A. S. Griboyedov entered Russian literature as the author of one work - the comedy "Woe from Wit". This play by Griboedov is still modern and will excite society until careerism, servility, gossip disappear from our lives, until greed dominates, the desire to live at the expense of others, and not at the expense of our own -venous labor, as long as there will be hunters to please and serve.
All this eternal imperfection of people and the world is beautifully described in Griboyedov's immortal comedy Woe from Wit. The author creates a whole gallery of negative images: these are Famusov, Molchalin, Repetilov, Skalozub, etc.
The plot of the play is built on the conflict at the same time personal and public. At the same time, one with the other turns out to be closely connected, the social problems of comedy directly follow from the personal ones. In Woe from Wit, the unrequited love of the hero turns out to be essential for the development of the action, and even more so, the insoluble contradiction of the intelligent and honest hero with the insane society in which he lives. Griboyedov wrote in a letter to Katenin: “... a girl, herself not stupid, prefers a fool to a smart person (not because the mind of us sinners was ordinary, no! And in my comedy there are 25 fools for one smart person), and this person, of course, is in conflict with the society surrounding him, no one understands him, no one wants to forgive him, why is he a little taller than the others ... "
Heroes-fools alone are confronted by the main character of the comedy - Alexander Andreevich Chatsky. He came to Moscow, "returning from distant wanderings", only for the sake of Sophia, his beloved. But, returning to the once-native and beloved home, he discovers big changes: Sofia is cold, arrogant, irritable, she no longer loves Chatsky.
Trying to find an answer to his feelings, the protagonist appeals to the former love, which was mutual before his departure, but all in vain. All his attempts to return the former Sophia fail. To all the passionate speeches and memories of Chatsky, Sophia replies: “Childhood!”
From this begins the personal drama of the hero, which ceases to be narrowly personal, but develops into a clash between a man in love and the entire Famus society. Chatsky alone opposes the army of old "warriors", starting an endless struggle for a new life and for his love.
He argues with Famusov himself about the image and purpose of life. The owner of the house considers the life of his uncle a model of correctness:
Maxim Petrovich: he is not on silver,
I ate on gold; one hundred people at your service.
It is quite clear that he himself would not have refused such a thing, hence the misunderstanding of Chatsky, who demands "service to the cause, not to persons." Love and social conflict converge, as a single whole. For the hero, the personal drama depends on the attitude of society towards him, and the social drama is complicated by personal relationships. This exhausts Chatsky, and as a result, “a million torments” await him, in the apt expression of I. Goncharov.
Chatsky and Molchalin are young people of about the same age, the same time, living in the same country, city. But how different they are! Chatsky - the very eloquence, truthfulness, intelligence ... “He is a denouncer of lies and everything that has outlived itself, that drowns out a new life. He demands a place for his age,” writes I. Goncharov in the article “A Million of Torments”. Molchalin is a hypocrite, a toady-chameleon from head to toe. In everything, always and everywhere, the opinions, actions of Chatsky and Molchalin are different, almost opposite. Sofia understands this too. For Sofia, who fell in love with Molchalin, his vices are an ideal, and Chatsky’s virtues are shortcomings: “Your gaiety is not modest, your sharpness is immediately ready ... A menacing look, and a sharp tone, and these features are abyss in you, and above oneself a thunderstorm is far from useless. Molchalin: “He has been serving under the priest for three years, he often gets angry for no reason, and he will disarm him with silence ... He could look for gaiety; not a bit: they won’t step over the threshold from the old people; we frolic, we laugh, he sits with them all day long, gladly not happy, playing ... opposing, which the world scolds on the spot, so that the world at least says something about him, but such a mind will make the family happy?
It seems that Sofia feels that Molchalin is stupid, silent, without his own opinion, but “he is of the most miraculous quality at last: compliant, modest, quiet. There is not a shadow of anxiety in the face, and there are no misconducts in the soul, strangers and at random does not cut - that's why I love him. And Sofia prefers him to Chatsky. Maybe she is frightened by the last “peculiarities of the abyss”, maybe this is an insult. After all, having left, Chats-kiy left the girl alone in this faceless, gray and insignificant world.
The fact that Chatsky is a “new century”, and Molchalin is a pet of Famus Moscow, is evidenced by their ideals. Chatsky demands “serving the cause, not individuals”, not mixing “fun or tomfoolery with business”, he is burdened among the crowd of “tormentors, sinister old women, absurd old men”, refusing to bow before their authority. He "would be glad to serve, it's sickening to serve."
Molchalin's commandments: "Firstly, to please all people without exception ... In my years, one should not dare to have one's own judgment." His talent is moderation and accuracy. And all this: passion for ranks, servility, emptiness - inseparably connects Molchalin with the "gone century".
Chatsky is a warrior. He fights against the ideals, goals, aspirations of old Moscow, stigmatizes extravagance, thoughtless luxury and disgusting mores of "pouring in feasts and extravagance." The image of Chatsky is the idea, the moral of the play, and Molchalin is one of the embodiments of the power of the old world. There cannot be the slightest resemblance between them. Even in the feeling of love, Chatsky “throws”, as if alive, the immediate and deep element of life. In Molchalin's love for Sofia, there is virtually nothing but self-interest.
The state of uncertainty in life leads Chatsky into a frenzy. If at the beginning of the action he is calm and confident:
No, today the world is not like that ...
Everyone breathes freely
And not in a hurry to fit into the regiment of jesters.
Have patrons yawn at the ceiling,
Appear to be silent, to shuffle, to dine,
Substitute a chair, bring a handkerchief, - then in a monologue at a ball in Famusov's house, the imbalance of his soul and mind was manifested. He makes himself look like a laughingstock that everyone shied away from. But at the same time, his image is very tragic: his monologue is the result of unhappy love and the rejection by society of those thoughts and feelings, those beliefs that Chatsky defends throughout the comedy.
Under the weight of “a million torments”, he is broken, begins to contradict sound logic. All this entails absolutely incredible rumors that seem unfounded, but the whole world is talking about them:
Crazy!..
It seems to her ... that's it!
Not without reason?
So ... why would she take it!
But Chatsky not only does not refute the rumors, but with all his might, without knowing it, confirms them, arranging a scene at the ball, then the scene of farewell to Sofia and the exposure of Molchalin:
You are right: he will come out of the fire unharmed,
Who will have time to stay with you for a day, breatheone air,
And his mind will survive...
Get out of Moscow!
I don't go here anymore
I'm running, I won't look back, I'll go looking around the world
Where there is a corner for the offended feeling!
In a fit of passion, our hero sins against logic more than once, but there is always truth in his words - the truth about his attitude to the Famus society. He is not afraid to tell everyone in the eye and rightly accuse the representatives of Famusov's Moscow of lies, bigotry, hypocrisy. The hero himself is a vivid proof that the obsolete and sick blocks the way for the young and healthy.
The comparison can be continued by analyzing each gesture or replica of the characters. But even from a few examples it is clear that comedy itself is a struggle of opposites: Chatsky with the “past century” - the Famusovs, the rock-teeth, the silent ones. He is a victim, but a winner. The Famus society uses everything in the fight against Chatsky: gossip, rumors, false accusations, and this is not a weapon of the strong. And therefore, Chatsky wins a moral victory over them, turns out to be above all the dullness and mediocrity surrounding him.
The image of Chatsky in Griboyedov's comedy, which A. A. Blok called "the most brilliant Russian drama", remains unfinished. The framework of the play does not allow to fully reveal the full depth and complexity of the nature of this character. But we can say with confidence: Chatsky has become stronger in his faith and will find his way in a new life. And the more there are such Chatskys on the way of the Famusovs, silent and repetitive, the weaker and quieter their voices will sound.
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The personality of Ivan Goncharov entered the history of literature. The writer, literary critic, corresponding member of the Academy of Sciences of St. Petersburg and a real state councilor is known for many works. Of the most important - "Oblomov", published in "Notes of the Fatherland", "Cliff" - a text that appeared in the "Bulletin of Europe", as well as "Ordinary History" from "Contemporary".
In 1872, the text "A Million Torments" saw the light of day. This is the title of an article of a literary-critical nature published by Goncharov. The author turns to the analysis of another masterpiece of Russian literature, which has already become a classic - "Woe from Wit". The Russian critic writes that "Woe from Wit" has taken its rightful place in Russian literature, because the text is relevant and fresh. Let us turn to a brief summary of Goncharov's critical prose.
Remark about Griboyedov's text "Woe from Wit"
Since Goncharov refers to Griboyedov's play, we consider it useful to briefly recall what kind of work it is. "Woe from Wit" is considered to be a comedy written in verse by the Russian writer, diplomat and State Councilor Alexander Griboyedov. The work was written in the style of classicism, but it is clear that the author was also inspired by romanticism and realism, which had just begun to come into fashion during this period. The play is deeply aphoristic - this feature led to the pulling of Griboedov's work into quotes, many of which turned into catch phrases (for example, the phrases “Who are the judges?”, “The hero is not of my novel”, “With feeling, with sense, with arrangement”, “ The legend is fresh, but it is hard to believe" and other expressions).
Ilya Ilyich Oblomov in the work of Ivan Goncharov "Oblomov" is a lazy, apathetic, overly dreamy person and completely unadapted to real life. We invite readers to familiarize themselves with which in the novel is the central and most striking.
About "Woe from Wit", in addition to Goncharov's text, to which this article is dedicated, there are other reviews. For example, Pushkin also wrote about the play, who was almost the first to highlight the significance of the play for culture:
In the comedy "Woe from Wit" who is the smart character? Answer: Griboedov. Do you know what Chatsky is? An ardent, noble and kind fellow, who spent some time with a very smart person (namely with Griboyedov) and was fed by his thoughts, witticisms and satirical remarks<…>The first sign of an intelligent person is to know at a glance who you are dealing with and not to cast pearls in front of the Repetilovs and the like ...
Brief description of the content of "A Million of Torments"
The Russian critic says from the very beginning that Griboyedov's play is difficult to classify because this text stands apart from other significant works in Russian literature. The work is called Goncharov strong, youthful and fresh, and also tenacious, because the relevance of "Woe from Wit" does not disappear. The writer is original when it comes to comparisons and analogies. Thus, Ivan Goncharov draws parallels between Griboyedov's text and a centenary old man: it would seem that the old man must die, but everyone around him dies, but not himself.
On the other hand, Goncharova is surprised that Griboyedov's work befell the fate of a centenary old man in literature. According to the critic, Pushkin has "more rights to longevity." But the characters in the works of Alexander Sergeevich do not seem to stand the test of time. Pushkin's characters are pale, the time of the heroes of the Russian genius has passed, and Pushkin himself has already become history. Meanwhile, Griboyedov is not history, but modernity.
Goncharov emphasizes that "Woe from Wit" is a comedy that contains within itself another comedy, like peace in the world. Thus, several plots come to the surface. The first plot is devoted to a love affair in pairs Chatsky - Sofia, as well as Liza - Molchalin. Goncharov comments on this phenomenon as follows:
... When the first breaks through, suddenly another appears in between, and the action is tied up again, a private comedy is played out in a general battle and tied into one knot ...
Pushkin, Lermontov and Griboedov: Vitality of "Woe from Wit"
Despite the fact that the "best before date" of Pushkin's texts passed earlier, Griboyedov's works were created earlier than Pushkin's. So, "Woe from Wit" came out from under the writer's pen before "Eugene Onegin" and "Hero of Our Time", but managed to survive both texts. "Woe from Wit" was able to survive even the enchanting Gogol. The Russian critic is sure that this play "will survive many more epochs and will not lose its vitality."
Griboyedov's play immediately, as soon as the text was published, was snapped up for quotations. However, this did not lead to the vulgarization of the text, as is usually the case when the text gains popularity. Goncharov noted that, on the contrary, “Woe from Wit” from such popularization “seemed to become more expensive for readers.”
A separate situation is observed when trying to stage "Woe from Wit" on stage. At the same time, according to Goncharov, actors should use a creative approach, create ideals. In addition, the actors should artistically perform the language of the play. Griboyedov's play, of course, is based on real historical motives, but the Russian critic emphasizes that Woe from Wit cannot be played on stage under the guise of a work that refers to historical fidelity. No, Woe from Wit has rather strong artistic credibility:
… the living trail has almost disappeared, and the historical distance is still close. The artist needs to resort to creativity and the creation of ideals, according to the degree of his understanding of the era and the work of Griboyedov<…>The actor, as a musician, is obliged ... to think of that sound of the voice and that intonation with which each verse should be pronounced: this means - to think of a subtle critical understanding of all poetry ...
"Woe from Wit" as a picture of manners
So, in Russian literature, Griboyedov's play has a special role. The author of "A Million of Torments" considers the work a specific picture of morals. The writer draws for the reader a gallery of living types, real people. But what is "Woe from Wit"? According to Goncharov, these are:
... forever sharp, burning satire, and at the same time a comedy<…>Her canvas captures a long period of Russian life - from Catherine to Emperor Nicholas ...
For the most part, "Woe from Wit", of course, appears as a comedic work. But this is a huge world that shows the reader the realities of the life of Russian culture. Special attention should also be paid to the heroes of "Woe from Wit".
About the heroes of "Woe from Wit"
There are no more than twenty key characters in Griboedov's play, but in these characters the author managed to reflect the whole of the old Moscow, the spirit of the city, the historical situation, as well as moral principles and customs.
Opposition groups of characters in "Woe from Wit"
Each of the groups of characters is associated with a certain set of qualities. For example, Chatsky plays a passive role, denounces lies, acts as a marker of obsolete things and orders. The image of Chatsky reveals what hinders a new, free life. The ideal of the hero, therefore, is freedom from "all the chains of slavery by which society is fettered." The Famus group, on the one hand, deeply understands that Chatsky is right, but the desire to survive and continue to exist prevents the “brothers” from openly taking the side of the hero.
Ivan Alexandrovich Goncharov is one of the leading prose writers of the 19th century. Recommended for lovers of the classics
Goncharov concludes that Chatsky is the rock of any time, so Woe from Wit does not lose its relevance. Chatsky's star becomes especially bright during the change of eras.
The Famus group is distinguished by a thirst for honors and glory, the desire to please and assent for the sake of personal gain. Goncharov calls such heroes masters and hunters to please, to receive awards, in order, above all, to live cheerfully and carefree. Such a way of life is accompanied by various vices: lies, gossip, idleness and, in the end, emptiness.
The figure of Chatsky in detail
As for the map of heroes, that is, the general layout of the characters in Woe from Wit, the critic is of the opinion that in Griboedov's text all the characters are divided into two groups. In the first symbolic camp, the "Famusovs and all the brethren" took their places, and Chatsky was in the other group. Goncharov calls Chatsky an ardent and courageous fighter who participates in the struggle "for life and death", in the battle for the opportunity to exist. However, this way of life logically leads to fatigue, because, having survived the ball, the hero certainly wants to find peace. At least for a while. Goncharov writes:
... He, like a wounded man, gathers all his strength, makes a challenge to the crowd - and strikes at everyone - but he did not have enough power against the united enemy ...
Chatsky is gradually mistaken for a madman: the hero often resorts to exaggerations, the speech of Griboedov's character gives away drunkenness. There comes a moment when Chatsky is no longer able to notice that he himself has turned into a ball, into a performance from which he fled.
Chatsky has a treasure that many seem to have lost in our time. The hero has a heart. Lisa, a servant, speaks positively about Chatsky, calling the hero sensitive, cheerful and smart to the point.
Meanwhile, the image of Chatsky is overshadowed by personal grief. The play is called "Woe from Wit", but Goncharov writes that the reason for Chatsky's personal misfortunes is not in the mind. The trouble lies in the compassionate role of the hero Griboyedov.
The bitterness of Chatsky's fate
Goncharov notices that Chatsky's fate consists only in sowing. The fruits of this sowing are destined to reap for other people. The Chatskys - we speak in the plural, because this is a type, and not just one image - carry a kind of crown of thorns on their heads: such people are tormented by every little thing, but most of all - from a clash of mind and compassion, an unrequited love feeling, the pain of an offended dignity. Goncharov speaks of Chatsky's personality in the following way:
... He demands a place and freedom for his age: he asks for business, but does not want to be served, and stigmatizes servility and buffoonery ...
Thus, we are slowly approaching the idea of a free life, which is embodied by the personality of Chatsky. What is a free life in the interpretation of Goncharov? First of all, it is an opportunity not to depend on slave chains, not to grovel before superiors. Unfortunately, the chains of dependencies have so enveloped society that the Famusov camp, although it understands the truth of the state of affairs, is still afraid to break the systems or go against the established order. What is the role of Chatsky? Goncharov answers this question in the following lines:
... He is the eternal debunker of lies, hidden in the proverb: "One in the field is not a warrior." No, a warrior, if he is Chatsky, and, moreover, a winner, but an advanced warrior, a skirmisher - and always a victim<…>The Chatskys live and are not translated in society, repeating themselves at every turn, in every house, where the old and the young coexist under the same roof.<…>Each case that needs updating causes the shadow of Chatsky ...
Who is Sofia?
Of course, Goncharov could not forget about the figure of Sofia. The heroine belongs to the category of women who draw "worldly wisdom from novels and stories." Such women are characterized by a vivid imagination, the ability to feel. But Sophia is weak in those areas that relate to thoughts and knowledge. However, the heroine strives for knowledge and thoughts, which young ladies at that time were usually not taught.
In our opinion, Sofia is similar to the type of the so-called Turgenev young ladies, however, Goncharov sees in the image of Griboedov's Sofia a resemblance to the figure of Tatyana from Pushkin's "Eugene Onegin":
... both, as in sleepwalking, wander in enthusiasm with childlike simplicity ...
Sophia wants to feel like a patron. So, it is in this image that the heroine appears in the novel with Molchalin. Chatsky's feelings for Sophia also play an important role in the work. Chatsky is annoyed by the lies visible in the girl's actions. On the one hand, Chatsky is drawn to Sophia, but, on the other hand, the heroine serves as a motive for Chatsky and a reason for suffering, which darkened the soul of the hero in the end. Chatsky, although suffering, still wins as a result. The hero is trying to beg for something that cannot be received with requests, namely: love:
But does he have that passion?
That feeling? Is that ardor?
So that, besides you, he has the whole world
Was it dust and vanity?
Opposition of feelings and mind
The main drama of the play lies in the opposition and incompatibility of mind and feelings. Goncharov believes that initially Chatsky was saved by his mind and sharpness of thought, but the flame of passion consumed the dignity and personality of the hero. All that saves Chatsky from the final "useless humiliation" is the "remnants of the mind."
Sophia needs not so much Molchalin, but the insignificant character of this hero. However, the girl, at the same time, admits that the meeting with Chatsky is significant and not accidental for her:
Look, he has gained the friendship of everyone in the house;
He served with the father for three years,
He often gets angry for no reason,
And he will disarm him with silence<…>
<…>from the old people will not step over the threshold<…>
<…>Strangers and at random does not cut, -
That's why I love him...
"A million torments" as Chatsky's grief
Chatsky, indeed, goes into madness, because he tries to find in Sophia's words something that is not really in these words. For the hero, this method seems to be an attempt to calm down and self-justify.
After the failure with Sophia, Chatsky plunges into other cycles of life in Moscow. For example, the Gorichev group - the owner, who completely sank, the obliging husband, who is under the heels of a stern wife, and the wife herself - Mrs. Goricheva - is a cutesy and sugary person. Chatsky also meets with Khlestova, a heroine who seems to have remained from the age of Catherine, with Pyotr Ilyich, another ruin from the past, with Zagoretsky, an obvious swindler, and other heroes from the Famusov category.
Personality transformations of Chatsky
Chatsky's mind is undergoing transformations. Now Chatsky's speech is distinguished by caustic remarks, cynicism and sarcasm. With this style of communication and behavior, the hero causes antipathy from the people around him. Chatsky still has hope - to find compassion and sympathy in Sophia's soul. However, the hero does not know that a conspiracy is being prepared against him in the Famusov camp:
"A million torments" and "woe" - that's what he reaped for everything he managed to sow. Until now, he was invincible: his mind mercilessly hit the sore spots of enemies ...
Chatsky's mind weakens at the moment when the hero gets tired of the endless struggle. The former cheerfulness, sharpness, cuteness and sensitivity are replaced by bile, pickiness and sadness. Even at the end, Chatsky does not behave, like Onegin or Lermontov's hero, like a dandy. Griboyedov's hero continues to keep his sincerity, but allows himself a fatal weakness: jealousy overwhelms Chatsky when the hero sees the girl's date with Molchalin. The man reproaches the heroine because she gave him hope. However, Goncharov emphasizes that Sophia, on the contrary, constantly repelled Chatsky:
Meanwhile, Sofya Pavlovna is not individually immoral: she sins with the sin of ignorance, the blindness in which everyone lived ...
Goncharov's conclusions
To convey the main moral and ideological orientation of Woe from Wit, the Russian critic turns to Pushkin's poetry:
Light does not punish delusions,
But secrets are required for them!
On the one hand, Chatsky helps Sophia to lose that unreasonable naivety and blindness, which is initially characteristic of the heroine's personality. However, Sophia is still unable to show respect to Chatsky: the hero is evidence of Sophia's mistakes and vices, a "reproachful witness" who opens the girl's eyes to the true appearance of Molchalin. Sophia, according to Goncharov's interpretation, appears as a kind of mixture of "good instincts" and lies, "a lively mind" and the absence of even a hint of the presence of ideas, own opinions and beliefs. Sophia is sick with mental and moral blindness, which lies an insurmountable gulf between the girl and Chatsky. However, this is not a shortcoming of Sophia herself, these are qualities instilled in her upbringing. The heroine herself is hot, tender and dreamy. Let's remember what we talked about at the beginning of our article:
... Women learned only to imagine and feel and did not learn to think and know ...
Reflecting on the peculiarities of the comedy “Woe from Wit”, I. A. Goncharov noted that in the group of actors “the entire former Moscow was reflected, like a ray of light in a drop of water, ... its then spirit, historical moment and customs.” He also noted that the comedy would have remained only a picture of morals, had it not been for Chatsky, who breathed a living soul into action from his first word to the last. Without the figure of Chatsky, without his passionate monologues, the play would not have gained such popularity, would not have become one of the most beloved
works of true patriots of Russia.
The last action only sums up the clashes on this ground between the Famus society and the main character.
Chatsky is a smart, educated person. As other characters describe him, “he
small with a head”, “gloriously writes, translates”. Previously, he served, occupied a high position, but did not find any benefit in this, because he had to serve individuals, and not the cause. And Chatsky doesn’t want to “fit into the regiment of jesters” and patrons: “I would be glad to serve, it’s sickening to serve” - his credo. For his views, which are contrary to the generally accepted ones, he was “declared a wast, a tomboy”, because he managed the estate “by mistake”, that is, in his own way, he traveled for three years, which in the eyes of the world only added to the strangeness of his behavior.
Failures and wanderings have not weathered his energies. He does not seem disappointed when he appears at Famusov's house, and his talkativeness, liveliness and witticisms are not only from a date with Sophia. After all, the smoke of the Fatherland is sweet and pleasant to him, although Chatsky knows that he will not see anything new, it is the same everywhere.
Feeling insincerity in Sophia, some kind of falsehood, Chatsky, as an honest person, tries to understand her. His mind and senses are irritated by hidden lies, and everything he used to
tried to be condescending, outraged him. So the “intrigue of love” becomes “general
battle” of an advanced person with the obscurantists of his era.
First of all, Chatsky is opposed to the “past century”, so beloved by Famusov, against servility, humility and fear, inertia of thinking, when
Judgments draw from forgotten newspapers
Ochakov times and the conquest of the Crimea.
He is disgusted by the mutual responsibility of the nobility, extravagance and feasts, but most of all indignation in him
incites serfdom, in which devoted servants are exchanged for greyhounds,
sold singly "from mothers, fathers of rejected children." Chatsky cannot
to respect such people even in desertion, does not recognize their right to trial over a new
century. And they, in turn, consider people like Chatsky to be robbers, dangerous
dreamers preaching the most terrible thing for them - liberty.
For Chatsky, doing science and art is creativity, high and beautiful, but for
others it is tantamount to fire. After all, it’s more convenient “so that no one knows and does not learn to read”,
better ranks and drill.
From monologue to monologue, Chatsky's irritation grows, and this is not only about Sophia. “Houses are new, but prejudices are old” - that's the main thing. Therefore, his remarks directed at the bearers of these prejudices, old and young, become so caustic. He sowed hostility, and reaped "a million torments."
The rumor about Chatsky's madness fell on fertile ground, otherwise the Famus society would not have been able to explain his behavior, bilious, picky. The white crow has no place among the blacks, it must be rejected. Fencing off Chatsky with slander, everyone sighs
freer, and the hero weakens. His monologue “Yes, no urine: a million torments” sounds like
complaint, and pain responds to the heart. Not only Chatsky, but also the Fatherland is humiliated by the existing order, the dominance of foreigners, when “empty, slavish, blind imitation” replaces national culture, and “smart, vigorous ... people” even accept foreigners according to the language of the masters.
That is why in the last scene we see Chatsky so indignant. Disappointed in love and having not found “neither the sound of a Russian, nor a Russian face”, deceived and slandered, Chatsky flees from Moscow “to look around the world where there is a corner for an offended feeling”, taking away, like a crown of thorns, “a million torments”. But his principles are not debunked. Goncharov correctly noted that “Chatsky is broken by the amount of old strength, inflicting on it in turn
a fatal blow by the quality of fresh force.
Is he really the eternal debunker of lies, which is spoken of in the proverb “One man is not a warrior”? No, a warrior, if he is Chatsky, and, moreover, a winner, but an advanced warrior, skirmisher and always a victim.
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- The comedy "Woe from Wit" in Russian literature stands apart. Without the figure of Chatsky, there would be no comedy. Chatsky is smart and cordial, the rest are not. The essence of Chatsky's character is expressed in his words: "I would be glad to serve, it's sickening to serve." Unhappy love for Sophia is the cause and motive of Chatsky's “million torments”. The main idea of this passage is that in order to create [...] ...
- AS Griboyedov entered Russian literature as the author of one work. His comedy "Woe from Wit" is hard to overestimate. Griboyedov's play will remain modern and vital until careerism, servility, gossip disappear from our lives, until our society is dominated by the thirst for profit, the desire to live at the expense of others, and not by one's own labor, until […]
- AS Griboyedov entered Russian literature as the author of one work - the comedy "Woe from Wit". This play by Griboedov is still contemporary and will excite society until careerism, servility, gossip disappear from our lives, until the thirst for profit, the desire to live at the expense of others, and not at the expense of one’s own labor, prevail, […]. ..
- Griboedov's comedy "Woe from Wit" was written in 1824. The author draws us living images of Russian people, reflecting the reality as it really was in the first quarter of the 19th century. From the position of the Decembrists, Griboyedov ridicules the rigidity, conservatism and backwardness of society's traditions. The play is written in the classical style. The author takes an innovative approach to the theory of three unities. He maintains unity […]
- The departure of the guests seems to bring us back to the beginning of Act III: Khryumina despises everyone; Natalya Dmitrievna trains her husband; The Tugoukhovskys are chirping... Everything enters the shores, but Khryumina has a little more anger, Gorich's despondency is more frank, Skalozub's martyrdom, the Tugoukhovskys' poverty, Khlestova's dominance. Chatsky hears in their words about himself "not laughter, but clearly anger." At first glance, Chatsky in [...] ...
- The role and physiognomy of the Chatskys is unchanged. Chatsky is most of all a denouncer of lies and everything that has become obsolete. He knows what he is fighting for. He is very positive in his demands. He demands space and freedom for his age. He is outraged by the ugly manifestations of serfdom, insane luxury and disgusting morals. His ideal of a "free life" is freedom from all chains of slavery. […]...
- The comedy "Woe from Wit" holds itself somewhat apart in literature and is distinguished by its youthfulness, freshness and stronger vitality from other works of the word. “Woe from Wit” appeared before Onegin, Pechorin, survived 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 epochs and all [...] ...
- About Chatsky: Chatsky is most of all a debunker of lies and everything that has become obsolete, which drowns out a new life, “free life”. He is very positive in his demands and declares them in a ready-made program worked out by the beginning of the century. He is outraged by the ugly manifestations of serfdom, insane luxury and disgusting morals. Out of fear for himself, Famusov slanders Chatsky, but he lies because [...] ...
- The comedy "Woe from Wit" is both a picture of manners, and a gallery of living types, and burning satire, and most of all a comedy. As a picture it is huge. Her canvas captures a long period of Russian life - from Catherine to Emperor Nicholas. In a group of twenty people, all the old Moscow was reflected, its design, its then spirit, historical moment and customs. And all […]...
- In general, it is difficult to treat Sofya Pavlovna not sympathetically: she has strong inclinations of a remarkable nature, a lively mind, passion and feminine gentleness. I. A. Goncharov A. S. Griboedov entered the history of Russian and world literature as the creator of the brilliant comedy “Woe from Wit”. It is interesting not only from the point of view of the problems of Russian society in the first half of the 19th century, [...] ...
- Ivan Goncharov notes the freshness and youthfulness of the play “Woe from Wit”: She is like a hundred-year-old old man, around whom everyone, having outlived their time in turn, die and fall, and he walks, cheerful and fresh, between the graves of the old and the cradles of the new. Despite the genius of Pushkin, his characters “turn pale and fade into the past,” while Griboedov’s play appeared earlier, but survived [...] ...
- A. S. Griboyedov I. A. Goncharov “A Million of Torments” (the article was written in 1871) About comedy in general: “It is impossible to imagine that another, more natural, simple, more taken from life speech could ever appear . Prose and verse merged here into something inseparable, then, it seems, so that it would be easier to keep them in memory and put them back into circulation ... [...] ...
- The only character conceived and performed in the comedy "Woe from Wit", as close to Chatsky, is Sofia Pavlovna Famusova. Griboyedov wrote about her: “The girl herself is not stupid, she prefers a fool to a smart person:” This character embodies a complex character, the author has left satire and farce here. He presented the female character of great strength and depth. Sophia for quite a long time “not [...] ...
- Chatsky's story: The material of the comedy is insufficient for any details regarding Chatsky's life. We can say that he was brought up with Sophia, was friends with her as a child, then studied and served. Now he left the service and returned to his native places, where he had not been for many years. “A million torments” of Chatsky lies in the fact that he had lost before [...] ...
- Why is this play still being performed in many theaters in Russia and abroad? In Chekhov's comedy "The Cherry Orchard" we see a combination of dramatic and comic, which is connected with the problematics of the work. The play shows the passage of time: past, present and future. The central characters are Ranevskaya and Gaev. They live in the past, they have no present or future. […]...
- The material of the comedy is not enough for any details about Chatsky's life. We can say that he was brought up with Sophia, was friends with her as a child, then studied and served. Now he left the service and returned to his native places, where he had not been for many years. “A million torments” of Chatsky lies in the fact that he lost the previously carefully guarded [...] ...
- The image of Chatsky based on the work of I. A. Goncharov “A Million of Torments” 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 all other people, but also positively smart. His speech boils with intelligence, wit. He has a heart, and at the same time he is impeccably honest. In a word, […]...
- “Woe from Wit” is a comedy of high social content. Griboyedov touches on the most important issues: upbringing and education, service to the fatherland and civic duty, serfdom and the worship of everything foreign. The main character of this comedy is Chatsky, who feels hatred for serfdom, passionate patriotism and pride in everything Russian, love for education, science and art. After […]...
- I. A. Goncharov in his article “A Million of Torments” wrote about the protagonist of A. S. Griboyedov’s immortal comedy “Woe from Wit”: “The role of Chatsky is the main role, without which there would be no comedy, but would, perhaps, picture of manners. I fully agree with this opinion. Alexander Andreevich Chatsky is the main and most striking image of the comedy. He […]...
- Chatsky and Molchalin are the heroes of Griboyedov's comedy “Woe from Wit. They are absolutely different both in character, and in worldview, and in position in society. Molchalin is a typical representative of the Famus era, the personification of servility, lies, flattery, selfishness, self-humiliation for selfish purposes. Chatsky is absolutely opposite to Molchalin. Many aspects of Griboyedov's soul were reflected in the image of Chatsky. He is true and passionate [...] ...
- The comedy "Woe from Wit" is the most famous work of A. S. Griboyedov. The ideas embodied in it by the author often caused a contradictory attitude of readers. In "Woe from Wit" we see how the concepts of "the present century" and "the past century" clash. Chatsky proclaims the views of the "current century", so it is quite natural that in the comedy we find the hero's lengthy monologues. From the monologues we learn […]...
- Comedy Griboedov "Woe from Wit" touches on the most important issues of life. These are such problems as the upbringing of a person and about admiration for everything foreign, as well as about serfdom. In his work, the author of the comedy ridicules and condemns his characters. These are Famusov, Molchalin and Skalozub. All these heroes are opposed by the main character. This is Chatsky Alexander Andreevich. He received an excellent education […]
- Before answering this question, I would like to briefly return to past events and see how the action of the comedy developed before this angry and accusatory speech by Chatsky. So, Chatsky clearly realized that his return to Moscow was in vain. He feels that Sophia's heart belongs to another, although he still cannot understand who this other is. And in […]
- A clash between Chatsky and Famusov's Moscow is inevitable. As soon as Chatsky arrived at Famusov's house, disagreements immediately arose. Famusov and Chatsky are completely different people, so there are always contradictions between them. Everything that Famusov praises in Moscow, Chatsky condemns. There is a clash of the "current century", that is, the advanced nobility, with the "past century" - the mass of feudal lords. Chatsky believes that […]
- Comparative Characteristics of Chatsky and the Gorichs The protagonist of Griboyedov's play is opposed to the society around him. And this motive of confrontation sounds in the scene already cited. Chatsky's advice did not please Natalya Dmitrievna, since, according to this heroine, they violated the usual, measured way of life of secular people. Chatsky advises Gorich to get down to business, to return to the regiment, to go to the village. Such […]...
- "Woe from Wit" - the works of A. S. Griboyedov, revealing one of the most important problems of society - the problem of the collision of two worlds: "the present century" and "the past century". Later, many classics of Russian literature will raise this topic in their works. In Griboedov's play, the clash of different views is shown in the opposition of Chatsky and Famus society. Alexander Andreevich Chatsky - chief […]...
- Chatsky's clash with the Famus society was inevitable. It takes on an increasingly violent character and is complicated by Chatsky's personal drama - the collapse of hopes for personal happiness. His attacks become more and more sharp. He enters the struggle, and in his speeches, the opposite of his views to the views of Famusov's Moscow is clearly expressed: If Famusov is the defender of the old century, time […]...
- Consistently develops social intrigue. She comes to the fore in Chatsky's clashes with Famusov, Skalozub and Molchalin. And the opposite side does not skimp on assessments, she quickly finds out what kind of enemy Chatsky is for her. Each new person becomes hostile to Chatsky, and in the third act, the whole society, gathered for the evening at Famusov, becomes hostile. […]...
- A. S. Griboyedov’s comedy “Woe from Wit” was written in the first half of the 19th century. This is a time of contrasts, which has absorbed everything: both triumphs and defeats. People who wore beggarly rags tried on royal robes. And stingy innkeepers who previously held a butcher's knife received a marshal's baton. But triumphs gave way to a disastrous sunset, jubilant cries eclipsed bitter lamentation, the majestic radiance of truth [...] ...
- The figure of Chatsky determines the conflict of the comedy, both of its storylines. In the monologues and remarks of Chatsky, in all his actions, what was most important for the future Decembrists was expressed: the spirit of liberty, free life, the feeling that "he breathes more freely than anyone." Freedom of the individual is the motive of time and the comedy of A. S. Griboyedov. And freedom from outdated notions of love, [...] ...
- In the comedy "Woe from Wit" Alexander Sergeevich Griboyedov puts his cherished thoughts into the mouth of the main character Alexander Andreevich Chatsky, who expresses them most often in the form of monologues. They play an important role in revealing the ideological meaning of the work. In total, Chatsky delivers six monologues. Each of them characterizes a step in the development of the comedy plot. The first of them (“Well […]
- It seems that the writer had the gift of providence - so accurately he showed in his comedy everything that later became reality. Chatsky, having entered the struggle with the whole old, conservative system, was doomed to defeat. He is a representative of the young progressive-minded generation of Russia of that era, and the Famus society is that conservative majority that does not want to accept anything [...]...
- In my comedy, there are 25 fools to one sane person. And sometimes a person, of course, is in conflict with the society around him, no one understands him, no one wants to forgive him, why he is a little higher than others. AS Griboyedov In 1824, Griboedov created the immortal comedy Woe from Wit. The main character of this comedy is Chatsky. Chatsky is a young […]
- Griboedov entered Russian literature as the author of the well-known comedy Woe from Wit. It touches upon very important questions: about upbringing, education, about admiration for everything foreign, about serfdom. In the comedy, the author ridicules and condemns a number of characters: Famusov, Skalozub, Molchalin, Repetilov. But all these heroes are opposed by the main character of the comedy - Alexander Andreyevich Chatsky. He received […]...
- I got acquainted with AS Griboyedov's comedy “Woe from Wit” during the summer holidays. In this comedy, the author touched on a painful topic of that time. Mind and honor are the main virtues of a person. Our protagonist has just such qualities, but falls into the wrong society, among which he would like to be. So, our main character, Alexander Andreevich [...] ...
- There are many versions. I have only read about two. The first is that originally the surname “Chatsky” was written “Chadsky”, you will agree, you can hear the echo of the surname of the famous thinker P. Ya. Chaadaev. The second - after the publication of "Woe from Wit" in St. Petersburg (June 1824), critics began to argue about whether this self-portrait was negative or positive. Pushkin was not a supporter of these versions. Of the two […]...
