Griboyedov grief from the mind in roles. Immortal work "Woe from Wit"

Phenomenon 2

Lisa And Famusov.
Lisa
Oh! master!

Famusov
Barin, yes.
(stops hour music)
After all, what a minx you are, girl.
I couldn't figure out what the problem was!
Now a flute is heard, then like a pianoforte;
Would it be too early for Sophia? ..

Lisa
No, sir, I ... just by chance ...

Famusov
Here's something by chance, notice you;
Yes, yes, on purpose.
(Clings herself to her and flirts.)
Oh! potion, bastard.

Lisa
You are a prankster, these faces suit you!

Famusov
Modest, but nothing else
Leprosy and the wind on my mind.

Lisa
Let go, windmills yourself,
Remember, old people...

Famusov
Almost.

Lisa
Well, who will come, where are we with you?

Famusov
Who should come here?
Is Sophia asleep?

Lisa
Now asleep.

Famusov
Now! What about the night?

Lisa
I read all night.

Famusov
Vish, whims what have got!

Lisa
All in French, aloud, reading locked up.

Famusov
Tell me that it's not good for her eyes to spoil,
And in reading, the use is not great:
She has no sleep from French books,
And it hurts me to sleep from the Russians.

Lisa
What will rise, I will report
If you please go, wake me up, I'm afraid.

Famusov
Why wake up? You wind the clock yourself
You thunder the symphony for the whole quarter.

Lisa
(as loud as possible)
Yes, completeness!

Famusov
(covers her mouth)
Have mercy on how you scream.
Are you crazy?

Lisa
I'm afraid it won't come out...

Famusov
What?

Lisa
It's time, sir, for you to know that you are not a child;
In girls, the morning dream is so thin;
You creak the door a little, you whisper a little:
Everyone hears...

Famusov
You are all lying.

Famusov
(hurriedly)
Shh!
(Sneaks out of the room on tiptoe.)

Lisa
(one)
Gone... Ah! away from the masters;
Prepare troubles for themselves at every hour,
Bypass us more than all sorrows
And the lord's anger, and the lord's love.

Phenomenon 3

Lisa, Sofia with a candle behind her Molchalin.

Sofia
What, Lisa, attacked you?
You make noise...

Lisa
Of course, it's hard for you to leave?
Closed up to the light, and it seems that everything is not enough?

Sofia
Ah, it really is dawn!
(Extinguishes the candle.)
And light and sadness. How swift are the nights!

Lisa
Grieve, know that there is no urine from the side,
Your father came here, I died;
I twirled in front of him, I don’t remember that I was lying;
Well, what have you become? bow, sir, weigh.
Come on, the heart is not in the right place;
Look at the clock, look out the window:
The people have been pouring down the streets for a long time;
And in the house there is a knock, walking, sweeping and cleaning.

Sofia
Happy hours are not observed.

Lisa
Don't watch, your power;
And that in return for you, of course, I get there.

Sofia
(Molchalin)
Go; we'll be bored all day long.

Lisa
God is with you, sir; away take your hand.

(Brings them out Molchalin at the door collides with Famusov.)

Phenomenon 4

Sofia, Lisa, Molchalin, Famusov.

Famusov
What an opportunity! Molchalin, you, brother?

Molchalin
I'm with.

Famusov
Why is it here? and at this hour?
And Sophia! .. Hello, Sophia, what are you
Got up so early! A? for what concern?
And how did God bring you together at the wrong time?

Sofia
He has just now entered.

Molchalin
Now from a walk.

Famusov
Friend, is it possible for walks
Away to choose a nook?
And you, madam, just jumped out of bed,
With a man! with the young! - An occupation for the girl!
All night reading fables,
And here are the fruits of these books!
And all the Kuznetsk bridge, and the eternal French,
From there, fashion to us, and authors, and muses:
Destroyers of pockets and hearts!
When the Creator delivers us
From their hats! bonnets! and studs! and pins!
And bookstores and biscuit shops! ..

Sofia
Excuse me, father, my head is spinning;
I hardly take a breath from fright;
You deigned to run in so quickly,
I got confused...

Famusov
Thank you humbly
I ran into them soon!
I interfered! I scared!
I, Sofya Pavlovna, am upset myself, the whole day
No rest, rushing around like crazy.
By position, by service, trouble,
That sticks, the other, everyone cares about me!
But did I expect new troubles? to be deceived...

Sofia
(through tears)
Whom, father?

Famusov
Here they will reproach me,
Which I always scold to no avail.
Don't cry, I'm talking
Didn't they care about yours
About education! from the cradle!
Mother died: I knew how to accept
Madame Rosier has a second mother.
He put the old woman-gold in supervision of you:
She was smart, had a quiet disposition, rare rules.
One thing does not serve her well:
For extra five hundred rubles a year
She allowed herself to be seduced by others.
Yes, there is no strength in Madame.
No other pattern needed
When in the eyes of an example of a father.
Look at me: I do not brag about the addition,
However, cheerful and fresh, and lived to gray hair;
Free, widows, I am my master ...
Known for monastic behavior! ..

Lisa
I dare, sir...

Famusov
Be silent!
Terrible age! Don't know what to start!
Everyone managed beyond their years.
And more than daughters, but the good people themselves,
We were given these languages!
We take the tramps, and into the house, and by tickets,
To teach our daughters everything, everything -
And dancing! and foam! and tenderness! and sigh!
As if we are preparing buffoons for their wives.
What are you, a visitor? you're here, sir, why?
Rootless warmed and introduced into my family,
He gave the rank of assessor and took him to the secretaries;
Transferred to Moscow through my assistance;
And if it wasn't for me, you would smoke in Tver.

Sofia
I will not explain your anger in any way.
He lives in the house here, great misfortune!
Went into a room, got into another.

Famusov
Got it or wanted to get it?
Why are you together? It can't be by accident.

Sofia
Here's what the case is all about:
How long ago you and Liza were here,
Your voice frightened me extremely,
And I rushed here with all my legs ...

Famusov
It will probably put all the turmoil on me.
At the wrong time, my voice made them anxious!

Sofia
In a vague dream, a trifle disturbs.
To tell you a dream: you will understand then.

Famusov
What's the story?

Sofia
tell you?

Famusov
Well, yes.
(Sits down.)

Sofia
Let me ... you see ... first
flowery meadow; and i was looking for
Grass
Some, I don't remember.
Suddenly a nice person, one of those we
We will see - as if we have known each other for a century,
Came here with me; and insinuating, and smart,
But timid... You know who was born in poverty...

Famusov
Oh! mother, do not finish the blow!
Who is poor, he is not a couple for you.

Sofia
Then everything was gone: meadows and skies. -
We are in a dark room. To complete the miracle
The floor opened up - and you are from there
Pale as death, and hair on end!
Here with a thunder the doors were flung open
Some not people and not animals
We were separated - and they tortured the one who sat with me.
He seems to be dearer to me than all treasures,
I want to go to him - you drag with you:
We are escorted by groans, roars, laughter, whistles of monsters!
He screams after him!
Awoke. - Someone says -
Your voice was; What do you think, so early?
I run here - and I find you both.

Famusov
Yes, bad dream; as I look.
Everything is there, if there is no deception:
And devils, and love, and fears, and flowers.
Well, my sir, and you?

Famusov
It's funny.
My voice was given to them, and how well
Everyone hears, and calls everyone before dawn!
In a hurry to my voice, why? - speak.

Molchalin
With papers.

Famusov
Yes! they were missing.
Pardon that it suddenly fell
Diligence in writing!
(Rises.)
Well, Sonyushka, I will give you peace:
There are strange dreams, but in reality it is stranger;
You were looking for herbs
I came across a friend rather;
Get the nonsense out of your head;
Where there are miracles, there is little stock. -
Come on, lie down, sleep again.
(Molchalin.)
We're going to sort out the papers.

Molchalin
I only carried them for the report,
What can not be used without certificates, without others,
There are contradictions, and much is not efficient.

Famusov
I'm afraid, sir, I'm mortally alone,
So that a multitude does not accumulate them;
Give free rein to you, it would have settled down;
And I have what's the matter, what's not the case,
My custom is this:
Signed, so off your shoulders.

(Leaves with MOLCHALIN, at the door lets him go ahead.)

Phenomenon 5

Sofia, Lisa.

Lisa
Well, the holiday is here! Well, here's some fun for you!
But no, now it’s no laughing matter;
It is dark in the eyes, and the soul froze;
Sin is not a problem, rumor is not good.

Sofia
What is a rumor to me? Who wants to judge
Yes, the father will force you to think:
Obese, restless, quick,
It's always been like this, but ever since...
You can judge...

Lisa
I judge, sir, not from stories;
He will ban you; - good still with me;
And then, God have mercy, just
Me, Molchalin and everyone out of the yard.

Sofia
Think how capricious happiness is!
It happens worse, get away with it;
When sad nothing comes to mind,
Forgotten by the music, and time passed so smoothly;
Fate seemed to take care of us;
No worry, no doubt...
And grief is waiting around the corner.

Lisa
That's it, sir, you are my stupid judgment
Never complain:
But here's the trouble.
What is the best prophet for you?
I repeated: in love there will be no use in this
Not forever.
Like all Moscow ones, your father is like this:
He would like a son-in-law with stars and ranks,
And under the stars, not everyone is rich, between us;
Well, of course, besides
And money to live, so that he could give balls;
Here, for example, Colonel Skalozub:
And the golden bag, and marks the generals.

Sofia
Where is cute! and fun me fear
Hear about the front and rows;
He didn’t utter a smart word,
I don't care what's for him, what's in the water.

Lisa
Yes, sir, so to speak, eloquent, but painfully not cunning;
But be a military man, be a civilian,
Who is so sensitive, and cheerful, and sharp,
Like Alexander Andreevich Chatsky!
Not to embarrass you;
It's been a long time, don't turn back
And remember...

Sofia
What do you remember? He's nice
He knows how to laugh at everyone;
Chatting, joking, it's funny to me;
You can share laughter with everyone.

Lisa
But only? as if? - Shedding tears
I remember, poor he, how he parted with you. -
“What, sir, are you crying? live laughing ... "
And he answered: “No wonder, Liza, I’m crying:
Who knows what I will find when I return?
And how much, perhaps, I will lose!
The poor thing seemed to know that in three years ...

Sofia
Listen, don't take too many liberties.
I'm very windy, maybe I did,
And I know, and I'm sorry; but where did you change?
To whom? so that they could reproach with infidelity.
Yes, with Chatsky, it’s true, we were brought up, we grew up;
The habit of being together every day is inseparable
She connected us with childhood friendship; but after
He moved out, he seemed bored with us,
And rarely visited our house;
Then he pretended to be in love again,
Demanding and distressed!!.
Sharp, smart, eloquent,
Especially happy in friends
That's what he thought about himself...
The desire to wander attacked him,
Oh! if someone loves someone
Why look for the mind and drive so far?

Lisa
Where is it worn? in what regions?
He was treated, they say, on acidic waters,
Not from illness, tea, from boredom - more free.

Sofia
And, of course, happy where people are funnier.
Who I love is not like this:
Molchalin is ready to forget himself for others,
The enemy of insolence - always shyly, timidly,
A whole night with whom you can spend like this!
We sit, and the yard has long turned white,
What do you think? what are you busy with?

Lisa
God knows
Ma'am, is it my business?

Sofia
He takes his hand, shakes his heart,
Breathe from the depths of your soul
Not a free word, and so the whole night passes,
Hand in hand, and the eye does not take my eyes off me. -
Laughing! is it possible! gave a reason
To you I to laughter such?

Lisa
Me, sir? .. your aunt has now come to mind,
How a young Frenchman ran away from her house,
Dove! wanted to bury
I failed my annoyance:
I forgot to blacken my hair
And three days later she turned gray.
(Continues to laugh.)

Sofia
(with chagrin)
That's how they talk about me later.

Lisa
Excuse me, right, how holy God is,
I wanted this stupid laugh
Helped to cheer you up a bit.

Sofia
Here I would bring you with my aunt,
To count all the acquaintances.

Chatsky
What about auntie? all a girl, Minerva?
All the maid of honor of Catherine the First?
Is the house full of pupils and moseks?
Oh! Let's move on to education.
What is now, just as of old,
Trouble recruiting teachers regiments,
More in number, cheaper price?
Not that they are far in science;
In Russia, under a great fine,
We are told to recognize each
Historian and geographer!
Our mentor, remember his cap, bathrobe,
Index finger, all signs of learning
How our timid minds disturbed,
As we used to believe from an early age,
That there is no salvation for us without the Germans! -
And Guillaume, the Frenchman, knocked out by the breeze?
Is he not married yet?

Sofia
On whom?

Chatsky
At least on some princess,
Pulcheria Andreevna, for example?

Sofia
Dancemaster! is it possible!

Chatsky
Well? he is a cavalier.
We will be required to be with an estate and in rank,
And Guillaume! .. - What is the tone here now
At congresses, at large ones, at parish holidays?
There is also a mixture of languages:
French with Nizhny Novgorod?

Sofia
Mix of languages?

Chatsky
Yes, two, without this it is impossible.

Lisa
But it is tricky to tailor one of them, like yours.

Chatsky
At least not inflated.
Here's the news! - I use a minute,
Enlivened by a date with you,
And talkative; Is there no time
That I'm dumber than Molchalin? Where is he, by the way?
Have you broken the silence of the press yet?
It used to be songs where brand new notebooks
He sees, sticks: please write off.
And yet, he will reach the known degrees,
Because now they love wordless.

Sofia
(to the side)
Not a man, a snake!
(Loudly and forcefully.)
I want to ask you:
Have you ever laughed? or in sadness?
Mistake? did you say good things about someone?
Though not now, but in childhood, maybe.

Chatsky
When everything is so soft? both tender and immature?
Why so long ago? here's a good deed for you:
Calls just rattling
And day and night in the snowy desert,
I'm head over heels for you.
And how do I find you? in some strict order!
I endure coldness for half an hour!
The face of the most holy pilgrimage!..
And yet I love you without memory. -
(Momentary silence.)
Listen, are my words all the pegs?
And tend to someone's harm?
But if so: mind and heart are not in harmony.
I'm in weirdo to another miracle
Once I laugh, then I forget:
Tell me to go into the fire: I'll go to dinner.

Sofia
Yes, well - burn, if not?

Phenomenon 8

Sofia, Lisa, Chatsky, Famusov.

Famusov
Here's another one!

Sofia
Ah, father, sleep in hand.
(Exits.)

Phenomenon 9

Famusov, Chatsky(looks at the door through which Sophia went out).

Famusov
Well, you threw out a thing!
Three years did not write two words!
And suddenly, as from the clouds, it burst.
(They embrace.)
Great, friend, great, brother, great.
Tell me, tea, you're ready
Collection of important news?
Sit down, tell me quickly.
(Sit down)

Chatsky
(absently)
How beautiful Sofya Pavlovna has become!

Famusov
You people are young, there is no other business,
How to notice girlish beauty:
She said something in passing, and you,
I am tea, I was filled with hopes, bewitched.

Chatsky
Oh! No, I'm not spoiled for hope.

Famusov
“Dream in hand,” she deigned to whisper to me.
Here's what you thought...

Chatsky
I? - Not at all.

Famusov
What did she dream about? what's happened?

Chatsky
I am not a dream reader.

Famusov
Don't trust her, everything is empty.

Chatsky
I believe my own eyes;
Century did not meet, I will give a subscription.
To be at least a little like her!

Famusov
He is all his own. Yes, tell me in detail
Where was? been wandering for so many years!
From where now?

Chatsky
Now I'm up to it!
Wanted to travel around the world
And did not go round a hundredth.
(Gets up hastily.)
Sorry; I was in a hurry to see you,
Didn't go home. Farewell! In one hour
I will appear, I will not forget the slightest detail;
You first, then you tell everywhere.
(In the door.)
How good!

Chatsky
No, today the world is not like that.

Famusov
A dangerous person!

Chatsky
Everyone breathes freely
And not in a hurry to fit into the regiment of jesters.

Famusov
What does he say! and speaks as he writes!

Chatsky
Have patrons yawn at the ceiling,
Appear to be silent, to shuffle, to dine,
Substitute a chair, raise a handkerchief.

Famusov
He wants to preach!

Chatsky
Who travels, who lives in the village ...

Famusov
Yes, he does not recognize the authorities!

Chatsky
Who serves the cause, not the individuals ...

Famusov
I would strictly forbid these gentlemen
Drive up to the capitals for a shot.

Chatsky
I will finally give you rest...

Famusov
Patience, no urine, annoying.

Chatsky
I scolded your age mercilessly,
I give you power:
Drop the part
Though our times to boot;
So be it, I won't cry.

Famusov
And I don't want to know you, I can't stand depravity.

Chatsky
I've done it.

Famusov
Okay, I shut my ears.

Chatsky
For what? I won't insult them.

Famusov
(patter)
Here they scour the world, they beat the buckets,
They come back, wait for order from them.

Chatsky
I stopped...

Famusov
Perhaps have mercy.

Chatsky
It's not my desire to prolong arguments.

Famusov
Let your soul go to repentance!

Phenomenon 3

Servant
(included)
Colonel Skalozub.

Famusov
(can't see or hear anything)
You'll be thrashed.
On trial, they will give you how to drink.

Chatsky
Someone came to your house.

Famusov
I don't listen, sue!

Chatsky
To you the person with the report.

Famusov
I don't listen, sue! on trial!

Chatsky
Yes, turn around, your name is.

Famusov
(turns around)
A? riot? Well, I'm waiting for sodom.

Servant
Colonel Skalozub. Would you like to accept?

Famusov
(rises)
Donkeys! a hundred times you repeat?
Accept him, call, ask, say that he is at home,
Which is very happy. Come on, hurry up.
(Servant leaves.)
Please, sir, beware with him:
Famous person, respectable,
And he picked up the darkness of distinction;
Out of years and an enviable rank,
Not today, tomorrow General.
It's a pity, a hundred, with him behave modestly.
Eh! Alexander Andreevich, it's bad, brother!
He often complains to me;
I'm happy for everyone, you know;
In Moscow, they will add forever three times:
It's like marrying Sonyushka. Empty!
He, perhaps, would be glad in his soul,
Yes, I don’t see the need myself, I’m big
Daughter to issue neither tomorrow nor today;
After all, Sophia is young. And yet, the power of the Lord.
It’s a pity, a hundred, don’t argue with him at random,
And drop these crazy ideas.
However, there is none! whatever reason...
A! to know, he went to me in the other half.

Famusov
Kind person, and look - so grab,
A wonderful man is your cousin.

Puffer
But I firmly picked up some new rules.
The rank followed him: he suddenly left the service,
In the village he began to read books.

Puffer
I am quite happy in my comrades,
Vacancies are just open:
Then the elders will be turned off by others,
Others, you see, are killed.

Famusov
Yes, what the Lord will look for, exalt!

Puffer
Sometimes my luck is happier.
We are in the fifteenth division, not far away.
About our brigadier general.

Famusov
Excuse me, what are you missing?

Puffer
I'm not complaining, we didn't go around
However, the regiment was driven for two years.

Famusov
Is it in pursuit of the regiment?
But, of course, in what other
Follow you far.

Puffer
No, sir, there are older than me in the corps,
I have been serving since eight hundred and nine;
Yes, in order to get ranks, there are many channels;
About them as a true philosopher I judge:
I just want to be a general.

Famusov
And gloriously judge, God bless you
And the rank of general; and there
Why delay further?
Are you talking about the general?

Puffer
Marry? I don't mind at all.

Famusov
Well? who has a sister, niece, daughter;
In Moscow, after all, there are no translation brides;
What? breed from year to year;
Ah, father, admit that you barely
Where is the capital found, like Moscow.

Puffer
Huge distances.

Famusov
Taste, father, excellent manner;
Everything has its own laws:
Here, for example, we have been doing from time immemorial,
What is the honor of the father and son;
Be bad, yes if you get it
Souls of a thousand two tribal, -
That and the groom.
The other, at least be quicker, puffed up with all swagger,
Let yourself be a wise man
And they won't be included in the family. Don't look at us.
After all, only here they value the nobility.
Is this one? take you bread and salt:
Who wants to welcome us - if you please;
The door is open to the invited and the uninvited,
Especially from foreign ones;
Whether an honest person or not
It’s equal for us, dinner is ready for everyone.
Take you from head to toe
All Moscow ones have a special imprint.
Take a look at our youth
On young men - sons and grandchildren;
We chew them, and if you make out,
At fifteen, teachers will be taught!
What about our elders? - How will enthusiasm take them,
They will judge about deeds, that the word is a sentence, -
After all, pillars are everything, they don’t blow anyone’s mustache;
And sometimes they talk about the government like that,
What if someone overheard them ... trouble!
Not that novelties were introduced - never,
God save us! No. And they will find fault
To this, to this, and more often to nothing,
They will argue, make some noise, and ... disperse.
Retired direct chancellors - wisely!
I'll tell you, the time is not ripe to know,
But without them, things would not work. -
And the ladies? - put someone in, try to master;
Judge everything, everywhere, there are no judges over them;
Behind the cards when they rise in a general riot,
God grant patience - after all, I myself was married.
Command before the front!
Be present send them to the Senate!
Irina Vlasevna! Lukerya Alexevna!
Tatyana Yuryevna! Pulcheria Andreevna!
And whoever has seen daughters - hang your head ...
His Majesty the King was Prussian here;
He did not marvel at the Moscow girls,
Their good manners, not their faces;
And for sure, is it possible to be more educated!
They know how to dress themselves up
Taftza, marigold and haze,
They won’t say a word in simplicity, everything is done with a grimace;
French romances are sung to you
And the top ones bring out the notes,
They cling to military people,
Because they are patriots.
I will say emphatically: hardly
Another capital is found, like Moscow.

Puffer
By my judgement,
The fire contributed to her much to the decoration.

Famusov
Do not remember us, you never know how to cry!
Since then, roads, sidewalks,
Home and everything in a new way.

Chatsky
Houses are new, but prejudices are old.
Rejoice, they will not exterminate
Neither their years, nor fashion, nor fires.

Famusov
(to Chatsky)
Hey, tie a knot for memory;
I asked to be silent, not a great service.
(To the puffer.)
Allow me, father. Here, sir, Chatsky, my friend,
Andrey Ilyich's late son:
Does not serve, that is, he does not find any benefit in that,
But if you want, it would be businesslike.
It's a pity, it's a pity, he's small with a head,
And he writes and translates well.
It is impossible not to regret that with such a mind ...

Chatsky
Can't you feel sorry for someone else?
And your praises annoy me.

Famusov
I'm not the only one, everyone also condemns.

Chatsky
And who are the judges? - For the antiquity of years
To a free life their enmity is irreconcilable,
Judgments are drawn from forgotten newspapers
The times of the Ochakovskys and the conquest of the Crimea;
Always ready to churn
They all sing the same song
Without noticing about yourself:
What is older is worse.
Where? show us, fathers of the fatherland,
Which should we take as samples?
Are not these rich in robbery?
They found protection from court in friends, in kinship,
Magnificent building chambers,
Where they overflow in feasts and extravagance,
And where foreign clients will not resurrect
The meanest traits of the past life.
Yes, and who in Moscow did not clamp their mouths
Lunches, dinners and dances?
Isn't it the one you are to whom I am still from the swaddling clothes,
For some incomprehensible intentions,
Did they take the children to pay respects?
That Nestor of noble villains,
Crowd surrounded by servants;
Zealous, they are in the hours of wine and fight
Both honor and his life saved him more than once: suddenly
He traded three greyhounds for them!!!
Or that one else, which is for tricks
He drove to the fortress ballet on many wagons
From mothers, fathers of rejected children?!
He himself is immersed in mind in Zephyrs and Cupids,
Made all of Moscow marvel at their beauty!
But the debtors did not agree to the postponement:
Cupids and Zephyrs all
Sold out individually!!!
Here are those who lived to gray hair!
That's who we should respect in the wilderness!
Here are our strict connoisseurs and judges!
Now let one of us
Of the young people, there is an enemy of quests,
Not demanding either places or promotions,
In the sciences, he will stick the mind, hungry for knowledge;
Or in his soul God himself will excite the heat
To creative arts, lofty and beautiful, -
They immediately: robbery! fire!
And they will be known as a dreamer! dangerous!! -
Uniform! one uniform! he is in their former life
Once sheltered, embroidered and beautiful,
Their weak-heartedness, reason poverty;
And we follow them on a happy journey!
And in wives, daughters - the same passion for the uniform!
Have I renounced tenderness to him for a long time?!
Now I can’t fall into this childishness;
But then who would not be attracted to everyone?
When from the guard, others from the court
They came here for a while, -
Women shouted: hurrah!
And they threw caps into the air!

Famusov
(About myself)
He will get me into trouble.
(Loud.)
Sergei Sergeyevich, I'll go
And I'll be waiting for you in the office.

Sofia
No, stay as you please.

Phenomenon 9

Sofia, Lisa, Chatsky, Skalozub, Molchalin(with a bandaged hand).

Puffer
Risen and unharmed, hand
slightly bruised,
And yet, it's all a false alarm.

Molchalin
I scared you, forgive me for God's sake.

Puffer
Well! I didn't know what would come of it
You irritate. They ran in haste. -
We flinched! - You fainted
So what? - all fear from nothing.

Sofia
(not looking at anyone)
Oh! I see very much, from the empty,
And now I'm still shaking.

Chatsky
(About myself)
Not a word with Molchalin!

Sofia
However, I will say about myself
What is not cowardly. It happens,
The carriage will fall down - they will raise it: I again
Ready to ride again;
But every little thing in others scares me,
Although there is no great misfortune from
Though unfamiliar to me, it does not matter.

Chatsky
(About myself)
He asks for forgiveness
What time did you regret about someone!

Puffer
Let me tell you a message:
There is some kind of princess Lasova here,
Rider, widow, but no examples
So that many gentlemen went with her.
The other day I was smashed into fluff, -
Joke did not support, he thought, apparently, flies. -
And without that, she, as you can hear, is clumsy,
Now the rib is missing
So for support looking for a husband.

Sofia
Ah, Alexander Andreevich, here -
Come, you are quite generous:
Unfortunately for your neighbor, you are so partial.

Chatsky
Yes, sir, I just showed it,
By my diligent efforts,
And squirting and rubbing,
I do not know for whom, but I resurrected you.

(Takes his hat and leaves.)

Event 10

The same, except Chatsky.

Sofia
Will you visit us in the evening?

Puffer
How early?

Sofia
Early, home friends will come,
Dance to the piano
We are in mourning, so you can’t give a ball.

Puffer
I will appear, but I promised to go to the priest,
I take my leave.

Sofia
Farewell.

Puffer
(shakes hands with Molchalin)
Your servant.

Natalya Dmitrievna
My Platon Mikhailovich is very weak in health.

Chatsky
Health is weak! How long ago?

Natalya Dmitrievna
All rumblings and headaches.

Chatsky
More movement. To the village, to the warm land.
Get on horseback more. The village is paradise in summer.

Natalya Dmitrievna
Platon Mikhailovich loves the city,
Moscow; why in the wilderness he will ruin his days!

Chatsky
Moscow and the city... You're an eccentric!
Do you remember the former?

Platon Mikhailovich
Yes, brother, now it's not like that ...

Natalya Dmitrievna
Oh! my friend!
It's so fresh here that there is no urine,
You swung open all, and unbuttoned the vest.

Platon Mikhailovich
Now, brother, I'm not the one...

Natalya Dmitrievna
Listen for once
My dear, fasten up.

Platon Mikhailovich
(coldly)
Now.

Natalya Dmitrievna
Get away from the doors
Through there the wind blows from behind!

Platon Mikhailovich
Now, brother, I'm not the one...

Natalya Dmitrievna
My angel, for God's sake
Move away from the door.

Platon Mikhailovich
(eyes to the sky)
Oh! mother!

Chatsky
Well, God judge you;
You certainly became the wrong one in a short time;
Was it not last year, at the end,
Did I know you in the regiment? only morning: foot in the stirrup
And you ride on a greyhound stallion;
Autumn wind blow, even in front, even from the rear.

Platon Mikhailovich
(with a sigh)
Eh! brother! It was a glorious life back then.

Phenomenon 7

The same, Prince Tugoukhovsky And Princess with six daughters.

Natalya Dmitrievna
(thin voice)
Prince Pyotr Ilyich, princess, my God!
Princess Zizi! Mimi!
(Loud kisses, then sit down and examine each other from head to toe.)

1st princess
What a beautiful style!

2nd princess
What folds!

1st princess
Fringed.

Natalya Dmitrievna
No, if you could see my satin tulle!

3rd princess
What an esharp cousin gave me!

4th princess
Oh! yes, bare!

5th princess
Oh! charm!

6th princess
Oh! how cute!

Princess
Ss! - Who is this in the corner, we went up, bowed?

Natalya Dmitrievna
Visitor, Chatsky.

Princess
Retired?

Natalya Dmitrievna
Yes, traveled, recently returned.

Princess
And ho-lo-stop?

Natalya Dmitrievna
Yes, not married.

Princess
Prince, prince, here. - Live.

prince
(he wraps his auditory tube around her)
Oh hmm!

Princess
Come to us for the evening, on Thursday, ask soon
Natalya Dmitrevna's friend: there he is!

prince
I-hm!
(Departs, hovering around Chatsky and coughing)

Princess
Here's something kids:
They have a ball, and batiushka drag yourself to bow;
Dancers have become terribly rare! ..
Is he a chamber junker?

Natalya Dmitrievna
No.

Princess
Bo-gat?

Natalya Dmitrievna
ABOUT! No!

Princess
(loud as hell)
Prince, prince! Back!

Phenomenon 8

The same And Countess Hryumina: grandmother and granddaughter.

Countess Granddaughter
Oh! grandmaman! Well, who arrives so early!
We are first!
(Disappears into a side room.)

Princess
Here we are honored!
Here is the first one, and he considers us for no one!
Evil, in girls for a century, God will forgive her.

Countess Granddaughter
(returning, directs a double lorgnette at Chatsky)
Monsieur Chatsky! Are you in Moscow! how were they all?

Chatsky
What should I change for?

Countess Granddaughter
Singles returned?

Chatsky
Who should I marry?

Countess Granddaughter
In foreign lands on whom?
ABOUT! our darkness without distant information
They get married there, and they give us kinship
With the artisans of the fashion shops.

Chatsky
Unhappy! should there be reproaches
From imitators to milliners?
For what you dare to choose
Original listings?

Phenomenon 9

The same and many other guests. By the way, Zagoretsky. Men appear, shuffle, step aside, wander from room to room, and so on. Sofia out of himself, all towards her.

Countess Granddaughter
Eh! bon soir! vous voila! Jamais trop diligente,
Vous nous donnez toujours le plaisir de l'attente.

Zagoretsky
(Sophia)
Do you have a ticket for tomorrow's performance?

Sofia
No.

Zagoretsky
Let me hand it to you, in vain would anyone take
Another to serve you, but
Wherever I went!
In the office - everything is taken,
To the director - he is my friend, -
With the dawn at the sixth hour, and by the way!
Already in the evening no one could get it;
To this, to this, I knocked everyone down;
And this one finally stole by force
At one, the old man is frail,
I have a friend, a well-known homebody;
Let him sit at home in peace.

Sofia
Thank you for the ticket
And for the effort twice.
(Some more appear, meanwhile Zagoretsky goes to the men.)

Zagoretsky
Platon Mikhailovich ...

Platon Mikhailovich
Away!
Go to women, lie to them, and fool them;
I'll tell you the truth about you
Which is worse than any lie. Here, brother
(to Chatsky)
I recommend!
What is the politest name for such people?
Tenderer? - he is a man of the world,
Notorious swindler, rogue:
Anton Antonych Zagoretsky.
Beware with him: endure much,
And do not sit down in the cards: he will sell.

Zagoretsky
Original! obnoxious, but without the slightest malice.

Chatsky
And it would be ridiculous for you to be offended;
In addition to honesty, there are many joys:
They scold here, but there they thank.

Platon Mikhailovich
Oh, no, brother, they scold us
Everywhere, and everywhere they accept.

(Zagoretsky moves into the crowd.)

Event 10

The same And Khlyostov.

Khlyostov
Is it easy at sixty-five
Should I drag myself to you, niece? .. - Torment!
I rode for a broken hour from Pokrovka, no strength;
Night - doomsday!
Out of boredom, I took with me
Arapka-girl and dog;
Tell them to feed, already, my friend;
A handout came from supper. -
Princess, hello!
(Sela.)
Well, Sofyushka, my friend,
What is my arapka for services:
Curly! shoulder blade!
Angry! all cat grips!
How black! how scary!
After all, the Lord created such a tribe!
Damn real; she is in the girl's;
Do you call?

Sofia
No, sir, at another time.

Khlyostov
Imagine: they are paraded like animals ...
I heard that there ... the city is Turkish ...
And do you know who saved me?
Anton Antonych Zagoretsky.
(Zagoretsky moves forward.)
He is a liar, a gambler, a thief.
(Zagoretsky disappears.)
I was from him and the doors were locked;
Yes, the master to serve: me and sister Praskovya
I got two Arapchenki at the fair;
Bought, he says, cheated on the cards;
A gift for me, God bless him!

Chatsky
(with laughter to Platon Mikhailovich)
Not greeted by such praises,
And Zagoretsky himself could not stand it, he disappeared.

Khlyostov
Who is this funny guy? From what rank?

Sofia
Out this one? Chatsky.

Khlyostov
Well? what did you find funny?
Why is he happy? What's the laugh?
Laughing at old age is a sin.
I remember you often danced with him as a child,
I tore at his ears, only a little.

Event 11

The same And Famusov.

Famusov
(loudly)
We are waiting for Prince Peter Ilyich,
And the prince is already here! And I huddled there, in the portrait room.
Where is Skalozub Sergey Sergeyevich? A?
No, it seems not. - He is a remarkable person -
Sergei Sergeevich Skalozub.

Khlyostov
My creator! deafened, louder than any pipes.

Event 12

The same Skalozub, Then Molchalin.

Famusov
Sergei Sergeyevich, we are late;
And we were waiting for you, waiting, waiting.
(He leads to Khlyostova.)
My daughter-in-law, who has long
It's about you.

Khlyostov
(sitting)
You were here before... in the regiment... in that...
in grenadier?

Puffer
(bass)
In his highness, you mean
Novo-Zemlyansky Musketeer.

Khlyostov
I'm not a craftswoman to distinguish shelves.

Puffer
And uniforms have differences:
In uniforms, edging, shoulder straps, buttonholes.

Famusov
Come, father, there I will make you laugh;
Curious whist we have. Follow us, prince! I beg.
(He and the prince are taken away with him.)

Khlyostov
(Sofia)
Wow! I definitely got rid of the noose;
After all, your crazy father:
He was given three fathoms, a daring one, -
Introduces, without asking, is it nice for us, isn't it?

Molchalin
(gives her a card)
I composed your party: Monsieur Kok,
Foma Fomich and me.

Khlyostov
Thank you my friend.
(Rises.)

Molchalin
Your Spitz is a lovely Spitz, no more than a thimble;
I stroked all of it: like silk wool!

Khlyostov
Thank you my dear.

(Leaves, followed by Molchalin and many others.)

Phenomenon 13

Chatsky, Sophia and several strangers, which continue to diverge.

Chatsky
Well! dispersed the cloud...

Sofia
Can't we continue?

Chatsky
Why did I scare you?
For the fact that he softened the angry guest,
I wanted to compliment.

Sofia
And they would end up angry.

Chatsky
Tell you what I thought? Here:
Old women are all angry people;
It's not bad to have a famous servant with them
It was like a thunderbolt here.
Molchalin! - Who else will settle everything so peacefully!
There the pug will stroke in time,
Here at the right time will rub the card,
Zagoretsky will not die in it!
You once calculated his properties for me,
But many have forgotten - Yes?

Princess
No, in St. Petersburg the institute
Pe-da-go-gic, that's what they call it:
There they practice in schisms and unbelief,
Professors!! - our relatives studied with them,
And left! even now in a pharmacy, as an apprentice.
Runs from women, and even from me!
Chinov doesn't want to know! He is a chemist, he is a botanist,
Prince Fedor, my nephew.

Puffer
I will make you happy: the general rumor,
That there is a project about lyceums, schools, gymnasiums;
There they will only teach according to ours: one, two;
And the books will be kept like this: for big occasions.

Famusov
Sergey Sergeyevich, no! If evil is to be stopped:
Take away all the books, but burn them.

Zagoretsky
(with meekness)
No, sir, there are different books to books. And if, between us,
I was appointed censor
I would have leaned on fables; Oh! fables - my death!
Eternal mockery of lions! over the eagles!
Whoever says:
Although animals, but still kings.

Khlyostov
My fathers, who is upset in the mind,
So it doesn't matter whether it's from books, or from drinking;
And I feel sorry for Chatsky.
In a Christian way; he deserves pity
There was a sharp man, he had about three hundred souls.

Famusov
Four.

Khlyostov
Three, sir.

Famusov
Four hundred.

Khlyostov
No! three hundred.

Famusov
On my calendar...

Khlyostov
Everyone's calendars lie.

Famusov
Just four hundred, oh! argue loudly!

Khlyostov
No! three hundred! - I don’t know other people’s estates!

Famusov
Four hundred, please understand.

Khlyostov
No! three hundred, three hundred, three hundred.

phenomenon 22

The same everything and Chatsky.

Natalya Dmitrievna
Here he is.

Countess Granddaughter
Shh!

All
Shh!
(They back away from him in the opposite direction.)

Khlyostov
Well, like crazy eyes
He will start to fight, he will demand to be cut!

Famusov
Oh my God! have mercy on us sinners!
(Cautiously.)
Dearest! You are not at ease.
Sleep is needed on the road. Give me a pulse. You are unwell.

Chatsky
Yes, no urine: a million torments
Breasts from a friendly vice,
Feet from shuffling, ears from exclamations,
And more than a head from all sorts of trifles.
(Approaches Sophia.)
My soul here is somehow compressed by grief,
And in the multitude I am lost, not myself.
No! I am dissatisfied with Moscow.

Khlyostov
Moscow, you see, is to blame.

Sofia
(to Chatsky)
Tell me what makes you so angry?

Chatsky
In that room, an insignificant meeting:
A Frenchman from Bordeaux, puffing his chest,
Gathered around him a kind of vecha
And he said how he was equipped on the way
To Russia, to the barbarians, with fear and tears;
Arrived - and found that there is no end to caresses;
No sound of a Russian, no Russian face
Did not meet: as if in the fatherland, with friends;
own province. Look, in the evening
He feels like a little king here;
The ladies have the same sense, the same outfits ...
He's happy, but we're not.
Silent, and then from all sides
Anguish, and groaning, and groaning.
Oh! France! There is no better place in the world! -
Two princesses decided, sisters, repeating
A lesson taught to them from childhood.
Where to go from the princesses!
I odal sent wishes
Humble, but out loud
So that the Lord destroyed this unclean spirit
Empty, slavish, blind imitation;
So that he would plant a spark in someone with a soul,
Who could by word and example
Hold us like a strong rein,
From pathetic nausea on the side of a stranger.
Let me be called an old believer,
But our North is a hundred times worse for me
Since I gave everything in exchange for a new way -
And customs, and language, and holy antiquity,
And stately clothes for another
In jester fashion:
The tail is behind, some kind of wonderful notch in front,
Reason contrary, contrary to the elements;
The movements are connected, and not the beauty of the face;
Funny, shaved, gray chins!
Like dresses, hair, and minds are short! ..
Oh! if we were born to adopt everything,
At least we could borrow a few from the Chinese
Wise they have ignorance of foreigners.
Will we ever be resurrected from the foreign power of fashion?
So that our smart, cheerful people
Although the language did not consider us Germans.
“How to put the European in parallel
With the national - something strange!
Well, how to translate madam and mademoiselle?
already madam!! someone murmured to me...
Imagine everyone here
Laughter erupted at my expense.
« Madam! Ha! Ha! Ha! Ha! Wonderful!
Madam! Ha! Ha! Ha! Ha! terrible!!" -
I, angry and cursing life,
He prepared a thunderous answer for them;
But everyone left me. -
Here is the case for you with me, it is not new;
Moscow and Petersburg - in all of Russia,
That a man from the city of Bordeaux,
Only his mouth opened, he has happiness
Inspire participation in all princesses;
And in St. Petersburg and in Moscow,
Who is the enemy of written faces, frills, curly words,
In whose, unfortunately, head
Five, six there are healthy thoughts
And he dares to announce them publicly, -
Look...

(He looks around, everyone is circling in a waltz with the greatest zeal. The old people have dispersed to the card tables.)

Zagoretsky
And by the way, here is Prince Pyotr Ilyich,
Princess and with princesses.

Repetilov
Game.

Phenomenon 7

Repetilov, Zagoretsky, Prince and Princess with six daughters; a little later Khlyostov coming down the front stairs, Molchalin leads her by the hand. Lackeys in the bustle.

Zagoretsky
Princesses, please tell me your opinion,
Crazy Chatsky or not?

1st princess
What is the doubt about this?

2nd princess
The whole world knows about it.

3rd princess
Dryansky, Khvorov, Varlyansky, Skachkov.

4th princess
Oh! to lead the old, to whom are they new?

5th princess
Who doubts?

Zagoretsky
Yeah, I don't believe...

6th princess
(Repetilov)
You!

Together
Monsieur Repetilov! You! Monsieur Repetilov! what do you!
How are you! Is it possible against everyone!
Why are you? shame and laughter.

Repetilov
(plugs his ears)
I'm sorry, I didn't know that was too loud.

Princess
It would not be public yet, it is dangerous to talk with him,
It's high time to shut down.
Listen, so his little finger
Smarter than everyone, and even Prince Peter!
I think he's just a Jacobin
Your Chatsky!!!.. Let's go. Prince, you could carry
Roll or Zizi, we'll sit in a six-seater.

Khlyostov
(from stairs)
Princess, card debt.

Princess
Follow me, mother.

All
(each other)
Farewell.

(The princely surname is leaving, and Zagoretsky too.)

Phenomenon 8

Repetilov, Khlestova, Molchalin.

Repetilov
Heavenly king!
Amfisa Nilovna! Oh! Chatsky! poor! Here!
What is our high mind! and a thousand worries!
Tell me what in the world we are busy with!

Khlyostov
So God judged him; but by the way
They will treat, cure, maybe;
And you, my father, are incurable, come on.
Made me show up on time! -
Molchalin, there is your closet,
No wires needed; come on, the Lord is with you.
(Molchalin goes to his room.)
Farewell, father; it's time to freak out.

(Leaves.)

Phenomenon 9

Repetilov with his lackey.

Repetilov
Where is the path to go now?
And things are about to dawn.
Come on, put me in the carriage,
Take it somewhere.

(Leaves.)

Event 10

The last lamp goes out.

Chatsky
(leaves Swiss)
What is this? did I hear with my ears!
Not laughter, but clearly anger. What miracles?
Through what sorcery
Everyone repeats the absurdity about me in a voice!
And for others, like a celebration,
Others seem to sympathize ...
ABOUT! if someone penetrated people:
What's worse about them? soul or language?
Whose essay is this!
Fools believed, they pass it on to others,
Old women instantly sound the alarm -
And here is the public opinion!
And that homeland ... No, on the current visit,
I see that she will soon tire of me.
Does Sophia know? - Of course, they said
She's not exactly to my detriment
Had fun, and true or not
She doesn't care if I'm different or I
In her conscience, she does not value anyone.
But this swoon? unconsciousness from where??
Nerve spoiled, whim, -
A little will excite them, and a little will calm them down, -
I considered living passions as a sign. - Not a crumb:
She certainly would have lost the same strength,
Whenever someone stepped
On the tail of a dog or cat.

Sofia
(above the stairs on the second floor, with a candle)
Molchalin, is that you?
(He hastily closes the door again.)

Chatsky
She! she herself!
Oh! my head is on fire, all my blood is in excitement!
Appeared! no it! is it in a vision?
Have I really lost my mind?
I am definitely prepared for the extraordinary;
But there is no vision here, the hour of goodbye is arranged.
Why should I deceive myself?
She called Molchalin, here is his room.

his footman
(from the porch)
Kare…

Chatsky
Ss!..
(Pushes him out.)
I'll be here, and I won't close my eyes,
At least until the morning. If you drink grief,
It's better right now
Than to delay, and slowness will not get rid of troubles.
The door opens.

(Hides behind a pillar.)

Event 11

Chatsky hidden, Lisa with a candle.

Lisa
Oh! no urine! timid:
In the empty canopy! at night! afraid of brownies
You are also afraid of living people.
The tormentor-young lady, God bless her.
And Chatsky, like a thorn in the eye;
Look, he seemed to her somewhere down here.
(looks around.)
Yes! how! he wants to wander around the hallway!
He, tea, has long been outside the gate,
Save love for tomorrow
Home - and lay down to sleep.
However, it is ordered to push to the heart.
(He knocks on Molchalin.)
Listen, sir. Please wake up.
The young lady is calling you, the young lady is calling you.
Yes, hurry up, so as not to be caught.

Event 12

Chatsky behind the column Lisa, Molchalin(stretches and yawns). Sofia(sneaks from above).

Lisa
You, sir, are stone, sir, ice.

Molchalin
Oh! Lizanka, are you on your own?

Lisa
From the young lady, s.

Molchalin
Who would have guessed
What's in these cheeks, in these veins
Love has not yet played a blush!
Do you want to be only on parcels?

Lisa
And you, the bride-seekers,
Do not bask and do not yawn;
Pretty and sweet, who does not eat
And do not sleep until the wedding.

Molchalin
What wedding? with whom?

Lisa
And with the young lady?

Molchalin
Go,
There is much hope ahead
Let's pass the time without a wedding.

Lisa
What are you, sir! yes we are someone
To yourself as another's husband?

Molchalin
Don't know. And I'm so shaking,
And at one thought I crush,
That Pavel Afanasich once
Someday will catch us
Disperse, curse! .. What? open your soul?
I don't see anything in Sofia Pavlovna
Enviable. God grant her a century to live richly,
Loved Chatsky once,
He will stop loving me like him.
My angel, I would like half
To feel the same for her that I feel for you;
No, no matter how I tell myself
I'm getting ready to be gentle, but I'm getting wet - and I'll lay a sheet.

Sofia
(to the side)
What baseness!

Chatsky
(behind the column)
Scoundrel!

Lisa
And you are not ashamed?

Molchalin
My father bequeathed to me:
First, to please all people without exception -
The owner, where you happen to live,
The boss with whom I will serve,
To his servant who cleans dresses,
Doorman, janitor, to avoid evil,
The janitor's dog, so that it was affectionate.

Lisa
Say, sir, you have a huge guardianship!

Molchalin
And here's the lover I assume
To please the daughter of such a person ...

Lisa
Who feeds and waters
And sometimes give a rank?
Come on, enough talk.

Molchalin
Let's go love to share our deplorable steal.
Let me embrace you from the heart of fullness.
(Liza is not given.)
Why is she not you!
(Wants to go, Sophia won't let her.)

Sofia
(almost in a whisper, the whole scene is in a low voice)
Go further, I have heard a lot,
Horrible man! I'm ashamed of myself, I'm ashamed of the walls.

Molchalin
How! Sofia Pavlovna...

Sofia
Not a word, for God's sake
Shut up, I'll take care of everything.

Molchalin
(drops to her knees, Sofia pushes him away)
Ah, remember, do not be angry, look! ..

Sofia
I don't remember anything, don't bother me.
Memories! like a sharp knife.

Molchalin
(crawls at her feet)
Have mercy...

Sofia
Don't be mean, stand up
I don't want an answer, I know your answer
Lie...

Molchalin
Do me a favor...

Sofia
No. No. No.

Molchalin
He was joking, and I did not say anything except ...

Sofia
Leave me alone, I say, now
I'll wake everyone in the house with a cry,
And I will destroy myself and you.
(Molchalin gets up.)
I haven't known you since then.
Reproaches, complaints, my tears
Do not dare to expect, you are not worth them;
But so that the dawn does not find you in the house here,
Never to hear from you again.

Molchalin
As you command.

Sofia
Otherwise I'll tell
The whole truth to the father with annoyance.
You know that I don't value myself.
Come on. - Stop, be glad,
What about dating me in the stillness of the night
You were more timid in your temper,
Than even during the day, and in front of people, and in Java,
You have less insolence than curvature of the soul.
She is pleased that she found out everything at night,
There are no reproachful witnesses in the eyes,
Like daviche, when I fainted,
Here Chatsky was...

Chatsky
(rushes between them)
He's here, pretender!

Lisa and Sofia
Oh! Oh!..

(Lisa drops the candle in fright; Molchalin hides into her room.)

Phenomenon 13

The same, except Molchalin.

Chatsky
Rather faint, now it's alright
More important than the long-standing reason is that
Here is the solution to the puzzle at last!
Here I am donated to whom!
I don’t know how I tempered the rage in myself!
I looked and saw and did not believe!
And dear, for whom is forgotten
And the former friend, and female fear and shame, -
Hiding behind the door, afraid to be the answer.
Oh! how to comprehend the game of fate?
A persecutor of people with a soul, a scourge! -
Silencers are blissful in the world!

Sofia
(all in tears)
Don't go on, I blame myself all around.
But who would have thought that he was so insidious!

Lisa
Knock! noise! Oh! My God! the whole house runs here.
Your father, he will be grateful.

Event 14

Chatsky, Sofia, Lisa, Famusov, a crowd of servants with candles.

Famusov
Here! Behind me! hurry up!
More candles, lanterns!
Where are the brownies? Ba! familiar faces!
Daughter, Sofia Pavlovna! stray!
Shameless! Where! with whom! Give or take, she
Like her mother, dead wife.
I used to be with the better half
A little apart - somewhere with a man!
Fear God, how? what did he do to you?
She called him insane!
No! stupidity and blindness attacked me!
All this is a conspiracy, and in the conspiracy was
He himself and all the guests. Why am I so punished!

Chatsky
(Sofia)
So I still owe you this fiction?

Famusov
Brother, do not feint, I will not give in to deceit,
Even if you fight, I don't believe it.
You, Filka, you are a straight chump,
He made a lazy black grouse into doormen,
He doesn't know anything, he doesn't feel anything.
Where was? where did you go?
Senya did not lock for what?
And how did you not watch it? And how did you not hear?
To work you, to settle you:
They are ready to sell me for a penny.
You, quick-eyed, everything from your pranks;
Here it is, the Kuznetsk bridge, outfits and updates;
There you learned how to make lovers,
Wait, I'll fix you
If you please, go to the hut, go for the birds.
Yes, and you, my friend, I, daughter, will not leave,
Take two more days of patience:
You will not be in Moscow, you will not live with people.
Away from these grips,
To the village, to my aunt, to the wilderness, to Saratov,
There you will grieve
Sitting at the hoop, yawning at the saints.
And you, sir, I ask plainly
There is no favor either directly or by country road;
And yours is the last line,
What, tea, to everyone the door will be locked:
I will try, I, I will strike the alarm,
I'll make trouble around the city,
And I will announce to all the people:
I will submit to the Senate, to the ministers, to the sovereign.

Chatsky
(after some silence)
I will not come to my senses ... guilty,
And I listen, I don't understand
As if they still want to explain to me,
Confused by thoughts… expecting something.
(With heat.)
Blind! in whom I was looking for the reward of all labors!
Hurry! .. flew! trembled! Here happiness, thought, close.
Before whom I daviche so passionately and so lowly
There was a waster of tender words!
And you! Oh my God! who did you choose?
When I think about who you preferred!
Why am I lured into hope?
Why didn't they tell me directly
What did you turn all the past into laughter?!
That memory even hates you
Those feelings, in both of us the movements of the hearts of those
Which in me have not cooled the distance,
No entertainment, no changing places.
Breathed, and lived by them, was constantly busy!
They would say that my sudden arrival to you,
My appearance, my words, deeds - everything is disgusting, -
I would immediately cut off relations with you,
And before we leave forever
Wouldn't get very far
Who is this kind person?
(Mockingly.)
You will make peace with him on mature reflection.
To destroy yourself, and for what!
Think you can always
Protect, and swaddle, and send for business.
Husband-boy, husband-servant, from the wife's pages -
The lofty ideal of all Moscow men. -
Enough! .. with you I am proud of my break.
And you, sir father, you passionate for ranks:
I wish you to slumber in ignorance happy,
I do not threaten you with my marriage.
Another one will be well-behaved,
Low worshiper and businessman,
Advantages, finally
He is equal to the future father-in-law.
So! I sobered up completely
Dreams out of sight - and the veil fell;
Now it would not be bad in a row
For daughter and father
And for a foolish lover
And pour out all the bile and all the annoyance on the whole world.
Who was he with? Where did fate take me?
Everyone is racing! everyone curse! crowd of tormentors,
In the love of traitors, in the enmity of the tireless,
Indomitable storytellers,
Clumsy wise men, crafty simpletons,
Sinister old women, old men,
decrepit over fiction, nonsense, -
Insane you glorified me with all the chorus.
You are right: he will come out of the fire unharmed,
Who will have time to spend the day with you,
Breathe the air alone
And his mind will survive.
Get out of Moscow! I don't come here anymore.
I'm running, I won't look back, I'll go looking around the world,
Where there is a corner for the offended feeling! ..
Carriage for me, carriage!

(Leaves.)

Event 15

Except Chatsky.

Famusov
Well? Can't you see he's crazy?
Say seriously: - In the days of Griboedov, it was fashionable to paint the walls of rooms with flowers, trees.

And that consumptive, kindred to you, the enemy of books, in the scientific committee that settled ...- The Scientific Committee was established in 1817. He supervised the publication of educational literature, pursued a reactionary policy in matters of education.

And the smoke of the Fatherland is sweet and pleasant to us!- inaccurate quote from a poem by G.R. Derzhavin "Harp" (1789):

We have good news about our side:
Fatherland and smoke are sweet and pleasant to us ...

Minerva- In Greek mythology, the goddess of wisdom.

The dead man was a respectable chamberlain, with the key and he knew how to deliver the key to his son ...- Chamberlains (court rank) wore a golden key on their ceremonial uniforms.

... do not nod dumbly- Toupee - an old hairstyle: a bunch of hair gathered at the back of the head.

Grandee in case ...- that is, in mercy, favorite.

Kurtag- Reception day at the palace.

Whist- card game.

Carbonari (Carbonaria)- members of a secret revolutionary society in Italy (XIX century).

For the third of August- August 3 - the day of the meeting of Alexander I with the Austrian emperor in Prague, marked by celebrations and awards. There were no hostilities on this day; thus, Skalazub's "feat" consisted only in the fact that they "sat down in a trench."

He was given with a bow, around my neck.- The same orders differed in degree in the way they were worn. The lower orders (III and IV degrees) were worn in a buttonhole, and the ribbon could be tied with a bow; higher (I and II degrees) - on the neck.

The times of the Ochakovskys and the conquest of the Crimea ...- The capture of the Turkish fortress Ochakov and the annexation of Crimea to Russia took place in 1783.

Grandmother (French)

A! Good evening! Finally you too! You are not in a hurry, and we are always waiting for you with pleasure. (French).

He will tell you the whole story in detail (French).

Yes, from Lancart mutual teachings...- Lankartachny - a distorted word "Lancaster". The system of the English teacher Lancaster (1771–1838) was that the stronger students taught the weaker ones, helping the teacher. In Russia, advocates of public education, advanced officers in the training of soldiers in the army, in particular, the Decembrists, were fond of this system. In government circles, the Lancaster schools were regarded with suspicion as a hotbed of freethinking. The boarding schools (Noble boarding school at Moscow University), the Lyceum (Tsarskoye Selo Lyceum) and the Pedagogical Institute (Petersburg Pedagogical Institute) enjoyed the same reputation.

comedy analysis

A.S. Griboyedov "Woe from Wit"

A comedy written by Alexander Sergeevich Griboyedov. Unfortunately, there is no exact data on the time of the origin of the comedy idea. According to some reports, it was conceived in 1816, but there are suggestions that the first thoughts about comedy appeared in Griboedov even earlier. Having finished the work in 1824, the author made a lot of efforts to print it, but he did not succeed. It was also not possible to obtain permission for the production of "Woe from Wit", but this did not prevent the wide popularity of the comedy. She diverged in the lists, they read her, discussed her, admired her.

"Woe from Wit" stands at the origins of the birth of national Russian literature, opening a new era in its history - the era of realism. The author pays tribute to the traditions of classicism (the unity of action, place and time, "meaningful" names, love affair), but the play fully reflects the reality of that time, the characters of its characters are multifaceted (suffice it to recall Famusov, flirting with Liza, fawning over Skalozub, reading instructions to Sophia). The comedy is written in vivid Russian, the sharp, polemical dialogue captivates her, makes her feel the tension of the action. I.A. Goncharov wrote in a critical article “A Million of Torments” that the play depicts a long period of Russian life, that “in a group of twenty persons, all former Moscow, its drawing, its then spirit, history were reflected, like a ray of light in a drop of water. -chesky moment and manners.

Griboyedov's comedy is based on conflicts: love and social. One with the other turns out to be closely connected, personal problems follow from the public. Griboyedov wrote in a letter to one of his friends: “... A girl, herself not stupid, prefers a fool to a smart person (not because the mind of our sinners was ordinary, no! And in my comedy there are 25 fools per sane person ); and this man, of course, in contradiction with the society surrounding him, no one understands him, no one wants to forgive him, why is he a little higher than the others ... "

The protagonist of the play, Alexander Andreevich Chatsky, after a three-year absence returned to Moscow and immediately, without stopping home, appeared at Famusov's house. One of the many reasons that prompted Chatsky to leave the capital was one that most disturbed and tormented his heart - love for Sophia. Sophia is smart, Chatsky was sure of this. As a fourteen-year-old girl, she laughed with him both at the young aunt and at the father's devotion to the English club. If there had not been this sympathy in the past, if she had not then - three years ago - not shared, albeit semi-childishly, without a sufficiently deep understanding, his opinions and thoughts, he probably would not have indulged in questions and memories. Trying to resume conversations interrupted three years ago, Chatsky wanted to know if she was still laughing at what was funny to him, that is, he wanted to understand the current way of her thoughts. If she is now his like-minded person, then the hopes were not in vain.

But Sophia unequivocally condemned even his lightest mockery of Moscow. Naturally, suspicion arose:

...Is there really no groom here?

And the most important thing in Chatsky's painful search was that the criterion of the mind was the only one for him. That's why the puffer did not arouse great suspicions in him, because the clever Sophia could not love such a fool. For the same reasons, for a long time he did not believe in her love for Molchalin. Even for a moment, he did not want to admit that the clever Sophia could sincerely praise her lover for his lackey humility and obsequiousness.

Griboedov the realist perfectly understood that a person's character is formed under the influence of living conditions - in the broad sense of the word - and, above all, under the influence of the immediate environment: family ties, upbringing, everyday customs, traditional views, opinions, prejudices, etc. You can understand a person only when you know his environment. Therefore, the author introduces us in sufficient detail to the environment in which Sophia was formed as a person in the absence of Chatsky.

Most of all, this society is characterized by Famusov, Sophia's father. Pavel Afanasyevich Famusov is a typical Moscow gentleman of the beginning of the century before last with a characteristic mixture of tyranny and patriarchy. He is used to being a barin, he is very confident in himself and loves himself. He occupies a large official post, but he also treats the service in a lordly way, does not burden himself with it. His political ideals boil down to the glorification of everything old, established: he lives well, and he does not want any changes. The ideal person for Famusov is one who has made a profitable career, no matter what means. Subservience and meanness is also a good path for him, if it leads to the desired result. Famusov is not an abstract evil, but a concrete, living one. You believe in its reality - and therefore it is especially frightening.

Famusov likes Colonel Sergei Sergeyevich Skalozub. He is relatively young, but tomorrow he will certainly become a general; he is a reliable defender of antiquity. Rock-tooth - noisy, dressed in a uniform, preoccupied with military exercises and dances, a typical Arakcheev officer, stupid and thoughtless, an opponent of any free thought and enlightenment.

Aleksey Stepanovich Molchalin also belongs to the Famus society, moreover, he is a direct product of it. From the very first appearance, he seems to be a complete nonentity: he is afraid to utter an extra word, willingly pleases everyone, does not dare to have his own opinion, considers “moderation and accuracy” his main talent. These properties ensure his present and future successes in the Famus world.

The Famus society is represented not only by the main characters of the play, but also by episodic ones.

The old woman Khlestova is an important Moscow lady, rude, imperious, accustomed not to restrain herself in words. She, even in relation to Famusov, cannot help but show her authority. And at the same time, she is very similar to Famusov: both with a constant desire to command people, and devotion to the old, obsolete foundations and orders.

Anton Antonovich Zagoretsky is a necessary companion of the Famusovs and Khlestovs. He is always ready to offer his services, while his dubious moral qualities do not bother the owners of society. Khlestova says about him:

He is a liar, a gambler, a thief ...

I was from him and the doors were locked;

Yes, master to serve ...

Speaking of Zagoretsky, Khlestova also characterizes herself, shows the moral level of both her own and her circle. The circle that Chatsky opposes.

Chatsky is freedom-loving, his ideals are the ideals of the Enlightenment, he sees his duty and life calling in serving the Motherland. The orders that exist in Russia anger him, he angrily denounces the "noble scoundrels" - the feudal lords, who are strangling everything new, oppressing their own people. He is a true patriot, he does not understand the admiration for everything foreign that exists in high society. Chatsky embodied the best features of the progressive youth of the early 19th century; he is distinguished by a sharp, lively mind. Showing the conflicts of the hero and the society surrounding him, the author reveals the content of the main conflict of the era: the clash of the “current century and the past century”, which does not want to give up its positions. The positions of the "past century" are still strong: its representatives form public opinion, the opinion of the world, which is of great importance in the life of anyone. It costs them nothing to declare a person crazy, thereby making him safe for themselves: madness explains Chatsky's impudent speeches, his "strange" behavior. But Sophia keeps Chatsky in Famusov's house, her fate, her attitude towards him.

It was necessary to see a nightly date, to hear with your own ears that it was Sophia who invented and put into circulation the gossip about madness, in order to finally understand that she had long ago made her choice - the choice between him and Molchalin, between the high ideals of humanity and the morality of Famusov's Moscow. Maybe she does not want to make peace with Molchalin, but Chatsky is lost to her forever. Now it remains for her, together with the priest, to wait with fear, "what Princess Marya Alekseevna will say."

In the comedy, the "past century" wins, but is Chatsky defeated? "Chatsky is broken quantity old force,” writes I.A. Goncharov in the article “A Million of Torments”. In the words of Goncharov, Chatsky is the "herald", the "shooter" of the new, and therefore - "always a victim." “Chatsky is inevitable when one century is replaced by another,” the writer concludes.

These words contain the eternal, universal meaning of Griboyedov's play. The struggle between the old and the new will always continue. The author, with an unsurpassed power of persuasiveness, showed that the power of the old is defective, blind.

A huge number of quotes from "Woe from Wit" became sayings, catchphrases, firmly taking their place in the Russian language, thereby ensuring immortality for the comedy, just like its author, Alexander Sergeevich Griboyedov. “Woe from Wit” is still unsolved and, perhaps, the greatest creation of all our literature ... ”(A. Blok).

The problems posed in comedy continued to excite Russian social thought and literature many years after its birth. “Woe from Wit” is the fruit of Griboyedov's patriotic thoughts about the fate of Russia, about the ways of renewal, the reorganization of her life. From this point of view, the most important political, moral and cultural problems of the era are covered in the comedy. The content of the comedy is revealed as a collision and change of two epochs of Russian life - the "present" century and the "past" century. The border between them, in my opinion, is the war of 1812 - the fire of Moscow, the defeat of Napoleon, the return of the army from foreign campaigns. After World War II, two social camps developed in Russian society. This is the camp of feudal reaction in the person of Famusov, Skalozub and others, and the camp of advanced noble youth in the person of Chatsky. The comedy clearly shows that the clash of the ages was an expression of the struggle between these two camps. In Fvmusov's enthusiastic stories and Chatsky's diatribes, the author creates an image of the 18th, "past" century. The “past” century is the ideal of the Famus society, because Famusov is a convinced serf-owner. He is ready, because of any trifle, to exile his peasants to Siberia, he hates education, crawls before his superiors, cursing himself as best he can to get a new rank. He bows before his uncle, who “ate on gold”, served at the court of Catherine herself, went “all in orders”. Of course, he received his numerous ranks and awards not by faithful service to the fatherland, but by currying favor with the empress. And he diligently teaches the youth this infamy: That's it, you are all proud! Would you ask how the fathers did? They would learn by looking at their elders. Famusov boasts of both his own semi-enlightenment and the entire class to which he belongs; bragging about the fact that the Moscow girls "top bring out the notes"; that his door is open to everyone, both invited and uninvited, “especially from foreigners”. In the next “ode” of Fvmusov - praise to the nobility, a hymn to servile and mercenary Moscow: For example, we have been doing from time immemorial, That honor is due to father and son: Be inferior, but if there are souls of two thousand tribal - that is the groom! The arrival of Chatsky alarmed Famusov: expect only trouble from him. Famusov refers to the calendar. This is sacred for him. Having taken up the enumeration of future affairs, he comes into a benevolent mood. In fact, there will be a dinner with trout, the burial of the rich and respectable Kuzma Petrovich, the christening at the doctor's. Here it is, the life of the Russian nobility: sleep, food, entertainment, food again and sleep again. Skalozub stands next to Famusov in the comedy - “and a golden bag and aims for generals” Colonel Skalozub is a typical representative of the Arakcheev army environment. At first glance, his image is caricatured. But this is not so: historically it is quite truthful. Like Famusov, the colonel is guided in his life by the philosophy and ideals of the “past” century, but in a cruder form. He sees the goal of his life not in serving the fatherland, but in achieving ranks and awards, which, in his opinion, are more accessible to the military: I’m pretty happy in my comrades, Vacancies are just open: Then the old ones will turn off others, Others, you look, are killed . Chatsky characterizes Skalozub as follows: Khripun, strangled, bassoon, Constellation of maneuvers and mazurkas. Skalozub began to make his career from the moment when the heroes of 1812 began to be replaced by stupid and slavishly devoted to the autocracy martinet, led by Arakcheev. In my opinion, Famusov and Skalozub in the description of aristocratic Moscow belongs to the first place. People of the Famusovsky circle are selfish and greedy. They spend all their time in secular entertainment, vulgar intrigues and stupid gossip. This special society has its own ideology, its own way of life, views on life. They are sure that there is no other ideal than wealth, power and universal respect. “After all, only here they value the nobility,” says Famusov about the lordly Moscow. Griboyedov exposes the reactionary nature of serf society and in this way shows where the rule of the Famusovs is leading Russia. He puts his revelations into the monologues of Chatsky, who has a sharp mind, quickly determines the essence of the subject. For friends and for enemies, Chatsky was not just smart, but a “freethinker”, belonging to the advanced circle of people. The thoughts that agitated him disturbed the minds of all the progressive youth of that time. Chatsky gets to Petersburg when the movement of “liberalists” is born. In this situation, in my opinion, the views and aspirations of Chatsky are formed. He knows literature well. Famusov heard rumors that Chatsky “writes and translates nicely.” Such a passion for literature was characteristic of free-thinking noble youth. At the same time, Chatsky is also interested in social activities: we learn about his connection with the ministers. I believe he even managed to visit the village, because Famusov claims that he “blissed out” there. It can be assumed that this whim meant a good attitude towards the peasants, perhaps some economic reforms. These lofty aspirations of Chatsky are an expression of his patriotic feelings, hostility to the aristocratic customs and serfdom in general. I think I will not be mistaken in assuming that Griboedov for the first time in Russian literature revealed the national and historical origins of the Russian liberation movement of the 20s of the 19th century, the circumstances of the formation of Decembrism. It is the Decembrist understanding of honor and duty, the social role of a person that is opposed to the slave morality of the Famusovs. “I would be glad to serve, it’s sickening to serve,” says Chatsky, like Griboyedov. Just like Griboedov, Chatsky is a humanist, defends the freedom and independence of the individual. He sharply exposes the basis of feudalism in an angry speech “about the judges”. Here Chatsky denounces the serf system he hates. He highly appreciates the Russian people, speaks of their mind, love of freedom, and this, in my opinion, also echoes the ideology of the Decembrists. It seems to me that in comedy there is an idea of ​​the independence of the Russian people. Kowtow before everything foreign, French upbringing, usual for the nobility, evoke a sharp protest from Chatsky: I sent up the wishes of the Humble, but out loud, So that the Lord would destroy this unclean spirit of Empty, slavish, blind imitation; So that he would plant a spark in someone with a soul; Who could hold us by word and example like a strong rein, From miserable nausea on the side of a stranger. Obviously, Chatsky is not alone in comedy. He speaks on behalf of the whole generation. A logical question arises: who did the hero mean by the word “we”? Probably the younger generation going the other way. The fact that Chatsky is not alone in his views is also understood by Famusov. “Today, more than ever, crazy divorced people, and deeds, and opinions! he exclaims. Chatsky is dominated by an optimistic view of the nature of contemporary life. He believes in a new era. Chatsky says with satisfaction to Famusov: How to compare and see the current century and the past century: Fresh legend, but hard to believe. More recently, "the direct was the age of humility and fear." Today, a sense of personal dignity is awakening. Not everyone wants to serve, not everyone is looking for patrons. There is public opinion. It seems to Chatsky that the time has come when it is possible to change and correct the existing feudal order through the development of advanced public opinion, the emergence of new humane ideas. The struggle against the Famusovs in comedy has not ended, because in reality it has only just begun. The Decembrists and Chatsky were representatives of the first stage of the Russian liberation movement. Goncharov remarked very correctly: “Chatsky is inevitable when one century is replaced by another. . The Chatskys live and are not translated in Russian society, where the struggle of the fresh with the obsolete, the sick with the healthy continues. ”

“Griboedov is “a man of one book,” V.F. Khodasevich remarked. “If it weren’t for Woe from Wit, Griboyedov would have no place at all in Russian literature.”

Indeed, at the time of Griboedov, there were no professional writers, poets, writers of entire "series" of ladies' novels and low-grade detective stories, the content of which cannot be retained in the memory of even the most attentive reader for a long time. The occupation of literature at the beginning of the 19th century was not perceived by the Russian educated society as something special. Everyone wrote something - for themselves, for friends, for reading with their families and in secular literary salons. In the conditions of the almost complete absence of literary criticism, the main advantage of a work of art was not following any established rules or requirements of publishers, but its perception by the reader or viewer.

A.S. Griboedov, a Russian diplomat, a highly educated secular person, from time to time "dabbled" in literature, was not constrained either in terms, or in means, or in ways of expressing his thoughts on paper. Perhaps, due to precisely these circumstances, he managed to abandon the canons of classicism accepted in the literature and dramaturgy of that time. Griboedov managed to create a truly immortal, outstanding work, which produced the effect of a "bombshell" in society and, by and large, determined all the further development of Russian literature of the 19th century.

The creative history of writing the comedy "Woe from Wit" is extremely complex, and the author's interpretation of the images is so ambiguous that for almost two centuries it continues to cause lively discussions among literary critics and new generations of readers.

The history of the creation of "Woe from Wit"

The idea of ​​a “stage poem” (as A.I. Griboyedov himself defined the genre of the conceived work) arose in the second half of 1816 (according to S.N. Begichev) or in 1818-1819 (according to the memoirs of D.O. Bebutov) .

According to one of the versions very common in literature, Griboedov once attended a social evening in St. Petersburg and was amazed at how the entire audience bows to foreigners. That evening, she surrounded the attention and care of some excessively talkative Frenchman. Griboyedov could not stand it and made a fiery diatribe. While he was speaking, someone in the audience announced that Griboedov was crazy, and thus spread the word all over Petersburg. Griboyedov, in order to take revenge on secular society, conceived the idea of ​​writing a comedy about this.

However, the writer began to work on the text of the comedy, apparently, only in the early 1820s, when, according to one of his first biographers F. Bulganin, he saw a "prophetic dream."

In this dream, Griboyedov allegedly had a close friend who asked if he had written anything for him? Since the poet replied that he had long since deviated from all writings, the friend shook his head sadly: "Give me a promise that you will write." - "What do you want?" - "You know yourself." “When should it be ready?” - "In a year, certainly." - "I undertake," - answered Griboedov.

One of the close friends of A.S. Griboyedov S.N. Begichev in his famous “Note on Griboyedov” completely rejects the version of the “Persian dream”, stating that he had never heard anything like this from the author of “Woe from Wit” himself.

Most likely, this is one of the many legends that to this day shrouded the real biography of A.S. Griboyedov. In his "Note" Begichev also assures that already in 1816 the poet wrote several scenes from the play, which were subsequently either destroyed or significantly changed. In the original version of the comedy, there were completely different characters and heroes. For example, the author subsequently abandoned the image of Famusov's young wife - a secular coquette and fashionista, replacing her with a number of supporting characters.

According to the official version, the first two acts of the original edition of Woe from Wit were written in 1822 in Tiflis. Work on them continued in Moscow, where Griboyedov arrived during his vacation, until the spring of 1823. Fresh Moscow impressions made it possible to unfold many scenes that had barely been outlined in Tiflis. It was then that Chatsky's famous monologue "Who are the judges?" was written. The third and fourth acts of the original edition of "Woe from Wit" were created in the spring and summer of 1823 in the Tula estate of S.N. Begichev.

S.N. Begichev recalled:

“The last acts of Woe from Wit were written in my garden, in the gazebo. He got up at this time almost with the sun, came to us for dinner and rarely stayed with us long after dinner, but almost always left soon and came to tea, spent the evening with us and read the scenes he had painted. We have always looked forward to this time. I do not have enough words to explain how pleasant our frequent (and especially in the evenings) conversations between us were for me. How much information he had on all subjects! How fascinating and animated he was when he revealed to me, so to speak, for plowing his dreams and the secrets of his future creations, or when he analyzed the works of brilliant poets! He told me a lot about the Persian court and the customs of the Persians, their religious stage performances in the squares, etc., as well as about Alexei Petrovich Yermolov and about the expeditions he went on with him. And how kind and sharp he was when he was in a cheerful disposition.

However, in the summer of 1823, Griboedov did not at all consider the comedy complete. In the course of further work (late 1823 - early 1824), not only the text changed - the surname of the protagonist changed somewhat: he became Chatsky (previously his surname was Chadsky), the comedy, called "Woe to the Wit", received its final name.

In June 1824, having arrived in St. Petersburg, Griboyedov carried out a significant stylistic revision of the original version, changed part of the first act (Sofia's dream, the dialogue of Sofia and Lisa, Chatsky's monologue), and in the final act, the scene of Molchalin's conversation with Lisa appeared. The final edition was completed only in the autumn of 1824.

The publication

A well-known actor and a good friend of A.I. Griboyedov P.A. Karatygin recalled the first attempt of the author to acquaint the public with his creation:

“When Griboyedov brought his comedy to St. Petersburg, Nikolai Ivanovich Khmelnitsky asked him to read it at his home. Griboyedov agreed. On this occasion, Khmelnitsky made a dinner, to which, in addition to Griboyedov, he invited several writers and artists. Among the latter were: Sosnitsky, my brother and myself. Khmelnitsky then lived as a gentleman, in his own house on the Fontanka near the Simeonovsky bridge. At the appointed hour, a small company gathered at his place. The dinner was luxurious, cheerful and noisy. After dinner, everyone went into the living room, served coffee, and lit cigars. Griboyedov laid the manuscript of his comedy on the table; the guests, impatiently waiting, began to move chairs; everyone tried to fit closer so as not to utter a single word. Among the guests there was a certain Vasily Mikhailovich Fedorov, the writer of the drama "Lisa, or the Triumph of Gratitude" and other long-forgotten plays. He was a very kind, simple man, but he had pretensions to wit. Griboedov did not like his face, or perhaps the old joker had oversalted himself at dinner, telling unfunny anecdotes, only the host and his guests had to witness a rather unpleasant scene. While Griboedov was lighting his cigar, Fyodorov, going up to the table, took the comedy (which had been rewritten rather quickly), shook it on his arm, and said with an ingenuous smile: “Wow! What a full-bodied! It's worth my Lisa." Griboyedov looked at him from under his glasses and answered through his teeth: "I don't write vulgarities." Such an unexpected answer, of course, stunned Fedorov, and, trying to show that he took this sharp answer for a joke, he smiled and immediately hurried to add: “No one doubts this, Alexander Sergeevich; I not only did not want to offend you by comparing with me, but, really, I am ready to be the first to laugh at my works. - “Yes, you can laugh at yourself as much as you like, but I won’t let anyone laugh at myself.” - "Forgive me, I was not talking about the merits of our plays, but only about the number of sheets." “You still cannot know the merits of my comedy, but the merits of your plays have long been known to everyone.” - "Really, you are wrong to say this, I repeat that I did not mean to offend you at all." - "Oh, I'm sure that you said without thinking, and you can never offend me." The owner of these hairpins was on pins and needles, and, wanting to somehow hush up the quarrel, which took on a serious character, with a joke, he took Fedorov by the shoulders and, laughing, said to him: “We will put you in the back row of seats for punishment.” Griboedov, meanwhile, walking around the living room with a cigar, answered Khmelnitsky: "You can put him wherever you like, only I won't read my comedy in front of him." Fedorov blushed to the ears and at that moment looked like a schoolboy who is trying to grab a hedgehog - and where he is not touched, he will prick everywhere ... "

Nevertheless, in the winter of 1824-1825, Griboyedov willingly read Woe from Wit in many houses in Moscow and St. Petersburg, and everywhere he was a success. Hoping for an early publication of the comedy, Griboyedov encouraged the appearance and distribution of its lists. The most authoritative of them are the Gendrovskiy list, “corrected by the hand of Griboyedov himself” (belonged to A.A. Zhandru), and Bulgarinsky - a carefully corrected clerk's copy of the comedy left by Griboyedov F.V. Bulgarin in 1828 before leaving Petersburg. On the title page of this list, the playwright made the inscription: "My grief I entrust to Bulgarin ...". He hoped that an enterprising and influential journalist could get the play published.

A.S. Griboyedov, "Woe from Wit",
1833 edition

Since the summer of 1824, Griboyedov tried to print a comedy. Excerpts from the first and third acts first appeared in F.V. Bulgarin "Russian Waist" in December 1824, and the text was significantly "softened" and shortened by censorship. "Inconvenient" for printing, too harsh statements of the characters were replaced by faceless and "harmless". So, instead of the author's "To the Scientific Committee" was printed "Among the scientists who settled." Molchalin's "software" remark "After all, one must depend on others" is replaced by the words "After all, one must keep others in mind." The censors did not like the mention of the "royal person" and the "boards".

“The first outline of this stage poem,” Griboedov wrote bitterly, “as it was born in me, was much more magnificent and of higher significance than now in the vain outfit in which I was forced to dress him. The childish pleasure of hearing my poems in the theater, the desire for their success made me spoil my creation as much as possible.

However, Russian society at the beginning of the 19th century knew the comedy "Woe from Wit" mainly from handwritten lists. Military and civilian scribes earned a lot of money copying the text of the comedy, which literally overnight was parsed into quotes and "winged expressions." The publication of excerpts "Woe from Wit in the almanac "Russian Thalia" caused a lot of responses in the literary environment and made Griboedov truly famous. “His handwritten comedy: Woe from Wit,” Pushkin recalled, “produced an indescribable effect and suddenly put him along with our first poets.”

The first edition of the comedy appeared in German translation in Reval in 1831. Nicholas I allowed the comedy to be printed in Russia only in 1833 - "in order to deprive it of the attractiveness of the forbidden fruit." The first Russian edition, with censored edits and cuts, was published in Moscow. Two uncensored editions of the 1830s are also known (printed in regimental printing houses). For the first time, the entire play was published in Russia only in 1862, during the era of censorship reforms of Alexander II. The scientific publication of "Woe from Wit" was carried out in 1913 by the famous researcher N.K. Piksanov in the second volume of the Academic Complete Works of Griboyedov.

Theatrical performances

The fate of the theatrical productions of Griboyedov's comedy turned out to be even more difficult. For a long time, theatrical censorship did not allow it to be staged in full. In 1825, the first attempt to stage "Woe from Wit" on the stage of a theater school in St. Petersburg ended in failure: the performance was banned because the play was not approved by the censors.

The artist P.A. Karatygin recalled in his notes:

“Grigoriev and I suggested that Alexander Sergeevich play “Woe from Wit” at our school theater, and he was delighted with our proposal ... It cost us a lot of work to beg the good inspector Bock to allow the pupils to take part in this performance ... Finally , he agreed, and we quickly set to work; in a few days they painted the roles, learned them in a week, and things went smoothly. Griboedov himself came to our rehearsals and taught us very diligently... One should have seen with what ingenuous pleasure he rubbed his hands, seeing his "Woe from Wit" at our childish theater... Although, of course, we chipped away his immortal a comedy with heartbreak in half, but he was very pleased with us, and we were delighted that we could please him. He brought A. Bestuzhev and Wilhelm Kuchelbecker with him to one of the rehearsals - and they also praised us.” The performance was banned by order of the St. Petersburg Governor-General Count Miloradovich, the school authorities received a reprimand.

For the first time the comedy appeared on the stage in 1827, in Erivan, performed by amateur actors - officers of the Caucasian Corps. The author was present at this amateur performance.

Only in 1831, with numerous censored notes, Woe from Wit was staged in St. Petersburg and Moscow. Censorship restrictions on theatrical performances of comedy ceased to operate only in the 1860s.

Public perception and criticism

Despite the fact that the full text of the comedy never made it to print, immediately after the publication of excerpts from the play by Bulgarin, heated discussions unfolded around Griboyedov's work. The approval was by no means unanimous.

Conservatives immediately accused Griboedov of exaggerating satirical colors, which, in their opinion, was the result of the author's "squabbling patriotism". In the articles by M. Dmitriev and A. Pisarev, published in Vestnik Evropy, it was stated that the content of the comedy does not at all correspond to Russian life. "Woe from Wit" was declared to be a mere imitation of foreign plays and was characterized only as a satirical work directed against aristocratic society, "a gross mistake against local mores." Chatsky especially got it, in whom they saw a clever "madcap", the embodiment of the "Figaro-Griboedov" philosophy of life.

Some contemporaries who were very friendly towards Griboyedov noted many errors in Woe from Wit. For example, a longtime friend and co-author of the playwright P.A. Katenin, in one of his private letters, gave the following assessment of the comedy: “There is definitely a chamber of mind in it, but the plan, in my opinion, is insufficient, and the main character is confused and knocked down (manque); the style is often charming, but the writer is too pleased with his liberties. According to the critic, annoyed by deviations from the rules of classical dramaturgy, including the replacement of “good Alexandrian verses” common for “high” comedy with free iambic, Griboyedov’s “phantasmagoria is not theatrical: good actors will not take these roles, and bad ones will spoil them.”

Griboyedov's response to Katenin's critical judgments, written in January 1825, became a remarkable auto-commentary to "Woe from Wit". This is not only an energetic "anti-criticism", representing the author's view of comedy, but also a kind of aesthetic manifesto of the playwright-innovator, refusing to please the theorists and satisfy the school requirements of the classicists.

In response to Katenin's remark about the imperfection of the plot and composition, Griboyedov wrote: “You find the main error in the plan: it seems to me that it is simple and clear in purpose and execution; the girl herself is not stupid, she prefers a fool to a smart person (not because the mind of us sinners was ordinary, no! and in my comedy there are 25 fools per sane person); and this man, of course, is in contradiction with the society surrounding him, no one understands him, no one wants to forgive him, why is he a little higher than the others ... "The scenes are connected arbitrarily." Just as in the nature of all events, small and important: the more sudden, the more it attracts curiosity.

The playwright explained the meaning of Chatsky’s behavior as follows: “Someone out of anger invented about him that he was crazy, no one believed, and everyone repeats, the voice of general unkindness reaches him, moreover, the dislike for him of that girl for whom he was the only one to Moscow, it is completely explained to him, he didn’t give a damn about her and everyone else and was like that. The queen is also disappointed about her sugar honey. What could be more complete than this?

Griboyedov defends his principles of portraying heroes. Katenin's remark that "characters are portrait" he accepts, but he considers this not an error, but the main advantage of his comedy. From his point of view, satirical images-caricatures that distort the real proportions in the appearance of people are unacceptable. "Yes! and I, if I do not have the talent of Moliere, then at least I am more sincere than him; portraits and only portraits are part of comedy and tragedy, but they have features that are common to many other persons, and others to the whole human race, insofar as each person resembles all his bipedal brethren. I hate caricatures, you will not find a single one in my picture. Here is my poetry...

Finally, Griboyedov considered Katenin's words that in his comedy "talents are more than art" as the most "flattering praise" for himself. “Art only consists in imitating talent ... - the author of Woe from Wit remarked. “I live as well as I write freely and freely.”

Pushkin also expressed his opinion about the play (the list of Woe from Wit was brought to Mikhailovskoye by I.I. Pushchin). In letters to P. A. Vyazemsky and A. A. Bestuzhev, written in January 1825, he noted that the playwright succeeded most of all in “characters and a sharp picture of morals.” In their depiction, according to Pushkin, Griboedov's "comic genius" manifested itself. The poet was critical of Chatsky. In his interpretation, this is an ordinary reasoning hero, expressing the opinions of the only "smart character" - the author himself. Pushkin very accurately noticed the contradictory, inconsistent nature of Chatsky's behavior, the tragicomic nature of his situation: “... What is Chatsky? An ardent, noble and kind fellow, who spent some time with a very intelligent person (namely with Griboyedov) and was fed by his thoughts, witticisms and satirical remarks. Everything he says is very smart. But to whom does he say all this? Famusov? Puffer? At the ball for Moscow grandmothers? Molchalin? It's unforgivable. The first sign of an intelligent person is to know at a glance who you are dealing with, and not to cast pearls in front of Repetilov and the like.

At the beginning of 1840, V. G. Belinsky, in an article about “Woe from Wit”, as decisively as Pushkin, denied Chatsky a practical mind, calling him “the new Don Quixote”. According to the critic, the protagonist of the comedy is a completely ridiculous figure, a naive dreamer, "a boy on a stick on horseback, who imagines that he is sitting on a horse." However, Belinsky soon corrected his negative assessment of Chatsky and comedy in general, declaring the protagonist of the play perhaps the first revolutionary rebel, and the play itself - the first protest "against the vile Russian reality." The frantic Vissarion did not consider it necessary to understand the real complexity of the image of Chatsky, evaluating the comedy from the standpoint of the social and moral significance of his protest.

Criticism and publicists of the 1860s went even further from the author's interpretation of Chatsky. A.I. Herzen saw in Chatsky the embodiment of Griboedov’s “backward thought”, interpreting the comedy hero as a political allegory. "... This is a Decembrist, this is a man who completes the era of Peter I and tries to see, at least on the horizon, the promised land ...".

The most original is the judgment of the critic A.A. Grigoriev, for whom Chatsky is “our only hero, that is, the only one who positively fights in the environment where fate and passion have thrown him.” Therefore, the whole play turned in his critical interpretation from a "high" comedy into a "high" tragedy (see the article "On the new edition of the old thing. Woe from Wit. St. Petersburg, 1862").

I.A. Goncharov responded to the production of “Woe from Wit” at the Alexandrinsky Theater (1871) with the critical study “A Million of Torments” (published in the journal “Bulletin of Europe”, 1872, No. 3). This is one of the most insightful analyzes of comedy, which later became a textbook. Goncharov gave deep characteristics of individual characters, appreciated the skill of Griboyedov the playwright, wrote about the special position of Woe from Wit in Russian literature. But, perhaps, the most important advantage of Goncharov's etude is the careful attitude to the author's concept, embodied in the comedy. The writer abandoned the one-sided sociological and ideological interpretation of the play, carefully considering the psychological motivation of the behavior of Chatsky and other characters. “Every step of Chatsky, almost every word in the play is closely connected with the play of his feelings for Sophia, irritated by some kind of lie in her actions, which he struggles to unravel to the very end,” Goncharov emphasized in particular. Indeed, without taking into account the love affair (Griboedov himself noted its significance in a letter to Katenin), it is impossible to understand the “woe from wit” of the rejected lover and lonely truth-lover, the tragic and comic nature of Chatsky’s image at the same time.

comedy analysis

The success of Griboyedov's comedy, which has taken a firm place among the Russian classics, is largely determined by the harmonious combination of the topical and the timeless in it. Through the brilliantly drawn picture of the Russian society of the 1820s by the author (disturbing the minds of disputes about serfdom, political freedoms, problems of national self-determination of culture, education, etc., masterfully outlined colorful figures of that time, recognizable by contemporaries, etc.) are guessed " eternal” themes: conflict of generations, drama of a love triangle, antagonism of the individual and society, etc.

At the same time, "Woe from Wit" is an example of an artistic synthesis of the traditional and the innovative in art. Paying tribute to the canons of the aesthetics of classicism (the unity of time, place, action, conditional roles, names-masks, etc.), Griboedov “revives” the traditional scheme with conflicts and characters taken from life, freely introduces lyrical, satirical and journalistic lines into comedy.

The accuracy and aphoristic accuracy of the language, the successful use of free (various) iambic, which conveys the elements of colloquial speech, allowed the text of the comedy to retain its sharpness and expressiveness. As predicted by A.S. Pushkin, many lines of "Woe from Wit" have become proverbs and sayings, very popular today:

• Fresh tradition, but hard to believe;
• Happy hours are not observed;
• I would be glad to serve, it is sickening to serve;
• Blessed is he who believes - he is warm in the world!
• Bypass us more than all sorrows
  And the lord's anger, and the lord's love.
• Houses are new, but prejudices are old.
• And the smoke of the Fatherland is sweet and pleasant to us!
• Oh! Evil tongues are worse than a gun.
• But to have children, who lacked intelligence?
• To the village, to my aunt, to the wilderness, to Saratov!...

Play conflict

The main feature of the comedy "Woe from Wit" - interaction of two plot-forming conflicts: a love conflict, the main participants of which are Chatsky and Sofia, and a socio-ideological conflict, in which Chatsky clashes with conservatives who have gathered in Famusov's house. From the point of view of problems, in the foreground is the conflict between Chatsky and Famusovsky society, but in the development of the plot action, the traditional love conflict is no less important: after all, it was precisely for the sake of meeting Sophia that Chatsky was in such a hurry to Moscow. Both conflicts - love and socio-ideological - complement and reinforce each other. They are equally necessary in order to understand the worldview, characters, psychology and relationships of the characters.

In the two storylines of "Woe from Wit" all the elements of the classical plot are easily found: the exposition - all the scenes of the first act preceding the appearance of Chatsky in Famusov's house (phenomena 1-5); the beginning of a love conflict and, accordingly, the beginning of the action of the first, love plot - the arrival of Chatsky and his first conversation with Sophia (d. I, yavl. 7). The socio-ideological conflict (Chatsky - Famus society) is outlined a little later - during the first conversation between Chatsky and Famusov (d. I, yavl. 9).

Both conflicts develop in parallel. Stages of development of a love conflict - dialogues between Chatsky and Sofia. Chatsky's conflict with Famus society includes Chatsky's verbal "duels" with Famusov, Skalozub, Molchalin and other representatives of Moscow society. Private conflicts in "Woe from Wit" literally spill onto the stage a lot of minor characters, forcing them to reveal their position in life in remarks and actions.

The pace of development of action in comedy is lightning fast. A lot of events that develop into fascinating everyday "microplots" pass before readers and viewers. What is happening on the stage causes laughter and at the same time makes you think about the contradictions of the then society, and about universal problems.

The climax of "Woe from Wit" is an example of Griboyedov's remarkable dramatic skill. At the heart of the climax of the socio-ideological plot (society declares Chatsky crazy; d. III, yavl. 14-21) is a rumor, the reason for which was given by Sophia with her remark "aside": "He is out of his mind." The annoyed Sofia threw this remark by accident, meaning that Chatsky "went crazy" with love and became simply unbearable for her. The author uses a technique based on the play of meanings: Sophia's emotional outburst was heard by the secular gossip Mr. N. and understood it literally. Sophia decided to take advantage of this misunderstanding to take revenge on Chatsky for his mockery of Molchalin. Becoming a source of gossip about Chatsky's madness, the heroine "burned bridges" between herself and her former lover.

Thus, the climax of the love plot motivates the climax of the socio-ideological plot. Thanks to this, both seemingly independent storylines of the play intersect at a common climax - a lengthy scene, the result of which is the recognition of Chatsky as crazy.

After the climax, the storylines diverge again. The denouement of a love affair precedes the denouement of the socio-ideological conflict. The night scene in Famusov's house (d. IV, yavl. 12-13), in which Molchalin and Liza, as well as Sophia and Chatsky participate, finally explains the position of the characters, making the secret clear. Sophia is convinced of the hypocrisy of Molchalin, and Chatsky finds out who his rival was:

Here is the solution to the puzzle at last! Here I am donated to whom!

The denouement of the storyline based on Chatsky's conflict with the Famus society is Chatsky's last monologue directed against the "crowd of persecutors". Chatsky declares his final break with Sofia, and with Famusov, and with the entire Moscow society: “Get out of Moscow! I don't come here anymore."

Character system

IN character system comedy Chatsky takes center stage. It connects both storylines, but for the hero himself, not a socio-ideological, but a love conflict is of paramount importance. Chatsky perfectly understands what kind of society he fell into, he has no illusions about Famusov and "all Moscow". The reason for Chatsky's stormy accusatory eloquence is not political or educational, but psychological. The source of his passionate monologues and well-aimed caustic remarks are love experiences, " impatience of the heart", which is felt from the first to the last scene with his participation.

Chatsky came to Moscow with the sole purpose of seeing Sofia, finding confirmation of his former love and, probably, getting married. Chatsky's revival and "talkativeness" at the beginning of the play are caused by the joy of meeting with his beloved, but, contrary to expectations, Sofia completely changed towards him. With the help of the usual jokes and epigrams, Chatsky tries to find a common language with her, “sorts out” Moscow acquaintances, but his witticisms only annoy Sophia - she answers him with barbs.

He annoys Sophia, trying to call her to frankness, asking her tactless questions: “Can I find out, / ... Whom do you love? ".

The night scene in Famusov's house revealed the whole truth to Chatsky, who "became clear." But now he goes to the other extreme: instead of love passion, the hero is seized by other strong feelings - rage and anger. In the heat of his rage, he shifts responsibility for his "futile labors of love" to others.

Love experiences exacerbate Chatsky's ideological opposition to the Famus society. At first, Chatsky calmly relates to Moscow society, almost does not notice its usual vices, sees only the comic side in it: “I am a strange miracle / Once I laugh, then I will forget ...”.

But when Chatsky is convinced that Sophia does not love him, everything and everyone in Moscow begins to annoy him. Replies and monologues become bold, caustic - he angrily denounces what he previously laughed without malice.

Chatsky rejects generally accepted notions of morality and public duty, but one can hardly consider him a revolutionary, a radical, or even a "Decembrist." There is nothing revolutionary in Chatsky's statements. Chatsky is an enlightened person who offers society to return to simple and clear ideals of life, to clear from extraneous layers what they talk a lot about in Famus society, but which, according to Chatsky, they do not have a correct idea - service. It is necessary to distinguish between the objective meaning of the hero's very moderate enlightening judgments and the effect that they produce in the society of conservatives. The slightest dissent is regarded here not only as a denial of the usual, consecrated "fathers", "senior" ideals and way of life, but also as a threat of a social upheaval: after all, Chatsky, according to Famusov, "does not recognize the authorities." Against the backdrop of an inert and unshakably conservative majority, Chatsky gives the impression of a lone hero, a brave "madman" who rushed to storm a powerful stronghold, although in the circle of freethinkers his statements would not shock anyone with their radicalism.

Sofia
performed by I.A. Lixo

Sofia- the main plot partner of Chatsky - occupies a special place in the system of characters of "Woe from Wit". The love conflict with Sophia involved the hero in a conflict with the whole society, served, according to Goncharov, "a motive, a reason for irritation, for that" million torments, under the influence of which he could only play the role indicated to him by Griboyedov. Sofia does not take the side of Chatsky, but does not belong to Famusov's like-minded people, although she lived and was brought up in his house. She is a closed, secretive person, it is difficult to approach her. Even her father is a little afraid of her.

There are qualities in Sophia's character that sharply distinguish her among the people of the Famus circle. This is, first of all, independence of judgment, which is expressed in her dismissive attitude to gossip and gossip (“What is rumor to me? Whoever wants, judges ...”). Nevertheless, Sophia knows the "laws" of the Famus society and is not averse to using them. For example, she deftly connects "public opinion" to take revenge on her former lover.

Sophia's character has not only positive, but also negative traits. "A mixture of good instincts with lies," Goncharov saw in her. Self-will, stubbornness, capriciousness, complemented by vague ideas about morality, make her equally capable of both good and bad deeds. Having slandered Chatsky, Sophia acted immorally, although she remained, the only one among those gathered, convinced that Chatsky was a completely “normal” person.

Sophia is smart, observant, rational in her actions, but love for Molchalin, both selfish and reckless, puts her in an absurd, comical position.

As a lover of French novels, Sofia is very sentimental. She idealizes Molchalin, not even trying to find out what he really is, not noticing his "vulgarity" and pretense. “God brought us together” - it is this “romantic” formula that exhausts the meaning of Sofia's love for Molchalin. He managed to please her because he behaves like a living illustration to a novel he has just read: “He takes his hand, presses it to his heart, / He sighs from the depths of his soul ...”.

Sophia's attitude towards Chatsky is completely different: after all, she does not love him, therefore she does not want to listen, does not seek to understand, and avoids explanations. Sophia, the main culprit of Chatsky's mental anguish, evokes sympathy herself. She completely surrenders to love, not noticing that Molchalin is a hypocrite. Even the oblivion of decency (night dates, the inability to hide her love from others) is evidence of the strength of her feelings. Love for the “rootless” secretary of her father takes Sofia out of the Famus circle, because she deliberately risks her reputation. With all the bookishness and obvious comedy, this love is a kind of challenge to the heroine and her father, who is preoccupied with finding her a rich careerist groom, and a society that excuses only open, uncamouflaged debauchery.

In the last scenes of Woe from Wit, the features of a tragic heroine clearly appear in the guise of Sofia. Her fate is approaching the tragic fate of Chatsky rejected by her. Indeed, as I.A. Goncharov subtly noted, in the finale of the comedy she has to “harder than anyone else, harder even than Chatsky, and she gets “a million torments”». The denouement of the love plot of the comedy turned out to be “grief”, a life catastrophe for the smart Sophia.

Famusov and Skalozub
performed by K.A. Zubov and A.I. Rzhanova

The main ideological opponent of Chatsky is not the individual characters of the play, but the "collective" character - many-sided famous society. The lone truth-seeker and ardent defender of “free life” is opposed by a large group of actors and off-stage characters, united by a conservative worldview and the simplest practical morality, the meaning of which is “to take awards and live happily.” Famus society is heterogeneous in its composition: it is not a faceless crowd in which a person loses his individuality. On the contrary, convinced Moscow conservatives differ among themselves in intelligence, abilities, interests, occupation and position in the social hierarchy. The playwright discovers in each of them both typical and individual features. But in one thing everyone is unanimous: Chatsky and his like-minded people are “crazy”, “crazy”, renegades. The main reason for their “madness”, according to the Famusists, is an excess of “mind”, excessive “scholarship”, which is easily identified with “freethinking”.

Depicting the conflict between Chatsky and the Famus society, Griboedov makes extensive use of the author's remarks, which report on the reaction of conservatives to Chatsky's words. Remarks complement the replicas of the characters, reinforcing the comedy of what is happening. This technique is used to create the main comic situation of the play - a situation of deafness. Already during the first conversation with Chatsky (d. II, yavl. 2-3), in which for the first time his opposition to conservative morality was outlined, Famusov "does not see or hear anything." He deliberately plugs his ears so as not to hear Chatsky's seditious, from his point of view, speeches: "Good, I plugged my ears." During the ball (d. 3, yavl. 22), when Chatsky utters his angry monologue against the “foreign power of fashion” (“There is an insignificant meeting in that room ...”), “everyone waltzes around with the greatest zeal. The old men wandered off to the card tables." The situation of feigned "deafness" of the characters allows the author to convey mutual misunderstanding and alienation between the conflicting parties.

Famusov
performed by K.A. Zubova

Famusov- one of the recognized pillars of Moscow society. His official position is quite high: he is a "manager in a government place." It is on him that the material well-being and success of many people depend: the distribution of ranks and awards, "patronage" of young officials and pensions for the elderly. Famusov's worldview is extremely conservative: he accepts with hostility everything that is at least somewhat different from his own beliefs and ideas about life, is hostile to everything new - even to the fact that in Moscow "roads, sidewalks, / Houses and everything are new fret." Famusov's ideal is the past, when everything was "not what it is now."

Famusov is a staunch defender of the morality of the "gone century". In his opinion, to live correctly means to act in everything “as the fathers did”, to study, “looking at the elders”. Chatsky, on the other hand, relies on his own “judgments” dictated by common sense, so the ideas of these antipode heroes about “proper” and “improper” behavior do not coincide.

Listening to the advice and instructions of Famusov, the reader seems to find himself in a moral “anti-world”. In it, ordinary vices turn almost into virtues, and thoughts, opinions, words and intentions are declared “vices”. The main "vice", according to Famusov, is "scholarship", an excess of the mind. Famusov's idea of ​​"mind" is mundane, worldly: he identifies the mind either with practicality, the ability to "get comfortable" in life (which he evaluates positively), or with "free-thinking" (such a mind, according to Famusov, is dangerous). The mind of Chatsky for Famusov is a real trifle, not going to any comparison with the traditional noble values ​​- generosity (“honor according to father and son”) and wealth:

Be poor, but if there are two thousand family souls, - He and the groom. The other one, at least be quicker, puffed up with all sorts of arrogance, Let yourself be known as a reasonable person, But they won’t include them in the family. (D. II, yavl. 5)

Sofia and Molchalin
performed by I.A. Likso and M.M. Sadovsky

Molchalin- one of the brightest representatives of the Famus society. His role in comedy is comparable to that of Chatsky. Like Chatsky, Molchalin is a participant in both love and socio-ideological conflict. He is not only a worthy student of Famusov, but also Chatsky's "rival" in love for Sofia, a third person that arose between former lovers.

If Famusov, Khlestova and some other characters are living fragments of the "past century", then Molchalin is a man of the same generation as Chatsky. But, unlike Chatsky, Molchalin is a staunch conservative, therefore dialogue and mutual understanding between them is impossible, and conflict is inevitable - their life ideals, moral principles and behavior in society are absolutely opposite.

Chatsky cannot understand, "why the opinions of others are only holy." Molchalin, like Famusov, considers dependence “on others” to be the basic law of life. Molchalin is a mediocrity that does not go beyond the generally accepted framework, this is a typical "average" person: both in abilities, and in mind, and in claims. But he has "his talent": he is proud of his qualities - "moderation and accuracy." The outlook and behavior of Molchalin is strictly regulated by his position in the official hierarchy. He is modest and helpful, because "in the ranks ... small", he cannot do without "patrons", even if he has to completely depend on their will.

But, unlike Chatsky, Molchalin organically fits into the Famus society. This is "little Famusov", because he has a lot in common with the Moscow "ace", despite the big difference in age and social status. For example, Molchalin's attitude to service is purely "famus": he would like to "take awards and have fun." Public opinion for Molchalin, as well as for Famusov, is sacred. Some of his statements (“Ah! Evil tongues are worse than a gun”, “In my years one should not dare / Have one’s own judgment”) resemble Famus’s: “Ah! My God! what will / Princess Marya Aleksevna say!

Molchalin is the antipode of Chatsky not only in his convictions, but also in the nature of his attitude towards Sofia. Chatsky is sincerely in love with her, nothing exists for him above this feeling, in comparison with him, "the whole world" Chatsky "seemed to be dust and vanity." Molchalin only skillfully pretends to love Sophia, although, by his own admission, he does not find "anything enviable" in her. Relations with Sofia are entirely determined by the life position of Molchalin: this is how he behaves with all people without exception, this is a life principle learned from childhood. In the last act, he tells Lisa that his "father bequeathed" to him "to please all people without exception." Molchalin is in love "by position", "in the pleasing of the daughter of such a person" as Famusov, "who feeds and waters, / And sometimes he will give a rank ...".

Puffer
performed by A.I. Rzhanova

The loss of Sofia's love does not mean the defeat of Molchalin. Although he made an unforgivable mistake, he managed to get away with it. It is significant that Famusov brought down his anger not on the “guilty” Molchalin, but on the “innocent” Chatsky and the offended, humiliated Sophia. In the finale of the comedy, Chatsky becomes an outcast: society rejects him, Famusov points to the door and threatens to "announce" his imaginary depravity "to all the people." Molchalin is likely to redouble his efforts to make amends with Sofia. It is impossible to stop the career of such a person as Molchalin - this is the meaning of the author's attitude towards the hero. ("The silent ones are blissful in the world").

The Famusov society in Woe from Wit is a lot of secondary and episodic characters, Famusov's guests. One of them, Colonel Skalozub, - martinet, the embodiment of stupidity and ignorance. He "has never uttered a word of wisdom", and from the conversations of those around him he understands only what, as it seems to him, relates to the army theme. Therefore, to Famusov’s question “How do you get Nastasya Nikolaevna?” Skalozub businesslike replies: "We did not serve together." However, by the standards of Famus society, Skalozub is an enviable groom: “And a golden bag, and aims for generals,” therefore no one notices his stupidity and uncouthness in society (or does not want to notice). Famusov himself "deliriously raves about them", not wanting another suitor for his daughter.

Khlestov
performed by V.N. Pashennaya

All the characters that appear in Famusov's house during the ball actively participate in the general opposition to Chatsky, adding new fictitious details to the gossip about the "crazy" of the protagonist. Each of the minor characters performs in his comic role.

Khlyostov, like Famusov, is a colorful type: this is an “angry old woman”, an imperious lady-serf of the Catherine era. She “out of boredom” carries with her a “black-haired girl and a dog”, has a weakness for young Frenchmen, loves to be “pleased”, therefore she favorably treats Molchalin and even Zagoretsky. Ignorant tyranny is the life principle of Khlestova, who, like most of Famusov's guests, does not hide her hostile attitude towards education and enlightenment:

And indeed you will go crazy from these, from some From boarding schools, schools, lyceums, as you put them, Yes from Lancart mutual studies.

(D. III, yavl. 21).

Zagoretsky
performed by I.V. Ilyinsky

Zagoretsky- “a notorious swindler, a rogue”, a scammer and a cheater (“Beware of him: endure much, / Don’t sit down cards: he will sell”). The attitude towards this character characterizes the mores of the Famus society. Everyone despise Zagoretsky, not embarrassed to scold him in person (“He is a liar, a gambler, a thief,” Khlestova says about him), but in society he is “cursed / Everywhere, but accepted everywhere,” because Zagoretsky is “a master of obliging.”

"Talking" surname Repetilova indicates his tendency to mindlessly repeat other people's arguments "about important mothers." Repetilov, unlike other representatives of the Famus society, in words is an ardent admirer of "scholarship". But he caricatures and vulgarizes the enlightening ideas that Chatsky preaches, urging, for example, that everyone should study "with Prince Grigory", where "they will give you champagne to drink for slaughter." Repetilov nevertheless let it slip: he became a fan of "scholarship" only because he failed to make a career ("And I would climb into the ranks, but I met failures"). Enlightenment, from his point of view, is only a forced replacement for a career. Repetilov is a product of the Famus society, although he shouts that he and Chatsky “have the same tastes.

In addition to those heroes who are listed in the "poster" - a list of "characters" - and at least once appear on stage, many people who are not participants in the action are mentioned in Woe from Wit - these are off-stage characters. Their names and surnames flash in the monologues and remarks of the actors, who necessarily express their attitude towards them, approve or condemn their life principles and behavior.

Off-stage characters are invisible "participants" in the socio-ideological conflict. With their help, Griboyedov managed to expand the scope of the stage action, concentrated on a narrow area (Famusov's house) and kept within one day (the action begins early in the morning and ends in the morning of the next day). Off-stage characters have a special artistic function: they represent the society, of which all participants in the events in Famusov's house are a part. Playing no role in the plot, they are closely associated with those who fiercely defend the "past century" or strive to live the ideals of the "present century" - screaming, indignant, indignant, or, conversely, experiencing "a million torments" on stage.

It is the off-stage characters that confirm that the entire Russian society is split into two unequal parts: the number of conservatives mentioned in the play significantly exceeds the number of dissidents, "crazy". But the most important thing is that Chatsky, a lonely truth-seeker on the stage, is not at all alone in life: the existence of people spiritually close to him, according to the Famusites, proves that "today, more than ever, there are more crazy divorced people, and deeds, and opinions." Among Chatsky’s like-minded people is Skalozub’s cousin, who abandoned a brilliant military career in order to go to the village and start reading books (“The rank followed him: he suddenly left the service, / In the village he began to read books”), Prince Fedor, nephew of Princess Tugoukhovskaya (“ The official doesn't want to know! He's a chemist, he's a botanist..."), and the St. Petersburg "professors" with whom he studied. According to Famusov's guests, these people are just as crazy, crazy because of "scholarship", like Chatsky.

Another group of off-stage characters are Famusov's "like-minded people". These are his "idols", whom he often mentions as a model of life and behavior. Such, for example, is the Moscow “ace” Kuzma Petrovich - for Famusov this is an example of a “commendable life”:

The deceased was a respectable chamberlain, With a key, and he knew how to deliver the key to his son; Rich, and was married to a rich woman; Married children, grandchildren; Died; everyone remembers him sadly.

(D. II, yavl. 1).

Another worthy, according to Famusov, role model is one of the most memorable off-stage characters, the “dead uncle” Maxim Petrovich, who made a successful court career (“he served Catherine under the empress”). Like other "nobles in the case", he had a "haughty disposition", but, if the interests of his career required it, he knew how to deftly "serve" and easily "bent over".

Chatsky exposes the morals of the Famus society in the monologue “And who are the judges? ..” (d. II, yavl. 5), talking about the unworthy lifestyle of the “fatherland of the fathers” (“overflowing in feasts and extravagance”), about the wealth they have unjustly acquired ( “they are rich in robbery”), about their immoral, inhuman acts that they commit with impunity (“they found protection from court in friends, in kinship”). One of the off-stage characters mentioned by Chatsky “traded” the “crowd” of devoted servants who saved him “during the hours of wine and fights” for three greyhounds. The other one “for undertakings / On a fortress ballet drove on many wagons / From mothers, fathers of rejected children”, which were then “sold out one by one”. Such people, from the point of view of Chatsky, are a living anachronism that does not correspond to the modern ideals of education and humane treatment of serfs.

Even a simple enumeration of non-stage characters in the monologues of actors (Chatsky, Famusov, Repetilov) completes the picture of the mores of the Griboedov era, gives it a special, "Moscow" flavor. In the first act (fig. 7), Chatsky, who has just arrived in Moscow, in a conversation with Sophia, "sorts through" a lot of mutual acquaintances, ironically over their "oddities".

Dramatic innovation of the play

Griboedov's dramatic innovation manifested itself primarily in the rejection of certain genre canons of the classic "high" comedy. The Alexandrian verse, which was used to write the "reference" comedies of the classicists, was replaced by a flexible meter, which made it possible to convey all the shades of live colloquial speech - free iambic. The play seems "overpopulated" with characters in comparison with the comedies of Griboyedov's predecessors. One gets the impression that Famusov's house and everything that happens in the play is only part of the big world, which is brought out of its usual half-asleep state by "madmen" like Chatsky. Moscow is a temporary haven for an ardent hero wandering "around the world", a small "post station" on the "high road" of his life. Here, not having time to cool down from the frantic ride, he made only a short stop and, having experienced "a million torments", set off again.

In "Woe from Wit" there are not five, but four acts, so there is no situation typical for the "fifth act" when all contradictions are resolved and the life of the characters restores its unhurried course. The main conflict of the comedy, the socio-ideological one, remained unresolved: everything that happened is only one of the stages in the ideological self-awareness of the conservatives and their antagonist.

An important feature of "Woe from Wit" is the rethinking of comic characters and comic situations: in comic contradictions, the author discovers a hidden tragic potential. Not allowing the reader and viewer to forget about the comedy of what is happening, Griboyedov emphasizes the tragic meaning of the events. The tragic pathos is especially intensified in the finale of the work: all the main characters of the fourth act, including Molchalin and Famusov, do not appear in traditional comedic roles. They are more like the heroes of the tragedy. The real tragedies of Chatsky and Sophia are supplemented by the “small” tragedies of Molchalin, who broke his vow of silence and paid for it, and the humiliated Famusov, tremblingly awaiting retribution from the Moscow “Thunderer” in a skirt - Princess Marya Aleksevna.

The principle of "unity of characters" - the basis of the dramaturgy of classicism - turned out to be completely unacceptable for the author of "Woe from Wit". "Portrait", that is, the life truth of the characters, which the "archaist" P.A. Katenin referred to the "errors" of comedy, Griboyedov considered the main advantage. Straightforwardness and one-sidedness in the depiction of the central characters are discarded: not only Chatsky, but also Famusov, Molchalin, Sophia are shown as complex people, sometimes contradictory and inconsistent in their actions and statements. It is hardly appropriate and possible to evaluate them using polar assessments (“positive” - “negative”), because the author seeks to show in these characters not “good” and “bad”. He is interested in the real complexity of their characters, as well as the circumstances in which their social and domestic roles, worldview, system of life values ​​and psychology are manifested. The characters of Griboedov's comedy can rightly be attributed to the words spoken by A.S. Pushkin about Shakespeare: they are "living creatures, full of many passions ..."

Each of the main characters is, as it were, in the focus of a variety of opinions and assessments: after all, even ideological opponents or people who do not sympathize with each other are important to the author as sources of opinions - verbal “portraits” of heroes are formed from their “polyphony”. Perhaps rumor plays no less a role in comedy than in Pushkin's novel "Eugene Onegin". Judgments about Chatsky are especially saturated with various information - he appears in the mirror of a kind of "oral newspaper" created before the eyes of the viewer or reader by the inhabitants of the Famusov's house and his guests. It is safe to say that this is only the first wave of Moscow rumors about the St. Petersburg freethinker. Secular gossip "crazy" Chatsky gave food for gossip for a long time. But "evil tongues", which for Molchalin are "more terrible than a gun", are not dangerous to him. Chatsky is a man from another world, only for a short moment he came into contact with the world of Moscow fools and gossips and recoiled from it in horror.

The picture of "public opinion", skillfully recreated by Griboedov, is made up of the oral statements of the characters. Their speech is impulsive, impetuous, reflects an instant reaction to other people's opinions and assessments. The psychological authenticity of the speech portraits of characters is one of the most important features of comedy. The verbal appearance of the characters is as unique as their place in society, demeanor and range of interests. In the crowd of guests gathered in Famusov's house, people often stand out precisely with their "voice", the peculiarities of speech.

The "voice" of Chatsky is unique: his "speech behavior" already in the first scenes betrays in him a staunch opponent of the Moscow nobility. The word of the hero is his only, but the most dangerous "weapon" in the "duel" of the truth-seeker with the Famus society that lasts all day long. But at the same time, Chatsky, an ideologist who opposes the inert Moscow nobility and expresses the author's point of view on Russian society, in the understanding of Griboyedov's predecessor comedians, cannot be called a "definitely positive" character. The behavior of Chatsky is the behavior of an accuser, judge, tribune, who fiercely attacks the morals, life and psychology of the Famusites. But the author indicates the motives for his strange behavior: after all, he did not come to Moscow as an emissary of St. Petersburg freethinkers. The indignation that grips Chatsky is caused by a special psychological state: his behavior is determined by two passions - love and jealousy. They are the main reason for his ardor. That is why, despite the strength of his mind, the enamored Chatsky does not control his feelings, which are out of control, and is not able to act reasonably. The anger of an enlightened man, combined with the pain of losing his beloved, made him "throw beads in front of the Repetilovs." Chatsky's behavior is comical, but the hero himself experiences genuine mental suffering, "a million torments". Chatsky is a tragic character who finds himself in comic circumstances.

Famusov and Molchalin do not look like traditional comedic "villains" or "stupid". Famusov is a tragicomic person, because in the final scene, not only all his plans for Sofia's marriage are collapsing - he is threatened with the loss of his reputation, his "good name" in society. For Famusov, this is a real disaster, and therefore, at the end of the last act, he exclaims in despair: “Is my fate not deplorable yet?” The position of Molchalin, who is in a hopeless situation, is also tragicomic: captivated by Lisa, he is forced to pretend to be a modest and uncomplaining admirer of Sofia. Molchalin understands that his relationship with her will cause irritation and the anger of Famusov. But to reject Sofia's love, Molchalin believes, is dangerous: the daughter has influence on Famusov and can take revenge, ruin his career. He found himself between two fires: the "lordly love" of his daughter and the inevitable "lordly wrath" of his father.

“People created by Griboedov are taken from life in full growth, gleaned from the bottom of real life,” critic A.A. Grigoriev emphasized, “they do not have their virtues and vices written on their foreheads, but they are branded with the seal of their insignificance, branded with a vengeful hand executioner-artist.

Unlike the heroes of classic comedies, the main characters of Woe from Wit (Chatsky, Molchalin, Famusov) are depicted in several social roles. For example, Chatsky is not only a freethinker, a representative of the younger generation of the 1810s. He is both a lover and a landowner (“he had about three hundred souls”), and a former military man (once Chatsky served in the same regiment with Gorich). Famusov is not only the Moscow “ace” and one of the pillars of the “gone century”. We see him in other social roles as well: a father trying to “settle in” his daughter, and a state official “manager in a government place”. Molchalin is not only "Famusov's secretary who lives in his house" and Chatsky's "happy rival": he belongs, like Chatsky, to the younger generation. But his worldview, ideals and way of life have nothing in common with the ideology and life of Chatsky. They are characteristic of the "silent" majority of the youth of the nobility. Molchalin is one of those who easily adapts to any circumstances for the sake of one goal - to climb as high as possible up the corporate ladder.

Griboyedov neglects an important rule of classic dramaturgy - the unity of the plot action: in Woe from Wit there is no single event center (this caused the literary Old Believers to reproach the vagueness of the "plan" of the comedy). Two conflicts and two storylines in which they are realized (Chatsky - Sofia and Chatsky - Famus society) allowed the playwright to skillfully combine the depth of social problems and subtle psychologism in depicting the characters of the characters.

The author of Woe from Wit did not set himself the task of destroying the poetics of classicism. His aesthetic credo is creative freedom ("As I live, so I write freely and freely"). The use of certain artistic means and techniques of dramaturgy was dictated by specific creative circumstances that arose in the course of work on the play, and not by abstract theoretical postulates. Therefore, in cases where the requirements of classicism limited his possibilities, not allowing him to achieve the desired artistic effect, he resolutely rejected them. But often it was the principles of classic poetics that made it possible to effectively solve an artistic problem.

For example, the "unity" characteristic of classicist dramaturgy - the unity of place (Famusov's house) and the unity of time (all events take place within one day) are observed. They help to achieve concentration, "thickening" of the action. Griboyedov masterfully used some private techniques of classicism poetics: depiction of characters in traditional stage roles (unsuccessful hero-lover, his sly rival, servant - confidant of his mistress, capricious and somewhat eccentric heroine, deceived father, comic old woman, gossip, etc. .). However, these roles are necessary only as a comedy "highlight", emphasizing the main thing - the individuality of the characters, the originality of their characters and positions.

In comedy, there are a lot of "situational persons", "figurants" (as in the old theater they called episodic characters who created the background, "live scenery" for the main characters). As a rule, their character is exhaustively revealed by their "speaking" surnames and names. The same technique is also used to emphasize the main feature in the appearance or position of some central characters: Famusov - known to everyone, on everyone's lips (from Latin fama - rumor), Repetilov - repeating someone else's (from French repeter - repeat) , Sophia - wisdom (ancient Greek sophia), Chatsky in the first edition was Chad, that is, “staying in a child”, “beginning”. The ominous surname Skalozub is “shifter” (from the word “tooth-skal”). Molchalin, Tugoukhovsky, Khlestova - these names "speak" for themselves.

In "Woe from Wit" for the first time in Russian literature (and, most importantly, in drama), the most important features of realistic art were clearly manifested. Realism not only liberates the individuality of the writer from deadly "rules", "canons" and "conventions", but also relies on the experience of other artistic systems.

"Woe from Wit" is one of the most topical works of Russian dramaturgy. The problems posed in comedy continued to excite Russian social thought and literature many years after its birth. "Woe from Wit" is the fruit of Griboyedov's patriotic thoughts about the fate of Russia, about the ways of renewal, the reorganization of her life.

From this point of view, the most important political, moral and cultural problems of the era are covered in the comedy. The content of the comedy is revealed through the collision and change of two epochs of Russian life - "the present century" and "the past century". The border between them, in my opinion, is the war of 1812 - a fire in Moscow, the defeat of Napoleon, the return of the army from foreign campaigns. After World War II, two social camps developed in Russian society: this is the camp of feudal reaction in the person of Famusov, Skalozub and others, and the camp of advanced noble youth in the person of Chatsky. The comedy clearly shows that the clash of the "ages" was an expression of the struggle between these two camps.

In Famusov's enthusiastic stories and Chatsky's accusatory speeches, the author creates an image of the 18th, "past century". The "past century" is the ideal of the Famus society, because he is a convinced serf-owner. He is ready to exile his peasants to Siberia for any trifle, hates enlightenment, crawls before his superiors, cursing himself as best he can to get a new rank. He bows before his uncle, who "ate on gold", served at the court of Catherine herself, walked "all in orders." Of course, he received his numerous ranks and awards not thanks to faithful service to the fatherland, but by currying favor with the empress.

Skalozub stands next to Famusov in the comedy - "and a golden bag and aims for generals." Colonel Skalozub is a typical representative of the Arakcheev army environment. At first glance, his image is caricatured. But this is not so: historically it is quite truthful. Like Famusov, Skalozub is guided in his life by the philosophy and ideals of the "past century", but in a cruder form. He sees the purpose of his life not in serving the fatherland, but in achieving ranks and awards, which, in his opinion, are more accessible to the military.

People of the Famusovsky circle are selfish and greedy. They spend all their time in secular entertainment, vulgar intrigues and stupid gossip. This special society has its own ideology, its own way of life, views on life. They are sure that there is no other ideal than wealth, power and universal respect. “After all, it is only here that they value the nobility,” Famusov says about lordly Moscow. Griboyedov exposes the reactionary nature of serf society and in this way shows where the Famusov domination is leading Russia.

He puts his revelations into the monologues of Chatsky, who has a sharp mind. For friends and enemies, Chatsky was not just smart, but a "freethinker" belonging to the advanced circle of people. The ideas that excited him disturbed the minds of all the progressive youth of that time. Chatsky gets to Petersburg when the Decembrist movement is born there. In this situation, in my opinion, Chatsky's views and aspirations take shape. He knows literature well. Famusov heard rumors that Chatsky "writes and translates nicely." Such a passion for literature was characteristic of free-thinking noble youth.

At the same time, Chatsky is also interested in social activities: we learn about his connection with the ministers. I believe he even managed to visit the village, because Famusov claims that he “pleased” there. It can be assumed that this "whim" meant a good attitude towards the peasants, perhaps some economic reforms. These lofty aspirations of Chatsky are an expression of his patriotic feelings, hostility to the aristocratic customs and serfdom in general. I think I will not be mistaken in assuming that Griboedov for the first time in Russian literature revealed the national-historical origins of the Russian liberation movement of the 20s of the 19th century, the circumstances of the formation of Decembrism. It is the Decembrist understanding of honor and duty, the social role of a person that is opposed to the slavish morality of the Famusovs. “I would be glad to serve, it’s sickening to serve,” says Chatsky. Just like Griboyedov, Chatsky is a humanist, defends the freedom and independence of the individual.

He sharply exposes serfdom in an angry speech “Who are the judges?”. In it, Chatsky denounces the feudal system he hates. He highly appreciates the Russian people, speaks of their mind, love of freedom, and this, in my opinion, also echoes the ideology of the Decembrists. The idea of ​​“independence” of the Russian people is carried out in the comedy. The kowtowing before everything foreign, the French upbringing, usual for the noble environment, causes a sharp protest of Chatsky.

Obviously, Chatsky is not alone in comedy. He speaks on behalf of the whole generation. A natural question arises: who did the hero mean by the word "we"? Probably the younger generation going the other way. Chatsky believes in the advent of a new era. More recently, "the direct was the age of humility and fear." Today, a sense of personal dignity is awakening. Not everyone wants to serve, not everyone is looking for patrons. There is public opinion. It seems to Chatsky that the time has come when it is possible to change and correct the existing feudal order through the development of advanced public opinion, with the help of new humane ideas.

The fight against the Famusovs in comedy has not ended, because in reality it has just begun. The Decembrists and Chatsky were representatives of the first stage of the Russian liberation movement.

"The Past Century" presents in the comedy the Moscow noble society, which adheres to the established rules and norms of life. A typical representative of this society is Pavel Afanasyevich Famusov. He lives in the old fashioned way, considers his uncle Maxim Petrovich as his ideal, who was a vivid example of a nobleman from the time of Empress Catherine. Here is what Famusov himself says about him:

He's not on silver

I ate on gold; one hundred people at your service;

All in orders; he drove forever in a train;

A century at the court, but at what court!

Then it's not what it is now...

Chatsky considers that century a century of "submission and fear." He is convinced that those morals are a thing of the past and now hunters to scoff "frightens laughter and keeps shame in check."

However, everything is not so simple. The traditions of bygone days are too strong. Chatsky himself turns out to be their victim. He, with his directness, wit, impudence, becomes a revolter of social rules and norms. And society takes revenge on him. At the first meeting with him, Famusov calls him "carbonari". However, in a conversation with Skalozub, he speaks well of him, says that he is “small with a head”, “writes nicely, translates”, while regretting that Chatsky does not serve. But Chatsky has his own opinion on this matter: he wants to serve the cause, not individuals. So far, apparently, in Russia it is impossible.

At first glance, it may seem that the conflict between Famusov and Chatsky is a conflict of different generations, a conflict of "fathers" and "children", but this is not so.

After all, Sophia and Molchalin are young people, almost the same age as Chatsky, but they fully belong to the "past century." Sophia is not stupid. Chatsky's love for her can serve as proof of this. But she absorbed the philosophy of her father and his society. Her chosen one is Molchalin. He is also young, but also a child of that old milieu. He fully supports the morals and customs of the old lordly Moscow. Both Sofia and Famusov speak well of Molchalin. The latter keeps him in the service, "because he is businesslike," and Sophia sharply rejects Chatsky's attacks on her lover. She says: Of course, he does not have this mind, What a genius for others, but for others a plague ...

But for her, the mind is not the main thing. The main thing is that Molchalin is quiet, modest, helpful, disarms the priest with silence, will not offend anyone. In short, the perfect husband. We can say that the qualities are wonderful, but they are deceitful. This is just a mask behind which his essence is hidden. After all, his motto is moderation and accuracy, ”and he is ready to“ please all people without exception, ”as his father taught him. He goes persistently to his goal - a warm and profitable place. He plays the role of a lover only because it pleases Sophia herself, the daughter of his master. And Sofya sees in him the ideal of a husband and boldly moves towards her goal, not being afraid of "what Princess Aleksevna will say."

Chatsky, getting into this environment after a long absence, is at first very benevolent. He strives here, because the "smoke of the Fatherland" is "sweet and pleasant" to him, but this smoke turns out to be carbon monoxide for him. He meets a wall of misunderstanding, rejection. His tragedy lies in the fact that on the stage he alone opposes the Famus society.

But in the comedy Skalozub's cousin is mentioned, who also "stranges" - "suddenly left the service", locked himself in the village and began to read books, but he "followed the rank." There is also a nephew of Princess Tugoukhovskaya "chemist and botanist" Prince Fedor. But there is also Repetilov, who is proud of his involvement with some kind of secret society, whose entire activity boils down to "make noise, brother, make noise." But Chatsky cannot become a member of such a secret union.

But you can understand Chatsky. He experiences a personal tragedy, he does not find friendly sympathy, he is not accepted, he is rejected, he is expelled, but the hero himself could not exist in such conditions. "Current age" and "past century" clash in comedy. The past time is still too strong and gives rise to its own kind. But the time for change in the face of Chatsky is already coming, although it is still too weak. ““The current century” replaces the “past century”, for this is an immutable law of life. The appearance of the Chatsky Carbonari at the turn of historical eras is natural and logical.