The richness of the language of comedy A.S.
In the text "Woe from Wit" language is reflected in three ways- as a living speech, as a literary norm and as a work of art. Accordingly, three circles of linguistic problems arise, the researcher of each of which can look at the text of Woe from Wit as his own material. The first one sees in this text one of the most important sources for the history of the living Moscow dialect, as it affected the everyday life of the Moscow noble circle in early XIX century. The second looks at "Woe from Wit" as a wonderful monument to the history of the Russian literary language, along with Krylov's fables, which especially vividly reflected the implementation known facts Russian vernacular in constituent element the all-Russian national language norm. Finally, "Woe from Wit" is also universally recognized high pattern Russian artistic speech , one of the most remarkable achievements of Russian language skills. This is what our conversation will be about.
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What are the features of the language in the comedy Woe from Wit
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A. S. Griboyedov's comedy "Woe from Wit", written between 1815 and 1820 and published in 1824, remains in Russian literature the greatest monument. The author, who said about himself: "As I live, I write freely and freely," created a work that marked the formation of a new for Russian literature XIX century, realistic art style. Griboyedov also said that he was trying to portray the "nature of events", which was for him both a source and an object of art. But at the same time, he did not set as his goal the copying of reality, he called naturalistic images caricatures: "I hate caricatures, you will not find a single one in my picture. Here is my poetics." It was the poetics of a realist artist, who, by the power of art, transforms the "nature of events", able to single out the most essential and typical in it. The same realist artist and innovator was Griboedov in the field of literary language. In resolving language issues, he was ahead of most writers - his contemporaries. The critic Orlov believed that, along with Krylov and Pushkin, Griboyedov was the true creator of our literary language. On the one hand, he sought to get away from the smooth, impersonal language of secular love comedies, which were written by playwrights fashionable in those days. On the other hand, he tried to rid his verse of the ponderous Techniques of old bookish speech. His artistic task Griboedov considered the enrichment of the literary language a living practice colloquial speech. Therefore, in "Woe from Wit" he widely used colloquial and, in addition, endowed each of his characters with his own special speech characteristic. So, Skalozub's speech is full of military terms, phrases similar to military orders, rude military expressions: "you won't fool me with learning", "to teach in our way: one, two." Silent's speech is laconic, insinuating, delicate, filled with respectful words. The experienced Moscow lady Khlestova speaks in a rude, unceremonious language that clearly reflects her essence. Chatsky's speech is very diverse, rich in shades. It sounds either romantic sensitivity, fiery passion, or harsh satire, denouncing the vices of Famus society. At the same time, he is able to accurately and expressively expose the low essence of the representatives of this society with only two or three words. The hero subtly feels originality and wealth mother tongue. Being human high culture, he rarely resorts to foreign words, deliberately making it his principle: "so that our smart, peppy people, although in language we are not considered Germans." You can’t say the same about the speech of lordly Moscow, in which a monstrous mixture of French and Nizhny Novgorod comes through. Griboyedov subtly and maliciously ridicules in his comedy the fact that for the most part representatives of the nobility do not speak their native language. The literary community of the 20s of the 19th century was delighted with the skill with which Griboyedov "translated into unconstrained rhymes" a living "colloquial language". Speaking about the poetic comedies of that time, the critic V. F. Odoevsky wrote: “In one Griboyedov we find a relaxed, easy, exactly the same language as they speak in our societies, in him alone we find a Russian flavor in the syllable.” The brilliance and nationality of the poetic language of Griboyedov's comedy evoked rave reviews not only from his contemporaries. I. A. Goncharov, who wrote in 1872 the literary-critical article "A Million of Torments", which still remains classical work about the comedy "Woe from Wit", was admired by his colloquial liveliness, aphorism and accuracy. “Salt, epigram, satire, this colloquial verse,” he wrote, “it seems that they will never die, just like themselves, the sharp and caustic, living Russian mind scattered in them, which Griboyedov concluded, like a magician of the spirit of some kind, in his castle, and it crumbles there with malicious laughter. It is impossible to imagine that another, more natural, simple, more taken from life speech could ever appear. , it seems that it would be easier to keep them in memory and put back into circulation all the mind, humor, joke and anger of the Russian mind and language collected by the author. The verse of the comedy, as well as its language, struck contemporaries with its ease and naturalness. Using the usual six-foot iambic, he at the same time alternates it with other sizes - from one-foot to five-foot. Thanks to this, his verse becomes light, colorful and diverse. The very form of poetry in "Woe from Wit" carries a lot of new things. Here the author has achieved an amazing lightness of verse, which is almost imperceptible in dialogue and at the same time is unusually clear and expressive. Griboyedov's free manner of writing prepared the transition of Russian drama, in particular comedy, to prose language.
The language of "Woe from Wit" was significantly different from the language of the comedy of those years. Griboyedov contrasted sentimentalist aestheticism and sensitivity, as well as the classicist "theory of three calms", with the realistic principle of nationality. The speech of the heroes of the play is, first of all, the speech that could really be heard in the salons and living rooms, "when driving on the porch", in inns, in clubs and in officers' meetings. This rejection of the basic tenets of belles lettres has sparked critical controversy. Dmitriev, already mentioned, reproached Griboyedov with a number of phrases and turns of speech, which, in the opinion of the critic, could not be allowed in literature. However, most critics praised the playwright's linguistic innovation. "I'm not talking about poetry, half of it should become a proverb" - this is how Pushkin assessed Griboedov's skill. “As for the poems in which Woe from Wit was written, in this respect Griboedov killed for a long time any possibility of Russian comedy in verse. A brilliant talent is needed to continue the work begun by Griboedov with success ...” Belinsky wrote in one of his articles.
Indeed, many lines from comedy began to be perceived as aphorisms, idioms living their independent life. Saying: " happy hours they don’t observe”; “went into a room, got into another”; “sin is not a problem, rumor is not good”; “and grief awaits from around the corner”; “and the smoke of the Fatherland is sweet and pleasant to us”; “more in number, at a cheaper price”; “with feeling, sensibly, with arrangement”; “would be glad to serve, it’s sickening to serve”; “tradition is fresh, but hard to believe”; " gossips worse than a gun"; "the hero is not my novel"; "lie, but know the measure"; "ba! all familiar faces" - many people do not remember where these phrases come from.
Language in comedy is both a means of individualization of characters and a method of social typification. Skalozub, for example, as a social type of a military man, very often uses army vocabulary (“frunt”, “ranks”, “sergeant major”, “trench”), and the individual characteristics of his speech reflect his self-confidence and rudeness (“you won’t fool me with scholarship”, “but utter a word, it will calm you down in an instant”), insufficient education, manifested in the inability to build a phrase (“for the third of August, we sat down in a trench: he was given a ban that, on my neck") and in an inaccurate choice of words ("with this estimate" instead of "sharpness"). At the same time, he also tries to be wisecracking ("we did not serve together with her").
Famusov’s speech is the so-called Moscow noble vernacular (“they don’t blow anyone’s mustache”, “would you smoke in Tver”, “I scared you”, “trouble in the service”), replete with diminutive forms (“whether to the baptism, to the shtetl”, “ventilator”). This character appears in the play in various situations, and therefore his speech is so diverse: either ironic (“After all, I’m somewhat akin to her,” he says about Sofya Chatsky), then angry (“Get you to work! Settle you!”), then frightened.
Especially a lot of author's work was demanded by Chatsky's monologues and remarks, which also appears as a new public type, close and in terms of speech features to the Decembrist pathos. In his speech there are often rhetorical questions(“Oh! if someone penetrated into people: what is worse in them? soul or language?”), inversions (“Are you not the one to whom I was still from the veil, for the plans of some incomprehensible ones, children were taken to bow?”), antitheses (“He is fat, his artists are skinny”), exclamations and special vocabulary (“weakness”, “meanest”, “hungering”, “slave”, “most holy”). At the same time, in Chatsky's speech, one can meet Moscow vernacular (“alongside”, “I don’t remember”). In the language of the protagonist, most of all aphorisms, irony, sarcasm. In addition, this speech conveys a wide range psychological characteristics character: love, anger, friendly concern, hope, offended pride, etc. The language also reveals the negative aspects of Chatsky's character - harshness and willfulness. So, to Famusov's question: "... do you want to get married?" - he answers: "What do you need?", and Sofya declares: "Did your uncle jump back his eyelid?" The hero's monologues and lines are always right on target and hard to dodge or parry. He does not miss a serious reason, not the slightest reason to strike, and does not give an opportunity to retreat with honor, and then his opponents unite. Chatsky is really a warrior, which Goncharov convincingly showed, but war always entails grief and suffering.
