Undoubtedly, the comedy by A. S. Griboedov is an innovative work, both in its content and in form. For example, the author of “Woe from Wit” managed to combine comedic, dramatic and even tragic features. However, the comedy fits into the context literary tradition. In particular, the theme of the mind was known to Russian literature even before Griboyedov; it was developed in the works of M. M. Kheraskov and D. I. Fonvizin.
After the creation of the comedy, it was immediately banned by censorship for publication and production. theater stage. This reaction was caused by the fact that in “Woe from Wit” Griboyedov exposes to the readers the vices of the “past century” and himself mercilessly stigmatizes them.
The comedy by A. S. Griboedov staged the most acute and current problems the time of the creation of “Woe from Wit”: the question of serfdom, education and upbringing of noble youth, censorship, military and public service. The work presents two opposing points of view on these issues, their spokesmen are representatives of the “past century” (Famusov. Skalozub, Khlestova, Countess Khryumina, Molchalin and others) and the “present century” (primarily main character comedy Chatsky and a number of off-stage characters - Skalozub’s brother, nephew of Princess Tugoukhovskaya). The conflict of comedy lies precisely in this opposition between representatives of the two camps.
If representatives of the “past century” are committed to serving individuals in the name of awards and ranks, as well as acquiring personal power over people around them, accept sycophancy and hypocrisy, and are enemies of enlightenment and any changes in the established way of life, then Chatsky and his supporters sharply criticize such a philosophy of life, which destroys the best spiritual qualities in people.
Alexander Andreevich Chatsky is significantly different from those people among whom he spent his childhood and youth. Therefore, having matured, he leaves his home, not accepting it for himself. life path, which was destined for him, like many young people in Famus society. During his absence in Moscow, Chatsky’s worldview is finally formed: he is characterized by contempt for those who curry favor with those in higher ranks, strives by any means for power, which would allow him to satisfy the slightest whims, longs to have wealth, which again would provide its owner unlimited power over others.
It is appropriate to recall the words of I. A. Goncharov about Chatsky, who attributed to him a “passive role,” but at the same time it is also “victorious.” Chatsky, then Goncharova, only sow, and others reap, this is the “hopelessness of their success.” Goncharov wrote that Griboyedov’s Chatsky is “the eternal denouncer of evil, hidden in the proverb: “alone in the field is no warrior.” No, a warrior, if he is Chatsky, and a winner at that, but an advanced warrior, a skirmisher and always a victim.”
Chatsky does not accept service for the sake of personal gain; he dreams of serving his homeland and his people, but he understands that the existing order will not allow his aspiration to be realized, and therefore it needs to be radically changed.
Pavel Afanasyevich Famusov's daughter Sophia occupies a special place in comedy. It is difficult to unequivocally classify her as a representative of both the “past century” and the “present century”; she is, as it were, between two fires. Sophia is inclined to share Chatsky’s opinion, being under his direct influence, but after his departure she finds herself under the influence of Molchalin and, being in love, takes his side both in a love conflict and in an ideological dispute.
However, it would be unfair not to note such characteristic feature, as a reluctance to obey the father and choose a spouse based on the size of his fortune and the number of awards received for service. Sophia chooses her father's secretary as the object of her love and repents of her choice only after she is convinced of the immoral behavior of her imaginary lover towards herself.
What is the relevance of the comedy woe in our time? and got the best answer
Answer from Yatyan[guru]
The comedy “Woe from Wit,” written by A. S. Griboedov at the beginning of the century, is still relevant for today’s Russia. In this work, the author reveals in all depth the vices that have struck Russian society the beginning of the last century. However, reading this work, we also find in it heroes of the present day.
It is no coincidence that the names of the comedy characters have become household names. In the image of Famusov we can easily find familiar features of our contemporary. After all, many people still use in their lives the same scale of values that the Russian nobility had in the 19th century. And the bureaucracy. The bureaucracy, which has already become a social phenomenon, rests on these same Famusovs.
The same can be said about Molchalin and Skalozub. The main goals of their life are career, position in society and everything connected with it. They are accustomed to “easy” bread, with which they are rewarded for sycophancy and sycophancy.
These heroes of Griboyedov constitute that layer of society that always meekly serves the authorities, whatever it may be. It is precisely such people who serve as a support in an anti-democratic state, as our history convinces. Therefore, we can talk about the relevance for today of heroes like Chatsky. In him the writer embodied many of the qualities of a leading man of his era. According to his beliefs, he is close to the Decembrists. He has a negative attitude towards serfdom, the rigidity of landowners, careerism, veneration of rank, ignorance, and the ideals of the “past century”. Chatsky proclaims humanity, respect for to the common man, service to the cause, not to persons, freedom of thought. He affirms the progressive ideas of modernity, the prosperity of science and art, respect for the national language and culture, and education. And these ideas of Chatsky are very relevant in our time. Now we are actively adopting the features of the West: education, culture, form of government, behavior. We have no respect for our culture, education, and language. Russia is original, and this is its uniqueness. But they want to fit us into Western frameworks. The framework that will enslave us will destroy us.
All the heroes are not only linear, they do not consist of only vices or only virtues, but are complex, contradictory, dynamic characters who display different traits throughout the dramatic action. Creation complex characters, bearing universal human traits and possessing individual expressiveness and originality, makes comedy relevant for all times.
Goncharov in his article “A Million Torments” wrote about “Woe from Wit” - that it “all lives its own imperishable life, will survive many more eras and will not lose its vitality.” We completely share his opinion. After all, the writer drew real picture morals, created living characters. So alive that they have survived to our times.
Reply from Yovetlana[guru]
Griboedov's comedy "Woe from Wit" is one of the most famous works Russian literature. It has not lost its relevance even in our time, two centuries later. The conflict of generations, the relationship between man and society - these problems have existed and will always exist. And now there are people who seem to have stepped out of the pages of Griboedov’s comedy “Woe from Wit.” And now advanced creative thought does not always find the support of others. Young people find the advice of the older generation funny. And old people grumble all the time that in the days of their youth everything was much better. So the main character of Griboyedov was not understood by the people around him.
Reply from Ivan Kudrin[guru]
But nothing has changed, that’s all!
Reply from 3 answers[guru]
Comedy A.S. Griboedov’s “Woe from Wit” has not lost its relevance for the second century. The time is different, but the people are still the same. Modern society characteristic of all the problems that were so close to that time.
In our time, we, just like the characters in the play, are no strangers to the problem of “fathers and sons.” It sounds extremely topical in the unstable times in which we live. Nowadays, misunderstanding between generations is increasing, relations between parents and children are becoming more and more aggressive, but in essence the reasons remain the same as several centuries ago. Just like Famusov, any modern parent is ready to do everything possible for a good life for their child, sometimes completely ignoring the dreams and desires of the child himself. Famusov strives to successfully marry Sophia. None other than Skalozub, a successful military man, according to his caring father, is suitable for the role of Sophia’s future husband. But Sophia herself needs a completely different person; in Molchalin she found the ideal man. We see a similar situation in Galina Shcherbakova’s modern story “The Door to Someone Else’s Life.”
Often two generations clash in their political and ideological views. In our country, nepotism, veneration and sycophancy are still held in high esteem. What Famusov recognizes as intelligence seems to Chatsky to be madness. IN Famusov society“he was famous, whose neck often bent,” Chatsky is disgusted by length of service and patronage, and to Famusov’s reasonable advice to serve, he replies: “I would be glad to serve, it’s sickening to be served.” Nothing has changed, service to the Fatherland is still ambiguous. The ball is run by the same officials, for whom a relative is more important than any professional worker, and a flatterer is first on the list of employees. Because of all this bureaucratic red tape and bureaucracy, the country is losing its minds - all more people strives to go abroad, because only there they will be appreciated according to their merits. Perhaps Chatsky did the same, leaving Moscow with the words: “I don’t go here anymore!”
The problem of upbringing and education raised in the comedy remains key in modern times. Society will always need enlightenment, because it does not stand still, it is always developing. Just as Famusov then read newspapers “from the time of the Ochakovskys and the conquest of the Crimea,” so now the main source of judgment for the older generation is Soviet ideology.
We must not stand still - we must grow and develop, so we do not need “a regiment of teachers, more in number, at a cheaper price,” we must eradicate nepotism and make way for a new generation of purposeful and educated people. Thus, reading the comedy "Woe from Wit", we feel those moods that are so close to modern man, precisely because the play has not lost its relevance in our time.
In Griboedov’s comedy “Woe from Wit” we can observe a clash of two different eras, two styles of Russian life, which is realistically shown by the author in his immortal work. The difference in the worldview of the old Moscow nobility and the advanced nobility in the 10-20s XIX century constitutes the main conflict of the play - the collision of the “present century” and the “past century”.
“The Past Century” represents Moscow in comedy noble society, which adheres to established rules and norms of life. A typical representative of this society is Pavel Afanasyevich Famusov. He lives the old fashioned way and considers his ideal to be Uncle Maxim Petrovich, who was a shining example nobles from the time of Empress Catherine. Here's what Famusov himself says about him:
It's not on silver
Ate on gold; one hundred people at your service;
All in orders; I was always traveling in a train;
A century at court, and at what court!
Then it was not the same as now...
However, in order to achieve such a life, he “bent over,” served, played the role of a jester. Famusov idolizes that century, but feels... It means that it is becoming a thing of the past. No wonder he complains: “Then it’s not like it is now...”
A prominent representative of the “present century” is Alexander Andreevich Chatsky, who embodies the features of the advanced noble youth of that time. He is a bearer of new views, which he proves by his behavior, way of life, but especially by his passionate speeches denouncing the foundations of the “past century,” which he clearly disdains. This is evidenced by his words:
And sure enough, the world began to grow stupid,
You can say with a sigh;
How to compare and see
The present century and the past:
The legend is fresh, but hard to believe;
As he was famous for, whose neck bent more often.
Chatsky considers that century to be the century of “submission and fear.” He is convinced that those morals are a thing of the past and today, “laughter frightens and keeps shame in check.”
However, it's not that simple. Traditions days gone by too strong. Chatsky himself turns out to be their victim. With his directness, wit, and audacity, he becomes a disturber of social rules and norms. And society takes revenge on him. At the first meeting with him, Famusov calls him “carbonari.” However, in a conversation with Skalozub, he speaks well of him, says that he is “a guy with a head,” “writes and translates well,” and regrets that Chatsky is not serving. But Chatsky has his own opinion on this matter: he wants to serve the cause, not individuals. For now, apparently, this is impossible in Russia.
At first glance, it may seem that the conflict between Famusov and Chatsky is a conflict different generations, the conflict between “fathers” and “children,” but this is not so. After all, Sophia and Molchalin are young people, almost the same age as Chatsky, but they fully belong to the “past century.” Sophia is not stupid. Chatsky’s love for her can also serve as proof of this. But she absorbed the philosophy of her father and his society. Her chosen one is Molchalin. He is also young, but also a child of that old environment. He fully supports the morals and customs of old lordly Moscow. Both Sofia and Famusov speak well of Molchalin. The latter keeps him in his service “because he’s businesslike,” and Sophia sharply rejects Chatsky’s attacks on her lover. She says: Of course, he doesn’t have this mind, What a genius for others, but for others a plague...
But for her, intelligence is not the main thing. The main thing is that Molchalin is quiet, modest, helpful, disarms the priest with silence, and will not offend anyone. All in all, ideal husband. You can say the qualities are wonderful, but they are false. This is just a mask behind which his essence is hidden. After all, his motto is moderation and accuracy,” and he is ready to “please all people without exception,” as his father taught him. He persistently moves towards his goal - a warm and moneyed place. He plays the role of a lover only because it pleases Sophia herself, the daughter of his master. And Sophia sees in him the ideal husband and boldly moves towards her goal, without fear of “what Princess Marya Aleksevna will say.”
Chatsky, finding himself in this environment after a long absence, is at first very friendly. He strives here, because the “smoke of the Fatherland” is “sweet and pleasant” to him, but this smoke turns out to be carbon monoxide for him. He encounters a wall of misunderstanding and rejection. His tragedy lies in the fact that on stage he alone confronts Famus society.
But in the comedy it is mentioned cousin Skalozub, who is also “strange” - “suddenly left his service,” locked himself in the village and began to read books, but he “followed the rank.” There is also a nephew of Princess Tugoukhovskaya, “chemist and botanist” Prince Fyodor. But there is also Repetilov, who is proud of his involvement with a certain secret society, all of whose activities boil down to “making noise, brother, making noise.” But Chatsky cannot become a member of such a secret union.
Chatsky, apparently, is not only a bearer of new views and ideas, but also advocates new standards of life. After all, he traveled through Europe, which was experiencing revolutionary ferment. The comedy does not directly say that Chatsky is a revolutionary, but this can be assumed. After all, his surname is “speaking”, it is consonant with the surname of Chaadaev.
In addition to the public tragedy, Chatsky is also experiencing a personal tragedy. He is rejected by his beloved Sophia, to whom he “flew and trembled.” Moreover, with her light hand he is declared crazy.
So, Chatsky, who does not accept the ideas and morals of the “past century,” becomes a troublemaker in Famus society. And it rejects him. At first glance, it serves it right, because Chatsky is a mocker, a wit, a troublemaker and even an insulter. So, Sophia says to him: Has it ever happened that you laughed? or sad? A mistake? Did they say good things about anyone?
But you can understand Chatsky. He experiences a personal tragedy, he does not find friendly sympathy, he is not accepted, he is rejected, he is expelled, but the hero himself could not exist in such conditions.
“The present century” and the “past century” collide in comedy. The past time is still too strong and gives rise to its own kind. But the time for change in the person of Chatsky is already coming, although it is still too weak. “The “present century” replaces the “past century”, for this is an immutable law of life. The appearance of the Chatsky Carbonari at the turn of the century historical eras natural and natural.
Conflict
The comedy “Woe from Wit” touches on acute socio-political problems. An essay on one of the topics based on Griboedov’s work involves studying artistic conflict. And here he is not alone. At the beginning of the work a certain love conflict. The comedy author then raises socio-political issues. On the one hand, a progressive-minded young man. On the other hand, there are representatives of the reactionary nobility. Their time is running out, but there is still no place for advanced ideas in this society. The collision of two strangers to each other social worlds essay topics are traditionally devoted to.
“Woe from Wit” is a work that has open ending. Who won? Chatsky? Or the Molchalins and Famusovs? The comedy “Woe from Wit” does not give a clear answer to these questions. The work of the tragically deceased diplomat and playwright has been providing food for deep philosophical reflection for almost two centuries.
Issues
The very name of the comedy speaks about the misfortune of the main character. Chatsky's problem is that he is smart. Here, however, intelligence is rather a synonym for the word “freethinking.”
The author makes it clear to the reader that all his characters, with the exception of Chatsky, are stupid. But each of them does not know about this, believing himself to be smart, and the one who does not want to share his views is crazy. Essay on the topic “Griboyedov. “Woe from Wit” can reveal the question of the polysemy of such a concept as mind. After all, Famusov and Molchalin believe that it is nothing more than the ability to adapt and extract mercantile benefits. Toadying, committing meanness and entering into marriages solely of convenience is a peculiar way of thinking and way of life, which reign in Moscow society contemporary to Griboyedov.
Two hundred years later, little has changed in people's worldviews. Therefore, an essay on the topic “Griboyedov. “Woe from Wit” can answer questions such as “What is modern about the comedy of the Russian classic?”, “What is its relevance?”
The image of Chatsky
This hero occupies a special place in Russian literature. The work contains a Decembrist spirit, so relevant for that time. The author pays attention to national-historical, social and political issues.
But if you close your eyes to the events in the atmosphere of which the brilliant play was created, and see in the system of images only characteristic psychological types, invariably present in society, the question will arise: “Is a Chatsky like this capable of arousing sympathy today?” Hardly. He is witty and intelligent, independent in his judgment and sincere. However, if he appeared now before those who labored in school years over literature textbooks, creating an essay on the topic “Griboyedov. “Woe from Wit,” he would not have been understood. He would only see Famus’s puzzled look.
Artistic originality
Griboyedov combined in his work the features of dying classicism and a new literary direction for that period - realism. The play is also not without romantic features.
The author does not ignore the mandatory principles of classicism. Storyline there is only one in the work, and all the actions take place in one place. The author endowed his characters speaking surnames, which is typical for the creativity of representatives of classicism. But Chatsky’s romantic exclusivity is unusual for this literary direction. And finally, the comedy has historical accuracy, which is a sign of realism.
The school curriculum offers various essay topics. "Woe from Wit" is unique in artistically work. Literary devices, which are used in it, in the work on creative task should not be ignored. This play was written at a turning point in the history of Russian literature. That’s why it combines so many different artistic forms.
