sayings about the genre of comedy

1) I.A. Goncharov: "... The comedy "Woe from Wit" is both a picture of morals, and a gallery of living types, and an eternally sharp, burning satire, and at the same time a comedy, and let's say for ourselves - most of all a comedy - which is hardly found in other literatures..."

2) A.A. Blok: "Woe from Wit" ... - a brilliant Russian drama; but how amazingly accidental it is! And she was born in some kind of fabulous setting: among Griboyedov's plays, quite insignificant; in the brain of a Petersburg official with Lermontov's bile and anger in his soul and with a motionless face in which "there is no life"; not only that: a clumsy man with a cold and thin face, a poisonous scoffer and skeptic... wrote the most brilliant Russian drama. Having no predecessors, he had no followers equal to him."

3) N.K. Piksanov: “In essence, “Woe from Wit” should be called not a comedy, but a drama, using this term not in its generic, but in its specific, genre meaning.<...>
The realism of "Woe from Wit" is the realism of a high comedy-drama, the style is strict, generalized, laconic, economical to the last degree, as if elevated, enlightened.

4) A.A. Lebedev: "Woe from Wit" is all saturated with the element of laughter, in its most varied modifications and applications... The element of the comic in "Woe from Wit" is the most complexly contradictory element... Here a complex alloy of very different elements is formed, sometimes barely compatible, sometimes contrasting: there is "light humor", "quivering irony", even "kind of caressing laughter" and then "causticity", "bile", sa dash.
... The tragedy of the mind, which is discussed in Griboyedov's comedy, is wittily illuminated. Here on this sharp edge of contact tragic element with comic in "Woe from Wit" and reveals a peculiar subtext of the author's own perception of everything that happens ... "

Arguments for comedy

1. Comic tricks:

a) The main technique used in Griboyedov's comedy is comic inconsistencies :
Famusov(manager in a state-owned place, but treats his duties negligently):

Comic inconsistencies in speech and behavior:

Puffer(the character of the hero does not correspond to his position and the respect that he is given in society):

There are also contradictions in the statements about him by other comedy characters: on the one hand, he "has never uttered a word of wisdom", on the other hand, "he is both a golden bag and aims for generals."

Molchalin(inconsistency of thoughts and behavior: a cynic, but outwardly obsequious, courteous).

Khlyostovoy:

Liza about love for Sophia:

Chatsky(discrepancy between mind and funny situation, into which he falls: for example, Chatsky delivers speeches addressed to Sophia at the most inopportune moment).

b) Comic situations: "talk of the deaf" (dialogue between Chatsky and Famusov in act II, Chatsky's monologue in III action, a conversation between the Countess-grandmother and Prince Tugoukhovsky).

c) creates a comic effect parodic image Repetilova.

d) Reception grotesque in a dispute between Famusov's guests about the reasons for Chatsky's madness.

2. Language"Woe from the mind" - comedy language(colloquial, accurate, light, witty, sometimes sharp, rich in aphorisms, energetic, easy to remember).

Arguments for Drama

1. Dramatic conflict between the hero and society.
2. The tragedy of Chatsky's love and Sophia's love.

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

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

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

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

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

Chatsky even worries emotional drama, being in opposition to the whole society. The drama, but already of a personal nature, is also experienced by Sophia, who is disappointed in her lover. Therefore, the features of the dramatic genre are manifested here.

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

Option 2

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

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

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

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

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

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

The distinguishing feature of the play is its poetic form, enclosed in an inevitable rhythm, not allowing pauses, stops, representing the work in the form of a musical drama.

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

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

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History of creation

The work was created over the course of three years - from 1822 to 1824. By the autumn of 1824, the play was completed. Griboedov traveled to St. Petersburg, intending to use his connections in the capital to obtain permission for its publication and theatrical production. However, he soon became convinced that comedy "is not to be missed." Only excerpts published in 1825 in the almanac "Russian Thalia" could be passed through censorship. The entire play was first published in Russia in 1862. The first theatrical performance on the professional stage took place in 183i. Despite this, Griboyedov's play immediately spread among the reading public in handwritten lists, the number of which was close to the book editions of that time.

comedy method

The play "Woe from Wit" was written at a time when classicism dominated the stage, but romanticism and realism were developing in literature as a whole. The emergence of different directions at the turn of the century largely determined the features of the method of the work: comedy combines the features of classicism, romanticism and realism.

Genre

Griboyedov himself defined the genre of the work as "comedy". But this play does not fit into the framework of the comedy genre, since it has very strong dramatic and tragic elements. In addition, contrary to all the canons of the comedy genre, "Woe from Wit" ends dramatically. From the point of view of modern literary criticism, Woe from Wit is a drama. But at the time of Griboyedov, such a division of dramatic genres did not exist (drama as a genre stood out later), so the following opinion appeared: “Woe from Wit” is a “high” comedy. Since tragedy was traditionally considered a "high" genre, such a genre definition put Griboyedov's play at the intersection of two genres - comedy and tragedy.

Plot

Chatsky, who was orphaned early, lived in the house of his guardian Famusov, a friend of his father, and was brought up with his daughter. “The habit of being together every day is inseparable” bound them with childhood friendship. But soon the young man Chatsky was already “bored” in Famusov’s house, and he “moved out”, made good friends, seriously took up science, went to “wander”. Over the years, his friendly disposition towards Sophia has grown into a serious feeling. Three years later, Chatsky returned to Moscow and hurried to see Sophia. However, during his absence, the girl has changed. She is offended by Chatsky for a long absence and is in love with Molchalin's father's secretary.

In Famusov's house, Chatsky meets Skalozub, a possible contender for Sophia's hand, and other representatives of the "Famus" society. A tense ideological struggle arises and flares up between them. The dispute is about the dignity of a person, his value, about honor "and honesty, about the attitude to service, about the place of a person in society. Chatsky sarcastically criticizes feudal arbitrariness, cynicism and callousness of the "fathers of the fatherland", their miserable admiration for everything foreign, their careerism, etc.

"Famus" society is the personification of meanness, ignorance, inertia. Sophia, whom the hero loves so much, should also be attributed to him. It is she who starts gossip about the madness of Chatsky, seeking to avenge the mockery of Molchalin. The fiction about Chatsky's madness is spreading with lightning speed, and it turns out that, according to Famusov's guests, crazy means "freethinker". » . Thus, Chatsky is recognized as crazy for his free-thinking. In the finale, Chatsky accidentally finds out that Sophia is in love with Molchalin (“Here I am donated to whom!”). And Sophia, in turn, discovers that Molchalin is in love with her "by position". Chatsky decides to leave Moscow forever.

Conflict. Composition. Issues

In Woe from Wit, two types of conflict can be distinguished: a private, traditional comedy love affair, into which Chatsky, Sofya, Molchalin and Liza are drawn, and a public one (the clash of the “current century” and “past century”, that is, Chatsky with the inert social environment - “famusovsky” society). Thus, the comedy is based on the love drama and the social tragedy of Chatsky, which, of course, cannot be perceived separately from each other (one determines and conditions the other).

Since the time of classicism, the unity of action, that is, a strict causal relationship of events and episodes, has been considered mandatory in dramaturgy. In Woe from Wit, this connection is noticeably weakened. The external action in Griboyedov's play is not so clearly expressed: one gets the impression that nothing particularly significant happens in the course of the comedy. This is due to the fact that in "Woe from Wit" the dynamics and tension of the dramatic action is created due to the transfer of thoughts and feelings of the central characters, especially Chatsky.

Comedy writers late XVIII- at the beginning of the 19th century, certain vices were ridiculed: ignorance, arrogance, bribery, blind imitation of the foreign. “Woe from Wit” is a bold satirical denunciation of the entire conservative way of life: careerism reigning in society, bureaucratic inertia, martinetism, cruelty to serfs, ignorance. The formulation of all these problems is primarily associated with the image of the Moscow nobility, "famus" society. Famusov, an ardent defender of the existing regime, is shown close-up; in the image of Skalozub, the careerism of the military environment and the Arakcheev martinetism are stigmatized; Molchalin, who begins his bureaucratic service, is obsequious and unscrupulous. Thanks to episodic figures (Gorichi, Tugoukhovsky, Khryumin, Khlestova, Zagoretsky), the Moscow nobility appears, on the one hand, many-sided and colorful, and on the other, it is shown as a close-knit social camp, ready to defend its interests. The image of the Famus society is made up not only of the faces brought to the stage, but also of numerous off-stage characters who are only mentioned in monologues and remarks (the writer of “exemplary nonsense” Foma Fomich, the influential Tatiana Yuryevna, the serf-theater, Princess Marya Alekseevna).

Heroes

Comedy heroes can be divided into several groups: main characters, secondary characters, mask characters and off-stage characters. The main characters of the play include Chatsky, Molchalin, Sofia and Famusov. The interaction of these characters with each other drives the course of the play. Secondary characters - Lisa, Skalozub, Khlestova, Gorichi and others - also participate in the development of the action, but have no direct relation to the plot.

Main characters. Griboyedov's comedy was written in the first quarter of the 19th century, after the war of 1812. At this time, society in Russia was divided into two camps. The first included dignitaries of the 18th century, professing the old principles of life, representing the "past century" ("famus" society). In the second - progressive noble youth, representing the "current century" (Chatsky). Belonging to any camp has become one of the principles of organizing the system of images.

Famus Society. An important place in comedy is occupied by the exposure of vices. modern writer society, the main value for which is "the soul of a thousand two tribal" and the rank. It is no coincidence that Famusov is trying to pass off Sophia as Skalozub, who "both a golden bag and aims for generals." In the words of Lisa, Griboyedov convinces us that Famusov is not the only one who holds this opinion: “Like all Moscow, your father is like this: he would like a son-in-law with stars and stars.” Relations in this society are formed on the basis of how rich a person is. For example, Famusov, who is rude and despotic with his family, when speaking with Skalozub, adds a respectful “-s”. As for the ranks, to get, "there are many channels." Famusov cites Maxim Petrovich as an example to Chatsky, who, in order to achieve a high position, "bent over backwards."

Service for representatives of the Famus society is an unpleasant burden, with the help of which, however, you can get pretty rich. Famusov and others like him serve not for the good of Russia, but to replenish the wallet and acquire useful acquaintances. In addition, they enter the service not due to personal qualities, but due to family kinship (“In my presence, strangers who serve are very rare,” says Famusov).

Members of the Famus society do not recognize books, they consider learning to be the reason for the appearance of a huge number of insane people. Such “insane”, in their opinion, include the nephew of Princess Tugoukhovskaya, who “does not want to know the ranks”, Skalozub’s cousin (“The rank followed him: he suddenly left the service, began to read books in the village”) and, of course, Chatsky. Some members of the Famus society even try to demand oaths, “so that no one knows and does not learn to read and write .. But the Famus society blindly imitates French culture, adopting its superficial attributes. So, a Frenchman from Bordeaux, having arrived in Russia, "did not meet either the sound of a Russian or a Russian face." Russia seems to have become a province of France: "the ladies have the same sense, the same outfits." They even began to speak mainly in French, forgetting their native language.

The Famus society resembles a spider that draws people into its webs and forces them to live according to their own laws. So, for example, Platon Mikhailovich until recently served in the regiment, rushed on a greyhound horse, not being afraid of the wind, and now “he is very weak in health,” according to his wife. He seems to live in captivity. He cannot even leave for the country: his wife loves balls and receptions too much.

Members of the Famus society do not have their own opinions. For example, Repetilov, having learned that everyone believes in Chatsky's madness, also agrees that he has gone mad. Yes, and everyone cares only what they think of them in society. They are indifferent to each other. For example, having learned about Molchalin's fall from a horse, Skalozub is only interested in "how he cracked, chest or side." No wonder the comedy ends famous phrase Famusova "What will Princess Marya Aleksevna say?" Upon learning that his daughter is in love with Silent In, he thinks not about her mental suffering, but about how it looks in the eyes of secular society.

Sophia. The image of Sophia is ambiguous. On the one hand, Famusov's daughter was brought up by her father, Madame Rosier, cheap teachers and sentimental French novels. She, like most ladies of her circle, dreams of a "servant husband." But on the other hand, Sofya prefers poor Molchalin to rich Skalozub, does not bow to ranks, is capable of a deep feeling, can say: “What is rumor to me? Whoever wants, he judges! Sophia's love for Silent-well is a challenge to the society that raised her. In a sense, only Sophia is able to understand Chatsky and answer him on equal terms, take revenge by spreading gossip about his madness; only her speech can be compared with the language of Chatsky.

Chatsky. The central hero of the comedy and the only positive character is Chatsky. He defends the ideals of education and freedom of opinion, promotes national identity. His ideas about the human mind are completely different from those around him. If Famusov and Silent to Others understand the mind as the ability to adapt, to please those in power in the name of personal prosperity, then for Chatsky it is associated with spiritual independence, freedom, with the idea of ​​civil service. "

Although Griboyedov makes it clear to the reader that in his contemporary society there are people similar to Chatsky in their views, the hero of the comedy is shown lonely and persecuted. The conflict between Chatsky and the Moscow nobility is intensified by his personal drama. The more acutely the hero experiences his unrequited love for Sophia, the stronger his speeches against the Famus society. In the last

In the act, Chatsky appears as a deeply suffering, full of skepticism, a bitter man who wants to "pour out all the bile and all the annoyance to the whole world."

Heroes-masks and off-stage characters. The images of masked heroes are extremely generalized. The author is not interested in their psychology, they occupy him only as important "signs of the times." They play a special role: they create a socio-political background for the development of the plot, they emphasize and clarify something in the main characters. The heroes-masks include Repetilov, Zagoretsky, gentlemen N and D, the Tugoukhovsky family. Take, for example, Pyotr Ilyich Tugoukhovsky. He is faceless, he is a mask: he doesn’t say anything but “uhm”, “ahhm” and “uhm”, he hears nothing, is not interested in anything, he is completely devoid of his own opinion. It brings to the point of absurdity, to the point of absurdity, the traits of a “husband-boy, husband-servant”, which constitute the “high ideal of all Moscow men”.

A similar role is played by off-stage characters (heroes whose names are given, but they themselves do not appear on stage and do not take part in the action). In addition, mask heroes and off-stage characters, as it were, "push apart" the walls of the Famusov's living room. With their help, the author makes the reader understand that we are talking not only about Famusov and his guests, but also about the whole lordly Moscow. Moreover, in the conversations and remarks of the characters, the appearance of the capital Petersburg, and the Saratov wilderness, where Sophia's aunt lives, etc., appear, etc. Thus, in the course of action, the space of the work gradually expands, covering first all of Moscow, and then Russia.

Meaning

In the comedy Woe from Wit, all the political and social issues that were acute at that time were raised: about serfdom, about service, about education, about noble education; topical disputes about jury trials, boarding schools, institutes, mutual education, censorship, etc., were reflected.

No less important is educational value comedy. Griboedov sharply criticized the world of violence, arbitrariness, ignorance, sycophancy, hypocrisy; showed how the best human qualities perish in this world, where the Famusovs and Molchalins dominate.

The importance of the comedy "Woe from Wit" in the development of Russian drama is especially important. It is primarily determined by its realism.

There are some features of classicism in the construction of the comedy: the observance of mainly three unities, the presence of large monologues, the “speaking” names of some characters, etc. But in terms of its content, Griboedov’s comedy is a realistic work. The playwright fully, comprehensively described the heroes of the comedy. Each of them is not the embodiment of any one vice or virtue (as in classicism), but a living person endowed with his own qualities. Griboyedov at the same time showed his heroes as individuals with unique, individual character traits, and as typical representatives of a certain era. Therefore, the names of his heroes have become household names: synonymous with soulless bureaucracy (famusism), sycophancy (silence), rude and ignorant military (skalozubovism), idle talk chasing fashion (Repetilovism).

Creating the images of his comedy, Griboyedov solved the most important task for a realist writer (especially a playwright) of the speech characteristics of the characters, that is, the task of individualizing the language of the characters. In Griboyedov's comedy, each person speaks in his own living spoken language. This was especially difficult to do because the comedy is written in verse. But Griboyedov managed to give the verse (the comedy is written in multi-footed iambic) the character of a lively, unconstrained conversation. After reading the comedy, Pushkin said: "I'm not talking about poetry - half should go into proverbs." Pushkin's words came true quickly. Already in May 1825, the writer V. F. Odoevsky stated: “Almost all the verses of Griboedov’s comedy became proverbs, and I often happened to hear whole conversations in society, most of which were verses from Woe from Wit.

And many verses from Griboyedov's comedy have entered our colloquial speech, for example: “Happy hours do not watch”, “And the smoke of the fatherland is sweet and pleasant to us”, “The legend is fresh, but hard to believe” and many others.

Examples of USE assignments on topic 4.2.

Part 1

The answer to tasks B1-B11 is a word or a combination of words. Write your answer without spaces, punctuation, or quotation marks.

81. To what literary genus does A.S. Griboyedov's "Woe from Wit" belong?

82. How did A. S. Griboyedov himself define the genre of “Woe from Wit”?

83 . What two conflicts underlie Woe from Wit?

84. Name the participants in the love conflict "Woe from Wit."

85. Name the non-stage characters of A. S. Griboedov's comedy "Woe from Wit".

86. Which of the heroes of "Woe from Wit" calls himself a member of the "secret union"?

87. About which of the heroes of "Woe from Wit"

Who else will settle things so peacefully! There the pug will stroke in time! Here at the time the card will be rubbed! Zagoretsky will not die in it!

88. Which of the heroes of "Woe from Wit" spreads a rumor about Chatsky's madness?

89. Which of the heroes of "Woe from Wit", according to his own admission, "mind and heart are not in harmony"?

AT 10 O'CLOCK. What is the name of a similar type of utterance in a dramatic work?

And sure enough, the world began to go stupid,

You can say with a sigh;

How to compare and see

The current century and the past century:

Fresh legend, but hard to believe,

As he was famous for, whose neck bent more often;

As not in the war, but in the world they took it with their foreheads,

Examples of USE assignments

Knocked on the floor without regret!

Who needs: those arrogance, they lie in the dust,

And for those who are higher, flattery, like lace, was woven.

Direct was the age of humility and fear,

All under the guise of zeal for the king.

I'm not talking about your uncle, I'm talking about yours;

We will not disturb him with dust:

But meanwhile, whom the hunt will take,

Even in the most ardent servility^

Now to make people laugh

Is it brave to sacrifice the back of your head?

Aversnichek, but an old man

Another, looking at that jump,

And crumbling in shabby skin

Tea said: “Ah! if only for me too!”

Although there are hunters to scoff everywhere,

Yes, now laughter frightens and keeps shame in check;

It is not for nothing that sovereigns favor them sparingly.

AT 11. What are the names of the sayings of the heroes, which are distinguished by brevity, capacity of thought and expressiveness: “The legend is fresh, but it is hard to believe”, “I would be glad to serve, it is sickening to serve”, “And the smoke of the fatherland is sweet and pleasant to us.”

Part 3

Give a full detailed answer to the problematic question, attracting the necessary theoretical and literary knowledge, relying on literary works, the position of the author and, if possible, revealing your own vision of the problem.

C1. Describe the representatives of the "famus" society.

C2. What is the problem of the genre definition of the play by A.S. Griboyedov "Woe from Wit"

SZ. The image of Chatsky: winner or loser?

A. S. Pushkin. Poems

"To Chaadaev"

The poem "To Chaadaev" was written by Pushkin in the "Petersburg" period, in 1818. At this time, the poet was strongly influenced by the Decembrist ideas. Under their influence, his freedom-loving lyrics of these years were created, including the program poem “To Chaadaev”. Genre- a friendly message.

In the poem "To Chaadaev" sounds subject liberties and struggle against autocracy. It reflects the views and political sentiments that united Pushkin with his friend P. Ya. Chaadaev and with all the progressive people of his time. It is no coincidence that the poem was widely distributed in the lists, served as a means of political agitation.

Plot. At the beginning of the message, Pushkin says that the hopes that arose in society in the first years of the reign of Alexander I quickly disappeared. The oppression of “fatal power” (the tightening of policy by the emperor after the war of 1812) makes people of advanced views and freedom-loving moods feel with particular acuteness the “calling of the fatherland” and impatiently wait for the “minute of liberty of the saint.” The poet calls "to devote souls to the fatherland beautiful impulses... to fight for her freedom. At the end of the poem, faith is expressed in the inevitability of the fall of the autocracy and in the liberation of the Russian people:

Comrade, believe: she will rise,

Star of captivating happiness

Russia will wake up from sleep

And on the ruins of autocracy

Write our names!

Innovation Pushkin is that in this poem he combined civic, accusatory pathos with almost intimate experiences of the lyrical hero. The first stanza brings to mind the images and aesthetics of a sentimentalist and romantic elegy. However, the beginning of the next stanza dramatically changes the situation: a disappointed soul is opposed by a soul full of courage. It becomes clear that we are talking about a thirst for freedom and struggle; but at the same time, the phrase “burning desire” seems to hint at the fact that we are talking about the unspent power of love feeling. The third stanza connects the images of political and love lyrics. In the two final stanzas, love phraseology is replaced by civic-patriotic images.

If the ideal for Decembrist poetry was a hero who voluntarily renounces personal happiness for the sake of the happiness of his homeland, and love lyrics were condemned from these positions, then in Pushkin political and love lyrics were not opposed to each other, but merged in a common impulse of love of freedom.

"Village"

The poem "Village" was written by Pushkin in 1819, during the so-called "Petersburg" period of his work. For the poet, this was a time of active participation in the socio-political life of the country, visiting the secret union of the Decembrists, friendship with Ryleev, Lunin, Chaadaev. The most important issues for Pushkin during this period were the social structure of Russia, the social and political lack of freedom of many people, the despotism of the autocratic-feudal system.

The poem "Village" is dedicated to the extremely relevant for that time topic serfdom. It has a two-part composition: the first part (up to the words "... but the thought is terrible ...") is an idyll, and the second is a political declaration, an appeal to strong of the world this.

The village for the lyrical hero is, on the one hand, a kind of ideal world where silence and harmony reign. In this land, "a haven of tranquility, work and inspiration", the hero gains spiritual freedom, indulges in "creative thoughts". The images of the first part of the poem - "a dark garden with its coolness and flowers", "bright streams", "striped fields" - are romanticized. This creates an idyllic picture of peace and tranquility. But a completely different side of life in the village opens in the second part, where the poet ruthlessly reveals the ugliness of social relations, the arbitrariness of the landowners and the disenfranchised position of the people. “Wild nobility” and “skinny slavery” are the main images of this part. They embody the "deadly shame of ignorance", all the wrongness and inhumanity of serfdom.

Thus, the first and second parts of the poem are contrasting, opposed to each other. Against the backdrop of beautiful, harmonious nature, the kingdom of "happiness and oblivion", depicted in the first part, the world of cruelty and violence in the second part looks especially ugly and flawed. The poet uses the technique of contrast to more clearly identify the main idea works - the injustice and cruelty of serfdom.

The selection of figurative and expressive language means also serves the same purpose. The intonation of speech in the first part of the poem is calm, even, friendly. The poet carefully selects epithets, conveying the beauty of rural nature. They create a romantic and peaceful atmosphere: “the flow of my days is flowing”, “mills of wings”, “lake azure plains”, “peaceful noise of oak forests”, “silence of fields”. In the second part, the intonation is different. Speech becomes agitated. The poet selects well-aimed epithets, gives an expressive speech description: “wild nobility”, “chosen by fate to the destruction of people”, “tormented slaves”, “relentless owner”. In addition, the last seven lines of the poem are filled with rhetorical questions and exclamations. They demonstrate the indignation of the lyrical hero and his unwillingness to put up with the unjust structure of society.

"Daylight went out"

The work “The daylight went out ...” became the first poem of a new period of Pushkin's creativity and the beginning of the so-called “Crimean cycle” of elegies. This cycle also includes the poems “The flying range of clouds is thinning ...”, “Who has seen the land where the luxury of nature ...”, “My friend, the traces of past years are forgotten by me ...”, “Forgive me jealous dreams ...”, “Rainy day went out; rainy night haze ... ". Genre- romantic elegy.

Composition.. The poem can be roughly divided into two parts. In the first, all the thoughts and feelings of the lyrical hero are directed to the "distant shore", the goal of the journey. In the second, he recalls the abandoned "fatherland". The parts of the poem are opposed to each other: the “distant shore”, to which the lyrical hero aspires, seems to him to be a “magic” land, to which he aspires “with excitement and longing”. “Fatherly lands”, on the contrary, are described as “sad shores”, they are associated with “desires and hopes, a weary deceit”, “lost youth”, “vicious delusions”, etc.

The elegy "The light of day went out ..." marks the beginning of the romantic period in Pushkin's work. Here sounds traditional for romanticism subject flight romantic hero. The poem contains the whole set of characteristic signs of a romantic worldview: a yearning fugitive, a homeland abandoned forever, hints of "crazy love", deceit, etc.

It should be noted the extreme romanticism of Pushkin's images. The hero is not just on the border of the elements (between the ocean, sky and earth), but on the border of day and night; and also between the "crazy love of yesteryear" and "far beyond". Everything is brought to the limit: not the sea, but the "gloomy ocean", not just the coast, but the mountains, not just the wind, but wind and fog at the same time.

"Prisoner"

The poem "The Prisoner" was written in 1822, during the "southern" exile. Arriving at the place of his permanent service, in Chisinau, the poet was shocked by a striking change: instead of the flowering Crimean coasts and the sea, there were endless steppes scorched by the sun. In addition, the lack of friends, boring, monotonous work and a feeling of complete dependence on superiors affected. Pushkin felt like a prisoner. At this time, the poem "The Prisoner" was created.

home subject poems "Prisoner" - the theme of freedom, vividly embodied in the image of an eagle. The eagle is a prisoner, like a lyrical hero. He grew up and nurtured in captivity, he never knew freedom and yet strives for it. In the eagle's call for freedom (“Let's fly away!”), the idea of ​​Pushkin's poem is realized: a person should be free, like a bird, because freedom is the natural state of every living being.

Composition. The Prisoner, like many other poems by Pushkin, is divided into two parts, differing from each other in intonation and tone. Parts are not contrasting, but gradually the tone of the lyrical hero becomes more and more agitated. In the second stanza, the calm story rapidly turns into a passionate appeal, into a cry for freedom. In the third, it reaches its peak and, as it were, hangs on the highest note on the words "... only the wind... yes me!".

"Freedom sower desert.,."

In 1823 Pushkin experienced a deep crisis. The state of spiritual decline, pessimism that took possession of the poet was reflected in a number of poems, including the poem "Freedom sower of the desert ...".

Pushkin uses plot Gospel parable about the sower. This parable is spoken by Christ in the presence of the twelve disciples at a confluence of people: “A sower went out to sow his seed: and while he was sowing, another fell by the way and was trampled; and the birds of the air pecked at him. And some fell on a rock, and rising up, withered, because it had no moisture. And something else fell between the thorns, and the thorns grew up and choked him. And another fell on good ground and, rising up, brought forth fruit a hundredfold. If in the gospel parable at least some of the "seeds" bore "fruit", then the conclusion of Pushkin's lyrical hero is much less comforting:

Desert sower of freedom,

I left early, before the star;

By a pure and innocent hand

In enslaved reins

Threw a life-giving seed -

But I only lost time

Good thoughts and works...

Composition. Compositionally and in meaning, the poem is divided into two parts. The first is dedicated to the sower, its tone is sublimely elevated, which is facilitated by the use of gospel imagery (“the sower”, “life-giving seed”). The second - "peaceful peoples", here the tone of the lyrical hero changes dramatically, now this is an angry denunciation, "peaceful peoples" are compared with a submissive herd:

Graze, peaceful peoples!

The cry of honor will not wake you up.

Why do the herds need the gifts of freedom?

They must be cut or sheared.

Their inheritance from generation to generation

A yoke with rattles and a scourge.

With the help of the famous parable, Pushkin in a new way resolves the traditional for romanticism topic poet-prophet in a clash with the crowd. “The desert sower of freedom” is a poet (and not only Pushkin himself, but a poet as such), the “life-giving seed” that the lyrical hero sows, symbolizes the word, poetry in general and political poems and radical statements that marked the life of the poet in St. Petersburg and Chisinau, in particular. As a result, the lyrical hero comes to the conclusion that all his labors are in vain: no calls for freedom are able to awaken the “peaceful peoples”.

"Imitation of the Koran" (IX. "And the tired traveler grumbled at God ...")

"And the tired traveler murmured against God ..." is the ninth and final poem of the cycle "Imitation of the Koran", written in 1825. Pushkin, relying on the Russian translation of M. Verevkin, freely transposed fragments of suras, that is, chapters of the Koran. Genre - parable.

Pushkin's cycle "Imitation of the Koran" is not just separate, albeit interconnected episodes from the life of the prophet, but the most important stages of human destiny in general.

The final poem of the cycle “And the tired traveler grumbled at God ...” is clearly a parable, and plot its simple enough. The “tired traveler” languishes from thirst caused by the heat of the desert, focused on his physical suffering. He “murmurs” at God, having lost hope for salvation, and does not realize the Divine omnipresence, does not believe in the constant care of the Creator about his creation.

When the hero was already completely losing faith in salvation, he sees a well with water and greedily quenches his thirst. After that, he falls asleep long years. Waking up, the traveler discovers that by the will of the Almighty he slept for many years and became an old man:

And grief-stricken instant old man,

Sobbing, trembling head drooped ...

But a miracle happens:

God restores youth to the hero:

And the traveler feels both strength and joy;

The resurrected youth played in the blood;

Holy raptures filled the chest:

And with God he goes far on his way.

In this poem, Pushkin uses the mythological plot of "death - rebirth", due to which it is of a generalizing nature. The traveler is perceived as a person in general. His "death" and "resurrection" symbolize life path man from error to truth, from unbelief to faith, from gloomy disappointment to optimism. Thus, the "resurrection" of the hero is interpreted, first of all, as a spiritual rebirth.

"Song of the Prophetic Oleg"

"The Song of the Prophetic Oleg" was written in 1822. Genre- legend.

Plot basis"Songs about the prophetic Oleg" served as a legend about the death of Oleg, the prince of Kyiv, recorded in the "Tale of Bygone Years". The Kyiv prince Oleg, nicknamed by the people "prophetic" for his wisdom, the sorcerer, "magician", predicts: "you will accept death from your horse." Frightened by a terrible prophecy, the prince parted with his faithful fighting horse friend. A lot of time passes, the horse dies, and Prince Oleg, remembering the prediction, decides with anger and bitterness that the sorcerer deceived him. Arriving at the grave of an old fighting friend, Oleg regrets that they had to

break up early. However, it turns out that the magician did not slander, and his prophecy came true: a poisonous snake that crawled out of the horse's skull stung Oleg.

In the legend of Prince Oleg and his horse, Pushkin was interested in subject fate, the inevitability of a predetermined fate. Oleg, as it seems to him, gets rid of the threat of death, sends away the horse, which, according to the magician's prediction, should play a fatal role. But after many years, when it seems that the danger has passed - the horse is dead - fate overtakes the prince.

There is another one in the poem subject, extremely important for the poet - the theme of the poet-prophet, the theme of the poet - the herald of the highest will. So, the prince says to the magician:

Tell me the whole truth, don't be afraid of me:

You will take a horse as a reward for anyone.

And hears in response:

Magi are not afraid of mighty lords,

And they do not need a princely gift;

Truthful and free is their prophetic language

And friendly with the will of heaven.

"To sea"

"To the Sea" was created in 1824. This poem completes the romantic period of Pushkin's work. It stands, as it were, at the junction of two periods, so it contains some romantic themes and images, and features of realism.

Traditionally genre the poem "To the Sea" is defined as an elegy. However, one should rather talk about a combination of such genres as a message and an elegy. The genre of the message is already evident in the very title of the poem, but the content remains purely elegiac.

In the very first line of the poem, the lyrical hero says goodbye to the sea ("Farewell, free element!"). This farewell is both with the real Black Sea (in 1824 Pushkin was expelled from Odessa to Mikhailovskoye, under the supervision of his father), and with the sea as a romantic symbol of absolute freedom, and with romanticism itself.

The image of the sea, raging and free, takes center stage. First, the sea appears before us in a traditionally romantic spirit: it symbolizes a person's life, his destiny. Then the picture is concretized: the sea is connected with the fate of great personalities - Byron and Napoleon.

In this poem, the poet's farewell to romanticism, to his ideals, takes place. Pushkin gradually turns to realism. In the last two lines of the elegy, the sea ceases to be a romantic symbol, but becomes simply a landscape.

In the elegy "To the Sea" the traditional for romanticism rises subject hero's romantic getaway. In this sense, it is interesting to compare it with one of the first poems of the Romantic period in Pushkin's work, "The daylight went out ..." (1820), where the theme of flight also arises. Here the lyrical hero seeks to go to some unknown “magic land” (romantic rejection of the surrounding reality), and the poem “To the Sea” already speaks of the failure of this romantic journey:

Failed to leave forever

I have a boring motionless shore,

Congratulate you with enthusiasm

And send along your waves

My poetic escape!

In the poem “The daylight went out ...” the hero strives for the “distant shore”, which seems to him an ideal land (romantic “there”), and in the elegy “To the Sea”, the hero doubts its existence:

The world is empty ... Now where

Would you carry me, ocean?

The fate of people everywhere is the same:

Where there is a drop of good, there is on guard

Already enlightenment or a tyrant.

"Nanny"

The poem "Nanny" was written in Mikhailovsky in 1826. In 1824-1826, the poet's nanny Arina Rodionovna, together with Pushkin, lived in Mikhailovsky, sharing exile with him. She had a great influence on his work, folklore, passion for folk poetry, fairy tales. The time spent with the nanny, the poet repeatedly sang in poems, and embodied her features in the images of the nanny Tatyana Larina, nanny Dubrovsky, female images the novel "Arap of Peter the Great", etc. The famous Pushkin poem "Nanny" is also dedicated to Arina Rodionovna.

Griboyedov's comedy "Woe from Wit" has been known to us since childhood, since it has long been included in school curriculum. In this article, we will talk in more detail about the genre of the work, its main themes and idea, consider the plot, the images of the main characters, and also give some of the most popular aphorisms.

About the work

We will consider the genre (“Woe from Wit”) below, but for now let's talk about the history of creation. It is known that Griboedov began writing the play in 1821. During these years, the writer served in Tiflis, but nevertheless found time to work. In 1823, Griboyedov returned to Moscow, where he completed work on the comedy. Here he first read the work in a circle of friends.

Genre

It is quite difficult to determine what its genre is. "Woe from Wit" is an innovative work and violates many of the canonical principles of classicism. Like any traditional play, "Woe from Wit" is based on love affair, but the main thing is the social conflict that develops in parallel. In addition, the play combines everyday comedy, comedy of characters and social satire, which is unacceptable for classicism.

There are also doubts about whether the work can be called a comedy, as the author described it. After all main character quite atypical and not funny. On the other hand, all the signs of the declared genre are present - satirical characters and situations.

Eventually contemporary critics called the work a high comedy, since Griboedov raises in it serious social and moral issues. And the changes made to the genre by the author are due to the fact that the realization of the idea required more opportunities than the classical tradition allowed.

What's new?

The genre (“Woe from Wit”) is not in vain considered innovative. Let's start with the fact that the author violated the unity of action in the work. That is, instead of one conflict, as was customary in classicism, Griboyedov depicts two - social and love. Also in classical comedy, vice is inevitably overcome by virtue, but this does not happen here either. Chatsky is outnumbered and forced to flee.

It also portrays the characters of the Griboyedovs in a different way. They are not divided into negative and positive, and are endowed with more realistic features: they have both impartial and positive qualities. For example, Sophia is experiencing a personal drama, despite the fact that it is difficult to name it. negative character. The girl was sincerely in love with Molchalin.

From the foregoing, we can conclude that the originality of the work lies in the fact that it includes several genres, of which the leading one is public comedy.

The meaning of the name

When analyzing the play, it is impossible not to reveal the meaning of the title. "Woe from Wit" - a title that helps the reader understand the main topic that the author wanted to reveal. Namely, he focused attention precisely on the categories of the mind. Let's start with the fact that the name refers us to the Russian folk proverb, which describes the clash of the smart and the stupid, ending in the victory of the latter. Thus, even before reading the text, we can already predict the denouement.

This conflict of stupidity and intelligence has always been important for classicism. But Griboyedov rethought it. No wonder contemporaries immediately had a question: who is smart in comedy? Critics agree that two are endowed with this quality - Molchalin and Chatsky. However, he helps the first to live, and destroys the second. The fact is that we have two types of mind. Molchalin's is moderate, worldly, while Chatsky's is ardent and unadapted to realities. Thus, the meaning of the name (“Woe from Wit”) takes on a slightly different meaning. We see that it is not just the mind that brings misfortune, but a certain type of mind.

The protagonist of the work is Alexander Andreevich Chatsky, a nobleman who, after a three-year journey, returns to his beloved Sophia. Thus, at first we see the usual love plot.

"Woe from Wit" begins with the awakening of Lizonka, who did not get enough sleep because of the nightly meetings between Sophia and Molchalin, because she had to keep the date a secret. On the same day, the girl recalls her old passion for Chatsky, calling him an intelligent and outstanding person. However, this was all just a childish hobby, and besides, he offended her with his unexpected departure. At this moment Chatsky's return is reported.

The young man is happy to meet and intends to marry Sophia, but she meets him very coldly. Famusov also does not want to give his daughter to a nobleman without a high rank. There is a dispute about "old" and "new" people.

Gradually, Chatsky begins to suspect that Sophia has another lover. He becomes cold, for which the girl is accused of insensitivity.

Left alone with Lisa, Molchalin flirting with her.

Acts 3 and 4: climax and denouement

Griboyedov's comedy "Woe from Wit" does not give the reader an ideal hero: even Chatsky is portrayed as an imperfect person with his own shortcomings.

So, the main character cannot understand who is nice to Sophia. He cannot consider Molchalin a candidate, since he is “the most miserable creature”, incapable of ardent feelings and selflessness. When it turns out that it was he who became Sophia's chosen ones, Chatsky is disappointed in his beloved.

The protagonist delivers an accusatory monologue about modern society. At the same time, a rumor spread by Sophia that Chatsky is insane is spreading in the world. As a result, the hero is forced to flee from Moscow.

"Woe from Wit": characters

First, let's list the main characters of the comedy.

• Let's start, of course, with Alexander Chatsky. He knew Sophia from childhood and was in love with her. But 3 years before the start of the comedy, he went to travel. It is with his return that the beginning of the play and the beginning of all conflicts are connected. Chatsky opposes himself to society with all the ardor of youth. But in the end, he is defeated and he has to flee from the house he has known since childhood.
• Sofia Famusova is a 17-year-old girl who grew up without a mother and was raised by her father. She is selflessly in love with Molchalin and is ready to defend him to the last. Sophia is not stupid, and Griboyedov also endowed her with courage and the ability to resist the opinions of others.
• Alexei Molchalin - serves as Famusov's secretary and lives in his house. He is very cautious and prudent, he remembers his low origin. Molchalin knows that Sophia loves him. He does not reciprocate and is ready to pretend for the sake of good relationship with your employer.
• And, finally, Famusov Pavel Afanasevich - Sophia's father, who serves as a manager in a state-owned house. Two things are important to him - rank and the opinion of the world. He is very afraid of enlightenment and educated people.

Minor Heroes

There are others characters in the play "Woe from Wit". The characters of the second plan, one might say, are divided into two groups - these are representatives of the local society and servants. The first are a reflection of social trends. From them one can judge what is going on in the minds of representatives of high society. Griboyedov portrays them as narrow-minded, ossified, stupid conservatives. These include Skalozub, Tugoukhovsky, Khryumins, Gorichi, and Famusov, the head of the house. The genre (“Woe from Wit”) suggests the presence of a comic beginning, which was embodied in this society.

Servants do not occupy such a significant place. They, as is customary in Russian literature, reflect the character of the people. Among this group, two stand out - Lizonka, Sophia's maid, who helps her secretly see Molchalin, and Petrushka, who plays the role of a mocker.

Themes of the work

The play has more than one theme. "Woe from Wit" has a wide range of problems. Griboyedov managed to touch on almost all the problems of his time. That is why the play was censored for a long time. So, let's list the main themes of the comedy: the education and upbringing of the nobles, the cruelty of the landlords, serfdom, senseless bureaucracy, the pursuit of ranks, the struggle between the "old" and the "new", Arakcheevism, Frenchmania, liberalism, love for everything foreign. The writer also addresses such eternal topics as love, marriage, family, relations between a woman and a man, etc.

Aphorisms from "Woe from Wit"

Quotes from the play have long been loved by readers and "gone to the people." Now we can’t always even understand that these are words from Griboyedov’s work, we are so used to these expressions.

Here are the most famous:

• “And the smoke of the Fatherland is sweet and pleasant for us!”
• "Happy hours are not observed."
• “A little light on my feet! And I'm at your feet."
• "Carriage for me, carriage!"

Aphorisms from "Woe from Wit" are so popular due to their accuracy and amazing topicality, which has survived to this day.

The main idea of ​​the work "Woe from Wit" is an illustration of meanness, ignorance and servility to the ranks and traditions, which were opposed by new ideas, genuine culture, freedom and reason. The protagonist Chatsky acted in the play as a representative of the same democratically minded society of young people who openly challenged the conservatives and serfs. All these subtleties that raged in social and political life, Griboyedov managed to reflect on the example of a classic comedic love triangle. It is noteworthy that the main part of the work described by the creator takes place within just one day, and the characters themselves are displayed very brightly by Griboyedov.

Many of the writer's contemporaries honored his manuscript with sincere praise and stood up to the king for permission to publish the comedy.

The history of writing the comedy "Woe from Wit"

The idea of ​​writing the comedy "Woe from Wit" visited Griboedov during his stay in St. Petersburg. In 1816, he returned to the city from abroad and found himself at one of the secular receptions. Deep inner indignation caused in him the craving of Russian people for foreign things, after he noticed that the nobility of the city bowed to one of the foreign guests. The writer could not restrain himself and showed his negative attitude. Meanwhile, one of the guests, who did not share his convictions, retorted that Griboyedov was crazy.

The events of that evening formed the basis of the comedy, and Griboedov himself became the prototype of the main character Chatsky. The writer began work on the work in 1821. He worked on comedy in Tiflis, where he served under General Yermolov, and in Moscow.

In 1823, work on the play was completed, and the writer began to read it in Moscow literary circles, receiving rave reviews along the way. The comedy was successfully distributed in the form of lists among the reading population, but for the first time it was published only in 1833, after the request of Minister Uvarov to the tsar. The writer himself was no longer alive by that time.

Analysis of the work

Comedy main story

The events described in the comedy take place in early XIX century, in the house of the capital official Famusov. His young daughter Sofya is in love with Famusov's secretary, Molchalin. He is a prudent man, not rich, occupying a minor rank.

Knowing about Sophia's passions, he meets with her by calculation. One day, a young nobleman Chatsky arrives at the Famusovs' house - a family friend who has not been in Russia for three years. The purpose of his return is to marry Sophia, for whom he has feelings. Sophia herself hides her love for Molchalin from the main character of the comedy.

Sophia's father is a man of the old way of life and views. He grovels before the ranks and believes that the young should please the authorities in everything, not show their opinion and selflessly serve the superiors. Chatsky, in contrast, is a witty young man with a sense of pride and a good education. He condemns such views, considers them stupid, hypocritical and empty. There are heated arguments between Famusov and Chatsky.

On the day of Chatsky's arrival, invited guests gather in Famusov's house. During the evening, Sophia spreads a rumor that Chatsky has gone crazy. The guests, who also do not share his views, actively pick up this idea and unanimously recognize the hero as crazy.

Turning out to be a black sheep at the evening, Chatsky is going to leave the Famusovs' house. While waiting for the carriage, he hears Famusov's secretary confessing his feelings to the servant of the masters. Sofya also hears this, who immediately drives Molchalin out of the house.

The denouement of the love scene ends with Chatsky's disappointment in Sophia and secular society. The hero leaves Moscow forever.

Heroes of the comedy "Woe from Wit"

This is the main character of Griboyedov's comedy. He is a hereditary nobleman who owns 300 - 400 souls. Chatsky was left an orphan early, and since his father was a close friend of Famusov, from childhood he was brought up with Sophia in the Famusovs' house. Later, he became bored with them, and at first he settled separately, and then completely left to wander the world.

From childhood, Chatsky and Sophia were friends, but he felt for her not only friendly feelings.

The main character in Griboedov's comedy is not stupid, witty, eloquent. A lover of mockery of the stupid, Chatsky was a liberal who did not want to bend before his superiors and serve the highest ranks. That is why he did not serve in the army and was not an official, which is rare for the era of that time and his pedigree.

Famusov is an aged man with gray hair at the temples, a nobleman. For his age, he is very cheerful and fresh. Pavel Afanasyevich is a widower, his only child is Sophia, 17 years old.

The official is public service, he is rich, but at the same time windy. Famusov does not hesitate to pester his own maids. His character is explosive, restless. Pavel Afanasyevich is obnoxious, but with the right people He knows how to be polite. An example of this is his communication with the colonel, to whom Famusov wants to marry his daughter. For the sake of his goal, he is ready for anything. Submission, servility to the ranks and servility are characteristic of him. He also values ​​the opinion of society about himself and his family. The official does not like to read and does not consider education to be something very important.

Sophia is the daughter of a wealthy official. Pretty and educated in the best rules of the Moscow nobility. Left early without a mother, but being in the care of the governess Madame Rosier, she reads French books, dances and plays the piano. Sophia is a fickle girl, windy and easily carried away by young men. At the same time, she is trusting and very naive.

In the course of the play, it is clear that she does not notice that Molchalin does not love her and is with her because of her own benefits. Her father calls her shameful and shameless, while Sophia herself considers herself a smart and not cowardly young lady.

Famusov's secretary, who lives in their house, is a single young man from a very poor family. Mine title of nobility Molchalin received only during the service, which in those days was considered acceptable. For this, Famusov periodically calls him rootless.

The surname of the hero, as well as possible, corresponds to his character and temperament. He doesn't like to talk. Molchalin is a limited and very stupid person. He behaves modestly and quietly, honors ranks and tries to please everyone who is in his environment. He does it purely for profit.

Aleksey Stepanovich never expresses his opinion, due to which others consider him to be quite a handsome young man. In fact, he is mean, unscrupulous and cowardly. At the end of the comedy, it becomes clear that Molchalin is in love with the maid Lisa. Having confessed this to her, he receives a portion of righteous anger from Sophia, but his characteristic sycophancy allows him to remain in the service of her father further.

Puffer is a secondary comedy hero, he is a non-initiative colonel who wants to become a general.

Pavel Afanasyevich refers Skalozub to the category of enviable Moscow suitors. According to Famusov, a wealthy officer who has weight and status in society is a good match for his daughter. Sophia herself did not like him. In the work, the image of Skalozub is collected in separate phrases. Sergey Sergeevich joins Chatsky's speech with absurd reasoning. They betray his ignorance and lack of education.

Maid Lisa

Lizanka is an ordinary maid in the Famus house, but at the same time she occupies a rather high place among other literary characters, and she is given quite a lot of different episodes and descriptions. The author describes in detail what Lisa does and what and how she says. She makes the other heroes of the play confess their feelings, provokes them to certain actions, pushes them to various decisions that are important for their lives.

Mr. Repetilov appears in the fourth act of the work. This is a minor, but bright comedy character, invited to Famusov's ball on the occasion of the name day of his daughter Sophia. His image - characterizes a person who chooses an easy path in life.

Zagoretsky

Anton Antonovich Zagoretsky is a secular reveler without ranks and honors, but he knows how and loves to be invited to all receptions. Due to his gift - to be pleasing "to the court."

Hurrying to visit the center of events, “as if” from the outside, the secondary hero A.S. Griboyedov, Anton Antonovich, himself, is invited to an evening at the Faustuvs' house. From the very first seconds of the action, it becomes clear with his person that Zagoretsky is another “shot”.

Madame Khlestova is also one of the secondary characters in the comedy, but still her role is very colorful. This is an older woman. She is 65 years old. She has a Spitz dog and a dark-skinned maidservant - arapka. Khlestova is aware latest gossip court and willingly shares his own stories from life, in which he easily talks about other characters in the work.

Composition and storylines of the comedy "Woe from Wit"

When writing the comedy Woe from Wit, Griboyedov used a technique characteristic of this genre. Here we can see a classic story where two men claim the hand of one girl at once. Their images are also classical: one is modest and respectful, the other is educated, proud and confident in his own superiority. True, in the play, Griboyedov placed the accents in the character of the characters a little differently, making Molchalin, and not Chatsky, attractive to that society.

For several chapters of the play, there is a background description of life in the Famusovs' house, and only in the seventh appearance does the plot begin love story. A sufficiently detailed long description in the course of the play tells of only one day. A long-term development of events is not described here. storylines comedy two. These are conflicts: love and social.

Each of the images described by Griboyedov is multifaceted. Even Molchalin is interesting, to whom, already in the reader, an unpleasant attitude arises, but he does not cause obvious disgust. It is interesting to watch him in various episodes.

In the play, despite taking the fundamental constructions, there are certain deviations to build the plot, and it is clearly seen that the comedy was written at the junction of three literary eras at once: flourishing romanticism, emerging realism and dying classicism.

Griboyedov's comedy "Woe from Wit" gained its popularity not only for the use of classical plotting techniques in non-standard frameworks for them, it reflected obvious changes in society, which were then just emerging and putting out their first sprouts.

The work is also interesting in that it is strikingly different from all other works written by Griboyedov.