Analysis of "Woe from Wit" by Griboedov

AS Griboyedov is often called the "creator of one book." Hardly the author of the famous comedy "Woe from Wit" can be blamed for negligence and laziness. Alexander Sergeevich was an outstanding diplomat, gifted musician and prominent public figure. Everything for which this extraordinary man undertook, bore the imprint of genius. His life and creative credo was the phrase: "I live and I write - freely and freely." This article is devoted to the analysis of the play "Woe from Wit".

History of creation

The idea of the comedy "Woe from Wit" appeared, according to some information, as far back as 1816. Griboyedov made an accusatory speech at one of the social events. He did not like the servile worship of Russians before all foreigners. Then Alexander Sergeevich was jokingly called a madman. After this incident, the writer's plan for a future comedy arose in his head. But to write the work he started only in 1820, while in the service in the city of Tiflis.

The first two acts were completed by the beginning of 1922. The last parts of the play Griboyedov finished writing on vacation in the city of Moscow. Here he "breathed in the air" secular living rooms and received additional material for creativity. The first edition of "Woe from Wit" was completed in 1823. However, as early as 1824, the original version of the play was subjected to a thorough stylistic revision. In the future, censorship worked diligently on the work. As a result, the author's version of the work was published only in 1862. During the life of Alexander Sergeevich, the comedy was distributed in the form of hand-written copies - lists. It caused a lively response in literary circles. A detailed analysis of "Woe from Wit" will show how this work was innovative for its time.

Elements of classicism in "Woe from Wit"

Griboyedov's famous comedy is considered to be the first Russian realistic comedy. At the same time, it combines the features of classicism, which is rapidly developing in that era of romanticism and innovative realism. Careful analysis of the comedy "Woe from Wit" indicates that the work meets the basic requirements for creating a "high" comedy.

In the play there is a unity of place (the house of Famusov) and time (the action takes place during one day). However, in the work there are two conflicts - love and socio-political. This means that the unity of action in the play Griboyedov violated.

In the comedy there is a traditional "love triangle" and a closely related system of characters: the heroine, two aspirants for her favor, a "noble father," a servant-subretka and so on. However, Griboyedov "breathed" into his heroes a new life. From caricature comedy characters, they turned into complex portraits.

Alexander Sergeevich gave his heroes "talking" surnames: Skalozub, Repetilov, Famusov, Molchalin. However, the characterization of his characters goes well beyond one feature.

Elements of realism in "Woe from Wit"

First of all, Griboyedov refused to sketch out his characters. The characters of his characters and the "rare picture of mores", depicted in comedy, sometimes frighten their reliability. For example, the multifaceted nature of the character of Famusov manifests itself in his dialogues with other characters: he flirts with Lisa, scoffs at Skalozub, reads Sophia's instructions.

However, Chatsky in the play is opposed not only by concrete representatives of the Famous Guard, but also by the entire conservative "past century". Analysis of "Woe from Wit" makes it possible to identify in the work many episodic images designed to broaden the scope of the socio-political conflict.

A realistic approach to the creation of a work is manifested in the author's relation to the protagonist. Chatsky sometimes behaves inconsistently and constantly falls into comic situations because of his recklessness and lack of restraint. He is not at all an absolutely positive hero in the work. After all, his motives, in essence, are selfish. He seeks to win the love of Sophia.

Language "Woe from Wit"

One of the elements of Griboedov's dramatic innovation is the use of colloquial speech in writing comedy. Flexible poetic size (free iamb) allows Griboyedov to create a verbal image of the characters. Each of them has its own peculiarities of speech. The "voice" of the protagonist is unique and gives out in him a fierce opponent of the Moscow customs. He sneers at "awkward clever people", "crafty simpletons," idle and "evil tongues." In his monologues we feel a passionate conviction in our own rightness, a high spirit of affirmation of real life values. The analysis of the comedy "Woe from Wit" testifies that in the language of the play there are no intonational, syntactic and lexical restrictions. This "uncombed", "rough" element of the spoken language, turned Griboyedov into a miracle of poetry. Pushkin noted that half of the poems written by Alexander Sergeevich "should be included in the proverb".

Two storylines

Analysis of "Woe from Wit" by Griboyedov makes it possible to identify two equal conflicts in the work. This is the love line in which Chatsky is opposed to Sophia, and socio-political, in which the main character encounters the Famus society. In the foreground, from the point of view of problems, there are social contradictions. However, personal conflict is an important plot-forming component. It is for the sake of Sofia that Chatsky comes to Moscow, and for her sake remains in the house of Famusov. Both story lines reinforce and complement each other. They are needed equally to conduct a reliable analysis of "Sorrow from Wit", to understand the psychology, world outlook, characters and relationships of the main comedy actors.

Socio-political themes of the work

In the comedy, the most important problems in the life of Russian society of the first half of the 19th century are raised: the harm of riches and bureaucracy, the inhumanity of serfdom, the issues of education and enlightenment, honest service to the fatherland and duty, the identity of Russian national culture, and so on. Griboedov did not pass over his attention to the question of the socio-political structure of the Russian state. All these moral and political issues are passed through the prism of the personal relationships of the heroes.

Philosophical theme in the play

Very complex and multifaceted is the problematics of the comedy "Woe from Wit". The analysis of the work reveals the philosophical underlying reason hidden in the title of the play. Anyway, all the heroes of the comedy are involved in the discussion of the problem of stupidity and madness, insanity and insanity, buffoonery and stupidity, hypocrisy and pretense. These issues are solved by Alexander Sergeevich on a variety of mental, social and everyday materials. The main figure in this matter is the clever "madman" Alexander Andreevich Chatsky. It is around him that all the diversity of opinions about the comedy is concentrated. Let's look at this character in more detail.

The protagonist of the play

Alexander Andreevich returned to Moscow after a long absence. He immediately came to Famusov's house to see his beloved Sophia. He remembers her as a clever and mocking little girl, who with her heart laughed at the devotion of her father to the English club, who was young and aunt and other picturesque representatives of Famousovo's Moscow. Having met Sophia, Chatsky aspires to find out the course of her thoughts, hoping that she remained his like-minded person. However, the girl strongly condemned his ridicule over aristocratic Moscow. Alexander Andreevich wondered: "... Is there really a groom here?" The main mistake of Chatsky was that the mind became the main criterion by which he tried to calculate beloved Sophia. For this reason, he sweeps both Skalozub and Molchalin as possible rivals.

Philosophy of the Moscow master

Much smarter than Chatsky is the author of the comedy "Woe from Wit". Analysis of Sofia's actions, he suggests starting with acquaintance with the environment in which she grew up and formed as a person. Most of all, this society is characterized by Famusov, the father of the main character. This is an ordinary Moscow gentleman. In his character a mixture of patriarchy and tyranny prevails. He does not burden himself with care, although he occupies a serious post. His political ideals boil down to simple everyday pleasures: "take awards and have fun". The ideal for Famusov is a person who has made a career. The funds do not matter. The words of Petr Afanasievich often differ from the case. For example, he boasts of "monastic behavior", but before that he actively flirts with Lisa. This is the main opponent of the sincere and ardent Chatsky.

An Enviable Groom

Colossus Skalozub is immensely popular with Famusov. He is a "golden bag" and "marks the generals." About the best groom for his daughter Pavel Afanasyevich and does not dream. Colonel - a reliable defender of the "century past." He will not be "frostbitten" with learning, he is ready to exterminate all book "wisdom" with a drill on the parade ground. Skalozub is a stupid soldier, but in Famusov society this is not noticed. To the disappointing conclusions leads the study of the customs of aristocratic Moscow, their detailed analysis. "Woe from Wit" Griboyedov shows that the training of St. Petersburg professors and the desire for enlightenment is the longest and most inefficient way to reach career heights.

Characteristics of Mocallin

A living "picture of morals" is presented in the play "Woe from Wit". Analysis of the heroes of the work forces us to turn to the quietest and most insignificant of them - Alexei Stepanovich Molchalin. This character is not harmless at all. With his lackey servility, he successfully breaks his way into a higher society. His insignificant talents - "moderation and accuracy" - provide him with a pass to the Famous Guard. MOLCHALIN is a convinced conservative who depends on the opinions of others and indulges "all people without confiscation". Strangely enough, it helped him win the favor of Sophia. She loves Alexei Stepanovich without memory.

Episodic roles

The Moscow aristocracy Griboyedov characterizes the Moscow aristocracy in a precise manner. "Woe from Wit," the analysis of which is presented in this article, is rich in expressive episodic roles that allow us to reveal the many facets of Famus society.

For example, a rich old woman Khlestova carries with her to the secular evenings "a woman a little woman and a dog," adores the young Frenchmen and is afraid of enlightenment as a fire. Its main features are ignorance and tyranny.

Zagoretsky in Famusovo society is openly called "rogue" and "gambler". But this does not prevent him from revolving among the local aristocracy. He knows how to "help" in time, so he enjoys the sympathy of the rich people.

A very extensive material for reflection contains "Woe from Wit". Analysis of the work allows you to find out the author's relationship to some "secret" societies that appeared in his contemporary Russia. For example, Repetilov is a "noisy" conspirator. He publicly declares that he and Chatsky have "the same tastes", but he does not present any danger to the FAMUS society. Repetilov himself would have made a career, but "met with failure." Therefore, he made conspiratorial activity a form of secular pastime.

In "Woe from Wit" there are a lot of nashejuzhetnyh characters, direct participation in comedy not taking. They are casually mentioned by the heroes of the play and make it possible to expand the scope of action to the scale of the entire Russian society.

Alignment of the main character

Chatsky is a representative of the "present century". He is a freedom-loving person, he has his own opinion on each issue and is not afraid to voice it. Frustrated by the indifference of Sophia, Alexander Andreevich enters into a polemic with the "Famous" surrounding him and in anger denounces their self-interest, hypocrisy, ignorance and insignificance. Being a true patriot of Russia, he condemns "the dominance of scoundrels of nobles" and does not want to have anything in common with them. On the proposal of Famusov to live, "like everyone else," Chatsky responds with a resolute refusal. Alexander Andreevich recognizes the necessity of serving the Motherland, but draws a clear line between "serving" and "serving." This difference he considers fundamental. Chatsky's cheeky monologues seem so outrageous to the local secular society that he is unconditionally recognized as crazy.

Alexander Andreevich - the central character of the work, so the characterization of his image is not devoted to one serious and thorough analysis. "Woe from Wit" Griboyedov was examined by VG Belinsky, IA Goncharov, AA Grigoriev and other leading writers of the 19th century. And the attitude to the behavior of Chatsky determined, as a rule, the characterization of the whole work as a whole.

Composition features

"Woe from Wit" obeys the strict laws of the classical construction of the plot. Both lines (love and socio-ideological) develop parallel to each other. The exposition is represented by all scenes of the first action before the appearance of the main character. The plot of a love conflict occurs during the first meeting between Chatsky and Sophia. The social begins to mature a little later - during the first conversation between Famusov and Alexander Andreevich.

The comedy is characterized by the lightning speed of the change of events. The stages of development of the love line are the dialogues between Sophia and Chatsky, during which he tries to find out the reason for the indifference of the girl.

The socio-ideological line consists of many private conflicts, verbal "duels" between representatives of Famus society and the main character. The culmination of the play is an example of the outstanding creative skill of the creator of the comedy "Woe from Wit". The analysis of the ball in the work demonstrates how the highest point of tension in the love story motivates the culmination of the conflict of social and ideological. A random replica of Sophia: "He is out of his mind" is literally understood by a secular gossip. Wanting to take revenge on Chatsky for mocking Molchalin, the girl confirms that she is convinced of his insanity. After that, the independent plot lines of the play meet in one culmination point - a lengthy scene at a ball, when Chatsky is recognized as crazy. After that, they again diverge.

The denouement of the love conflict occurs during the night scene in the house of Famusov, when Molchalin and Lisa meet, and then Chatsky and Sofia. And the socio-ideological line ends with the last monologue of Chatsky, directed against the "crowd of persecutors." Contemporaries of the author's "Woe from Wit" accused him of the fact that the "plan" of the comedy has no clear boundaries. Time has shown that the complex interweaving of the storylines is another undeniable merit of the comedy.

Conclusion

Your attention was presented only a brief analysis. "Woe from Wit" can be re-read many times and every time find something new. In this work, the main characteristics of realistic art became very clear. It not only frees the author from unnecessary canons, conventions and rules, but also relies on time-tested techniques of other artistic systems.