The problem of personality and society in the comedy of A.S. Griboyedov "Woe from Wit"

1. Creative path writer, writer
2. “Woe from Wit”: history of origin and main meaning.
3. Bright, figurative language of comedy.
4. Timelessness of comedy.

Alas! Silent people are blissful in the world!
A. S. Griboyedov

A. S. Griboyedov, diplomat, talented poet, composer, went down in the history of Russian literature as the author of the only, brilliant comedy “Woe from Wit.”

A man with an excellent education and a brilliant mindset, Griboedov devoted his life to serving his homeland, believing: “The more enlightened a person is, the more useful he is to his fatherland.” Close acquaintance with the Decembrists and sharing their ideas and hatred towards the autocratic serfdom system gave the poet a lot. However, he did not believe in the revolutionary method of changing Russian reality and in the happy outcome of the Decembrist conspiracy.

Griboyedov's early little-known work was closely connected with drama. The writer co-authored with P. A. Katenin (“Student”), A. A. Shakhovsky and B. M. Khmelnitsky (“Own Family, or a Married Bride”), Gendre (“Feigned Infidelity”, a brilliant translation of the comedy by G. Barthes) . First independent work» writer – comedy “Young Spouses” – free adaptation famous story French playwright C. de Lesser.

Already Griboyedov’s first dramatic experiments became innovative: with his help, something new arose for Russian theater direction - “secular” or “light” comedy. In the first, still clumsy and timid experiments, ideas and techniques were discovered that would acquire a new sound in his programmatic work “Woe from Wit.” The exact origin of the idea for the comedy is unknown, but creativity researchers place its date back to 1816. The first two acts were written in the Caucasus, where the writer stayed on official business from 1821 to 1822. The main work was carried out in St. Petersburg (1824), but in next year the artist returns to his comedy again, changing some scenes and introducing missing elements into the comedy.

The main theme of the work is the depiction of reality as it is: the depravity of the morals and principles of life of the decaying nobility and the sad, largely unfair position of an advanced person who finds himself in such an environment. The problems that the author poses in the work are truly serious. They relate to the situation of the Russian people, principles of upbringing and education that have become obsolete and outdated, autocracy and the identity of Russia. Many of them were raised earlier in the works of other authors of this time, but most of them never received their logical resolution.

The action of the comedy reveals the situation of the Russian nobility on the eve of 1925. This can be judged by realities that are quite accurately described in the text and relate to specific historical dates: 1817 - formation of a committee “so that no one knew or learned to read and write”, 1819 - Lancastrian education, popular among the Decembrists, 1821 - “schisms and lack of faith”, for which the Russian advanced professors were accused, as well as foreign events that took place in the period from 1820 to 1823.

The contradiction between the heroism of the people, revealed during Patriotic War 1812, and the regime of serfdom that oppresses and suppresses it, a red line runs through the entire fabric of the work. It was expressed in the clash between the representative of the advanced educated Russian nobility Chatsky and the Famus society, typical of Russia. The situation in which Chatsky found himself is typical of the entire Russian reality of that time. Despite the existence of people close in ideology to Chatsky, the main character is helpless and alone in an environment hostile to him.

Griboedov's innovation was manifested in many aspects, in particular, in the novelty of the main idea in the title of the comedy - all grief in society comes “from the mind,” that is, from “excessive” education and intelligence. The playwright shows two polar views on life in the comedy. This is the point of view of Chatsky, for whom the highest value is “a mind hungry for knowledge,” and Famusov, who believes that “learning is a plague, learning is the reason that today there are more people than when there were crazy people.” The main story line comedy - leading dialogues, scenes, even development love line depend on the views of heroes opposed to each other. Intelligence, stupidity, madness are the spring for the development of the entire action.

The bright, figurative, aphoristic language of comedy still makes the work interesting for modern reader. There is no such work either in Russian or in foreign literature, which would sparkle with such abundance winged words and expressions. A. S. Pushkin spoke about Griboyedov’s skill like this: “I’m not talking about poetry: half of it should become a proverb.” Catchphrases not only embellished the text of the work, organically intertwining with it and flowing from it, but also became the wealth of the Russian language, went “to the people.”

The topicality of comedy is still undeniable. Silent people are blissful in the world. Typical people They still meet today only in masks of decency, with behavior that makes them less noticeable in the crowd, and with a new “gloss” that modern Sophias are susceptible to.

Each comedy character has become a household name. About existence similar images V real life, unfortunately, there is no doubt. Take Repetilov, for example - a most useless, most unnecessary person for society, who, however, was accepted into it thanks to his brilliant abilities- the ability to “stick” to a smarter person and feed on his thoughts and ideas, distorting them and assigning themselves their authorship. No wonder the phrase that became popular was put into his mouth:

“Yes, an intelligent person cannot help but be a rogue.”

"Woe from Wit" appeared greatest work of a similar kind for his contemporaries. Until now, his images are alive, heroes and themes exist side by side with reality. Sometimes it becomes scary to look into the future - centuries pass, generations change, but Griboyedov’s comedy continues to remain, because human thought and human judgment are largely conservative. Who are the judges? The permanent Famusovs and Molchalins. Chatsky? There are plenty of them, but they occupy the same place as they did several centuries ago. They can criticize, quite rightly and justifiably, they can criticize ossified and dilapidated, but no less vulgar social conditions. But things usually don’t progress beyond criticism, and there is only one way out: like the main character of a comedy, run away

Get out of Moscow!
I don't go here anymore.
I'm running, I won't look back,
I'll go search around the world,
Where there is a corner for an offended feeling.”

Griboyedov’s timeless work will remain so not only because of its special poignancy and relevance, but also thanks to its brilliant imagery, perfectly applied to modern society:

Well done! Well Famusov!
He knew how to name guests!
Some freaks from the other world,
And there was no one to talk to, and no one to dance with.

The problem of mind and madness has been relevant at all times. Smart, advanced people of their time often remained misunderstood by their contemporaries and were declared crazy. This is how society reacted to ideas that ran counter to generally accepted ones, ideas that were preached by progressive people of their time. It is no coincidence that Griboyedov touches on this problem in his work. His comedy “Woe from Wit,” written before the December uprising, tells the story of advanced intelligence and the reaction of society to it. The original title of the comedy was “Woe to Wit,” then the author replaced it with “Woe from Wit.”

Main character Chatsky has not yet appeared in Famusov’s house, but the idea of ​​​​madness is already hovering there, associated with a negative attitude towards education and enlightenment. So, Famusov says: “And reading is of little use.” Later, all the characters in the comedy will speak out on this matter, each will put forward their own version of Chatsky’s madness, but the whole society will unanimously come to one opinion: “Learning is the plague, learning is the reason.” The Famus society will get rid of Chatsky by declaring him crazy, not accepting accusatory speeches that stigmatize their way of life, and will choose gossip as a weapon. Famusov, how typical representative his society, has his own opinion regarding the mind and smart person.

For him, an intelligent person is a practical, worldly a wise man. Although he does not deny Chatsky’s intelligence, he nevertheless considers Skalozub to be a more suitable match for Sophia: “A respectable man and has picked up many marks of distinction, beyond his years and an enviable rank, not today’s general.” In a conversation with Skalozub, the Moscow gentleman talks about the danger that comes from such wise men as Chatsky. In addition, Chatsky incorrectly uses the acquired knowledge. Everything should be aimed at achieving ranks, at observing traditions, and we should live “as our fathers did.” Famusov puts forward his ideal of an intelligent person. In his opinion, this is Maxim Petrovich, who achieved high ranks and a high position in society thanks to his practical mind, the ability to “bend over” when it was necessary to “curry favor.” Famusov himself has not reached such heights, which is why he curries favor with the princes Tugoukhovsky and Skalozub. Molchalin, Famusov's secretary, also embodies a practical mind. This was noticed by Chatsky: Molchalin! – Who else will settle everything so peacefully! There he will pet the pug in time! It's time to rub the card in! By his nature, Molchalin is a petty person, striving by any means to achieve his cherished goal in life, the meaning of which boils down to “winning awards and having fun.” In his practice, he follows his father’s precepts - “to please all people without exception,” but at the same time he believes that “at his age he should not dare to have his own judgment,” since “he is in small ranks.” He loves Sophia “by virtue of his position” and calms down the angry Khlestova with a game of cards.

According to Chatsky, Molchalin “will reach the famous levels, because nowadays they love the dumb.” Chatsky is the complete opposite of Molchalin, despite the fact that they are both young. The hero has an ardent, passionate nature. He is ready to sacrifice everything for the sake of his ideals, filled with civic meaning. He wants to serve “the cause, not the individuals.” For Chatsky, mind and truth, truth and honor are the main ones life values. The hero opposes the upbringing adopted in Famus society, when they strive to “recruit regiments of teachers, more in number, at a cheaper price.” He is not alien to patriotic feelings, which is why he is irritated by “blind imitation” of everything foreign. Chatsky expresses his thoughts in accusatory speeches directed against the foundations of Famus society. His monologues, oratorical in style, testify to the education and enlightenment of the protagonist, which is why they contain so many aphorisms.

Chatsky’s mind is the mind of an advanced person, this is precisely the reason that the inert society does not accept his views and ideas, since they contradict the way of life of the old Moscow nobility. Chatsky’s love for Sophia is not accidental, because she also has intelligence. But Sophia's mind is practical. Sophia, as a typical girl of her time and class, draws her mind from French sentimental novels, that’s why she chooses Molchalin as her beloved, in order to subsequently make him “a boy-husband, a servant-husband.” She is guided by worldly wisdom, because she is the daughter of her father. In comedy there is another type of mind that we can see in the maid in Famusov's house, Lisa.

As a second reasoner in a comedy, she expresses author's position, therefore, it is from her lips that we hear the characteristics of various characters: “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 ranks,” and so on Further. Undoubtedly, Lisa has the natural intelligence and worldly wisdom of a commoner; she is resourceful, cunning, but at the same time devoted to her mistress. Thus, the comedy “Woe from Wit” presents Various types mind, ranging from the worldly wise to the advanced, progressive mind. But Famusov society does not accept the progressive mind, rejects it, declaring Chatsky a social madman and forcing him to leave Moscow.

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Essays on topics:

1. “Woe from Wit” is a famous comedy by Alexander Griboyedov, familiar to almost every reader. Despite the fact that the work was first published...

There are cases in the history of art and literature when just one work makes its author immortal. A.S. Griboedov forever entered literature with his socio-political comedy “Woe from Wit,” which shows the spiritual life of Russia after the Patriotic War of 1812, the contradictions of the “present century” and the “past century.”

Ethical and philosophical views A.S. Griboyedov are already reflected in the title of the comedy. A person who thinks about the rational structure of society and does not accept reactionary views has a difficult time among those who understand intelligence as “the ability to live.”

The main conflict of the work unfolds between Chatsky and Famus society. It reflected the struggle between two social forces: progressive liberal nobles and reactionary serf-owning nobles.

A.S. Griboedov satirically depicts noble-bureaucratic Moscow and, more broadly, Russia. Despite the commonality of many features (selfish interests, lack of high morality, low level of education, fear of enlightenment), each image embodies a specific specific historical type.

Famusov personifies the “past century.” He is a wealthy landowner and a major official, who, however, does not burden himself with service (“what’s the matter, what’s not the matter is signed, so off your shoulders”). Perceiving the service as his own patrimony, Famusov surrounded himself with relatives and acquaintances:

When I have employees, strangers are very rare,

More and more sisters, sisters-in-law, children...

How are you going to present yourself to the cross?

to the place, how can you not please your loved one!

Famusov is a hypocrite and a hypocrite. The ideal of Famusov’s entire entourage is Maxim Petrovich, who, despite his gray hair, fell several times in front of the empress to amuse her, which earned him royal favor. Famusov is ready to give his daughter in marriage to anyone, as long as he has money and power. He sees his son-in-law even in the rude and ignorant martinet Skalozub, whom Chatsky aptly described as “a constellation of maneuvers and mazurkas.” Skalozub reveals his dreams:

...to get ranks, there are many channels...

I just wish I could become a general.

And, without feeling cynicism, he is glad that

The vacancies are just open;

Then the Elders will turn off others,

The others, you see, have been killed.

The entire Famus society is afraid of enlightenment, seeing it as a threat to its own foundations. Famusov is sure that “learning is the plague, learning is the cause” of all troubles; he is echoed by the princess, scolding the pedagogical institute and professors; Skalozub would like the lyceums and gymnasiums to teach “our way: one, two,” he “can’t be fooled by his learning,” and he will give “a sergeant major like Voltaire” to those who conduct philosophical debates. The views of this society were expressed by Famusov:

...To stop evil,

Collect all the books and burn them.

The younger generation is represented in the play by the images of Chatsky, Molchalin, Sophia and Lisa. This is absolutely different types young people who differ in their moral concepts.

Molchalin personifies the lower part of bureaucratic Russia. His portrait is outlined in one phrase: “here he is on tiptoe and not rich in words.” He has two talents that he is proud of - “moderation and accuracy.” Molchalin is one of those who achieves a career by being able to stroke the pug of an influential lady at the right time, and play cards (dying of boredom) with old men. This is a sycophant, a hypocrite who follows the rule:

...At my age one should not dare

Have your own opinions.

Such Molchalins support the foundations of Famus society.

One of the most complex in the play is the image of Sophia. As noted by A.S. Pushkin, “it is written unclearly.” Quite educated and smart, she prefers Molchalin to Chatsky. Without being evil and cruel, she hurts her childhood friend and slanders him, declaring him crazy. Her actions are contradictory. This is probably because some features of her character (independence, freedom of judgment) were formed in adolescence under the influence of Chatsky, but after his departure she found herself at the mercy of a conservative society, which instilled in her its own moral code. It can be assumed that Sophia does not love Molchalin, but has created an ideal in her imagination. Chatsky is right when he says that by admiring him, you gave him darkness of your qualities.

Objectively, Sophia also finds herself in the Famusov camp, defending its foundations.

Famus society is opposed by Chatsky. A young educated man returns to Moscow after a three-year absence, driven by a romantic impulse to serve the Fatherland, “the smoke of which is sweet and pleasant to us.” He is an honest, noble man with a sharp mind. It pains him to see that hypocrisy and ignorance still reign, that in Moscow “the houses are new, but the prejudices are old.” His patriotic feeling offends the spirit of “blind, slavish, empty imitation” of everything foreign, admiration for the empty “Frenchman from Bordeaux.”

Chatsky's moral concepts are independence, feeling self-esteem(“I would be glad to serve, it’s sickening to be served”), integrity - are in irreconcilable contradiction with the morality of Famus society. His monologue “Who are the judges?” - denunciation of the conservatism of the “fathers of the fatherland”, who live according to the laws of the 18th century, “draw their judgments from forgotten newspapers from the times of Ochakov and the conquest of Crimea.” They are enemies of freedom, serf owners who value the lives of peasants at nothing, exchanging their devoted servants for dogs.

Chatsky has an ardent character, which is manifested both in his romantic love for Sophia and in his harsh assessments of others. The image of Chatsky is given in development. He first overcomes socio-political illusions, and then his love hopes are destroyed. According to I.A. Goncharov, Chatsky experiences “a million torments” before he “sobers up completely.”

Although the play was written a year before the uprising, the image of Chatsky embodied many of the features moral character and social views of the Decembrists. In the play itself there are hints that Chatsky is not alone in his views on existing society. These are off-stage characters - cousin Skalozub: “the rank followed him, ... he suddenly left the service,” “in the village he began to read books”; nephew of Princess Tugoukhovskaya, Prince Fyodor.

The realism of the comedy “Woe from Wit” is expressed in the fact that Famus’s society defeats Chatsky, although, undoubtedly, the playwright’s sympathies are on the side of the hero. But real circumstances did not allow for a positive outcome.

The comedy “Woe from Wit” was an original, vibrant work that has not lost its relevance today. An unusually lively language, specific and apt statements Chatsky was determined by the fact that many lines of the play became aphorisms. Sometimes, using expressions such as “ Happy Hours they don’t observe”, “The legend is fresh, but it’s hard to believe”, “To have children who lack intelligence”, “I would be glad to serve, it’s sickening to be served”, “In more numbers, at a cheaper price”, the speaker does not even know the source catchphrase. These phrases organically entered into colloquial speech, becoming truly popular.

Comedy “Woe from Wit” by A.S. Griboedova reflected the sentiments of the progressive nobility of Russia in the first quarter of the 19th century.

additional literature

Goncharov I. A. A million torments.

Lebedev A. A. Griboyedov: Facts and hypotheses. M., 1980.

Meshcheryakov V.P. The life and deeds of Alexander Griboedov. M., 1989.

Fomichev S. A. Griboyedov’s comedy “Woe from Wit.” A comment. M., 1983.

Heroes and problems of A. S. Griboyedov’s comedy “Woe from Wit”

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The very title of Griboyedov’s comedy “Woe from Wit” contains significant interpretation. The playwright poses a riddle for his contemporaries and the future generation. Many smart people"were puzzled" over the meaning of the play's title. In fact, is grief from the mind possible? The more intelligence, the better. The happier the bearer of the mind and the society in which he lives should be. In our case, the hero experiences the bitterness of disappointment and "million torment,” and society rejoices at Chatsky’s imminent departure from Moscow. Chatsky is woeful from his mind because society did not understand him, did not recognize him and considered his mind dangerous, giving rise to new ideas that are unacceptable by the world, as unnecessary, inconvenient, impractical and even dangerous for a given society. A great mind needs great understanding and recognition. And then there will be happiness from the mind and peace, and not suffering or, in Goncharov’s words, torment. Chatsky is unhappy because he is not understood.
In the comedy A.S. Griboedov’s “Woe from Wit”, the problem of the mind is one of the key ones. This, in fact, is evidenced by the name.
The main character Chatsky has not yet appeared in Famusov’s house, but the idea of ​​​​madness associated with a negative attitude towards education and enlightenment is already in the air there.
Famusov, as a typical representative of his society, has his own opinion regarding the mind and an intelligent person. For him, an intelligent person is a practical, worldly wise person. Although he does not deny Chatsky’s intelligence, he nevertheless considers Skalozub to be a more suitable match for Sophia: “A respectable man and has picked up many marks of distinction, beyond his years and an enviable rank, not today’s general.”
Famusov puts forward his ideal of an intelligent person. In his opinion, this is Maxim Petrovich, who achieved high ranks and a high position in society thanks to his practical mind, the ability to “bend over” when it was necessary to “curry favor.” Famusov himself has not reached such heights, which is why he curries favor with the princes Tugoukhovsky and Skalozub.
By his nature, Molchalin is a petty person, striving by any means to achieve his cherished goal in life, the meaning of which boils down to “taking awards and living happily.” In his practice, he follows the behests of his father - “to please all people without exception,” but at In this regard, he believes that “at his age he should not dare to have his own opinion,” since “his ranks are small.” He loves Sophia “by virtue of his position,” and calms down the angry Khlestova with a game of cards. According to Chatsky, Molchalin “will reach the level of fame, because nowadays they love the dumb.”
For Chatsky, intelligence and truth, truth and honor are the main values ​​in life. The hero opposes the upbringing adopted in Famus society, when they strive to “recruit regiment teachers, in larger numbers, at a cheaper price.” Patriotic feelings are not alien to him, which is why he is irritated by “blind imitation” of everything foreign. Chatsky's mind is the mind of an advanced person, this is precisely the reason that the inert society does not accept his views and ideas, since they contradict the way of life of the old Moscow nobility.
Chatsky’s love for Sophia is not accidental, because she also has intelligence. But Sophia's mind is practical. Sophia, as a typical girl of her time and class, draws her mind from French sentimental novels, which is why she chooses Molchalin as her lover in order to subsequently make him “a boy-husband, a servant-husband.” She is guided by worldly wisdom, because she is her father's daughter.
In comedy there is another type of mind that we can see in the maid in Famusov's house, Lisa. As the second reasoner in the comedy, she expresses the author’s position, therefore it is from her lips that we hear the characteristics of various characters: Undoubtedly, Lisa has the natural intelligence and worldly wisdom of a commoner, she is resourceful, cunning, but at the same time devoted to her mistress. Thus, in the comedy “Woe from Wit” various types of minds are presented, ranging from the worldly wise to the advanced, progressive mind. But Famus society does not accept the advanced mind, rejects it, declaring Chatsky a social madman and forcing him to leave Moscow.
The problem of the “mind” of Griboyedov’s comedy is what is valuable for Chatsky, what is valuable for Famusov, Molchalin and Skalozub.

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The problem of “Mind” in Griboedov’s comedy “Woe from Wit”

Griboyedov worked on his comedy “Woe from Wit” in the late 10s and early 20s of the nineteenth century. These were significant years in the history of Russia. The Patriotic War of 1812 had just ended in victory. This victory confirmed the will of the Russian people for freedom and independence, their ardent love for the Motherland. People hated autocracy and serfdom, which interfered with economic and cultural development countries.
After the Patriotic War, many secret political societies, whose members were revolutionary-minded nobles, ready to fight despotism and tyranny. Future Decembrist societies were born in Moscow and St. Petersburg.
Young revolutionaries fought for the rights of their new era, defended new beliefs and opposed a society that was still faithful to the old foundations and lived according to the orders of the old times.
This is the historical situation that Griboedov reflected in his sharp and apt comedy “Woe from Wit.”
In Chatsky’s conflict with the Famusov camp, he showed the struggle of two opposing social forces: the revolutionary nobles and the serf-owning nobles.
It was in this conflict that Griboyedov revealed the theme of “mind.” Observing the development of the struggle, we recognize the Decembrist in the image of Chatsky. He represents a young, ardent mind, who, with his sincerity and honesty, replaced the “notorious scoundrels,” scammers and sycophants, “sinister old women” and old men operating in Famus’s world.
For them, the concept of mind does not exist as such with the meaning that Chatsky puts into it, as long as all sorts of “trouble” does not accumulate, and the goals and desires are only to be “awarded!” take it and have fun."
The problem of the “mind” of Griboyedov’s comedy is what is valuable for Chatsky, what is valuable for Famusov, Molchalin and Skalozub.
In Chatsky’s passionate accusatory speeches, there is clearly a challenge to the dirty world of “sycophants” and “businessmen.” He sees the future of Russia in enlightenment and understands that with contempt for the sciences, for the Russian people, which reigns in Famus’s world, the country will not receive any development.
The social conflict of the comedy is represented by a clash of minds: the mind of Chatsky, thirsty for change and improvement, and the mind of the Famusov and Molchalinsky world, faithful to the foundations of the time.
Feudal society repels Chatsky largely because of his intelligence. Advanced thoughts are not recognized in this world. For them, Chatsky, who “wants to preach freedom” and “does not recognize the authorities”, is a “dangerous person”, “crazy in everything” and
obsessed, Sophia, who previously loved Chatsky for his intelligence, now says to him: “...Will such a mind make the family happy?”
Famusov, recognizing Chatsky’s intelligence, however, believes that he is worthy of regret:
And he writes and translates nicely,
It’s impossible not to regret that with such a mind...
Chatsky is no longer able to bear all this, he is forced to leave Moscow: “Get out of Moscow! I don’t go here anymore.”
So, we see that the mind of the main character, his advanced aspirations place him outside the circle of the Famusovs, the Silencers and the Skalozubs. This is what the comedy is based on internal development social conflict: best features, best qualities Chatsky is made into Famus’s world, first as an “eccentric”, a “dangerous person” and, in the end, simply insane. "So what? Don’t you see that he’s gone crazy?” —
Famusov exclaims confidently at the end of the curtain.