue “Who are the judges?..” Chatsky speaks on behalf of an entire generation:
Now let one of us
Among the young people there will be an enemy of quest...
A parody of the “present century” are the members of the most secret union, about whom we learn from Repetilov’s monologue. This is Prince Grigory, Vorkulov Evdokim, Levoy and Borinka, Udushev Ippolit Markelych and their chairman, “a night robber, a duelist,” who is “strongly unclean.”
Introduction of such large quantity off-stage characters was an innovation. They play a big role in the development of social conflict and expand the space-time boundaries of comedy.
Revealing inner world characters, Griboyedov focuses not on their feelings, experiences, psychology, but on their public views, beliefs. All the characters in the play are prominent and multifaceted. These are living types of Russian people.
Griboyedov entered Russian literature as the author of the famous comedy “Woe from Wit.” It touches on very important issues: about upbringing, education, admiration for everything foreign, about serfdom.
In the comedy, the author ridicules and condemns a number of characters: Famusov, Skalozub, Molchalin, Repetilov. But all these heroes are opposed main character comedy - Alexander Andreevich Chatsky. He received good education, had a brilliant mind. This is honest open man. He understands people well - Chatsky came to Moscow only for the sake of Sofia, his beloved. But, returning to his once dear and beloved home, he notices strong changes: Sofia is cold, irritable, she no longer loves Chatsky. All his attempts to return the old Sofia are in vain.
Then our hero encounters the Famus society. He alone opposes, starting the fight for new life and for your love. Chatsky argues with Famusov about their lifestyle.
Famusov does not understand the main character, who demands “service to the cause, not to persons.” At the ball, Chatsky turns everyone gathered against himself, because his existence with Famus’s society is impossible. And society felt this, ridiculing him and declaring him crazy. The rumor about this spreads among the guests very quickly. Chatsky, not knowing anything, confirms this gossip.
There is truth in all Chatsky’s words. The truth of his relationship to Famus society. He is not afraid to say everything to everyone’s face and rightly accuse representatives of Famusov’s Moscow of lies and hypocrisy.
The witty Chatsky ridicules the vices of his society, which does not understand his suffering. Our hero wants to pour out everything that has accumulated in his soul. He wants to tell his suffering because secular society bows down to everything foreign. He wants to talk about how he must honestly serve his fatherland.
What attracts Chatsky is loyalty in friendship, ardent sincerity in love. He deeply understood the meaning of life. Chatsky does not tolerate injustice or humiliation.
2. A.I. Kuprin. The theme of love (using the example of the story “Garnet Bracelet”).
Amazing fate the man was Alexander Ivanovich Kuprin. He learned a lot in life and managed to life experience make you serve your creativity.
Kuprin’s most poetic work was “The Garnet Bracelet” - a story about great unrequited love, love “which is repeated only once in a thousand years.”
Kuprin creates several symbolic images, on which the foundation of the narrative is built and which carry the entire ideological meaning story.
The beginning of the story can be called the first character. Description of cloudy, damp, generally very bad weather, and then its sudden change in better side are of great importance. If by “new month” we mean main character story to Vera Nikolaevna Shein, and under the weather - her whole life, it turns out gray, but quite real picture. The change in weather symbolizes that very sublime and fatal love that is discussed in the story.
The next symbol can be called Princess Vera Nikolaevna. Kuprin describes her as an independent, regal calm, cold beauty. She, a noble, amazing woman, symbolizes a person worthy of true, “holy” love.
Kuprin assigns considerable importance to General Anosov. It was he who was given the task of forcing Vera Nikolaevna to accept the love of the mysterious P.P.Zh. more seriously. With his thoughts about love, the general helps his granddaughter to look at her life from different angles. own life with Vasily Lvovich. General Anosov symbolizes the wise older generation. The author entrusted him with making a very important conclusion that is of great importance in this story: in nature, true, holy love is extremely rare and is available only to a few and only to people worthy of it. In his entire life, Anosov has not met a single example of this, but he continues to believe in sublime love and passes on his confidence to his granddaughter.
The reason for the quick ending of the story, which lasted more than eight years, was a birthday gift to Vera Nikolaevna. This gift was a new symbol of the very love that General Anosov believed in and that every woman dreams of - garnet bracelet. It is valuable to Zheltkov because it was worn by his late mother, in addition, the ancient bracelet has its own history: according to family legend, it has the ability to impart the gift of foresight to women wearing it and protects from violent death... And Vera Nikolaevna actually unexpectedly predicts: “I know that this man will kill himself.” The love that the bracelet symbolizes does not obey any laws or rules. She can go against all the foundations of society: Zheltkov is only a small, poor official, and Vera Nikolaevna is a princess. But this circumstance does not bother him, he still loves her, realizing only that nothing, not even death, will make his wonderful feeling subside.
Unfortunately, Vera Nikolaevna understood the meaning of the bracelet too late. She is overcome by anxiety, all her thoughts are riveted to that unknown person whom she has never seen and is unlikely to see, to this funny “Pe Pe Zhe.” The princess again and again recalls the words of General Anosov and is tormented by the most difficult question for her: what was it - love or madness? Zheltkov’s last letter puts everything in its place. He loves. He loves hopelessly, passionately and follows his love to the end. He accepts his feeling as a gift from God, as great happiness. And he does not curse fate, but leaves this life, leaves with great love in the heart, taking it with him and saying to his beloved: “Hallowed be Your name! And only the symbol of this beautiful love remains for people handsome man- garnet bracelet.