A.S. Griboyedov. Woe from the mind. Act III. "Woe from Wit": retelling by actions Woe from Wit 3 phenomenon summary

Alexander Sergeevich Griboyedov, unfortunately, wrote only one work - “Woe from Wit”, a rhyming play, and... became a classic. The work is original: it combines, along with classical elements of comedy, and features of drama. Diplomat Griboedov was not only an educated, but also a truly talented person. In particular, he knew 6 languages ​​perfectly. He was personally acquainted with Alexander Sergeevich Pushkin and the future Decembrist Wilhelm Karlovich Kuchelbecker. If we proceed from the fact that the diplomat’s life, as we know, 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 forms the essence of this article.

Act 1. In the Famusovs’ house

The first act introduces us to Sofia Famusova, a 17-year-old romantic girl of marriageable age. The day before, she had spent the entire night in amiable conversations about the arts with Alexei Stepanovich Molchalin, who had been transferred by a master from Tver to Moscow. The young careerist has the rank of collegiate assessor, but in fact serves as a personal secretary. Here we see the owner of the house, Pavel Afanasyevich Famusov, a gentleman, a widower, a homebody, and by conviction an ardent conservative. Griboyedov’s essay “Woe from Wit” immediately focuses attention on the character. Praising his morality, he almost simultaneously pesters the maid Lisa.

Alexander Andreevich Chatsky, Sophia’s childhood friend, comes to the Famusovs. He is in love with a girl with whom he was once connected by a mutual first feeling. But Sophia, who has read novels and fantasized the pale image of Molchalin into spiritual beauty, is more than cool with him.

Act 2. Conversation between Famusov and Chatsky

The second act begins with a dialogue between Famusov and the competent servant Petrushka. The master talks about the Moscow pillars of society, plans meetings with them and obliges the servant to write down his thoughts about who to go to. In fact, “Woe from Wit” introduces us to the planning of the idleness of the socialite of patriarchal Moscow. A summary of the chapters again shows us Chatsky. This time, having paid a visit, he starts a conversation with Famusov in order to ask for his daughter’s hand in marriage. The father is not delighted with a marriage with a man who owns 400 souls (his ideal groom is the owner of 2000 souls, mental abilities do not count), so he diplomatically refuses Alexander Andreevich: “Go and serve!” The sharp-tongued Chatsky reflects this obvious attack with a catchphrase demonstrating the difference between the verbs “to serve” and “to be served.”

Act 3. Sophia’s refusal, conversation with Molchalin

The third act begins with Alexander Andreevich's declaration of love to Sophia. But she refuses him, confessing her love for Molchalin. Chatsky's bewilderment even prevails over disappointment. He knows well the lackey’s nature and the poverty of the latter’s mind, which, in fact, consistently reveals to us “Woe from Wit.” The chapter-by-chapter summary further brings together two young people, two antagonists, in an eloquent dialogue. The collegiate assessor is chronically untalented, but has a vision of a successful career based on visits to the “right people”, as well as on “moderation and accuracy.” Chatsky is intelligent, sharp-tongued, and responds to his opponent, as always, “not to the brow, but to the eye.” He considers the service itself to be the main thing, because ranks are secondary, “ranks are given by people,” he is not inclined to humiliate himself because of his career in front of those in power, because “people can make mistakes.”

Act 4. Ball at the Famusovs

According to the rules of the comedy genre, the denouement occurs in the fourth act. The Famusovs have a ball. Ironically describes the guests, Moscow aristocrats, “Woe from Wit.” A summary of the chapters introduces us to a string of brilliant characters. Skalozub Sergei Sergeevich is also a candidate for Sophia’s hand and heart, a young colonel, commander of the Novozemlyansky musketeer regiment. He is from the classic military elite: rich, stupid and determined. He despises “book wisdom”, is mercantile and mean: he tries to make a career without participating in battles. Repetilov is stupid and at the same time scandalous, his element is to inflame and push people together, while he himself remains on the sidelines. Another nobility also hurries to the Famusovs: the princess with six daughters, Prince Tugoukhovsky. These are deeply unspiritual, idealess people, closed in their social circle, in their caste. Chatsky playfully parries their stupid attacks not just witty, but brilliantly. In retaliation, the aristocrats behind his back declare him crazy “from learning.”

Sophia avoids Alexander Andreevich, therefore, seeing the silhouette of a young man in the dark, believing that it is Chatsky, hides behind a column and sends the maid Lisa to him. But she was mistaken, it was Molchalin. Seeing Lisa, the footman expresses his love to her. The fool explains his relationship with Sophia with his “tactical cunning.” Ironically, both Sophia and Chatsky hear this. Sophia finally has an epiphany. Suddenly the father appears with the servants. Molchalin is kicked out, and Sophia’s father promises to send her to a village near Saratov, to her aunt. Chatsky, completely disappointed, leaves aristocratic Moscow.

Conclusion

Why did the poet-diplomat call his play that way? The basis of its plot is the dramatic conflict of the main character - Chatsky, a man of the future, and the Moscow aristocratic society, where the Skalozubs and Famusovs rule the roost. This dynamic man, thirsting for real activity, is alien to the unspiritual 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 the low deceiver Molchalin to him. The author's language of the work is dynamic, funny, comedic. The play is still a treasure trove of aphorisms today.

1. Very short summary (reads in 1.5 minutes)
2. The main idea of ​​the story
3. Summary of Woe from Wit by action
4. Very short on actions
   

Very briefly Woe from Wit Griboyedov

"Woe from Wit" is a comedy that glorified Alexander Sergeevich Griboyedov. This comedy shows the morals of Moscow nobles. The whole conflict occurs between Chatsky, who is considered the main hero of the new generation, and Famusov’s society, where they value not people, but money and rank. There is also a love line, which also has conflict.

It involves three heroes: Chatsky, Sophia and Molchalin. All these lines flow from one to another. To identify the features of the composition of the work and its dramatic action, it is necessary to carry out an analysis. So, the exposition includes all the actions in the first act until Chatsky arrived.

Here the reader is told about the place where the action takes place, and the love story of Sophia and Molchalin is shown, but they are also told about when there were tender feelings between Chatsky and Sophia. But he left to travel. The moment when Chatsky appears is the beginning. Then follows the development of love and social lines, and in parallel.

A conflict develops between Chatsky and Famusov’s society, which reaches its peak at the ball, this is the culmination of the work. Then, already in the fourth act, Chatsky conducts his monologue, which is the denouement of both the social and love lines. At the end, he gives up his position in front of society, because, unfortunately, he is in the minority. But there is no point in saying that he lost. Perhaps it’s just not his time yet, but nevertheless, a split occurred among the nobles

the main idea

The main idea of ​​the work lies in the contradiction that existed during the era of the crisis of ideas of the Enlightenment. For the philosophy of enlightenment, “mind” and “happiness” are synonymous. During this era, thinkers were insightful and understood that the power of the mind would face serious challenges.

Summary of Woe from Wit by Action (Griboyedov)

Action 1

Its entire development begins with the fact that Lizanka woke up in a chair and began to complain that she had not slept well. And the reason for all this was Sophia, who was expecting Molchalin to visit and their meeting should become a secret. She approaches Sophia's door, from where the sounds of a flute and piano are heard. She tells her that it is already morning and she needs to fast with Molchalin. Because their father can see them. But so that they could say goodbye faster, Lisa began to move the clock forward and it would strike earlier.

But then, out of nowhere, Famusov appeared and noticed Lisa doing this. They start talking and he tries to flirt with her. But then Sophia called the maid. Famusov leaves. Lisa scolds her for her carelessness and imprudence. Sophia and Molchalin said goodbye.

Famusov enters the door. He asks why Molchalin came at such an early hour. To which Molchalin tells him that he was taking a walk and just now dropped in to see Sophia. Famusov scolds his daughter that a young man comes to her so early.

Lisa tells Sophia that she needs to be more careful so that bad rumors do not spread. But Sophia is in love and she is afraid of them. But Lisa completely understands and is frightened by the fact that they have no future. Because Famusov will never allow his daughter to marry a wealthy and ignorant man. In his opinion, the most profitable marriage for his daughter is with Skalozub. After all, he has the means and rank. But the girl does not agree with this at all and says that she would rather drown herself than marry this stupid man.

But when the conversation comes about stupidity and intelligence, the maid remembers the love story that once happened between Sophia and Chatsky, when they were still teenagers. He was cheerful and had an extraordinary mind. But of course that was so long ago. And Sophia is sure that this story shouldn’t even be taken into account, much less considered love. They just grew up together, and at that moment there could only be childhood friendship between them.

But then a servant comes through the door and informs Sophia about Chatsky’s arrival.

Chatsky is very happy to meet Sophia, but nevertheless it seems to him that her reception was cold towards him. But she assures him that she is glad to see him. Chatsky began to remember his childhood and youth. But Sophia says that all these memories are just childish. Chatsky wonders if she loves someone, because she looks embarrassed. But she replies that she is embarrassed by the questions he asks and the way he looks at her.

When he talked to her father, he admired Sophia very much, and said that he had never met such girls anywhere. But Famusov is afraid of his matchmaking with his daughter. But as soon as Chatsky leaves, Famusov begins to think about who Sophia is in love with.

Act 2

Then Chatsky began to ask Famusov what if he wooed Sophia. But he began to say that it would be good to serve and earn a rank. But then he says his famous phrase: “I would be glad to serve, but it’s sickening to listen.”

He calls him proud and talks about his uncle, who served at court, but nevertheless was a wealthy man. And he got all this because he could “help himself.” Once, at a reception with Catherine II, he fell, thereby managing to cheer up the empress. Seeing that this caused laughter, he did it one or two more times, but this was on purpose. But still the empress had fun. But for the fact that he was able to make this incident for his own good, and therefore he was held in high esteem. Famusov greatly values ​​the quality of “serving,” since in his opinion it is the most important in order to achieve a position in society.

Chatsky conducts a monologue in which he compares the “present century” and the “past century.” He scolds Famusov’s generation that rank and money are important to them and gives the name to this time “the age of obedience and fear.” But he would not want to become a jester for the sovereign; he said that he would serve “the cause, but in no case persons.” But at this time Skalozub comes to visit Famusov and he recommends not to express his willful thoughts to Chatsky in front of him. But Famusov himself is very happy about this visit.

Famusov and Skalozub are talking about the colonel’s cousin, he gained many privileges because the colonel was busy. But when the other day he was supposed to be given a high position, he just packed up and moved to the village, and began to live a measured life, and now he just reads books. But Skalozub tells it with an evil grin. Because such a life simply does not fit into the orders and foundations of “Famus society.”

Famusov admires Skalozub, since he has already risen to the rank of colonel, although he is relatively new to the service. Of course, he dreams of the rank of general, and his plans are not to earn it, but to “get it.” Famusov asks him if he plans to get married.

But then Chatsky intervenes in the conversation. Famusov is disapproving of his free-thinking and unwillingness to serve. But he again pronounces a monologue that Famusov has no right to condemn him. Because he believes that in his society there are no worthy examples that could be imitated. Representatives of the society to which Famusov belongs have a negative attitude towards freedom, and their judgments and foundations have long been a thing of the past. Chatsky doesn’t like all this and he is not going to bow to this society.

He is indignant that people are afraid of those who are engaged in the arts and sciences, but do not receive ranks. And only a uniform can cover up the complete immorality and stupidity in this society.

But Sophia runs into the room, scared that Molchalin was killed because he fell from a horse. She faints. While Lisa brings her to her senses, Chatsky watches a completely healthy Molchalin in the window and understands that the girl was worrying in vain. When she is brought to her senses, the first thing she does is ask about him. But Chatsky coldly says that he is alive and well. And Sophia reproaches him for being an indifferent person. And then he understands perfectly well who occupies the heart of this beautiful girl, because she treats him with such reverence.

Molchalin tells Sophia that she cannot cope with her emotions and exposes her feelings too much. But she does not take into account the opinions of others. The same cannot be said about Molchalin, who is cowardly and afraid of all kinds of gossip. Lisa gives her advice to flirt with Chatsky in order to divert all suspicions from her chosen one.

But when Lisa and Molchalin are alone, he expresses his sympathy for her, flirts with her and gives gifts.

Act 3

Now Chatsky is still trying to find out who Sophia loves: Molchalin or Skalozub. But she doesn't answer this question. Then he confesses his love to her and in this conversation he understands that she appreciates Molchalin because he is modest, quiet, and especially because he does not make a direct statement of his love.

In the evening, the Famusovs will have a ball. The servants begin preparations for this meeting. Guests begin to arrive at the ball, and among them are Prince Tugoukhovsky with his wife and six daughters, as well as the Countess Khryumina, grandmother and granddaughter. Zagoretsky, the gambler, Khlestova, Sofia’s aunt arrived. All of them belong to an influential part of Moscow.

Molchalin begins to praise the coat of the Spitz Khlestova, because he wants her to notice him and gain her favor. But Chatsky noticed this and began to laugh at the fact that he was currying favor. And Sophia begins to think about the pride and anger that is characteristic of Chatsky. When she is having a conversation with a certain citizen N, she declares that he is generally “out of his mind.”

This news spreads very quickly and settles among the guests of the ball. And when he appears, everyone starts looking at him, but Famusov notices that he still shows signs of madness.

Chatsky said that his soul was bitter and uncomfortable here. He doesn't like Moscow. He was also outraged by the meeting that took place in the next room with the Frenchman, because when he was going to Russia, he thought that he was going to a country where barbarians lived. And then he was greeted hospitably, he did not hear Russian speech, did not see Russian faces. He had the feeling that he was at home. Chatsky is outraged that too many foreigners have come to Russia. He is sickened and alien that everyone simply worships France and the French. But while he is finishing his speech, all the guests leave and begin to waltz or play cards.

Act 4

Here the ball comes to an end, and the guests go home. Chatsky calls his servant and tells him to also prepare the carriage. On this day, everything he hoped for and dreamed about collapsed. But he wonders why, they began to consider him a madman, and who could start such rumors, but most of all he worries about whether Sophia knows about this. But he does not at all assume that it was she who made such a statement.

And when Sophia appears, Chatsky is hiding behind a column, but hears Liza and Molchalin talking. From what he heard, he understands that Molchalin does not love Sophia and in general does not intend to marry her. For him, Lisa is much nicer and he openly tells her about it. And he is trying to please Sophia only because her father is his boss, in whose house he lives and serves. But Sophia becomes an involuntary witness to this conversation. But Molchalin suddenly notices her and falls to his knees to ask for forgiveness. But she drives him away and says that he must leave home, or otherwise she will tell her father about everything.

Chatsky comes in and begins to tell her that she betrayed their love. But she says that the idea that he would turn out to be a scoundrel never entered her mind. Then Famusov comes running, surrounded by servants with candles. Because he never expected to see his daughter with him, because just recently she was the one who called him crazy. And then it becomes clear to Chatsky who spread this rumor about him. Famusov begins to swear at the servants because they did not look after his daughter.

He sends Lisa to the hut, and says to his daughter that he will send her to the village, to her aunt.

He speaks his final monologue, in which he argues that now he has nothing more to hope for. He was in such a hurry to see Sophia and wanted to build a happy life with her. But he reproaches her for simply giving him false hope and not telling him that the love they had in childhood simply doesn’t mean anything now. And during his absence, he lived and hoped only for the feelings that were between them. But now he doesn’t regret it at all. And, especially since he has no place at all in Famusov’s society. He is going to leave Moscow and never return.

After he left, Famusov wondered what would happen to Marya Alekseevna.

This comedy is important in the history of Russian classical literature. And it raises all the topics and questions that concern society after the War of 1812, and also shows the split that has already emerged in the nobility.

Summary of Griboedov Woe from Wit by actions and chapters briefly

Action 1

The action of the play begins with Famusov's house. Where the young seventeen-year-old daughter Sophia is secretly in love with her father's secretary Alexei Molchalin. At night, the lovers secretly see each other in the girl’s room. The maid Lisa guards their door so that their father does not discover them.

One morning Famusov notices a young man leaving Sofia's room; it seems strange to him, but everyone is trying to cheer him up.

In the afternoon, Chatsky, a young nobleman and an old acquaintance, comes to their house. The young man traveled around the world for three years and only now returned to his homeland in Moscow. He has loved the girl for a long time, and believes that she is just as devoted to him. But the girl does not feel joy from the meeting, because she loves Alexei. She is afraid to tell Chatsky about this.

Famusov notices that Sofia has two contenders for her heart. But he wants to marry someone else, Colonel Skalozub - he is a noble, wealthy, but slightly absurd man.

Act 2

Conversation between Chatsky and Famusov. A young man with an advanced, innovative outlook on life, he laughs at people who are in pursuit of wealth, fame, and popularity. Grandfather is against such statements, roughly speaking, for the life of a nobleman.

Skalozub enters the house. Famusov receives the guest with joy and takes him to his office.

The girl looks out the window and watches Molchanin fly down from his horse. He loses consciousness from the experience. Chatsky guesses that she loves that man. When the news came that Alexei was fine, just a minor injury to his hand, everyone dispersed.

Left alone, Molchalin opens up about his feelings to Liza. She scolds him for lying to Sofia. The maid herself loves the servant Petrusha and rejects Molchalin.

Act 3

Famusov's house. Chatsky's monologue. He doesn't know who the new conqueror of Sofia's heart is. Then he notices his beloved and confesses his feelings to her.

The girl hints that, well, for family life, he is very literate, there is no need to be so smart, and every time Molchanin interjects in the conversation, admiring his modesty, tolerance, and frugality.

Although she begins to realize that Molchanin is illiterate, she thinks that the mind in life only interferes with a peaceful existence, since it is a source of additional negative emotions.

Sophia leaves, Silence enters. A conversation ensues between the men. Molachnin respects rank for wealth, Chatsky, on the contrary, what is more important to him is what is in a person’s soul, his world, his horizons. Their views on life differed.

Honorary guests gather at Famosov's place and have been invited to dinner. Sophia learns from Molchanin about the conversation with Chatsky, she becomes offended for her fiancé, and in order to take revenge, she declares Alexei crazy to one of the invited guests. Everyone found out about it quite quickly. And the whole crowd started talking about “crazy.” When Chatsky came in, everyone began to wonder about him

Act 4

The dinner ended and the visitors left.

Repetilov, a good friend of Chatsky, runs in. He invites him to have fun, but Chatsky refuses. Left alone, he hides behind a column. The young man hears Molchanin again confiding with the maid. But at that moment Sofia appears and drives the liar away.

Chatsky comes out of the column and shames the girl for lying. Famusov enters. He scolds his daughter for her inappropriate behavior with her gentlemen and threatens to send her to the village. He also forbids Chatsky to communicate with Sophia, but he no longer has the desire to see her. The reckless noble society and the girl's betrayal disappoint Chatsky. He's going to leave town again.

The main characters of the comedy Woe from Wit by Griboyedov

In the play, like in any other work, there are main and additional characters. So the main ones include:

Famusov Pavel Afanasyevich, he is a manager in a state house, who is also Sophia’s father. The rank that a person occupies comes first. He listens and cares about the opinion of society. But still, he is wary of people who are educated.

Sophia is Famusov's daughter. She is 17 years old, raised by her father because her mother died. She is smart and beautiful, and also able to withstand public opinion.

Alesey Molchalin works as Famusov’s secretary. He lives in his house. He is cowardly, does not belong to any noble sex, but Sophia loves him.

Alexander Chatsky grew up with Sophia and was in love with her. But then he left to travel and was absent for 3 years. He is smart, eloquent and more about service than people.

Other characters in the play

Lizanka is the Famusovs’ maid; she is the one who helps keep the secret about the meeting with Molchalin.

Colonel Skalozub is stupid, but very rich. Wants to become a general. Many believe that he will become Sophia's husband.

Picture or drawing of Griboyedov - Woe from Wit

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Retelling plan

1. The maid Lisa makes sure that no one interferes with the meeting between Sophia and Molchalin.
2. Famusov, Sophia’s father, runs into Molchalin outside his daughter’s room.
3. Arrival of Chatsky.
4. Famusov talks with Chatsky and remains dissatisfied with his way of thinking.
5. Skalozub in the Famusovs’ house.
6. Molchalin falls from his horse. Sophia, seeing this, faints, revealing her affection for Molchalin.
7. Chatsky tries to find out from Sophia who she prefers.
8. Chatsky, in a conversation with Molchalin, learns his life principles.
9. Reception of guests in Famusov’s house.
10. Sophia, angry with Chatsky, starts a rumor about his madness. The whole society willingly picks up this idea.
11. The guests are leaving.
12. Chatsky hears the conversation between Sophia and Molchalin. Insulted, he leaves.

Retelling
Action 1

Phenomenon 1

Early morning. Living room. The maid Lisa makes sure that no one catches Sophia and Molchalin together in the hostess’s room. Lisa is afraid of the appearance of Sophia's father and hurries the young lady, knocks on her door, and deliberately sets the clock in the living room so that it starts chiming.

Phenomenon 2

Famusov enters, begins to flirt with Lisa, tries to hug her. She resists. Famusov replies that no one will be able to catch them, since Sophia is sleeping. To which Lisa says that Sophia, who had been reading all night, just fell asleep. Lisa convinces Famusov to leave so as not to wake up her daughter. Lisa is left alone: ​​“Pass us beyond all sorrows / And the lord’s anger, and the lord’s love.”

Phenomenon 3

For Sophia the night flew by unnoticed. Normal life began in the house. Lisa asks Molchalin to leave quickly. But he unexpectedly runs into Famusov.

Phenomenon 4

Famusov was very surprised by Molchalin’s early presence near Sophia’s room. Famusov asks Molchalin to stay away: “Friend, is it possible to take a walk / Choose a nook further away?” Famusov blames Sophia for being too interested in books, believes that his daughter is deceiving him, and tells how much effort and money he invested in her training and upbringing. Then Famusov turns to Molchalin so that he does not forget his good deeds: “And if it weren’t for me, you would be smoking in Tver.” Sophia stands up for Molchalin and tells her father a fictitious dream. The father advises to forget all nonsense, calls Molchalin to “sort out the papers”: “My custom is this: / It’s signed, so off your shoulders.”

Phenomenon 5

Lisa convinces Sophia to be careful, she believes that Famusov wants a husband in rank and with stars, such as Skalozub, for his daughter. Sofia: “I don’t care what goes into the water.” Lisa remembers Chatsky: “Who is so sensitive, and cheerful, and sharp...” Sofia: “The desire to wander attacked him, / Ah! If someone loves someone, / Why search for the mind and travel so far!”; “The one I love is not like that: / Molchalin is ready to forget himself for others, / The enemy of insolence, always shyly, timidly...”

Phenomenon 7

Chatsky appears: “It’s barely light and you’re already on your feet!” And I am at your feet." Sofia is cold towards Chatsky, but he is consoled by the assurances that Sofia remembers him: “Blessed is he who believes, he is warm in the world!”

Chatsky recalls their childhood, and then asks: “Aren’t you in love?” Sofia avoids a direct answer. Chatsky starts a conversation about Moscow, speaks ironically about mutual acquaintances, and is interested in Molchalin: “Where is he, by the way? / Has he not yet broken the silence of the seal?.. / However, he will reach known degrees, / After all, nowadays they love the dumb.” Sofia says about Chatsky (to the side): “Not a man, a snake!”

Phenomenon 9

Famusov greets Chatsky, who begins to praise Sophia. Famusov is interested in Chatsky’s journey. Chatsky cannot talk about anything other than Sophia's beauty.

Phenomenon 10

Famusov reflects on which of the young people Sophia prefers: “That beggar, that dandy friend; / Considered a spendthrift, a tomboy; / What a commission, Creator, / To be a father to an adult daughter!”

Act 2
Phenomenon 1

Famusov dictates to the servant a list of visits to be made during the week: “What kind of aces live and die in Moscow!”

Phenomenon 2

Chatsky appears. Seeing the puzzled expression on Famusov’s face, Chatsky wonders if something happened to Sophia?

“Let me woo you, what would you tell me?” Famusov recommends to Chatsky: “...go and serve.” To which he replies: “I would be glad to serve, but being served is sickening.” Famusov tells the story of Uncle Maxim Petrovich, who made a dizzying career at court, falling in front of the highest persons and amusing them with this: “He fell painfully, but got up well.” Chatsky: “No, the world is not like that now... / Everyone breathes more freely / And is in no hurry to fit into the regiment of jesters.” Famusov My God! He’s a Carbonari!...Dangerous man!” and covers his ears so as not to hear Chatsky’s “liberties.”

Phenomenon 3

The servant reports about Skalozub. Famusov fusses: “Receive him, call him, ask him, tell him that he’s home, / That he’s very glad,” asks Chatsky: “behave modestly in front of him.”

Phenomenon 4

Chatsky is surprised by the fuss around the colonel: “Ah! Tell love the end, / Whoever goes away for three years.”

Phenomenon 5

Famusov warmly welcomes Skalozub. Skalozub answers all questions briefly and often inappropriately, talks about the ways of his career advancement: “Yes, to get ranks, there are many channels; /<...>I just wish I could become a general." Famusov hints to him about marriage: “there is no transfer for brides in Moscow,” talks about the hospitality of Moscow houses: “The door is open for the invited and the uninvited, / Especially from foreign ones”; about Moscow youth, who are already beginning to “teach teachers,” about the ladies: “They are judges of everything, everywhere, there are no judges over them.” Skalozub and Famusov agree that Moscow pleases with new houses and roads. To this Chatsky remarks: “The houses are new, but the prejudices are old.” Famusov regrets that Chatsky did not serve, but he could have: “he’s a guy with a head.” Chatsky pronounces a monologue “Who are the judges?”, in which he angrily condemns the “fatherland of their fathers”: some are “rich in robbery”, others are “noble scoundrels”, hiding “weakness of mind, poverty of reason” behind their uniforms. Famusov hurriedly leaves.

Apparitions 7, 8

Sophia sees through the window how Molchalin falls from his horse and faints. Lisa and Chatsky fuss around Sophia, bringing her to her senses. Sophia reproaches Chatsky for not helping Molchalin. Chatsky replies that everything is fine with Molchalin and that he rushed to save Sophia first of all. He is worried about Sophia’s excitement about Molchalin: “You can only feel this way / When you lose your only friend.”

Phenomenon 11

Molchalin and Liza reprimand Sophia for her incontinence. Molchalin recommends Sophia to be more careful: “Ah! Evil tongues are worse than a gun."

Apparitions 12-14

Molchalin flirts with Lisa, offers her gifts, asks her: “Come at lunch, stay with me.” Liza rejects Molchalin, because she loves the bartender Petrusha.

Act 3
Phenomenon 1

Chatsky decides to get a confession from Sophia, “Who is finally dear to her?” Molchalin - “The Most Pitiful Creature”, Skalozub - “Wheezer, Strangled, Bassoon, / Constellation of Maneuvers and Mazurkas.” Sophia evasively answers that she loves “the whole world.” Chatsky, in a passionate speech, confesses his love to Sophia and asks about Molchalin: “But is he worth you?” Sophia speaks about “Molchalin’s virtues”: “compliant, modest, quiet, / Not a shadow of anxiety in his face / And no offenses in his soul.” Chatsky doesn’t believe: “She doesn’t respect him,” “He’s being naughty, she doesn’t love him,” and starts talking about Skalozub: “He’s a hero with face and voice...” Sophia interrupts him: “Not my novel.”

Phenomenon 3

Chatsky cannot believe in Sophia’s choice: “Helpful, modest, with a blush in his face. / Here he is on tiptoe and not rich in words.” Molchalin appears, and a conversation ensues between him and Chatsky. Molchalin speaks about his main “talents”: “Moderation and accuracy”, about plans: “And take awards and live happily”, about life attitudes: “At my age one should not dare / to have one’s own judgment”, “After all, one must depend on others." Chatsky is convinced that Sophia laughed at him - she cannot love a person “with such feelings, with such a soul.”

Phenomenon 6

Evening, guests are arriving. It turns out that Chatsky is familiar with Platon Mikhailych, the husband of a young lady, Natalya Dmitrievna. During the conversation, the wife does not allow her husband to say a word, she only complains about his poor health; she completely dominated the former officer to her whims. Chatsky is surprised by the changes in his old friend, and he complains: “Now, brother, I’m not the same.”

Phenomena 7

The Tugoukhovsky couple with six daughters appears. Natalya Dmitrievna begins to discuss outfits with the ladies. Having learned that Chatsky is not married, the prince, on the advice of the princess, goes to invite Chatsky to dinner, but then it turns out that Chatsky is not rich, and the princess shouts to the whole room to her husband to come back.

Phenomenon 9

Platon Mikhailych introduces Chatsky to Zagoretsky: “he is a secular man, / A notorious swindler, a rogue.” Zagoretsky calmly tolerates the offensive recommendation.

Apparitions 10-12

Old woman Khlestova arrives: “Out of boredom, I took with me / Arapka-girl and a dog.” She reports that Zagoretsky, “a liar, a gambler and a thief,” “got two little blacks at the fair” for her. Famusov introduces Skalozub to Khlestova. Molchalin hovers around Khlestova, trying to serve her.

Phenomenon 13

Chatsky ridicules Molchalin in front of Sophia: “Who else will settle everything so peacefully! / There he will pet the pug in time! / The card will fit there! / Zagoretsky will not die in it!..”

Phenomenon 14

Sophia is annoyed by Chatsky’s ridicule: “I’m glad to humiliate, to prick; envious, proud and angry! When Mr. N. approaches her and asks about Chatsky, Sophia replies: “He’s out of his mind.” This is how the rumor about Chatsky’s madness arises. Sophia picks up an accidentally dropped phrase: “Ah! Chatsky, you like to dress everyone up as jesters, / Would you like to try it on yourself?”

Apparitions 15-16

Mr. N. and Mr. D. are discussing the “news” - Chatsky’s madness. Zagoretsky picks up an absurd rumor about Chatsky: “They grabbed him, took him to the yellow house, and put him on a chain.”

Apparitions 17-21

Now Zagoretsky reports the news about Chatsky to the countess-granddaughter, who replies that she herself noticed that not everything is all right with Chatsky. The rumor spreads among the guests. Now everyone is discussing Chatsky, remembering his words, and deciding: “He’s crazy about everything.”

Phenomenon 22

Chatsky enters: “A million torments / Chest from friendly pressure, / Legs from shuffling, ears from exclamations, / And even worse than the head from all sorts of trifles.” The guests gradually fall silent. Chatsky says to Sophia: “My soul here is somehow compressed with grief.” He pronounces a monologue about the “Frenchman from Bordeaux”, about the spirit of “empty, slavish, blind imitation”, about the desire “so that our smart, cheerful people / Although by language they do not consider us Germans.” Gradually, Chatsky finds himself alone: ​​the guests are dancing diligently, the old people are playing cards.

Act 4
Phenomena 1-3

Night in Famusov's house. The guests are leaving. Chatsky is disappointed with the evening: “What did I expect? What did you think you would find here? He's about to leave.

Phenomenon 4

Repetilov appears in the entryway, he talks all sorts of nonsense, Chatsky interrupts him: “Listen! lie, but know when to stop.” Repetilov chatters about “secret meetings”, about the “most secret alliance”, about “decisive people”. It turns out that all the “activities” of these people are contained in one phrase: “We’re making noise, brother, we’re making noise.” They are characterized by expressive surnames: Vorkulov, Udushev, Lakhmotyev, Repetilov himself (from the French “to repeat”).

Phenomenon 5

Repetilov switches to the approaching Skalozub. He stops Repetilov’s chatter: “You won’t faint me with your learning... / I am Prince Gregory and you / I will give you a sergeant-major to Voltaire, / He will line you up in three ranks, / And make a uttered noise, and he will instantly calm you down.”

Appearances 6, 7

Skalozub is replaced by Zagoretsky, who “confesses” to Repetilov: “I’m the same as you: a terrible liberal!”, and then reports the “news” about Chatsky’s madness. Repetilov doesn’t believe it. The departing guests unanimously repeat to Repetilov about Chatsky’s madness: “The whole world knows about this.” The ashamed Repetilov agrees: “Sorry, I didn’t know it was too public.”

Phenomenon 10

Chatsky is amazed at the absurd rumor about himself: “Fools believed it, passed it on to others, / Old women instantly sounded the alarm - / And here is public opinion!” Sophia calls Molchalin from her room on the second floor. Chatsky is excited: “If you’re going to burn, / It’s better right away.” He hides behind a column, wanting to find out everything.

Apparitions 11, 12

Lisa calls Molchalin to Sophia. He flirts with Lisa, not noticing that Sophia sees and hears him. Lisa tries to reason with Molchalin, but he, it turns out, does not at all want to marry Sophia: “We’ll delay the matter without a wedding.” Molchalin reveals himself to Lisa: “My father bequeathed to me: / First, to please all people without exception - / The owner where I happen to live, / The boss with whom I will serve, / His servant who cleans dresses, / The doorman, the janitor, to avoid evil, / To the janitor’s dog, so that it is affectionate.” Molchalin tries to hug Lisa: “Why isn’t she you!”, but Sophia stops him: “Go no further, I’ve heard a lot, / A terrible person! I’m ashamed of myself and the walls.” Sophia threatens to tell her father “the whole truth” if Molchali does not leave their house: “I myself am pleased that I found out everything at night, / There are no reproachful witnesses in my eyes, / Like before, when I fainted, / Chatsky was here... “Chatsky rushes between them: “He’s here, you pretender!” Molchalin, seizing the moment, disappears into his room.

Phenomenon 13

Chatsky is furious: this is who Sophia traded him for! “Silent people are blissful in the world!” Sophia cries: “Don’t continue, I’m blaming myself all around.” There is a noise.

Phenomenon 14

Famusov runs in with a crowd of servants: “Bah! All familiar faces! / Daughter, Sofya Pavlovna! Stranger! / Shameless!” It seems to Famusov that “it’s all a conspiracy,” but not long ago Sophia “she herself called him a madman.” Chatsky is amazed: “So I still owe you this fiction?” Famusov is angry with the servants, with Sophia, with Chatsky. He threatens to send Sophia “away from these grips, / To the village, to her aunt, to the wilderness, to Saratov.” Chatsky is threatened that now “everyone’s door will be locked,” that he will complain “to the Senate... to the ministers, to the sovereign.”

Chatsky is confused, disappointed, annoyed: “Blind! In whom I sought the reward of all my labors!”, reproaches Sophia: “Why did they lure me with hope?”, mockingly advises her to make peace with Molchalin: “A boy-husband, a servant-husband, one of a wife’s pages - / The high ideal of all Moscow husbands,” addresses to Famusov: “I wish you to slumber in happy ignorance, / I do not threaten you with my matchmaking. / There will be another who is well-behaved, / A sycophant and a businessman.” Chatsky’s speech becomes increasingly heated: “So! I have sobered up completely, / Dreams are out of sight - and the veil has fallen... / Everyone is driving me away! everyone curses! A crowd of tormentors / In the love of traitors, in tireless enmity... / He will come out of the fire unharmed, / Whoever manages to spend a day with you, / Will breathe the same air, / And his sanity will survive.” And finally:

Get out of Moscow! I don't go here anymore.
I’m running, I won’t look back, I’ll go looking around the world,
Where is there a corner for an offended feeling!
Carriage for me, carriage!

Phenomenon 15

Famusov, who does not understand anything, turns to Sophia: “Well? Don't you see that he's gone crazy?<...>Have you decided to kill me? / Isn’t my fate still sad? / Ah! My God! What will Princess Marya Aleksevna say?

ACT ONE

The action of the play “Woe from Wit” begins in the morning in the house of Pavel Afanasyevich Famusov. The maid Lisa wakes up and complains that she didn’t sleep well. The fact is that Sofia, Famusov’s daughter, was expecting a friend to visit at night - Alexei Stepanovich Molchalin, Famusov’s secretary. Lisa had to make sure that Famusov did not find out about this.

Lisa knocks on the door of the hostess’s room, asking her to hurry up and say goodbye to Molchalin, because soon everyone in the house will wake up. Famusov finds her doing this and begins to flirt with her. Lisa tells the owner that she’s afraid that someone might come in, like Sofia, who just fell asleep because she’d been reading all night. Famusov is surprised how he can read all night, because reading makes him fall asleep. Then he leaves.

Lisa reproaches Sofia for being out of caution while she says goodbye to Molchalin. At this moment Famusov enters. He wonders why Molchalin came so early.

He replies that he has just returned from a walk. Famusov scolds his daughter for being nice to a young man at such an hour. After all, he cared so much about her upbringing after the death of her mother and is himself the best example of morality.

Sofia says that she had a dream: as if she was walking through a meadow, and a young man appeared to her - modest, smart, poor. Suddenly they found themselves in a dark room, and some forces, together with her father, want to separate Sofia and this young man... At this point the dream was interrupted. Famusov advises her to throw all sorts of nonsense out of her head and leaves with Molchalin.

Lisa asks Sofia to be careful. She believes that the father will not agree to his daughter’s marriage to Molchalin, because he is poor and ignorant. The best match for Sofia is Colonel Sergei Sergeevich Skalozub. Sofia says that she will never agree to this union: “I don’t care whether it’s for him or not.” Lisa remembers Alexander Andreevich Chatsky, who was brought up in Famusov’s house and with whom Sofia grew up.

Sofia says that Chatsky has gone far away and is not giving any news about himself. Molchalin is nearby, he is helpful, modest, quiet and timid. Here Chatsky himself appears. He had just returned from abroad, where he spent three years. Chatsky is glad to meet, but is surprised by Sofia’s coldness. He wonders if she is in love with someone. In a conversation with Famusov, Chatsky admires Sofia.

ACT TWO

Famusov asks the servant to give him a calendar and remembers which houses and which noble people he should go to for a visit this week. Chatsky appears. He wonders what Famusov would answer if he wooed Sofia. Famusov says that first you need to serve and receive a rank.

Famusov considers the ability to curry favor as the most useful. He is proud of his uncle Maxim Petrovich, his wealth and orders. Maxim Petrovich, like no one else, knew how to curry favor, which won the praise and favor of the empress herself. He deliberately fell, which made her laugh, and for this he was invited to receptions more often than others, received a substantial pension and universal honor.

Chatsky despises servility and accuses Famusov and others like him of judging a person by rank and wealth. Famusov experiences fear because of Chatsky’s disrespect for those in power.

Skalozub comes to Famusov. Famusov respects him very much: after all, Skalozub has only recently served, and is already a colonel. He ingratiates himself with Skalozub and tries to please him. Famusov wonders if Skalozub is going to get married. They remember Skalozub’s cousin, who had career prospects, but suddenly gave up everything and retired to the village.

Chatsky joins the conversation. He stigmatizes a society where only rank and wealth are valued, and condemns landowners who treat their serfs as property. Admiration for the uniform evokes contempt and indignation in him.

Sofia appears, frightened by the fact that Molchalin fell from his horse. She faints. Skalozub leaves to help Molchalin. Lisa and Chatsky bring Sofia to her senses. Everything is fine with Molchalin. But Chatsky understands who is busy
Sofia's heart.

Enter Skalozub and Molchalin, who only hurt his hand. Skalozub promises to come in the evening. He and Chatsky leave.

Molchalin reproaches Sofia for carelessness and excessive frankness, but the heroine is not bothered by the opinions of others. Molchalin is most afraid of “evil tongues.” Sofia promises to pretend to her father that she is cheerful and carefree in order to lull his vigilance. She leaves, and Molchalin, left alone with Lisa, begins to flirt with her, promising her gifts in exchange for favors. Lisa reproaches him for his duplicity.

ACT THREE

Chatsky is trying to find out from Sofia who she likes more - Molchalin or Skalozub. Sofia does not answer directly, saying that she appreciates Molchalin for his meekness of character and modesty. Chatsky mocks Molchalin and does not understand how one can admire such a person.

Chatsky talks with Molchalin to get to know him better. Molchalin is proud of such qualities as “moderation and accuracy.” He boasts of his rich and noble patrons. Chatsky ridicules such life principles.

In the evening, a ball is planned at the Famusovs' house. Guests appear. These are the Gorichi couple, the Tugoukhovsky family, Countess Khryumina with her granddaughter, old woman Khlestova - rich and influential people. The guests are talking.

Chatsky is familiar with the Gorichs - the cutesy and flirtatious Natalya Dmitrievna and the bored Platon Mikhailovich. He is unpleasantly surprised by how Platon Mikhailovich, a former brave military man, and now a lazy and submissive husband, has changed.

The ladies praise each other's outfits and ask which of the male guests is single and whether the potential groom has rank and wealth. Anton Antonovich Zagoretsky, one of the guests, flatters the ladies and tries to serve them. Platon Mikhailovich calls him a swindler.

The old woman Khlestova boasts about her new blackamoor maid. Famusov is polite to the guests. Skalozub arrives. Molchalin praises Khlestova’s dog, which earns her approval.

Chatsky's behavior is not respectful. He is mocking, ironic, and impudent with everyone. Everyone is outraged by his behavior. Molchalin's helpfulness evokes Chatsky's ridicule. Sofia is angry with him. Her accidentally dropped phrase that Chatsky is “out of his mind” instantly spreads among the guests.

Zagoretsky ensures that all invitees learn about Chatsky’s madness. Chatsky's imaginary madness became the main event of the evening. Chatsky feels uncomfortable among the guests. He says that he is dissatisfied with Moscow and reflects on meeting a Frenchman who, once in Russia, feels like he is at home.

Chatsky is outraged by foreign influence in Russia and the worship of everything French:

But our North is a hundred times worse for me
Since I gave everything in exchange
in a new way:
And morals, and language, and holy antiquity,
And majestic clothes for another...

ACT FOUR

The ball ends. The guests are leaving. Chatsky is also going to leave Famusov’s house. He does not understand why he was considered crazy and who started this rumor.

Chatsky accidentally witnesses a conversation between Lisa and Molchalin. It turns out that Molchalin is not going to marry Sofia and that he does not love her.

He likes Lisa much more, and he only looks after Sofia because she is Famusov’s daughter. Sofia hears this conversation. Molchalin tries to beg her forgiveness. But she tells him to leave the house immediately, otherwise she will tell her father about everything.

Chatsky appears. He reproaches Sofia. She justifies herself that she did not suspect such meanness and deceit in Molchalin. Famusov enters. From his speeches, Chatsky understands who was the first to call him crazy. Famusov is indignant and threatens to send his daughter to the village.

Chatsky is disappointed. His hopes were not justified, and his best feelings were insulted. He blames Sofia for supporting his conviction of her love. But now he doesn't regret their breakup. And there is no place for him in Moscow. He's leaving here forever.

HISTORY OF CREATION AND MEANING OF THE TITLE

“Woe from Wit” is a comedy in verse, the first realistic work of Russian literature. The idea for the play originated with A. Griboyedov back in 1820. By this time he had already written other dramatic works.

Work on the text began in Tiflis after the writer returned from Persia. In the summer of 1823, the first version of the play was completed, but it was still far from completion. In 1825, excerpts from acts 1 and 3 of the comedy were published. However, the author did not receive permission to stage it in the theater. Despite this, the comedy was distributed in lists and became widely known among the enlightened intelligentsia, who enthusiastically accepted the work. “Woe from Wit” was first published with large cuts in 1833, and in its entirety only in 1861.

Initially, A. Griboedov intended to call the comedy “Woe to Wit.” In this case, the meaning of the work would be transparent: Chatsky, an intelligent man, is opposed to the surrounding society, but in the end he is rejected by it. The meaning of the name would boil down to the following: woe to an intelligent person among limited and narrow-minded people. But the author, by choosing a different name, changed the meaning of the work.

Chatsky, who considers himself an intelligent person, often behaves stupidly and does not notice the obvious (he cannot believe that Sofia is in love with Molchalin, does not understand that others are laughing at him). From the point of view of Famusov and his guests, Chatsky is stupid (he does not know how to adapt, is not ready to lie, flatter, insinuate, and does not use his abilities to achieve success). He even became known as a madman, which all the characters in the work readily believed. But the concept of intelligence for A. Griboyedov does not include prudence (in this sense, Famusov can also be called smart), but implies freethinking, educational views, new, different from the established ones. Chatsky exposes the vices of patriarchal society and opposes himself to it. This is the source of all his troubles.

Chatsky suffers not so much from his mind as from his own desire to change the world, to make it better. Therefore, he is comical in Famus society. The author himself, who defined the genre of his work as a comedy, is ironic about what is happening.

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Traditionally, the genre of “Woe from Wit” is defined as a comedy in verse. Formally, the play corresponds to the principles required for a classical dramatic work. The action takes place in one place within one day. The characters are clearly divided into positive and negative, the author’s position is transparent, and his sympathies are immediately guessed. The plot is based on a love affair. However, the comedy was innovative in many ways. Social conflict pushes the love affair into the background. The play raises many serious questions that can cause heated debate and give rise to deep thought. Therefore, the work combines the features of character comedy, everyday comedy, and satirical work.

The play really has the characteristics of a comedy. There are comic characters and situations. The comedy is also based on the discrepancy between the character's self-image and who he really is. So, Skalozub imagines himself to be significant and important, but in reality he is limited and narrow-minded. The main character himself is not comical. Chatsky, who finds himself in the minority, seems defeated and misunderstood. He must retreat, at least for a while. In the finale there is no triumph of the positive hero, which is mandatory for a classic comedy: vice must be defeated by virtue.

The characters depicted by Griboyedov are close to real people. They are not as clear as they seem at first glance. Each of them is endowed with both positive and negative qualities. For example, Sofia, the positive heroine and beloved of Chatsky, undoubtedly evokes sympathy. At the same time, she constantly lies, is carried away by Molchalin, understanding his insignificance. Famusov, Chatsky’s ideological opponent, does not seem to be a sharply negative character. His disagreement with Chatsky’s ideas is determined by his upbringing and lifestyle, that is, by another generation.

Chatsky himself, the only positive character, cannot help but evoke sympathy and slight condescension due to the fact that he does not understand the meaninglessness of his tirades in front of Moscow society. Thus, the play, which is based on a comedy of manners, is a mixture of several genres.

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ISSUES

The play touches on the most pressing issues that worried the enlightened society of that time: the plight of the Russian people, serfdom, autocratic power, the level of education of society, the principles of educating the younger generation, veneration of rank, bribery, etc. A real dispute unfolds between the characters about the meaning of education, the appointment of teachers , the need for knowledge. For Famusov, teachers are “vagabonds”; he does not see the need to teach children and worry too much about their development. Chatsky criticizes the low level of education of the Moscow nobility, understanding its superficiality and formal nature. The work depicts pictures of landlord tyranny towards serfs. One master, like Famusov, exchanged a crowd of faithful servants for three greyhounds, another sold peasants, separating parents and children.

Old woman Khlestova, boasting about her new maidservant, tells how she made this acquisition. At the same time, she is incredibly gentle with the dog. Chatsky is outraged that landowners perceive servants as useful things. Attitudes towards service are also becoming a subject of debate. Famusov perceives his job responsibilities formally, without delving into details and without being interested in details. Molchalin wants to curry favor and treats Famusov’s service as a means of achieving his selfish goals. Chatsky does not recognize this approach to his duties. He believes that one must serve the cause, for the good of the Fatherland, and not for the sake of rank, the praise of one’s own boss or the approval of society. But it is not only social phenomena that give rise to Chatsky’s critical statements.

Personal and family relationships characteristic of noble society are also not accepted by them. The Gorichs' marital relationship seems artificial to Chatsky and evokes his irony. The fact that Platon Mikhailovich found himself under his wife’s heel is incomprehensible to Chatsky. The relationship between Sofia and Molchalin could be built in a similar way. The husband’s lack of his own opinion, outward humility, and constant boredom cannot evoke positive emotions in the hero. Chatsky turned out to be the spokesman for the views of that part of the enlightened intelligentsia who did not want to put up with the established way of life.

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FEATURES OF THE CONFLICT

There are two lines in the work - love and social. The love conflict lies on the surface, and the work begins with it. Chatsky wants to marry Sofia, but is faced with a cool attitude from her father. He learns about another contender for Sofia’s hand, more worthy, in Famusov’s opinion, Skalozub. Besides him, there is Molchalin, who clearly enjoys the favor of Sofia herself.

The love affair is presented rather superficially. We do not observe the clash and struggle between Chatsky and his rival for Sofia’s favor. And the final departure of the hero is connected not only with love failure. The uniqueness of the conflict in the play is that, having begun as a love conflict, it develops into a social conflict. The heroes are divided into two unequal camps: all of Famus’s Moscow and Chatsky himself. Famusov and his entourage are supporters of patriarchal traditions and the usual way of life.

In Famusov’s house, everything is built on pretense: Sofia hides her love for Molchalin, Famusov puts on a virtuous appearance, Molchalin pretends to love Sofia, although he does it for selfish reasons. Famusov is supported by a huge number of characters - his allies. These are household members, guests, and even heroes who are simply mentioned, but who do not participate in the action. Due to this, the play turns out to be quite densely “populated” with characters, although the main action is connected with members of the same family. The very number of characters opposed to Chatsky speaks of the inequality of forces involved in the conflict. Chatsky is lonely, and this is his tragedy.

The social conflict reaches its climax in the scene at the ball in Famusov's house, when Chatsky turns out to be an outcast not only because of his views and daring speeches, but because of imaginary madness. Other heroes readily believe in his madness. This turned out to be much more convenient to explain Chatsky’s behavior than to delve into his speeches and try to understand him. Thus, all of Chatsky’s actions automatically become meaningless for those around him. The main conflict of the play is the clash of new progressive views in the person of Chatsky with the old patriarchal world of lordly Moscow.

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CHARACTERISTICS OF CHATSKY

The young nobleman Alexander Andreevich Chatsky, after spending three years outside of Russia, returns to Moscow, to the house of Pavel Afanasyevich Famusov, where he was raised after the death of his parents. Remembering Chatsky, Lisa says: But be a military man, be a civilian, Who is so sensitive, and cheerful, and sharp, Like Alexander Andreich Chatsky! And Sofia adds: “Sharp, smart, eloquent.”

Chatsky is ardent and hot, he appears before Sofia like a whirlwind and immediately disturbs the calm of the inhabitants of Famus’s house. His loud and passionate speech, wild joy, laughter, and sincerity are inappropriate here. Chatsky's impetuosity and enthusiasm confuses other heroes. From Famusov’s lips come the words: “dangerous person”, “does not recognize the authorities”, “he wants to preach freedom.” Chatsky is dangerous in a society where you have to curry favor, pretend and lie. Chatsky’s speech, first of all, testifies to his education and erudition. He quotes Derzhavin (And the smoke of the Fatherland is sweet and pleasant to us!), refers to images of world literature (Minerva, Cupid, Nestor), in his speech there are both Old Slavonicisms and words of high style (hungry, quest, daviche), and romantic pathetic expressions (I love you without memory, I am at your feet). Chatsky’s speech is emotional, rich in comparisons, metaphors, and combines sublime and purely colloquial vocabulary (black-haired, hoarse, strangled).

Chatsky's views are characteristic of an advanced person. They may seem idealistic and naive. Chatsky believes that one must serve the cause, not the boss, that origin and wealth do not make a person better, and superficial education does not make a person smarter. The mind tells Chatsky that he needs to escape from Famusov’s house, but his heart speaks of love for Sofia. He cannot come to terms with her attachment to Molchalin. Chatsky is unclear what such an intelligent girl found in Molchalin, how she could fall in love with such an insignificant and petty person, such an empty personality.

Chatsky is a man of action, enthusiastic, energetic and active. But in Famusov’s Moscow, no one needs him, because his ideas do not find a response, he only interferes, tries to disrupt the usual way of life.

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CHARACTERISTICS OF FAMUSOV

Famusov Pavel Afanasyevich - manager in a government place, Sofia's father, widower. The entire action of the comedy takes place in his house. Famusov is an opponent of enlightenment.

Everything new and progressive is perceived with hostility. This is a threat to his well-being and measured life. He calls teachers “tramps” and does not understand why they are hired at all: We take tramps into the house and on tickets, So that we can teach our daughters everything, everything, And dancing, and laziness, and tenderness, and sighs, As if we were preparing them to be wives buffoons. Books make him sad and sleepy: French books make her sleepless, but Russian books make it painful for me to sleep. Famusov selects a groom for his daughter based solely on his position in society and wealth (He would like a son-in-law with stars and ranks...). The wealthy Colonel Skalozub is an ideal candidate for a groom. Famusov says to his daughter: Whoever is poor is not a match for you. Only rich and noble people are invited to Famusov’s ball.

The hero, who is not very well-born himself, is concerned about his own position in society. After the scandal with Molchalin, Famusov most of all laments what Princess Marya Aleksevna will say! Famusov is a hypocrite and a hypocrite. Instilling in his daughter high moral ideals and positioning himself as a champion of morality, he himself flirts with the maid Lisa, who tries to laugh it off: Let me go, you flighty people, Remember, you are old people...

Famusov treats his service formally, without delving into details and without being interested in details. Getting a rank is the main goal of the service. He doesn’t even think about the benefit to society and the Fatherland: But with me, what matters and what does not matter, My custom is this: It’s signed, so off my shoulders. Famusov is a representative of the patriarchal Moscow nobility. His views on enlightenment, education, behavior in society, and attitude towards service were characteristic of most nobles and landowners of that time.

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CHARACTERISTICS OF SKALOTOOTH

Skalozub Sergei Sergeevich is a colonel, a good friend of Famusov, a candidate for Sofia’s groom. He is still young, but already has rank. Moreover, he is very rich: For example, Colonel Skalozub: And a golden bag, and aims to become a general. When Skalozub appears at Famusov’s house, the owner begins to fawn over him and ingratiate himself: Dear Sergei Sergeich, Put down your hat, take off your sword, Here’s a sofa for you, lie down on your bed.

Skalozub has all the qualities suitable for an ideal groom. He is respectable, noble, rich, has an enviable rank and prospects. However, rank is the only goal to which Skalozub strives: Yes, to achieve rank, there are many channels; I judge them as a true philosopher, I just wish I could become a general. The skalozub is limited and rough. This is an example of a real martinet. Sofia is horrified at the thought that he could be her fiancé: How sweet! and it’s fun for me to hear about the frunt and the rows. He hasn’t uttered a smart word for a long time, - I don’t care what’s for him, what’s in the water. Skalozub is opposed by another representative of the army class. Together with Famusov, they discuss Skalozub’s cousin, also a military man. He was the same servant as Skalozub, received awards and ranks.

However, he suddenly left the service and retired to the village: The rank followed him: he suddenly left the service and began reading books in the village. Skalozub and Famusov are sincerely surprised and do not understand why a person suddenly left a promising career, retired, began to read books, and think. Famusov is perplexed by the behavior of Skalozub’s relative, but wholeheartedly approves of the behavior of Sergei Sergeevich himself: What youth! - read! .. and then grab it! .. You behaved properly. You have been colonels for a long time, but you have only served recently. Such decisions are unacceptable in the society of Famusov and Skalozub. The image of Skalozub is satirical. He personifies the imperial army with its retrograde orders, drill, veneration of rank and blind obedience.

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CHARACTERISTICS OF MOLCHALIN

Molchalin Alexey Stepanovich is a young man, Famusov’s secretary, who lives in his house. Taken by Famusov (although he tries to place only relatives and acquaintances) from Tver for diligence and accuracy. Molchalin's surname speaks for itself: silence is his main quality, which, however, hides many other negative traits.

Molchalin courtes Sofia because of her father's position and connections. He cleverly deceives the girl, posing as a sensitive and timid young man: Molchalin is ready to forget himself for others, The enemy of insolence - always shy, timid, Who can you spend a whole night with like that? We are sitting, and the courtyard has long since turned white... Molchalin’s timidity is contrasted with Chatsky’s ardor, which frightens and confuses Sofia. Molchalin, on the contrary, is quiet, modest, sentimental: He will take a hand, press it to the heart, He will sigh from the depths of his soul, Not a free word, and so the whole night passes, hand to hand, and does not take his eyes off me... Chatsky treats Molchalin with mockery and slight contempt, not perceiving him as a rival in the fight for the girl’s heart: It used to be that when he sees a new notebook, he asks: please write it off. However, he will reach the known levels, Because nowadays they love the dumb.

At the ball, Molchalin shows his helpfulness to Famusov’s high-ranking guests, which earns Chatsky’s contempt. Molchalin’s actions reveal his admiration for rank and wealth. The reader sees Molchalin's true face in the scenes when he finds himself alone with Lisa. He is no longer timid and admits why he is courting Sophia, setting out his life philosophy: My father bequeathed to me: First, to please all people without exception, the Master where I happen to live, the Chief with whom I will serve, his Servant who cleans dresses, To the doorman, to the janitor, to avoid evil, To the janitor's dog, so that it is affectionate. Having learned about Molchalin's duplicity, Sofia drives him away.

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CHARACTERISTICS OF SOFIA

Sofia Pavlovna Famusova is Famusov’s daughter, a young girl. She secretly meets with her father's secretary Molchalin, attracted by his ostentatious modesty and helpfulness. Chatsky notes that Sofia has become very prettier, but this is not the only thing that attracts Chatsky. The heroine herself is not distinguished by timidity and meek disposition. Sofia is smart, resourceful, brave. She is not afraid to show her feelings for Molchalin, but she tries to hide them from her father. Sofia has a strong character, intelligence, and sense of humor.

This is a passionate, ardent and selfless nature. She is not interested in the rich Skalozub. Sofia is in love with Molchalin, although he has neither title nor fortune. She is not afraid of public condemnation, she is open and sincere in her feelings. At the same time, Sofia is a product of Famus society. Lies and hypocrisy are the atmosphere in which she grew up. Realizing that Molchalin will never be accepted by her father as a groom, she hides her love. Sofia adapts to the environment in which she lives. She hides her lover, lies to her father, avoids explanations with Chatsky. Probably, brought up in an atmosphere of patriarchal life, Sofia could not have grown up any other way. She did not receive a deep and comprehensive education (although she loves to read).

The heroine's days were filled with endless balls and dances in the company of people like Famusov's guests. Sofia's character was formed in an atmosphere of lies and pretense. Even after learning about Molchalin’s duplicity, Sofia orders him to leave before anyone finds out anything. She is glad that she discovered the truth under the cover of darkness, without witnesses: She herself is pleased that she found out everything at night, There are no reproachful witnesses in her eyes, Like before, when I fainted, Chatsky was here...

It is Sofia who, out of anger, starts a rumor about Chatsky’s madness, throwing out a careless phrase: “He’s out of his mind.” It was she who contributed to his alienation from the whole society; all the guests, without exception, turn away from him. Even Sofia, who is positive, friendly and honest by nature, turns out to be unable to understand Chatsky and respond to calls and be inspired by his ideas.

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FAMUSOVSKAYA MOSCOW

The play reflects the irreconcilable struggle between the conservative landed nobility and bureaucracy, on the one hand, and the progressive intelligentsia, on the other. The lordly Moscow is represented not only in the images of Famusov, Skalozub and Molchalin. A string of images of Famusov’s guests flashes before us: Gorichi, princes Tugoukhovsky, Countess Khryumina with her granddaughter, old woman Khlestova.

They gather at Famusov's for a ball. Here they are proud of their noble family, boasting of ranks and titles. The ladies are flirtatious and cutesy; mothers look for potential suitors for their daughters. Old women are grumpy and arrogant. Natalya Dmitrievna conducts small talk with Chatsky. For her, her husband is a reason to brag, an object that is pleasant to display. Platon Mikhailovich, whom Chatsky knew before, now spends his time in idleness and boredom. The Tugoukhovsky princesses look after the suitors. Khlestova grumbles and lectures everyone. This is patriarchal Moscow, accustomed to living as the fathers bequeathed: slowly, habitually, in the old way. And Chatsky with his ideas is not able to change the established way of life for centuries.

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LANGUAGE OF COMEDY

In the play "Woe from Wit" A. Griboyedov turned out to be a true innovator in terms of language. Language becomes a means of characterizing images. Chatsky’s correct speech reveals his education, at the same time interspersed with apt and vivid colloquial words that enhance the ironic nature of his statements. Only Chatsky is characterized by monologues that are in the nature of sermons. They characterize the hero as a skilled speaker. The main participant in the disputes with Chatsky is Famusov. His remarks are quite long, which emphasizes his loquaciousness.

Famusov is rude to his subordinates, addresses them on a first-name basis, and is unctuously polite to Skalozub. Sofia's romanticism is emphasized by high-style words that could have been borrowed from sentimental novels. Skalozub’s speech is rich in “army” vocabulary, which determines not only his type of activity, but also his limitations and inertia. Molchalin kindly and obsequiously adds the particle -s (short for the word sir) to the words. Most of the comedy characters have become household names, and many of their lines have become part of our everyday speech.

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THE PLAY IN RUSSIAN CRITICISM

The comedy "Woe from Wit" was incredibly popular among its contemporaries and, undoubtedly, had a huge influence on all Russian literature. The work caused a lot of responses and critical statements. A. Pushkin was one of the first to express his opinion about comedy in a letter to A. Bestuzhev (1825). He writes that Griboyedov's goal was to depict a picture of morals. The only intelligent character in the work is Griboyedov himself. Chatsky, ardent, noble and kind, “adopted” the thoughts and satirical remarks of the writer.

Pushkin denies Chatsky intelligence because he wastes words and feelings in front of people like Famusov, Skalozub and Molchalin. At the same time, the poet notes the true talent of the creator of the play. One of the most profound analyzes of the play is presented in I. Goncharov’s article “A Million Torments” (1871). The author writes that the play “is distinguished by its youthfulness, freshness and< … >survivability." He pays special attention to the image of Chatsky, without which “there would be no comedy itself, but there would, perhaps, be a picture of morals.” Goncharov considers him not only smarter than other heroes. He writes that Chatsky is “positively smart.”

In addition to intelligence, the hero has a sensitive heart. At the same time, Chatsky is “impeccably honest.” He is active, and in this he is better than Onegin and Pechorin. The critic notes that the comedy, which began with a love affair, develops into a clash of two worldviews: “the century of the past” and “the century of the present.” As a result of this unequal struggle, Chatsky received his “millions of torments.” He is forced to leave without finding sympathy. Goncharov analyzes in detail Chatsky’s emotional state, noting his internal tension throughout the entire action. The hero's witticisms become more and more bilious, and his remarks become more caustic. The unequal struggle with Famus society exhausted him. “He, like a wounded man, gathers all his strength, challenges the crowd - and strikes everyone - but he did not have enough power against the united enemy.”

Chatsky is the most vivid image in the work. This is a strong and deep nature that cannot be exhausted in comedy. This is a suffering character. “This is the role of all Chatskys, although at the same time it is always victorious.” Unaware of their victory, such people “only sow, but others reap - and this is their main suffering, that is, in the hopelessness of success.” Goncharov pays much attention to the ball scene in Famusov’s house. This is where real comedy is presented - scenes from Moscow life. Sofia, according to Goncharov, is not so to blame for what is happening. He pays tribute to her good instincts, her ardor, her tenderness.

Goncharov's sympathies are clearly on the side of the heroine. No wonder he compares her with Tatyana Larina. Sofia, just like Tatyana, begins a romance herself and is just as carried away by the first feeling of love. Goncharov explains Sofia’s choice of Molchalin solely by chance. Sofia's trouble is in her upbringing, typical of a girl of noble birth at that time. Goncharov’s article notes the bright and original language of the play, which distinguishes it from other works. “The public knows such plays by heart,” so actors in the theater need to pay special attention to the manner in which they pronounce lines. In conclusion, I. Goncharov describes in detail the actors’ performances, analyzes the production of the play and gives instructions for those who will play in the following performances.

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APHORISMS OF GRIBOEDOV

Chatsky: A mixture of languages ​​still prevails: French with Nizhny Novgorod? After all, nowadays they love the dumb. The legend is fresh, but hard to believe... I would be glad to serve, but it is sickening to be served. Ranks are given by people, but people can be deceived. The houses are new, but the prejudices are old. Who are the judges? The women shouted: hurray! And they threw caps into the air! Get out of Moscow! I don't go here anymore. Carriage for me, carriage! Famusov: What a commission, creator, to be the father of an adult daughter!

Learning is a plague... If evil is stopped: Take all the books and burn them. Hey, tie a knot as a souvenir, I asked you to be silent, it’s not a great service. Sofia: They don't watch happy hours. Molchalin: At my age I shouldn’t dare to have my own judgment. Ah, evil tongues are worse than a pistol. Lisa: Pass us away more than all sorrows, And lordly anger, and lordly love.

Fragment of an illustration by D. N. Kardovsky “A carriage for me, a carriage!”

Early in the morning, the maid Lisa knocks on the young lady’s bedroom. Sophia does not respond immediately: she spent the whole night talking with her lover, her father’s secretary Molchalin, who lives in the same house.

Sophia's father, Pavel Afanasyevich Famusov, appears silently and flirts with Lisa, who barely manages to fight off the master. Frightened that he might be heard, Famusov disappears.

Leaving Sophia, Molchalin runs into Famusov at the door, who asks what the secretary is doing here at such an early hour? Famusov, who uses his own “monastic behavior” as an example, is somehow calmed down.

Left alone with Liza, Sophia dreamily recalls the night that flashed by so quickly, when she and Molchalin “lost themselves in the music, and time passed so smoothly,” and the maid could barely restrain her laughter.

Lisa reminds the lady of her former heartfelt inclination, Alexander Andreevich Chatsky, who has been wandering in foreign lands for three years. Sophia says that her relationship with Chatsky did not go beyond the boundaries of childhood friendship. She compares Chatsky with Molchalin and finds in the latter virtues (sensitivity, timidity, altruism) that Chatsky does not have.

Suddenly Chatsky himself appears. He bombards Sophia with questions: what's new in Moscow? How are their mutual acquaintances, who seem funny and absurd to Chatsky, doing? Without any ulterior motive, he speaks unflatteringly about Molchalin, who has probably made a career (“after all, nowadays they love the dumb”).

Sophia is so offended by this that she whispers to herself: “Not a person, a snake!”

Famusov enters, also not too happy about Chatsky’s visit, and asks where Chatsky has been and what he’s been doing. Chatsky promises to tell him everything in the evening, since he hasn’t even managed to go home yet.

In the afternoon, Chatsky again appears at Famusov’s house and asks Pavel Afanasyevich about his daughter. Famusov is wary, is Chatsky aiming for a suitor? How would Famusov react to this? - in turn, the young man inquires. Famusov avoids a direct answer, advising the guest to first put things in order and achieve success in his career.

“I would be glad to serve, but it’s sickening to be served,” declares Chatsky. Famusov reproaches him for being too “prideful” and uses his late uncle as an example, who achieved rank and wealth by servilely serving the empress.

Chatsky is not at all happy with this example. He finds that the “age of obedience and fear” is becoming a thing of the past, and Famusov is outraged by these “free-thinking speeches”; he does not even want to listen to such attacks on the “golden age.”

The servant reports the arrival of a new guest, Colonel Skalozub, whom Famusov courtes in every possible way, considering him a profitable suitor. Skalozub innocently boasts of his career successes, which were by no means achieved through military exploits.

Famusov delivers a lengthy panegyric to the Moscow nobility with its hospitality, conservative old men, nobles, power-hungry matrons and girls who know how to present themselves. He recommends Chatsky to Skalozub, and Famusov’s praise for Chatsky almost sounds like an insult. Unable to bear it, Chatsky bursts into a monologue in which he attacks those flatterers and serf-owners who admire the owner of the house, denouncing their “weakness, poverty of reason.”

Skalozub, who understood little from Chatsky’s speeches, agrees with him in his assessment of the pompous guardsmen. The army, in the opinion of the brave servant, is no worse than the “Guardians”.

Sophia runs in and rushes to the window shouting: “Oh, my God, I fell, I killed myself!” It turns out that it was Molchalin who “cracked” from his horse (Skalozub’s expression).

Chatsky wonders: why is Sophia so scared? Soon Molchalin arrives and reassures those present - nothing terrible has happened.

Sophia tries to justify her careless impulse, but only strengthens Chatsky’s suspicions.

Left alone with Molchalin, Sophia worries about his health, and he is concerned about her incontinence (“Evil tongues are worse than a pistol”).

After a conversation with Sophia, Chatsky comes to the conclusion that she cannot love such an insignificant person, but nevertheless struggles with the riddle: who is her lover?

Chatsky starts a conversation with Molchalin and becomes even stronger in his opinion: it is impossible to love someone whose virtues boil down to “moderation and accuracy,” someone who does not dare to have his own opinion and bows down to nobility and power.

Guests continue to come to Famusov for the evening. The first to arrive are the Gorichevs, old acquaintances of Chatsky, with whom he talks in a friendly manner, warmly remembering the past.

Other persons also appear (the princess with six daughters, Prince Tugoukhovsky, etc.) and carry on the most empty conversations. The countess-granddaughter tries to prick Chatsky, but he easily and wittily parries her attack.

Gorich introduces Zagoretsky to Chatsky, characterizing the latter straight to his face as a “swindler” and a “rogue,” but he pretends that he is not at all offended.

Khlestova arrives, a powerful old woman who does not tolerate any objections. Chatsky, Skalozub and Molchalin pass in front of her. Khlestova expresses her favor only to Famusov’s secretary, as he praises her dog. Addressing Sophia, Chatsky is ironic about this. Sophia is infuriated by Chatsky’s sarcastic speech, and she decides to take revenge for Molchalin. Moving from one group of guests to another, she gradually hints that Chatsky seems to be out of his mind.

This rumor immediately spreads throughout the living room, and Zagoretsky adds new details: “They grabbed me, took me to the yellow house, and put me on a chain.” The final verdict is pronounced by the countess-grandmother, deaf and almost out of her mind: Chatsky is an infidel and a Voltairian. In the general chorus of indignant voices, all other freethinkers also get their share - professors, chemists, fabulists...

Chatsky, wandering lost in a crowd of people alien to him in spirit, encounters Sophia and indignantly attacks the Moscow nobility, which bows to nonentity only because it had the good fortune to be born in France. Chatsky himself is convinced that the “smart” and “cheerful” Russian people and their customs are in many ways higher and better than foreign ones, but no one wants to listen to him. Everyone is waltzing with the greatest zeal.

The guests are already beginning to leave when another old acquaintance of Chatsky, Repetilov, runs headlong. He rushes to Chatsky with open arms, right off the bat begins to repent of various sins and invites Chatsky to visit the “most secret union” consisting of “decisive people” who fearlessly talk about “important mothers.” However, Chatsky, who knows Repetilov’s value, briefly characterizes the activities of Repetilov and his friends: “You make noise and that’s all!”

Repetilov switches to Skalozub, telling him the sad story of his marriage, but even here he does not find mutual understanding. Repetilov manages to enter into a conversation with only one Zagoretsky, and even then the subject of their discussion becomes Chatsky’s madness. Repetilov does not believe the rumor at first, but the others persistently convince him that Chatsky is a real madman.

Chatsky, who lingered in the doorman's room, hears all this and is indignant at the slanderers. He is worried about only one thing - does Sophia know about his “madness”? It can’t even occur to him that it was she who started this rumor.

Lisa appears in the lobby, followed by a sleepy Molchalin. The maid reminds Molchalin that the young lady is waiting for him. Molchalin admits to her that he is courting Sophia so as not to lose her affection and thereby strengthen his position, but he really only likes Lisa.

This is heard by Sophia quietly approaching and Chatsky hiding behind a column. An angry Sophia steps forward: “Terrible man! I’m ashamed of myself, the walls.” Molchalin tries to deny what was said, but Sophia is deaf to his words and demands that he leave his benefactor’s house today.

Chatsky also gives vent to his feelings and exposes Sophia’s treachery. A crowd of servants, led by Famusov, comes running to the noise. He threatens to send his daughter to her aunt, into the Saratov wilderness, and to assign Liza to a poultry house.

Chatsky laughs bitterly at his own blindness, and at Sophia, and at all of Famusov’s like-minded people, in whose company it is truly difficult to maintain sanity. Exclaiming: “I’ll go search around the world, / Where there is a corner for the offended feeling!” - he leaves forever the house that was once so dear to him.

Famusov himself is most concerned about “what / Princess Marya Aleksevna will say!”

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