Alexander Griboedov "Woe to all the smart." IN

Fate, naughty minx,
I defined it this way:
To all stupid people - happiness comes from madness,
To all smart people - woe from the mind.

Epigraph to Griboedov's comedy

This was about six to eight months ago. I stood in front of a small bookcase, which made up the entire wealth of the newly founded “Library for Employees” at one of the countless St. Petersburg offices; I was invited to enroll in it, but I did not dare, seeing too small a selection of books.

For mercy's sake, you don't even have Turgenev and Goncharov, which I can find for the same fifty dollars a month in any library... What is your purpose in enrolling?

The young man, with a handwritten catalog in his hand, began to stir.

I reached out to the spine with an unclear inscription, and with amazement pulled out a lanky volume by Pisarev: I did not yet know about the publication of a new edition and looked with curiosity at the “First Volume, with a Biography and Portrait” of the smooth-minded critic. Seeing my attention, the official remarked:

We keep an eye on the books that come out and don’t miss an opportunity. The publication has just appeared, but for a long time it was impossible to get these works at any price...

I looked back at the librarian's face again; it was absolutely impossible to give him more than 21 years of age. “If it weren’t for here, in the office,” I thought, “I would have entered the volunteer force. There are now many thousands of them, even tens of thousands, not ripening in high schools...

Listen, I asked, you don’t mix Pisemsky with Pisarev?..

No, after all, Pisemsky, it seems, is with Novi and, if I’m not mistaken, a novelist? Why would Wolf need a critic for applications? We have a serial library.

I contributed fifty dollars and decided to become a member of the “serious” library.

So from the labor contribution
Temples of God are growing
Across the face of our native land...

Well, before, in stupid times, “temples of God” grew, but now, when the people, thanks to “primary education,” have become wiser, there is something better to grow.

And passers-by give and give...

Nick. Kareevs, Pavlenkovs, Evg. The Solovyovs collect the “mites” and put them in their pockets; sometimes, however, they also cheat, that is, in the noble, literary sense they cheat, “not following the direction”; So, in No. 337 of Novosti, dated December 1, 1895, I just read an announcement, which I quote here in its entirety:

"On sale now fifth edition
philosophical and psychological study
OK. Notovich "Love"
with the appendix of his own critical-philosophical sketch:
"Beauty"

with prefaces by famous representatives of the modern Italian philosophical school C. Lombroso and G. Ferrero, a review by Montegazza (author of “The Physiology of Love”) and “Letters to the Author from Olympus” by D.L. Mordovtseva.

Price of the book (an elegant volume of more than 20 sheets) 1 rub. 50 k. Subscribers to "News" pay only one ruble for the book. Requirements are addressed to the bookstore of the newspaper "Novosti", B. Morskaya, 33."

But just two months ago, the same “News” published the same announcement:

"O.K. Notovich. G.T. Buckle. History of civilization in England in a popular presentation. Tenth edition. St. Petersburg, 1895. Ts. 50 copies."

And in the Northern Bulletin for December 1895, I even read a review:

“Bockle’s interesting work is still very widely known in Russia. A popular presentation of this work by Mr. Notovich is already published in a very short time tenth edition. One might think that, thanks to Mr. Notovich’s book, Buckle began to penetrate the middle strata of the Russian reading public, and no matter how one looks at the scientific merits of this historical research, one cannot help but recognize the work that Mr. Notovich did as useful. The author's presentation is distinguished by the accuracy of scientific expressions. In literary terms, the book should be recognized as impeccable both in terms of style and in the sense of clarity in conveying Buckle’s main thoughts in a language accessible to those for whom the full edition of his work is not available. The author's intention would have been crowned great success, if for the next 11th edition he lowered the price of his little book to 20 k. per copy" (department II of the December book of the magazine, p. 87).

"On sale now 11-20 thousand copies newly published F. Pavlenkov:

"The History of Civilization in England by T. Buckle."

Translation by A. Buinitsky. With notes. Ts. 2 r. The same translation without notes - 1 rub. 50 k."

I don't know why I started talking about advertisements. I actually wanted to talk about the third book, “The Struggle with the West in Our Literature,” by my good and old friend, N.N. Strakhov, just published by the author; I thought I would help the “book” with a kind review. But too many “advertisements” caught my eye and I involuntarily “swayed my heart”...to other sorrows.

Here “beauty” comes, here “love” helps. I want to say that you and I, old friend, who have neither beauty nor, in this special sense, “love,” will have books lying on store shelves, not asked for by anyone, absolutely not needed by anyone. They will lie as motionless as the books of our dead friends, yours - Ap. Grigoriev, published in 1876, and mine - K. Leontiev, published in 1885-1886, still not sold out; how the opera omnia of two unforgettable professors of Moscow University, T.N. Granovsky, so “noisily” celebrated in the press and silently not read, and his student - Kudryavtsev; how the “Rural School” of Mr. Rachinsky “lies” calmly, published in 1892 and not requiring a new edition. Everything smart and noble “lies” in Rus' and everything shameless and stupid “goes forward” noisily...

For some reason I think I'm saying about itself, about itself important fact of modern literature - more significant and capable of provoking reflection than if War and Peace had appeared, or Fathers and Sons... For, in essence, it predetermines all the others... It shows that that literature, on which they think that a few old idealists are working, a few gray wigs stale from the past - that this literature... No at all: she does not exist in that spiritual, ideal, sweet, dear sense that we historically associate with her name and, out of naivety and misunderstanding, continue to preserve to this day.

This is a lost field - the field of literature; the field of civilization, culture, spirit - it is lost. It is now, precisely in our days, when, apparently, everything is shunned before them, when all doors are open for them, their name is welcomed everywhere - in the very greetings, in the very openness of all entrances and exits before her, in the most victorious cries - death knell is heard...

She won and died.

It looks like a charge in the muzzle of a torn, broken gun. Let the gunpowder ignite, let the wad smolder, and those standing around will only laugh...

Let the word of the new prophet be heard; Dante's terzas will still sound - "society" will sleepily reach for the fifth edition of "Love and Beauty", the ninth edition of the abridged Buckle, the nineteenth thousand of the complete "History of Civilization in England" ...

On this lost field, my good and old friend, your book will lie as an extra bone... What is the point that it will lie next to the “noble bones”; This is a field that is not only lost, but, in essence, forgotten. New Time - i.e. not only "New Time" by A.S. Suvorin, but in general the new time, to which Suvorin’s only dances, passes by him, holding his nose “from carrion” - to other pleasures, to other joys - the very same ones that appear in the “ads” I cited.

Dear friend, I think all we can do is die. Russia, which we defended, which we love, for which we “fought with the West,” all that remains for it is to die.

The Russia we are going to live in - we will not love this Russia.

These poor villages
This dull nature...
Will not understand or appreciate
Proud look of a foreigner,
What shines through and secretly shines
In your humble beauty...

These “poor villages” take on a new, very lively, but also very unexpected appearance:

One foot touching the floor,
The other - slowly circling,
And suddenly - a jump, and suddenly - flying,
Flies like feathers from the lips of Aeolus...

We cannot wish her any good in this new “flight”; We wish her every harm.

Dejected by the burden of the godmother,
All of you native land,
In slave form, the King of Heaven
Came out blessing...

I want to cry; however, why not laugh:

Flies like feathers from the lips of Aeolus,
Either the camp will sow, then it will develop
And with a quick foot he hits the leg.

Oh, how we hate you, makers of sad change; you and even those great ones, on whom, pressing like a small weight on the end of a long lever, you made a revolution: all of them, from Kantemir, still naive, and to the evil Shchedrin, not excluding, however, those in between.

“Woe comes from the mind,” said the great; “There’s no point in blaming the mirror if your face is crooked,” they reassured. And thousands of monkey faces, pointing at the verbal “mirror”, burst into Homeric laughter; thousands of fools, taking a tragic pose, said that they were suffocating “in their homeland”, that they were “stuffy”, that “invisible tears” were burning their hearts “through the laughter visible to the world”...

Old crosses swayed, old graves moved aside.

A new time has come new era came, at whom we do not know how to laugh, at whom we have not yet no forms of laughter have been invented. There is "Love" and "Beauty".

Not very important "beauty" - not Aphrodite of Medicine, and not very rare love- on Bolshaya Morskaya, building 33, it costs only one ruble. But anyway...

Maybe, however, the doctor will have to pay three rubles later?..

“Without risk, there is no pleasure,” as my friend Mr. Arsenyev would note fragmentarily.

But there is absolutely no risk; about this Mr. N. Mikhailovsky, when he wrote “literature and life”, and also “literature and life” and again then “literature and life”, warned his young readers, blooming with strength and health, saying that “it will come out soon, in a very good, albeit old translation of Buinitsky, an English thinker, compared to whom our native Yasnaya Polyana sage is much poorer.” And Mr. Skabichevsky confirms this - he, in his old age, took refuge under the same fig tree, on Bolshaya Morskaya, no. 33, where Buckle comes from and where they practice “love” and “beauty.”

How mixed up you are, the worms; and you can’t tell where someone starts and where they end. Mikhailovsky recommends Buckle; Notovich it popularizes and publishes in nine editions; V the same time he composes "beauty" in an original way and "Love"; him the “critic of the 60s”, Mr. Skabichevsky, dear to the heart of N. Mikhailovsky, collaborates; Pavlenkov publishes the same Boklya, and Evg. Solovyov writes a “preface” to it. Everyone is apparently "sympathetic to each other."

“This beauty is expensive,” old Marmeladov said about his daughter: she needs fondant, and this and that; without cleanliness - in this situation it is impossible."

In 1891, Mr. N. Mikhailovsky asked me, in response to the article “Why are we abandoning the inheritance of the 60s and 70s?” - "why are you so unfounded refuse without decisively no one fact." He wrote then:

"In his article, Mr. Rozanov develops the idea that we, the older generation, have understood such a complex creature as man - poor, flat, rough. He does not support his idea with a single factual evidence, not a single quote, not even a single anecdote. It is very easy to write like this, but it is difficult to convince someone of anything with such writing. Even now, perhaps, I can write about some, for example, London art gallery, which I have never seen, that the art presented there is poor, flat, and crude. I can do the same with Danish literature, with Spanish industry, in a word - with any group of phenomena that is little known to me or not known at all. And I am inclined to think that Mr. Rozanov knows very little about the inheritance that he so solemnly renounces. Unsubstantiated I can counter Mr. Rozanov’s opinion with something equally unfounded. Never in our history has man been understood so sublimely and subtly as in those memorable 60s. There were, of course, hobbies and mistakes...", etc. (Russian Vedomosti, 1891, No. 202).

Now, having thrown this ball of worms in his face, where he himself “with Buckle” is fussing about “love” and “beauty” - I can answer, although late, but definitively about the motives for “refusing” the inheritance in the 80s 60-70s":

Gentlemen, they forgot the fudge - they didn’t keep it clean: it smells very bad.

And I can add, looking at all Russian literature, from the archaic Cantemir and... to the “third book” of “The Fight with the West” * of my good and old friend - a book that will probably have to lie on the shelves of bookstores.

______________________

* By the way, in one place it is mentioned that “one of the glorious flock,” Mr. N. Mikhailovsky, announced its author, i.e. Mr. N. Strakhov, “a complete nonentity”; he probably looked for “love” in her and found a doctor’s prescription. I myself remember how I read somewhere in his “Literature and Life” mockery of the fact that “Zarya,” the magazine in which Ap. Grigoriev, N.Ya. Danilevsky and N. Strakhov - “did not know any subscribers at all,” and the editors “tried to hide this from the public” in order to lure at least someone to subscribe to New Year... He even advertisements I didn’t forget about subscribing to a hostile magazine; He even reproached them as a literary organ that was already dying from the indifference of society, where, however, the best, most serious works on criticism and history, now recognized by all, were published. “You were exhausted,” says a generous critic of the 70s, “you were exhausted - and you dared to pretend that your lungs were full of air”...

______________________

Who needs "woe from mind" - in real life! And “who,” on the contrary, “lives well in Rus'”? And whose, finally, little-human face is reflected in the “non-distorting mirror” of the great and sad satirist?..

Who is it specific, By name And patronymic called, about whom all this was impersonally written in our literature? To whom exactly

Free, fun
Lives in Rus'?

And who is that “invisibly shedding” tears in her, about whom great artist I wrote it in my “poem” and forgot sign Name?..

What a tragedy, what an unspeakable tragedy is our life, our history, if it is in front of this suffering, exhausted, crying face, holding up the mirror of satire, that our literature wheezes impudently and drunkenly:

No point in blaming the mirror
- if the face is crooked

And bursts into uncontrollable laughter, more wild and bestial than any better days of their triumph, the gentlemen “one fatter” and “others thinner” laughed at the memorable governor’s ball.

The departed shadows and you, the living righteous, scattered in the bearish corners of Russia - I call you as witnesses: is this so?

Vasily Vasilyevich Rozanov (1856-1919) - Russian religious philosopher, literary critic and publicist, one of the most controversial Russian philosophers of the 20th century.

Class: 9

“All this amazes, attracts, attracts attention...”. This is what A.A. Bestuzhev wrote about “Woe from Wit” by A.S. Griboedov. Banned from publication and production on the theater stage, the comedy or, as the author himself defined it, the stage poem, enjoyed wild popularity. The text was repeatedly copied by hand, learned by heart, A.S. Griboedov was invited “for the evening” to read his masterpiece. Critics argued about it, admired, condemned, praised, criticized... The popularity of the “stage poem” is quite understandable: the ideas of Decembrism in Russian society, the confrontation between the “present century and the past century,” a system of characters different from classicism.. But how difficult it is sometimes to explain to today’s schoolchildren, what exactly is the grief of the characters in the comedy and why this grief takes its origins from the mind. But it's still worth a try. So, Woe from mind or “For all stupid people, happiness comes from madness; for all smart people, grief comes from madness.”.

The first thing we draw students’ attention to is the title of the work. The very name of the comedy “Woe from Wit” already indicates that the heroes of the comedy suffer grief from their minds. However, Griboedov initially called his work “Woe to Wit.” What is the point of this change? We will listen to the children’s answers and, if possible, bring them to a “common denominator.” The original version of the title made it clear that grief is only for smart people. There may not be grief if there is no mind. The final version of the comedy title focuses the reader's attention on strong characters with the concept of intelligence, but suffering grief because they cannot properly manage their mind.

Griboyedov in a letter to P.A. Katenin indicated: “In my comedy there are 25 fools for one sane person.” Who did Griboedov mean? It seems that the answer is obvious: Chatsky. Therefore, the other characters in the play are fools. But is this really so? Sanity and intelligence are manifested in a person's actions. Let's turn to the actions of the heroes.

Chatsky was absent for three years, did not write letters, suddenly rushed to Famusov’s house with a declaration of love for Sophia (let’s pay attention to the heroine’s age); does not make an official proposal, conflicts with Famusov (Sophia’s father), is jealous of Skalozub and Molchalin, reproaches Sophia for being cold; having made sure that Molchalin was preferred to him, he begins to criticize and ridicule Famusov’s guests at the ball, where Chatsky himself is only a guest; Having accidentally witnessed Molchalin's confessions to Lisa, he does not spare Sophia's (beloved) feelings and leaves offended. So what smart thing did the hero do? No! But should Chatsky be denied his mind? Of course no . After all, he is an educated person, thinking in an advanced and progressive way for his time, he’s just young, hot, in love, offended... Hence the absurdity of his actions, the illogicality of his actions, and the strangeness of his behavior.

Although Pushkin denied Chatsky intelligence, considering his behavior unacceptable for an intelligent person, because an intelligent person would not “throw pearls before swine,” and would not put himself in a ridiculous and stupid position.

Famusov is an influential nobleman, dignitary, respected person in society; respects the norms and rules of behavior in society, raised Chatsky when he was left without parents, helped him establish the necessary connections, taught him life, mentored him. The returning Chatsky gives sensible and practical advice on how to better get settled in this life; values ​​his reputation as a successful and impeccable person. So is this a fool before us? No. But actions... He doesn’t see what’s going on under his very nose (the connection between Sophia and Molchalin), he doesn’t understand the danger posed by Chatsky, he allows the family scandal to become the property of society. Why does a smart person behave like a boy?

Sophia is “a strong nature, a lively mind, passion and feminine softness” according to I.A. Goncharov. For a girl early XIX century she is very progressive and smart. She chooses her lover herself, and this is not the “golden bag” Skalozub, but the inconspicuous and far from rich Molchalin (Famusov’s secretary); Sophia is not ashamed of her choice, almost does not hide it, for the sake of personal happiness she is ready to go to the end: not to allow Chatsky to intervene and Famusov to decide her fate. In fact, Sophia is rebelling, rebelling against the norms and laws of Moscow society, and although her rebellion is limited only to the personal and family sphere, it is still a rebellion. But smart and faithful Sophia is mistaken in the most important thing: in choosing a lover. She takes Molchalin's opportunism for respect for people, his desire to please - for dedication, sycophancy - for the depth and subtlety of feelings, and even Molchalin's poverty and dependent position only adorns him in Sophia's eyes. Her disappointment will be painful. It will be aggravated by Molchalin’s betrayal (love confession to Liza).

Molchalin - “he’s on tiptoe and not rich in words,” according to Chatsky’s definition, Famusov’s powerless secretary, who dreams of making his way into the people. And for this, all means are good. Chatsky openly mocks both Molchalin himself and his position in life (to please all people without reserve; to find patrons). But it’s easy to mock: Chatsky himself is a fairly wealthy man, Famusov provided him with the necessary connections, but Molchalin has no one to hope for and rely on. He will have to achieve everything on his own; he fights for wealth, strength and power without support. But who can be blamed for wanting to “reach the known levels”? For the smart and cunning Molchalin, all means are good. And he is already close to his first goal: to become indispensable for Famusov, to “gain” patrons, to become a full member of Famusov’s society, thanks to his marriage to Sophia. And the rest is a matter of technique. And how stupidly Molchalin himself destroys everything that he achieved with such difficulty. Unable to control his feelings and emotions, he confesses his love to Lisa. And would a smart person put all his efforts on the map of love passion?! Now Sophia, Famusov’s house, and his ambitious dreams and plans are lost to him.

Lisa is, at first glance, just Sophia’s servant, helping her mistress in love secrets. But if you look more closely, Lisa turns from a simple servant into Sophia’s confidant and friend. She is not a banal soubrette, but rather a “Double Heroine”. Prudent Liza connects her future not with Famusov (“pass us away more than all sorrows and lordly anger and lordly love”), not with the handsome Molchalin, but with Sophia. It is from Sophia that Lisa expects to receive certain benefits, and therefore serves faithfully and carefully. But Lysine’s rationalism does not lead her to her goal. She becomes a “victim” of the stupidity and mistakes of others.

It turns out that the main characters of the comedy are smart people, each with their own mind and their own understanding of the mind. We can draw conclusions. These definitions were suggested by the students themselves.

• Famusov - a powerful and instructive mind;
• Chatsky is a socially enlightened mind;
• Sophia is a purposeful, decisive mind;
• Molchalin - an ambitious mind;
• Lisa is a rational, thoughtful mind.

The only trouble is that smart heroes, due to various circumstances, do not at all smart things and at the end of the play they are left with nothing.

So what do we get? All carriers of the 5 leading types of mind (as defined by schoolchildren) fail; their mind does not help them achieve their goal and find happiness. It turns out that Griboedov’s goal was to debunk the mind as the basis of happiness. But then there must be something that is opposed to the mind. However, there is no “opposition”! One can, of course, assume that Griboedov wanted to debunk either the “old” or the “new” types of mind, but in the plot of the comedy both types of mind fail.

To understand this, let's decide what lies at the heart of the play's conflict. Students give answers that are countered by the teacher.

- a clash of two ideological positions: Decembrism (Chatsky) and the old nobility (Famus society). But where exactly collision? There are Chatsky’s attacks and society’s confidence that he is crazy.

- love drama Sophia. But this is too small for this comedy, and besides, no one gets Sophia, the conflict remains unresolved.

The problem of human happiness and its relationship with the world. Each of the bearers of one or another type of mind strives for happiness, understands it in its own way and does not find it.

Why? That's what it is main question our conversation. And the answer to this question is given by Chatsky himself, and his formula is suitable for each central character . “The mind and heart are not in harmony.” And if the main problem of comedy is the problem of finding happiness, then it becomes clear why the mind does not help the heroes, why the mind only brings grief. Because this mind is not in harmony with the heart. Consequently, according to Griboyedov, to achieve happiness, the mind is not enough, just as the heart is not enough, The main thing is to bring the mind and heart into a state of harmony. Harmony of mind and heart is the main condition for achieving happiness.

List of documents used

1. Griboyedov A.S. Woe from Wit: Plays. - M.: Fiction, 1974. - 829 pp. - (Library of World Literature).

2. Agapova I.A. About Griboedov’s comedy and its main character.// Agapova I.A. Thematic games and holidays based on literature. - M. - 2004. - p.6-14.

3.Petrieva L.I., Prantsova G.V.Griboyedov A.S. Studying at school: Textbook - met. village - M.: Flinta, 2001. - 2146 p. : ill.

4. Griboyedov A.S.: Creativity. Biography. Traditions. - L.: Nauka, 1977. –292 p.

5. Griboyedov A.S.: Life and creativity. - M.: Russian book, 1994. - 162 p.: ill.

6. Smolnikov I.F. Comedy “Woe from Wit”. - M.: Education, 1986 -112 p.

7.Comedy A.S. Griboyedov “Woe from Wit”. New approaches to learning at school. // Library “First of September” Literature, 2005 No. 1-30p.

8. Skabichevsky A. Life of Griboyedov. Griboyedov A.S. Woe from the mind. // Guiding Star -2004, No. 2 - 92 p.

9. Zubkov N. Features of Griboyedov’s comedy. // Russian language - 2005, No. 4 - p. 3-4.

10. A.I. Pisarev in the controversy about the comedy “Woe from Wit”. // Literature 2005, No. 18 – pp. 37-47.

11. Maksimova S. Intellectual game “Clever men and women” based on the comedy “Woe from Wit” by A. S. Griboedov. // Literature - 2005, No. 18 – pp. 48-50.

12. Alpatova T. “The magic of the word” in the artistic world “Woe from Wit” A.S. Griboedova. // Literature at school - 2004, No. 8 - p. 2-7.

13.Todorov L.V. Dramatic verse by Griboyedov. //Literature at school - 2007, No. 9 - pp. 7-11.

14. Gaponenko P.A. Lesson-argument on comedy by A.S. Griboyedov "Woe from Wit". // Literature at school - 2007, No. 9. – p.27-30.

15. Chernysheva I. Training tasks for the play “Woe from Wit”. : 9th grade.// Literature - 2007, No. 22. - p.18-19.

16. Kunnaryov A.A. Whom Famusov warmed up // Literature at school, 2011, No. 2 - pp. 13-15.

17. Khalfin Yu. Poet Alexander Griboedov and his poetic play. // Literature, 2008, No. 5 - pp. 15-19.

18. Kunarev A.A. “You don’t have to name it. You’ll recognize it from the portrait.” // Literature at school, 2011, No. 9 p. 14 – 18.

19. Penskaya E.N. Chatsky's myth. // Literature -2013, No. 2. – pp. 15 - 17.

20. Lebedev Yu.V. An arrogant mind and a narcissistic heart in the comedy “Woe from Wit” by A.S. Griboyedova // Literature at school - 2013, No. 9 - p. 2 – 7.

21. Mezentseva L.G., Shtilman S.L., Mendeleeva D.S. Comedy by Griboyedov A.S. Woe from the mind. A hero without love. //Literature, 2005, No. 1 - p.30.

Interactive exhibition of one book for the birthday of A. S. Griboyedov.

Alexander Sergeevich Griboyedov - a famous Russian writer, poet, playwright, brilliant diplomat, state councilor, author of the legendary play in verse "Woe from Wit", was a descendant of an old noble family. Born in Moscow on January 15 (January 4, O.S.), 1795, with early years proved himself to be an extremely developed, and versatile, child. Wealthy parents tried to give him an excellent home education, and in 1803 Alexander became a pupil of the Moscow University Noble Boarding School. At the age of eleven he was already a student at Moscow University (literature department). Having become a candidate of literary sciences in 1808, Griboyedov graduated from two more departments - moral-political and physical-mathematical. Alexander Sergeevich became one of the most educated people among his contemporaries, knew about a dozen foreign languages, and was very gifted musically.

With the beginning Patriotic War 1812 Griboyedov joined the ranks of volunteers, but he did not have to participate directly in hostilities. In 1815, with the rank of cornet, Griboyedov served in a cavalry regiment that was in reserve. The first literary experiments date back to this time - the comedy “The Young Spouses”, which was a translation of a French play, the article “On Cavalry Reserves”, “Letter from Brest-Litovsk to the Publisher”.

At the beginning of 1816, A. Griboedov retired and came to live in St. Petersburg. While working at the College of Foreign Affairs, he continues his studies in a new field of writing, makes translations, and joins theatrical and literary circles. It was in this city that fate gave him the acquaintance of A. Pushkin. In 1817, A. Griboyedov tried his hand at drama, writing the comedies “My Family” and “Student”.

In 1818, Griboyedov was appointed to the position of secretary of the tsar's attorney, who headed the Russian mission in Tehran, and this radically changed his further biography. The deportation of Alexander Sergeevich to a foreign land was regarded as punishment for the fact that he acted as a second in a scandalous duel with a fatal outcome. The stay in Iranian Tabriz (Tavriz) was indeed painful for the aspiring writer.

In the winter of 1822, Tiflis became Griboyedov’s new place of service, and General A.P. became the new chief. Ermolov, Ambassador Extraordinary and Plenipotentiary in Tehran, commander of Russian troops in the Caucasus, under whom Griboyedov was secretary for diplomatic affairs. It was in Georgia that he wrote the first and second acts of the comedy “Woe from Wit.” The third and fourth acts were already composed in Russia: in the spring of 1823, Griboyedov left the Caucasus on vacation to his homeland. In 1824, in St. Petersburg, the last point was put in the work, the path to fame of which turned out to be thorny. The comedy could not be published due to censorship and was sold in handwritten copies. Only small fragments “slipped” into print: in 1825 they were included in the issue of the almanac “Russian Waist”. Griboyedov’s brainchild was highly appreciated by A.S. Pushkin.

Griboyedov planned to take a trip to Europe, but in May 1825 he had to urgently return to service in Tiflis. In January 1826, in connection with the Decembrist case, he was arrested, kept in a fortress, and then taken to St. Petersburg: the writer’s name came up several times during interrogations, and handwritten copies of his comedy were found during searches. Nevertheless, due to lack of evidence, the investigation had to release Griboedov, and in September 1826 he returned to his official duties.

In 1828, the Turkmanchay Peace Treaty was signed, which corresponded to the interests of Russia. He played a certain role in the biography of the writer: Griboyedov took part in its conclusion and delivered the text of the agreement to St. Petersburg. For his services, the talented diplomat was awarded a new position - the plenipotentiary minister (ambassador) of Russia in Persia. Alexander Sergeevich saw his appointment as a “political exile”; plans for the implementation of numerous creative ideas collapsed. With a heavy heart, in June 1828, Griboedov left St. Petersburg.

Getting to his place of duty, he lived for several months in Tiflis, where in August his wedding took place with 16-year-old Nina Chavchavadze. He left for Persia with his young wife. There were forces in the country and beyond its borders that were not satisfied with the growing influence of Russia, which cultivated hostility towards its representatives in the minds of the local population. On January 30, 1829, the Russian embassy in Tehran was brutally attacked by a brutal crowd, and A.S. became one of its victims. Griboyedov, who was disfigured to such an extent that he was later identified only by a characteristic scar on his hand. The body was taken to Tiflis, where its last resting place was the grotto at the Church of St. David.

Project goals: 1. Study of the characters of the comedy heroes and their attitude to progress. 2. Giving examples of grief from the mind using examples from the 20th – 21st centuries. 3. A selection of doubles of comedy heroes of the 19th-20th-21st centuries through an associative series of famous persons, characters from works and films.

Famusov is a wealthy nobleman; Famusov is a wealthy nobleman; Molchalin – Famusov’s secretary; Molchalin – Famusov’s secretary; Colonel Skalozub; Colonel Skalozub; Gorich family; Gorich family; Prince and Princess Tugoukhovsky with six daughters; Prince and Princess Tugoukhovsky with six daughters; Countess grandmother and granddaughter of Khryumina; Countess grandmother and granddaughter of Khryumina; Zagoretsky and Repetilov; Zagoretsky and Repetilov; Old woman Khlestova - Famusov's sister-in-law Old woman Khlestova - Famusov's sister-in-law

A typical representative of the Moscow nobility. An ardent hater of enlightenment. He wrote the words about Chatsky’s “madness”: “learning is the plague, learning is the reason.” “A sycophant, a flatterer,” a person devoid of true dignity and honor, groveling before his superiors in order to obtain rank and wealth. He treats his peasants without the slightest respect. He calls them “cockerels”, and “crowbars”, and “chumps”, and lazy “grouse”. The landowner is well aware of his privileged position, but in order to make it calm and lasting, he surrounds himself with dependent people. A typical representative of the Moscow nobility. An ardent hater of enlightenment. He wrote the words about Chatsky’s “madness”: “learning is the plague, learning is the reason.” “A sycophant, a flatterer,” a person devoid of true dignity and honor, groveling before his superiors in order to obtain rank and wealth. He treats his peasants without the slightest respect. He calls them “cockerels”, and “crowbars”, and “chumps”, and lazy “grouse”. The landowner is well aware of his privileged position, but in order to make it calm and lasting, he surrounds himself with dependent people.

A typical representative of the Arakcheev army environment. There is nothing caricatured in his appearance: historically he is completely truthful. He sees the purpose of his service not in protecting the fatherland from enemy attacks, but in achieving wealth and nobility. A typical representative of the Arakcheev army environment. There is nothing caricatured in his appearance: historically he is completely truthful. He sees the purpose of his service not in protecting the fatherland from enemy attacks, but in achieving wealth and nobility.

A pathetic sycophant and flatterer, weak-willed and pathetic, he tries to curry favor with the masters, feigning “love” for Sophia. He acts meanly, but he himself does not notice this meanness. He is unworthy not only of a girl’s love, but even of her respect. This is a low and unpleasant person who does not inspire confidence in anyone. A pathetic sycophant and flatterer, weak-willed and pathetic, he tries to curry favor with the masters, feigning “love” for Sophia. He acts meanly, but he himself does not notice this meanness. He is unworthy not only of a girl’s love, but even of her respect. This is a low and unpleasant person who does not inspire confidence in anyone.

Chatsky Smart, ardent, passionate, decisive, stubborn, “sensitive, cheerful and sharp,” makes everyone laugh, argues, “an honest, active nature, and also the nature of a fighter,” the future Decembrist, representative of the “present century.” Smart, ardent, passionate, decisive, stubborn, “sensitive, cheerful and witty,” makes everyone laugh, argues, “an honest, active nature, and also the nature of a fighter,” the future Decembrist, representative of the “present century.”

Sophia is smart, well-read, fell in love with an unworthy person, protects him, suffers. Deep in her soul she is tender, vulnerable, pure, but spoiled by Famus’s upbringing... Smart, well-read, she fell in love with an unworthy person, protects him, suffers. Deep in her soul she is tender, vulnerable, pure, but spoiled by Famus’s upbringing...

Conclusion one Conclusion one The heroes of the comedy represent the “present century” and the “past century”, only the image of Sophia is intermediate, since her character is typical of girls of all times. The heroes of the comedy represent the “present century” and the “past century”, only the image of Sophia is intermediate, since her character is typical of girls of all times.

Conclusion two The characters of the heroes, their actions and their relationships described in the comedy are still found today, therefore, the comedy is immortal. The characters of the heroes, their actions and their relationships, described in the comedy, are still found today, therefore, comedy is immortal.

WORTH FROM MIND? lit. ũmas "meaning" is probably borrowed. from glory Related Lit. aumuõ “reason”, perhaps, is connected with the Old Slav. awiti "obviously". lit. ũmas "meaning" is probably borrowed. from glory Related Lit. aumuõ “reason”, perhaps, is connected with the Old Slav. awiti "obviously". lit.ũmas lit.aumuõst. - glorious.explicitly lit.ũmas lit.aumuõst. - famous.explicitly

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CONCLUSION THREE 39 Each product of the activity of the mind carries both positive and negative sides Therefore, there really is grief from the mind. Each product of the activity of the mind carries both positive and negative sides, therefore, there really is grief from the mind.

Aphorisms from the comedy Aphorisms from the comedy Smoke of the Fatherland is sweet and pleasant to us. The smoke of the Fatherland is sweet and pleasant to us. I would be glad to serve, but being served is sickening. I would be glad to serve, but being served is sickening. Who are the judges? Who are the judges? Evil tongues are worse than a gun. Evil tongues are worse than a gun. Pass us away more than all sorrows, and lordly anger and lordly love. Pass us away more than all sorrows, and lordly anger and lordly love. Happy hours are not observed. Happy hours are not observed.

And grief awaits around the corner. And grief awaits around the corner. Hero... Not of my novel. Hero... Not of my novel. If only I could become a general! If only I could become a general! Whoever was not smart enough to have children. Whoever was not smart enough to have children. Carriage for me, carriage! Carriage for me, carriage! Bah! All familiar faces! Bah! All familiar faces! Although they are animals, they are still kings! Although they are animals, they are still kings!