Alexander Sergeevich Griboedov, unfortunately, wrote only one work - “Woe from Wit”, a rhymed play, and ... became a classic. The work is original: it combines along with the classic elements of comedy and the signs of drama. The diplomat Griboedov was not only educated, but also a really talented person. In particular, he knew perfectly 6 languages. He was personally acquainted with Alexander Sergeyevich Pushkin and future Decembrist Wilhelm Karlovich Kuchelbecker. If we proceed from the fact that the fate of the diplomat, as is known, was tragically interrupted in Tehran, then we can say about the prophetic title of the play - “Woe from Wit”. A summary of the chapters of this work is the essence of this article.
Action 1. In the Famusovs house
The first action introduces us to Sophia Famusova, a 17-year-old romantic marriageable girl. The day before, she spent the whole night in amiable conversations about the arts with Alexei Stepanovich Molchalin, who had been transferred by the master from Tver to Moscow. The young careerist has the rank of college assessor, but actually serves as a personal secretary. Here we see the owner of the house, Pavel Afanasevich Famusov, master, widower, couch potato, convinced - an ardent conservative. Griboedov's work “Woe from Wit” immediately focuses on the
hypocrisy of this character. Praising his morality, he almost simultaneously pesters the servant Liza.
Alexander Famovich Chatsky, a childhood friend of Sophia, comes to the Famusovs. He is in love with the girl with whom he once had a mutual first feeling. But Sophia, having read novels and imagined the pale image of Molchalin to spiritual beauty, is more than cool with him.
Action 2. Conversation of Famusov and Chatsky
The second action begins with the dialogue of Famusov and the competent servant Petrushka. Barin discusses the Moscow pillars of society, plans meetings with them, and obliges the servant to write down his thoughts on who to go to. In fact, “Woe from Wit” introduces us to the planning of idleness of the secular lion of patriarchal Moscow. A brief summary of the chapters again shows Chatsky to us. This time, having paid a visit, he starts a conversation with Famusov in order to ask for the hand and heart of his daughter. The father is not enthusiastic about marriage with a man who owns 400 souls (his ideal groom is the owner of 2,000 souls, mental abilities do not count), so he diplomatically refuses to Alexander Andreevich: “Come on, serve me!” The sharp-tongued Chatsky reflects this obvious attack by a catch phrase that demonstrates the difference between the verbs "serve" and "serve."
Action 3. Sophia's refusal, conversation with Molchalin
The third action begins with the declaration of Alexander Andreevich in love Sofya. But she refuses him, confessing her love to Molchalin. Chatsky's perplexity even prevails over disappointment. He knows well the lackey nature and poverty of the latter’s mind, which, in fact, is consistent and reveals to us “Woe from Wit”. The chapter summary further brings together in an eloquent dialogue two young people, two antagonists. The college assessor is chronically mediocre, but has a view of a successful career based on visits to "the right people", and also on "moderation and accuracy." Chatsky is intelligent, sharp on the tongue, answers the opponent, as always, "not in the eyebrow, but in the eye." He considers the service itself to be the main one, because the ranks are secondary, "ranks are given by people", he is not inclined to humiliate himself because of a career before those in power, because "people can make mistakes."
Action 4. The Famusov Ball
According to the rules of the comedy genre, the denouement occurs in the fourth action. At the Famus Ball. Ironically describes the guests, Moscow aristocrats, "Woe from Wit." A summary of the chapters introduces us to a string of brilliant characters. Skalozub Sergey Sergeevich is also a candidate for the hand and heart of Sophia, a young colonel, commander of the Novozemlyansky musketeer regiment. He is from the classical military elite: rich, dumb and decisive. He despises “book wisdom”, is mercantile and mean-spirited: he tries to make a career without participating in battles. Stupid and scandalous at the same time Repetilov, his element - to inflame and push people together, and to stay away. Another Famous hurries to the Famusovs: the princess with six daughters, Prince Tugoukhovsky. These are deeply spiritual, unprincipled people, closed in their circle of communication, in their caste. Chatsky’s playfully parries their stupid attacks not only witty, but brilliantly. In retaliation, the aristocrats behind him declare him crazy "from learning."
Sophia eschews Alexander Andreevich, therefore, having seen the silhouette of a young man in the dark, believing that it is Chatsky, hides behind a column and sends a maid Liza to him. But she was mistaken, it was Molchalin. Seeing Lisa, the footman expresses her love. The fool explains his relationship with Sophia with his “tactical cunning”. Ironically, both Sophia and Chatsky hear this. To Sophia, finally, enlightenment comes. Suddenly a father appears with the servants. Molchalin is driven out, and Sophia's father promises to send him to the village near Saratov, to his aunt. Chatsky, completely disappointed, leaves the aristocratic Moscow.
Conclusion
Why did the poet-diplomat call his play so? The basis of its plot is the dramatic conflict of the protagonist - Chatsky, a man of the future, and the Moscow aristocratic society, where Skalozuba and Famusov's ball rule. This dynamic person, longing for real activity, is alien to the spiritless and mercantile nobles to such an extent that they declare him crazy. In addition, Chatsky suffers a fiasco on a personal level: he loves Sofya Famusova, who prefers to him the low trickster Molchalin. The author's language of the work is dynamic, fun, and comedic. The play today is a storehouse of aphorisms.