A. S. Griboedov is often called the "creator of one book." It is unlikely that the author of the famous comedy "Woe from Wit" can be blamed for negligence and laziness. Alexander Sergeevich was an outstanding diplomat, a gifted musician and a prominent public figure. Everything that this extraordinary person undertook had the imprint of genius. His life and creative credo was the phrase: "I live and write - freely and freely." The analysis of the play "Woe from Wit" is devoted to this article.
History of creation
The idea of ââthe comedy "Woe from Wit" appeared, according to some sources, back in 1816. Griboedov made a diatribe speech at one of the social events. He did not like the servile admiration of Russians for everything foreign. Then Alexander Sergeyevich was jokingly called crazy. After this incident, the writer came up with a plan for a future comedy. But he started writing the work only in 1820, while serving in the city of Tiflis.
The first two acts were completed by the beginning of 1822. Griboedov finished the last parts of the play while on vacation in the city of Moscow. Here he "breathed in the air" of secular living rooms and received additional material for creativity. The first edition of "Woe from Wit" was completed in 1823. However, already in 1824, the original version of the play underwent a thorough stylistic revision. In the future, censorship diligently worked on the work. As a result, the authorâs version of the work was released only in 1862. During the life of Alexander Sergeyevich, comedy was distributed in the form of handwritten copies - lists. She provoked a lively response in literary circles. A detailed analysis of âWoe from Witâ will show how innovative this work was for its time.
Elements of classicism in "Woe from Wit"
Griboedovâs famous comedy is considered to be the first Russian realistic comedy. At the same time, it combined the features of classicism, rapidly developing in that era of romanticism and innovative realism. A thorough analysis of the comedy "Woe from Wit" indicates that the work has met the basic requirements for creating a "high" comedy.
In the play there is a unity of place (Famusovâs house) and time (the action takes place within one day). However, in the work there are two conflicts - love and socio-political. This means that the unity of action in the play Griboedov violated.
The comedy has a traditional âlove triangleâ and a closely connected system of characters: a heroine, two applicants for her favor, a ânoble fatherâ, a servant-subretret, and so on. However, Griboedov âbreathedâ new life into his heroes. From caricatured comedic characters, they turned into complex portrait images.
Alexander Sergeyevich endowed his heroes with âtalkingâ surnames: Skalozub, Repetilov, Famusov, Molchalin. However, the characterization of his characters goes far beyond the bounds of one trait.
Elements of Realism in "Woe from Wit"
First of all, Griboedov refused a schematic representation of his heroes. The characters of his characters and the "rare picture of morals", depicted by him in comedy, sometimes frighten with their authenticity. For example, the versatility of Famusovâs character is manifested in his dialogues with other characters: he flirts with Lisa, fondles Skalozub, reads Sofiaâs instructions.
However, Chatsky is opposed in the play not only by specific representatives of the Famus guard, but also by the entire conservative "past century." The analysis of âWoe from Witâ allows us to identify in the work many episodic images designed to expand the scope of the socio-political conflict.
A realistic approach to creating a work is also manifested in the authorâs attitude to the main character. Chatsky sometimes behaves inconsistently and constantly finds himself in comic situations because of his recklessness and 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 Sofia.
Language "Woe from Wit"
One of the elements of Griboedovâs dramatic innovation is the use of colloquial writing in a comedy. Flexible verse size (free iambic) allows Griboedov to create the verbal appearance of the characters. Each of them has its own characteristics of speech. The "voice" of the protagonist is unique and betrays in him a fierce opponent of Moscow customs. He ironizes over âawkward clever menâ, âcrafty simpletonsâ, idle and âevil tonguesâ. In his monologues, one feels a passionate conviction of one's own rightness, a high pathos of the affirmation of real life values. The analysis of the comedy âWoe from Witâ indicates that the language of the play lacks intonational, syntactic, and lexical restrictions. This is the "unkempt", "rough" element of the spoken language, turned Griboedov into a miracle of poetry. Pushkin noted that half of the poems written by Alexander Sergeyevich "should go into the proverb."
Two storylines
Griboedovâs analysis of âWoe from Witâ reveals two equal conflicts in the work. This is the love line in which Chatsky is opposed to Sofia, and the socio-political, in which the protagonist encounters a Famusian society. In the foreground, from the point of view of problems, social contradictions appear. However, personal conflict is an important plot-forming component. Indeed, it was for the sake of Sofia that Chatsky came to Moscow, and for her sake he remained in Famusovâs house. Both storylines reinforce and complement each other. They are equally necessary in order to conduct a reliable analysis of "Woe from Wit," to understand the psychology, worldview, characters and relationships of the main characters of the comedy.
Socio-political theme of the work
In the comedy, the most important problems in the life of Russian society in the first half of the 19th century are raised: the harm of rank and bureaucracy, the inhumanity of serfdom, the issues of education and enlightenment, honest service to the fatherland and duty, the identity of the national Russian culture, and so on. Griboedov did not pass 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 personal relationships of heroes.
The philosophical theme in the play
Very complex and multifaceted is the issue of the comedy "Woe from Wit." An analysis of the work reveals the philosophical background hidden in the title of the play. One way or another, all the heroes of the comedy are involved in the discussion of the problems of stupidity and mind, madness and insanity, buffoonery and tomfoolery, acting and hypocrisy. These issues were resolved by Alexander Sergeyevich on a variety of mental, social and everyday material. The main figure in this matter is the clever "madman" Alexander Andreyevich Chatsky. It is around him that the whole diversity of opinions about comedy is concentrated. Let's look at this character in more detail.
The main character of the play
Alexander Andreevich returned to Moscow after a long absence. He immediately arrived at Famusovâs house to see his beloved, Sophia. He remembers her as an intelligent and mocking girl, who together with him made fun of her fatherâs allegiance to the English Club, a young aunt and other colorful representatives of Famusov Moscow. Having met with Sofia, Chatsky seeks to clarify the course of her thoughts, hoping that she remains his like-minded person. However, the girl strongly condemned his mockery of aristocratic Moscow. Alexander Andreevich wondered: "... Is there really any bridegroom here?" Chatsky's main mistake was that the mind became the main criterion by which he tried to calculate his beloved Sophia. For this reason, he dismisses both Skalozub and Molchalin as possible rivals.
The philosophy of the Moscow master
The author of the comedy "Woe from Wit" is much smarter than Chatsky. He suggests starting an analysis of Sofiaâs actions by exploring 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. A mixture of patriarchy and tyranny prevails in his character. He does not burden himself with the cares of the service, although he occupies a serious post. His political ideals boil down to simple worldly joys: "take rewards and have fun." The ideal for Famusov is a person who has made a career. Means do not matter. The words of Pyotr Afanasevich often diverge from the deed. For example, he boasts of âmonastic behavior,â but before that he actively flirts with Lisa. This is the main opponent of a sincere and ardent Chatsky.
Enviable groom
Immensely like Famusov, Colonel Skalozub. He is the "golden bag" and "marks the generals." For the best groom for his daughter, Pavel Afanasevich does not dream. Colonel - a reliable defender of the "century of the past." You canât "fool" him with his scholarship; he is ready to destroy all the book "wisdom" with a drill on the parade ground. Skalozub is a dumb soldier, but in Famus society it is customary not to notice. Studying the customs of aristocratic Moscow and their detailed analysis leads to disappointing conclusions. Griboedov's âWoe from Witâ testifies that training with Petersburg professors and the desire for enlightenment is the longest and ineffective way to achieve career heights.
Characteristics of Molchalin
A lively "picture of morals" is presented in the play "Woe from Wit." An 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 at all harmless. With his lackey servility, he successfully makes his way into high society. His insignificant talents - "moderation and accuracy" - provide him with a pass to the Famus guard. Molchalin is a staunch conservative, depending on the opinions of others and indulging "to all people without exception." Oddly enough, this helped him win the favor of Sophia. She loves Alexei Stepanovich without a memory.
Episodic roles
Marked strokes characterize the Moscow aristocracy Griboedov. âWoe from Witâ, the analysis of which is presented in this article, is rich in expressive episodic roles, which allow revealing the many faces of Famus society.
For example, the rich old woman Khlestova carries with her on social occasions âa little girl and a dogâ, she adores young Frenchmen and, like fire, is afraid of enlightenment. Its main features are ignorance and tyranny.
Zagoretsky is openly called a rogue and a gambler in Famus society. But this does not prevent him from spinning among the local aristocracy. He knows how to "help" in time, so he enjoys the sympathy of rich people.
Very extensive material for thought contains "Woe from Wit." An analysis of the work reveals the authorâs relationship to some of the "secret" societies that have appeared in contemporary Russia. For example, Repetilov is a "noisy" conspirator. He publicly declares that he and Chatsky have âthe same tastesâ, but does not pose any danger to Famus society. Repetilov himself would have made a career, but "met failure." Therefore, he made conspiratorial activities a form of social pastime.
In "Woe from Wit," there are many extra-plot characters who do not directly participate in comedy. 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.
Worldview of the protagonist
Chatsky is a representative of the "present century." He is freedom-loving, on each issue has his own opinion and is not afraid to voice it. Frustrated by the indifference of Sophia, Alexander Andreevich engages in a polemic with the âFamusovitesâ surrounding him and, in anger, denounces their greed, hypocrisy, ignorance and insignificance. As a true patriot of Russia, he condemns the "dominance of the noble scoundrels" and does not want to have anything to do with them. On the offer of Famusov to live âlike everyone elseâ, Chatsky responds with a decisive refusal. Alexander Andreevich recognizes the need to serve the Motherland, but draws a clear line between âserveâ and âserveâ. He considers this difference to be fundamental. Chatskyâs bold monologues seem so outrageous to the local secular society that he is unconditionally recognized as crazy.
Alexander Andreevich is the central character of the work, therefore, not one serious and thorough analysis is devoted to the characterization of his image. Griboedov's âWoe from Witâ was examined by V. G. Belinsky, I. A. Goncharov, A. A. Grigoriev and other leading writers of the 19th century. And the attitude to Chatskyâs behavior determined, as a rule, the characteristic of the whole work as a whole.
Compositional Features
"Woe from Wit" obeys the strict laws of the classic plot construction. Both lines (love and socio-ideological) develop parallel to each other. The exposition consists of all the scenes of the first action before the appearance of the protagonist. The beginning of a love conflict occurs during the first meeting of Chatsky with Sofia. Social begins to mature a little later - during the first conversation of Famusov and Alexander Andreevich.
Comedy is characterized by a lightning pace of change of events. The stages of the development of the love line are the dialogues between Sofia and Chatsky, during which he tries to find out the cause of the girlâs indifference.
The social and ideological line consists of many private conflicts, verbal âduelsâ 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 a social-ideological conflict. Sofiaâs random remark: âHe is out of his mindâ is literally understood as a secular gossip. Wanting to avenge Chatsky for ridicule over Molchalin, the girl confirms that she is convinced of his madness. After that, the independent storylines of the play are found at one climax - a lengthy stage at the ball, when Chatsky is recognized as crazy. After that, they again disperse.
The denouement of the love conflict occurs during the night scene in Famusovâs house, when Molchalin and Lisa meet, then Chatsky and Sofia. And the socio-ideological line ends with Chatskyâs last monologue, directed against the âmob of persecutorsâ. Contemporaries of the author of "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 plot lines is another indisputable advantage of comedy.
Conclusion
Your attention was presented only a brief analysis. âWoe from Witâ can be re-read many times and each time you find something new. In this work, the main characteristics of realistic art are very clearly manifested. It not only exempts the author from unnecessary canons, conventions and rules, but also relies on time-tested techniques of other art systems.