“Woe from Wit” is one of the brightest works of Russian and world literature. The main conflict of the play is the clash of smart, advanced person, a representative of the “present century”, with a backward, inert society of noble serf owners defending the foundations of the “past century”. The author vividly characterizes the features of both opposing camps through the images of their representatives - the heroes of the play. To create more full picture Griboyedov introduces into the comedy images of off-stage characters, that is, those who do not appear on stage, but about whom we learn from conversations, remarks, and monologues of the characters.
An important place in the system of off-stage characters is occupied by those who complement the picture of Famus society.
For example, Kuzma Petrovich, Maxim Petrovich, Tatyana Yuryevna, Foma Fomich give us an idea of the ideals of the patriarchal Russian nobility. “What kind of aces live and die in Moscow!” - Famusov admires Kuzma Petrovich. Molchalin calls Tatyana Yuryevna “courteous,” “kind,” “sweet,” “simple,” and not without reason, because “officials and officials are all her friends and all her relatives.”
Thanks to the images of foreign teachers and the “Frenchman from Bordeaux,” one can draw conclusions about the attitude of Famus society to education and upbringing, about the quality of this education, about imitation of everything foreign. “Old Gold Lady” Madame Rosier, despite the “rare rules,” “allowed herself to be lured by others for an extra five hundred rubles a year.” And the dance master, “beaten by the wind,” and the mentor of Chatsky and Sophia with “all the signs of learning” (robe, cap and index finger) produce a rather comical impression. What kind of education could such people give? What could they teach? They only inspired a passion for French pulp novels, far from life, dances and all kinds of order. And in the end - a picture of “empty, slavish, blind imitation” of the external attributes of Western culture, which Chatsky speaks of and which the “Frenchman from Bordeaux” sees in Moscow:
Oh! France! There is no better region in the world! -
The two princesses, sisters, decided, repeating
A lesson that was taught to them from childhood.
It is not surprising that a person from the city of Bordeaux feels like a “little king” in Moscow.
And here are the characters in Chatsky’s accusatory monologues: “Nestor of the noble scoundrels” and the theater landowner. They give us an idea of the serfdom that reigns among the serf owners, of their arbitrariness towards the peasants and servants. “Nestor of the noble scoundrels” exchanged his devoted servants for “three greyhounds,” and the ballet lover sold his “Zephyrs” and “Cupids” one by one to pay off the debt.
As for the jester characters, with their help the author demonstrates the most comical features of Famus society. This is Sophia’s aunt, who “forgot to blacken her hair and turned gray after three days,” having lost her young French lover, and “three of the boulevard faces who have been looking young for half a century,” and a theatergoer holding a man behind the screens who “clicked the nightingale,” and “an enemy of books,” who demanded “an oath so that no one knows or learns to read and write,” and Princess Vlasova, who fell from her horse and is now looking for a husband “for support” - all of them personify the complete absurdity, idleness of the pastime of those who defend outdated traditions “centuries-old.”
Among the off-stage characters there are also those who are to some extent alien to the customs of Famusov’s Moscow. For example, Baron von Klotz, who was afraid of “reproach for allegedly being weak towards his relatives,” or the educated Prince Fyodor, a chemist and botanist, who “runs away from women” and “does not want to know officials.”
A special place among the off-stage characters is occupied by members of a secret society - the so-called “juice of smart youth”: the Anglomaniac Prince Fyodor, the “singer” Evdokim Vorkulov, the brothers Levoy and Borinka, “wonderful guys”, about whom there is nothing to say, the “genius” Udushev Ippolit Markelych. The head of the secret society is a very colorful figure:
Night robber, duelist,
He was exiled to Kamchatka, returned as an Aleut,
And the unclean hand is strong...
Moreover, in Repetilov’s monologues a lot is said about the activities of these young people: in addition to arguing about “important mothers,” they compose vaudevilles, make puns - in a word, “make noise.” The description of this society helps us understand why main character comedy Chatsky, did not find a “corner” in Moscow for his “offended feelings” even among these “advanced nobles”.
This is the characteristics of the off-stage characters in A. S. Griboyedov’s comedy “Woe from Wit.”
The comedy “Woe from Wit” is one of greatest works Russian literature. The main conflict of the comedy is the struggle between two camps, two eras of Russian life - “the present century” and the “past century.”
Griboedov is an innovator of his time. He deviates from the canons of classicism and introduces into comedy an unacceptable number of characters for this direction. “In my comedy there are twenty-five fools for one sane person,” said the author. In addition, the author draws many off-stage characters, which also does not correspond to the norms of a classic work.
All images in comedy can be divided into three groups: main, secondary and viescenic. The latter play an important role in the development of the main conflict of the play. With their help, the author expands both the temporal and spatial boundaries of the play. Like the stage characters, all off-stage characters belong either to the “past century” or to the “present century”, thereby Griboyedov paints not just a picture of the morals of Moscow society, but also depicts the main conflict of the era that came after Patriotic War 1812.
So, we learn about “Nestor of the noble scoundrels,” who exchanged his devoted servants for “three greyhounds,” and about the theater landowner who did not agree to “debtors for a deferment,” and as a result, “Zephyrs and Cupids were all sold one by one.” , and about Khlestova’s sister Praskovya, for whom Zagoretsky “got two little black araps at the fair,” and the one who “has it written on his forehead: theater and masquerade, the house is painted with greenery in the form of a grove, he himself is fat, his artists are skinny.”
We see that off-stage characters treat service in the same way as Famusov and Molchalin. Maxim Petrovich, who “ate on gold” and rode “always in a train”, “served under the Empress Catherine,” but “when it was necessary to serve, he bent over.” For the sake of his career, he fell three times at court, like a jester. But now he is more often invited to whist, and “he hears a friendly word at court,” and most importantly, “he promotes him to rank and gives pensions.” This is the ideal of all Famusovs and silent ones. And his brother, Kuzma Petrovich, “knew how to deliver the key to his son; rich and married to a rich woman” - a Moscow ace, before whom all of Moscow bowed. And Foma Fomich himself: “Under three ministers there was a head of department,” notes Molchalin, and in Chatsky’s opinion, “the most empty of the most stupid people.” This is Molchalin’s father, who bequeathed to his son “to please all people without exception,” this is Nastasya Nikolaevna, who promotes business, and Baron von Klotz with his corrupt secretaries and many others. Nepotism and patronage reign in Famous society, as we know from the monologues of the heroes: “Stranger employees are very rare; more and more sisters, sisters-in-law, children.” Tatyana Yuryevna is famous, to whom Molchalin recommends Chatsky go for “patronage.” Also, these are “three of the tabloid faces who have been getting younger for half a century and, with the help of their sisters, will become related to all over Europe.”
All of them are united by an idle pastime (Sophia’s aunt, Praskovya Fedorovna), a love of gossip (Tatyana Yuryevna, who “returned from St. Petersburg, talked about your relationship with the ministers”). All Moscow ladies have a special love for everything foreign and contempt for national culture. These are all those foreigners who came to Russia “with fear and tears,” but here they found that “there is no end to the caresses.” Madame Rosier, and the Frenchman from Bordeaux, and the dancing master Guillaume, “blown by the wind,” are all loved in society only because of their origin.
The second group of off-stage characters of the “past century” includes all of Repetilov’s friends and acquaintances from the most secret union - a pitiful semblance of a secret society claiming to be an advanced one. This is both the Anglomaniac Prince Gregory and the “lover” Italian opera Vorkulov Evdokim, and the wonderful guys Levoy and Borinka, and the genius writer Udushev Ippolit Markelych, and their chairman - “a night robber, a duelist and a very unclean person.” These are the ones that solve the “most important” issues. Repetilov himself tells what they do at meetings: “We make noise, brother, we make noise.”
All these characters in Once again confirm that the Famusov camp is large, but among the off-stage characters there are also representatives of the “present century.” These are professors of the Pedagogical Institute, “practicing schisms and unbelief,” Skalozub’s cousin, who “suddenly left his service and began reading books in the village,” Princess Tugoukhovskaya’s nephew Fyodor, who studies chemistry and botany, as well as all the progressive youth on whose behalf he speaks Chatsky in his monologue “Who are the judges?..”: “Where, show us...”, “Let one of us now...”. These are the people who are the hope for a bright future for Russia.
The introduction of such an abundance of off-stage characters not only expanded the temporal and spatial scope of the comedy, but also contributed to the disclosure of the main conflict of the play - the collision of two eras.
Having written the first realistic comedy “Woe from Wit,” A. S. Griboyedov was an innovator in this genre. Before him, writers had not set out to make fun of Moscow and its inhabitants. In Griboyedov’s play, Moscow, or, in other words, Famus society plays a dominant role.
The author took prototypes of people whom he knew and who lived in Moscow at that time, and transferred them to his comedy, giving them others, sometimes speaking names: Famusov, Molchalin, Tugoukhovsky, Repetilov and others. But their types and characters remained. The heroes travel to balls, play cards, dance, have fun and gossip, that is, they lead an idle life. They hate education because they are afraid of educated youth. All of them serve only to earn more ranks and “insignia.” Among them, uniform and rank predominate, and a person is valued by wealth and the number of serf souls. And this picture is shown so brightly, clearly and vividly that for us Famusov’s house with all its inhabitants and guests personifies Moscow of the 10-20s XIX century in miniature.
Violating the classic rule of three unities, the author takes the action of the play beyond the boundaries of Famusov’s house with the help of off-stage characters. This helps to show the “picture of morals” of Griboyedov’s Moscow in in full. They complement and expand it.
Most of the off-stage characters are presented as “a bygone century.” Most often these are princes and princesses, who are revered as models and are highly valued among Famus society. For Pavel Afanasyevich Famusov, such role models are Kuzma Petrovich (“the venerable chamberlain, he knew how to deliver the key to his son...”) and Maxim Petrovich:
Serious look, arrogant disposition. When it is necessary to curry favor, And he bent over.
These “aces” are revered and respected by everyone in Moscow for their “merits.”
The ideal of Molchaliv, just Famusov’s poor secretary, is Tatyana Yuryevna, who “gives balls that couldn’t be richer.” Having learned that Chatsky does not know her, he is dumbfounded, because she is “famous, and, moreover, officials and officials are all her friends and all her relatives.” Then Foma Fomich, who “was the head of the department under three ministers.” Molchalin admires his style only because everyone admires him, “after all, you have to depend on others.” And this also includes these Dryanskys, Khvorovs, Varlanskys, Skachkovs, who have long known about Chatsky’s madness. This is apparently famous names who have weight in society and on whom everyone focuses. These are the “judges” of Moscow society.
Also, the “past century” in the comedy is represented by non-stage landowners-serfs: “Nestor of the noble scoundrels”, who exchanged his devoted servants for “three greyhound dogs”, a theater landowner who drove “rejected children from mothers, fathers” to the serf ballet, and then sold them individually for non-payment of debts.
The comedy also created parodies of members of the secret union: Vorkulov Evdokim, Levoy and Borinka, Udushev Ippolit Markelych. Just by their last names you can guess what they are like. But Repetilov recommends them to Chatsky with great passion.
“The Present Century” is also represented in the comedy by off-stage characters. This is Skalozub’s cousin, who “has firmly picked up some new rules. The rank followed him: he suddenly left his service and began reading books in the village.” Famusov and Skalozub criticize him and tirelessly repeat the same thing: “Learning is the plague, learning is the reason.” Next is the nephew of Princess Tugoukhovskaya, who “doesn’t want to know the ranks! He is a chemist, he is a botanist, Prince Fyodor.” And also among the off-stage characters of the “present century” are all the progressive youth, on whose behalf Chatsky speaks, using the pronoun “we”: “Where, show us, are the fathers of the fatherland...”
All these seemingly inconspicuous and unnecessary characters complement the picture of Moscow society, making it brighter and more colorful.
In the comedy “Woe from Wit” the whole of Moscow is present, with all its advantages and disadvantages, with its splendor and pomp of balls, lunches, dinners and dances, but at the same time with its ignorance, admiration for everything foreign, fear of everything new. The introduction of such a number of off-stage characters emphasizes the typicality of the stage ones and helps to make the image of the “picture of morals” of Moscow in the 10-20s of the 19th century more complete.
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First of all, the heroes of the comedy “Woe from Wit” can be divided into several groups: main characters, secondary characters, masked heroes and off-stage characters. All of them, in addition to the role assigned to them in the comedy, are also important as types that reflect certain character traits Russian society early XIX century.
The main characters of the play include Chatsky, Molchalin, Sophia and Famusov. The plot of the comedy is built on their relationship, the interaction of these characters with each other and develops the course of the play. The secondary characters - Lisa, Skalozub, Khlestova and others - also participate in the development of the action, but have no direct relation to the plot. The images of masked heroes are as generalized as possible. The author is not interested in their psychology; they interest him only as important “signs of the times” or as eternal human types. Their role is special, because they create a socio-political background for the development of the plot, emphasize and clarify something in the main characters. These are, for example, the six princesses of Tugoukhovsky. The author is not interested in the personality of each of them; they are important in the comedy only as a social type of Moscow young lady. Masked heroes play the role of a mirror placed opposite the highest light. And here it is important to emphasize that one of the author’s main tasks was not just to reflect the features of modern society, but will force society to recognize itself in the mirror. This task is facilitated by off-stage characters, that is, those whose names are mentioned, but the heroes themselves do not appear on stage and do not take part in the action. And if the main characters of “Woe from Wit” do not have any specific prototypes (except for Chatsky), then in the images of some minor characters and off-stage characters, the features of the author’s real contemporaries are completely recognizable. Thus, Repetilov describes to Chatsky one of those who “make noise” in the English club:
You don’t need to name it, you’ll recognize it from the portrait:
Night robber, duelist,
He was exiled to Kamchatka, returned as an Aleut,
And the unclean hand is strong.
And not only Chatsky, but also the majority of readers “recognized from the portrait” the colorful figure of that time: Fyodor Tolstoy - the American. Tolstoy himself, having read “Woe from Wit” in the list, recognized himself and, when meeting with Griboedov, asked to change the last line as follows: “He’s dishonest when it comes to cards.” He corrected the line in this way with his own hand and added an explanation: “For the fidelity of the portrait, this correction is necessary so that they do not think that he is stealing snuff boxes from the table.”
In the collection scientific works“A.S. Griboyedov. Materials for the biography” contains an article by N.V. Gurova “That little black one...” (“Indian Prince” Visapur in the comedy “Woe from Wit”). Let us remember that at the first meeting with Sophia, Chatsky, trying to revive the atmosphere of former ease, goes through old mutual acquaintances. In particular, he remembers a certain “darkie”:
And this one, what’s his name, is he Turkish or Greek?
That little black one, on crane legs,
I don't know what his name is
Wherever you turn: it’s right there,
In dining rooms and living rooms.
So, Gurov’s note talks about the prototype of this passing off-stage character. It turns out that it was possible to establish that during the time of Griboyedov there was a certain Alexander Ivanovich Poryus-Vizapursky, who quite fits the description of Chatsky. Why did you need to look for a prototype of the “dark little one”? Isn't he too small a figure for literary criticism? It turns out - not too much. For us, a century and a half after the publication of “Woe from Wit,” it makes no difference whether there was a “black one” or Griboedov invented him. But the modern reader (and viewer) of the comedy immediately understood who he was talking about. And then the gap between the stage and auditorium, fictional characters talked about people known to the public, the viewer and the character turned out to have “mutual acquaintances” - and quite a lot. Thus, Griboedov managed to create an amazing effect: he blurred the line between real life and stage reality. And what is especially important is that the comedy, while acquiring an intense journalistic sound, did not lose anything in artistic terms.
In the same conversation, Chatsky mentions many others. All of them give us a clear idea of Griboyedov's high society. These are extremely immoral people who prevent the penetration of education and science into Russia: “And he is consumptive, he is your relative, he is the enemy of books...” These people are concerned only with their financial situation, striving to make as much money as possible and intermarry with rich families throughout Europe. Of course, not all the people of Moscow presented such a sad sight. Chatsky was not alone; there were others drawn to enlightenment, to science: “... he is a chemist, he is a botanist.” But they were the exception rather than the rule. Such people could not earn the respect of high society. People like Maxim Petrovich were valued there. It was Maxim Petrovich who “ate on gold”, he “has a hundred people at his service”, he is “all in orders”. How did he achieve this position? With your mind? No, he achieved this by forgetting about his human dignity. But, according to Famusov, this is a manifestation of his intelligence.
What else can you expect from a society that has such moral values? From a society where, first of all, it is not the voice of one’s own conscience that is valued, but the opinion of Princess Marya Aleksevna. Griboyedov masterfully presented to us elite of his era. And we would never be able to understand what this society was like if not for the off-stage characters. And the readers of that time would have lost a lot if they had no one to recognize in Griboyedov’s heroes.
The nature of the main conflict in Griboyedov's comedy "Woe from Wit"
Alexander Sergeevich Griboyedov was one of the smartest people of its time. He received an excellent education, knew several oriental languages, and was a keen politician and diplomat. Griboyedov died a painful death at the age of 34, torn to pieces by fanatics, leaving his descendants with two wonderful waltzes and the comedy “Woe from Wit.”
"Woe from Wit" is a socio-political comedy. Griboyedov gave in it a true picture of Russian life after the Patriotic War of 1812. The comedy shows the process of the advanced part of the nobility moving away from an inert environment and fighting their class. The reader can trace the development of the conflict between two socio-political camps: serf owners (Famus society) and anti-serf owners (Chatsky).
Famus society is traditional. His principles of life are such that “one must learn by looking at one’s elders,” destroy free-thinking thoughts, serve with obedience to persons standing a step higher, and most importantly, be rich. A unique ideal of this society is represented in Famusov’s monologues by Maxim Petrovich and Uncle Kuzma Petrovich:
Here's an example:
The deceased was a venerable chamberlain,
He knew how to deliver the key to his son;
Rich, and married to a rich woman;
Married children, grandchildren;
He died, everyone remembers him sadly:
Kuzma Petrovich! Peace be upon him! -
What kind of aces live and die in Moscow!..
The image of Chatsky, on the contrary, is something new, fresh, bursting into life, bringing change. This realistic image, exponent of the progressive ideas of his time. Chatsky could be called a hero of his time. A whole political program can be traced in Chatsky’s monologues. He exposes serfdom and its products: inhumanity, hypocrisy, stupid military, ignorance, false patriotism. He gives a merciless characterization Famusov society.
The dialogues between Famusov and Chatsky are a struggle. At the beginning of the comedy, it does not yet appear in acute form. After all, Famusov is Chatsky’s teacher. At the beginning of the comedy, Famusov is favorable to Chatsky, he is even ready to give up Sophia’s hand, but sets his own conditions:
I would say, firstly: don’t be a whim,
Brother, don’t mismanage your property,
And, most importantly, go ahead and serve.
To which Chatsky throws:
I would be glad to serve, but being served is sickening.
But gradually another struggle begins to ensue, an important and serious one, a whole battle. Both Famusov and Chatsky threw down the gauntlet to each other.
If only we could see what our fathers did
We should learn by looking at our elders! -
Famusov's war cry rang out. And in response - Chatsky’s monologue “Who are the judges?” In this monologue, Chatsky brands “the meanest traits of his past life.”
Each new face that appears during the development of the plot becomes in opposition to Chatsky. Anonymous characters slander him: Mr. N, Mr. D, 1st Princess, 2nd Princess, etc.
Gossip grows like a snowball. The social intrigue of the play is shown in the clash with this world.
But in comedy there is another conflict, another intrigue - love. I. A. Goncharov wrote: “Every step of Chatsky, almost every word of his in the play is closely connected with the play of his feelings for Sophia.” It was Sophia’s behavior, incomprehensible to Chatsky, that served as the motive, the reason for irritation, for that “millions of torments”, under the influence of which he could only play the role indicated to him by Griboyedov. Chatsky is tormented, not understanding who his opponent is: either Skalozub or Molchalin? Therefore, he becomes irritable, unbearable, and caustic towards Famusov’s guests. Sophia, irritated by Chatsky’s remarks, who insult not only the guests, but also her lover, in a conversation with Mr. N mentions Chatsky’s madness: “He’s out of his mind.” And the rumor about Chatsky’s madness sweeps through the halls, spreads among the guests, acquiring fantastic, grotesque forms. And he himself, still not knowing anything, confirms this rumor with a hot monologue “The Frenchman from Bordeaux,” which he pronounces in an empty hall. In the fourth act of the comedy, both conflicts come to a denouement: Chatsky finds out who Sophia’s chosen one is. This is Molchalin. The secret is revealed, the heart is empty, there is no end to the torment.
Oh! How to comprehend the game of fate?
A persecutor of people with a soul, a scourge! -
Silent people are blissful in the world! -
says the grief-stricken Chatsky. His hurt pride, the escaping resentment, burns. He breaks up with Sophia:
Enough! With you I am proud of my breakup.
And before leaving forever, Chatsky angrily throws out to the entire Famus society:
He will come out of the fire unharmed,
Who will have time to spend a day with you,
Will breathe air alone,
And his sanity will survive...
Chatsky leaves. But who is he - the winner or the loser? Goncharov answered this question most accurately in the article “A Million Torments”: “Chatsky is broken by the amount of old strength, inflicting a mortal blow on it with the quality of fresh strength. He is an eternal exposer of lies, hidden in the proverb: “Alone in the field is no warrior.” No a warrior, if he is Chatsky, and a winner at that, but an advanced warrior, a skirmisher and always a victim.”
The definition of off-stage characters is: these are characters who do not participate in the action; the images of which are created in the monologues and dialogues of the characters. And the author dramatic work can put them into action for a variety of purposes.
In some cases, such characters, even without appearing on stage, can play a decisive role in the entire course of events. For example, in Gogol's comedy "The Inspector General" the off-stage character is the inspector himself- the real official sent from St. Petersburg never appears on stage, but it is the anticipation of his visit that triggers the entire chain of events, from the beginning to the famous final silent scene, when “the official who arrived from St. Petersburg by personal order demands you to come to him this very hour.” "
By the way, it is the invisibility of the figure of the auditor that allows the finale of the play to be so grandiose: here the city residents are dealing not with a living person of flesh and blood, but with Fate, Fate, a symbol of justice and retribution, expectation and the unknown. As another example of an off-stage “engine of events,” we can cite the Commander from “The Stone Guest,” Pushkin’s famous play, part of the “Little Tragedies” cycle.
But off-stage characters do not necessarily influence: they can be involved by the author to create a kind of “background” for the action of the play. And with its help, the playwright can more fully reveal the character of the characters, emphasize the problems of the work, and focus attention on the moments he needs.
For example, in Griboedov's comedy "Woe from Wit" there are many off-stage characters, which can be divided into several groups. Thus, Foma Fomich or Maxim Petrovich, as well as other staunch supporters of serfdom, Tatyana Yuryevna, Princess Marya Alekseevna, arapka - with precise strokes paint a picture of Griboyedov’s contemporary serfdom Russia and noble Moscow. People mentioned in conversations who are close to Chatsky in spirit and aspirations (Skalozub’s cousin or Prince Fyodor, Tugoukhovskaya’s nephew) emphasize that Chatsky is not alone, he can be considered as one of the typical representatives of the “new people.” Thus, an interpersonal conflict turns into a social conflict, and the viewer gets a fairly complete and detailed picture public life Russia at that time.
At the same time, the way and in what context off-stage characters are mentioned in the play “Woe from Wit” allows us to draw conclusions about the character of the characters. For example, Famus’s famous exclamation “Oh, my God! What will Princess Marya Aleksevna say?” eloquently indicates that the speaker is overly dependent on the opinions of “authoritative people in society.”
Off-stage characters in Chekhov's play " The Cherry Orchard» also create a social background, but it has a slightly different character. The number of off-stage characters here is more than twice the number of actors (there are about 40 of them in the play versus 15 characters on stage). This is Lopakhin’s father, and the drowned boy Grisha - the son of Lyubov Andreevna, and Ranevskaya’s parents, and her Parisian lover, and Aunt Anya, from whom they want to ask for money... These people are one way or another connected with the estate, and one way or another influence life and the fate of the characters. This gives the events taking place on stage the “effect of reality”, expands art space and time, creates a special “Chekhovian” atmosphere of lyricism.
“The Cherry Orchard” is outwardly eventless - all events take place outside the stage space, and even the key event - the sale of the estate - is “off-stage”. We don't see it, we only hear about it. This shifts the emphasis from the event to the experience of the event, feelings, memories, expectations. And off-stage characters allow all these “undercurrents” of the play to appear more clearly. Their fates evoke a living emotion, they symbolize the heroes’ past (like Grisha or Lopakhin’s father), a passing era (old servants), unrealized hope (Auntie Ani), suffering (Yasha’s mother) and much more. And all this in total creates a unique, poignant atmosphere of Chekhov’s drama.
It's nice to feel like an art connoisseur. Loving literature and reading books is a wonderful activity. And if at the same time you can also systematize and analyze the works you read, then this is a very original hobby. If you are interested in this, then you will probably one day wonder what a plot is.
The concept of plot is often confused with plot. To understand, imagine: your friend asked you to tell him how the ending of the detective story turned out this way, how did the characters act this way? Then you will probably undertake to tell him the events in chronological order. The way it happened in time, and not in the composition of the book. This will be the plot of the work.
Some literary scholars call them “concepts in reverse.” That is, the plot is a chronological narrative, and the plot is a presented composition. In order not to be confused, it is important to simply understand the differences between these concepts.
The main difference between plot and plot is the order of the story. In the plot, the events are arranged the way the author wanted them. In the plot - as it is in order. For example, in Lermontov’s work “A Hero of Our Time,” the plot and plot are very easily separated from each other.
The plot may have a different subject of narration than the plot. In the plot, the action can be described both from the author’s point of view and from the invented hero-storyteller.
Initially, the term “plot” generally meant a fable, that is, a specific genre. Later, he began to determine the basis of the story. But sometimes you may encounter obsolete meaning this term.
Video on the topic
The entertainment industry is developing by leaps and bounds. Often popular computer games represent client applications that interact with the server over the Internet. Applications can be implemented on various platforms: PC, Windows mobile, Java.
You will need
- - computer;
- - Internet;
- - registration on entertainment portals.
Instructions
After filling out all the necessary forms, you will be taken to a chat room - there are other characters there. Then you need to go to your hero’s menu, use the “Settings” function and go to the “Recovery Code” line. The recovery code will help if you have forgotten or lost your login and password entered during registration. Write it down and try not to lose it.
When registering an account on any server, pay attention to the security packages. Usually such a service is not mandatory, but for character restoration it is perhaps the most suitable. Full recovery usually takes time, but with additional security packages the process will be faster.
World of Warcraft are game worlds that include many features. All WoW content belongs to Blizzard Entertainment. This takes into account that players may lose their virtual property against their will. Typically, the rules regarding the restoration of property are described in the contract, which the user agrees to upon registration.
One of the conditions for character restoration may be the presence of a virtual wallet. Keep its balance at a positive level, replenish it in a timely manner - they will help you return and restore your lost character faster. Check the cost of such services in advance.
On any project to restore virtual property, you need to submit a request to support. The content of the request should be as informative as possible. Indicate the hero's nickname, your own account, IP, email, and specify the reasons for the character's loss. The possibility of free recovery can be realized if program errors occurred or access was lost through no fault of yours.
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Fiction(French – “beautiful literature”) – general name fiction in prose and poetry. IN Lately The term "fiction" has a new meaning: "mass literature" as opposed to "high literature".
In Russian, the word began to be used in the 19th century, thanks to literary critics Vissarion Belinsky and Dmitry Pisarev, who used it in relation to works that did not fit into the framework of their schemes. IN in a broad sense this term is opposed to journalism (the documentary genre), common in magazines of the 19th-20th centuries. Since the word "fiction" has French roots, then Russian critics often used it in a disparaging manner, in relation to literature that glorified bourgeois ideals and had no social overtones. In the narrow sense of the word, the term “fiction” means light reading, more typical of such genres as detective, romance, mystery, adventure . Reading for a pleasant pastime, relaxation. Fiction is interconnected with stereotypes, fashion, and popular topics. The characters' personalities, their types, habits, professions, hobbies are correlated with the information space of most people. Fiction writers, as a rule, reflect the state of society, its mood and phenomena, and rarely project their own opinions into this space. Fictionalization is the narration of documentary material using artistic techniques. Over a period of time, the same works of art can move from one cultural layer to another. So, for example, the novels of Walter Scott, previously considered a genre of “high literature”, gradually moved to the rank of adventurous fiction, and epics, on the contrary, from grassroots literature became national property. Modern fiction - New Product, which occurred under the direct influence of the reading public, and, in turn, influences it. Despite its apparent simplicity and simplicity, this is a very complex and interesting element. literary process, whose participants are real readers.
“Woe from Wit” is a realistic work in which the author gives a generalized picture of the life of noble Moscow in the 20s of the 19th century. A large number of characters representing Moscow noble society is supplemented by off-stage characters, that is, characters who do not appear on stage, but about whom we learn from the stories of the main characters. In order to expand the scope, strengthen generalization and typification, off-stage characters are introduced. This is an innovative technique of Griboyedov the playwright.
The characters who help to outline the ideals, principles and values of the “past century” are Maxim Petrovich, whom he recalls with reverence (“Then it was not the same as now: he served Catherine under the Empress”).
Foma Fomich, Kuzma Petrovich, Tatyana Yuryevna, “Nestor of the noble scoundrels,” Princess Alekseevna and others - they all occupy quite a high position social status: officials, nobles, dignitaries - “aces”.
Other heroes, close in spirit and worldview to Chatsky, as if repeating his world, thoughts, behavior, are Prince Fedor, and a chemist, and a botanist, and Skalozub’s cousin.
The role of off-stage characters is to create, within the limited framework of the play, a broad picture of the entire life of Russia at that time. These heroes not only expand the scope of the work, but also help to better understand and appreciate the characters.
Unlike off-stage, minor characters appear on stage, but do not play a leading role in the development of the conflict. Like others characters, the minor characters are vividly characterized. Among them, the most prominent are Zagoretsky and Repetilov, necessary companions of this society. It is the figure of Zagoretsky who proves that noble society is deeply immoral. Khlestova characterizes Zagoretsky this way: “he is a liar, a gambler, a thief,” but he is a master of service, so doors are open for him everywhere. From Gorich we learn that he is also an informer (“tolerable”), Gorich warns Chatsky to speak openly in front of Zagoretsky.
Repetilov is, as it were, a parody of Chatsky; in his image, people who distort and vulgarize high ideas are condemned. Repeaters will exist forever; the type of imitator has always arisen at turning points. People like Repetilov try to be called advanced and progressive, but in fact, behind this lies emptiness: “We’re making noise, brother, we’re making noise!”
But the most interesting is the role of Lisa in the comedy “Woe from Wit”. From the very beginning of the play, we see that Lisa is an extraordinary person; she has a lively mind, cunning, and insight, which help her understand people well. She gives apt characteristics to other characters: Skalozub (“he is eloquent, but painfully not cunning”), Chatsky (“who is so sensitive, and cheerful, and sharp”). Coming into contact with Lisa, each hero appears before us in his own true face. Famusov, who is “known for his monastic behavior,” quietly trails after the maid. He is silent, loving the young lady “by position,” and is also not averse to hitting on Liza. It seems to me that the image of Lisa is, as it were, the engine of the entire play; if it had not been there, the outcome would have been completely different. So, Lisa plays an important role in the development of the plot of the comedy. All the minor and off-stage characters made the play more interesting and rich. Thanks to them, as Goncharov noted, the group of a small number of people reflected the whole of the former Moscow, its spirit and morals.
A special role is given in comedy to off-stage and episodic characters, so widely represented in comedy. With their help, the spatial and temporal boundaries of comedy are expanded.
Griboyedov created vivid portraits, without which it is difficult to imagine regulars of the English Club or an aristocratic salon. The author himself, in one of his letters to his friend and writer Katenin, wrote: “Portraits and only portraits are part of comedy and tragedy.”
In the series of images of the old nobility, a special place is occupied by the portrait of Catherine’s nobleman Maxim Petrovich. The head of the house - the official Famusov - introduces this “nobleman in the case” as his ideal to follow and addresses him to the younger generation in the person of Chatsky. For Famusov, the important thing is that his uncle received orders, “he ate on gold, had a hundred people at his service, traveled forever in a train,” but the most important thing is that “a century at court.” Thus, a person in Famus society was valued by what rank he held and “what he ate.” Therefore, this society is fighting to ensure that everything remains unchanged. The main life principle was adherence to traditions, steadfastness of authority, social superiority.
A nobleman in Russia was protected by the very fact of his origin, and if he followed the traditions and foundations of his class, society, and worshiped its ideals, then good prospects opened up for him career growth And material well-being. The main thing is not to be a loser, like Repetilov, or a crazy pleaser, like Zagoretsky, whom Chatsky described as follows: “Molchalin! Zagoretsky will not die in it!” Zagoretsky goes everywhere, knows a lot about members of society, is a “master of service”: he gets tickets for the play for Sofya, and two black little boys for Khlestova and her sister Praskovya. Molchalin also strives to please everyone, while following the precepts of his father “to please all people without exception”:
- Who else will settle everything peacefully like that!
- There he will stroke the pug in time,
- There the card will fit just right.
The little official strives to make a career, take a certain place in society, and become like Famusov.
Among the representatives of this society there are also those who already have ranks, for example Foma Fomich. “There was a department head under three ministers,” Molchalin introduces him, to which Chatsky caustically remarks: “The most empty of the most stupid people.” Before us is a portrait of a man who has succeeded in life, in contrast to Repetilov, who “would have climbed into rank, but met failure.” He wanted to marry the daughter of Baron von Klotz, who “had his sights set on becoming a minister,” to receive a promotion and a good dowry, but nothing came of it. Repetilov is an unlucky person, and society does not take him seriously.
Famus society treats the Frenchman from Bordeaux with great respect and reverence, who was going “to Russia, to the barbarians,” but arrived as if “to his own province,” “he did not meet a Russian sound or a Russian face.” Chatsky is indignant against blind admiration for everything foreign. The English club depicted by Griboyedov can also be called “blind imitation.” The “most secret union” that meets on Thursdays, whose members say to themselves: “We’re making noise, brother, we’re making noise,” can also be considered a parody of secret meetings. To create the appearance of activity is typical for this society, as it is typical for Russia as a whole, which Gogol will later show in his immortal comedy"Inspector".
But another phenomenon characteristic of the Moscow nobility is the omnipotence of women. Take, for example, Platon Mikhailovich Gorich, “a boy-husband, a servant-husband,” who is entirely under the thumb of his wife. He is not entirely satisfied with the fact that Natalya Dmitrievna gives him instructions, like a mother to an unreasonable child: “You opened up all over and unbuttoned your vest!.. Fasten it quickly!”, but, nevertheless, he does not say a word to her.
The same state of affairs reigns in another family: Prince Tugoukhovsky does everything that his wife says: he goes to bow, invites guests to the house. By the way these representatives of the fairer sex control their husbands, we can judge them as powerful women who will not cede their power to anyone and will defend the existing order to the last.
The comedy “Woe from Wit” stands, in the words of I. A. Goncharov, “apart from literature and is distinguished by its youthfulness and freshness...”. Griboyedov, continuing the traditions of Fonvizin and Krylov, at the same time took a huge step forward. With his comedy he laid the foundation critical realism in Russian drama, raised the most acute social and moral problems of its time.
The main theme of the work under consideration is the contradiction between the “present century” and the “past century,” that is, between the progressive elements that move society forward, and the regressive ones that hinder its development. There are always more of the latter, but sooner or later the former win.
In the comedy "Woe from Wit" Griboedov brings to the stage for the first time in Russian literature positive hero. The conflict between Chatsky and Famusov society is leading storyline works.
Chatsky is a fighter, he has his own convictions and high ideals. He is deeply disgusted by the life of society, where Famusov, Skalozub, Molchalin, Repetilov reign with all their inertia, hypocrisy, lies, laziness, stupidity. The hero’s bright, active mind requires a different environment, and Chatsky enters into the struggle, “begins new Age" He is eager to free life, to the pursuit of science and art, to serving the cause, not individuals. But his aspirations are not understood by the society in which he lives.
In his work, Griboyedov gave broad description the life and customs of the Moscow nobility, satirically depicted the capital’s “aces” (Famusov), high-ranking martinets (Skalozub), and noble liberals (Repetilov). The author accurately depicted the environment in which these types appear and contrasted Chatsky with them.
The conflicts of the comedy are deepened by off-stage characters. There are quite a lot of them. They expand the canvas of life metropolitan nobility. Most of them belong to the Famus society. Particularly memorable, of course, is Uncle Maxim Petrovich, who gained the queen’s favor through sycophancy and servility. His life is an example of serving the queen. Uncle is Famusov's ideal.
He fell painfully, but got up well.
But it happened in whist who is invited more often?
Who hears a friendly word at court?
Maxim Petrovich. Who knew honor before everyone?
Maxim Petrovich. Joke!
Who promotes you to rank? and gives pensions?
Maxim Petrovich!
By humiliating their human dignity and losing their honor, representatives of the “past century” received all the benefits of life. But their time is already passing. No wonder Famusov regrets that times are no longer the same.
No less vivid is the portrait of Kuzma Petrovich, who not only managed to arrange his own life, but also did not forget about his relatives. “The deceased was a respectable chamberlain... Rich, and he was married to a rich woman. I married children and grandchildren.”
“What kind of aces live and die in Moscow!” - Pavel Afanasyevich Famusov admired.
Representatives of the fair sex are not inferior to men:
“Present, send them to the Senate! Irina Vlasevna! Lukerya Aleksevna! Tatyana Yuryevna! Pulcheria Andrevna!
Ladies are omnipotent. Bright character- Tatyana Yuryevna, who is closely acquainted with “officials and officials.” Surely Princess Marya Aleksevna also has great power in society, whose opinion Famusov is very afraid of. Griboyedov ridicules these “rulers” through the lips of Chatsky, revealing their emptiness, stupidity, and absurd character.
In addition to the “aces,” there are smaller people in noble society. They are typical representatives of the middle nobility. These are Zagoretsky and Repetilov. And among the off-stage characters one can name “the dark one, on the legs of a crane,” “three of the boulevard faces” that Chatsky mentions. All of them, aware of their insignificance before the Moscow officials, try to serve them, to win their favor through hypocrisy and servility.
People like Repetilov strive to show others that they are also worth something. Describing the “secret society” of the English Club, Griboyedov gives satirical characteristics its “best” members, liberal talkers. These are Prince Grigory, Evdokim Vorkulov, Ippolit Udushev and “a head like no other in Russia.” But Repetilov can only express the ideas of society this way: “We’re making noise, brother, we’re making noise.” In fact, the “most secret union” is an ordinary company of revelers, liars, and drunkards.
Griboyedov the patriot fights for the purity of the Russian language, art, and education. Making fun of the existing education system, he introduces such characters into the comedy as the Frenchman from Bordeaux, Madame Rosier. And many noble children with such teachers grow up “underage” and ignoramuses, just as in the time of Fonvizin.
But the most disgusting off-stage characters are the feudal landowners, whose characteristic features are absorbed by “Nestor of the Noble Scoundrels,” whom the main character denounces in his passionate monologue. Disgusting are the gentlemen who exchange their servants for greyhounds, who sell off children taken from their mothers. the main problem comedy - the relationship between landowners and serfs.
There are many members of the Famus society, they are strong. Is Chatsky really alone in the fight against them? No, Griboyedov answers, introducing into the narrative Skalozub’s story about a cousin who “has firmly picked up some new rules. The rank followed him: he suddenly left the service. I started reading books in the village.” Prince Fyodor “doesn’t want to know the officials!” He's a chemist, he's a botanist." This means that progressive forces are already maturing in the depths of society. And Chatsky is not alone in his struggle.
So, off-stage characters can be divided into two groups and one can be attributed to Famus’s society, the other to Chatsky’s.
The first deepen the comprehensive characteristics of noble society, showing the times of Elizabeth.
The latter are spiritually connected with the main character, close to him in thoughts, goals, spiritual quests, and aspirations.
I would especially like to note the language of the play. The comedy is written in iambic meter, which brings poetic speech closer to colloquial speech. And stories about off-stage persons are organically woven into the narrative.
In the comedy "Woe from Wit" Griboyedov revealed ideological content social struggle of the early 19th century, showed the life of the Moscow nobility and, by introducing non-stage characters into the narrative, deepened the conflict of the work and expanded the picture of the morals of the Moscow nobility.
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