Woe from the mind. Summary of a lesson in literature on the topic “The universal and social meaning of A.S. comedy

About comedy. The plot of Alexander Griboedov's comedy will take you to Moscow in the 19th century. The nobility is represented by different characters. The plot is based on the conflict of generations. On the one hand, there are conservative nobles who are outliving their era, on the other, there are new representatives of the emerging class of enlightened nobles. A brief summary of “Woe from Wit” based on the actions will help you understand the peculiarities of an interesting, but already bygone century; a quick read will allow you to understand the essence and meaning of the plot of the work of art.

Action 1

The plot develops in the house of the manager in the government place, Pavel Afanasyevich Famusov. It all starts in the spacious living room. The maid Lizonka is dozing in an armchair; pleasant music is heard from the master’s daughter’s bedroom. Two instruments - a flute and a piano - help to understand that there are two people in the bedroom. The frightened maid wakes up and, seeing that daylight is already approaching outside the window, begins to knock on the mistress. She hurries and frightens the hidden lovers with a meeting with her father, but they are deaf to her requests. Famusov appears in response to the noise in the room. He flirts with the maid, trying to figure out where the noise came from. Lisa makes even more noise, and the owner leaves. The lovers leave the room. This is Sophia, Famusov’s daughter, and Molchalin, a secretary who lives in his house. They didn't hear what was happening in the living room. Lisa tries to send Molchalin out, but runs into Famusov at the door. The lovers are trying to get out. One says that he ended up here by accident, returning from a walk, and the daughter blames everything on her father, who woke up her tender sleep with a loud voice. The girl tells her father about a dream that alarmed her. She dreamed of the poor lover, screams and arguments with her father. In the dream there were monsters, laughter and roars. Famusov proceeds to question Molchalin. He, it turns out, was also in a hurry to hear the owner’s voice in order to present him with the papers early. The men leave, and the girls remain in the room. They continue talking about men. The maid is trying to convey to the young lady that meetings with Molchalin will be of no use. My father will not allow me to tie my fate with a poor man. The blinded girl hopes for a different outcome. Lisa invites her rich daughter to take a closer look at Colonel Skalozub.

Lisa explains to Sofia that her father wants a son-in-law in rank and with the stars. But the flighty girl doesn’t want to hear about military movements: the front and the ranks. With admiration, Lisa talks about Alexander Andreevich Chatsky. He is cheerful, sensitive, sharp-tongued, and reminds of the young man’s love for Sofia. Famusov's daughter laughs at Chatsky, she loves Mochalin, who sits nearby all night, sighing without saying a word. The maid becomes even more cheerful when she imagines this ridiculous picture.

The girls' conversation is interrupted with the arrival of Chatsky. He is in a hurry to see his beloved, to find out how she lives. In his speech, the young man tries to remind her of childhood pranks and fun, carefree days of games and hide-and-seek. In the conversation, the young man begins to make fun of everyone he knew, asking if they have changed:

Father;
Uncle;
Auntie;
Three young people with a huge number of relatives;
Theatergoer;
A man hidden behind a screen, whistling like a nightingale.

Gradually Chatsky reached Molchalin. He wonders if the silent fool has changed. Sofia is angry, she is ready to send her former friend to the fire, just not to hear him mocking her beloved.

The owner of the house, Famusov, appears. Sofia, taking advantage of this, hides in her room. Famusov begins a conversation with the guest. He wonders where Chatsky was for 3 years, what he learned new, but the young man is busy with his own thoughts. The lover is amazed at how prettier Sofia has become, his feelings inflamed even more. He apologizes to Famusov and explains: he wanted to see Sofia so much that he didn’t stop by home. Alexander Andreevich says goodbye, promising to return in the evening.

Famusov is left alone in his doubts. He does not understand what his daughter is hinting at when she says that “sleep is in your hand.” He is not satisfied with either the morning guest, the beggar Molchalin, or Chatsky, whom he considers a fashionista and sharp-tongued.

Act 2

Famusov and his servant fill out a calendar of events for the week. The life of a nobleman is so busy that every day is scheduled:

trout dinner party;
burial;
baptism

You can’t listen to plans without a sarcastic grin: “she hasn’t given birth, but according to (my) calculations she should give birth.”

Chatsky enters Famusov’s office. An interesting dialogue begins between representatives of two generations of nobility. The young man is interested in everything connected with Sofia. In response, the father tries to find out his plans: have he decided to get married? Chatsky finds out what Famusov would answer to his matchmaking. He says that he would like to see him as a skilled manager of the estate. The main thing is that Famusov wants to send the young man to serve. Alexander Andreevich counters him with a phrase that has become popular: “I would be glad to serve, but it’s sickening to be served.”

Famusov gives the example of Maxim Petrovich, his late uncle. He achieved respect and respect through an absurd situation. Having stumbled once and amused the noble people, he repeated the fall several times. He attracted attention and became a person who himself gives ranks and distributes pensions. Chatsky, after listening to the example, was simply amazed at how one could get a position through one’s own humiliation (“they knocked on the floor without sparing”), flattery (flattery was woven like lace). The ancestors hid all the meanness under the guise of admiration for the king, but in fact they only dreamed of their career growth and money. The young man’s speeches frighten Famusov. He sees in him a “carbonari” (a secret political society of a revolutionary hue), a dangerous person. And the more Chatsky speaks, the more scared Famusov becomes. The owner of the house no longer hears the end of the speech, he simply asks to let him go, not to argue and not to continue criticizing the events and people of his century.

The servant announces that Colonel Skalozub has arrived. Frightened Famusov shouts that Chatsky needs to be brought to justice. Only the third time was the servant able to shout to the owner. He asks Chatsky to behave carefully and respectfully in front of Skalozub, not to engage in arguments or false ideas. He talks about the colonel's possible desire to marry Sofia. Famusov does not see an urgent need for this wedding, but does not exclude such a possibility.

Chatsky is left alone for a few minutes. He reflects that an unknown number of suitors have appeared around his beloved. Love, in his opinion, comes to an end, unable to withstand 3 years of separation.

Sergei Sergeevich Skalozub, Famusov and Alexander Andreevich Chatsky are located in the same room and begin a conversation.

The colonel's speech is constructed one-sidedly. He thinks only in clear military terms. Therefore, it’s funny to hear his answer to the question about his relationship with a woman: “We didn’t serve together with her.” All he knows about his relatives is who served where and when, and how he distinguished himself. Among Skalozub’s relatives there is a brother who, instead of receiving a rank, went to the village to read books. Skalozub is friends with those who open job vacancies for him. He envies those who are more successful and feels sorry for himself. He had to travel with the regiment for 2 years to receive the next rank. Skalozub's dream is to become a general. Famusov asks about his plans for marriage. The Colonel is not averse to getting married.

The description of Moscow sounds interesting: the distances are huge, the fire contributed a lot to its decoration. Famusov’s words describe the feeling of patriotism even more original. Girls flock to the military because they are patriots.

Chatsky joins the conversation when it comes to Moscow. His very first judgment frightens Famusov. The young man says that there are new houses in the capital, but old prejudices. The owner asks you to remember what you asked for at the beginning of the meeting. He has to introduce the young man to the colonel. There is a lot of negativity and criticism in his words:

does not want to serve;
did not become a businessman;
spends his mind in the wrong place.

The words turn on Chatsky. He answers all the arguments of the older generation. Another phrase that sounded in the mouth of the young man: “Who are the judges?” began to circulate as an independent phrase immediately after the book was published. The owner no longer listened to the long speech of the representative of the new generation; he went into the office, calling the colonel with him. Out of the entire tirade, Skalozub heard only thoughts about the military.

Sofia runs into Chatsky and Skalozub’s room along with the maid. She rushes to the window and screams that someone has fallen and broken. Alexander Andreevich notices the girl’s genuine fear. Skalozub imagines that the old owner “gave a blunder.” Lisa explains to everyone in the room that the misfortune happened to Molchalin, who was unable to climb onto the horse. The Colonel is interested in how the pathetic rider fell: on his chest or on his side.

Chatsky does not know how to help his beloved. Lisa asks for water to bring Sofia back to consciousness. Having woken up, the girl scolds Alexander Andreevich for not helping Molchalin, but Lisa takes her to the window to see: everything worked out, and there is no reason to panic.

Act 3

Chatsky is waiting to meet Sofia, hoping to find out who the girl loves. He doubts among two admirers: Molchalin and Skalozub. But the young lady avoids talking and calls her lover strange. Chatsky admits that he is crazy about the girl. Sofia confesses her love for Molchalin. Her words sound so ridiculous that Alexander Andreevich doubts. He cannot imagine how one can love such a nonentity: “he is silent when he is scolded,” he has no opinion of his own. Sofia’s answer about Skalozub is very short: “The hero is not my novel.”

Sofia, under the pretext of the hairdresser coming, goes to meet her beloved. Chatsky remains even more confused, the riddle remains completely confused. Molchalin approaches him. Their conversation just makes me laugh. Chatsky is trying to understand how such a person can be liked. Molchalin's talent is moderation and accuracy. Molchalin talks with envy about the gossip that was spread about Chatsky. He talks enthusiastically about some Tatyana Yuryevna, whom you definitely need to go to. There are balls every day and an ongoing celebration. But Chatsky does not see any attractiveness in balls. The longer the young man talks with Molchalin, the more convinced he becomes of the impossibility of a relationship between him and Sofia.

Guests begin arriving at Famusov’s house: a dinner party is planned. Many of them are old acquaintances of Chatsky, there are descriptions of their meetings and conversations. Some of the guests are funny and absurd:

deaf princes and princesses;
girls busy with their skirts.

They all evaluate Chatsky.

Sofia is dating Mr. N. She shares her opinion that Chatsky is out of his mind. The young lady, having uttered these words, understands that she said the wrong thing, but she begins to like the idea of \u200b\u200bspreading such thoughts among the guests. She makes her lover look like a buffoon and waits for events to develop.

Gossip is quickly gaining momentum. Everyone shares the news, adding their own. Zagoretsky accelerates the gossip: “they grabbed him, took him to the yellow house, and put him on a chain.” No one doubts madness; everyone, on the contrary, finds signs of it in Alexander Andreevich’s behavior. When the young man appears in the hall, everyone dances diligently, the old people play cards. Nobody listens to his speeches, everyone tries to stay away.

Act 4

The guests are leaving the ball.

Countess Khryumina and her granddaughter are unhappy with those who were invited: “freaks from the other world.”

Gorina Natalya Dmitrievna was having fun, her husband was dozing or dancing at his wife’s direction.

Chatsky asks the footman to give him a carriage. The coachman is not there, the footman leaves to look for him, Chatsky remains. Repetilov runs up to him. He begins to chaotically declare his love for Alexander Andreevich. He doesn’t believe it and says it’s a lie and nonsense. He warns that Repetilov is late and the ball is already over. Repetilov is all about boasting; he considers himself one of the smart people who understand politics and books. He is a member of a secret club, invites a young man to join them, promises to introduce him to interesting people. But all the names listed do not arouse interest among the interlocutor. The speech stops when Skalozub's carriage is announced. Repetilov is heading there. And he begins to declare his love to the colonel. But apparently this is not the first time he listens to such speeches. He is frightening in that he will end all noisy meetings with formations in ranks. Unnoticed, Zagoretsky appears in Skalozub’s place. He begins to ask Repetilov about Chatsky. He wonders if his head is normal. Repetilov does not believe that Chatsky is mad.

The following guests appear: the princess with 6 daughters, Princess Khlestova. She is led by Molchalin. Zagoretsky asks everyone for confirmation of his words. It turns out that the news about madness is already outdated.

Molchalin accompanies Khlestova, who lets him into the room. Sarcasm can be heard in the name of the secretary's place of residence - closet. Repetilov does not know where to go next, he asks the lackey to take him somewhere.

Chatsky, who was in the Swiss station all this time, heard what was said about him. He is amazed. The absurdity of madness is amazing; he wants to know who spread such terrible rumors. His thoughts are interrupted by Sofia, who, with a candle in her hand, makes her way to Molchalin’s room. He hides behind a column, hoping to wait and find out the secrets hidden in the house.

Lisa with a candle moves along another dark corridor. She needs to call Molchalin to Sofia.

Chatsky and Sofia are hiding in different places. Lisa knocks on Molchalin’s room. She calls him to the young lady, scolds him for sleeping and not preparing for the wedding. Molchalin’s response speeches are frightening with blasphemy. He explains to Lisa that he is simply “dragging” time, afraid of offending the owner’s daughter, and does not want him, having learned about his connection with Sophia, to kick him out of the house. He begins to confess his love to the maid. Sofia perceives his words as baseness, and Chatsky as meanness. Lisa calls the deceiver to his conscience. Molchalin tells the girl what the meaning of his life is - to please. He is ready to please everyone:

to the owner;
servant;
to the boss;
to the doorman;
dog.

Molchalin asks Lisa to allow herself to be hugged so that he can go and share love with the deplorable young lady, but Sofia does not let him in. She says she is ashamed of herself and her feelings. Molchalin crawls on his knees, but the girl remains adamant. She understands that his speeches are lies and deception. The girl thanks Molchalin for his shyness on dates. She is glad that she found out everything at night, and there are no witnesses to her shame. At this moment Chatsky appears.

Molchalin runs to his closet, Liza drops the candle out of fear. The young man turns to Sofia, he is surprised who she exchanged his real feelings for. Sofia is crying.

A crowd of servants runs into the corridor along with Famusov. He is outraged that Sofia, who declared Chatsky insane, meets him in the dark. Chatsky, having learned to whom he owes his madness, is even more surprised. Famusov scolds the young man and asks him not to appear in his house until he improves. Alexander Andreevich laughs at himself and quickly leaves to look for a corner where he can retire and forget about the insults he has received.

Organization: MBOU Secondary School No. 11

Locality: Republic of Tatarstan, Nizhnekamsk

Subject: "Woe from Wit." Reading and analysis I action comedy.

Target: analyze I comedy action; develop expressive reading skills; instill a student's interest in comedy.

Epigraph: “When I listened to comedy, I didn’t criticize, I enjoyed.”

(A.S. Pushkin.)

Equipment:board, player, presentation I action comedy, text "Woe from Wit".

During the classes:

1. Survey. 1. The history of the creation of “Woe from Wit”.

2. The era depicted in the comedy.

II. Analysis I action comedy.

(As the analysis progresses, individual expressions characterizing the characters in the comedy are written down by students in their notebooks).

- What characterization does Lisa give to Skalozub?

So, from the five phenomena we read, we learned a lot about the heroes of the comedy.

What did you learn about Famusov?

We learned how he feels about books (“And reading is of little use: French books keep her from sleeping. But Russian books make me sleepy.”) We learned about Famusov’s dishonesty, about his unbecoming behavior (his attitude towards the maid); about how Famusov relates to official duties - like a typical bureaucrat, he signs papers without being interested in their content (“My custom is: Signed, off your shoulders”).

2) What did we learn about Sophia?

From the first five apparitions we learned that Sophia was raised by a foreigner, and this left its mark on her character. They also found out that Sophia loves Molchalin.

3) Who does Famusov envision as his daughter’s groom?

Famusov envisions a rich, noble man (for example, Skalozub) as his daughter’s groom. “Whoever is poor is not a match for you.”

He would like a son-in-law with stars and ranks,

And under the stars, not everyone is rich, between us;

Well, of course, then

And money to live on, so he could give balls;

Here, for example, is Colonel Skalozub:

And a golden bag, and aims to become a general.

With the stars- that is, with orders. Stars were signs only of the highest degrees of orders, for example, Stanislav I degree, Anna I degree, etc.

Now we will begin to analyze the 7th phenomenon, get the first idea about Chatsky, and see the beginning of Chatsky’s conflict with the Moscow nobility.

Chatsky bursts onto the stage quickly, and this sets the pace for the entire phenomenon, which is represented by the hero’s hasty monologue.

- But how did Sophia meet Chatsky?

She gives a cold reception (greets coldly). Chatsky is a little embarrassed by this reception, but is happy, animated, he asks about old acquaintances, laughs at them. This, apparently, used to please Sophia, but now it does not resonate with her.

Chatsky fondly recalls his childhood spent with Sophia. These memories are warmed with a warm feeling precisely because he spent his childhood with Sophia, and not because he gratefully remembers the upbringing he received in Famusov’s house.

But Sophia has a different attitude to all this: she saw in Chatsky a person dangerous to her.

So Chatsky, among other acquaintances, mentioned Molchalin with caustic mockery and, without suspecting it, caused a storm of indignation in Sophia’s soul, once and for all turning her against himself. “Not a man, a snake!” - she says aside. (Find and read this scene.)

Here, in this phenomenon, we learn more about Moscow life, about the nobility. We learn that Famusov is a member of the English Club; this club was famous for its dinners and card games. In a certain sense, he shaped public opinion in Moscow, since all current events were condemned here.

- What character traits of Chatsky were revealed to us after reading this action?

We saw that Chatsky was sharp, ardent and, despite his youth, had experienced a lot in life. He doesn't like the order in Russia. He is critical of the education adopted in the country.

"Oh! Let's move on to education.

That today is the same as in ancient times,

The shelves are busy recruiting teachers

Transcript

1 Summary of a lesson on literature in the 9th grade on the topic Topic: COMEDY “WOE FROM MIND” IN EVALUATING CRITICISM Objectives: 1) compare the attitude of critics to comedy in general and to the image of the main character; - determine on which issues critics and writers agree in their assessments, and on which their views diverge 2) develop the skill of research as a universal way of mastering reality, develop the ability for a research type of thinking, and activate a personal position; developing the ability to independently acquire new knowledge; 3) to cultivate a feeling of love and interest in native literature, pride in it; 4) develop aesthetic perception of a work of art. Equipment: portrait of Griboedov, illustrations, computer presentation Lesson epigraph: His handwritten comedy “Woe from Wit” produced an indescribable effect and suddenly placed him alongside our first poets. (A.S. Pushkin) 1.Organizational moment. 1. Greeting. Organizing time. During the classes. - Was it difficult to work in lessons on Griboyedov’s works? -What new things have you learned about your abilities (speaking in front of the class, reading monologues, working with additional literature)? -What conclusions did you come to after reading the comedy and working on it? What value did you find in them? - Let's give our assessment of what we read? What did you like especially? Do you recognize our contemporaries in the heroes of the comedy? What? 1

2 The Teacher’s Word “Woe from Wit” was the first work with such an accurate and quick response to current events. We now need to decipher this, contemporaries read between the lines to comment on Griboyedov’s words. Chatsky’s character was close to them, his indignation is understandable. Like Chatsky, they “expected” changes, dreamed about them, were ready to fight, and then the word, the sermon became their weapon.. It was important to break the silence, to awaken public opinion, and they did not miss the opportunity to speak out. A lot of controversy and mixed opinions have accumulated about this comedy, and even more about its main character. The comedy was admired, admired, praised, copied by hand, and scolded and scolded with no less energy. And most of all they argued about Chatsky, which is quite understandable: he is the main character. Another thing was unclear: was he smart? Or, to put it another way, is grief from the mind? Griboyedov’s comedy aroused the most controversial opinions among his contemporaries and gave rise to polemics in literary circles. A.S. Griboyedov himself said this about his comedy “Woe from Wit” in a letter to S.N. Begichev: “Imagine that I have more than eighty poems, or, better to say, he changed the rhyme, now it’s smooth as glass. In addition, on the road it occurred to me to attach a new interchange; I inserted it between the scene of Chatsky, when he saw his scoundrel with a candle under the stairs and before he denounced her; a living, fast thing, the poems showered with sparks" (slide) Mini-research conducted by students (individual work) 1) "Pushkin on Griboyedov's comedy "Woe from Wit" (Dina Medvedeva) 2) V. K. Kuchelbecker From the "Diary" ( Shekhovtsova Olga) 3) Vyazemsky about “Woe from Wit” (Andrey Shekhovtsov) 4) N.V. Gogol about “Woe from Wit” (Rud Ilya) 5) A.I. Herzen about comedy (Grigoryan Evelina) 6) A. Grigoriev about “Woe from Wit (Medvedeva Yulia) Teacher: Opinions and reviews about Griboedov’s comedy “Woe from Wit” are numerous and often contradictory, even if they are expressed by one person. Why do you think it is important for us to know this? (This helps to formulate your point of view and look at it critically) 2

3 Teacher: The most objective, complete, comprehensive critical article on comedy is considered to be I. A. Goncharov’s article “A Million Torments.” What main issues did he raise? (we hang signs on the board, we get a plan) 1. The fate of comedy. 2. Her stage fate. 3. Comedy of manners. 4. The image of Chatsky. 5. Relationship between Chatsky and Sophia. 6. Comedy of Moscow light. 7. “A million torments.” 8. Sofia Molchalin. 9. Sophia's drama. 10. The collapse of Famusov’s hopes. 11. Onegin Pechorin Chatsky. 12. Who is Chatsky the winner, the victim? Work in groups. The image of Chatsky. Students support their answers with quotes from the text of the comedy and the article. 1. “The main role, of course, is the role of Chatsky, without which there would be no comedy, but there would, perhaps, be a picture of morals. Chatsky is not only smarter than everyone else, but also positively smart. His speech is full of intelligence and wit.” His monologues prove this. 3. “He has a heart, and at the same time he is impeccably honest. In a word, this is a person who is not only smart, but also developed, with feeling, or, as his maid Lisa recommends, he is “sensitive, and cheerful, and sharp.” Only his personal grief came not from his mind alone, but more from other reasons, where his mind played a passive role, and this gave Pushkin a reason to deny him his mind.” Chatsky was preparing seriously for his activities. He “writes and translates beautifully,” Famusov says about him, and everyone talks about his high intelligence. He, of course, traveled for good reason, studied, read, apparently got down to work, was in relations with the minister and broke up, it’s not hard to guess why. “I would be glad to serve, but being served is sickening!...” There is no mention of “yearning laziness, idle boredom,” and even less of “tender passion” as a science and occupation. He loves seriously, seeing Sophia as his future wife.” 3

4 - Sophia was especially attacked by critics. What about Goncharov? Sophia's image. Us. It seems that Goncharov largely justifies her. We will try to prove it. “In her (Sophia’s) feelings for Molchalin there is a lot of sincerity, strongly reminiscent of Pushkin’s Tatyana. But Tatyana is a country girl, and Sofya Pavlovna is from Moscow, developed in that time. Meanwhile, in her love, she is just as ready to give herself away as Tatyana: both, as if sleepwalking, wander in fascination with childish simplicity. Sophia is surprised at the maid’s laughter when she tells how she and Molchalin spend the whole night: “Not a free word!” “So the whole night goes by!” Looking deeper into Sophia’s character and surroundings, you see that it was not immorality (but not “God” either, of course) that “brought her together” with Molchalin. First of all, the desire to patronize a loved one, poor, modest, who does not dare raise his eyes to her, - to elevate him to herself, to her circle, to give him family rights. In this she smiled at the role of ruling over a submissive creature, making him happy and having in him eternal slave. It’s not her fault that this turned out to be the future “husband, boy, husband, servant, the ideal of Moscow husbands!” In general, it is difficult to be unsympathetic to Sofya Pavlovna: she has strong inclinations of a remarkable nature, a lively mind, passion and feminine softness. She was ruined in the stuffiness, it was not for nothing that Chatsky loved her and she, of course, has the hardest time of all, harder even than Chatsky, and she gets her “millions of torments.” “This is a mixture of good instincts with lies, a lively mind with the absence of any hint of ideas and beliefs, confusion of concepts, mental and moral blindness - all this does not have the character of personal vices in her, but appears as general features of her circle. In her own, personal face, something of her own is hidden in the shadows, hot, tender, even dreamy. The rest belongs to education.” It’s clear that Chatsky is a victim, but why is he a winner? Students try to answer this most difficult question. A quote from I.A. Goncharov’s article “A Million Torments” can help them. “Chatsky is broken by the amount of old power, having dealt it, in turn, a fatal blow with the quality of fresh power. 4

5 He is the eternal denouncer 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. Of course, he did not bring Pavel Afanasyevich Famusov to his senses, did not sober him up and did not correct him. All Chatsky’s words will spread, be repeated everywhere and create their own storm. Molchalin cannot remain the same. Molchalin, Gorichev, Zagoretsky, and the princesses all fell under a hail of his shots, and these shots will not remain without a trace. In this still consonant chorus, other voices, still bold yesterday, will fall silent or others will be heard, both for and against.” Quotes from I. A. Goncharov’s article on the meaning of comedy. 1. “Woe from Wit” appeared before Onegin, Pechorin, outlived them, passed unscathed through the Gogol period, lived these half a century from the time of its appearance and everything lives its imperishable life, will survive many more eras and everything will not lose its vitality” 2. “The comedy “Woe from Wit” is both a picture of morals, and a gallery of living types, and an ever-sharp, burning satire, and at the same time, most of all, a comedy that can hardly be found in other literatures. Like a painting, it is, without a doubt, enormous.” Teacher: The controversy surrounding “Woe from Wit” showed the importance of comedy in modern social struggle and outlined the further development of literature along the path of realism. Teacher: The topical meaning of Griboyedov’s criticism is now, of course, not felt with such acuteness as it was felt by his contemporaries. But at one time the comedy sounded, among other things, topical. - Is it topical today? What? Teacher: More than two hundred years have passed since Griboyedov wrote his brilliant work. And the Famusovs are in the boxes, the Skalozubs have become generals, Sophia and Liza are pleasing to the eye in the ranks of the social movement, the Molchalins are blissful in ministries and committees. Who are the judges? There is no play more lively and modern than "Woe from Wit." So it was, so it is, so it will be. A truly great work, such as “Woe from Wit,” resists overestimation. It is important for us that "Woe from Wit" is 5

6 is not a “black and white” satire on the social system. The writer was interested not in the “system”, not in the “system”, but in social psychology. And she is not “black and white” at all. Listen: Famusov and Chatsky often talk about the same thing. “And all the Kuznetsky Bridge, and the eternal French!” - Famusov grumbles. And Chatsky is concerned “so that our smart, cheerful people, even in language, do not consider us to be Germans.” Both of them are unconditional patriots, both are Russian people to the depths of their souls, there is much that separates them, but much that makes them similar, and that is the tragedy of this comedy, that is why there are “a million torments.” And “system”, “system” - well, they can change, but Famusov, Repetilov, Molchalin, Skalozub are eternal. And Chatsky is eternal. Millions of people laugh and are indignant along with Griboedov. The anger of the satirist-accuser is close and understandable to the Russian people, because even now it inspires them to fight against everything inert, insignificant and vile, for everything advanced, great and noble. The struggle between the new and the old is the law of our Russian life. Homework: Essay “Reading “Woe from Wit,” 6

7 I enter the world of the past as an invited guest. And your image immediately comes to life, It is always difficult for everyone to understand your spirit, Open up to me today. You were an ambassador, a poet, a musician and a citizen of your homeland. You were gifted with a great talent: To understand and reconcile people. You should live now and revive Russia, raise it from the ashes, darkness and crush. After all, no matter how many centuries fly by, people always have the same problems. And yet a bunch of savages managed to barbarically interrupt your path. By deception and lies they tried to encroach on your life so vilely. Probably, the blood that the Caucasus shed in those days was not enough for them. Alas, we have not grown a penny wiser And we continue to commit atrocities now. N. Suslova 7

An essay on the topic of woe from wit, the life ideals of the Famusov society, Chatsky and the Famusov society (based on the comedy Woe from Wit by Griboyedov). Denis Povarov added an essay, April 29, 2014, 18:22, 158 views.

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Woe from Wit was written by Griboyedov in 1825. The main character of Griboyedov's comedy "Woe from Wit" Chatsky, with his perception of the aristocratic society of St. Petersburg, is a reflection of the creator of the work himself.

A nobleman, a representative of educated young people, possessing brilliant literary and musical talent, speaking several European and Oriental languages.

Griboyedov, leading a secular lifestyle, was outraged at one of the aristocratic receptions by the admiration of those present for everything that was foreign, a merciless assumption was made about his madness. It was during this period that a satirical comedy in verse appeared, in which a harmonious picture of Russian society was presented.

Griboyedov begins his acquaintance with representatives of his generation, members of aristocratic society, by meeting Famusov’s family and his entourage.

Action 1

The play begins with a scene where the maid Lizonka has woken up and complains about a sleepless night. The reason for this was the secret meeting of Sophia, the daughter of Famusov, the owner of the house, with her friend Molchalin. She knocks on the owner's room, from which the sounds of music are heard, to warn her of a new day.

Lizonka tries to speed up Sophia’s separation from Molchalin by moving the clock hands forward. Famusov, who appears in the chambers, finds the maid behind this scene and tries to flirt with her, but upon hearing the voice of his daughter calling Lizonka, he hastily leaves. Under the reproaches of the maid for the carelessly prolonged meeting, Sophia says goodbye to Molchalin.

The maid’s opinion that a worthy match for Sophia is Colonel Skalozub, who has both money and ranks, in contrast to Molchalin, a poor man from the periphery. The appearance of Famusov and his interest in the presence of his secretary in his daughter’s chambers is interrupted by the arrival of Chatsky, with whom Sophia has a childhood friendship. Chatsky’s departure makes Famusov wonder which of the young people belongs to his daughter’s heart.

Act 2

Chatsky’s next appearance begins with a question to Famusov about his matchmaking with Sophia. The answer from the beloved’s father is that, first of all, it would be nice to do government service and earn ranks. The young man’s reaction to Famusov’s statement is formulated by Griboyedov with a phrase that has become famous: “I would be glad to serve, but it’s sickening to be served.”

To this view of Chatsky, Famusov cites the example of his uncle Maxim Petrovich, who became rich while “serving” at court. For Famusov, this skill plays a major role in achieving wealth and a high position in society at court. Skalozub's arrival continues Famusov's judgment about Chatsky's freethinking and his reluctance to serve.

Chatsky’s statement that he will not bow to a society with outdated judgments and contempt for freedom. The appearance of Sophia, frightened by Molchalin’s fall from his horse, and her reproaches to Chatsky for his indifference to the victim, lead Chatsky to understand who the girl’s heart is.

Act 3

The action begins with Chatsky declaring his love for Sophia and trying to find out who is dearer to her heart: Skalozub or Molchalin. Sophia avoids a direct answer, mentioning in the conversation that she appreciates Molchalin’s gentleness and modesty. There will be a ball in Famusov's house in the evening, the servants are busy meeting high-ranking and influential people in Moscow. With one of them, Sophia shares her thoughts about Chatsky’s proud character, accidentally expressing the opinion that he is “out of his mind.”

The news instantly becomes the property of everyone gathered in Famusov’s house. The appearance of Chatsky turns the attention of the guests to his person, and new details about his insanity are born. Chatsky, wandering restlessly among the guests, tries to talk to Sophia about the Moscow nobility, which is ready to bow to nonentity only because it had the honor of being born in France. Chatsky heard Repetilov's appearance and conversation with Zagoretsky about his madness in the next room, not having had time to leave Famusov's house.

Act 4

Leaving Famusov's apartment, Chatsky reflects on what was the reason to accuse him of madness, who is the source of this evil gossip, whether they reached Sophia or not. Taking refuge in the doorman's room, Chatsky witnesses a showdown between Sophia, Molchalin and the maid Lisa.

Famusov and his daughter determine the fates of their maid Liza and secretary Molchalin who betrayed them. In this scene, Sophia's role in the emergence of rumors about Chatsky's madness is revealed. Chatsky’s last monologue in this action conveys the collapse of his hopes and feelings with which he lived all these years. Having experienced betrayal, he no longer regrets the breakup and decides to leave Moscow forever, because he does not see himself in Famus society.

Idea of the work

Every time has its own heroes. Their destinies pass before a society that exalts them or does not understand them. The creator of the comedy "Woe from Wit" left an indelible mark on his time. The conflict between representatives of developing and losing their positions of social structures, the misunderstanding of the old century of new driving forces, are reflected in the work “Woe from Wit”. Griboyedov in his creation denounces the foundations of the existing secular society, which means it attracts too much attention from censorship.

Comedy written by Alexander Sergeevich Griboyedov. Unfortunately, there is no exact information about the time when the idea for the comedy originated. According to some sources, it was conceived in 1816, but there are suggestions that Griboyedov’s first thoughts about comedy appeared even earlier. Having finished the work in 1824, the author made a lot of efforts to publish it, but he failed. It was also not possible to obtain permission to stage “Woe from Wit,” but this did not prevent the comedy from becoming widely known.

It was widely circulated in lists, it was read, discussed, and admired. “Woe from Wit” stands at the origins of national Russian literature, opening a new era in its history - the era of realism. The author pays tribute to the traditions of classicism (unity of action, place and time, “meaningful” names, love intrigue), but the play fully reflects the reality of that time, the characters of its characters are multifaceted (just remember Famusov, flirting with Lisa, fawning over Skalozub, reading instructions to Sophia) . The comedy is written in lively Russian language, the sharp, polemical dialogue captivates it and makes you feel the tension of the action.

I.A. Goncharov wrote in the critical article “A Million Torments” that the play depicts a long period of Russian life, that “in a group of twenty faces, like a ray of light in a drop of water, all the former, its design, its then spirit, historical moment and morals were reflected.” Griboyedov's comedy is based on conflicts: love and social. One thing turns out to be closely connected with the other, personal problems follow from public ones. Griboyedov wrote in a letter to one of his friends: “... A girl, who is not stupid herself, prefers a fool to an intelligent person (not because our sinners had an ordinary mind, no! and in my comedy there are 25 fools for one sane person ); and this man, of course, is in conflict with the society around him, no one understands him, no one wants to forgive him, why is he a little taller than others...” The main character of the play, Alexander Andreevich Chatsky, after a three-year absence returned to Moscow and immediately , without stopping home, he showed up at Famusov’s house.

One of the many reasons that prompted Chatsky to leave the capital was the one that most worried and tormented his heart - love for Sophia. Sophia is smart, Chatsky was sure of this. Even as a fourteen-year-old girl, she laughed with him at both her aunt’s youthful appearance and her father’s devotion to the English Club. If there had not been this sympathy in the past, if she then - three 115 years ago - had not shared, albeit half-childishly, without a sufficiently deep understanding, his opinions and thoughts, he probably would not have embarked on questions and memories. Trying to resume conversations interrupted three years ago, Chatsky wanted to find out if she still laughs at what is funny to him, that is, he wanted to understand her current way of thinking. If she is now his like-minded person, then his hopes were not in vain. But Sophia unequivocally condemned even his slightest ridicule of Moscow.

Naturally, a suspicion arose: “Is there really some kind of groom here?” And the most important thing in Chatsky’s painful search was that the criterion of intelligence was the only one for him. Skalozub did not arouse much suspicion in him because smart Sophia could not love such a fool. For the same reasons, he did not believe in her love for Molchalin for a long time. Even for a minute he did not want to admit that smart Sophia could sincerely praise her lover for his lackey obedience and obsequiousness. Griboyedov the realist perfectly understood that a person is formed under the influence of living conditions - in the broad sense of the word - and, above all, under the influence of the immediate environment: family ties, upbringing, everyday customs, traditional views, opinions, prejudices, etc. You can understand a person only when you know his environment.

Therefore, the author introduces us in sufficient detail to the environment in which Sophia was formed as a person in the absence of Chatsky. Most of all, Famusov, Sophia's father, characterizes this society. Pavel Afanasyevich Famusov is a typical Moscow gentleman of the beginning of the last century with a characteristic mixture of tyranny and patriarchy. He is used to being a master, he is very confident and loves himself. He occupies a large official position, but he also treats his service like a lord and does not burden himself with it. His political ideals boil down to the glorification of everything old and established: he lives well, and he does not want any changes.

The ideal person for Famusov is one who has made a profitable career, no matter by what means. Slavery and meanness are also a good path for him if it leads to the desired result. Famusov is not an abstract evil, but a concrete, living one. You believe in its reality - and that is why it is especially frightening. Famusov likes Colonel Sergei Sergeevich Skalozub. He is relatively young, but tomorrow he will certainly become a general; he is a reliable defender of antiquity. Skalozub is a noisy, dressed in uniform, preoccupied with military exercises and dancing, a typical Arakcheev officer, stupid and thoughtless, an opponent of all free thought and enlightenment. Alexey Stepanovich Molchalin also belongs to the Famusov society; moreover, he is its direct product.

From the very first appearance, he seems like a complete nonentity: he is afraid to utter an extra word, willingly panders to everyone, does not dare to have his own opinion, and considers “moderation and accuracy” to be his main talent. These properties ensure his present and future successes in Famus’s world. Famus society is represented not only by the main characters of the play, but also by episodic characters. Old woman Khlestova is an important Moscow lady, rude, domineering, accustomed to not holding back her words. Even in relation to Famusov, she cannot help but show her authority. And at the same time, she is very similar to Famusov: both with a constant desire to command people, and with devotion to old, outdated foundations and orders. Anton Antonovich Zagoretsky is a necessary companion of the Famusovs and the Khlestovs. He is always ready to offer his services, while his dubious moral qualities do not confuse the owners of society.

Khlestova says about him: He’s a liar, a gambler, a thief... I even locked the doors from him; Yes, a master of service... Speaking about Zagoretsky, Khlestova characterizes herself, shows the moral level of both herself and her circle. The circle that Chatsky opposes. Chatsky is a freedom-loving man, his ideals are those of the Enlightenment, he sees his duty and life’s calling in serving the Motherland. The order existing in Russia outrages him, he angrily denounces the “noble scoundrels” - 117 serf owners, strangling everything new, oppressing their own people. He is a true patriot; he does not understand the admiration for everything foreign that exists in high society. Chatsky embodied the best features of progressive youth of the early 19th century; he is distinguished by a sharp, lively mind. Showing the conflicts between the hero and the society around him, the author reveals the content of the main conflict of the era: the collision of “the present century and the past century,” which does not want to give up its positions.

The position of the “past century” is still strong: its representatives form public opinion, the opinion of the world, which is of great importance in the life of everyone. It costs them nothing to declare a person crazy, thereby making him safe for themselves: madness explains Chatsky’s daring speeches and his “strange” behavior. But Chatsky is kept in Famusov’s house by Sophia, her fate, her attitude towards him. You had to see the night date, hear with your own ears that it was Sophia who invented the gossip about madness and put it into circulation, in order to finally understand that she had long ago made her choice - the choice between him and Molchalin, between the high ideals of humanity and the morality of Famus's Moscow. She may not want to make peace with Molchalin, but Chatsky is lost to her forever.

Now all she had to do together with her father was wait with fear, “what Princess Marya Alekseevna will say.” In the comedy, the “past century” wins, but is Chatsky defeated? “Chatsky is broken by the amount of old power,” writes I. A. Goncharov in the article “A Million Torments.” According to Goncharov, Chatsky is a “harbinger,” “initiator” of the new and therefore “always a victim.” “Chatsky is inevitable when one century changes to another,” he comes to the conclusion. These words contain the eternal, universal meaning of Griboyedov’s play.

The struggle between old and new will always continue. The author, with unsurpassed power of persuasiveness, showed that the power of the old is flawed and blind. A huge number of quotes from “Woe from Wit” have become sayings, catchphrases, firmly taking their place in the Russian language, thereby ensuring the comedy’s immortality, just like its author, Alexander Sergeevich Griboedov. “Woe from Wit” is still unsolved and, perhaps, the greatest creation of all our literature...”