Woe from mind what genre. Genre "Woe from Wit"

Features of the comedy genre "Woe from Wit"

A.S. Griboyedov originally defined his work as:

• "stage poem"
• then as a "dramatic picture"
• and only then as a comedy .

"Woe from Wit" is a satirical comedy. The main thing in it is the discrepancy between external and internal, thoughts and behavior. So, Molchalin, well-behaved in words, is a cynic in relation to people, but in words and in behavior he is amiable, helpful.

The statements of the characters about Skalozub are also contradictory:

“And the golden bag, and aims for the generals” - “... he didn’t utter a smart word from his life.”

The high position of the characters does not correspond to their behavior or thoughts.

Skalozub says:

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

Famusov occupies a rather large post - a manager in a government place, however, he formally and connivingly treats his duties:

“My custom is this: signed, so off your shoulders.”

Universal morality is opposed by the morality of this society:

"Sin is not a problem, rumor is not good."

Sometimes Chatsky's speech is not understood by other characters or is misunderstood.

Comic features and transformations in the play "Woe from Wit"

There are also comic inconsistencies in the character of Chatsky. Pushkin, for example, denied Chatsky the mind. The fact is that this smart person gets into an absurd situation and still casts pearls in front of pigs. No one listens to him (3rd act) and does not hear.

Comically transformed into a comedy love triangle.

Chatsky loves Sophia, who loves Mochalin, while Molchalin confesses his love to the maid Lisa, who in turn dreams of the barman Petrusha.

The language of the characters is comical. Already contemporaries noted that many lines of comedy became aphorisms

(“Well, how not to please your own little man”, “Walked into the room - got into another”, “Carriage to me, carriage”, “Kuznetsky Most and the Eternal French” and many others).

So, the poet Griboyedov defined the genre of his text as a comedy. However, everything is not so simple: the comic circumstances that the main character finds himself in, constant various inconsistencies, contradictions between the comic and the tragic - all this helps him to most fully reveal the tragic conflict between

"the past century" and "the present century". Perhaps we should call the genre of "Woe from Wit" a tragicomedy. The predominance of the socio-political conflict over the love one makes the play a tragicomedy. Gogol called "Woe from Wit" a "public comedy".

What is important here is that the best satirical writer and playwright of the 19th century calls this text a comedy, thus confirming Griboyedov's definition.

At the same time, the fact that experts are still arguing about the genre originality of the play "Woe from Wit" suggests that this wonderful thing is still a mystery to critics, literary critics, readers and viewers.

"Woe from Wit" by A. S. Griboyedov can truly be considered an innovative work. There is still controversy about the genre of this play.

It is customary to define the genre of a work as a comedy. Indeed, in the play one can observe comic situations in which comic characters find themselves. For example, the image of Skalozub personifies ignorance and narrow-mindedness, in all scenes he is ridiculous. Yes, even Chatsky himself, according to A. S. Pushkin, looks ridiculous when he tries to “throw pearls” in front of uneducated people. The language of the play is also comical, it is light, witty, easy to remember. No wonder the speech is so aphoristic.

But it is impossible to precisely define the type of comedy. Here there are features of both a comedy of characters, and everyday comedy, and social satire.

Griboyedov himself initially defines the work as a stage poem, then calls it a dramatic picture, and subsequently designates the play as a comedy in verse. Even here we see the impossibility of clearly defining the genre originality of Griboedov's work. The writer's contemporaries called the play a high comedy, since in it the author raises rather serious problems of contemporary society.

However, there are critics arguing over whether Woe from Wit is a comedy. An important argument is that the main character - Chatsky - is far from being comical. In the play there is a confrontation between an educated person and a society that does not understand him. And this conflict between the “past century” and the “present century” is tragic. In this we note the features of the tragedy.

Chatsky even experiences a spiritual drama, finding himself in confrontation with the whole society. The drama, but already of a personal nature, is also experienced by Sophia, who is disappointed in her lover. Therefore, the features of the dramatic genre are manifested here.

Thus, the author's intention was so great that he could not fit into the framework of one genre. One can note the features of drama and tragedy, although the leading genre, of course, is comedy, the principle of which is “laughter through tears”.

Option 2

The work is not one of the classical literary genres, as it refers to the innovative creation of the writer, who initially defined the play as a stage poem, then called it a dramatic picture, and subsequently classified it as a comedic work.

The author consciously departs from the traditional principles of classicism, introducing several conflicts into the storyline of the play, in which, in addition to the love line, there is an acute socio-political orientation that determines the main theme of the comedy in the form of a tragic confrontation between a reasonable person who exposes bribery, careerism, hypocrisy, and the near surrounding her. society.

To realize his creative idea, the writer makes a significant adjustment to the classic canons of the traditional understanding of the comedy literary genre.

Secondly, the author, describing the characteristic features of the comedy characters, adds realistic, reliable qualities to them, endowing each of the characters with both positive and negative character traits. The realism of the play is emphasized by the disclosure by the author of the pressing problems that concern progressive representatives of modern society, which the writer expresses through the image of the main character of the work.

In addition, the comedy contains elements of a dramatic work, which are expressed in the emotional experiences of the protagonist, who is faced with unrequited love.

Using sharp satire in the narrative, the writer presents his work as a living demonstration of the existing social life, mired in hypocrisy, servility, deceit, hypocrisy, greed. The comic speech of the heroes of the play is replete with the use of numerous picturesque, vivid, expressive aphorisms that the author puts into the mouths of almost all the characters in the comedy.

A distinctive feature of the play is its poetic form, enclosed in an inevitable rhythm that does not allow pauses, stops, representing the work in the form of a musical drama.

All of the above makes it possible to attribute Griboyedov's work to the category of literary creations representing a combination of genres, the main of which is social comedy. The use of comic circumstances in the play with the use of various inconsistencies, contradictions between tragedy and comedy allows the author to demonstrate the true meaning of the dramatic conflict of the present century and the past century, revealing the genre essence of the work in the form of tragicomedy, expressed in the psychological realism of the events described.

The creation created by the writer, replete with artistic and satirical elements, is a significant contribution to the development of Russian literature.

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Writers are some of the most unique people on the planet, they know how to create a multifaceted masterpiece based on a short situation. Almost the same fate befell Griboyedov's comedy "Woe from Wit".

The history of the creation of the work "Woe from Wit"

Once Griboyedov happened to attend one of the dinner parties in aristocratic circles. There he witnessed an unusual picture: one of the guests was a foreign citizen. The aristocrats greatly appreciated everything foreign, they wanted to be as much like them as possible, so any contact with foreign guests, especially those of noble origin, was flattering for representatives of high society. Therefore, the whole time of the dinner was devoted to a reverent attitude towards a foreign guest - Griboyedov, who was hostile to the attempts of the Russian aristocracy to get everything foreign, including behavior, language and lifestyle, could not miss the moment and not speak out about this.

We suggest that you familiarize yourself with the comedy “A. Griboyedov "Woe from Wit".

Naturally, his speech was not heard - the aristocrats considered Griboyedov out of his mind and immediately gladly spread a rumor about his mental illness. Outraged, Alexander Sergeevich then decided to write a comedy in which he would denounce all the vices of an aristocratic society. It happened in 1816.

Comedy publishing history

However, Griboyedov began to create the work after some time. In 1823, the first fragments of the comedy were already ready. Griboyedov presented them to the public from time to time, first in Moscow, then in Tiflis.

There were also difficulties with the publication for a long time - the text repeatedly succumbed to censorship and, as a result, to revision and revision. Only in 1825 were fragments of the work published.

During Griboyedov's lifetime, his work was never fully published - in the hope that his friend Bulgarin would help in this, Alexander Sergeevich gave him the manuscript of his comedy, which at that time was called "Woe of Wit", but the publication did not follow.

Four years after the death of Griboyedov (in 1833), "Grief" nevertheless saw the light. However, the text of the comedy was distorted by the editorial and censorship commission - there were too many moments in the text that were unacceptable for publication. It was not until 1875 that the work was published uncensored.

Comedy heroes

All the heroes of the play can be divided into three categories - main, secondary and tertiary.

The central images of the comedy include Famusov, Chatsky, Molchalin and Sofya Pavlovna

• Pavel Afanasyevich Famusov- an aristocrat by origin, a manager in a state institution. He is a dishonest and corrupt official, as a representative of society, he is also far from ideal.
• Sofia Pavlovna Famusova- the young daughter of Famusov, despite her young age, she is already actively using the tricks adopted in aristocratic circles - the girl loves to play with the feelings of other people. She likes to be the center of attention.
• Alexander Chatsky- a hereditary aristocrat, an orphan. He was taken in by the Famusovs after the death of his parents. For some time, Alexander was in military service, but became disillusioned with this type of activity.
• Alexey Stepanovich Molchalin- Famusov's secretary, a man of ignoble origin, who, thanks to the actions of Famusov, acquires a noble rank. Molchalin is a vile and hypocritical person who is driven by the desire to break into aristocratic circles at any cost.

The secondary characters include Skalozub, Lisa and Repetilov.

• Sergei Sergeevich Skalozub- a nobleman, a young officer who is only interested in promotion.
• Repetilov- an old friend of Pavel Afanasyevich, a hereditary nobleman.
• Lisa- a servant in the Famusovs' house, with whom Molchalin is in love.

Actors of secondary importance include the images of Anton Antonovich Zagoretsky, Anfisa Nilovna Khlestova, Platon Mikhailovich Gorich, Natalya Dmitrievna Gorich, Prince Pyotr Ilyich Tugoukhovsky, Countess Khryumin and Petrushka - all of them briefly act in the play, but thanks to their social position they help to describe an accurate and unsightly picture of reality.

The young landowner Chatsky returns home after a three-year absence from Russia. He visits the house of his tutor Famusov in order to woo his daughter, with whom he has long been in love, Sophia.

In Famusov's house, Chatsky notices that during his absence the vices of the aristocracy have only worsened. The young man is surprised by the self-interest and calculation of representatives of high society. Aristocrats, instead of setting an example of humanism and honesty, set an example of bribery and playing for the public - this discourages Chatsky. The ideal of behavior in the highest circles has become servility - for aristocrats it has become unimportant to serve - now it is in vogue to serve. The denunciation of the opposite position of Chatsky in relation to the Famusovsky society becomes the main reason why he cannot claim Sonya's hand.

We suggest that you familiarize yourself with the comedy “Woe from Wit” by A. Griboyedov.

Alexander still does not lose hope. He thinks that the girl's favor will be able to change the situation, but even here Chatsky will be disappointed - Sonya actually loves not him, but her father's secretary.

However, Sonya is in no hurry to refuse Chatsky - she hides the true state of affairs from Chatsky and pretends that Alexander's sympathy is pleasant to her. In addition, the girl spreads rumors that

Chatsky has mental health problems. When Alexander finds out the truth, he realizes that such a girl cannot be his wife. The only thing left for Alexander is to leave Moscow.

Poetic size and features of the verse of the play

Griboyedov's play "Woe from Wit" is written in iambic. The number of feet in poetry is not the same (in contrast to the traditional Alexandrian verse, which provided for the use of iambic six-foot) - periodically Alexander Sergeevich changes the number of feet. Their number varies from one to six.

The rhyming system is also unstable. In the play, you can see virtually all options - steam room, cross, belted. In addition, Griboyedov uses internal rhyme.

Themes and problems of the play

The main conflict of the play is determined by the framework of the confrontation between the "current century" and the "past century". Such a concept is not limited solely to the attitude to the service and prosperity of a person - a large array of problems is hidden under these phrases.

First of all, the problem of the type of human activity and their distribution into noble occupations (civil service in state institutions and military service) and shameful ones (writing, scientific activity) are singled out.

The second problem of the play was the glorification of sluts - authority and respect in society are earned not by valiant service or roughly done work, but by the ability to please the higher leadership.

The next problem is bribery and mutual responsibility. All problems in society can be solved with money or connections.

The problem of sincerity and honesty is also raised by Griboyedov - people say what is beneficial. They are ready to dissemble and deceive for the sake of gaining some benefits. Few people are ready to express a true opinion, especially if it does not coincide with the opinion of the majority.

Most people become dependent on the opinions of others, they are ready to build their lives, guided not by convenience, but by tradition, even when it greatly complicates their lives.

The problem of selfishness has become the reason for the appearance of duplicity on the love front - being monogamous has become out of fashion.

Genre of the work "Woe from Wit"

Features of the themes and problems of the play became the reason for the emergence of a discussion in literary circles about the genre of "Woe from Wit". Researchers are divided on this issue.

Some believe that it is right to assign the genre of comedy to the work, while others are sure that such problems are typical for works of a dramatic nature.

The main reason that allows us to define the play as a drama is the global nature of the problem raised. The conflict of the play is built on a deep sense of disappointment, which is not typical for a comedy. The elements of the comic, which are present in the description of the characters, are minimal and, according to the researchers, are used to enhance the dramatic function in the text.

Proceeding from this position, along with proposals to define the genre as a comedy or drama, proposals for mixing genres began to appear in the course of the discussion. So, for example, N.I. Nadezhdin designated it as a satirical picture.

N.K. Piskanov, analyzing the features of the play, came to the conclusion that it is impossible to define its genre precisely - literary critics have every reason to designate it as a social drama, a realistic everyday play, a psychological drama, and even a musical drama (based on the features of the play's verse).

Despite all the discussions, Griboedov's play "Woe from Wit" continues to be called a comedy. First of all, this is due to the fact that Alexander Sergeevich himself designated the genre of his work in this way. Although the elements of the comic are not widely used in the play, and its structure and plot features are far from traditional comic ones, the influence of satire and humor still had a noticeable place in the play.

Thus, the play by A.S. Griboyedov "Woe from Wit" is a multifaceted and extensive work.

The diversity of the themes and problems of the play, as well as the ways of depicting the essence of the conflict, caused a discussion in terms of the genre of the play.

The problems and topics raised by Griboedov can be classified as "eternal" topics that never lose their relevance.

Genre issue. The main techniques of the comic (A.S. Griboyedov "Woe from Wit")

In the comedy "Woe from Wit" there are two storylines: love and socio-political, they are absolutely equivalent, and the central character of both is Chatsky.

In the dramaturgy of classicism, the action developed due to external reasons: major turning points. In Woe from Wit, Chatsky's return to Moscow becomes such an event. This event gives impetus to action, becomes the plot of a comedy, but does not determine its course. All the attention of the author, therefore, is focused on the inner life of the characters. It is the spiritual world of the characters, their thoughts and feelings that create the system of relationships between the heroes of the comedy and determine the course of action.

Griboyedov's refusal from the traditional plot denouement and a happy ending, where virtue triumphs and vice is punished, is the most important feature of his comedy. Realism does not recognize unambiguous endings: after all, everything in life is too complicated, each situation can have an unpredictable end or continuation. Therefore, "Woe from Wit" is not logically finished, the comedy, as it were, breaks off at the most dramatic moment: when the whole truth was revealed, the "veil fell off" and all the main characters were faced with a difficult choice of a new path.

Criticism defined the genre of the play in different ways (political comedy, comedy of manners, satirical comedy), but something else is more important for us: Griboyedov's Chatsky is not a classic character, but "one of the first romantic heroes in Russian drama, and as a romantic hero, on the one hand , categorically does not accept the inert environment familiar to him from childhood, the ideas that this environment gives rise to and promotes; on the other hand, he deeply and emotionally "lives" the circumstances associated with his love for Sophia "(Encyclopedia of literary heroes. M., 1998) .

Griboyedov created a comedy with a wide range of issues. It touches not only topical social problems, but also contemporary moral issues in any era. The writer comprehends those social and moral-psychological conflicts that make the play a truly artistic work. And yet he addressed "Woe from Wit" primarily to his contemporaries. A. S. Griboyedov considered the theater in the traditions of classicism: not as an entertainment institution, but as a pulpit, a platform from which he could pronounce the most important thoughts so that Russia would hear them, so that modern society would see its vices - pettiness, vulgarity - and be horrified by them, and laughed at them. Therefore, Griboyedov sought to show Moscow, first of all, as funny.

According to the rules of decency, let us first turn to the owner of the house - Pavel Afanasyevich Famusov. He never for a moment can forget that he is the father of his daughter-bride. She must be married. But, of course, not just "get away with it." A worthy son-in-law is the main problem that torments him. "What a commission, creator, to be a father to an adult daughter!" he sighs. His hopes for a good game are connected with Skalozub: after all, he is "a bag of gold and aims for generals." How shamelessly Famusov fawns before the future general, flatters him, noisily admires every word of this frankly stupid "warrior", who sat out "in a trench" during the fighting!

Skalozub himself is also comical - his mind is not even enough to learn the basic rules of decent behavior. He constantly loudly jokes and laughs, talks about the "many channels" of obtaining ranks, about happiness in partnership - this is when comrades are killed and he gets titles. But it's interesting: Skalozub, a purely farcical character, is always funny in the same way. The image of Famusov is much more complex: he is more deeply worked out psychologically, he is interesting to the author as a type. And Griboedov makes it funny in different ways. He is simply comical when he fawns on the brave colonel, flirts with Liza, or pretends to be a saint, reading moralizing to Sophia. But his reasoning about the service: “signed, so off his shoulders”, his admiration for Uncle Maxim Petrovich, his anger at Chatsky and humiliated fear of the court of “Princess Marya Aleksevna” are no longer only ridiculous. They are terrible, terrible because of their deep immorality, unscrupulousness. They are terrible in that they are by no means characteristic only of Famusov - these are the vital attitudes of the entire Famusov world, of the entire "past century". That is why it was important for Griboedov that his characters, first of all, cause laughter - the laughter of the audience over those shortcomings and vices that are characteristic of themselves. And "Woe from Wit" is a truly funny comedy, a constellation of comedic types.

Here, for example, is the Tugoukhovsky family: a swaggering wife, a husband on parcels, who did not utter a single articulate remark during his stage presence, and six daughters. Poor Famusov, before our very eyes, is climbing out of his skin in order to attach a single daughter, and here are six princesses, and besides, they certainly are by no means shining with beauty. And it is no coincidence that when they saw a new face at the ball - and he, of course, turned out to be Chatsky (always inopportunely!) - The Tugoukhovskys immediately set about matchmaking. True, having learned that the potential groom is not rich, they immediately retreated.

And Gorichi? Aren't they playing comedy? Natalya Dmitrievna turned her husband, a young military man who had recently retired, into an unreasonable child who must be constantly and intrusively taken care of. Platon Mikhailovich sometimes falls into some irritation, but, in general, he stoically endures this supervision, having long ago come to terms with his humiliating position.

So, before us is a comedy from the secular life of Griboyedov's modern Moscow. What trait, characteristic feature does the author constantly emphasize? Men are strangely dependent on women. They voluntarily gave up their male privilege - to be in charge - and are quite content with a miserable role. Chatsky puts it wonderfully:

Husband-boy, husband-servant of the wife's pages -

The lofty ideal of all Moscow men.

Do they think this state of affairs is abnormal? No, they are quite happy. Moreover, pay attention to how consistently Griboedov pursues this idea: after all, women rule not only on stage, but also behind the scenes. Let us recall Tatyana Yuryevna, whom Pavel Afanasyevich mentions in the monologue "Taste, father, excellent manner ...", whose patronage is so dear to Molchalin; Let's remember Famusov's final remark:

Oh! My God! what will he say

Princess Marya Alexevna?

For him - a man, a gentleman, a state official, not from small ones - the court of some Marya Alekseevna is more terrible than God's court, for her word will determine the opinion of the world. She and those like her - Tatyana Yuryevna, Khlestova, the countess' grandmother and granddaughter - create public opinion. Women's power is, perhaps, the main comic theme of the entire play.

Comedy invariably appeals not to some abstract notion of the viewer or reader about how it should be. It appeals to our common sense, which is why we laugh while reading Woe from Wit. What's funny is that it's unnatural. But what, then, distinguishes cheerful, joyful laughter from bitter, bilious, sarcastic laughter? After all, the same society that we just laughed at seriously considers our hero insane. The verdict of the Moscow world to Chatsky is harsh: "Mad in everything." The fact is that the author freely uses different types of comic within the framework of one play. From action to action, the comic "Woe from Wit" acquires an ever more tangible shade of sarcasm, bitter irony. All the characters - not only Chatsky - joke less and less as the play progresses. The atmosphere of the Famusovs' house, once so close to the hero, becomes stuffy and unbearable. By the end, Chatsky is no longer the joker who makes fun of everyone and everything. Having lost this ability, the hero simply ceases to be himself. "Blind!" he cries out in despair. Irony is a way of life and attitude to what is not in your power to change. Therefore, the ability to joke, the ability to see something funny in every situation, to ridicule the most sacred rituals of life - this is not just a feature of character, it is the most important feature of consciousness and worldview. And the only way to deal with Chatsky and, above all, with his evil tongue, ironic and sarcastic, is to make him a laughing stock, to repay him with the same coin: now he is a buffoon and a clown, although he does not suspect it. Chatsky changes in the course of the play: he moves from a rather harmless laugh at the immutability of Moscow orders and ideas to a caustic and fiery satire, in which he denounces the morals of those who "draw their judgments from forgotten newspapers // Ochakov times and the conquest of Crimea." The role of Chatsky, according to I.A. Goncharova, - "passive", there is no doubt about it. The dramatic motif grows more and more toward the finale, and the comic motif gradually gives way to its supremacy. And this is also Griboyedov's innovation.

From the point of view of the aesthetics of classicism, this is an unacceptable mixture of the genres of satire and high comedy. From the point of view of the reader of modern times, this is the luck of a talented playwright and a step towards a new aesthetics, where there is no hierarchy of genres and one genre is not separated from another by a blank fence. So, according to Goncharov, "Woe from Wit" is "a picture of morals, and a gallery of living types, and an eternally sharp, burning satire, and at the same time a comedy, ... which is hardly found in other literature." N. G. Chernyshevsky accurately defined the essence of comedy in his dissertation "The Aesthetic Relations of Art to Reality": "... the inner emptiness and insignificance of human life is comical, which at the same time is covered by an appearance that has a claim to content and real meaning."

What are the techniques of the comic in "Woe from Wit"? Throughout the comedy, the technique of "talk of the deaf" runs through. Here is the first phenomenon of the second act, Famusov's meeting with Chatsky. The interlocutors do not hear each other, each speaks about his own, interrupting the other:

Famusov. Oh! My God! He is a carbonari!

Chatsky. No, today the world is not like that.

Famusov. A dangerous person!

Essay plan

1. Introduction. Genre definition of Griboedov's play "Woe from Wit" by Russian critics.

2. The main part. Features of various genres in the play.

The linguistic element of the comic in the play.

? "Woe from Wit" as a comedy of characters.

? "Woe from Wit" as a sitcom. The motif of the fall and its comic meaning.

? "Woe from Wit" as a sitcom. The motif of deafness and its comic meaning.

Parody effects of the play.

? "Woe from Wit" as satire and political comedy.

Traits of drama in Griboyedov's comedy.

3. Conclusion. Synthesis of genres presented in the play.

Comedy "Woe from Wit" A.S. Griboedova destroyed traditional genre principles. Sharply different from the classic comedy, the play, however, was not based on a love affair. It could not be attributed to the genre of everyday comedy or comedy of characters in its pure form, although the features of these genres were also present in the work. The play was, as contemporaries said, "high comedy", the genre that the Decembrist literary circles dreamed about. Woe from Wit combined social satire and psychological drama; comical scenes were replaced in it by high, pathetic scenes. Let's try to consider the genre features of the play in more detail.

First of all, we note the elements of the comic in the work. It is known that Griboyedov himself called "Woe from Wit" a comedy. And here, of course, it is worth noting the presence in the play of both explicit comic tricks and hidden authorial irony. The language comic techniques of the playwright are hyperbole, alogism, ambiguity, the method of bringing to the point of absurdity, the distortion of foreign words, the use of foreign words in the Russian speech of the characters. So, we notice hyperbole in the remarks of Molchalin, who seeks to please "the janitor's dog, so that it is affectionate." With this technique, the technique of bringing to the point of absurdity echoes. So, discussing with the guests the madness of Chatsky, Famusov notes the “hereditary factor”: “I went after my mother, after Anna Aleksevna; The dead woman went crazy eight times.” In the speech of the old woman Khlestova there is an alogism: "There was a sharp man, he had about three hundred souls." She determines the personal characteristics of Chatsky by his condition. Ambiguities sound in the speech of Zagoretsky, condemning the fabulists for “... eternal mockery of lions! over the eagles! At the end of his speech, he declares: "Whoever say what: Although animals, but still kings." It is this line that equates "kings" and "animals" that sounds ambiguous in the play. The comic effect is also created due to the distortion of foreign words by the author (“Yes, there is no power in Madame”, “Yes, from Lancart mutual teachings”).

“Woe from Wit” is also a comedy of characters. The comedy is the image of Prince Tugoukhovsky, who, suffering from deafness, misunderstands those around him and distorts their remarks. An interesting image of Repetilov, who is both a parody of Chatsky, and at the same time the antipode of the protagonist. There is also a character in the play with a "speaking" surname - Skalozub. However, all his jokes are rude and primitive, this is real "army humor":

I am Prince Gregory and you
Sergeant major in Voltaire ladies,
He will build you in three lines,
And squeal, it will instantly calm you down.

Puffer is not witty, but, on the contrary, stupid. A certain element of the comic is also present in the character of Chatsky, whose "mind and heart are not in harmony."

The play has features of a sitcom, parodic effects. So, the author repeatedly plays with two motives: the motive of falling and the motive of deafness. The comic effect in the play is created by Repetilov's fall (he falls at the very entrance, running into Famusov's house from the porch). Chatsky fell several times on the way to Moscow ("Miles more than seven hundred swept - the wind, the storm; And he was all confused, and fell how many times ..."). Famusov tells about the fall of Maxim Petrovich at a social event. Molchalin's fall from a horse also causes a violent reaction from others. So, Skalozub declares: “Look how he cracked - in the chest or in the side?” The fall of Molchalin reminds him of the fall of Princess Lasova, who "the other day was knocked down" and now "is looking for a husband to support."

The motif of deafness sounds already in the first appearance of the play. Already in the first appearance, Liza, unable to get through to Sofya Pavlovna, asks her: “Are you deaf? - Alexei Stepanych! Madame! .. - And fear does not take them! Famusov plugs his ears, not wanting to listen to Chatsky's "devious ideas", that is, he becomes deaf of his own free will. At the ball, the countess-grandmother "ears stuffed up", she also notices that "deafness is a great vice." At the ball, Prince Tugoukhovsky is present, who "does not hear anything." Finally, Repetilov plugs his ears, unable to endure the choral recitation of the Tugoukhovsky princesses about Chatsky's madness. The deafness of the actors here contains a deep inner subtext. The Famus society is "deaf" to Chatsky's speeches, does not understand him, does not want to listen. This motive reinforces the contradictions between the main character and the world around him.

It is worth noting the presence of parodic situations in the play. So, the author parodically reduces Sophia's “ideal romance” with Molchalin by comparing Lisa, who recalls Sophia's aunt, from whom the young Frenchman fled. However, in "Woe from Wit" there is also a comic of a different kind, which is a mockery of the vulgar aspects of life, exposing the contemporary society of the playwright. And in this regard, we can already talk about satire.

Griboedov in "Woe from Wit" denounces social vices - bureaucracy, veneration of rank, bribery, service to "persons" and not "cause", hatred of education, ignorance, careerism. Through the mouth of Chatsky, the author reminds his contemporaries that there is no social ideal in his own country:

Where? show us, fathers of the fatherland,
Which should we take as samples?
Are not these rich in robbery?
They found protection from court in friends, in kinship,
Magnificent building chambers,
Where they overflow in feasts and extravagance,
And where foreign clients will not resurrect
The meanest traits of the past life.

Griboyedov's hero criticizes the rigidity of the views of Moscow society, its mental immobility. He also speaks out against serfdom, recalling the landowner who exchanged his servants for three greyhounds. Behind the magnificent, beautiful uniforms of the military, Chatsky sees "weakness" and "reason poverty." He also does not recognize the "slavish, blind imitation" of everything foreign, manifested in the dominance of the French language. In "Woe from Wit" we find references to Voltaire, the Carbonari, the Jacobins, we meet discussions about the problems of the social system. Thus, Griboedov's play addresses all the topical issues of our time, which allows critics to consider the work a "high", political comedy.

And finally, the last aspect in the consideration of this topic. What is the drama of the play? First of all, in the emotional drama of the protagonist. As I.A. Goncharov, Chatsky “got to drink a bitter cup to the bottom - not finding “living sympathy” in anyone, and leave, taking with him only “a million torments”. Chatsky rushed to Sofya, hoping to find understanding and support from her, hoping that she would reciprocate his feelings. However, what does he find in the heart of the woman he loves? Coldness, bitterness. Chatsky is stunned, he is jealous of Sophia, trying to guess his opponent. And he cannot believe that his beloved girlfriend chose Molchalin. Sophia is annoyed by Chatsky's barbs, his manners, behavior.

However, Chatsky does not give up and in the evening again comes to Famusov's house. At the ball, Sophia spreads gossip about Chatsky's madness, and everyone present readily picks it up. Chatsky enters into a skirmish with them, delivers a hot, pathetic speech, denouncing the meanness of the "past life." At the end of the play, the truth is revealed to Chatsky, he finds out who his rival is and who spread the rumors about his madness. In addition, the whole drama of the situation is exacerbated by the alienation of Chatsky from the people in whose house he grew up, from the whole society. Returning "from distant wanderings", he does not find understanding in his own country.

Dramatic notes are also heard in Griboyedov's depiction of the image of Sofya Famusova, who gets her "million torments". She bitterly repents, discovering the true nature of her chosen one and his real feelings for her.

Thus, Griboyedov's play "Woe from Wit", traditionally considered a comedy, is a certain genre synthesis, organically combining the features of a comedy of characters and a comedy of positions, features of a political comedy, topical satire, and finally, a psychological drama.