And the foolish grief from the mind. V

Interactive exhibition of one book for the birthday of A.S. Griboyedov

Alexander Sergeevich Griboyedov - a famous Russian writer, poet, playwright, brilliant diplomat, state councilor, author of the legendary play in verse "Woe from Wit", was a descendant of an old noble family. Born in Moscow on January 15 (January 4, O.S.), 1795, from an early age he showed himself to be an extremely developed, and versatile, child. Wealthy parents tried to give him an excellent home education, and in 1803 Alexander became a pupil of the Moscow University Noble Boarding School. At the age of eleven, he was already a student at Moscow University (language department). Becoming a candidate of verbal sciences in 1808, Griboyedov graduated from two more departments - moral and political and physical and mathematical. Alexander Sergeevich became one of the most educated people among his contemporaries, knew about a dozen foreign languages, was very gifted musically.

With the outbreak of the Patriotic War of 1812, Griboyedov joined the ranks of the volunteers, but he did not have to participate directly in hostilities. With the rank of cornet, Griboyedov served in a cavalry regiment in reserve in 1815. The first literary experiments date back to this time - the comedy "Young Spouses", which was a translation of a French play, the article "On Cavalry Reserves", "Letter from Brest-Litovsk to the Publisher."

At the beginning of 1816 A. Griboyedov retired and came to live in St. Petersburg. Working in the College of Foreign Affairs, he continues his studies in a new writing field for himself, makes translations, joins the theatrical and literary circles. It was in this city that fate gave him an acquaintance with A. Pushkin. In 1817 A. Griboyedov tried his hand at drama, writing the comedies "Own Family" and "Student".

In 1818 Griboyedov was appointed secretary of the tsarist attorney who headed the Russian mission in Tehran, and this radically changed his further biography. The expulsion of Alexander Sergeyevich to a foreign land was regarded as a punishment for the fact that he acted as a second in a scandalous duel with a fatal outcome. The stay in Iranian Tabriz (Tabriz) was really painful for the aspiring writer.

In the winter of 1822, Tiflis became Griboyedov's new place of service, and General A.P. Ermolov, Ambassador Extraordinary and Plenipotentiary to Tehran, commander of Russian troops in the Caucasus, under which Griboyedov was secretary for diplomatic affairs. It was in Georgia that he wrote the first and second acts of the comedy "Woe from Wit". The third and fourth acts were composed already in Russia: in the spring of 1823 Griboyedov left the Caucasus on home leave. In 1824, in St. Petersburg, the last point was made in the work, whose path to fame turned out to be a thorny one. The comedy could not be published due to the prohibition of censorship and was sold in handwritten copies. Only small fragments "slipped" into print: in 1825 they were included in the issue of the almanac "Russian Thalia". The brainchild of Griboyedov was highly appreciated by A.S. Pushkin.

Griboyedov planned to take a trip to Europe, but in May 1825 he had to urgently return to service in Tiflis. In January 1826, in connection with the case of the Decembrists, he was arrested, held in a fortress, and then taken to St. Petersburg: the writer's surname appeared several times during interrogations, moreover, during searches, handwritten copies of his comedy were found. Nevertheless, in the absence of evidence, the investigation had to release Griboyedov, and in September 1826 he returned to his official duties.

In 1828, the Turkmanchay peace treaty was signed, which corresponded to the interests of Russia. He played a certain role in the biography of the writer: Griboyedov took part in its conclusion and delivered the text of the agreement to St. Petersburg. For his merits, the talented diplomat was awarded a new position - plenipotentiary minister (ambassador) of Russia in Persia. In his appointment, Alexander Sergeevich saw "political exile", plans for the implementation of numerous creative ideas collapsed. With a heavy heart, in June 1828 Griboyedov left St. Petersburg.

Getting to his place of service, for several months he lived in Tiflis, where in August he was married to 16-year-old Nina Chavchavadze. He left for Persia with his young wife. In the country and abroad, there were forces that were not satisfied with the growing influence of Russia, which cultivated in the minds of the local population hostility towards its representatives. On January 30, 1829, the Russian embassy in Tehran was brutally attacked by a brutal crowd, and one of its victims was A.S. Griboyedov, who was mutilated to such an extent that he was later identified only by a characteristic scar on his arm. The body was taken to Tiflis, where the grotto at the Church of St. David became its last refuge.

Fate, naughty minx,
I defined it myself:
All stupid - happiness from madness,
All clever - grief from the mind.

Epigraph to the comedy of Griboyedov

That was six or eight months ago. I stood in front of a small bookcase that made up the entire wealth of the newly founded Library for Employees at one of the innumerable St. Petersburg offices; I was invited to enroll in it, but I hesitated, seeing too little choice of books.

Pardon me, you don’t even have Turgenev and Goncharov, which I’ll find for the same fifty dollars a month in any library ... What is the purpose of your enrollment?

The young man, handwritten catalog in hand, stirred.

I stretched out my hand to the spine with an obscure inscription, and with amazement pulled out the lanky volume of Pisarev: I still did not know about the release of the new edition and looked with curiosity at "The first volume, with a biography and a portrait" of the smooth-headed critic. Seeing my attention, the official remarked:

We already follow the books coming out and do not miss the opportunity. The edition had just appeared, and for a long time it was impossible to get these works for any price ...

I looked once more at the librarian's face; decidedly he could not have been given more than 21 years. "If it were not for here, in the chancellery," I thought, "I would have entered the volunteers. There are now many thousands of them, even tens of thousands, not ripening in gymnasiums "...

Listen, I asked, you don't mix Pisemsky with Pisarev? ..

No, after all, Pisemsky seems to be under Novi and, if I'm not mistaken, a novelist? Why would Wolf need a critic for applications? We have a serious library.

I contributed fifty dollars and decided to become a member of the "serial" library.

So from a bit of labor
Temples of God grow
On the face of the earth, dear ...

Well, this was before, in stupid times, "temples of God" grew up, but now, when the people, thanks to "initial training", have grown wiser, there is something to grow and better.

And give, give passers-by ...

Nick. Kareevs, Pavlenkovs, Ev. The Solovievs collect "mites" and put them in their pockets; sometimes, it is true, they also cheat, that is, in a noble, literary sense, they cheat, "not keeping the direction"; so, in No. 337 of Novosti, of December 1, 1895, I have just read the announcement, which I am hereby presenting in full:

"Went on sale fifth edition
philosophical and psychological study
OK. Notovich "Love",
with the attachment of his own critical-philosophical study:
"The beauty"

with forewords by famous representatives of the modern Italian philosophical school C. Lombroso and G. Ferrero, a review by Montegazza (author of The Physiology of Love) and Letters to the Author from Olympus by D.L. Mordovtseva.

The price of the book (an elegant volume of more than 20 sheets) 1 p. 50 k. Subscribers to "Novosti" pay only one ruble per book. Requests are addressed to the bookstore of the newspaper "Novosti", B. Morskaya, 33 ".

But just two months ago, the same "Novosti" also published an ad:

"OK Notovich. GT Bokle. The history of civilization in England in a popular presentation. Tenth edition. St. Petersburg, 1895. Ts. 50 k.".

And in the "Northern Herald" for December 1895, I even read a review:

“Buckle’s interesting work is still widely known in Russia. tenth edition. One might think that, thanks to Mr. Notovich's book, Buckle began to penetrate into the middle strata of the Russian reading public, and no matter how anyone looks at the scientific merits of this historical research, one cannot but recognize the work that Mr. Notovich has done useful. The author's presentation is distinguished by the accuracy of scientific expressions. In literary terms, the book should be recognized as impeccable both in the sense of style and in the sense of the clarity of the transmission of Buckle's main ideas in a language accessible to those for whom the full edition of his work is not available. The author's intention would be crowned with even greater success if for the next 11th edition he lowered the price of his book to 20 k. Per copy "(Section II of the December book of the magazine, p. 87).

"Went on sale 11-20 thousand copies newly published F. Pavlenkov:

"History of Civilization in England by T. Buckle".

Translated by A. Buinitsky. With notes. Ts. 2 p. The same translation without notes - 1 p. 50 K. ".

I don't know why I started talking about ads. I actually wanted to talk about the third book "Struggle with the West in Our Literature" by my good and old friend, N.N. Strakhov, just released by the author; I thought to help the "book" with a kind review. But too many "announcements" caught my eye and I involuntarily "turned my heart" ... to other sorrows.

Here - "beauty" comes, here - "love" helps. I want to say that with you, an old friend, who have neither beauty, nor, in this special sense, "love", books will lie on store shelves, not asked by anyone, absolutely useless to anyone. They will lie just as motionless as the books of our dead friends, yours - Ap, still "lie". Grigoriev, published in 1876, and mine - K. Leontyev, published in 1885-1886, are still not sold out; how the opera omnia of two unforgettable professors of Moscow University "lie", T.N. Granovsky, so "noisily" celebrated in the press and silently unreadable, and his student Kudryavtsev; how "lies" quietly "Rural School" of Rachinsky, published in 1892 and did not require a new edition. Everything smart and noble in Russia "lies" and everything shameless and stupid "goes forward" noisily ...

For some reason I think that I'm talking about the very, about the very important fact of modern literature - more significant and capable of provoking thought than as if there was still "War and Peace", also "Fathers and Sons" ... For, in essence, he prejudges all the rest ... He shows that that literature, which is thought to be a work of a few old idealists, a few gray wigs left over from the past - that this literature ... No at all: she does not exist in that spiritual, ideal, sweet, dear sense that we historically connect with her name and, by naivety, misunderstanding, continue to preserve to this day.

This is a lost field - the field of literature; the field of civilization, culture, spirit - it is lost. Precisely now, precisely in our days, when, apparently, everything shuns before them, when all doors are open for them, their name is welcomed everywhere - in the very greetings, in the very openness of all the entrances and exits before her, in the most victorious cries - the death knell is heard ...

She won and died.

It looks like a charge in the muzzle of a torn, broken gun. Let the gunpowder flare up, the wad smolder - the surrounding people will only laugh ...

Let the new prophet's word be heard; Dante's tercents will still sound - "society" will sleepily reach for the fifth edition of "love and beauty", the ninth edition of the abridged Buckle, the nineteenth thousand complete "History of Civilization in England" ...

On this lost field, my good and old friend, your book will lie on an extra bone ... What is it that it will lie next to the "noble bones"; this is a field not only lost, but, in essence, forgotten. New Time - i.e. not only "Novoye Vremya" A.S. Suvorin, but in general the new era, to which Suvorinskoe only dances, goes past him, pinching his nose "from carrion" - to other joys, to other joys - the very same things that appear in the "announcements" I have cited.

Dear friend, I think we can only die. Russia, which we defended, which we love, for the sake of which we "fought with the West," can only die.

The Russia that is to live - we will not love this Russia.

These poor villages
This dull nature ...
Will not understand and appreciate
The proud look of a foreigner,
What shines through and shines secretly
In your humble beauty ...

These "poor villages" take on a new, very lively, but also very unexpected look:

One foot touching the floor
To another - slowly circles,
And suddenly - a jump, and suddenly - flies,
Flies like fluff from the mouth of Eol ...

We cannot wish her, in this new "flight" - no good; we wish her every harm.

Dejected by the burden of the godmother,
All of you, dear land,
In slavery, the Heavenly King
I went blessing ...

I want to cry; however, why not laugh:

Flies like fluff from the mouth of Eol,
Now the camp will advise, then it will develop
And he hits the leg with a quick foot.

Oh, how we hate you, the originators of this sad change; you and even those great ones, on whom, having pressed like a small weight on the end of a long lever, you made a revolution: all of them, from Cantemir, still naive, to the evil Shchedrin, without turning off, however, the intermediate ones.

"Woe is from the mind," said the greats; "There is nothing to blame on the mirror, if the face is crooked," they reassured. And thousands of monkey faces, poking at the verbal "mirror" - burst into Homeric laughter; thousands of fools, assuming a tragic pose, said that they were suffocating "at home", that they were "stuffy", that "invisible tears" burned their hearts "through the laughter visible to the world" ...

Old crosses swayed, old graves moved aside.

A new time has come, a new era has come, at which we do not know how to laugh, at which still no forms of laughter have been invented. There is "Love" and "Beauty".

Not a very important "beauty" - not Aphrodite Meditseyskaya, and not a very rare love - on Bolshaya Morskaya, building 33, costs only one ruble. But anyway...

Perhaps, however, the doctor will have to pay three rubles afterwards? ..

“Without risk, there is no pleasure,” as my friend Mr. Arseniev would have remarked in fragments.

But there is emphatically no risk; about this, Mr. N. Mikhailovsky, when he wrote "literature and life", and also "literature and life" and again then "literature and life" - warned his young readers, flourishing strength and health, saying that "will be released soon, in a very good, albeit old translation of Buinitsky, an English thinker, before whom our native Yasnaya Polyana sage is so poor. " And Mr. Skabichevsky confirms this - he, in his old age, sheltered under the same fig tree, on Bolshaya Morskaya, 33, from where Bokl emanates and where they make "love" and "beauty".

How messed up, worms; and you can't tell where who starts and where it ends. Mikhailovsky recommends Buckle; Notovich him popularizes and publishes in nine editions; v the same time he originally composes "beauty" and "love"; him collaborating "critic of the 60s", Mr. Skabichevsky, dear to the heart of N. Mikhailovsky; Pavlenkov publishes the same Boklya, and Eug. Solovyov writes a "preface" to him. Everyone is obviously "sympathetic to each other."

"This beauty is dear," - said the old man Marmeladov about his daughter: you need fudge, and this and that; without purity - in this position it is impossible ".

In 1891, N. Mikhailovsky asked me in response to the article "Why do we abandon the inheritance of the 60s and 70s?" - "why are you so unfounded refuse without bringing decisively no one fact. "He wrote then:

"In his article, Mr. Rozanov develops the idea that we, the older generation, have understood such a complex being as man, - poor, flat, rude. He does not support his thought with a single factual proof, not a single quote, not even a single anecdote. It is very easy to write like this, but it is difficult to convince someone of anything like that. I can even now, perhaps, write about some, for example, a London art gallery, which I have never seen, that there art is presented poorly, flat, rough. I can do the same with Danish literature, with Spanish industry, in a word, with any group of phenomena that I know little or nothing at all. And I am inclined to think that Mr. Rozanov knows very little of the legacy from which he so solemnly rejects. To the barefaced I can oppose Mr. Rozanov's opinion with an equally unfounded one. Never in our history has a person been understood so sublimely and subtly as in those memorable 60s. There were, of course, hobbies and mistakes ... ", etc. (" Russkiye Vedomosti ", 1891, No. 202).

Now, having thrown this lump of worms in his face, where he himself "with Buckle" swarms about "love" and "beauty" - I can answer, though late, but definitively about the motives of the "refusal" in the 80s "from inheritance 60-70s ":

We forgot the fondant, gentlemen - they didn't keep it clean: it smells very much.

And I can add, looking back at all Russian literature, from the archaic Kantemir and ... to the "third book" of "Struggle with the West" * by my kind and old friend - a book that will probably have to lie on the shelves of bookstores.

______________________

* By the way, in one place it is mentioned that "one of the glorious flock," Mr. N. Mikhailovsky, announced its author, that is, Mr. N. Strakhova, "a perfect insignificance"; he was probably looking for "love" in her and found a doctor's prescription. I myself also remember how I read somewhere in his "Literature and Life" mockery of the fact that "Zarya", the magazine in which at one time published Ap. Grigoriev, N. Ya. Danilevsky and N. Strakhov - "did not know the subscribers at all", and the editors "tried to hide it from the public" in order to lure at least someone to sign up for the new year ... ads I have not forgotten about the subscription of a hostile magazine; even he reproached the organ of literature, already dying of indifference from society, which, however, published the best, most serious works on criticism and history, now recognized by all. "You were dying," says the generous critic of the 70s, "you were dying — and you dared to pretend that your lungs were full of air."

______________________

To whom is "woe from wits" - in real life! And "to whom", on the contrary, "live well in Russia"? And whose, finally, little-human face is reflected in the "non-distorting mirror" of the great and sad satirist? ..

Who is specific, on name and patronymic called, about whom all this was written impersonally in our literature? To whom exactly

At ease, fun
Living in Russia?

And who is that "invisibly pouring" tears in her, about whom the great artist wrote in his "poem" and forgot sign name?..

What a tragedy, what an inexpressible tragedy is our life, our history, if it is in front of this suffering, tortured, crying face, placing the mirror of satire, our literature wheezes impudently and drunkenly:

There is no need to blame the mirror
- if the face is crooked

And he bursts into laughter, bursts into uncontrollable laughter, more wild and bestial than what, in the best days of their triumph, the gentlemen laughed at the memorable governor's ball "one thicker" and "others thinner."

The dead shadows and you, the living righteous, scattered across the bearish corners of Russia - I call you to witness: is that so?

Vasily Vasilyevich Rozanov (1856-1919) - Russian religious philosopher, literary critic and publicist, one of the most controversial Russian philosophers of the 20th century.

Class: 9

“All this amazes, attracts, attracts attention ...”. This is how A.A. Bestuzhev wrote about “Woe from Wit” by A.S. Griboyedov. Banned for printing and staging on the stage of the theater, a comedy or, according to the author himself, a stage poem was wildly popular. The text was repeatedly rewritten by hand, memorized, A.S. Griboyedov was invited “to the evening” to read his masterpiece. Critics argued about him, admired, condemned, praised, criticized ... The popularity of the "stage poem" is quite understandable: the ideas of Decembrism in Russian society, the confrontation between "the present century and the past century", a system of characters different from classicism .. But how sometimes it is difficult to explain today schoolchildren, what exactly is the grief of the characters of the comedy and why this grief takes its origins from the mind. But it's worth trying. So, Woe from Wit or "All stupid - happiness from madness, all smart - grief from wits".

The first thing we draw the attention of schoolchildren is the title of the work. The very name of the comedy "Woe from Wit" already indicates that the heroes of the comedy suffer grief from their wits. However, initially Griboyedov called his work "Woe to the mind." What is the meaning of this change? We will listen to the children's answers and, if possible, bring them to a “common denominator”. The original version of the name made it clear that only smart people have grief. There may be no grief if there is no mind. The final version of the title of the comedy focuses the reader's attention on strong heroes with the concept of mind, but those who are suffering grief, since they cannot properly dispose of their mind.

Griboyedov in a letter to PA Katenin pointed out: "In my comedy there are 25 fools for one sane person." Whom did Griboyedov mean? The answer seems to be obvious: Chatsky. Consequently, the other characters in the play are fools. But is it really so? Sanity and intelligence are manifested in a person's actions. Let's turn to the actions of the heroes.

Chatsky - was absent for three years, did not write letters, suddenly rushed to the house of Famusov with a declaration of love for Sophia (let's pay attention to the age of the heroine); does not make an official offer, conflicts with Famusov (Sophia's father), is jealous of Skalozub and Molchalin, reproaches Sophia for being cold; convinced that they preferred Molchalin to him, he begins to criticize and ridicule Famusov's guests at the ball, where Chatsky himself is only a guest; accidentally witnessing Molchalin's confessions to Liza, does not spare the feelings of Sophia (beloved), leaves offended. So what was the clever thing that the hero did? No! But should Chatsky deny his mind? Of course no ... After all, he is an educated person, thinking in the advanced and progressive for his time, he is simply young, hot, in love, offended ... Hence the absurdity of actions, and the illogicality of actions, and the strangeness of behavior.

Although Pushkin denied Chatsky in his mind, considering his behavior unacceptable for an intelligent person, after all, an intelligent person will not “throw pearls in front of pigs”, will not put himself in a funny and stupid position.

Famusov is an influential nobleman, dignitary, respected person in society; respects the norms and rules of behavior in society, raised Chatsky when he was left without parents, helped him to establish the necessary connections, taught life, instructed. Returning Chatsky gives sensible and practical advice on how best to settle in this life; values ​​his reputation as a successful and impeccable person. So is it really a fool in front of us? No. But actions. ... He does not see what is happening under his very nose (the connection between Sophia and Molchalin), does not understand the danger posed by Chatsky, allows the family scandal to become the property of society. Why does an intelligent person behave like a boy?

Sophia is “strong nature, lively mind, passion and feminine softness” in the words of IA Goncharov. For a girl of the early 19th century, she is very progressive and intelligent. She herself chooses her beloved, and this is not the "golden bag" of Skalozub, but the inconspicuous and far from wealthy Molchalin (Famusov's secretary); Sophia is not ashamed of her choice, almost does not hide it, for the sake of personal happiness she is ready to go all the way: not to allow Chatsky to interfere and to decide her fate to Famusov. In fact, Sophia is rebelling, rebelling against the norms and laws of Moscow society, and although her rebellion is limited only to the personal and family sphere, it is still a rebellion. But the smart and faithful Sophia is mistaken in the most important thing: in the choice of a lover. She takes Molchalin's adaptability for respect for people, his desire to please - for selflessness, sycophancy - for the depth and subtlety of feelings, and even the poverty and dependent position of Molchalin only adorn him in the eyes of Sophia. Her disappointment will be painful. It will be aggravated by Molchalin's betrayal (love confession to Lisa).

Molchalin - "here he is on tiptoe and not rich in words" by definition Chatsky, the powerless secretary of Famusov, dreaming of breaking out into the people. And for this, all means are good. Chatsky openly mocks both Molchalin himself and his position in life (to please all people without a trace; find patrons). But it's easy to scoff: Chatsky himself is a fairly wealthy man, Famusov provided him with the necessary connections, but Molchalin has no one to hope and rely on. He will have to achieve everything on his own, he fights for wealth, strength and power without support. But who can be blamed for wanting to “reach the known degrees”? For the clever and cunning Molchalin, all means are good. And he is already close to his first goal: to become indispensable for Famusov, to “acquire” patrons, to become a full-fledged member of the Famus society, thanks to his marriage to Sophia. And the rest is “a matter of technology”. And how foolishly Molchalin himself destroys everything that he has achieved with such difficulty. Unable to control his feelings and emotions, he confesses his love to Lisa. And would a smart man put all his efforts on the line of love passion ?! Now Sophia, Famusov's house, and ambitious dreams and plans are lost for him.

Lisa - at first glance, is only Sophia's servant, helping her mistress in love secrets. But if you look more closely, then Lisa from a simple servant turns into a confidant and friend of Sophia. She is not a banal sabrette, but rather a “Double-Heroine”. The prudent Liza connects her future not with Famusov (“pass us more than all sorrows and lordly anger and lordly love”), not with the handsome Molchalin, but with Sophia. It is from Sophia that Lisa expects to receive certain benefits, therefore she serves faithfully and prudently. But lysine rationalism does not lead her to the goal. She becomes a “victim” of the follies and mistakes of others.

It turns out that the main characters of the comedy are smart people, everyone has their own mind, and their own understanding of the mind. Conclusions can be drawn. These definitions were proposed by the students themselves.

• Famusov is an imperiously instructive mind;
• Chatsky - socially enlightened mind;
• Sophia is a purposeful, determined mind;
• Molchalin is an ambitious mind;
• Lisa is a rational, judicious mind.

The only trouble is that clever heroes, due to various circumstances, do not at all clever deeds and in the finale of the play are left with nothing.

So what do we do? All carriers of the 5 leading types of mind (by definition of schoolchildren) fail, their mind does not help them achieve their goals and find happiness. It turns out that Griboyedov's goal was to debunk the mind as the basis of happiness. But then there must be that which is opposed to the mind. However, there is no "opposition"! One can, of course, assume that Griboyedov wanted to debunk either the “old” or “new” types of mind, but in the plot of the comedy, both types of mind fail.

To understand this, let's decide what lies at the heart of the play's conflict. Students give answers that the teacher counters.

- clash of two ideological positions: Decembrism (Chatsky) and the old nobility (Famus society). But where exactly collision? There are attacks from Chatsky and public confidence that he is crazy.

- Sophia's love drama. But this is too shallow for this comedy, besides, no one gets Sophia, the conflict remains unresolved.

The problem of human happiness and its relationship with the world. Each of the carriers of this or that type of mind strives for happiness, understands it in his own way and does not acquire it.

Why? This is the main question of our conversation. And the answer to this question is given by Chatsky himself, and his formula is suitable for every central character ... "Mind and heart are out of tune." And if the main problem of comedy is the problem of finding happiness, then it becomes clear why the mind does not help the heroes, why the mind is only grief. Because this mind is out of tune with the heart. Therefore, according to Griboyedov, the mind is not enough to achieve happiness, just as the heart is not enough, the main thing is to bring the mind and heart into a state of harmony. Harmony of mind and heart is the main condition for achieving happiness.

List of documents used

1. Griboyedov A.S. Woe from Wit: Plays. - M .: Fiction, 1974. - 829 pp. - (Library of World Literature).

2. Agapova I.A. About the comedy of Griboyedov and its main character. // Agapova I.A. Thematic games and literature holidays. - M. - 2004 .-- p. 6-14.

3. Petrieva L.I., Prantsova G.V. Griboyedov A.S. Studying at school: Textbook - met. pos. - M .: Flinta, 2001 .-- 2146s. : ill.

4. Griboyedov A.S .: Creativity. Biography. Traditions. - L .: Nauka, 1977. –292p.

5. Griboyedov A.S .: Life and work. - M .: Russian book, 1994 .-- 162 p.: Ill.

6. Smolnikov I.F. Comedy "Woe from Wit". - M .: Education, 1986 -112s.

7.Comedy A.S. Griboyedov "Woe from Wit". New approaches to learning at school. // Library "September 1st" Literature, 2005 № 1-30s.

8. Skabichevsky A. Life of Griboyedov. Griboyedov A.S. Woe from wit. // Guiding star -2004, No. 2 - 92p.

9. Zubkov N. Features of the Griboyedov comedy. // Russian language - 2005, №4 - p. 3-4.

10. AI Pisarev in controversy about the comedy "Woe from Wit". // Literature 2005, No. 18 - pp. 37-47.

11. Maksimova S. Intellectual game "Clever and clever men" based on the comedy by A. Griboyedov "Woe from Wit". // Literature -2005, No. 18 - p.48-50.

12. Alpatova T. "The magic of the word" in the artistic world of "Woe from Wit" by A.S. Griboyedov. // Literature at school - 2004, №8 - p. 2-7.

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14.Gaponenko P.A. A lesson-dispute based on the comedy of A.S. Griboyedov "Woe from Wit". // Literature at school - 2007, №9. - p. 27-30.

15. Chernysheva I. Training tasks for the play "Woe from Wit". : Grade 9. // Literature - 2007, No. 22. - p. 18-19.

16. Kunnarev A.A. Whom Famusov warmed up // Literature at school, 2011, No. 2 -p.13-15.

17. Khalfin Y. Poet Alexander Griboyedov and his poetic play. // Literature, 2008, No. 5 - pp. 15-19.

18. Kunarev A.A. "No need to name. You can recognize it by the portrait. // Literature at school, 2011, No. 9 pp. 14 - 18.

19. Penskaya E.N. Chatsky's myth. // Literature -2013, No. 2. - pp. 15 - 17.

20. Lebedev Yu.V. An arrogant mind and a narcissistic heart in the comedy "Woe from Wit" by A.S. Griboedova // Literature at school - 2013, no. 9 - p. 2 - 7.

21. Mezentseva L.G., Shtilman S.L., Mendeleeva D.S. Comedy by A.S. Griboyedov Woe from wit. A hero without love. // Literature, 2005, No. 1 - p.30.

All stupid - happiness from madness,
All clever - grief from the mind.

Word patriotism comes from the word "patris", which translates as "homeland", fathers, love for the homeland, attachment to the native land, language, culture, traditions.

As a child, my parents laid in me love for their Motherland, love for its people. Even despite how many difficult periods our Russia went through, people always fought for it, gave their lives in the war, worked in its fields - this patriotism of the people was able to elevate the country to an honorable world pedestal, despite all attempts to distort this truth.

The immense expanses of Russia are spread over 17 thousand square kilometers. All the beauties of the Earth are located here: deep forests, wide fields, highest mountains, fast rivers, bright flower meadows, raging seas and oceans. Many have encroached on these territories, but the Russian people never wanted to give their native and beloved lands to someone else's possession. Therefore, there was always a struggle for life. And now, we live in a huge country, under a bright blue peaceful sky, we have everything for a comfortable life.

Russia is proud not only of its size and natural resources, but also of the great ones, which have made a huge contribution to the development of the Russian language and the “true Russian word”.

And I, as a representative of the younger generation, sincerely wish to contribute to this section. The first material was dedicated, and I, in turn, would like to tell about A.S. Griboyedov and discuss the true and false in the great work of this author "Woe from Wit."

Biographical information

Alexander Sergeevich Griboyedov was born on January 4 (15), 1795 in a wealthy noble family. As a child, Alexander was very focused and unusually developed. At the age of 6, he was fluent in three foreign languages, in his youth already six, in particular, fluently in English, French, German and Italian. He understood Latin and Ancient Greek very well.

In 1803 he was sent to the Moscow University Noble Boarding School; three years later, Griboyedov entered the university at the verbal department of Moscow University.

In 1808 he received the title of candidate of verbal sciences, but did not leave his studies, but entered the moral and political department, and then the physics and mathematics department.

During the Patriotic War of 1812, when the enemy appeared on the territory of Russia, he joined the Moscow Hussar Regiment (volunteer irregular unit) of Count Pyotr Ivanovich Saltykov, who received permission to form it. Arriving at the duty station, he got into the company "Young cornets from the best noble families"- Prince Golitsyn, Count Efimovsky, Count Tolstoy, Alyabyev, Sheremetev, Lanskoy, the Shatilov brothers. With some of them Griboyedov was related. Until 1815, Griboyedov served with the rank of cornet under the command of a general from the cavalry.

In the spring of 1816, the aspiring writer left military service, and in the summer he published an article “On the analysis of a free translation of the Burgess ballad“ Lenora ”- a response to the critical remarks of NI Gnedich about PA Katenin’s ballad“ Olga ”. At the same time, the name of Griboyedov appears in the lists of full members of the Masonic lodge "Les Amis Reunis" ("United Friends").

In 1818 he was appointed secretary of the Russian mission in Tehran. Since 1822, he was in Tbilisi the secretary for the diplomatic part of the commander of the Russian troops in the Caucasus A.P. Ermolov. Here Griboyedov began to write the comedy "Woe from Wit". Like the Decembrists, Griboyedov hated the autocratic-serf system, but was skeptical about the possibility of a purely military conspiracy to succeed.

“Woe from Wit” is the main work of Alexander Griboyedov. A whole historical era was reflected in it. The idea of ​​"Woe from Wit", the content of the comedy are connected with the ideas of the Decembrists. The dramatic conflict of the comedy was an expression of the struggle between two social camps: the feudal-serf reaction and the advanced youth, from which the Decembrists emerged. In the comedy it is also given, in the words of Pushkin, "... a sharp picture of manners" lordly Moscow.

Sent in April 1828 by the plenipotentiary minister-resident (ambassador) to Iran, Griboyedov regarded this appointment as a political exile. On the way to Iran, Griboyedov again spent several months in Georgia; in Tbilisi, he married Nina Chavchavadze, the daughter of his friend, the Georgian poet A. Chavchavadze.

As an ambassador, Griboyedov pursued a firm policy. "... Respect for Russia and its requirements - that's what I need"- he said. Fearing an increase in Russian influence in Iran, agents of British diplomacy and reactionary Tehran circles, dissatisfied with the peace with Russia, set a fanatical crowd against the Russian mission. During the defeat of the mission, Alexander Sergeevich Griboyedov was killed, his whole body was disfigured. Buried in Tbilisi on Mount David.

True and false patriotism in the comedy "Woe from Wit".

Woe from Wit is a unique comedy by the genius writer, but during Griboyedov's lifetime it was not fully published. The idea of ​​a comedy is to combine a secular comedy with a comedy of mores. There are two plot conflicts in this work: social and love.

The main character is Chatsky. Throughout the comedy, we observe that this character demonstrates mental health, vigor, love of life, honesty, and most importantly - "Enlightening mind".

His antagonist Famusov values ​​only ranks and money. He is deceitful and two-faced. Rejects the books, saying: "Take all the books and burn them."

“I would be glad to serve
It's sickening to serve ... "- says A.A. Chatsky. A true patriot does everything for her good. The whole tragedy of Chatsky was that he advocated for society to reach a new stage of development. To replace the “past century” with the “present century”. He was a defender of individual freedom, ridiculed those who blindly imitate foreign fashion. Alexander Andreevich calls the people "kind and smart", he suffers for the fate of this very people. The vices and flaws of the Famus society are especially made to suffer. He is worried about the landlord's abuse of the peasant.

He expended all his mental strength to bring noble ideas into "Famus society", but under the influence of the prevailing force he failed.

“That's it, you are all proud!
Would you ask how the fathers did?
We would study at the elders looking ”- words from the monologue of P.A. Famusova. He condemns the advanced youth, calls on them to listen to the older generation. Pavel Afanasyevich does not advocate the development of society, he is accustomed to the kind that has existed for a long time. In the "Famus" society, everything rests on connections, and this model of life seems ideal to members of Moscow society, they consider it the only correct one and do not want any changes.

So what conclusions can be drawn?

The image of Chatsky is the image of a citizen in the highest sense of the word. He is a true patriot who always stands for the development of society, rejects all wrong positions, has a sense of justice and equality.

The false patriot sits exactly in one place and considers it correct. His patriotism is only in words. He does not want the best for his country, referring to the fact that he already lives well and does not need anything. Such pseudo-patriots are also called "leavened".