Written at the beginning of the 19th century, namely in 1821, Alexander Sergeevich Griboyedov's comedy "Woe from Wit" absorbed all the features of the literary process of that time. It is interesting to analyze the formal and content features of comedy from the point of view of the artistic method. Literature, like all social phenomena, is subject to concrete historical development, therefore, at the turn of the century, there is a situation of the parallel existence of three methods: classicism, romanticism and critical realism. The comedy of A. S. Griboedov was a kind of experience of combining all these methods, their individual features clearly emerge both at the level of content and at the level of form.
From the theory of literature, it is known that these two concepts are inextricably linked, and one can often find the opinion that the content is always formal, and the form is meaningful. Therefore, when considering the content of A. S. Griboedov's comedy, we will turn to the theme, problem, and ideological and emotional assessment, and in matters of form, we will study subject representation, plot, composition, and artistic speech.
The essence of comedy is the grief of a person, and this grief stems from his mind. It must be said that the very problem of "mind" in Griboedov's time was very topical and "mind" was understood broadly - as in general intelligence, enlightenment, culture. The concepts of “smart”, “smart” then associated the idea of a person not just smart, but “free-thinking”, a bearer of new ideas. The ardor of such "wise men" quite often turned into "madness", "woe from wit" in the eyes of reactionaries and townsfolk.
It is Chatsky's mind in this broad and special sense that places him outside the circle of the Famusovs, the silent ones, the skulozubs and the Zagoretskys, outside the norms and rules of social behavior familiar to them. It is on this that the development of the conflict between the hero and the environment is based in comedy: the best human qualities and inclinations of the hero make him, in the view of those around him, first an “eccentric”, “strange person”, and then simply crazy. "Well? Can't you see that he's gone mad? - already with full confidence says Famusov under the curtain.
Chatsky's personal drama, his unrequited love for Sophia, naturally, is included in the main theme of the comedy. Sophia, with all her spiritual inclinations, still belongs entirely to the Famus world. She cannot love Chatsky, who opposes this world with all the turn of his mind and his soul. She, too, is among the "tormentors" who insulted the fresh mind of Chatsky. That is why the personal and social dramas of the protagonist do not contradict, but mutually complement one another: the hero's conflict with the environment extends to all his everyday relationships, including love ones.
From this we can conclude that the problems of A. S. Griboedov's comedy are not classic, because we do not observe the struggle between duty and feeling; on the contrary, conflicts exist in parallel, one complements the other.
There is one more non-classical feature in this work. If from the law of “three unities” the unity of place and time is observed, then the unity of action is not. Indeed, all four actions take place in Moscow, in Famusov's house. Within one day, Chatsky discovers the deception, and, appearing at dawn, he leaves at dawn. But the plot line is not one-line. There are two plots in the play: one is a cold reception of Chatsky by Sophia, the other is a collision
In AS Griboedov's comedy "Woe from Wit" there is not a single pale, weak image. On the contrary, all the characters are sharply defined, each hero, even the most minor, has his own unforgettable appearance. Famusov and Molchalin, among the characters, occupy one of the central...
"The main role, of course, is the role of Chatsky, without which there would be no comedy, but, perhaps, there would be a picture of morals." (I.A. Goncharov) One cannot but agree with Goncharov. The figure of Chatsky determines the conflict of the comedy, both of its storylines. Griboedov describes...
The comedy "Woe from Wit" was written in 1824. In this work, A. S. Griboedov recreated a true picture of Russian life in the first quarter of the 19th century: he showed the changes that had taken place in Russian society after the Patriotic War of 1812, reflected the anti-serfdom ...
Griboyedov's contemporaries admired the language of the comedy Woe from Wit. Pushkin also wrote that half of the play's verses would become proverbs. Then N.K. Piksanov noted the peculiar speech coloring of Griboyedov's comedy, "the liveliness of the colloquial language", the characteristic ...
Written at the beginning of the 19th century, namely in 1821, Alexander Sergeevich Griboyedov's comedy "Woe from Wit" absorbed all the features of the literary process of that time. It is interesting to analyze the formal and content features of comedy from the point of view of the artistic method. Literature, like all social phenomena, is subject to concrete historical development, therefore, at the turn of the century, there is a situation of the parallel existence of three methods: classicism, romanticism and critical realism. The comedy of A. S. Griboedov was a kind of experience of combining all these methods, their individual features clearly emerge both at the level of content and at the level of form.
From the theory of literature, it is known that these two concepts are inextricably linked, and one can often find the opinion that the content is always formal, and the form is meaningful. Therefore, when considering the content of A. S. Griboedov's comedy, we will turn to the theme, problem, and ideological and emotional assessment, and in matters of form, we will study subject representation, plot, composition, and artistic speech.
The essence of comedy is the grief of a person, and this grief stems from his mind. It must be said that the very problem of "mind" in Griboedov's time was very topical and "mind" was understood broadly - as in general intelligence, enlightenment, culture. The concepts of “smart”, “smart” then associated the idea of a person not just smart, but “free-thinking”, a bearer of new ideas. The ardor of such "wise men" quite often turned into "madness", "woe from wit" in the eyes of reactionaries and townsfolk.
It is Chatsky's mind in this broad and special sense that places him outside the circle of the Famusovs, the silent ones, the skulozubs and the Zagoretskys, outside the norms and rules of social behavior familiar to them. It is on this that the development of the conflict between the hero and the environment is based in comedy: the best human qualities and inclinations of the hero make him, in the view of those around him, first an “eccentric”, “strange person”, and then simply crazy. "Well? Can't you see that he's gone mad? - already with full confidence says Famusov under the curtain.
Chatsky's personal drama, his unrequited love for Sophia, naturally, is included in the main theme of the comedy. Sophia, with all her spiritual inclinations, still belongs entirely to the Famus world. She cannot love Chatsky, who opposes this world with all the turn of his mind and his soul. She, too, is among the "tormentors" who insulted the fresh mind of Chatsky. That is why the personal and social dramas of the protagonist do not contradict, but mutually complement one another: the hero's conflict with the environment extends to all his everyday relationships, including love ones.
From this we can conclude that the problems of A. S. Griboedov's comedy are not classic, because we do not observe the struggle between duty and feeling; on the contrary, conflicts exist in parallel, one complements the other.
There is one more non-classical feature in this work. If from the law of “three unities” the unity of place and time is observed, then the unity of action is not. Indeed, all four actions take place in Moscow, in Famusov's house. Within one day, Chatsky discovers the deception, and, appearing at dawn, he leaves at dawn. But the plot line is not one-line. There are two plots in the play: one is Chatsky's cold reception by Sophia, the other is a clash between Chatsky and Famusov and Famusov's society; two storylines, two climaxes and one overall denouement. This form of the work showed the innovation of A. S. Griboyedov.
But some other features of classicism are preserved in comedy. So, the main character Chatsky is a nobleman, an educated, well-read, witty young man. Here the artist is faithful to the tradition of the French classicists - to put heroes, kings, military leaders or nobles in the center. Interesting image of Lisa. In "Woe from Wit" she is too
loose for a maid and like the heroine of a classic comedy, lively, resourceful, intervening in the love affairs of her masters.
In addition, the comedy is written mainly in a low style, and this is also the innovation of A. S. Griboyedov.
The features of romanticism in the work were very interesting, because the problems of “Woe from Wit” are partly of a romantic nature. In the center is not only a nobleman, but also a man who is disillusioned with the power of reason, looking for himself in the sphere of the irrational, in the sphere of feelings, but Chatsky is unhappy in love, he is fatally lonely. Hence the social conflict with representatives of the Moscow nobility, the tragedy of the mind.
The theme of wandering around the world is also characteristic of romanticism: Chatsky, not having time to arrive in Moscow, leaves it at dawn.
In the comedy of A. S. Griboedov, the beginnings of a new method for that time - critical realism - appear. In particular, two of its three rules are respected. This is sociality and aesthetic materialism.
Griboyedov is true to reality. Knowing how to single out the most essential in it, he depicted his heroes in such a way that we see the social laws behind them that determine their psychology and behavior. Woe from Wit created an extensive gallery of realistic artistic types, that is, typical characters appear in comedy in typical circumstances. The names of the characters of the great comedy have become household names. They still serve as a designation for such phenomena as swagger (famusism), meanness and sycophancy (silence), cheap liberal idle talk (Repetilovism).
But it turns out that Chatsky, who is essentially a romantic hero, has realistic features. He is social. He is not conditioned by the environment, but opposes it. Chatsky is emblematic. There is a contrast between the individual and the environment, a person opposes society. But in any case, it's a tough connection. Man and society in realistic works are always inextricably linked.
The language of A. S. Griboyedov’s comedy is also syncretic. Written in a low style, according to the laws of classicism, it absorbed all the charm of the living great Russian language. Even A. S. Pushkin predicted that a good part of the comedy phrases would become winged.
Thus, the comedy of Alexander Sergeevich Griboyedov is a complex synthesis of three literary methods, a combination, on the one hand, of their individual features, and on the other, an integral panorama of Russian life in the early 19th century.
Features of classicism, realism and romanticism in the comedy by A. S. Griboyedov *Woe from Wit "
Comedy A. S. Griboyedov eWoe from Wit "was written in 1820-1824, at the very time whenwhen classicism dominated the stage, but realism had already appeared in literature and romanticism was actively developing. Therefore, in comedy there arethere are both features of classicism and features ofmanticism, and, in addition, * Woe from Wit "is rightfully considered the first realistic work.
In his comedy, Griboedov is guided byaesthetic principles of classicism, creativechesky changing them. Yes, mostly observedprinciple of three unities. The action is happeningonly in Famusov's house and fits in a day: events begin to unfold early in the morning andrun out late at night when the guests have lefthuddle after the ball. However, unity of actionviolated: in addition to the storyline Sophia - Molchalin - Chatsky, present in the comedy social conflict that does not fitis in the framework of a love story. Number of daysacting persons also does not correspond to the classcystic canon: in "Woe from Wit" there are moretwenty. In addition, off-stage characters are introduced for typing, which is unacceptable in a classic work, since the unity of action is violated.
Griboyedov retains the traditional "role system". The plot is based on the development of "lovingth triangle. Comedy has a heroine, twolover (hero lover and second lover),as well as the maid arranging their dates,and a father who is unaware of his passion for his ownvenerable daughter. However, there are exceptions totraditions. Chatsky is not quite a hero-lover,as it fails in love and also fulfillsresonator function. It should be noted that Mol-chalin does not fit the role of a second loveka, because he is lucky in love, but also the role of the firstit also does not match, because it is notideal hero and depicted with a negative avtorskoy assessment. Go beyond the traditional characters and minor characters inthis love affair. Liza is not only a soubrette,but also a kind of second reasoner. She gives methsome characteristics of the actors: in the exthe position of comedy says about Famusov that,like all Moscow fathers, he would like "a son-in-lawstars and ranks”, and with money, “so thatgive him points*. Lisa also aptly remarks,that Chatsky is "sensitive, and cheerful, and sharp *. Tain which way the characters do not fit into the frameki traditional roles, they are wider.
Woe from Wit also retains the principle"speaking surnames» , among which one canselect several types, the first includesactually speaking surnames, which are decreesvayut on one important feature of the hero. For example, the surname Famusov, perhaps, comes from the Latin word "Gata" - rumor. Therefore, aboutthe owner of this name is a man, I bowin front of public opinion, afraid of gossip. But this is not the only qualitywhich this surname indicates. Y. Tynyanov beforebelieved that "Famusov" is related to engLiysky *^apkshze - famous. And actIndeed, Pavel Afanasyevich is well knownny man in Moscow: everyone vied with each other to call him inguests, at the funeral, at the christening. The surname Tu-goukhovsky indicates a physical defect of the character: the prince, indeed, was hard of hearing,The surname Repetilov comes from the Frenchthe words "here^rega" - to repeat. And in factthis hero has no thoughts of his own, butrepeats what others say, often distortingthe original meaning of what was heard, Silentlylin is not just silent, but as a person dependent on others, does not consider it possiblefreely express your opinion.
The second type - surnames evaluating, To themcan be attributed to the names of Skalozub, Khryumina, Khlestov, in which the negativethe attitude of the author to their carriers.
The name of Chatsky is associated with the name of ChaadaEve, philosopher and public figure. Another the possible meaning of his last name is that he in a daze
However, no surname fully revealscharacter of the hero, since the character is often notunambiguous and not limited to one feature.
The composition of the comedy is basically in line withno classic canons. In a comedy of four re actions: in the first - exposition and plot,in the second - the development of the storyline, in tretem - the culmination, and in the fourth - the denouement. Comedy action start secondary characters: Lisa and Famusov, who bring the viewer up to date.
Also in the comedy there are features of realism. According to Goncharov, Griboyedov skillfullywith the help of a group of twenty persons, he displayed, like a case of light in a drop of water, all the previousMoscow, its spirit, historical moment and customs”, which indicates the typical character and situationthe facts shown in the work. In addition, the writer is accurate in the selection of details.
It can also be noted that the heroes of this worknot only types, but also individuals.Famusov, for example, is not only an employee inzen place, but also a person who has his ownviews and beliefs, and besides - lovingfather and frivolous gentleman, I flirtwith his daughter's maid. Sophia is capableboth deep feelings and meanness. She selflessly loves Molchalin and at the same time spreads gossip about Chatsky's madness.
Thus, in the work, in addition to the heroev, depicted with predominantly negativepositive or positive assessment, there are heroes whose image pathos is ambiguous. Unlike the classic plays in Griboedov's comedy, vice is not punished, and virtue is notchews. Molchalin is hiding in his roomthose before Famusov appears on the stage,Chatsky is forced to flee from Moscow, "isroam around the world, where the offended feeling has a corner.
It can be noted that the nature of the conflict in the work is partly romantic, sincea lonely strong personality resists the wholesociety, Goncharov wrote that in Woe from Wit * there are two camps; on the one hand lahero of the Famusovs and the entire party of "fathers and oldshih *, on the other - one ardent and brave boets, "the enemy of searches." Chatsky is the only onestage characters resists everything aboutsociety * Goncharov also calls the role of Chatsky “passive *, since the hero is “broken ifold power * and forced to flee fromMoscow, The play contains the motif of lonelinesswa and the motive of travel, characteristic of the noveltism. Chatsky embarks on the road, escaping from past, in the hope of getting rid of "a million torments *.
Thus, it can be said that in the playthere are elements of three directions -classicism, romanticism and realism. Complexthe quality of the creative method by whichon the comedy by A. S. Griboyedov "Woe from Wit *", obis explained by the era when in literature at the same timebut there were several directions.
Written at the beginning of the 19th century, namely in 1821, Alexander Sergeevich Griboyedov's comedy "Woe from Wit" absorbed all the features of the literary process of that time. It is interesting to analyze the formal and content features of comedy from the point of view of the artistic method. Literature, like all social phenomena, is subject to concrete historical development, therefore, at the turn of the century, there is a situation of the parallel existence of three methods: classicism, romanticism and critical realism. The comedy of A. S. Griboedov was a kind of experience of combining all these methods, their individual features clearly emerge both at the level of content and at the level of form.
From the theory of literature, it is known that these two concepts are inextricably linked, and one can often find the opinion that the content is always formal, and the form is meaningful. Therefore, when considering the content of A. S. Griboedov's comedy, we will turn to the theme, problem, and ideological and emotional assessment, and in matters of form, we will study subject representation, plot, composition, and artistic speech. The essence of comedy is the grief of a person, and this grief stems from his mind. It must be said that the very problem of "mind" in Griboedov's time was very topical and "mind" was understood broadly - as in general intelligence, enlightenment, culture. The concepts of “smart”, “smart” then associated the idea of a person not just smart, but “free-thinking”, a bearer of new ideas. The ardor of such "wise men" quite often turned into "madness", "woe from wit" in the eyes of reactionaries and townsfolk.
It is Chatsky's mind in this broad and special sense that places him outside the circle of the Famusovs, the silent ones, the skulozubs and the Zagoretskys, outside the norms and rules of social behavior familiar to them. It is on this that the development of the conflict between the hero and the environment is based in comedy: the best human qualities and inclinations of the hero make him, in the view of those around him, first an “eccentric”, “strange person”, and then simply crazy. "Well? Can't you see that he's gone mad? - already with full confidence says Famusov under the curtain.
Chatsky's personal drama, his unrequited love for Sophia, naturally, is included in the main theme of the comedy. Sophia, with all her spiritual inclinations, still belongs entirely to the Famus world. She cannot love Chatsky, who opposes this world with all the turn of his mind and his soul. She, too, is among the "tormentors" who insulted the fresh mind of Chatsky. That is why the personal and social dramas of the protagonist do not contradict, but mutually complement one another: the hero's conflict with the environment extends to all his everyday relationships, including love ones.
From this we can conclude that the problems of A. S. Griboedov's comedy are not classic, because we do not observe the struggle between duty and feeling; on the contrary, conflicts exist in parallel, one complements the other.
There is one more non-classical feature in this work. If from the law of “three unities” the unity of place and time is observed, then the unity of action is not. Indeed, all four actions take place in Moscow, in Famusov's house. Within one day, Chatsky discovers the deception, and, appearing at dawn, he leaves at dawn. But the plot line is not one-line. There are two plots in the play: one is Chatsky's cold reception by Sophia, the other is a clash between Chatsky and Famusov and Famusov's society; two storylines, two climaxes and one overall denouement. This form of the work showed the innovation of A. S. Griboyedov.
But some other features of classicism are preserved in comedy. So, the main character Chatsky is a nobleman, an educated, well-read, witty young man. Here the artist is faithful to the tradition of the French classicists - to put heroes, kings, military leaders or nobles in the center. Interesting image of Lisa. In "Woe from Wit" she is too
loose for a maid and like the heroine of a classic comedy, lively, resourceful, intervening in the love affairs of her masters.
In addition, the comedy is written mainly in a low style, and this is also the innovation of A. S. Griboyedov.
The features of romanticism in the work were very interesting, because the problems of “Woe from Wit” are partly of a romantic nature. In the center is not only a nobleman, but also a man who is disillusioned with the power of reason, looking for himself in the sphere of the irrational, in the sphere of feelings, but Chatsky is unhappy in love, he is fatally lonely. Hence the social conflict with representatives of the Moscow nobility, the tragedy of the mind.
The theme of wandering around the world is also characteristic of romanticism: Chatsky, not having time to arrive in Moscow, leaves it at dawn.
In the comedy of A. S. Griboedov, the beginnings of a new method for that time - critical realism - appear. In particular, two of its three rules are respected. This is sociality and aesthetic materialism.
Griboyedov is true to reality. Knowing how to single out the most essential in it, he depicted his heroes in such a way that we see the social laws behind them that determine their psychology and behavior. Woe from Wit created an extensive gallery of realistic artistic types, that is, typical characters appear in comedy in typical circumstances. The names of the characters of the great comedy have become household names. They still serve as a designation for such phenomena as swagger (famusism), meanness and sycophancy (silence), cheap liberal idle talk (Repetilovism).
But it turns out that Chatsky, who is essentially a romantic hero, has realistic features. He is social. He is not conditioned by the environment, but opposes it. Chatsky is emblematic. There is a contrast between the individual and the environment, a person opposes society. But in any case, it's a tough connection. Man and society in realistic works are always inextricably linked.
The language of A. S. Griboyedov’s comedy is also syncretic. Written in a low style, according to the laws of classicism, it absorbed all the charm of the living great Russian language. Even A. S. Pushkin predicted that a good part of the comedy phrases would become winged.
Thus, the comedy of Alexander Sergeevich Griboyedov is a complex synthesis of three literary methods, a combination, on the one hand, of their individual features, and on the other, an integral panorama of Russian life in the early 19th century.
Features of classicism.
Close to classicism is the conflict between the clever hero and the "poverty of reason". From classicism and the unity of place and time, the poetic form of comedy, the poetics of names, the reasoning of Chatsky.
A.S. Griboyedov undeniably observes the three famous unities of the classical play : the action takes place within one day, in one place and develops around one main character.
The action of the comedy begins at dawn in Famusov's house and ends exactly one day later, when the guests leave the party. However unity of time and places are not introduced formally, as a necessary convention, but substantively justified. It is no coincidence that at the end of the play Chatsky says:
You are right: he will come out of the fire unharmed,
Who will have time to live with you,
Breathe the air alone
And his mind will survive.
One day was enough for this conflict to occur. Chatsky, with his uncompromising character, play of mind, the passion of a lover and Famus society, with his conservatism and distrust of an educated young man, cannot find a common language even with such a short communication. Unity of place also motivated by plot and conflict. Famusov's mansion is a symbol of all of Moscow in the comedy. In the replicas of Liza, Famusov, the main character and other characters, what is happening in the house is comprehended on the scale of the capital (“Like all Moscow, your father is like that ...”, “All Moscow have a special imprint ...”, etc.) . The central figure of the action is Chatsky. It was from the moment of his appearance in Famusov's house that a conflict began. The play ends with the departure of the hero from Moscow. Principle unity of action means that in the work all events unfold around the figure of the protagonist, and there is one conflict not complicated by side storylines, which is completely resolved at the end. In the finale of the classic play, virtue finally triumphs and vice is punished. The author of the comedy fulfills none of these requirements exactly. The work has two conflicts and, accordingly, two closely intertwined storylines: love and social. The conflict is first tied up as a love one, then complicated by a confrontation of opinions. Both lines, closely intertwined, culminate in the 4th act. The love line ends with the exposure of Molchalin, Sophia's life catastrophe and the bitterness of a deceived feeling for Chatsky. The public conflict does not receive a denouement on the stage. The viewer can only guess where Chatsky will go, and what resonance his visit to Famusov's house will receive. Instead of the prescribed classical composition, consisting of 3 or 5 acts, Griboyedov writes a play of 4. The openness of the finale, the lack of a complete resolution of the conflict, the triumph of virtue and the punishment of vice, can be considered Griboyedov's innovation.
The author uses speaking surnames: Famusov (from the Latin "fama" - rumor), Molchalin, Skalozub, Khlestova, Tugoukhovsky, Repetilov (from "repeter" - repeat). However, their function is different than in classicism. Almost all surnames are correlated in meaning with the words "speak", "hear", "repeat", "silent", which leads to the most important theme of the play - the motive of deafness and gossip. In surnames, a certain circle of associations is set, which, on the whole, does not simplify, but, on the contrary, complicates the understanding of character, revealing some new facet in it. The names of the characters are significant not only individually, but all together: together they constitute an important symbolic key to understanding the problems of Woe from Wit. Such deep symbolism is not characteristic of "talking" surnames in classicism.
The author did not refuse traditional roles : a deceived father, a narrow-minded military man, a maid involved in the love affair of her mistress, a comic old woman. These roles determined the comedic ensemble of a classical play, rarely exceeding 10-12 actors. Griboyedov violates this canon by creating a "crowded" play and introducing a huge number of minor and off-stage characters. Off-stage characters create a kind of historical background for a comedy action, allow you to expand the temporal and spatial framework of the play, deepen the characteristics of those main characters who talk about them, and, finally, convince the viewer that Chatsky is alone only on stage.
Thus, it turns out that Griboyedov only formally preserves the classic framework, filling them with socio-psychological content. The authenticity of the characters is combined with the author's irony in relation to the usual style of the image - classicism.
Features of romanticism.
Chatsky's monologues are an expression of his position. First of all, these are the monologues uttered in the second act. All his criticism of the Famus society may well be presented as independent invectives directed against the noble conservative landlord environment, these monologues can be used by the Decembrists as propaganda materials, along with civil lyrics. This is a criticism of modern society, monologues combine the features of elegies, and odes, and satires. One way or another, these are texts that can act as independent lyrical performances. These monologues can be defined as civil-romantic monologues.
Chatsky's romanticism is also manifested in the fact that one is opposed to the crowd. The theme of loneliness in a crowd is typical of romanticism. Irreconcilable contradiction with the world, the contradiction between I and Society is very characteristic of Chatsky. Griboedov draws a really lonely hero, although there are non-stage characters mentioned - “we young people”, this is a new generation in which there are others who are not like Molchalin. This conflict is not between "the present age and the past." The present century differs from the century of Catherine in that in this century there are new people, like Chatsky, who do not pursue ranks, but prefer studies in the sciences and arts, free from careerist performances, free from mercantilism. These people are already ridiculing those who are ready to bang their foreheads on the floor, if only they would get rank and money. That is, there are people with a new position. These are the differences between the age of Alexander and the age of Catherine. Famusov and Maxim Petrovich remain in the past. There is no direct conflict with the past century. The current century unites all the heroes, the conflict within the century, and not between the centuries. Conflict between heroes with different worldviews. The scene of action is "lordly Moscow". Moscow is also a conservative city, in those years more conservative than St. Petersburg. Famusovskaya Moscow is the quintessence of conservatism. A man with a new position and new preferences comes to Moscow and ridicules it, dares to take a critical look at what was absolute. This new approach is what distinguishes this hero, and he can be considered a character who is close to the Decembrist movement. A new hero with civic-romantic moods and traits, lonely, opposes the conservative Famusov society. This romantic conflict, the romantic here is manifested both in the rejection of classicist requirements and in the synthesis of genre elements.
Features of realism. The conflict of the play reflects the most important contradiction of reality, and the understanding of reality and the characters generated by it is imbued with historicism. The realism of the play also affected the principles of depicting its characters. With the single essence of the Famus society, each of them is given in all the definiteness of his individual appearance, and these are full, multilateral characters. Famusov is not only an obscurantist, but also a strict boss and a loving father, and so on.
Realism in character is also achieved by offsetting the colorfulness of their language, pompous with vernacular: the commanding speech of Skalozub, the servile language of Molchalin, the lordly speech of the semi-literate Khlestova. The realism of speech characteristics is aimed at expressing not only the professional, class and cultural appearance, but also the psychological one.
The fable verse of comedy is also subordinated to the tasks of a realistic image - a free iambic from one-foot to six-foot.
