Genre features woe from mind. Genre originality of A.S. Griboyedov’s comedy “Woe from Wit”

Griboyedov's comedy "Woe from Wit" has been known to us since childhood, since it has long been included in school curriculum. In this article we will talk in more detail about the genre of the work, its main themes and idea, consider the plot, images of the main characters, and also give some of the most popular aphorisms.

About the product

We’ll look at the genre (“Woe from Wit”) below, but for now let’s talk about the history of its creation. It is known that Griboedov began writing the play in 1821. During these years, the writer served in Tiflis, but nevertheless found time to work. In 1823, Griboyedov returned to Moscow, where he completed work on the comedy. Here he read the work for the first time among friends.

Genre

It is quite difficult to determine what its genre is. “Woe from Wit” is an innovative work and violates many canonical principles of classicism. Like any traditional play, “Woe from Wit” is based on a love affair, but the main thing turns out to be social conflict, developing in parallel. In addition, the play combines everyday comedy, comedy of characters and social satire, which is unacceptable for classicism.

Doubts also arise as to whether the work can be called a comedy, as the author described it. After all main character It's completely atypical and doesn't make you laugh. On the other hand, all the signs of the declared genre are present - satirical characters and situations.

Eventually modern critics named the work high comedy, since Griboyedov raises serious social and moral problems. And the changes made to the genre by the author are due to the fact that the implementation of the plan required more opportunities than the classical tradition allowed.

What's new?

The genre (“Woe from Wit”) is not for nothing considered innovative. Let's start with the fact that the author violated the unity of action in the work. That is, instead of one conflict, as was customary in classicism, Griboyedov depicts two - social and love. also in classic comedy vice is inevitably overcome by virtue, but this does not happen here either. Chatsky finds himself outnumbered and forced to flee.

He also portrays Griboedov’s characters differently. They are not divided into negative and positive, and are endowed with more realistic features: they have both impartial and positive qualities. For example, Sophia is experiencing a personal drama, despite the fact that it is difficult to name negative character. The girl was sincerely in love with Molchalin.

From all of the above, we can conclude that the originality of the work lies in the fact that it includes several genres, of which the leading one is social comedy.

Meaning of the name

When analyzing the play, it is impossible not to reveal the meaning of the title. “Woe from Wit” is a title that helps the reader understand the main theme that the author wanted to reveal. Namely, he focused specifically on the category of mind. Let's start with the fact that the name refers us to Russian folk proverb, which describes the clash between the smart and the stupid, ending in the victory of the latter. Thus, even before reading the text, we can already predict the outcome.

This conflict between stupidity and intelligence has always been important to classicism. But Griboyedov rethought it. It is not for nothing that contemporaries immediately asked the question: who is smart in comedy? Critics agree that only two people are endowed with this quality - Molchalin and Chatsky. However, it helps the first to live, and destroys the second. The fact is that we have two types of minds. Molchalin’s is moderate, worldly, while Chatsky’s is ardent and unadapted to reality. Thus, the meaning of the title (“Woe from Wit”) takes on a slightly different meaning. We see that it is not just the mind that brings misfortune, but a certain type of mind.

The main character of the work is Alexander Andreevich Chatsky, a nobleman who, after a three-year journey, returns to his beloved Sophia. Thus, at first we see the usual love plot.

“Woe from Wit” begins with the awakening of Lizonka, who did not get enough sleep due to the nightly meetings of Sophia and Molchalin, because she had to keep the meeting a secret. On the same day, the girl recalls her long-time passion for Chatsky, calling him an intelligent and extraordinary person. However, this was all just a childish hobby, and besides, he offended her with his unexpected departure. At this moment they report the return of Chatsky.

The young man is glad to meet him and intends to marry Sophia, but she greets him very coldly. Famusov also does not want to give his daughter to a nobleman without a high rank. A dispute breaks out about “old” and “new” people.

Gradually, Chatsky begins to suspect that Sophia has another lover. He becomes cold, for which the girl accuses him of insensitivity.

Left alone with Lisa, Molchalin flirts with her.

Third and fourth acts: climax and denouement

Griboyedov's comedy "Woe from Wit" does not give the reader an ideal hero: even Chatsky is portrayed as an imperfect person with his own shortcomings.

So, the main character cannot understand who is dear to Sophia. He cannot consider Molchalin a candidate, since he is a “most pitiful creature”, incapable of passionate feelings and selflessness. When it turns out that it was he who became Sophia’s chosen one, Chatsky becomes disappointed in his beloved.

The main character delivers an accusatory monologue about modern society. At the same time, a rumor started by Sophia spreads in the world that Chatsky is mad. As a result, the hero is forced to flee Moscow.

"Woe from Wit": characters

First, let's list the main characters of the comedy.

Let's start, of course, with Alexander Chatsky. He knew Sophia from childhood and was in love with her. But 3 years before the start of the comedy, he went traveling. It is with his return that the beginning of the play and the beginning of all conflicts are connected. Chatsky opposes himself to society with all the ardor of his youth. But in the end he is defeated and has to flee the house he has known since childhood.
Sofya Famusova is a 17-year-old girl who grew up without a mother and was raised by her father. She is selflessly in love with Molchalin and is ready to defend him to the last. Sophia is not stupid; Griboyedov also endowed her with courage and the ability to resist the opinions of others.
Alexey Molchalin - serves as Famusov’s secretary and lives in his house. He is very careful and prudent, remembering his low origins. Molchalin knows that Sophia loves him. He does not reciprocate and is ready to pretend for the sake of good attitude with your employer.
And finally, Pavel Afanasyevich Famusov is Sophia’s father, who serves as a manager in a state-owned house. Two things are important to him - rank and the opinion of the world. He is very afraid of enlightenment and educated people.

Minor characters

There are other characters in the play "Woe from Wit". The supporting characters can be said to be divided into two groups - these are representatives of the local society and servants. The first are a reflection of social trends. From them you can judge what is going on in the minds of representatives high society. Griboedov portrays them as narrow-minded, ossified, stupid conservatives. These include Skalozub, Tugoukhovsky, Khryumin, Gorichi, as well as Famusov, the head of the house. The genre (“Woe from Wit”) presupposes the presence comic beginning, which was embodied in this society.

Servants don't occupy so much significant place. They, as is customary in Russian literature, reflect the character of the people. Among this group, two stand out - Lizonka, Sophia’s maid, who helps her secretly see Molchalin, and Petrushka, who plays the role of a mocker.

Themes of the work

There is far more than one theme in the play. “Woe from Wit” has a wide range of issues. Griboedov managed to touch upon almost all the problems of his time. That's why the play for a long time was under censorship. So, let's list the main themes of the comedy: education and upbringing of the nobles, cruelty of the landowners, serfdom, senseless bureaucracy, the pursuit of ranks, the struggle between “old” and “new”, Arakcheevism, Frenchmania, liberalism, love of everything foreign. The writer also addresses such eternal topics as love, marriage, family, relationships between women and men, etc.

Aphorisms from "Woe from Wit"

Quotes from the play have long been loved by readers and “gone to the people.” Now we can’t always even understand that these are words from Griboedov’s work, we are so accustomed to these expressions.

Here are the most famous ones:

“And the smoke of the Fatherland is sweet and pleasant to us!”
“You don’t watch happy hours.”
“It’s barely light on my feet! And I am at your feet."
“A carriage for me, a carriage!”

The aphorisms from “Woe from Wit” are so popular due to their accuracy and amazing topicality, which has survived to this day.

“Woe from Wit” by A. S. Griboedov can truly be considered innovative work. There is still controversy over the genre of this play.

It is customary to define the genre of a work as a comedy. Indeed, in the play one can observe comic situations in which comic characters find themselves. For example, the image of Skalozub personifies lack of education and narrow-mindedness; in all scenes he is funny. Yes, even Chatsky himself, according to A.S. Pushkin, looks funny when he tries to “throw pearls” in front of uneducated people. The language of the play is also comical, it is light, witty, and easy to remember. It’s not for nothing that the speech is so aphoristic.

But it is impossible to precisely define the type of comedy. There are traits and character comedy, and domestic comedy, and social satire.

Griboedov himself initially defines the work as a stage poem, then calls it a dramatic picture, and subsequently designates the play as a comedy in verse. Even here we see the impossibility of clearly defining the genre uniqueness of Griboyedov’s work. The writer's contemporaries called the play a high comedy, since in it the author raises quite serious problems of his contemporary society.

However, there are critics who argue over whether the play Woe from Wit is a comedy. An important argument is that main character– Chatsky is far from comical. In the play there is a confrontation between an educated person and a society that does not understand him. And this conflict between the “past century” and the “present century” is tragic. In this we note the features of a tragedy.

Chatsky even experiences a spiritual drama, finding himself in confrontation with the entire society. Drama, but already personal, Sophia, who is disappointed in her lover, is also worried. Therefore, the features of the dramatic genre appear here.

Thus, author's intention was so great that it could not fit into the framework of one genre. One can note the features of drama and tragedy, although the leading genre, of course, is comedy, the principle of which is “laughter through tears.”

Option 2

The work is not one of the classics literary genres, since it refers to the innovative creation of a writer who initially defined the play as a stage poem, then called it a dramatic picture, and subsequently classified it as a comedy work.

The author consciously departs from the traditional principles of classicism, introducing storyline the play has several conflicts in which, in addition to love line there is an acute socio-political orientation that defines the main theme of the comedy in the form of a tragic confrontation between a reasonable person exposing bribery, careerism, hypocrisy, and the narrow-minded surrounding society.

To realize his creative plan, the writer makes significant adjustments to the classic canons of the traditional understanding of the comedic literary genre.

Secondly, the author, describing the characteristic features of the characters in the comedy, adds realistic, reliable qualities to them, endowing each of the heroes with both positive and negative traits character. The realism of the play is emphasized by the author’s disclosure of pressing problems that concern progressive representatives modern society which the writer expresses through the image of the main character of the work.

In addition, comedy contains elements dramatic work, which are expressed in the emotional experiences of the protagonist, faced with unrequited love.

Using sharp satire in the narrative, the writer presents his work in the form of a living demonstration of the existing public life, mired in hypocrisy, servility, deceit, hypocrisy, greed. Comic speech the characters of the play are replete with the use of numerous picturesque, bright, expressive aphorisms, which the author puts into the mouths of almost all the characters in the comedy.

A distinctive feature of the play is its poetic form, enclosed in an inevitable rhythm that does not allow pauses or stops, presenting the work in the form of a musical drama.

All of the above allows us to classify Griboyedov’s work as a literary creation that represents a genre combination, the main one being social comedy. The use of comic circumstances in the play with the use of various inconsistencies, contradictions between tragedy and comedy allows the author to demonstrate true meaning dramatic conflict century of the present and the century of the past, revealing the genre essence of the work in the form of tragicomedy, expressed in the psychological realism of the events described.

The work created by the writer, replete with artistic and satirical elements, is a significant contribution to the development of Russian literature.

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Essay plan

1. Introduction. Genre definition Griboedov's play "Woe from Wit" by Russian critics.

2. Main part. Features of various genres in the play.

 The linguistic element of the comic in the play.

 “Woe from Wit” as a comedy of characters.

 “Woe from Wit” as a sitcom. The motive of the fall and its comic significance.

 “Woe from Wit” as a sitcom. The motive of deafness and its comic meaning.

 Parody effects of the play.

 “Woe from Wit” as a satire and political comedy.

 Features of drama in Griboyedov's comedy.

3. Conclusion. Synthesis of genres presented in the play.

Comedy “Woe from Wit” by A.S. Griboyedova destroyed traditional genre principles. Sharply different from classic comedy, the play was not based on love affair. It was impossible to attribute it to the genre of everyday comedy or character comedy in pure form, although features of these genres were also present in the work. The play was, as contemporaries said, a “high comedy,” the genre that the Decembrists dreamed of appearing. literary circles. Woe from Wit combined social satire and psychological drama; comic scenes were replaced by lofty and pathetic scenes. Let's try to consider genre features plays in more detail.

First of all, let us note the comic elements in the work. It is known that Griboyedov himself called “Woe from Wit” a comedy. And here, of course, it is worth noting the presence in the play of both obvious comic devices and hidden authorial irony. Language comic devices playwright - this is hyperbole, alogism, ambiguity, a method of reductio ad absurdum, distortion foreign words, the use of foreign words in the Russian speech of characters. Thus, we notice hyperbole in the remarks of Molchalin, who strives to please “the janitor’s dog so that it is affectionate.” This technique has something in common with the technique of reduction to absurdity. So, discussing Chatsky’s madness with guests, Famusov notes the “hereditary factor”: “I followed my mother, Anna Aleksevna; The deceased went crazy eight times.” In the speech of old woman Khlestova there is an alogism: “There was a sharp man, he had three hundred souls.” Personality characteristics She defines Chatsky by his condition. Ambiguity is heard in the speech of Zagoretsky, who condemns the fabulists for “...eternal ridicule of lions! over the eagles! At the end of his speech, he declares: “Whatever you say: Even though they are animals, they are still kings.” It is this line that equates “kings” and “animals” that sounds ambiguous in the play. The comic effect is also created due to the author’s distortion of foreign words (“Yes, the power is not in Madame,” “Yes, from Lankart mutual teaching”).

“Woe from Wit” is also a comedy of characters. The image of Prince Tugoukhovsky, who, suffering from deafness, misunderstands those around him and misinterprets their remarks, is comedic. An interesting image is of Repetilov, who is both a parody of Chatsky and at the same time the antipode of the main character. There is also a character in the play with a “talking” surname - Skalozub. However, all his jokes are rude and primitive; this is real “army humor”:

I am Prince Gregory and you

I'll give the sergeant major to Voltaire,

He will line you up in three ranks,

Just make a noise and it will instantly calm you down.

Skalozub is not witty, but, on the contrary, stupid. A certain element of the comic is also present in the character of Chatsky, whose “mind and heart are not in harmony.”

The play has features of a sitcom and parody effects. Thus, the author repeatedly plays on two motives: the motive of falling and the motive of deafness. The comic effect in the play is created by Repetilov's fall (he falls at the very entrance, running into Famusov's house from the porch). Chatsky fell several times on the way to Moscow (“More than seven hundred versts flew by - wind, storm; And he was completely confused, and fell how many times ...”). Famusov talks about the fall of Maxim Petrovich at a social event. Molchalin's fall from his horse also causes a violent reaction from those around him. So, Skalozub declares: “Look at how it cracked - in the chest or in the side?” Molchalin’s fall reminds him of the fall of Princess Lasova, who “the other day was completely crushed” and is now “looking for a husband for support.”

The motif of deafness appears already in the first scene of the play. Already in her first appearance, Lisa, having failed to reach Sofya Pavlovna, asks her: “Are you deaf? - Alexey Stepanych! Madam!.. - And fear does not take them!” Famusov covers his ears, not wanting to listen to Chatsky’s “false ideas”, that is, he becomes deaf in at will. At the ball, the countess-grandmother’s “ears got blocked,” and she notes that “deafness is a big vice.” At the ball, Prince Tugoukhovsky is present, who “hears nothing.” Finally, Repetilov covers his ears, unable to bear the choral recitation of the Tugoukhovsky princesses about Chatsky’s madness. Deafness characters here contains deep internal subtext. Famus Society“deaf” to Chatsky’s speeches, does not understand him, does not want to listen. This motive strengthens the contradictions between the main character and the world around him.

It is worth noting the presence of parody situations in the play. So, " perfect romance The author parodically reduces the relationship between Sophia and Molchalin by comparing Liza, remembering Aunt Sophia, from whom the young Frenchman ran away. However, in “Woe from Wit” there is also a different kind of comedy, which ridicules the vulgar aspects of life, exposing the playwright’s contemporary society. And in this regard, we can already talk about satire.

Griboyedov in “Woe from Wit” denounces social vices - bureaucracy, veneration of rank, bribery, serving “persons” rather than “causes,” hatred of education, ignorance, careerism. Through the mouth of Chatsky, the author reminds his contemporaries that there is no social ideal in your own country:

Where? tell us fathers of the fatherland,

Which ones should we take as models?

Aren't these the ones who are rich in robbery?

They found protection from court in friends, in kinship,

Magnificent building chambers,

Where they spill out in feasts and extravagance,

And where foreign clients will not be resurrected

The meanest features of the past life.

Griboyedov's hero criticizes the rigidity of the views of Moscow society, its mental immobility. He also speaks out against serfdom, recalling the landowner who traded his servants for three greyhounds. Behind the lush, beautiful uniforms of the military, Chatsky sees “weakness” and “poverty of reason.” He also does not recognize the “slavish, blind imitation” of everything foreign, which manifests itself in the dominance French. In “Woe from Wit” we find references to Voltaire, the Carbonari, the Jacobins, and we encounter discussions about the problems of the social system. Thus, Griboyedov’s play touches on all the topical issues of our time, which allows critics to consider the work a “high” political comedy.

And finally, the last aspect in considering this topic. What is the drama of the play? First of all, in spiritual drama Main character. As noted by I.A. Goncharov, Chatsky “had to drink the bitter cup to the bottom - not finding “living sympathy” in anyone, and leaving, taking with him only “a million torments.” Chatsky rushed to Sophia, hoping to find understanding and support from her, hoping that she would reciprocate his feelings. However, what does he find in the heart of the woman he loves? Coldness, causticity. Chatsky is stunned, he is jealous of Sophia, trying to guess his rival. And he cannot believe that his beloved girl chose Molchalin. Sophia is irritated by Chatsky’s barbs, his manners, and behavior.

However, Chatsky does not give up and in the evening he comes to Famusov’s house again. At the ball, Sophia spreads gossip about Chatsky's madness, which is readily picked up by everyone present. Chatsky enters into an altercation with them, makes a hot, pathetic speech, exposing the meanness of his “past life.” At the end of the play, the truth is revealed to Chatsky, he finds out who his rival is and who spread rumors about his madness. In addition, the entire drama of the situation is aggravated by Chatsky’s alienation from the people in whose house he grew up, from the whole society. Returning “from distant wanderings,” he does not find understanding in his homeland.

Dramatic notes are also heard in Griboyedov’s depiction of the image of Sofia Famusova, who suffers her “millions of torments.” She bitterly repents having discovered true nature his chosen one and his real feelings for her.

Thus, Griboyedov’s play “Woe from Wit,” traditionally considered a comedy, represents a certain genre synthesis, organically combining the features of character comedy and sitcom, features political comedy, topical satire, and finally, psychological drama.

"Dramatic writer
must be judged according to the laws
himself
recognized above oneself."
(A.S. Pushkin)

The boundaries of the genre should be determined by the task or goal, which in its
the author set himself the goal of the work. Noting the genre uniqueness of comedy
Griboyedov, critics approached the important question of whether the features of its
(comedies) the result of insufficient skill of Griboyedov the playwright
(ill-thought-out plan, lethargy of intrigue), or they indicate
fundamentally new task, staged by Griboyedov. It is known that Griboyedov
originally defined his work as a "stage poem". "First
the outline of this stage poem,” he wrote, “as it was born in me, was
much more magnificent and highest value than now in a vain outfit, in which
I was forced to clothe it." This definition tells us a lot about the intentions
Griboedova. Chatsky's tragedy was supposed to unfold narratively, against the background
pictures of modern reality, against the backdrop of bright events of the time,
clashes of different worldviews. In other words, the theatrical genre
was rethought and acquired a completely unexpected appearance.
Griboyedov is already in
at the very beginning of work on the comedy, he was aware of the novelty of his idea, unacceptable
For modern theater with his habits and conditions. To understand this
It would be interesting to note this fact. Year of completion of "Woe from Wit" (1824)
marked for Griboyedov by turning to Goethe. The "Goethean atmosphere" is felt
and in comedy itself. (For example, Chatsky’s phrase from the seventh phenomenon, action
first - “Where is the time? Where is that innocent age?” - is several
modified quote from the prologue "In the Theater" of Goethe's Faust: "So gib mir auch die
Zeiten wieder"; other examples can be found.) Griboedov translates excerpts from
"Fausta". (They said that he was going to do a translation of the entire Faust, which
knew it by heart.) There is no doubt that the genre originality of Faust was
noted by Griboyedov and played a significant role in determining his creative
plans. Goethe called Faust a “dramatic or stage poem,” and
He called individual chapter-scenes songs. Interestingly, after completion
Comedy Griboedov called it a “dramatic picture.”
This genre
ambiguity, which appeared already during the creation of “Woe from Wit” and clearly affected
in the comedy itself, caused numerous bewilderments and conflicting assessments
(sometimes sharply negative). At first glance, the new comedy was closely
associated with the previous comedy tradition. (The author himself was known as
creator of several comedies that are quite traditional in plot and composition.) In it
the laws of the three unities (place, time, action) were formally observed,
The moralizing nature of the title has been preserved. The intrigue is based on various types
misunderstandings that are resolved as the action progresses. Intrigue is driven by links
accidents (Sophia's fainting, her spreading slander about Chatsky, his delay
carriages, the unexpected appearance of Sophia at the moment of Molchaliv’s love declaration
Lisa). Traditional comic roles were also retained: Chatsky - the unlucky
lover; Molchalin is a successful lover and a cunning man; Sophia - spoiled
sentimental girl; Famusov is the father whom everyone deceives, while
he is concerned about his daughter's advantageous marriage; Lisa is a shrewd, dexterous servant.
Characteristic names are also traditional, two of which are deliberately Frenchized -
Famusov and Repetilov (not without irony over French comedy). Not new and old
Comedy techniques - “talking the deaf” and “falling”.
And yet, with all the common
similarities with Russian classic comedy, "Woe from Wit" did not fit into
traditional framework of this genre. First of all, the content of "Woe from Wit" was
much broader than traditional comedy content. The usual intrigue and struggle that
Chatsky led as the hero of an ordinary comedy, was pushed into the background by another struggle,
which Chatsky led with the company of the Famusovs, Skalozubovs, Khlestovs, Repetilovs,
Zagoretsky. This different, higher social-ideological content determined
the originality of the comedy genre - satire of social mores, which was noticed
many critics and writers. Russian comedy (before Griboyedov) staged its
the task of ridicule human vices, but ridicule was raised only occasionally
to ridicule of social vices, whole social phenomena. No wonder Belinsky
wrote that “Woe from Wit” is the most evil satire on society. Genre characteristics
satires influenced the composition of the comedy and the development of the main intrigue.
This is what causes stoppages in action and inhibition of intrigue. Actually
action and movement give way to long monologues and lengthy speeches. In that
In this regard, the second act of the play is indicative, representing an ideological dispute
representatives of different worldviews - Famusov and Chatsky. In this case, it is necessary to take into account
that everything said from the stage at that time sounded much more relevant and
more topical than now. They stood up for every word real pictures Russian
reality. This reality was recognizable in everything - in small details,
scattered throughout the text, in off-stage characters... All this gave birth to
Griboedov's contemporaries had a number of associations. For example, at the beginning of the first
Griboedov's actions make fun of the traditional noble upbringing and for
this introduces the first off-stage character- old lady Roznier. This is the image
a typical old French woman who was not particularly distinguished in her youth
piety. Sophia's story about the dream is taken exactly from the popular at that time
a dream book that interprets any dreams. (Here, however, the irony over
numerous dreams from Zhukovsky.)
Griboyedov does not shy away from the question of
education, the noise and controversy around which did not subside in those years. In replicas
Khlestova, Tugoukhovskaya, Skalozub named almost all types of educational institutions,
existed in Russia in the first quarter of the XIX centuries: boarding schools, lyceums,
Lancaster schools (which Khlestova, in her ignorance, calls
"lancard"), Pedagogical Institute... Characteristic society of those years
- commitment to everything foreign - manifested in the mention of fashionable
French shops, and in the speech of the characters, sprinkled with Gallicisms.
Can
find many more details that vividly depict everyday life, morals and habits
the society of that time.
Critics were bewildered not only by the harsh
social orientation of comedy. Genre originality"Fire from Mind"
reflected in her tragicomic nature. The stumbling block was, strictly speaking, one
a character who did not fit into any traditional role is Chatsky. Chatsky is a hero
from another world, he, with his thoughts and feelings, has no place here, in this
society, among these people. His fiery monologues should be heard in
some tragedy, but not in comedy. Here he is funny, funny in his absentmindedness
slow-wittedness, naivety, inability to hide thoughts and feelings,
idealism, carelessness. With his whole figure he brings turmoil,
disorder in the peaceful course of life of the Famusov house. But the contradiction is that what
The more ridiculous situations he finds himself in, the more tragic he becomes
position.
The comic, satirical, and tragic are inseparably fused into one
whole, and this is the genre uniqueness of “Woe from Wit”. Precisely - in the merger, in
synthesis, and not in the alternation of comic episodes with tragic ones, interspersed with
satirical monologues. Two lines are developing simultaneously, inextricably
connected with each other: Chatsky - Sophia, Chatsky - Famusov's society. (Sofia and
there, and there is the engine of intrigue.) And the scattered nature of the plot, and the suddenness
transitions from one scene to another (and Griboyedov was reproached for this more than once!)
logically justified. Only this logic is not external, but internal, it lies in
deep psychologization of the characters, which almost never took place in comedy
pre-Griboedov period.
The novelty of the comedy, the presence in it of signs of various
The genres were also determined by the complexity of the play's stage execution. Often she
was understood very one-sidedly. Nemirovich-Danchenko, for example, wrote in 1923:
"...they are not playing the play, but those journalistic articles that it
gave birth..."
A quarter of a century has passed since the comedy was written, and she,
according to Blok, everything remains “unsolved to the end.”

Essay plan

1. Introduction. Genre definition of Griboyedov’s play “Woe from Wit” by Russian criticism.

2. Main part. Features of various genres in the play.

The linguistic element of the comic in the play.

? "Woe from Wit" as a comedy of characters.

? "Woe from Wit" as a sitcom. The motive of the fall and its comic significance.

? "Woe from Wit" as a sitcom. The motive of deafness and its comic meaning.

Parody effects of the play.

? "Woe from Wit" as a satire and political comedy.

Features of drama in Griboyedov's comedy.

3. Conclusion. Synthesis of genres presented in the play.

Comedy “Woe from Wit” by A.S. Griboyedova destroyed traditional genre principles. Sharply different from the classic comedy, the play was not based on a love affair. It could not be attributed to the genre of everyday comedy or comedy of characters in its pure form, although the features of these genres were also present in the work. The play was, as contemporaries said, “high comedy,” the genre that Decembrist literary circles dreamed of appearing. Woe from Wit combined social satire and psychological drama; comic scenes were replaced by lofty and pathetic scenes. Let's try to consider the genre features of the play in more detail.

First of all, let us note the comic elements in the work. It is known that Griboyedov himself called “Woe from Wit” a comedy. And here, of course, it is worth noting the presence in the play of both obvious comic devices and hidden authorial irony. The playwright's comic language techniques are hyperbole, alogism, ambiguity, reduction to absurdity, distortion of foreign words, the use of foreign words in the Russian speech of characters. Thus, we notice hyperbole in the remarks of Molchalin, who strives to please “the janitor’s dog so that it is affectionate.” This technique has something in common with the technique of reduction to absurdity. So, discussing Chatsky’s madness with guests, Famusov notes the “hereditary factor”: “I followed my mother, Anna Aleksevna; The deceased went crazy eight times.” In the speech of old woman Khlestova there is an alogism: “There was a sharp man, he had three hundred souls.” She determines Chatsky’s personal characteristics by his condition. Ambiguity is heard in the speech of Zagoretsky, who condemns the fabulists for “...eternal ridicule of lions! over the eagles! At the end of his speech, he declares: “Whatever you say: Even though they are animals, they are still kings.” It is this line that equates “kings” and “animals” that sounds ambiguous in the play. The comic effect is also created due to the author’s distortion of foreign words (“Yes, the power is not in Madame,” “Yes, from Lankart mutual teaching”).

I am Prince Gregory and you
I'll give the sergeant major to Voltaire,
He will line you up in three ranks,
Just make a noise and it will instantly calm you down.

Skalozub is not witty, but, on the contrary, stupid. A certain element of the comic is also present in the character of Chatsky, whose “mind and heart are not in harmony.”

The motif of deafness appears already in the first scene of the play. Already in her first appearance, Lisa, having failed to reach Sofya Pavlovna, asks her: “Are you deaf? - Alexey Stepanych! Madam!.. - And fear does not take them!” Famusov covers his ears, not wanting to listen to Chatsky’s “false ideas,” that is, he becomes deaf of his own free will. At the ball, the countess-grandmother’s “ears got blocked,” and she notes that “deafness is a big vice.” At the ball, Prince Tugoukhovsky is present, who “hears nothing.” Finally, Repetilov covers his ears, unable to bear the choral recitation of the Tugoukhovsky princesses about Chatsky’s madness. The deafness of the characters here contains a deep internal subtext. Famus society is “deaf” to Chatsky’s speeches, does not understand him, does not want to listen. This motive strengthens the contradictions between the main character and the world around him.

It is worth noting the presence of parody situations in the play. Thus, the author parodically reduces the “ideal romance” of Sophia with Molchalin by comparing Liza, remembering Aunt Sophia, from whom the young Frenchman ran away. However, in “Woe from Wit” there is also a different kind of comedy, which ridicules the vulgar aspects of life, exposing the playwright’s contemporary society. And in this regard, we can already talk about satire.

Where? show us, fathers of the fatherland,
Which ones should we take as models?
Aren't these the ones who are rich in robbery?
They found protection from court in friends, in kinship,
Magnificent building chambers,
Where they spill out in feasts and extravagance,
And where foreign clients will not be resurrected
The meanest features of the past life.

Griboyedov's hero criticizes the rigidity of the views of Moscow society, its mental immobility. He also speaks out against serfdom, recalling the landowner who traded his servants for three greyhounds. Behind the lush, beautiful uniforms of the military, Chatsky sees “weakness” and “poverty of reason.” He also does not recognize the “slavish, blind imitation” of everything foreign, manifested in the dominance of the French language. In “Woe from Wit” we find references to Voltaire, the Carbonari, the Jacobins, and we encounter discussions about the problems of the social system. Thus, Griboyedov’s play touches on all the topical issues of our time, which allows critics to consider the work a “high” political comedy.

And finally, the last aspect in considering this topic. What is the drama of the play? First of all, in the emotional drama of the main character. As noted by I.A. Goncharov, Chatsky “had to drink the bitter cup to the bottom - not finding “living sympathy” in anyone, and leaving, taking with him only “a million torments.” Chatsky rushed to Sophia, hoping to find understanding and support from her, hoping that she would reciprocate his feelings. However, what does he find in the heart of the woman he loves? Coldness, causticity. Chatsky is stunned, he is jealous of Sophia, trying to guess his rival. And he cannot believe that his beloved girl chose Molchalin. Sophia is irritated by Chatsky’s barbs, his manners, and behavior.

Dramatic notes are also heard in Griboyedov’s depiction of the image of Sofia Famusova, who suffers her “millions of torments.” She bitterly repents, having discovered the true nature of her chosen one and his real feelings for her.

Thus, Griboyedov’s play “Woe from Wit,” traditionally considered a comedy, represents a certain genre synthesis, organically combining the features of a comedy of characters and sitcoms, features of a political comedy, topical satire, and, finally, psychological drama.