What is so wonderful about Chatsky, how smart and eloquent he is. Who is so sensitive, and cheerful, and sharp... Keys to tasks
PHENOMENON 2
Lisa And Famusov. Lisa Oh! master! Famusov Master, yes. (Stops hour-long music) After all, what a naughty girl you are. I couldn’t figure out what kind of trouble this was! Now you hear a flute, now it’s like a piano; Would it be too early for Sophia?? Lisa No, sir, I... just by chance... Famusov Just by chance, take notice of you; Yes, that's right, with intent. (He presses closer to her and flirts) Oh! potion, * pampered girl. Lisa You are a spoiler, these faces suit you! Famusov Modest, but nothing but pranks and the wind on her mind. Lisa Let me go, you flighty people, come to your senses, you are old people... Famusov Almost. Lisa Well, who will come, where are we going? Famusov Who should come here? After all, Sophia is sleeping? Lisa Now I'm taking a nap. Famusov Now! And the night? Lisa I spent the whole night reading. Famusov Look, what whims have developed! Lisa Everything is in French, out loud, reads while locked. Famusov Tell me that it’s not good for her to spoil her eyes, And there’s no great use in reading: French books make her sleepless, And Russian books make it painful for me to sleep. Lisa I’ll report back when he gets up. Please go, wake me up, I’m afraid. Famusov What to wake up? You wind the clock yourself, you sound a symphony throughout the whole block. Lisa (as loud as possible) Come on, sir! Famusov (covers her mouth) Have mercy on the way you scream. Are you going crazy? Lisa I'm afraid it won't work out... Famusov What? Lisa It's time, sir, for you to know that you are not a child; Girls' morning sleep is so thin; You creak the door a little, you whisper a little: Everyone can hear... Famusov You're all lying. Sofia's voice Hey Lisa! Famusov (hurriedly) Shh! (He sneaks out of the room on tiptoe.) Lisa (one) Gone... Ah! away from the gentlemen; They prepare troubles for themselves at every hour, Pass us by more than all sorrows, And the lordly anger, and the lordly love.PHENOMENON 3
Lisa, Sofia with a candle behind it Molchalin. Sofia What, Lisa, attacked you? You're making noise... Lisa Of course, it’s hard for you to break up? Locked up until daylight, and it seems like everything is not enough? Sofia Ah, it really is dawn! (Puts out the candle.) Both light and sadness. How fast the nights are! Lisa Push, know, there is no urine from the side, your father came here, I froze; I spun around in front of him, I don’t remember that I was lying; Well, what have you become? bow, sir, give it. Come on, my heart is not in the right place; Look at your watch, look out the window: People have been pouring down the streets for a long time; And in the house there is knocking, walking, sweeping and cleaning. Sofia Happy hours are not observed. Lisa Don't watch, your power; And what in return for you, of course, I will get. Sofia (Molchalin) Go; We'll be bored all day long. Lisa God be with you, sir; take your hand away. (Separates them; Molchalin runs into Famusov at the door.)PHENOMENON 4
Sofia, Lisa, Molchalin, Famusov. Famusov What an opportunity! * Molchalin, are you, brother? Molchalin I'm with. Famusov Why here? and at this hour? And Sophia!.. Hello, Sophia, why are you up so early! A? for what concern? And how did God bring you together at the wrong time? Sofia He just came in now. Molchalin Now back from a walk. Famusov Friend. Is it possible to choose a nook further away for walks? And you, madam, almost jumped out of bed, With a man! with the young one! - Something to do for a girl! He reads fables all night, and these are the fruits of these books! And all the Kuznetsky Most, * and the eternal French, From there fashion comes to us, and authors, and muses: Destroyers of pockets and hearts! When will the creator deliver us from their hats! caps! and stilettos! and pins! And bookstores and biscuit shops!.. Sofia Excuse me, father, my head is spinning; I can barely catch my breath from fright; You deigned to run in so quickly, I was confused... Famusov I humbly thank you, I soon ran to them! I'm in the way! I scared! I, Sofya Pavlovna, am upset myself, the whole day there is no rest, I rush about like mad. According to the position, the service is a hassle, One pesters, the other, everyone cares about me! But was I expecting new troubles? to be deceived... Sofia By whom, father? Famusov They will reproach me for always reproaching me to no avail. Don’t cry, I mean it: Don’t you care about your upbringing! from the cradle! Mother died: I knew how to hire a second mother to Madame Rosier. He put the old golden woman under your supervision: She was smart, had a quiet disposition, and rarely had rules. One thing does not serve her well: For an extra five hundred rubles a year, she allowed herself to be lured by others. Yes, the power is not in madame. There is no need for another example, When the example of the father is in the eyes. Look at me: I don’t boast about my build; However, I am vigorous and fresh, and lived to see my gray hairs, Free, widowed, I am my own master... I am known for my monastic behavior!.. Lisa I dare, sir... Famusov Be silent! Terrible century! Don't know what to start! Everyone was smart beyond their years. And especially the daughters, and good-natured people themselves. These languages were given to us! We take tramps, * both into the house and on tickets, * So that we can teach our daughters everything, everything - And dancing! and foam! and tenderness! and sigh! It’s as if we are preparing them as wives for buffoons. * You, visitor, what? Why are you here, sir? He warmed up Bezrodny and brought him into my family, gave him the rank of assessor * and took him as secretary; Transferred to Moscow through my assistance; And if it weren’t for me, you would be smoking in Tver. Sofia I can’t explain your anger in any way. He lives in the house here, what a great misfortune! I walked into the room and ended up in another. Famusov Did you get in or did you want to get in? Why are you together? It can't happen by accident. Sofia This, however, is the whole point: How recently you and Liza were here, Your voice frightened me extremely, And I rushed here as fast as I could... Famusov Perhaps all the fuss will fall on me. At the wrong time my voice alarmed them! Sofia In a vague dream, a trifle disturbs; Tell you a dream: then you will understand. Famusov What's the story? Sofia Should I tell you? Famusov Well, yes. (Sits down.) Sofia Let me... see... first the Flowery Meadow; and I was looking for some kind of Grass, I don’t remember in reality. Suddenly, a dear man, one of those whom we will see - as if we had known each other for centuries, appeared here with me; and insinuating and smart, But timid... You know who was born in poverty... Famusov Oh! Mother, don’t finish the blow! Anyone who is poor is not a match for you. Sofia Then everything disappeared: the meadows and the skies. - We're in a dark room. To complete the miracle, the floor opened up - and you are from there, Pale as death, with your hair on end! Then the doors opened with thunder. Some people, neither people nor animals, separated us - and tormented the one sitting with me. It’s as if he is dearer to me than all the treasures, I want to go to him - you drag him with you: We are seen off by the moaning, roaring, laughter, whistling of monsters! He shouts after him!.. - I woke up. - Someone is speaking, - your voice was; what, I think it's so early? I run here and find you both. Famusov Yes, it's a bad dream, I see. Everything is there, if there is no deception: Devils and love, fears and flowers. Well, my sir, what about you? Molchalin I heard your voice. Famusov It's funny. My voice was given to them, and how well it is heard by everyone, and calls everyone until dawn! He hurried to my voice, for what? - speak. Molchalin With papers, sir. Famusov Yes! they were missing. Have mercy on the sudden zeal for writing! (Rises.) Well, Sonyushka, I will give you peace: Sometimes dreams are strange, but in reality it is stranger; You were looking for some herbs for yourself, You quickly came across a friend; Get rid of the nonsense from your head; Where there are miracles, there is little stock. - Go, lie down, go to sleep again. (Molchalin) Let's go sort out the papers. Molchalin I only carried them for the report, That it cannot be used without certificates, without others, There are contradictions, and much is not practical. Famusov I am afraid, sir, I am mortally afraid of one, so that many of them do not accumulate; If you had given it free rein, it would have settled; But for me, whatever it is, whatever it isn’t, my custom is this: Signed, off your shoulders. (He leaves with Molchalin and lets him through at the door.)PHENOMENON 5
Sofia, Lisa. Lisa Well, here's the holiday! Well, here's some fun for you! However, no, it’s no laughing matter now; The eyes are dark and the soul is frozen; Sin is not a problem, rumor is not good. Sofia What do I need rumors? Whoever wants to, judges so, Yes, the priest will force you to think: Grouchy, restless, quick, Always like that, and from now on... You can judge... Lisa I’m not judging by stories; He forbids you, - good is still with me; Otherwise, God have mercy, get Me, Molchalin and everyone out of the yard at once. Sofia Just think how capricious happiness is! It can be worse, you can get away with it; When sad nothingness comes to mind, we forget ourselves about the music, and time passes so smoothly; Fate seemed to be protecting us; No worries, no doubts... And grief awaits around the corner. Lisa That's it, sir, you never favor my stupid judgment: But here's the problem. What better prophet do you need? I kept repeating: there will be no good in this love, Not forever and ever. Like all Moscow people, your father is like this: He would like a son-in-law with stars, but with ranks, And with the stars, not everyone is rich, between us; Well, of course, that would include money so he could live, so he could give balls; Here, for example, Colonel Skalozub: And the golden bag, and aims to become a general. Sofia How cute! and it’s fun for me to hear about the frunt * and the rows; He hasn’t uttered a smart word for a long time, - I don’t care what’s for him, what’s in the water. Lisa Yes, sir, so to speak, he is talkative, but not very cunning; But be a military man, be a civilian, * Who is so sensitive, and cheerful, and sharp, Like Alexander Andreich Chatsky! Not to confuse you; It’s been a long time, I can’t turn it back, But I remember... Sofia What do you remember? He knows how to make everyone laugh; He chats, jokes, it’s funny to me; You can share laughter with everyone. Lisa But only? as if? - I shed tears, I remember, poor man, how he parted with you. - Why, sir, are you crying? live laughing... And he answered: “It’s not for nothing that I’m crying: Who knows what I’ll find when I return? And how much, perhaps, I’ll lose!” The poor thing seemed to know that in three years... Sofia Listen, don’t take unnecessary liberties. I acted very carelessly, perhaps, And I know, and I’m guilty; but where did it change? To whom? so that they could reproach with infidelity. Yes, it’s true, we were brought up with Chatsky, we grew up: The habit of being together every day inseparably bound us with childhood friendship; but then He moved out, he seemed bored with us, and rarely visited our house; Then again he pretended to be in love, demanding and distressed!!. Sharp, smart, eloquent, Especially happy with friends, He thought highly of himself... The desire to wander attacked him, Ah! If someone loves someone, Why bother searching and traveling so far? Lisa Where is it running? in what areas? He was treated, they say, in sour waters, * Not from illness, tea, from boredom - more freely. Sofia And, of course, he’s happy where the people are funnier. The one I love is not like that: Molchalin, ready to forget himself for others, Enemy of insolence, - always shyly, timidly Kissing the night with anyone you can spend like that! We are sitting, and the yard has long since turned white. What do you think? what are you doing? Lisa God knows, Madam, is this my business? Sofia He will take a hand, press it to the heart, sigh from the depths of his soul, not a free word, and so the whole night passes, hand in hand, and does not take his eyes off me. - You're laughing! is it possible! What reason did I give you to laugh like that! Lisa Me, sir?.. your aunt now came to mind, How a young Frenchman ran away from her house. Darling! I wanted to bury my annoyance, but I couldn’t: I forgot to blacken my hair, and three days later I turned gray. (Continues to laugh.) Sofia (with sadness) That's how they'll talk about me later. Lisa Forgive me, really, as God is holy, I wanted this stupid laughter to help cheer you up a little.PHENOMENON 6
Sofia, Lisa, servant, behind him Chatsky. Servant Alexander Andreich Chatsky is here to see you. (Leaves.)PHENOMENON 7
Sofia, Lisa, Chatsky. Chatsky It's barely light on my feet! and I am at your feet. (Kisses your hand passionately.) Well, kiss me, weren’t you waiting? speak! Well, for the sake of it? * No? Look at my face. Surprised? but only? here's the welcome! It was as if no week had passed; It’s as if yesterday we were both tired of each other; Not a hair of love! how good they are! And meanwhile, I don’t remember, without a soul, I spent forty-five hours, without squinting my eyes in a moment, more than seven hundred versts flew by - the wind, the storm; And he was completely confused, and fell how many times - And here is the reward for his exploits! Sofia Oh! Chatsky, I am very glad to see you. Chatsky Are you for it? good morning. However, who is sincerely happy like that? It seems to me that in the end I was chilling people and horses, I was just amusing myself. Lisa Now, sir, if you were outside the doors, By God, it’s not five minutes since we remembered you here. Madam, tell me yourself. Sofia Always, not just now. - You cannot reproach me. Who flashes by, opens the door, Passing, by chance, from a stranger, from afar - I ask a question, even if I were a sailor: Did I meet you somewhere in the mail carriage? Chatsky Let's say so. Blessed is he who believes, he is warm in the world! - Ah! My God! Am I really here again, in Moscow! you! how can we recognize you! Where is the time? where is that innocent age, When, on a long evening, you and I would appear, disappear here and there, play and make noise on chairs and tables. And here is your father and madam, behind the picket; * We are in a dark corner, and it seems that we are in this! Do you remember? we'll be startled by the creaking of the table, the door... Sofia Childishness! Chatsky Yes, sir, and now, at the age of seventeen, you have blossomed charmingly, inimitably, and you know this, and therefore are modest, do not look at the light. Aren't you in love? I ask you to give me an answer, Without thinking, I am completely embarrassed. Sofia Yes, at least someone will be confused by quick questions and a curious look... Chatsky For mercy's sake, it's not you, why be surprised? What new will Moscow show me? Yesterday there was a ball, and tomorrow there will be two. He made a match - he succeeded, but he missed. All the same meaning, * and the same poems in the albums. Sofia Persecution of Moscow. What does it mean to see the light! Where is better? Chatsky Where we are not. Well, what about your father? all the English club An ancient, faithful member to the grave? Has your uncle jumped back his eyelid? And this one, what’s his name, is he Turkish or Greek? That dark little one, on the legs of a crane, I don’t know what his name is, Wherever you go: right there, in the dining rooms and in the living rooms. And three of the tabloid personalities, * Who have been looking young for half a century? They have millions of relatives, and with the help of their sisters they will become related throughout Europe. What about our sun? our treasure? On the forehead is written: Theater and Masquerade; * The house is painted with greenery in the form of a grove, He himself is fat, his artists are skinny. At the ball, remember, the two of us discovered Behind the screens, in one of the more secret rooms, There was a man hidden and clicking a nightingale, A singer of winter and summer weather. And that consumptive, your kin, the enemy of books, who settled in the academic committee * and screamed and demanded oaths, so that no one knew or learned to read and write? I am destined to see them again! Will you get tired of living with them, and in whom you won’t find any stains? When you wander, you return home, And the smoke of the Fatherland is sweet and pleasant to us! Sofia I wish I could bring you and my aunt together, so that I could count all my acquaintances. Chatsky And auntie? all girl, Minerva? * All maid of honor * Catherine the First? Is the house full of pupils and mosquitoes? Oh! Let's move on to education. That now, just as in ancient times, they are trying to recruit regiments of teachers, in larger numbers, at a cheaper price? It’s not that they are far off in science; In Russia, under a great fine, We are ordered to recognize everyone as a Historian and Geographer! Our mentor, * remember his cap, his robe, his index finger, all the signs of learning How our timid ones disturbed our minds, How from an early time we were accustomed to believe, That without the Germans there is no salvation for us! And Guillaume, the Frenchman, blown by the wind? Is he not married yet? Sofia On whom? Chatsky At least on some princess Pulcheria Andrevna, for example? Sofia Dancemaster! is it possible! Chatsky Well, he is a gentleman. We will be required to be with property and in rank, And Guillaume!.. - What is the tone here today at congresses, at large ones, on parish holidays? A mixture of languages still prevails: French with Nizhny Novgorod? Sofia A mixture of languages? Chatsky Yes, two, you can’t live without it. Sofia But it’s tricky to tailor one of them like yours. Chatsky At least not inflated. Here's the news! - I’m taking advantage of the moment, I’m lively and talkative due to my meeting with you; But isn’t there a time when I’m dumber than Molchalin? Where is he, by the way? Have you not yet broken the silence of the seal? There were songs where he saw a new notebook and pestered: please write it off. However, he will reach the well-known levels, because nowadays people love dumb. Sofia Not a man, a snake! (Loud and forced.) I want to ask you: Have you ever laughed? or sad? A mistake? did they say good things about anyone? At least not now, but in childhood, maybe. Chatsky When is everything so soft? both tender and immature? Why so long ago? Here's a good deed for you: The bells have just rattled And day and night through the snowy desert, I hasten to you, headlong. And how do I find you? in some strict rank! I can endure the cold for half an hour! The face of the most holy praying mantis!.. - And yet I love you without memory. (A minute's silence.) Listen, are my words really all caustic words? And tend to harm someone? But if so: the mind and heart are not in harmony. I am an eccentric of another miracle. Once I laugh, then I forget: Tell me to go into the fire: I’ll go like I’m going to dinner. Sofia Yes, okay - will you burn, if not?PHENOMENON 8
Sofia, Lisa, Chatsky, Famusov. Famusov Here's another one! Sofia Ah, father, sleep in hand. (Leaves.) Famusov (following her in a low voice) Damn dream.PHENOMENON 9
Famusov, Chatsky(looks at the door through which Sofia came out) Famusov Well, you threw it away! I haven’t written two words for three years! And it suddenly burst out as if from the clouds. (They hug.) Great, friend, great, brother, great. Tell me, is your tea ready? Any important news? Sit down, announce it quickly. (They sit down.) Chatsky (absently) How Sofya Pavlovna has become prettier for you! Famusov You, young people, have nothing else to do, How to notice girlish beauties: She said something casually, and you, I am tea, were carried away with hopes, bewitched. Chatsky Oh! No; I'm not spoiled enough by hopes. Famusov“A dream in my hand,” she deigned to whisper to me, So you’ve got it in mind... Chatsky I? - Not at all. Famusov Who was she dreaming about? what's happened? Chatsky I'm not a dream teller. Famusov Don't believe her, everything is empty. Chatsky I believe my own eyes; I haven’t met you in ages, I’ll give you a subscription, so that it’s at least a little like her! Famusov He's all his own. Yes, tell me in detail, Where were you? I've been wandering for so many years! Where from now? Chatsky Now who cares? I wanted to travel around the whole world, but I didn’t travel a hundredth part. (Gets up hastily.) Sorry; I was in a hurry to see you as soon as possible, I didn’t stop by home. Farewell! I’ll appear in an hour, I won’t forget the slightest detail; You first, then you tell it everywhere. (In the door.) How good! (Leaves.)PHENOMENON 10
Famusov (one) Which of the two? "Ah! Father, sleep in hand!" And he says it out loud to me! Well, my fault! What a blessing I gave to the hook! Molchalin made me doubtful. Now... yes, halfway out of the fire: That beggar, that dandy friend; A notorious * spendthrift, a tomboy, What a commission, * Creator, To be the father of an adult daughter! (Leaves.)The image of Chatsky in A. S. Griboyedov’s comedy “Woe from Wit.” (5)
I. A. Goncharov in his article “A Million Torments” wrote about the main character 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 picture of morals."
I completely agree with this opinion. Alexander Andreevich Chatsky is the main and most striking image of the comedy. He is unusually smart and honest. Lisa, Sofia's maid, was the first to speak about this:
..Who is so sensitive, and cheerful, and sharp,
Like Alexander Andreich Chatsky!
There is one more feature in Chatsky that attracts me. He does not tolerate lies and injustice. Therefore, Alexander Andreevich sees his duty and calling in life in serving the Motherland. He is outraged by the traditions that formed in high society during these times. He does not like sycophancy, he prefers to “serve the cause, not persons,” and does not mix “fun or tomfoolery with business.” All this is not to Chatsky’s liking, so he angrily denounces the “noble scoundrels” (Famus society).
It seems to me that Griboedov, through the image of Chatsky, wanted to show how he represents a true patriot of the Motherland. A person who has the courage to condemn high society, to speak out against the tsar and serfdom. The main character understands the danger of his too sincere speeches, but never deviates from the work he has started. He knows exactly what he is fighting for and what his purpose in life is. He does not get lost in his speeches and actions. Here’s how I. A. Goncharov wrote about Chatsky: “Chatsky, most of all, is an exposer of lies and everything that has become obsolete, that drowns out new life, “free life.” From these words it is clear that Chatsky fought for better changes in the lives of ordinary Russian people, for a free life that does not depend on “noble scoundrels,” who are characterized by servility, sycophancy, hypocrisy and meanness.
I also think that the image of Chatsky is intertwined with the very image of Griboyedov. He is also brave and courageous, he is smart, he does not like the political structure of the country, so he boldly enters the battle for the future of his Motherland. There are few such people among the “Famus society” that was formed in those days. These are just a few people.
The only thing that kept Chatsky in Famusov's house was his love for Sofia. After he realized that there are no mutual feelings between them, he decides to leave Moscow forever...
Grigoriev wrote about the image of Chatsky: “Chatsky, first of all, is an honest and active nature, and also the nature of a fighter, that is, a highly passionate nature.” In the image of Chatsky, I was most attracted to those noble traits that manifested themselves in his actions. I am glad that there are still such noble and honest people on earth as Chatsky.
A.S. Griboedov “Woe from Wit”
I IN stake the correct answer:
1. A.S. Griboedov was born:
a) in a poor peasant family;
b) in a noble noble family;
c) in the family of a priest.
2. A.S. Griboyedov was appointed ambassador:
a) to Persia;
b) to Georgia;
c) to Turkey.
3.AS.Griboedov married.....
a) daughters of the Turkish Sultan;
b) the daughter of a Georgian writer;
c) the sister of the Russian Decembrist.
4. A. Griboedov’s play “Woe from Wit” during the author’s lifetime....
c) was greeted with enthusiasm by the audience.
5. By genre, Griboedov’s work
"Woe from Wit" is:
a) comedy;
b) tragedy;
c) tragicomedy.
6. Wrote a critical article “A Million Torments”:
a) A.I. Pisarev;
b) V.G. Belinsky;
c) I.A. Goncharov.
II .Add the correct answer:
7. “Who is so sensitive, and cheerful, and sharp, like...”
8. Molchalin holds the position of Famusov......
9. They are claiming Sophia’s hand......
10. The thought of Chatsky’s madness gives......
11. Chatsky’s “double” is......
12. The play was originally titled......
III . Match:
13. Determine the life goals of the comedy heroes:
a)Molchalin; a)"I just wish
b) Skalozub; got promoted to general"
c) Chatsky; b) Make sure that
we still love you
Sophia, get married;
c) And awards
take it and have fun
14.Characterize the heroes of the comedy:
a)Molchalin; a) The enemy of everything new, pro-
glorifies the sustainability of the
horn of life;
b) Repetilov; b) believes in possibility
bright life, performs
against the humiliated sex
peasant marriages;
c) Famusov; c) puts on a mask of nothingness-
gestures to achieve
for your own selfish purpose;
vaudevilles and epigrams.
15. Match the heroes with their characteristics:
a) Skalozub; b) "And the golden bag, and
aims to be a general;"
b)Molchalin; a) “I’m happy to humiliate, to stab;
envious, proud and angry";
c) Chatsky. c)"here he is, on tiptoe and
not rich in words."
d) "He wants freedom
preach."
16. Give a speech description of the heroes of the comedy:
a) Chatsky; a) “Two-s”, “still-s”, “angel”;
b) Skalozub; b) “Pokudova”, “they are calling”, “zapochival”, “I will report”;
c) Lisa; c) “Slavery”, “prejudice”, “smoke of the fatherland”;
d) Molchalin. d) “Cracked”, “gave a blunder”, “sergeant major”,
"bruised."
17. Match the characters and their statements:
a) Chatsky; a) “That’s it, all of you
proud people! Asked
How did your fathers do it?
b) Famusov; b) “And sure enough, the world began to grow stupid”;
c) “I would be glad to serve,
it’s sickening to be served”;
d) “...we have been doing this since ancient times,
that there is honor between father and son”;
d) “Where, show us, the fathers of the fatherland,
Which ones should we take as models?”;
18. Match the heroes with their actions:
a)Molchalin; a) Returning from
wanderings, first
visits on business
b) Famusov; b) pretends
in love with
Sophia flirts with
c) Chatsky. c) is throwing a ball.
IV .Set the sequence:
19. Arrangement of writers in chronological order:
a) A.S. Griboyedov;
b) D.I. Fonvizin;
c) V.A. Zhukovsky.
20. Establish the sequence of events in A.S. Griboedov’s play “Woe from Wit”:
a) news of Chatsky’s madness;
b) a ball in Famusov’s house;
c) the decision to send Sophia to Saratov;
d) Molchalin reveals his true face;
21. Determine the sequence of changes in the feelings of Chatsky and Sophia:
a) “Blind man! In whom I sought the reward of all my labors!”
I was in a hurry!...flying! I gave birth! Here’s happiness, I thought, it’s close.”
b) “It’s barely light and I’m already on my feet! And I’m at your feet.”
c) “Who, finally, is dear to her, Molchalin! Skalozub!”
22. Establish the order of appearance of the characters in the play:
a) Chatsky;
b)Molchalin;
d) Famusov;
V .Find the right way out of the situation:
23.After getting acquainted with the play “Woe from Wit,” the student came to the conclusion that Sophia is unworthy of Chatsky. He reasoned like this:
a) Sophia did not wait for Chatsky to return and started an affair with someone else;
b) Sophia is not able to experience true love and cannot reciprocate Chatsky.
c) Sophia lives contrary to the ideals that Chatsky preaches, and is not able to appreciate his noble goals.
d) all answers are correct;
d) all answers are incorrect.
24. When discussing the play “Woe from Wit” in a literature lesson, the student was tasked with determining who was more dangerous - Molchalin or Skalozub, and came to the following conclusion:
a) Skalozub is just a “stupid, unreasoning soldier” and does not pose any particular danger, unlike Molchalin;
b) Molchalin is much more dangerous than Skalozub. He is cunning and cautious, disguises himself very well, pretending to be humble and obsequious, deceiving everyone;
c) Skalozub is not as stupid as he seems. Behind the imaginary stupidity and stupidity hides a rather strong and formidable enemy.
d) all answers are correct;
d) all answers are incorrect.
Keys to tasks
1b, 2a, 3b, 4b, 5c, 6c.
7-Alexander Andreich Chatsky
8-secretary 9-Molchalin, Skolozub, Chatsky
10-Sofia 11-Repetilov 12-“Woe to Wit.”
13-a-c;b-a;c-b;
14-a-c;b-d;c-a;d-b.
15-a-b;b-c;c-a,d.
16-a-c;b-d;c-b;d-a.
18-a-b; b-c; v-a.
20. b, a, d, c
21. b, c, a
22. c, d, d, b, a
Who is so sensitive, and cheerful, and sharp...
I’m starting a series of posts dedicated to the biography of Al. Andr. Chatsky is a hero who is very inadequately appreciated in the Russian tradition (the participation of el_d is expected). Ekat made a huge contribution to clarifying the case. Tsimbaeva (in my opinion, the best expert on Griboedov and “Grief” in the entire history of Russia, with all the brilliance of the names of Piksanov and others), to whom I will often refer.
For now, for starters, here is a chronology of the lives and activities of a number of characters in “Grief,” primarily Chatsky (see the rationale under the cut).
Beginning of 1801 – birth of Chatsky. He is “the same age as the new century” in the precise sense of the word. Apparently, from the Smolensk gentry, closely associated with the Polish-Lithuanian Commonwealth (like Griboyedov himself).
November-early December 1805 – birth of Sofia Famusova.
Late 1800s - early 1810s: Chatsky’s father dies, Chatsky is taken into the Famus family’s house; Chatsky is brought up together with Sophia.
Beginning of 1818 - Chatsky, upon reaching relative adulthood, moves out of the Famusovs’ house; For several months he hardly visits their house and practically does not communicate with Sophia. At this very time (until August) there are guards and a court in Moscow, and Chatsky is fascinated by them. Apparently, he finds himself in the company of some guardsmen and communicates intensively with them.
Autumn 1818, winter 1818/1819 – Chatsky begins to court Sophia, but –
But at the beginning of 1819, having entered the service, he left Moscow. He enters the cavalry and serves in 1819-ca. 1821 in the Kingdom of Poland, but not in the ranks, but in the administration. In Poland, then, according to the emperor’s statement, a constitutional project for all of Russia was unfolding; Chatsky serves brilliantly - he is connected with Warsaw ministers.
In 1821, Chatsky broke with the ministers and went into service (he ended up in the same cavalry regiment where Platon Mikhailovich served), and by the end of 1821/beginning of 1822 he retired. This break with the service was caused by the fact that the emperor abandoned all constitutional projects.
The turn of 1821/1822 - end of 1822 Chatsky spends traveling, in particular, in “sour waters” (rather in Europe than in Russia).
In December 1822, he returned to Moscow with the intention of proposing to Sophia, who had just turned 17 years old. This is where the action of “Grief” begins.
Meanwhile, at this very moment the regiment is going to woo Sophia. Skalozub, whose biography has been restored in detail (after many other attempts) here (http://vif2ne.ru/nvk/forum/archive/1084/1084020.htm) and in Tsimbaeva; With the necessary corrections, we present a summary version:
Sergei Sergeich was born ca. 1790, entered the army in 1809. He and his brother “distinguished themselves” together “in the thirteenth year, in the 30th Jaeger, and then in the 45th”; There is no doubt that the joint award with my brother (again!) “for the third of August” refers to this very episode, when they “distinguished themselves” together, that is, we are talking about 03/15.08.1813. On this day, fighting between the French and Russian-Prussian troops (which included the 30th Jaeger) resumed (after the expiration of the Pleischwitz Armistice on 07/29/10/08). It is pointless to look for that specific skirmish for which Skalozub received the order (according to the draft of “Grief” - for taking a battery, according to the white draft - for repelling an enemy attack in a trench) - Griboedov simply used the date of the start of hostilities, without asking where exactly 30 was then 1st Jaeger Regiment. As noted in discussions on the issue, the notorious order “on the neck” should be George of the 2nd or 3rd degree, that is, obviously, the second St. George Cross of Skalozub (the first should have been George of the 4th degree - only after it should give George a higher degree). A lot for a Little Russian army ranger, about twenty-five years old, at most!
From the end of 1813 - in the 45th Jaeger Regiment. In 1819, together with this regiment, he was moved to the Caucasus. Participates in Caucasian operations in 1819-1821; here he was “led behind the regiment for two years,” and it is to the Caucasian war that the words “I am quite happy in my comrades, Vacancies are open; Then the elders will turn off others, Others, you see, have been killed” (by 1822, Skalozub’s “comrades” could no longer die anywhere so that he would talk about it in the present tense, as about an actual situation - “others, you look, have been killed”; about 1812- 1814 in 1822 it would have been impossible to say so). From the combination of phrases about this: “I’m happy in my comrades”, “I’ve been colonels for a long time, but you’ve only recently served” (in response to which he says his “I’m quite happy...) and “I’ve been with my regiment for two years”, we can conclude that he was a colonel (by 1822) for at least several years, which he received as a colonel at the very time when one of his comrades was “killed” (that is, in the Caucasus), but already with the rank of colonel, he could not receive two years command of a regiment (without the rank of colonel, one could not assume that they were “not giving you enough” of a regiment and were “leading” you after it, forcing you to wait - a major, say, was not entitled to command of a regiment.) In the campaign of 1812-1814 he In any case, he could not rise to the rank of colonel - he only entered the service in 1809, and in 5 years, a Jaeger army officer without connections and nobility had no chance of getting a colonel.
So, Skalozub received a colonel in the Caucasus, in 1819/1820, for successful military operations against the highlanders, but for another 2 years he could not receive command of a regiment. And only in 1822 Skalozub was transferred from the Caucasus to the 15th Infantry Division as a colonel, finally receiving an appointment to a regiment. He is about 30-35 years old. This is a combat Jaeger officer. For the Famusovs, the groom is not the most enviable (Little Russian, from a small nobility, a hopelessly provincial surname, an army man), but ranks, orders, wealth... For Chatsky, he is a terrible rival.
N.B. The 45th Jaeger Regiment was renamed the 44th Jaeger Regiment in 1819 (and vice versa). He fought in the Caucasus, mainly in Abkhazia. Here is Ermolov’s order dated April 28, 1820 to this very 44th Jaeger (formerly 45th), that is, Skalozub’s regiment:
You, brave comrades, have lost a superior, zeal for the service of the great sovereign, exemplary care for you. I regret with you that he died at the hands of vile traitors; together with you I will not forget how to avenge the vile murder of a worthy leader. I will show you the place where the vile robber Koikhosro Guriel lived; Do not leave one stone unturned in this refuge of evildoers, do not leave a single living one of his vile accomplices. I demand, brave comrades, friendly behavior with the inhabitants, peaceful, meek, loyal subjects of the emperor; I order that evil traitors be punished without regret."
We are talking about the death of Colonel Puzyrevsky 1st, who commanded the 45th (>44th) Chasseurs from November 1819. He was replaced as regiment commander by Lieutenant Colonel Prince. Abkhazov, Ivan Nikolaevich (commanded the regiment from May 1820).
And Griboedov himself wrote about the same death of Puzyrevsky in one of his correspondences!
I quote:
Your Majesty,
Dear Andrey Ivanovich,
where are you now? In your last letter, to which I owe my happy moments, you were looking for people at Paul’s club. In front of whom did the lantern go out? Tell me sincerely. Or are they planning to move your search to St. Petersburg? What the commander-in-chief intends to do, I do not ask: because he is the sphinx of modern times. You won't believe how ambiguous our position is here. From Alexei Petrovich we never learn for a whole year where he is, or with what eye from above he looks at our daily activities. And in the wandering of Persian untruths and nonsense, the political existence of Simon Mazarovich and his crusaders barely fits. What a life! For the first time in my life I decided to play a joke, to taste civil service. It would be better if I threw myself into the fire of the Nerchinsk factories and cry with Job: Let the day perish on which I put on the uniform of a foreign college, and the morning on which they said: behold, a titular councilor. May the Lord not require him from above, let the light come upon him below, but may darkness, the shadow of death, and gloom receive him. - Not a word more about my affairs, I don’t want to ruin you with my boredom. I would like to know about your life.
Why do you have no time for generals? One went crazy (Eristov). The other (Puzyrevsky) fell from a treacherous hand; Akhverdov at the hands of peaceful, beneficent, doctoral people, it’s a pity for his family, his niece in Kizlyar is the most pitiful of all.
Why did your great general give up on us pathetic ones, and don’t want to push us forward with one rank below in the vast field of sovereign service? What would he say with his talent if he remained an artillery captain forever? Although I have not yet dared my opinion to measure my abilities against him, the right is worth more than my title.
It’s likely that I won’t get an answer from you to my questions, well, at least about something else, just don’t forget: write it down and force yourself to love more and more.
Devoted to you
A. Griboedov."
So, here he is, this boss is one of those “look, he’s been killed” - Puzyrevsky 1st! Griboyedov gave Skalozub service in a regiment that was well known to him from his own Caucasian affairs, and at the same time and in the circumstances that Griboyedov knew - and there is almost no chance that in this regiment there will be an exact prototype of Skalozub, known to Griboyedov in 1820-21. ..
In addition, I will draw attention to how Ermolov (Ermolov! - a man of extremely cruel character, whose temper would lead him to kill, and not spare, even civilians, at least anyone) makes a distinction in the order between the accomplices of Kay-Khosrov Gurieli in murder of Puzyrevsky and “civilian” residents.
(1) “Woe from Wit” was conceived in embryo by Griboyedov in 1820, and written in full (albeit in rough drafts) in the spring - early autumn of 1823 (Griboyedov wrote the last acts of the play daily in the gazebo of the Begichev estate, where he had been staying since the end of July; it is clear that starting from mid-autumn you can’t write in a gazebo), but the white text was completed by the summer of 1824. Since in the literature of that time it was not customary to place the time of action of the work _in the future_, the time of completion of work on the text is the deadline for the time of action of the play itself. Ekat. Tsimbaeva writes: “The time of action of the play is defined very clearly. Griboyedov finished “Woe from Wit” at the end of May - beginning of June 1824, after which he made only minor stylistic changes to the text. Consequently, events in comedy cannot take place later than this period” (http://magazines.russ.ru/voplit/2003/4/cimbaev.html).
This observation, however, can be narrowed down. “Grief” had a completely finished appearance by the end of the autumn of 1823, and its plot was completely thought out already in the spring of 1823, when Griboyedov wrote the initial part of the play. Since there is no reason to believe that in the concept of “Grief” and the biography of Chatsky, something changed in terms of chronology in the process of transition from the draft to the white version (on the contrary, everything suggests that the chronology of the heroes’ lives remained the same) and that logic , with which Tsimbaeva approaches the draft, should in fact be transferred to the draft and considered a terminus ante quem for the action of “Grief” in the summer of 1823.
Further, this action takes place in winter (specifically, according to the draft, in Lent, i.e. in February, according to the white draft, earlier, apparently, in December, see the subtle analysis of Ekat. Tsimbaeva in the same place, in: http:// magazines.russ.ru/voplit/2003/4/cimbaev.html), therefore, the last winter when it could happen is the winter of 1822/23. Ekat herself. Tsimbaeva believes that here it would be necessary to put 1823/24 instead of 1822/23, since she measures the time limit of the action by the moment of writing the white paper, and not the draft of “Grief.” The final argument in favor of the fact that the action cannot be placed later than the winter of 1822/23, see below, in paragraph (3).
(2) Famusov shouts to his servants “to work for you, to settle [in Siberia] you!” E. Tsimbaeva points out that the right of soul owners to exile their serfs, abolished by Alexander, was reintroduced by him in 1823, and only after this renewal would Famusov’s exclamation make sense. The logic of this assumption by E. Tsimbaeva can be challenged. She believes that Famusov could not have mentioned the exile to the settlement in this particular mood if the law had not given him the corresponding rights. While exclamations such as “you are worthy of settlement,” or “gallows” certainly do not imply the speaker’s competence to send to settlement or the gallows, a similar exclamation without the “would” can be perceived as implying such competence. But is it? Any of us can say: “You’ll get a deuce for such mistakes!” For the second year you will be punished for such mistakes!” - without at all implying that the speaker himself has the right to assign grades or leave for a second year.
However, E. Tsimbaeva’s thesis can be defended from the other side. It is easy to notice that cries of the form “You will be sent to prison for this!” or “For the second year, you’re in for it!” in Russian (at least now) they sound meaningful without “would” only if at least _someone_ has the authority to be sent to prison for this very “this” or left for a second year (not necessarily the speaker, but at least someone / something court, for example). The phrase “you will be shot for this joke!” in 1970 it wouldn’t sound meaningful (but with “would” it would) because in 1970 no one was shot for telling jokes, but in 1937 it would sound meaningful even without any “would”.
This means that Famusov’s exclamation can only be imagined if at least someone (some authority) at that time could have sent his servants to the settlement for the offense that Famusov is dealing with. But what kind of offense is this? These are oversights, insufficient loyalty to the master, indulging in the mischief of the master’s daughter contrary to the master’s obvious will in this regard. Who could punish for such things in Russia in the 18th-19th centuries (if at all), except the master himself? No other authority will examine and punish such offenses...
Thus, the wording “if at least someone (some authority) at this time could send his servants to a settlement for the offense under discussion” in this case is equivalent to the wording “if Famusov himself at that time could send his servants to a settlement for the offense under discussion” - because besides himself, no other authority would deal with this in any case. Thus, we return to Tsimbaeva’s thesis: Famusov’s remark is conceivable only after the return to soul owners of the right to exile their souls.
True, there seems to be a way to get around this conclusion: one can assume that Famusov, in a rage, is spewing out the threat to which he was accustomed in his youth and maturity, when soul owners still had the right to exile their souls to a settlement. However, to make such cries in conditions when the actual right to do so has long ceased to exist means putting oneself in the most pitiful position in the face of the person being threatened - after all, he knows (like the one threatening himself) that the threat is unrealistic (imagine what the boss would look like 1970, shouting to a subordinate: “Shackle you!”), and Famusov could have put himself in such a position only in complete self-forgetfulness of rage, in complete hysteria. However, he is clearly not in a similar state of mind when he utters this “to work for you, to settle you” - his reaction in this entire scene is emotionally much closer to an irritated grumble than to rage. Thus, prisoner Tsimbaeva cannot be bypassed from this side either.
However, Tsimbaeva is mistaken in believing that this return took place in 1823 - in fact, it took place in 1822. I quote the famous manual by lawyer Tagantsev (Tagantsev N.S. Criminal Law (General Part). Part 1. According to the 1902 edition. Allpravo .ru. - 2003. 21. Disciplinary power of private individuals):
“... Decrees of 1749 and 1760. landowners were given the right to exile their peasants for insolent acts, as long as those exiled were no older than 45 years old and fit to work. By decree of 1765, Catherine expanded this right of landowners, allowing peasants to be sent to hard labor for any time with the right to take them back at her discretion. Exile to penal servitude at the will of the landowners was abolished in 1809, but exile to the settlement, which was terminated by the Law of 1811, was again restored in 1822 with the indication that noble authorities could not even investigate the validity of the landowners’ demands for the exile of their peasants to Siberia " By decrees of 1823 and 1824 the corresponding rights of landowners were only expanded.
So, the time of action is after the decree of 1822. In other words, the earliest winter when the action of “Grief” can unfold is the winter of 1822/1823 (and not 1823/24, as Ekaterina Tsimbaeva believes due to the above-mentioned error).
(3) Thus, the time of action can be determined precisely: it is December 1822. Sophia at that moment had just turned seventeen years old (Tsimbaeva showed that Famusov’s ball was most likely held shortly after Sophia’s birthday and on the occasion of this birthday - see E. Tsimbaeva. Griboyedov. M., 2003. P. 336), she was born, therefore, in November-December 1805 - the daughter, so to speak, of Austerlitz...
Before the start of the action, Chatsky had not been to Moscow and had not seen Sophia for three years in a row (“he will go away for three years”) - that is, since 1819. These three years included first Chatsky’s service, his “connection with ministers, then a break,” and then, disillusioned with the service, he left to travel (“he was treated, they say, in sour waters”). It was from the moment the service began that he did not appear in Moscow and did not see Sofia, otherwise in Famusov’s house they would have learned about his connection and break with the ministers by the beginning of the action of “Grief” not only from Tatyana Yuryevna, but also from Chatsky himself. As established, again, by Ekat. Tsimbaev, these ministers were from Warsaw, and Chatsky’s entire career took place in the Kingdom of Poland (http://magazines.russ.ru/voplit/2003/4/cimbaev.html; Griboyedov. S. 332 ff.), where just in 1818 Alexander proclaimed that the introduction of constitutional orders is the constant subject of his thoughts, and that the constitutional Kingdom of Poland should become an example and springboard for the spread of these orders to Russia: “You (the Poles) have given me a means - to show my fatherland what I have been doing for a long time.” I am preparing years for it and what it will use when the beginnings of such an important undertaking reach proper maturity.” Then Prince Peter Vyazemsky (one of the brightest people of the liberal party, according to the government) enthusiastically served in Poland, but in 1821 he retired when Alexander completely buried his constitutional hobbies. Obviously, the same was the fate of Chatsky.
Chatsky entered the service after the season of autumn 1817 - autumn 1818: “And in wives, daughters - the same passion for the uniform! How long ago did I renounce tenderness towards him?! Now I can’t fall into this childishness, But who wouldn’t be dragged along by everyone then? When the guards and others from the court came here for a while, the women shouted: hurray! And they threw caps into the air!” - and the guard and the court stood in Moscow from August 1817 to August 1818.
Chatsky here clearly says that he entered the service under the direct impression of all this enthusiasm of 1817/1818. - this means that his entry into service cannot be dated later than the turn of 1818/1819. This, in turn, means that his return to Moscow cannot be placed as late as the winter of 1823/1824. - in this case he would be absent for at least almost 5 years, and not 3 years at all. It remains to place his arrival at the end of 1822, no later. Thus, the “three years” of his absence is actually more than three years, the difference in the calendar dates of his departure from Moscow (the very beginning of 1819, no later) and his arrival in Moscow (December 1822). In reality, he spent almost four years outside Moscow, but only three winters - 1819/1820, 1820/1821 and 1821/22. These three New Years, in which Chatsky was not in Moscow, are those “three years” that he remembers as the time of his absence.
(4) Sophia says in a key remark for understanding the play: “Yes, with Chatsky, it’s true, we were brought up and grew up: The habit of being together every day inseparably bound us with childhood friendship; but then He moved out, he seemed bored with us, and rarely visited our house; Then again he pretended to be in love, demanding and distressed!!. Sharp, smart, eloquent, Especially happy with friends, He thought highly of himself... The desire to wander attacked him, Ah! If someone loves someone, Why search for the mind and travel so far?
So, Chatsky was brought up with Sophia until he came of age, after which he had to move out - an adult young man could no longer be brought up and live together with an unmarried girl who was not a close relative of him. Chatsky at this time should have been 17-18 years old (no more than 18).
And until this very moment, she and Sophia were together “every day inseparably” and they were not yet “bored”, which implies not such a big age gap: a 15-year-old boy would be decidedly uninterested in a 10-year-old girl, and They wouldn’t have had any kind of childhood friendship. The age gap between them should therefore be no more than four years.
Since Sophia was born at the end of 1805, Chatsky, therefore, was born no earlier than 1801. This is quite consistent with his entry into service at the turn of 1818/1819 or at the beginning of 1819.
By the time of his resignation, Chatsky could not have been less than 20 years old, since even the Warsaw ministers could not have been “in touch and then out of touch” with a youth of 17-18 years old, even if he were a genius (if He was, of course, not super-well-born or noble - which cannot be said about Chatsky). And his resignation can be dated no later than 1821 (he spent at least 1822 traveling to acidic waters). Thus, the latest date of his birth is 1801. The year of his birth is thus firmly established (1801) and turns out to be quite symbolic - this is the first year of the 19th century! Chatsky is truly the same age as the new century.
Between Chatsky’s coming of age and his entry into the service, he managed to move away from the Famusovs, “rarely visit their house” for some time, and then visited Sophia “in love, attentive and saddened” (after which he left her a second time, rushing to the service not in Moscow, and in other areas). These two stages together should have taken about a year at the very least. Thus, Chatsky had to move out after 17, but at least a year before leaving Moscow (spring 1819) - in other words, he moved out at the beginning of 1818, and was born at the beginning of 1801... almost to the day with the beginning of the 19th century.
Sophia could not have called her relationship with Chatsky “children's friendship” if he had ended up in the Famusovsky house not as a child, but as a teenager. In other words, Chatsky, having been orphaned, was accepted by Famusov (a friend of his father) to be raised in the latter’s house until Chatsky reached the age of 12-13 (that is, until 1813/1814). The words “raised together, grew up” imply a rather long period of coexistence and encourage us to attribute Chatsky’s arrival to Famusov’s house to an earlier time, until the early 1810s (inclusive).
(5) Chatsky in “Mountain” says to Platon Mikhailovich:
“Well, God judge you; Certainly, you became not the same in a short time; Wasn’t it last year, at the end, that I knew you in the regiment? It’s only morning: your foot is in the stirrup And you’re rushing around on a greyhound stallion? The autumn wind blows, either from the front or from the rear.”
So, in the fall of 1821, Chatsky was still in the regiment. Therefore, he remained in the service until that very time, and was listed in the cavalry (it is clear that this “knew in the regiment” implies joint service - otherwise how could Chatsky know what P.M. does every day in the regiment in the morning? Civilian non-employee a person could, of course, make acquaintance with a military man, but there was no way to “know” him to such an extent in the regiment).
“But be a military man, be a civilian,
Who is so sensitive, and cheerful, and sharp,
Like Alexander Andreich Chatsky!” Sophia
“...He's nice
He knows how to make everyone laugh;
He chats, jokes, it’s funny to me;
You can share laughter with everyone” Sophia
“Oster, smart, eloquent,
I'm especially happy with friends,
He thought highly of himself” Sophia
“Not a man, a snake!” Sophia
"Oh my god! He’s a Carbonari!” Famusov
"A dangerous person!" Famusov
“What he says, and he speaks as he writes!” Famusov
“He wants to preach freedom!”
Famusov
“He doesn’t recognize the authorities!” Famusov
“Here they are scouring the world, beating their heads,
They’re coming back, expect order from them” Famusov
“You appear to be quite generous:
It’s your neighbor’s misfortune that you are so indifferent to” Sophia
CONCLUSION: Chatsky is smart, educated, spiritually developed, has sound judgment and sobriety in assessing surrounding phenomena. He is fair, revenge and servility are not characteristic of him. His intelligence and love bring Chatsky only grief and disappointment.
Everyone united against him, calling him crazy.
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- Chatsky's clash with Famus society was inevitable. It takes on an increasingly fierce character and is complicated by Chatsky’s personal drama - the collapse of hopes for personal happiness. His attacks become more and more harsh. He enters into the struggle, and in his speeches the opposition of his views to the views of Famusov’s Moscow clearly appears: If Famusov is a defender of the old century, time […]...
- “You glorified me as crazy by the whole choir...” And yet, life is a complicated thing. Sometimes it is light, sometimes it is heavy; for some happy, for others unhappy. Griboedov's comedy is about human relationships, without which this life would not exist. Although the relationship between the heroes of “Woe from Wit” is difficult to call human. And it’s difficult because it contrasts completely different [...]
- I. A. Goncharov in his article “A Million Torments” wrote about the main character 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 picture of morals.” I completely agree with this opinion. Alexander Andreevich Chatsky is the main and most striking image of the comedy. He […]...
- Griboedov wrote: “... in my comedy there are 25 fools for one sane person; and this person, of course, is in conflict with the society around him...” In the judgment of the author of the comedy, the word “of course” is very important. The conflict is predetermined by the entire course of historical development of Russian society. The opposing forces have already been identified, their positions are clearly marked. That is why, of course, Chatsky simply cannot, not […]...
- Chatsky and Molchalin are the heroes of Griboedov’s comedy “Woe from Wit.” They are completely different in character, worldview, and position in society. Molchalin is a typical representative of the Famus era, the personification of veneration for rank, lies, flattery, selfishness, self-abasement for selfish purposes. Chatsky is absolutely the opposite of Molchalin. Many sides of Griboyedov's soul were reflected in the image of Chatsky. He is genuine and passionate [...]
- Griboedov’s comedy “Woe from Wit” touches on the most important issues of existence. These are problems such as human upbringing and admiration for everything foreign, as well as serfdom. In his work, the comedy author ridicules and condemns his characters. These are Famusov, Molchalin and Skalozub. All these heroes are opposed by the main character. This is Chatsky Alexander Andreevich. He received an excellent education [...]
- The comedy “Woe from Wit” by Griboyedov is undoubtedly a work of great social significance. It reflected the rebellious time when freedom-loving ideas spread throughout Russia. At the center of the play is Alexander Andreevich Chatsky, who embodied the best features of the progressive noble youth of the beginning of the century. This hero combines two comedy storylines. One contains a conflict between the “past century” and the “century […]...
- Stiva Oblonsky about Vronsky: “Vronsky is one of the sons of Count Kirill Ivanovich Vronsky and one of the best examples of the gilded youth of St. Petersburg ..... Terribly rich, handsome, great connections, an aide-de-camp and at the same time a very sweet, kind fellow. But more than just a kind fellow. As I got to know him here, he is both educated and very smart; This […]...
- Comparative characteristics of Chatsky and the Gorichs The main character of Griboyedov’s play is contrasted with the society around him. And this motive of confrontation sounds in the scene already mentioned. Natalya Dmitrievna did not like Chatsky’s advice, since, in the opinion of this heroine, they violated the usual, measured way of life of secular people. Chatsky advises Gorich to get down to business, return to the regiment, go to the village. Such […]...
- So it's over! Chatsky’s hopes for love are dashed; he has nothing more to do in this stuffy society of the Famusovs, Molchalins, and Skalozubs. He is a stranger here: Get out of Moscow! I don't go here anymore. I’m running, I won’t look back, I’ll go looking around the world, Where there is a corner for an offended feeling!.. A carriage for me, a carriage! With these words, Chatsky leaves Famusov’s house, and, probably, already [...]
- Why is Chatsky considered a harbinger of the “superfluous man” type? Why is Chatsky considered a harbinger of the “superfluous man” type? Chatsky, like Onegin and Pechorin later, is independent in judgment, critical of high society, and indifferent to ranks. He wants to serve the Fatherland, and not “serve his superiors.” And such people, despite their intelligence and abilities, were not in demand by society, they were superfluous in it. Which of […]...
- “Go” by G-dov is a socio-political realistic comedy, one of the most topical works of Russian literature. The comedy “Go” was written in the 20s of the 19th century, when, after the Patriotic War of 1812, changes were taking place in Russian society. The title of the play sounds intriguing. At first glance, it seems that there is some kind of paradox in it. But G-dov is right – it’s always more difficult for an intelligent person […]...
- There are many versions. I've only read about two. The first is that the surname “Chatsky” was originally written “Chadsky”, you will agree that you hear an echo of the surname of the famous thinker P. Ya. Chaadaev. Secondly, after the publication of “Woe from Wit” in St. Petersburg (June 1824), a debate began in criticism about whether this was a negative self-portrait or a positive one. Pushkin was not a supporter of these versions. Of the two […]...
- Milon is one of the positive heroes of the comedy “The Minor,” introduced by the author to create a contrast of characters with the Prostakovs and Skotinin. Milon is an officer whom we first meet at the head of a detachment of soldiers in the comedy in the village of Prostakov. Milo is an educated, noble man who responsibly fulfills his duties to the state. When meeting with his friend Pravdin (a member of the governor’s board, sent […]...
- The famous Russian playwright A. S. Griboyedov is the author of the immortal classic play “Woe from Wit,” which depicts two major social problems: love conflict and misunderstanding between generations. The conflict between fathers and sons is in the foreground in this comedy. On the side of the “children” we see A. A. Chatsky, who does not accept the foundations of bygone times and tries to bring reason to […]...
- “Silent people are blissful in the world,” Chatsky exclaims when he is finally convinced that Sophia chose this incorrigible sycophant and hypocrite over him. But Chatsky was overwhelmed by a fiery feeling, and his resentment is understandable. The modern reader, free from preconceived attitudes towards the characters depicted, is quite capable of objectively assessing both Chatsky and Molchalin. “Are the Silent People happy in the world?” – we ask […]...
- Pavel Afanasyevich Famusov is the hero of Griboyedov’s comedy “Woe from Wit,” the owner of the house where the action takes place and Sophia’s father. Famusov is a generalization of the vices of society. His life position is compliance with public opinion. He blames the French and French manners for all the vices of youth: “And all... the eternal French,... destroyers of pockets and hearts!” Famusov praises the morals of society, it is important for him to conform to the people, […]...
- I got acquainted with the comedy “Woe from Wit” by A. S. Griboyedov during the summer holidays. In this comedy, the author touched on a painful topic of that time. Intelligence and honor are the main virtues of a person. Our main character has exactly these qualities, but finds himself in the wrong society among which he would like to be. So, our main character, Alexander Andreevich […]...
- In Griboyedov’s comedy “Woe from Wit” many of the vices of rich people of that time were ridiculed. The heroes of the work, such as Famusov, Molchalin, Tugoukhovsky, Skalozub and others, reveal the negative qualities of their character to readers. They are petty, pathetic, self-serving and helpful. Their ideals are “serving people”, “hunters of indecency”. These ideals are not shared by only one character - Chatsky. He prefers people [...]
- The comedy by A. S. Griboyedov “Woe from Wit” is a sad story about a man whose grief stems from the fact that he is not like the others. Intelligence, honor, nobility, unwillingness to curry favor - these are the qualities because of which the doors to the society of the Famusovs, Mollins, Skalozubs and Zagoretskys are closed in front of Chatsky. This is precisely what the internal development of the conflict between the hero and [...] is based on in the comedy.
- Attitude to the people and serfdom The current century: Chatsky opposes those people who are the pillars of noble society, opposes the orders of the Catherine century. The past century: Famusov is a defender of the old century, the heyday of serfdom. Attitude to the ideals of the current century: Chatsky’s ideal is a free independent person, alien to slavish humiliation. The past century: Famusov’s ideal is a nobleman of Catherine’s century, [...]
- The comedy “Woe from Wit” by A. S. Griboedov was written in the first half of the 19th century. This is a time of contrasts, incorporating everything: both triumphs and defeats. People who wore beggar's rags tried on royal robes. And the stingy innkeepers, who previously held a butcher's knife, received a marshal's baton. But the triumphs gave way to a disastrous decline, jubilant cries eclipsed the bitter cry, the majestic radiance of truth […]...
- One of the most important episodes in “Woe from Wit” is the dialogue between Chatsky and Famusov in the second scene of the second act. I would call it “The Conflict of the New and the Old”. This episode is an exposition - the part of the work where the plot conflict is “launched”. Only two main characters participate in this episode: Pavel Afanasyevich Famusov and Alexander Chatsky. The episode begins […]...
- Griboyedov entered Russian literature as the author of the famous comedy “Woe from Wit.” It touches on very important issues: about upbringing, education, admiration for everything foreign, about serfdom. In the comedy, the author ridicules and condemns a number of characters: Famusov, Skalozub, Molchalin, Repetilov. But all these heroes are opposed by the main character of the comedy, Alexander Andreevich Chatsky. He received […]...
- In what ways do the views on life of Chatsky and the “Famus society” differ? Describe the social and moral ideals of various heroes. The outright immorality of the opportunistic bureaucrat Molchalin, the lack of spirituality of the “silovik” Skalozub - all this is a Russian reality that the official, military man and thinker Griboyedov knew from the inside. He also knew the “imported” romantic ideas with which Chatsky, who returned from abroad, was filled with them. The writer gives them their due, shows [...]
- An essay based on A. S. Griboedov’s comedy “Woe from Wit.” Chatsky and Molchalin (Comparative characteristics). In the work of A. S. Griboyedov “Woe from Wit” two heroes A. A. Chatsky and A. S. Molchalin are contrasted. They are different in their worldview, attitude towards service and higher ranks. Since the comedy was written at the beginning of the 19th century, the author touched on the topic of relationships […]...
- In the comedy “Woe from Wit” A. S. Griboedov, true to his talent of depicting life in real pictures and images, chooses a life situation - a “love triangle”. Chatsky’s love for Sophia is one of the “springs,” according to I. A. Goncharov, on which the development of the action rests. Chatsky comes to Moscow to meet with Sophia. But Sophia’s heart is already [...]
