Analysis of the work “Woe from Wit. Analysis of the III act of the comedy by A.S. Griboyedov "Woe from Wit" - presentation Main idea 3 acts Woe from Wit
The action of the comedy is heading for a denouement. The final scenes are truly dramatic: the protagonists' epiphany sets in. But it is no coincidence that Griboyedov calls his work a comedy. We have already seen more than once that the dramatic is closely intertwined with the comic in the play.
In Act IV, the guests of Famusov again pass before the readers and spectators, confident in themselves and satisfied with themselves. This is the last meeting with them. This is a mirror image of the society outlined at the very beginning of the comedy in the monologues of Chatsky and Famusov.
What is the role of these scenes in the development of the action? How do they characterize the Moscow nobility? How does the tragedy of Chatsky's position increase? What is the finale of the play? These questions are in the center of our attention today in the lesson.
1. Beginning of IV action. Famusov's guests go home. How many interesting observations these scenes give us for the group characterization of the characters - the Famus guests! What touches can you add to the following minor character portraits?
G raffin granddaughter... Her last remark confirms the evil and absurd character of the old maid, who boasts of her aristocratic origin, looks down on everyone (remember that in the scene of her appearance at the ball, when there were already many guests in the hall, she laments that she arrived first!). Her phrase is comical in that it aptly characterizes the society to which she herself belongs, and everything that happened at the ball at Famusov's is "some kind of freaks from the other world."
Gorichi. Platon Mikhailovich is bored during the ball, but he is ready to do everything at the request of his wife; Natalya Dmitrievna imperiously commands her husband.
Skalozub. One of the first to leave - he has no special feelings for Sophia; even if he decides to marry, his position as a possible groom is strong enough, so he does not need to stay longer in Famusov's house, he is always a welcome guest here. His humor is "soldier's".
Khlestova Amfisa Nilovna. An autocratic and peremptory lady, not devoid of intelligence, correctly evaluates Repetilov (“And you, my father, you are incurable, at least give it up”), affectionately and condescendingly points out to Molchalin his so far insignificant position, calling his room a “closet”, etc.
2. Contrary to the laws of the theater of classicism in the last act, when the struggle is over, the guests begin to disperse to their homes, a new hero appears. it Repetilov, Is its appearance related to the development of the action of the comedy? (The Famusovskoe society unanimously declared Chatsky crazy, determined the reasons for this, but Chatsky himself still does not know anything about it. The conflict in such a situation cannot be resolved. To bring closer the resolution of social conflict and the arrival of Repetilov helps.)
3. How do Famusov's guests convince Repetilov of Chatsky's "madness"? Why does he, too, agree with "public opinion", although not long before that he expressed himself to Chatsky "in love" and "friendship"? (They suppress it with universality and unanimity:
All together: Monsieur Repetilov! You! Monsieur Repetilov! what do you!
How are you! Is it possible against everyone! Why are you? Shame and laughter, -
in these words, an angry condemnation of an accomplice who tried to evade unanimity.)
4. Do you agree with the opinion that in the image of Repetilov there is a mockery of some of Chatsky's views? Why is Griboyedov opposing Chatsky to Repetilov? How does the author do this? Prove with text. (In the remarks and actions of Repetilov, as if in a distorting mirror, Chatsky's stage behavior is reflected - down to individual details.
In a way, the image of Repetilov resembles a parody of Chatsky.)
This hero belongs to those "free-thinkers" who are not persecuted, since their ideals in life are no different from generally accepted ones. Repetilov was not averse to repeating the path that led to the success of many, but he was unlucky to marry the daughter of an influential baron. Therefore, the source of his "opposition" moods were envy of the more successful and resentment against his father-in-law, who had deceived his expectations.
5. In the finale of the play, Chatsky and Sofia are simultaneously convinced of the infidelity of those they love. In fact, they find themselves in a situation that can be regarded as a test. This is why many literary scholars consider this particular scene the culmination of a love conflict... How do the heroes behave? What can be added to their characteristics?
(This is a strong shock for the heroes, but they meet the blow of fate with dignity. This indicates that Sofia is a strong personality. She rejects Molchalin. Chatsky, convinced of Sofia's “betrayal”, bursts into an angry monologue in which talks about a break.
Sofia blames herself for everything. And Chatsky accuses Sofia, even of what she is clearly not to blame: that she lured him with hope (this is not true!), That she sacrificed it for the sake of the scoundrel, that she did not tell about everything at once, etc. But the psychological state of Chatsky can be understood: he is shocked first of all by the fact that it was Sophia who spread the rumor about his madness. The hero rightly sees in this the betrayal of a loved one. And already "cuts at random." This is why he is so cruel to his girlfriend.)
6. And where is the "kindness of the soul"? Let's remember that Sophia had once reproached Chatsky for the lack of "kindness of the soul" ... Maybe she's right? How do you assess the behavior of the main character in this scene?
7. Reading 14 phenomena by roles.
8. What insight came for Famusov? Why does his behavior look comical at such a tragic moment?
(The comic position of Famusov lies precisely in the fact that his "epiphany" is far from the truth: he firmly decided that his daughter was in a conspiracy with Chatsky, and is absolutely sure that he was right. This is to Chatsky, and not to Molchalin, he addresses with the words:
Brother, do not trick, I will not give in to deception,
Even if you fight, I won't believe ...)
9. But then the last and full of drama monologue of Chatsky sounded. Why doesn't Griboyedov complete his play with him? What is the last remark of Famusov in the 15th phenomenon for? (Again, the interweaving of the tragic and the comic: Famusov (his surname is played up again!) Most of all in this story worries public opinion:
Ax! My God! what will Princess Marya Aleksevna say!
So the ending of the comedy brings us back to the comedic setting.)
So, the epiphany of the heroes came. But what will happen to them next? Griboyedov leaves the ending of the comedy open, and the reader is left alone with his feelings, thoughts about what he has read ...
GENRE CHARACTERISTICS OF THE COMEDY OF GRIBOEDOV "Woe FROM MIND". PLOT AND COMPOSITION
Texts ... outwardly even the clearest and most malleable,
speak only when you know how to ask them.
Mark Bock
The epigraph of the lesson includes words from the work of the French historian Marc Bock (1886-1944) "The Apology of History, or the Craft of the Historian."
Where to start analyzing the work? From his genre, because the genre is the “first gate” through which the reader enters the artistic world of the work. Genre largely organizes our perception: after all, each genre has its own laws, and a competent reader must know them in order to "be able to ask."
Comparison of different sayings about the genre of comedy
Material for distribution in the lesson
1.I.A. Goncharov:
"... The comedy" Woe from Wit "is both a picture of morals, and a gallery of living types, and an eternally sharp, burning satire, and at the same time a comedy, and let's say for ourselves - most of all a comedy - which can hardly be found in others literatures ... "
2.A. Block:
"Woe from Wit" ... is the most brilliant Russian drama; but how strikingly random it is! And she was born in some kind of fabulous setting: among Griboyedov's plays, quite insignificant; in the brain of a St. Petersburg official with Lermontov's bile and anger in his soul and with an immobile face, in which "there is no life"; not enough of this: an unkind man with a cold and thin face, a venomous mocker and a skeptic ... wrote the most brilliant Russian drama. Having no predecessors, he did not have a follower! unmatched. "
3.H. Pixanov:
“In essence,“ Woe from Wit ”should be called not a comedy but a drama, using this term not in its generic, but in its specific, genre meaning.<...>
The realism of "Woe from Wit" is the realism of a high comedy-drama, a strict, generalized, laconic, economical style to the last degree, as if uplifted, enlightened. "
4. A.A. Lebedev:
"Woe from Wit" is all saturated with the element of laughter, in its various modifications and applications ... The element of the comic in "Woe from Wit" is a most complexly contradictory element ... Here a kind of complex fusion of the most diverse elements is formed, sometimes hardly compatible, sometimes contrasting : here and "light humor", "quivering irony", even "kind of caressing laughter" and here and "caustic", "bile", satire.
The tragedy of the mind, which is discussed in the comedy of Griboyedov, is illuminated wittily. It is on this sharp edge of the contact of the tragic element with the comic in "Woe from Wit" and the original subtext of the author's own perception of everything that happens ... "
What is the genre of "Woe from Wit" - comedy or drama? Let us turn to the text of the work and find in it confirmation of the conclusions of the researchers.
Sections: Literature
Class: 9
Form of carrying out: a combined lesson in generalizing what has been learned.
The purpose of the lesson: to show students the dependence of a correct understanding of the idea of an episode and a dramatic work as a whole on the ability to analyze its key episodes.
- Continue acquainting students with the features of the analysis of an episode of a dramatic work on the example of analyzing scenes 21 from III actions of the comedy by A.S. Griboyedov "Woe from Wit"; to give an idea of the peculiarities of stylistic devices, gradation and grotesque; repeat the elements of the composition: the opening, the denouement, the development of the action, the exposition and the culmination.
- To form in students the skill of analyzing an episode of a dramatic work, characteristics of characters; to develop the speech of students, introducing literary terms and theatrical vocabulary into active use of words.
- To foster in students honesty and adherence to principles, an irreconcilable attitude towards lies, hypocrisy and unprincipledness, benevolence towards others, a persistent cognitive interest in the study of both dramatic works and literature in general.
Registration boards.
- Number.
- Lesson topic.
- Epigraphs for the lesson.
Texts ... outwardly, even the clearest and most flexible speak only when you know how to ask them. Mark Bock
- Literary terms:
But everyone in the living room is occupied
Such incoherent, vulgar nonsense
Everything about them is so pale, indifferent,
They slander even boringly. A.S. Pushkin
... Comedy is immortal, because its conflict is immortal - the conflict between Chatsky and Molchalin, talent and mediocrity, intelligence and common sense. I.S. Gracheva
- gradation, grotesque;
- setting, exposure, development of action, denouement.
During the classes
1. Organization of students for the lesson. Telling students about the topic and objectives of the lesson. (Slide 1). Presentation
- Hello guys! How many of you can say that you have read and understood the comedy “Woe from Wit” by A.S. Griboyedov? I want to start our lesson with an excerpt from the version of the poem "Retribution" by A. Blok.
Whoever you are - among dinners,
Or keeping a service ardor,
You may have completely forgotten
That the official Griboyedov lived,
That service duty did not interfere
To him to see in a disturbing dream
Chatsky's delirium about the impossible,
And Famusov's noisy ball,
And Lisa's plump lips
And - the completion of all miracles -
You, Sophia ... Herald of heaven
Or a petty imp in a skirt? ..
I hear an indignant cry:
"Who doesn't know Griboyedov?"
- You, you! - Enough. Falls silent
My satirical language -
Have you read “Million of Torments”,
We watched “Woe from Wit”.
In the minds - everything is a dream of semi-consciousnesses.
There is still the same semi-darkness in our hearts.
- Today in the lesson we will try to dispel this “semi-darkness” in the hearts and “sleep of semi-consciousnesses”, and to analyze an episode of a dramatic work, you will get acquainted with a new literary term, repeat the compositional features of a dramatic work on the example of the comedy by A.S. Griboyedov "Woe from Wit". You have to understand what the features of the analysis of an episode of a dramatic work are, to consolidate the skills of characterizing the heroes and their language, to find out the importance of analyzing the episode for understanding the idea of the work. I suggest you choose an epigraph for the lesson from among the following statements ... (Slide 2)... Which one is suitable as an epigraph - we will discuss at the end of the lesson.
2. Clarification of the features of dramatic works and their composition (frontal conversation).
- What work is called dramatic and what can be considered as its episode?
(A dramatic work is intended to be staged on stage, therefore, a feature of its composition is the division into actions, which, in turn, consist of scenes (or phenomena). They should be considered as episodes of a dramatic work). (Slide 3)
- Whatever the work you are analyzing, it will necessarily contain elements of the composition that are written on the board. Arrange them in the order they appear in the work. Are any of the compositional elements missing? (Slide 4)
(The exposition, the initiation of the action, the development of the action, the culmination, the denouement. The culmination was missed - the moment of the highest tension in the action of the work).
2. Determination of the criteria for the analysis of the episode (drawing up a plan).
- What does it mean to analyze an episode (scene)? Formulate the questions to be answered.
(To analyze a scene means to determine the relationship of the characters, to understand what this scene gives for understanding the characters of the characters, their state of mind, to show with the help of what techniques the characters are revealed in this scene and what is the role of this scene in the development of the action and conflict of the play.
- What place does an episode occupy in the composition of a work?
- Who are the heroes taking part in the action in this episode?
- What means did the author use when portraying the characters?
- How does this episode help to understand the idea of the work?).
- Your questions echo the plan for the analysis of the episode, according to which we will work today. ( Students are given printed materials).
3. Analysis of scenes 21 from III action comedy.
- Who and why might need an analysis of a dramatic work? (This is necessary for the director of the play in order to choose the right actors, choose the appropriate scenery; actors in order to best perform the role of this or that character; theater workers taking part in the production of the play; spectators so that they correctly understand the essence of what is happening on the stage; critics who must give a correct assessment of both the literary work and the theatrical production).
Determination of the place and role of phenomenon 21 in the work, its connection with the problematic.
- In the role of the director who will introduce us to his vision of the composition of the comedy and the place in it 21 scenes will perform ... If you do not agree with the director's interpretation, you can express your critical remarks after the performance. (A student who has prepared in advance talks about the place of the episode in the composition of the work).
- The comedy begins with an exposition, then the beginning of the action takes place in Act I. Moreover, first the actions of a love conflict - Chatsky's arrival at Famusov's house and his conversation with Sofia - and almost immediately a public conflict - the conversation between Chatsky and Famusov, in which the opposition of their views on social structure and life principles is first manifested. During actions II and III, these conflicts continue to develop. Chatsky, in love with Sofia, realizes that he is unloved and is looking for a happy rival. The confrontation between Chatsky and Famusov, Chatsky and Molchalin, Chatsky and the entire Famus society is also growing. It turns out that Chatsky is alien to everyone, at odds with the rest of the views on all social issues. In 21 scenes, this social conflict culminates: everyone unanimously calls Chatsky crazy. Anger, hatred and fear of those present in relation to Chatsky reach the highest point. The highest tension in the next 22 scenes reaches Chatsky's feelings (“a million torments”) and his loneliness. Scenes 21 and 22 can be called the culmination of social (public) conflict. In Act IV, a love conflict also reaches its climax. There we find their solution, and the denouement of the social conflict is not only pushed aside from the culmination, but is somehow erased, vague.
- Why is there no denouement of social (public) conflict in scene 22, as it usually happens after the climax?
- Disconnection presupposes a decrease in tension, a successful resolution of the conflict or an open confrontation between the heroes. None of this happens in comedy, or in the life that comedy reflects.
- Why are representatives of the Famus society not going into open conflict with Chatsky?
- They are afraid of him, they think he is dangerous not because they declared him “crazy”, but because in an open fight with him they can lose, concede, remain a fool, and common sense tells them: it is better to stay away from Chatsky don't mess with him.
- What catchphrases from scenes 21 and 22 can serve as titles for these episodes?
- Scene 21 - “Crazy all over”; Scene 22 - “Million of Torments”.
- What, in your opinion, would the comedy be called if it were not for these two scenes?
(Students provide their own options, for example: “Woe from Love”).
The main characters. (Slides 5, 6, 7)
- I want to continue our conversation with one more quote from the comedy: “Well, ball! Well Famusov! I knew how to name the guests! ”. Let's get to know the guests of Famusov better. What is the best way to do this? It would be nice if they told about themselves or someone “introduced” them. K.S. Before staging the comedy "Woe from Wit" in the theater, Stanislavsky distributed a special questionnaire to the actors playing the roles of guests, which allowed the actors to better understand the character, habits, views of their characters and get used to the character. Our "actors" received a short "questionnaire" in advance, based on Stanislavsky's questions. Now they will tell about themselves, more precisely, about the guests of Famusov, based on these questions. (Students talk about the guests of Famusov from the 1st or 3rd person).
- I AM Khlestova Anfisa Nilovna. A 65-year-old woman, I live on Pokrovka in my house, large and majestic, but somewhat dilapidated. The furnishings are old, already slightly worn out and dusty. I'm rich.
During the day I managed to see my sister Praskovya, discuss what kind of arapok Zagoretsky brought us, and gossip about Moscow balls, aces, etc.
I treat Famusov well, but as a sister-in-law I argue with him and command everyone.
She was invited to the ball by Famusov himself. She met the rest of the guests before at Famusov's and in other places, she received many at her place. I fully and completely share the life position of Famusov. And Chatsky, although he outrages me with his irreverence, still evokes sympathy. However, this will not prevent me from telling Sister Praskovya tomorrow about his madness.
- I AM Princess Tugoukhovskaya. I am very proud of my title, which I received with my marriage. I live with my family in a large Moscow mansion, but there is no great wealth left: I have to give balls to find a worthy party for my six daughters, and spend money on a dowry. We need rich grooms, which means that you cannot invite anyone to balls.
During the day I prepared for the ball, gathered my daughters, and commanded the servants. I am familiar with many of Famusov's guests. I consider Famusov himself to be an intelligent and respectable person. What Chatsky says is not interesting to me at all. Me and my daughters are interested in outfits and men. Tomorrow, and especially on Thursday at the evening, I will tell everyone I know about the ball at Famusov's. Of course, I will also mention Chatsky's madness.
- Let me introduce you Platon Mikhailovich Gorich... A former military man, now retired, he recently got married. Lives in his wife's small house in Moscow. There is an estate with serfs, but my wife likes to live in Moscow. There are few rooms in the house and the furnishings are modest, so the Gorichi themselves often do not give balls, but rather like to go out to others.
Today, in a day, Platon Mikhailovich Gorich managed to carry out many small assignments of his wife. At the ball, he does not know everyone. He is with his wife all the time. Famusov's thoughts are generally approved. I got married because it was time to do it, and my wife was found with a small fortune. He does not believe in Chatsky's madness, but does not argue with the rest of the guests, especially with his wife. Chatsky's views a year ago may have been close to him.
– Natalia Dmitrievna Gorich, a young lady who recently married a retired military man, a man not too rich, but having a village with peasants. In Moscow, she lives with her husband in her house, since the prospect of moving to the village does not appeal to her. Fortunately, she managed to get hold of her husband so much that even that and the thought did not arise to argue with her.
During the day, Natalya Dmitrievna was preparing for a ball at Famusov's, sending her husband to a fashion store for hairpins and ribbons. Famusova respects, is proud to meet him and received an invitation to the ball. He knows all the guests of Famusov, since this is not the first time at such a ball. The next day he will discuss with her husband, and if possible, with friends, Chatsky's madness and his success at the ball.
– Countess granddaughter lives in the house of his grandmother, after her death she will receive both a house and a fortune. She is not married, so she leaves with her grandmother so as not to cause misinterpretation. The house is large and rich, but my grandmother has not updated any furniture or decoration for a long time, so balls at the Khryumins are extremely rare. Therefore, the Countess is very fond of visiting others.
During the day, the Countess was preparing for the ball, persuading her grandmother to go. Famusova knows the guests, but they have a very low opinion of many. I did not meet worthy dance partners at the ball, so I was disappointed with the ball. The only entertainment for her is the rumor about Chatsky's madness, the spread of which the countess granddaughter herself largely contributed to. The dream is to get married. We already have wealth and a title, it remains to find a husband among the people of his circle.
Tomorrow she will have to explain to her grandmother what kind of rumor spread at the ball, and she will also tell all her acquaintances about it.
– Zagoretsky Anton Antonovich. Let me be called: “ A slicker, a cheat and a toady ... ”. It doesn't bother me. I live in a small, poorly furnished apartment. I do not arrange evenings at home, as there are barely enough funds to look decent. Yes, in such a small apartment with mismatched furniture and you will not invite anyone.
During the day I managed to go to Khlestova and her sister - he brought them arapok, whom he bought on the occasion of inexpensively (at the sale of serfs of some ruined nobleman). Khlestov called the price much higher, so today with money.
Famusov is my idol, as, in fact, any wealthy person. To become such a Moscow gentleman is my dream. And as long as I play and grovel, provide services and spread rumors in Moscow. Chatsky's thoughts are alien to me. Tomorrow I will travel all over Moscow to tell about Chatsky's madness. Perhaps they will feed me, or even some lucky chance will present itself to serve the powers that be.
– Sergey Sergeevich Skalozub. Colonel, famous and respectable person. I have many awards. Very rich and not married. I am an enviable groom for any young lady in high society. I live in my own mansion, the atmosphere in the house is rich, but there is no time to give balls: there is a service, and moreover, I have to have time to visit my friends. I'll get married, then my wife will take up balls.
This morning I have already visited my potential father-in-law. Having learned about the ball, I managed to go home to change. Such an enviable groom like me can be late. I have already met the rest of the guests at the balls. I've seen Gorich somewhere before, but I can't remember where. After all, it seems, he fought, and I served in the Jaeger regiment.
I look at life the same way as Famusov. I fully support and respect him. Besides, Sofia is given a good dowry. And wealth, as you know, is drawn to wealth.
Tomorrow there will be something to tell to the regiment. The funny case of Chatsky's madness, perhaps, will make everyone laugh.
- Yes, of course, these are different people, but they have a lot in common. What? Describe them. Find a statement among the chalkboard entries that has already been assigned a characterization. Do you agree with her?
- They all live according to the same laws, they have a common ideal, they all lively pick up the gossip about Chatsky's madness and spread it. These are vulgar, indifferent and calculating people. Their slander is not boring, but terrible.
- The birth of a rumor about Chatsky's madness.
- How did it all start? How did the rumor about Chatsky's madness come about?
Act III, phenomenon 1
Sofia (to herself): I reluctantly drove you crazy!
Phenomenon 14
Sofia: He's out of his mind.
GN: Have you lost your mind?
Sofia (after a pause): Not that at all ...
GN: However, there are signs?
Sofia (looks at him intently): It seems to me.
Phenomenon 15
GN: Have you heard?
GN: About Chatsky?
GD: What is it?
GN: I'm out of my mind!
GD: Empty.
GN: I didn't say it, others say ...
GD: And you are glad to spread it.
Phenomenon 16
GD: Do you know about Chatsky?
Zagoretsky: Well?
GD: I'm out of my mind ..!
Zagoretsky: Ah! I know, I remember, I heard ...
Phenomenon 17
Countess granddaughter: ... I spoke to him.
Zagoretsky: So I congratulate you.
He's crazy ...
Countess granddaughter: What?
Zagoretsky: Yes, he lost his mind.
Phenomenon 19
Zagoretsky: My forehead was wounded in the mountains, I lost my mind from the wound.
Phenomenon 20
Countess grandmother: Prince, have you heard?
Prince: A - hmm?
Countess grandmother: He hears nothing!
Maybe they saw that the chief of police was here?
Prince: E-hmm?
Countess grandmother: In prison, prince, who grabbed Chatsky?
Phenomenon 21
Zagoretsky: Crazy in everything!
So the gossip about Chatsky's madness was born. And he owes the birth of this gossip to his beloved Sophia. (Slide 8)
(Commented reading of scene 21. Speech characteristics).
- Gossip about Chatsky's madness found lively support from all the guests of Famusov. Or is it not all? Which of the guests does not agree with the wattle fence and why does not mind its spread?
–This is Platon Mikhailovich Gorich, who previously served with Chatsky in the same regiment and was considered his friend. He does not refute gossip for several reasons: first, his wife says so, and it is better not to argue with her; secondly, this is what the Moscow aces Famusov and Skalozub say. How can you argue with them? Just look, you are also recognized as crazy! Better to remain silent.
- In what the guests of Famusov and the owner himself see the manifestation of Chatsky's madness?
- He scolded the authorities, condemned meanness, laughed "out of place", advised one to live in the village, the other not to serve in the archives ...
- By the way, which of those present, accusing Chatsky, lied?
– Molchalin, to whom Chatsky did not advise anything of the kind, really wants, even here, in the birth of gossip, to be on a par with everyone.
- Do you think Chatsky is crazy?
- No. He's smart. He has a critical mindset, a serious education and high moral qualities that do not allow him to put up with the shortcomings of society that he meets in Famus' Moscow.
- What does the word “mind” mean for Chatsky? And what about Famusov and his guests?
- For Chatsky, the mind is the ability to think, high intellectual abilities. For Famusov, mind is the ability to maintain one's own profit, get along with rich people, deserve high ranks, i.e. prudence, the ability to adapt.
- Who do you agree with and why? Whose side is the author on?
(Students express their opinion, including how the author understands the word “mind.” In Griboyedov's comedy “25 fools for one smart person,” in his own words). (Slide 9)
- As we found out, there are no crazy people in comedy, it's just that the characters understand the word “mind” differently. Illustrate your point with one of the critics' comments. What do the guests see as the reasons for Chatsky's madness?
- In the abuse of alcoholic beverages, in teaching, in books.
- You wrote out the definition of gradation. Read it and show, using the example of Scene 21, how and for what the author uses this stylistic device.
– Gradation- the arrangement of words and expressions in increasing or decreasing importance. (Students use an example of gradation from scene 21). (Slide 10)
- What other language means does the author use in this scene?
- Used grotesque - exaggeration, brought to the point of absurdity. (For example, a proposal to close schools and lyceums, or to burn all books to save society from the danger of insanity). Many characters use vernacular, rude expressions or just colloquial vocabulary in their speech: “crazy jumped off"," Champagne glasses pulled"," On a fable would overburden”, “tea, drank beyond years"," Will require to butchering", "all lie calendars ”, etc. Others use cliches (“stop evil”, “I beg you humbly”, etc.), foreign words whose meanings they do not understand (“Lancard” is a distorted word “Lancaster”) or simply military terminology (“They will only teach in our way: one, two ... ”). These and other language tools help to characterize the characters, their interests, life philosophy. We understand from this distorted illiterate, sometimes incoherent speech, how uneducated they are.
- Zagoretsky pronounces his lie about Chatsky's drunkenness “with fervor”. It means that he takes pleasure in lying and gossiping. Famusov talks with Chatsky “cautiously,” that is, cautiously, since he does not want to go into conflict, just in case he avoids an open quarrel. And all the others want to dissociate themselves from Chatsky, so they "move away from him in the opposite direction."
4. The ideological role of the episode. (Slide 11)
(Determining the importance of the episode for understanding the idea of the work).
- So, scene 21 is the culmination of the conflict between Chatsky and Famusov Moscow, whose representatives spread a rumor about his madness. There was no denouement. Who is the winner and who is the defeated in this confrontation and is Chatsky alone in his struggle?
- Chatsky is not alone, as the work now and then contains non-stage characters that cause discontent in Famus society: this is Skalozub's cousin, who left the service, and Prince Fyodor, who, having received his education, leaves for the village, and “professors” who practice split. Surely there will be more. And even if there is no denouement, and Chatsky leaves with a broken heart, slandered and lonely, the time of the Famusovs is already ending. New people have appeared who do not allow the Famus society to live in peace. The future is undoubtedly theirs.
5. Summing up the lesson. (Slide 12)
- We spoke today about one episode of the comedy "Woe from Wit". And what have we learned? Make a conclusion from the work in the lesson.
- Those who oppose the Famus society cannot immediately win, they are considered strange, they are declared insane. They are still in the minority, but the future belongs to them, and Chatsky is one of them.
- Correct understanding of each episode helps to correctly understand the main idea of the whole work, its idea.
- Our work is coming to an end, and we still have not picked up an epigraph for the lesson. Which of the statements on the chalkboard do you think would be more appropriate as an epigraph? (Slide 13)
- This could be a statement by A.S. Pushkin, the meaning of which coincides with our assessment of the Famus society in scene 21, as, indeed, in this comedy. The words of I.S. Gracheva, who speaks about the essence of Chatsky's opposition to the entire Famus society, about a different understanding of the meaning of the word "mind". But it was thanks to the analysis of 21 scenes that we were able to better understand what this conflict is about.
But it was the analysis of an episode of a dramatic work that we performed today that helped us better understand the idea of comedy and the nature of its characters. We have learned to “ask texts” better, which means that Mark Bock's statement more accurately reflects the content and results of our work in the lesson. This means that it is this statement that can serve as an epigraph to the lesson.
- Today in the lesson you were attentive to the word, active and interested, so you learned a lot. I think that there is no “half-darkness” left in your hearts, and “half-consciousness sleep” in your minds.
6. Comments on homework. (Slide 14)
- At home, analyze in writing one of Chatsky's monologues and memorize it.
Literature
- Leonov S.A. Literature. Integrated lessons. 8-9 grades. A guide for the teacher. [Text] - M .: Iris-press, 2003.
- Leifman I.M. Cards for differentiated control of knowledge in literature. [Text] Grade 9. - M .: Materik-Alpha, 2003.
- Semenov A.N. Russian literature in questions and tasks. XII-XIX centuries: grades 9-10. A guide for the teacher. [Text] - M .: Vlados Humanitarian Publishing Center, 2000.
- We read. We think. We argue ... Didactic materials on literature: Grade 9. / Compiled by V.Ya. Korovin et al. [Text] - M .: Education, 2004.
- We read. We think. We argue ... A book for students' independent work on literature: Grade 9. / Compiled by G.I. Belenky and others. Ed. G.I. Belenky. [Text] - M .: Education. Educational literature. 1996.
Annex 1
Episode Analysis Plan
1. The place and role of this episode in the work, its connection with the problematic. (The meaning of the episode for the further development of events, connection with the previous ones).
2. The main characters, the visual means of the language. What is new for us to observe these characters in this episode to understand their views on life, characters, actions.
A) ways of creating images;
B) the artistic features of the language, their meaning.
3. How important the episode is for understanding the meaning of the whole work, its main idea.
Appendix 2
Questionnaire for Famusov's guests, compiled by
Based on the “questionnaire for actors” by K.S. Stanislavsky
-
Who you are? Name, patronymic, surname. The composition of your family, social status. Where do you live?
- What did you do today in a day? Whom did you see?
- What is Famusov for you? How do you feel about him? How did you hear about the ball in his house? Do you know the rest of the guests? Where?
- How do you feel about the thoughts expressed by Famusov? Chatsky?
- Who and what will you tell tomorrow about how the ball went?
Appendix 3
Critics' comments
Chatsky ... is nothing more than a madman who is in the company of people who are not at all stupid, but uneducated, and who becomes clever in front of them, because he considers himself smarter.
M.A. Dmitriev
Chatsky Griboyedova is the only truly heroic person in our literature ..., an honest and active nature, moreover, the nature of a fighter.
A.P. Grigoriev
Comedy [“Woe from Wit”] is an exact, completely accurate self-report of how he lives, or rather, dies, how an intelligent person dies in Russia.
A.V. Lunacharsky
Optimism is the basic mood of “Woe from Wit”. Whatever the denouement, the internal impotence of Famus society and the strength of Chatsky are obvious to the reader and viewer.
N.K. Pixanov
Appendix 4
Texts of scenes 21 and 22 of III action comedy
1. EPISODE LOCATION
3 action 3 phenomenon. This episode begins immediately after Chatsky's words "I will donate whole days to rumor. About Molchalin's mind ...", which makes it clear that it will be about the discovery of the image of Molchalin.
2. ROLE OF THE EPISODE
Description of some points in the character of Molchalin. Thanks to the dialogue and disagreements, a description of Chatsky is also given, a comparison of their attitude to service, to life, business and entertainment, reveals the presence or absence of each of them of their own opinion.
Therefore, this episode helps to characterize the characters for a deeper understanding of the action in the comedy.
3 MAIN CONFLICTS
The main ones are two conflicts - love and social. In this episode, a clash in a love conflict does not arise, Chatsky only leads a short reflection on how Sophia could choose a person like Alexei Stepanich. The role of this passage of the comedy is mainly traced in the disclosure of social conflict. For this, two sides are opposed: reason, honor, moral values - Alexander Andreevich Chatsky, and servility, the desire for profit, wealth by any means - Alexey Stepanovich Molchalin.
4. THE ROLE OF THE EPISODE IN THE DISCLOSURE OF THE CHARACTERS OF THE CHARACTERS
"- You were not given the ranks, failure in the service?"
"- Ranks are given by people, and people can be deceived"
Molchalin is primarily interested in rank, judges a person according to his career, and so is his attitude towards him. Chatsky immediately makes it clear that for him rank is only a separate characteristic of a person. Alexander Andreevich judges by intelligence, inner qualities, and each according to a single standard of assessments. Chin is an indicator of how much a person knows how to serve and grease with more "taller people".
"- I am not familiar with her.
With Tatyana Yurievna !!! "
Molchalin emphasizes this name, as if saying: "How can you not know such a great person with such a high rank?" For Chatsky, this woman is not a saint because of her position; to the statement of the interlocutor that Alexander Andreevich needs to go to her, he replies: "To what?" - not seeing the point in it.
5. CHATSKY'S CHARACTERISTICS
Chatsky is smart, eloquent and generally very talkative. A fighter for social independence and assessment of a person, not by rank, but by intelligence and development. He believes that "ranks are given by people, and people can be deceived." He does not seek patronage, being in business, he gives himself completely to them, in fun - fun. He is not one of those who "mix these two crafts." He "is not a reader of nonsense, but more than exemplary."
According to Chatsky, a person should not completely surrender to someone else's opinion, regardless of his rank; your opinion should always be.
6. CHARACTERISTICS OF MOLCHALIN
Molchalin is a pronounced servant. As Chatsky said: "There is only little intelligence in him", "Serving, there is a modest blush in his face", "not rich in words." In conversation, he immediately began to boast of ranks. Has two talents: moderation and accuracy. Serving and striving for wealth deprives him of all moral values. He admires rich people with a high position, does not dare to express his opinion due to the fact that "in his years he should not dare to have his own judgment," and someone else's stereotyped opinion is sacred for him.
7. EPISODE COMPOSITION
The opening: Chatsky's reflections on Molchalin and the beginning of a conversation with him.
Action Development: Conversation Between Characters
The culmination: "I dare not utter my judgment ..." - the beginning of the main moment defining the position and pity of Molchalin.
The denouement: "With such feelings, with such a soul, we love! .. The deceiver laughed at me!"
The author is ambivalent about Chatsky. On the one hand, he is a positive hero in relation to Famus society, is smart, has not lost moral values, and is noble. On the other hand, Alexander Andreevich is too intrusive, too smart for those people. He is trying to change the already formed worldview of representatives of the past century and those who are under their influence. This was the reason that they began to call him crazy. Molchalin is an obvious negative character. Griboyedov shows him miserable and immoral, but at the same time lucky because of his position: he greets Famusov, punching his career path, and everything, for the time being, went very well with Molchalin. Only because of this, he wins over Chatsky in love, in relation to strangers.
Comedy "Woe from Wit" by A.S. Griboyedov wrote in 1824. In this work, one can clearly hear the approach of the Decembrist uprising, excitement among the educated, progressive people of that time. On the pages of the comedy, the author was able to convey the general moods of various strata of society in contemporary Russia.
The work is based on the method of antithesis: the Famusian conservative society is opposed to the “new people” of that time, people thirsting for change, defending the ideals of freedom, honesty, and sincere love for the fatherland. In the work of these people are represented by Chatsky himself, Skalozub's brother, the nephew of Princess Tugouhovskaya, and teachers and students of the Pedagogical Institute, who are said to be "practicing schisms and unbeliefs." Chatsky ranks himself in the regiment of these people and in his speeches often says "we", thereby making it clear that he does not feel alone in his ideological considerations. But in Famus' Moscow there is no place for his thoughts, ideas, way of life, behavior. Here no one accepts and does not understand all the acuteness and richness of Chatsky's mind. Hence, in my opinion, the title of the play - "Woe from Wit".
The conflict between Chatsky and the society in which he arrived is not only social in nature, but also amorous. Since childhood, the hero has been in love with Sophia Famusova, with whom they grew up together, and who previously seemed to share his ideals in life. And so Chatsky arrives in Moscow and immediately rushes into the house of his beloved. It is easy to guess that the hero's intentions are the most serious: he wants to marry a girl. But suddenly the young man gets rebuffed. He understands that Sophia's heart is occupied by another - the foolish and scoundrel Molchalin. Apparently it was this fact that most of all "knocked down" the hero, and he began, without hesitation, to express his position in everything, to enter into disputes. But with whom? With the inert Famus society, which is so unprepared for his statements that it simply plugs its ears and calls Chatsky crazy.
The culmination of "Woe from Wit" is an example of Griboyedov's remarkable dramatic skill. At the heart of the climax, when society declares Chatsky to be crazy, is a rumor, the reason for which was given by Sophia. It is from her that we hear the remark "aside": "He is out of his mind." The annoyed Sophia threw this remark, in my opinion, 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 statement was heard by the secular gossip Mr. N. and understood it literally. And Sophia did not even think to clarify her words. On the contrary, she confirms that Chatsky is crazy:
Sofia
He is not quite all there.
G.N.
Have you lost your mind?
Sofia (after a pause)
Not that at all ...
G.N.
However, there are signs?
Sofia (looks at him intently)
It seems to me.
Sophia decided to take advantage of the misunderstanding to take revenge on Chatsky for his mockery of Molchalin. Becoming a source of rumors about Chatsky's madness, the heroine finally “burns bridges” between herself and her former lover. In addition, the image of Sophia becomes completely complete. If before that she in many respects hesitated, but now she is completely on the side of Famusov and all "ossified" Moscow. Thus, the hero's love conflict is resolved.
Griboyedov delightfully shows how gossip about Chatsky flies around everyone, incredibly mutating at the same time. This is the so-called broken phone game. Zagoretsky turns gossip into fact:
A! I know, I remember, I heard
How can I not know? An example case came out;
His uncle-rogue hid him in the mad ones ...
The Countess grandmother, because of her very poor hearing, understands something completely different about Chatsky: he went to prison, "to the freemasons in the bed", "went ... to the pusurmans." When the gossip spread around all the guests, everyone considers it their duty to declare that it was he who first saw the madman in the hero. So Famusov declares:
…I am the first! I opened!
For a long time I wonder how no one will bind him!
Try about the authorities - and who knows what he will say!
Naturally, the question arises about the reasons for Chatsky's madness. And after a long debate, the guests come to the conclusion: "learning is the plague, learning is the reason."
Thus, with the help of this scene, the author helps us understand that the hero "lost" both conflicts: love and social. Finally rejected by Sophia, struck by the rumor of his madness, he flees from Moscow. But the hero's defeat is temporary. With his statements, he undermined the peace of Famus society. These people became agitated, feeling the imminent decline of their empty and aimless life. And Chatsky will still win.
Accidentally bumps into her in the room and tries to find out who she loves. Sophia replies that “the whole world”, and expresses to Chatsky: you are too sarcastic, you make fun of one or the other, but wouldn't it be better for you to pay more attention to yourself? (See the full text of Woe from Wit.)
Chatsky frankly asks her about Molchalin. Is there in him "that passion, that feeling, that ardor so that, apart from you, the whole world seemed to him as dust and vanity?" Isn't Molchalin too humble? Have you in your imagination ascribed qualities to him that he does not have?
Woe from wit. Maly Theater performance, 1977
Sophia regrets to herself that she "reluctantly drove Chatsky", however. But he denies his love for Molchalin. He says that she simply sympathizes with him when he hears how evil Chatsky makes fun of him. Sophia insists: Molchalin is not stupid, he knows how to disarm the hot-tempered Famusov with meekness, and out of the kindness of his soul spends whole hours with boring old people. "He is finally: compliant, modest, quiet ... Aliens and at random does not chop."
Listening to Sophia, Chatsky convinces himself: she is not capable of falling in love with Molchalin - the character traits that she praises in him are too small. Sophia directly says about Skalozub: he is the hero of "not my novel."
Liza appears and quietly tells Sophia that Molchalin is going to come to her. Sophia leaves Chatsky under the pretext that she needs a “primer”. Molchalin enters Chatsky's room. Chatsky asks how he is doing. Molchalin says that he recently received a promotion in the Archives: his bosses appreciated two of his talents - moderation and accuracy. “The most wonderful two! and they are worth our all, ”Chatsky sneers. Molchalin hints that Chatsky is simply jealous: after all, he "did not get the ranks." She tells how the influential Moscow lady Tatyana Yurievna, returning from St. Petersburg, told: Chatsky's previously existing connection with the ministers was quickly cut off. Much to Molchalina's surprise, Chatsky does not even know who Tatyana Yuryevna is.
Molchalin advises Chatsky to serve in Moscow: "take awards and have fun." Chatsky replies: “When in business - I hide from fun, when fooling around - I am fooling; and to mix these two crafts is the darkness of artisans, I am not one of them. " Molchalin recalls some other Foma Fomich. Chatsky calls this head of the department "an empty and stupid person" and asks Molchalin's opinion of him. “In my years I shouldn't dare to have my own judgment ... We are small in ranks,” Molchalin replies with feigned modesty.
Chatsky almost openly taunts him and again comes to the conclusion that Sophia cannot love such a nonentity.
Guests are going to the Famusov's house for the ball. The footmen are preparing the tables. Chatsky stands alone. A carriage arrives. The young lady Natalya Dmitrievna is surprised to see Chatsky: she believed that he was far from Moscow. She says that she married Platon Mikhailovich Gorich. Platon Mikhailovich himself, also a close acquaintance of Chatsky, enters. Chatsky jokingly inquires: "Have you forgotten the camp noise, comrades and brothers" after marriage? - Gorich answers with regret: now I have other things to do; now I am repeating the a-molar duet on the flute. “Brother, get married, then remember me! Out of boredom you will whistle the same thing. " Chatsky reminds Gorich of the old days of military service in the regiment. However, Natalya Dmitrievna is in a hurry to answer: Platon Mikhailovich now has ryumatism and headaches, he loves the city, Moscow, and in the wilderness of the army garrison will ruin his days. Natalya Dmitrievna annoyingly takes care of her husband, insists that he button up his vest, move away from the draft. Gorich even lifts his eyes to the sky. Chatsky: “Wasn't it last year, at the end, I knew you in the regiment? only morning: foot in the stirrup and running on a greyhound stallion; blow the autumn wind, at least from the front, at least from the rear. " - Gorich: “Eh! brother! it was a glorious life then. "
The Tugoukhovsky family drives up: a prince and a princess with six unmarried daughters. Natalya Dmitrievna runs to kiss them. Ladies loudly discuss the styles of dresses and scarves. The princess, noticing Chatsky, asks Natalya Dmitrievna who he is. She answers: "Chatsky, a bachelor." The princess immediately tells the prince to go "to invite Chatsky to our place for dinner." The deaf prince, having listened to the instruction of his wife through the ear tube, goes to obey it. Meanwhile, he explains to the princess: Chatsky is not a junker and not rich. Princess: "Prince, prince, back!"
The grumpy, annoyed Countess Hryumins drive up. Other guests are arriving. Between them, the fussy Zagoretsky, who immediately offers Sophia a ticket to tomorrow's performance, which he got out of acquaintance. Zagoretsky tries to talk to Gorich, but he advises him with disgust to "fool women." Gorich recommends Zagoretsky to Chatsky as a "notorious swindler and rogue", with whom it is dangerous to sit on cards.
The old woman Khlestova, Famusov's sister-in-law, appears with a little arap girl and a dog. He boasts of them in front of Sophia. He says that Zagoretsky helped to get them. Zagoretsky, having heard these words, stands forward from the crowd. But Khlestova continues Sophia about him: "a liar, a gambler, a thief" - and Zagoretsky immediately disappears. Chatsky laughs at this scene. Khlestova does not like his laugh: she thinks that Chatsky is laughing at her.
Famusov comes out, loudly asking if Sergey Sergeyich Skalozub has arrived. He soon appears. Molchalin has already taken a place for Khlestova at the card table. A spitz strokes her and admires his fur.
Chatsky approaches Sophia. He scoffs at Molchalin's flattering habits, finds in him a resemblance to Zagoretsky. When Chatsky departs, Sophia is furious. “This person has always caused me terrible frustration! Glad to humiliate, to prick; envious, proud and angry! " Mr. N comes up to Sophia and inquires about Chatsky. Sophia: "He's out of his mind!" Mr. N is surprised and interested. Sophia, noticing this, thinks to herself: "Ah, Chatsky, you like to play around as jesters, would you like to try on yourself?"
Mr. N conveys the rumor about Chatsky's madness to Mr. D. From Mr. D, the news passes to Zagoretsky. He assures that he had heard before: Chatsky sat on a chain in a yellow house, but then he was released from the chain. Zagoretsky tells the rumor to the Countesses Khryumin. The granddaughter, without thinking twice, confirms: she herself noticed Chatsky's madness. The deaf countess-grandmother generally hears: Chatsky is either imprisoned, or transferred to the rude. The grandmother is trying to tell the news to the same deaf prince Tugoukhovsky.
Little by little, all the guests will learn the news of the "Chatsky's madness". No one knows who she came from first. Famusov says that he is not at all surprised, for Chatsky “bow a little low, bend down, even in front of the monarch’s face, he will call him a scoundrel! ..” Everyone is very happy with the news, everyone has reasons to annoy the clever, sarcastic Chatsky. Famusov already assures that Chatsky's mother went mad eight times. Khlestova asks: "he drank beyond his years"? Natalya Dmitrievna confirms: "with bottles, and large ones", and Zagoretsky: "No, sir, forties barrels." Famusov declares: “Well! it is a great misfortune that a man drinks too much! Learning is the plague, learning is the reason. "
Everyone picks up the topic of the dangers of teaching. Princess Tukhoukhovskaya tells about her relative, who studied at the Pedagogical Institute and now: “She runs from women, and even from me! Chinov doesn't want to know! He is a chemist, he is a botanist, Prince Fyodor, my nephew. " Skalozub says that there is already a project to reorganize all schools and gymnasiums in a military fashion, "and the books will be kept like this: for greater opportunities." Famusov: "If evil were to be stopped: take all the books, but burn them." Zagoretsky is outraged that the fabulists in their rhymes mock "lions and eagles." They begin to argue hotly about how many peasant souls Chatsky has.
He appears himself. Everyone backs away from him ("I would not start to fight"). Chatsky approaches Sophia, tells her that he did not like Moscow. He tells how he had just spoken in the next room with a French visitor from Bordeaux. He was afraid to go to Russia, "to the barbarians", but when he arrived here, he felt as if in his own homeland: everyone speaks French, the ladies wear the same outfits ... Chatsky is outraged by the lack of national spirit in the highest Russian society.
Oh! if we are born to take over everything,
If only we could borrow a little from the Chinese
Wise their ignorance of foreigners.
Shall we rise again from the foreign rule of fashion?
So that our smart, cheerful people
Although in terms of language we were not considered Germans.