My attitude to the hero is grief from the mind. Analysis of the work "Woe from Wit
Comedy A. S. Griboedov "Woe from Wit" is a realistic picture of life in Russia after Patriotic War 1812. In the rich gallery of images given in the comedy, the bureaucratic world, the dignitary nobility, the feudal landlords, and people who adhere to advanced views are masterfully represented. The comedy touched upon all the acute political and social issues of that time: serfdom, service, education, noble education; disputes about jury trials, boarding schools, institutes, mutual education, censorship, etc., were reflected.
The main character of the comedy is Chatsky. In his image, Griboedov sang "the most brilliant era of the then Russia, the era of hopes and sublime youth," as A. I. Herzen said thirty years later. Chatsky grew up in Famusov's house, as a child he was brought up and studied with Sophia. We know that he is an educated person literary work, was in military service, had connections with ministers, was abroad for three years. All this enriched Chatsky with new impressions, broadened his horizons, but did not make him a fan of everything foreign. From this servility to Europe, so typical of the Famus society, Chatsky was protected by his inherent qualities: love for the motherland, for its people, a critical attitude towards the surrounding reality, independence of views, developed sense personal and national dignity.
Returning to Moscow, Chatsky found in the life of the noble society the same vulgarity and emptiness as in previous years. He felt the same spirit of moral oppression and suppression of the individual, so Chatsky's clash with Famus Society was inevitable. This clash gradually takes on an increasingly violent character, it is complicated by a personal drama - Chatsky's hopes for personal happiness are crumbling.
Molchalin is so accustomed to the society in which he rotates, he so wants to be his own in it, that he adopted many of the manners, tone, and habits of its representatives. Knowing that Chatsky is condemned by those whom he servilely serves, Molchalin allows himself a condescending and patronizing tone towards Chatsky. Molchalin has a certain program of action, he follows it without thinking about what means can be used to achieve the goal. "Moderation and accuracy" - these are the two "talents" that he takes credit for. Molchalin does not disdain the patronage of Foma Fomich, Tatyana Yuryevna, looks at the service as a means to make a career, he offers Chatsky to do the same: “Well, really, what would you like to serve us in Moscow? And take awards, and have fun? Without embarrassment, he openly says that he does not dare to “pronounce his judgment”, because he is not in the ranks, therefore “you must depend on others.”
Molchalin is fully revealed in the last act of the comedy. It turns out that he looks at his relationship with Sophia as a means to get settled in life, portrays a lover, fearing only one thing: that Famusov would not find out about their romance. His self-disclosure is especially strong. It contains all Molchalin, his morality, the principles that he follows. His tone and behavior change when he sees that Sophia knows everything about his meanness: he humiliates himself, wriggles like a worm, crawls at her feet.
Molchalin understands perfectly well what is required of an official if he wants to make a career. He has been in the service of Famusov for only three years, and already he managed to “receive three awards”, become the right person for Famusov, enter his house. Therefore, Chatsky, who is well acquainted with the type of such an official, predicts the possibility of a brilliant service career for Molchalin:
And yet, he will reach certain degrees,
After all, today they love the dumb.
Molchalin has all the data to become an important official later: the ability to serve influential people, complete promiscuity in the means to achieve the goal, the absence of any moral rules. N.V. Gogol wrote about Molchalin: “Molchalin ... a wonderful type. This face is aptly captured, silent, low, for the time being quietly making its way into people ... "
Why, then, "The Silent Ones are blissful in the world"? Silencers flourish where inertia, greed, the cult of servility, mutual responsibility. The higher the level of development of our society, the more sophisticated the Molchalins should become, striving to ingratiate themselves, adapt, adapt to any situation. They know how to repaint, they are difficult to see, identify, bring to light.
Here we have two people who understand life and their place in it differently. Chatsky is smart, educated, but also simple-minded, open, naive; Molchalin is limited, but cunning, dexterous, secretive. The former openly expresses his opinion without fear of condemnation; the second fawns, fawns, but in his heart he treats people badly. Who will the Famus society prefer? Of course Molchalin. BUT modern society? Most likely, also Molchalin, otherwise there would be more worthy people in the current "warm places".
Two characters, two behaviors, two life paths... What way should a person go in order to achieve success, but also not to prevaricate, not to make a deal with his conscience? Each of us makes his own choice, but such wonderful works as A. S. Griboyedov’s comedy “Woe from Wit” can also help in this. I see the skill of the playwright precisely in the fact that he reflected the universal, not subject to fashion and time phenomena.
The history of the creation of comedy
The comedy "Woe from Wit" is the main and most valuable result of A.S. Griboyedov. When studying the comedy Woe from Wit, one should analyze, first of all, the conditions in which the play was written. It touches upon the issue of the brewing confrontation between the progressive and conservative nobility. Griboyedov ridicules the mores of the secular society of the early 19th century. In this regard, the creation of such a work was a rather bold step in that period of the development of Russian history.
There is a known case when Griboyedov, returning from abroad, found himself at one of the aristocratic receptions in St. Petersburg. There he was outraged by the obsequious attitude of society towards one foreign guest. Griboyedov's progressive views prompted him to express his sharply negative opinion on this matter. The guests considered young man crazy, and the news of this quickly spread through the community. It was this incident that prompted the writer to create a comedy.
Theme and problems of the play
It is advisable to start the analysis of the comedy "Woe from Wit" by referring to its name. It reflects the idea of the play. Woe from his sanity is experiencing main character comedies - Alexander Andreevich Chatsky, who is rejected by society only because he is smarter than the people around him. Another problem follows from this: if a society rejects a person of an extraordinary mind, then how does this characterize society itself? Chatsky feels uncomfortable among people who consider him insane. This gives rise to numerous speech clashes between the protagonist and representatives of the society he hates. In these conversations, each side considers itself smarter than the interlocutor. Only the mind of the conservative nobility lies in the ability to adapt to existing circumstances in order to obtain maximum material benefits. Anyone who does not pursue ranks and money for them is a madman.
Accepting the views of Chatsky for the conservative nobility means starting to change their lives in accordance with the requirements of the time. Nobody finds this convenient. It's easier to declare Chatsky crazy, because then you can simply ignore his diatribes.
In the clash between Chatsky and representatives of aristocratic society, the author raises a number of philosophical, moral, national, cultural and everyday issues. Within the framework of these topics, the problems of serfdom, service to the state, education, and family life are discussed. All these problems are revealed in comedy through the prism of understanding the mind.
The conflict of a dramatic work and its originality
The peculiarity of the conflict in the play "Woe from Wit" lies in the fact that there are two of them: love and social. The social contradiction lies in the clash of interests and views of the representatives of the "current century" in the person of Chatsky and the "past century" in the person of Famusov and his supporters. Both conflicts are closely related to each other.
Love experiences force Chatsky to come to Famusov's house, where he has not been for three years. He finds his beloved Sophia in a confused state, she accepts him very coldly. Chatsky does not realize that he arrived at the wrong time. Sophia is busy going through a love story with Molchalin, her father's secretary, who lives in their house. Endless thoughts about the reasons for the cooling of Sophia's feelings make Chatsky ask questions of his beloved, her father, Molchalin. During the dialogues, it turns out that Chatsky's views differ from each of the interlocutors. They argue about service, about ideals, about the mores of secular society, about education, about the family. The views of Chatsky frighten the representatives of the "past century", because they threaten the usual way of life of the Famus society. Conservative nobles are not ready for change, so a rumor about Chatsky's madness, accidentally launched by Sophia, instantly spreads in society. The protagonist's lover is the source of unpleasant gossip because it interferes with her personal happiness. And this again sees the interweaving of love and social conflicts.
Comedy character system
In the depiction of characters, Griboedov does not adhere to a clear division into positive and negative, which was mandatory for classicism. All heroes have both positive and negative traits. For example, Chatsky is smart, honest, brave, independent, but he is also quick-tempered, unceremonious. Famusov is the son of his age, but at the same time he is a wonderful father. Sophia, ruthless towards Chatsky, is smart, brave and determined.
But the use of "speaking" surnames in the play is a direct legacy of classicism. In the name of the hero, Griboedov tries to put the leading feature of his personality. For example, the surname Famusov is derived from the Latin fama, which means "rumour". Therefore, Famusov is the person who is most concerned about public opinion. It is enough to recall his final remark to be convinced of this: “... What will Princess Marya Aleksevna say!”. Chatsky was originally Chadsky. This surname hints that the hero is in the midst of his struggle with the mores of an aristocratic society. The hero Repetilov is also interesting in this respect. His surname is connected with the French word repeto - I repeat. This character is a caricatured double of Chatsky. He does not have his own opinion, but only repeats other people's words, including the words of Chatsky.
It is important to pay attention to the placement of characters. Social conflict occurs mainly between Chatsky and Famusov. A love confrontation is built between Chatsky, Sofia and Molchalin. These are the main characters. The figure of Chatsky unites the love and social conflict.
The most difficult in the comedy "Woe from Wit" is the image of Sophia. It is difficult to attribute it to people who adhere to the views of the "gone century". In relations with Molchalin, she despises the opinion of society. Sophia reads a lot, loves art. She is disgusted by the stupid Puffer. But you can’t call her a supporter of Chatsky either, because in conversations with him she reproaches him for his causticity, ruthlessness in words. It was her word about Chatsky's madness that became decisive in the fate of the protagonist.
Both secondary and episodic characters are important in the play. For example, Liza, Skalozub are directly involved in the development of a love conflict, complicating and deepening it. The episodic characters that appear on a visit to Famusov (the Tugoukhovskys, Khryumins, Zagoretsky) more fully reveal the mores of the Famusov society.
Development of dramatic action
Analysis of the actions of "Woe from Wit" will reveal compositional features works and features of the development of dramatic action.
All the phenomena of the first act before the arrival of Chatsky can be considered an exposition of the comedy. Here the reader gets acquainted with the scene of action and learns not only about the love affair between Sophia and Molchalin, but also that Sophia used to have tender feelings for Chatsky, who left to wander around the world. The appearance of Chatsky in the seventh appearance of the first act is the plot. This is followed by the parallel development of social and love conflicts. Chatsky's conflict with the Famus society reaches its peak at the ball - this is the culmination of the action. The fourth act, 14th comedy phenomenon (Chatsky's final monologue) is the denouement of both the social and love lines.
In the denouement, Chatsky is forced to retreat before the Famus society, because he is in the minority. But he can hardly be considered defeated. It's just that Chatsky's time has not yet come, a split in the noble environment has only just begun.
The originality of the play
Research and analysis of the work "Woe from Wit" will reveal its bright originality. Traditionally, "Woe from Wit" is considered to be the first Russian realistic play. Despite this, it retained the features inherent in classicism: “speaking” surnames, unity of time (the events of the comedy take place within one day), unity of place (the play takes place in Famusov’s house). However, Griboyedov refuses the unity of action: two conflicts develop in parallel in comedy, which contradicts the traditions of classicism. In the image of the protagonist, the formula of romanticism is also clearly visible: an exceptional hero (Chatsky) in unusual circumstances.
Thus, the relevance of the play's problems, its unconditional innovation, the aphoristic language of comedy are not only of great importance in the history of Russian literature and dramaturgy, but also contribute to the popularity of comedy among modern readers.
Artwork test
- “It is difficult to treat Sofya Pavlovna not nicely” (I. A. Goncharov).(Sofya evokes sympathy: she is smart, but does not understand people. She does not have ideas and beliefs. Exaggerated pride, a desire to patronize the weaker, gullibility, a “bookish” idea of \u200b\u200blife - these are the qualities that explain her love for Molchalin and rejection Chatsky.)
- Inconsistency in my assessment of Sophia's personality and behavior.
- The sincerity of a girl's behavior in relations with people is an excellent quality.(Sofya doesn’t lie to anyone except her father. Her father is an exception: she foresees a scandal if he finds out about her love for the “rootless” secretary (“who is poor, he is not a match for you”) Having fallen out of love with Chatsky, she is cold with him, sees shortcomings in what had previously seemed to her virtues, is quite caustic and ironic. In Molchalin she sees (alas!) a sincere, honest, in love with her, decent, but dependent, and therefore timid person. Strives to cheer him up, and therefore does not hide her tenderness .)
- She's only seventeen!(Sofya is very young, so she is touched by the seeming sincerity of Molchalin, his timidity, self-doubt, desire to please everyone, even the dumbness that Chatsky scoffs at. I think a seventeen-year-old girl who knows life only from French novels can be forgiven.)
- The ugliness of Sophia's upbringing in her father's house.(It amazes me that Sophia does not have her own ideas, convictions. But how can they be? Her father did not care about her upbringing. Maybe this is for the best: what could he teach his daughter ?! Sentimental novels, Kuznetsky Most, “second mother” - a Frenchwoman hired by her father, secular gossip - that's where she drew her knowledge of life. Clever by nature, Sophia did not receive spiritual food and created her own fictional world in which she felt like a mistress, the patroness of the weak. Out of pity for Molchalin, love was born. I understand her , so I forgive a lot.)
- What influenced Sophia's attitude towards Chatsky?(Chatsky's arrival, his activity, sarcastic statements about what became dear to her, Sophia perceived (and rightly so!) As an attempt on the world she had invented. I think if Chatsky had been more careful in his statements (especially about Molchalin!), She would have argued with him, defending her rightness, and so, his anger, causticity aroused in her a hostile attitude towards him (after all, she believed in Molchalin's love). It's hard for me to blame Sophia for this. Again, her inexperience, ignorance of life and people are to blame. I I understand her condition, sincere excitement when Molchalin fell off his horse, and I feel sorry for the girl who allowed herself to be deceived like that.) material from the site
- How will the cruel lesson taught to her affect Sophia?(I think that he will change her, although I’m not sure for the better. Perhaps Molchalin’s hypocrisy will destroy her faith in people, in their sincerity and decency. What will remain for her in life? There were no ideas, beliefs, public interests before, and there is nowhere for them to come from. Accidentally spread by her rumor about the madness of Chatsky, who also witnessed her humiliation, alienated them forever from each other. Sophia will become Madam Skalozub? This is the final moral death. Pity the girl!)
- The complexity of the relationship to Sophia is inevitable.(Young Famusova is woven from contradictions. After Chatsky, she is the most tragic figure in comedy).
A. S. Pushkin, expressing his opinion about Griboedov's play, doubted the artistic integrity of the image of Chatsky. the smartest actor In the comedy, the poet called the playwright himself, and Chatsky, in the interpretation of Pushkin, is “a noble and kind fellow who spent some time with a very smart person (namely Griboyedov) and was fed by his thoughts, witticisms and satirical remarks.” The poet admitted that everything Chatsky said was very clever, but addressing fiery appeals to Moscow grandmothers, Skalozub and Famusov is like throwing beads in front of pigs: “The first sign of an intelligent person is to know at first glance who you are dealing with and not Renetilov and the like.
M. A. Dmitriev, who owns one of the first responses to the comedy Woe from Wit, spoke even more harshly about Chatsky. According to the critic, Chatsky "is nothing but a madcap who is in the company of people who are not at all stupid, but uneducated, and who is clever in front of them because he considers himself smarter: consequently, everything funny is on Chatsky's side." Yes, indeed, the representatives of Moscow society cannot be called fools. Intelligence is their main advantage, but only in the sense that it means the ability to calculate secular benefits. For Chatsky, the mind is the most important moral and philosophical category and, first of all, the ability to think freely. The answer to Dmitriev was given on the pages of the magazine "Son of the Fatherland" by O. M. Somov, who appreciated Griboedov's artistic innovation more deeply than all his contemporaries.
In particular, Somov pointed out that the playwright went his own way, so ordinary standards for his comedy are unacceptable. Chatsky himself understands very well that, speaking to the ignorant about their ignorance and prejudices, and to the vicious about their vices, he is wasting time in vain. But he says something only when ignorance, prejudices and vices touch him to the quick. As the critic says: such is the nature of passionate people. “He no longer thinks whether they are listening and harassing him or not: he expressed everything that was on his heart - and it seemed to feel better for him.” I. A. Goncharov critical study"A Million of Torments" convincingly analyzed the psychological motivation of the stage action in Griboyedov's play. He believed that the playwright managed to look far beyond the horizons of his era. The comedy is based on a love conflict: Chatsky loves Sophia and only because of her returns to Moscow. Every step of Chatsky, almost every word in the play is closely connected with his feelings for Sophia. He sees that the girl prefers a stupid person to him and struggles with this riddle to the very end.
All his mind, all his strength is directed to this struggle, which Goncharov called "a million torments." However, only under the influence of these feelings, the writer believes, Chatsky “could play the role indicated to him by Griboyedov, a role of much greater, higher significance than unsuccessful love ... Chatsky’s role is a passive role: it cannot be otherwise. This is the role of all the Chatskys, although at the same time it is victorious.
It is worth mentioning the opinion of Griboyedov himself, who sympathized with his hero: “This man, of course, is in contradiction with the society around him, no one understands him, no one wants to forgive him, why he is a little higher than the others, at first he is cheerful, and this is a vice.” So, Chatsky appears in Moscow in Famusov's house. He is happy and cheerful: finally, after a long separation, he will see his beloved and childhood friend Sophia. Sophia's reaction causes misunderstanding and anxiety in him. He is trying to return the girl to those glorious times:
When, it used to be, on a long evening We will appear with you, disappear here and there, We play and make noise on chairs and tables.
Chatsky's suspicions are intensified when Sophia, seeing through the window Molchalin who has fallen from his horse, loses consciousness. Suspicions intensify, but epiphany has not yet come. He continues to be angry with Molchalin, Sophia perceives his every phrase with resentment. Then Chatsky decides to frankly ask who is dear to her heart, and in response he hears timid excuses: Sophia resolutely does not want to reveal the secret of her heart. Chatsky's words disturb her, but she is not sure of her choice and therefore considers it necessary to answer him with his own weapon - to point out the shortcomings:
"Yes! A menacing look, and a sharp tone, And these features in you abyss; And above you a thunderstorm is far from useless ... "; “It is noticeable that you are ready to pour out bile on everyone.”
Chatsky's love troubles are accompanied by his sharp conflict with the Famus society. Expressing his attitude to life, Chatsky is not at all going to "challenge", but gradually his irritation grows. The main blow of his criticism is directed at Famusov. This is understandable. Chatsky sees what profound changes have taken place in Sophia's mind, and who, if not the priest, influenced the formation of such an attitude to life. But, on the other hand, Famusov's fiery "moralizing" speeches contain so much frank stupidity and ignorance that our ardent hero has no choice but to defend himself, defending his own opinion. Chatsky rebels against Famusov's attempt to impose on him an idyllic view of the past. He is sure that the "current age" is far from ideal, but nevertheless time irreversibly moves forward. “Who are the judges? ' exclaims Chatsky. In the monologue, which by genre is a civil ode, the poet, along with the image of the hero's discord with society, analyzes the social environment, touches the main springs of life. Chatsky defends the right to live by his own mind, not seeing worthy examples in the "fathers of the fatherland." The last stanza of the ode draws a positive program of the hero, the main meaning of which is the protection of free life.
I admire the courage and courage with which Chatsky enters into combat with established traditions, views on life. He is one of those "madcaps" who at all times tried to make society breathe new, fresh air, and not suffocate in the musty atmosphere of ignorance, hypocrisy, vanity. Causes sympathy and the fact that in his personal life Chatsky was unhappy. He fully possessed all the virtues that allow him to be called the proud name of Man. But people like Chatsky only have time to sow the seeds of truth, while others reap the fruits. It is the hopelessness of success that is the main misfortune of Chatsky and others like him.
Every business that needs updating evokes the image of Chatsky in our minds, and no matter what life tasks people solve, they can’t get away from the two main motives of the struggle: the advice to “learn by looking at the elders”, on the one hand, and the desire to get away from the routine to "free life" - on the other.
The image of Chatsky and my attitude towards him in Griboyedov's comedy "Woe from Wit"
Other essays on the topic:
- Griboedov wrote: “... in my comedy there are 25 fools for one sane person; and this man is, of course, at odds with society,...
- For more than a hundred years Chatsky's hot, angry voice has been heard from the stage, calling for the fight against slavery, against class prejudices, against ignorance ...
- "Woe from Wit" is the first Russian political comedy in which the author is the most important on the agenda. actual problems modernity....
- The image of Chatsky in the comedy "Woe from Wit" "The main role, of course, is the role of Chatsky, without which there would be no comedy, but, ...
- At the end of the winter of 1824, a rumor spread in Moscow that a play had appeared in which the ridiculed Moscow high society depicted evil...
- The lesson can be started with a teacher's report on the poetics of comedy, where the following provisions will be stated: 1. In the comedy "Woe from Wit" ...
- As the light comedy game of the first episodes of the play begins to acquire dramatic features, the appearance of the heroine changes. A. S. Pushkin...
- "Woe from Wit" is the only widely famous work A. S. Griboedova. This comedy was written in the first quarter of the nineteenth...
- Griboedov was the first in Russian literature to create a realistic image goodie of his time, embodied in his worldview and character real ...
- A. S. Griboedov's comedy "Woe from Wit" was written after the Patriotic War of 1812, during the rise of the spiritual life of Russia....
- One of the characters in the comedy, which to this day causes controversy between writers and critics, of course, is Sofya Pavlovna Famusova. Nineteenth...
- The main philosophical question of A. S. Griboyedov's comedy "Woe from Wit" is the problem of "mind". In itself, this problem has enlightening ...
- In the comedy by Alexander Sergeevich Griboedov "Woe from Wit" female images occupy a special place. Creating female images, the author pays tribute to classicism,...
A. S. Pushkin, expressing his opinion about Griboedov's play, doubted the artistic integrity of the image of Chatsky. The poet called the playwright himself the smartest character in comedy, and Chatsky, in the interpretation of Pushkin, is “a noble and kind fellow who spent some time with a very smart person (namely Griboyedov) and was fed by his thoughts, witticisms and satirical remarks.” The poet admitted that everything Chatsky said was very clever, but addressing fiery appeals to Moscow grandmothers, Skalozub and Famusov is like throwing pearls in front of pigs: Renetilov and the like."
M. A. Dmitriev, who owns one of the first responses to the comedy Woe from Wit, spoke even more harshly about Chatsky. According to the critic, Chatsky “is nothing but a madcap who is in the company of people who are not at all stupid, but uneducated, and who is clever in front of them because he considers himself smarter: consequently, everything funny is on Chatsky’s side.” Yes, indeed, the representatives of Moscow society cannot be called fools. Mind is their main advantage, but only in the sense that it means the ability to calculate secular benefits. For Chatsky, the mind is the most important moral and philosophical category and, first of all, the ability to think freely. The answer to Dmitriev was given on the pages of the magazine "Son of the Fatherland" by O. M. Somov, who appreciated Griboyedov's artistic innovation more deeply than all his contemporaries. In particular, Somov pointed out that the playwright went his own way, so ordinary standards for his comedy are unacceptable. Chatsky himself understands very well that, speaking to the ignorant about their ignorance and prejudices, and to the vicious about their vices, he is wasting time in vain. But he says something only when ignorance, prejudices and vices touch him to the quick. As the critic says: such is the nature of passionate people. “He no longer thinks whether they are listening and pestering him or not: he expressed everything that was on his heart - and it seemed to feel better for him.” I. A. Goncharov in his critical study “A Million of Torments” convincingly analyzed the psychological motivation of the stage action in Griboedov's play. He believed that the playwright managed to look far beyond the horizons of his era. The comedy is based on a love conflict: Chatsky loves Sophia and only because of her returns to Moscow. Every step of Chatsky, almost every word in the play is closely connected with his feelings for Sophia. He sees that the girl prefers a stupid person to him and struggles with this riddle to the very end.
All his mind, all his strength is directed to this struggle, which Goncharov called "a million torments." However, only under the influence of these feelings, the writer believes, Chatsky “could play the role indicated to him by Griboyedov, a role of much greater, higher significance than unsuccessful love ... Chatsky's role is a passive role: it cannot be otherwise. Such is the role of all the Chatskys, although at the same time it is victorious.”
It is worth mentioning the opinion of Griboyedov himself, who sympathized with his hero: “This man, of course, is in contradiction with the society around him, no one understands him, no one wants to forgive him, why he is a little higher than the others, at first he is cheerful, and this is a vice.” So, Chatsky appears in Moscow in Famusov's house. He is happy and cheerful: finally, after a long separation, he will see his beloved and childhood friend Sophia. Sophia's reaction causes misunderstanding and anxiety in him. He is trying to return the girl to those glorious times:
- When, it happened, on a long evening
- We will appear with you, disappear here and there,
We play and make noise on chairs and tables.
Chatsky's suspicions are intensified when Sofya, seeing through the window Molchalin who has fallen from his horse, loses consciousness. Suspicions intensify, but epiphany has not yet come. He continues to be angry with Molchalin, Sophia perceives his every phrase with resentment. Then Chatsky decides to frankly ask who is dear to her heart, and in response he hears timid excuses: Sophia resolutely does not want to reveal the secret of her heart. Chatsky's words disturb her, but she is not sure of her choice and therefore considers it necessary to answer him with his own weapon - to point out the shortcomings:
- "Yes! A menacing look, and a sharp tone,
- And these features in you abyss;
“And a thunderstorm above you is far from useless ...”;
- "It is noticeable that you are ready to pour out bile on everyone."
Chatsky's love troubles are accompanied by his sharp conflict with the Famus society. Expressing his attitude to life, Chatsky is not at all going to “challenge”, but gradually his irritation grows. The main blow of his criticism is directed at Famusov. This is understandable. Chatsky sees what profound changes have taken place in Sophia's mind, and who, if not the priest, influenced the formation of such an attitude to life. But, on the other hand, Famusov's fiery "moralizing" speeches contain so much frank stupidity and ignorance that our ardent hero has no choice but to defend himself, defending his own opinion. Chatsky rebels against Famusov's attempt to impose on him an idyllic view of the past. He is sure that the "present age" is far from ideal, but nevertheless time irreversibly moves forward. “Who are the judges? ” exclaims Chatsky. In the monologue, which by genre is a civil ode, the poet, along with the image of the hero's discord with society, analyzes the social environment, touches the main springs of life. Chatsky defends the right to live by his own mind, not seeing worthy examples in the “fathers of the fatherland”. The last stanza of the ode draws a positive program of the hero, the main meaning of which is the protection of free life.
I admire the courage and courage with which Chatsky enters into combat with established traditions, views on life. He is one of those "madcaps" who at all times tried to make society breathe new, fresh air, and not suffocate in the musty atmosphere of ignorance, hypocrisy, vanity. Causes sympathy and the fact that in his personal life Chatsky was unhappy. He fully possessed all the virtues that allow him to be called the proud name of Man. But people like Chatsky only have time to sow the seeds of truth, while others reap the fruits. It is the hopelessness of success that is the main trouble of Chatsky and others like him.
Each business that needs updating evokes the image of Chatsky in our minds, and no matter what life tasks people solve, they can’t get away from the two main motives of the struggle: the advice to “learn by looking at the elders”, on the one hand, and the desire to get away from the routine to "free life" - on the other.
An essay on literature on the topic: The image of Chatsky and my attitude towards him in Griboyedov's comedy “Woe from Wit”
Other writings:
- In my comedy, there are 25 fools to one sane person. And sometimes a person, of course, is in conflict with the society around him, no one understands him, no one wants to forgive him, why he is a little higher than others. A. S. Griboedov In 1824, Griboedov created Read More ......
- I. A. Goncharov in his article “A Million of Torments” wrote about the protagonist of A. S. Griboedov’s immortal comedy “Woe from Wit”: “The role of Chatsky is the main role, without which there would be no comedy, but there would, perhaps, be a picture of manners. With this Read More ......
- Griboedov entered Russian literature as the author of the well-known comedy Woe from Wit. It touches upon very important questions: about upbringing, education, about admiration for everything foreign, about serfdom. In the comedy, the author ridicules and condemns a number of characters: Famusov, Skalozub, Molchalin, Read More ......
- I got acquainted with the comedy by A. S. Griboedov “Woe from Wit” on summer holidays. In this comedy, the author touched on a painful topic of that time. Mind and honor are the main virtues of a person. Our main character has just such qualities, but does not get Read More ......
- A literary work is “a complex well-tuned musical instrument". A dramatic work "lives" thanks to the replicas that add up to dialogues, scenes and whole actions. Do not subtract, do not add to the finished literary work nothing is possible. Sometimes a scene or a line becomes the key to unlocking an idea. Read More ......
- “Insane you glorified me with all the chorus ...” And yet, life is a complicated thing. Sometimes it is light, sometimes heavy; for someone happy, for someone unhappy. Griboedov's comedy is about human relationships, without which this life would not exist. Although the human relationship between Read More ......
- "Woe from Wit" - the works of A. S. Griboedov, revealing one of the most important problems of society - the problem of the collision of two worlds: "the present century" and "the past century". Later, many classics will raise this topic in their works. Russian literature. In Griboedov's play Read More ......
- “Chatsky is not only smarter than all other people, but also positively smart. His speech boils with intelligence, wit. He also has a heart, and besides, he is impeccably honest” (I. A. Goncharov). “Chatsky is not at all clever man- but Griboyedov is very smart ... The first Read More ......