Topic: composition of the exam. mind and senses

There was too much new in it: the behavior of the characters, their unusual language, but most importantly, it contained the characters of recognizable people from society. Alexander's Moscow friends, who had managed to get acquainted with the drafts of the comedy, from the lines they recognized those from whom the roles of Famusov, Skalozub, Molchalin and others were written off ...

Having stayed in Moscow, Griboyedov tried to stay at home less. He felt bad there. Nastasya Fyodorovna reminded her son of the need to return to the service of General Ermolov. Alexander was not going to return to the Caucasus and asked Nesselrode to extend his vacation for an indefinite period of time, without saving his salary. Permission was obtained, which could not but anger the mother.

In order not to hear her reproaches again, Alexander took advantage of Stepan Begichev's invitation and drove off to his Tula estate. Griboyedov was again left without any means of subsistence, and "Woe to the mind" still required significant revision and there was no guarantee that the play would be published and accepted by theaters for staging.

There was too much new in it: the behavior of the characters, their unusual language, but most importantly, it contained the characters of recognizable people from society. Alexander's Moscow friends, who managed to get acquainted with the drafts of the comedy, recognized those from whom the roles of Famusov, Skalozub, Molchalin and others were written off.

In the summer of 1823, the comedy "Woe from Wit" was born near Tula, and somewhere in the south, either in Chisinau or Odessa, Pushkin wrote the first chapter of his novel in verse "Eugene Onegin".

"Woe from Wit"

Having squeezed out of Moscow everything that his play needed, he realized that the time had come to pave the way for it to viewers and readers. In the hope of official recognition of his brainchild, Griboyedov returned to St. Petersburg.

Here he met the husband of his cousin Elizabeth, General Paskevich, who would soon be appointed Commander-in-Chief in Transcaucasia instead of General Yermolov.

Among the entertainments and feasts, Alexander did not forget about the main purpose of his visit to St. Petersburg. A distant relative of the Griboyedovs, Vasily Lanskoy, was appointed minister of the interior and censorship depended on him. Lanskoy encouraged Alexander about the publication of the comedy "Woe from Wit". All that remained was to prepare the manuscript and submit it to the censorship committee.

"No urine, I'm sick"

Griboyedov, always neat in his business, this time in no way could put the manuscript in order. Andrey Zhandr, a child's friend of Alexander, came to the rescue. He persuaded to give him a pile of crumpled crossed out sheets of the play, promising to return them soon.

The military-counting expedition (office) of Gendre undertook to disassemble the sheets with the text and rewrite them completely. A few days later, Alexander Sergeevich received a finished, neatly bound copy of his play. Only one thing Griboyedov did not know, that his "Woe from Wit", copied many times by the Gendraites, had already gone for a walk around Petersburg from house to house, from salon to salon. The author himself read his work twelve to fifteen times a month wherever he was asked to do so.

But the more he realized that he had created an outstanding work, the more he was irritated by the praise and applause after each reading. Now he firmly knew that the audience was laughing at the sharp remarks and caricatured characters of provincial Moscow, but remained deaf and indifferent to the essence of the play itself. “How ... to tell people that their penniless approvals, the insignificant glory in their circle cannot comfort me?” Griboyedov complained.

Having signed out, having emasculated the sound, Alexander slipped into depression. The period of sound sublimation has passed, what was done did not please the playwright anymore, and a deep sound void formed inside. On the one hand, the feeling of one's own genius grew, which is familiar to every person from, on the other hand, the abyss of dissatisfaction with oneself increased. He began to hate the play: "The weather is cloudy, damp, cold, I'm angry at everyone, everyone is stupid ... No urine sick."

Alexander was in the worst frame of mind. The money ran out, the luxurious Persian order had long been laid in the pawnshop, there was no strength to resist the stupidity of the censors.

The trouble is that you are Thaddeus Bulgarin

The journalist Faddey Bulgarin's "Literary sheets" published his feuilleton, in which, under the name of the writer Talantin, Griboyedov was guessed, "opposed to all mediocre Petersburg writers", teaching them how to write. Thaddeus Bulgarin was known for his obsessive servility, skin unscrupulousness, custom-made praises, which were generously paid by the booksellers and the authors themselves.

To attract writers to his house, he settled a certain person, a German girl Laenchen (Lenochka), and without hesitation encouraged the claims of male writers to her. System-vector psychology of Yuri Burlan explains this behavior by the properties of the stressor. For the sake of greater benefit, the skinner is able to sacrifice what he has.

Of course, no one would have believed that Alexander Griboyedov ordered Bulgarin a feuilleton to raise his own popularity and prestige. "Woe from Wit" has not yet been published, and the vaudeville "Who is a brother, who is a sister," which is successfully running in Moscow, was not accepted in St. Petersburg.

For the first time in his life, he abandoned the society of friends and Petersburg relatives, wishing to be alone with the music and "Gore", which no one wanted to publish or stage.

At times, the sound engineer “denies himself” the whole world and plunges into salutary loneliness. Griboyedov moved into a small apartment on the first floor at the very mouth of the Neva. He didn’t receive anyone, “he locked himself up and played the piano for days. Friends were worried about him. After one visit to the head of the censorship committee, von Fock, Griboyedov returned home in a deranged state and, in a fit of rage, tore to shreds all the papers that came to his hand "(Ekaterina Tsimbaeva." Griboyedov ")

All hopes for the legalization of the play, which circulated around St. Petersburg in manuscripts, collapsed. Alexander suffered great disappointment, which could not but affect his physical and mental condition.

Here Bulgarin arose again. In order to regain Griboyedov's disposition, he vowed to "push" through the censorship, if not the entire comedy "Woe from Wit," then at least its individual scenes. Alexander Sergeevich agreed.

Experienced Bulgarin knew many workarounds, knew how to wait until the right moment, knew who should once again bow down, and who should be bribed. Alexander, brought up in the rigid framework of the upper class, with all his skill as a diplomat, avoided such actions and actions that were not worthy of a nobleman.

Ban on publication

By necessity, Griboyedov moved to his friend and cousin, the future Decembrist Alexander Odoevsky. A week later Bulgarin appeared in Odoevsky's house with permission from the censorship to publish Woe from Wit.

The entire first act of the comedy was published in the Bulgarin anthology "Russian Thalia". The cunning Bulgarin, having twisted like a skin, nevertheless got a new author with a scandalous play in his magazine, which guaranteed the sale of the published edition.

The office of the enterprising Andrei Gendre has greatly enriched itself by rewriting, binding and distributing the manuscript of the comedy. Careless scribes made mistakes in the text, or even changed it beyond recognition. The more expensive the original became. Soon there was not a single personal library in Russia where a handwritten copy of Grief was not on the shelf among the classics.

No one had time to look back, as a non-existent work became a classic of Russian literature and spread across Russia in an amount of about 40 thousand. The usual circulation of books at that time was from 1200 to 2400 copies and only Pushkin's books reached 5000.

“His handwritten comedy Woe from Wit,” Pushkin recalled, “produced an indescribable effect and suddenly put him alongside our first poets.”

If St. Petersburg greeted Griboyedov's comedy with enthusiasm, then Moscow took it as a lampoon on famous Moscow people, finding their similarities with the characters of the characters in Woe from Wit.

The offended famusovs, puffers, taciturns, chatskys recognized themselves on the pages of the comedy and reacted sharply and indignantly, even persuading those who were younger to challenge Alexander Sergeevich to a duel. Griboyedov's plan was a success, he managed to "rock" the swamp of Russian reality.

"Where can a weary heart eat a corner?"

Three years have passed since Griboyedov's departure from the Caucasus. During this time, he finished a comedy, gained popularity as a fashion author, found out what was happening in the capitals. Secret societies have long ceased to be secret, and only the lazy did not know about them. The decrepit tsar was happily living out his life and no longer dreamed of new victories.

After the Persian intellectual desert, Alexander was satiated with fellowship with friends, girlfriends, writers and relatives. Wandering in other people's apartments, lack of money, censorship, a creative crisis and uncertainty with the service to which he had to return, since he had no other means of subsistence. All this led Griboyedov to severe mood swings.

“Another game of fate is intolerable, all my life I wish to find somewhere a corner for solitude, and there is none for me anywhere” (From a letter to Begichev on September 9, 1825). The main thing for the sound engineer is to concentrate on sound thought; such a state can be achieved only in silence and solitude, but no one can provide them to him.

Stepan Begichev once again lent money to a friend so that he could return to Ermolov. On September 12, he arrived in Feodosia to sail to the Caucasus. The mood was heavy. Alexander was oppressed by official and everyday uncertainty, the dangerous position of close friends with their membership in secret unions.

In Crimea, a severe depression swept over him, he could not find a place for himself and was close to suicide. " He wrote to Stepan Begichev: “Unknown anguish! Stepan, give me some advice on how to save myself from madness or a pistol, but I feel that this or that is ahead of me. "

Unfilled voids The voids of the sound vector create such a psychological state when life ceases to make sense. “Experiencing extreme suffering, the sound engineer comes to suicide,” says Yuri Burlan at a lecture on system-vector psychology.

Griboyedov's sound shortage was filled during work on the comedy "Woe from Wit". Its popularity and the speed with which copies of the play's manuscript were distributed throughout Russia temporarily patched the sound holes of the Russian collective psyche. Now Griboyedov needed a new creative sublimation, he sought and did not find it. The constant reminder of the past success of "Woe from Wit" by the author irritated and unnerved.

You can learn more about the properties of the sound vector and about the unique abstract intelligence that it awards its owner at the training on System-Vector Psychology by Yuri Burlan. Registration for free online lectures at the link:

You've probably heard more than once about the fact that men often fall in love with some, and marry completely others, or, being married, they may fall in love with another, but they will never leave their wife? And about women, for sure, we have heard many times that they often fall in love with scum, but if their heads are on their shoulders, they marry for convenience, and not for love.

Many women are very afraid to turn out to be such a wife of convenience, whom they consider convenient for marriage, but others will love. And men are even more afraid of this, they are afraid to become such - alternate airfields, where a woman is ready to sit, if at all other airfields she is not given a warm welcome. In nightmares, men see that they will be used as earners, and that they will dream of others or even sleep with others, and even worse, they will bring them someone else's child and say "yours." And women in nightmares see how her husband will grumble at her for a badly ironed shirt, and at this time he will put likes to familiar and unfamiliar beauties on social networks. In a word, both women and men have a very negative attitude to the fact that they can not be married for love.

But the problem of dissonance between falling in love and the desire to marry is much broader, and concerns not only mercantile considerations. I will try to tell you where, in principle, this problem comes from, what it is connected with, and what its dynamics are.

I have already raised similar topics more than once (for example,), describing that most people do not have enough integration in order for duty and pleasure to coincide. We can say that people are divided into 4 types, in proportion to their level of maturity (although stage 3 is not necessary at all, sometimes the 4th goes after the 2nd, and the 3rd is often just a deviation on the way to the 4th):

1. People for whom there is no "need", but only "I want".

2. People who have a "need" and it often does not coincide with a "want", and they make difficult choices.

3. People who have "want" and "need", but "need" is always more important "want".

4. People who have a "want" and it coincides with a "need".

For people of the 1st type, "must" is a stupid morality, some other people's norms that society and parents are trying to impose on them. Occasionally they have to give in, but only when it is otherwise impossible to get what they want. In all other cases, they prefer to do only what they want, and this "want" almost never coincides with what society "imposes" on them. Therefore, there is a conflict between such people and society. They are always victims of the system, and the system is always an exploiter who tries to devour them. But if you pay attention to what such people want, it turns out that they themselves want to exploit others and they sincerely consider it their right, or they simply do not notice that the benefits are not pouring from the sky, but are earned by other labor.

For people of type 2 "must" are still external norms, many of which seem superfluous to them, but they agree that there is a certain amount of reasonableness in this, everyone should try to comply with them, in the future they are sometimes useful, but more often than not it is simple a duty that many manage to avoid if they are "well settled" and type 2 people dream of settling in the same way. Between such people and society there is a certain agreement, which they sometimes try to comply with, sometimes violate, but violate only when it does not incur too many losses, that is, they already agree that "it is necessary" is not someone's naked arbitrariness, and to some extent - an objective necessity, albeit boring.

For people of the 3rd type, "must" is what must be done, no matter how difficult it is, no matter what the cost, because if you do not do it, it is fraught with future problems, compulsory regret and pangs of conscience, as well as condemnation or even contempt of people. No matter how much you want to give in to your "want", which is often at odds with this "must", you cannot give in, because momentary pleasure will be replaced by many days, or even years of reckoning. Any impudent "want" for such people is an enemy and a tempter who tries to boggle their heads, so that later they will regret for a long time how they went on about their weakness and betrayed "themselves." That is, such people already consider themselves to be a certain duty, not pleasure, and this duty of theirs coincides with what is objectively considered good in society, that is, coincides with the basic ethical norms.

For people of the 4th type, "must" coincides with "want", that is, everything that is objectively useful gives them both momentary pleasure and bodily joy. Harmful and destructive things are not tempting for them, they repel on the sensual level too, like a cloying and fatty margarine cream on a cake repulses a person who is accustomed to healthy eating, its receptors recognize it as "tasteless", or, as for someone who is used to physical exertion, to lie the whole day in a stuffy room on the couch is torment, not joy, his body does not react to idleness as to rest, unlike someone who does not like sports. The same goes for the rest of life. An integrated personality (and people of type 4 are it) everything that seems harmful and unpleasant, she does not overcome herself, like people of type 3, when you need to choose between pleasant and useful or beneficial and ethical, for her is pleasant what is useful and beneficial it seems only ethical. She does not want to deceive someone, but not because she is afraid of retribution or condemnation or pangs of conscience, and the very fact of deception does not seem beneficial to her, since she is associated with everything bad. In a word, such a person does not have any gap between "want" and "need".

And now let's see which of the 4 types of people is able to fall in love, but refuse to associate life with this person (not because the first one rejected, but himself)? Which of the 4 types of people has a "mind with a heart at odds", that is, the heart wants one thing, and the mind - another?

The 1st type has a mind and heart in harmony. His mind agrees with his heart and always tries to protect him from attempts by other people to impose some rules on him. He rejects any other people's rules, his only rule is "I want it so".

But people of the 2nd and 3rd types can go against their own feelings if their heart and mind argue, and in people of the 2nd and 3rd types this often happens. A person of the 2nd type will make a choice with difficulty, he will doubt all the time and can rush about, trying to reconcile his heart and mind. And a person of the 3rd type, most likely, will not even doubt, he will make a choice immediately and then he will courageously (and even with some pleasure) suffer while his heart aches.

That is, if a person of the 2nd type, for example, a woman, and she fell in love with an alcoholic or a criminal, or just a person who, for all reasonable reasons, can bring many problems into her life, she will worry and rush about, making a difficult choice between the arguments of reason and by the attraction of the heart, she will try to prove to her mind that an alcoholic can stop drinking, and a criminal can improve, and she can, in the end, choose what her heart calls for, or she can still obey her mind, but this choice will be for her is ambiguous.

If such a woman belongs to the 3rd type, she knows from the very beginning that her love is an obsession with which she must cope, she is not going to "break her life" and she will not even just take risks. She feels her duty to her parents, to future children, to whom she is obliged to provide normal conditions, she feels her duty to herself, perceiving herself a little separate from her "want" and piously believing that the passion will gradually pass, but even if it remains, She should not follow her lead, that is, it is a type 3 person who is most likely to marry or marry someone else he is in love with, if his lover contradicts some of his plans or what he considers his duty (to himself or to significant loved ones, it doesn't matter)

A type 4 person always marries only the one he loves, but he never falls in love with someone who, for some reason, should not be married. But a person of the 3rd type and especially the 2nd type falls in love with such people quite often.

The most common such example of type 3 is a man in love with a very bright, but very flighty and windy woman. She can stun him, captivate, even completely "blow off the roof" with her emotionality and sexuality. But he will try to pull himself together and part with her, because she does not suit him as a wife. He will tell her "I love you, but this is not how I see my future wife, I want to have a reliable rear, I want to have children, I do not want to live on a powder keg and spend my life only on passion." A woman may think that he is lying about love or that he will regret a hundred times, in fact, he may not lie and may never regret if this is a person of the 3rd type (here, the 2nd type may regret it, because it is so until the end and does not know which is more important - the heart or the mind).

Is it good to choose what the mind says when the heart argues with it?

It all depends on how stupid a person's heart is. A very stupid heart is characteristic of people with strong self-destructive tendencies, and such tendencies are characteristic of people whose own resources are very weak, and there are no right authorities. That is, for example, if this is a teenager, then he, with a high degree of probability, will have very weak resources (there are exceptions, some teenagers develop their personality early, but this is rare), but if at the same time he has normal ideals and authorities , he will form in a relatively healthy direction, and if he contacts a very bad company, then self-destructive tendencies will quickly take over him. And then his heart can become very stupid and listening to such a heart is evil.

In all other cases, when there are no obvious self-destructive tendencies, one must listen to the heart. But listening does not mean obeying implicitly, it means reckoning with him and respecting him, because otherwise you can suffocate yourself to frustration and depression. What a person calls "heart", meaning a certain center of drives and desires, is an energy center. And the mind only helps to develop it correctly, and ideally, at some point, it should integrate into this heart, when the heart is sufficiently developed.

People of the 2nd type, who stepped on their throats, choosing what their mind wants (also, by the way, not too smart, since a really smart mind is looking for a balance between "need" and "want") very often live a gray, low-energy life , complain about artificiality, about demotivation, about the uselessness of everything and vanity.

People of the 3rd type may argue that there is a meaning in their life, that "one must live not for joy, but for conscience," but they also often die from heart attacks (one of the reasons for common male heart attacks at 40 is a desire push yourself) or break down mentally (start drinking or otherwise show depression). With people of the 3rd type, this happens quickly and abruptly, yesterday I was pleased and suddenly realized that he was a machine and did not want to live (or went to war, for example).

In a word, while "I must" and "I want" are not united, but there is a conflict between them, you need to listen very carefully to both, try to move in the direction of "must", but be sure to respect and "want", sometimes choose him too , in cases where it does not completely cancel "should".

Returning to where the fast began, we can say that it is worth getting married only for love, if you do not want to deprive yourself of energy. But the opposite is not always true: not all love deserves to marry a person, sometimes love is like a disease, from which it is better to get rid of. But you always need to remember about the mass of possible side effects (in order to track and mitigate them), and that you can heal yourself from love only with the most delicate means, and not just chop with an ax and etch out of the soul. It's like comparing the work of a neurosurgeon and a butcher. The second is not suitable for a cure for love.

“MIND WITH A HEART IS NOT IN TUNE”.

CHATSKY'S WAY TO "MADNESS".

(ORTHODOX LOOK AT THE MAIN HERO OF THE COMEDY A. GRIBOEDOV "Woe FROM MIND".)

Shirshova I.A.

Municipal educational institution Lyceum No. 22

Ivanovo, Russia

The comedy reader is sometimes burdened with the same spiritual problems as the hero of A.S. Griboyedov. Modern playwright, and even today's critics either pity Chatsky, or put him in opposition to Famus' Moscow. Note that both those and others only state the reality. For this, critics study, referring to Griboyedov, "the philosophical, socio-political, moral-ethical, national-cultural and family-everyday aspects" of comedy (1). (Krupchanova A. L. Griboyedov. M.: Moscow State University, 2001.) Beyond the limit of literary research, as we see, remains the spiritual aspect of this work.

Woe from Wit is a comedy with broken genre and plot-compositional canons of classicist plays. Griboyedov decided to take such a step in order to formulate the problem of “smart person and society”. Along with the problem of the mind, there are no less important problems of inner freedom, love, friendship, service to the Motherland. Proceeding from Griboyedov's understanding, according to which the mind, feeding on generally accepted stereotypes, is no longer mind, but stupidity, we will come only to a narrow, social understanding of comedy. Was Griboyedov really so simple in the idea of ​​his comedy? No, it is not simple, just as the problems posed in this work are not simple. Chatsky did not cope with the test of life: relations with society, with his girlfriend did not come true, there was no providential case for his nature, there was a conflict with himself. There was a misfortune in the person and with the person. Let's try to look at this tragedy from a Christian point of view, outside the social, national and everyday aspects, which, no matter how we argue with this, justify the fractures of fate, mistakes, crimes, and do not at all give a chance to get out of the vicious circle of hopelessness, according to to which, one by one, many heroes of the long-suffering Russian classical literature moved: some - to disappointment, others - to death (Pechorin, Onegin, Oblomov, Bazarov ...).

“Chatsky, for example, in addition to positive qualities - intelligence, honor, courage, versatile education - also has negative ones - excessive ardor, self-confidence and arrogance. Sophia, who so ruthlessly and dishonestly slandered Chatsky, is smart, freedom-loving and decisive. ” concepts. Intelligence and courage are called positive qualities. While the mind is the energy of the soul, its essence (3), courage is a state of mind (“dead mind is treated with courage”) (4). Alas, we have lost the true understanding of these and many other categories that define the human component. Hence the meanings are distorted and interpretations appear. Let's try to look at Griboyedov's heroes from an Orthodox point of view, and therefore, in the understanding of the above characteristics, one should put in an Orthodox foundation that is fundamentally different from the mundane, everyday life.

We hear the first mention of Chatsky from Liza's lips: "Who is so sensitive, and cheerful, and sharp ...". Moreover, the girl admires the sensitivity, gaiety and sharpness of this person's language. Sophia supports her maid: "He is nice / He knows how to laugh everyone; / Chatters, jokes ..."; "Oster, smart, eloquent ...". Further, Liza conjectures (although she believes that "the rumor is not good") that Alexander Andreevich was treated on the waters "out of boredom." Soon Chatsky appears and voices the following: "The mind and the heart are out of tune." This is the diagnosis that the protagonist of the comedy makes to himself. It is clear that this is not a fleshly heart, but a spiritual one. According to St. Macarius, "the heart is truly an incomprehensible abyss." Metropolitan Hierotheos (Vlachos) calls the heart “the center of the human personality and the spiritual world.” (4) The Holy Fathers (St. Gregory Palamas, Blessed Diadochus of Photikos, Theoliptus, Metropolitan of Philadelphia) speak of the inextricable connection of mind and heart through purity of thoughts, deeds, observance of the commandments ... For Chatsky, this connection is broken - there is no harmony.

The first symptom of the disease is Sophia, or rather, the human imagination of Alexander Andreevich that the girl certainly loves him. But Sophia is connected with him only by childhood friendship, and even that grew out of the habit of "being together every day inseparably." Initially, there is no love on the part of Sophia in relation to Chatsky, but he requires this feeling, because a devilish pretense has already settled in his heart - an illusion that destroys consciousness, because the dream does not come true. In fairness, we note that Chatsky asks Sofia a question: “Are you in love? I ask you to give me an answer ... "Although not long before that he himself answered:" Not a hair of love! " But he doesn't really need answers. He does not want to know the truth (maybe he is afraid?), He needs some kind of fulcrum, since he "fell how many times." The fulcrum is love, even if it is fictional. Chatsky "flew more than seven hundred miles" - this is, in his understanding, a feat, for which he demands a reward from Sophia. But the girl does not understand why they are persecuting her with "quick and curious questions," she was "glad" to Chatsky and remembered him. But such joy does not suit the main character of the comedy. We see that three years of absence only aggravated his condition - “he was completely confused” (this is another symptom of the disease). It is the confusion that does not allow the hero to carry on a dialogue with people in the future. He hears no one but himself. In Activity I, Phenomenon 7, Chatsky asks questions and answers them himself. He cannot say a kind word about any person. This circumstance only repels Sophia even more. And what is the feeling of Chatsky himself? He loves Sofia "all the same" and "without memory." Note, to Famusov's question "do you want to get married?", Chatsky proudly retorts: "What do you want?" How is it, after all, he loves (?) The daughter of this Moscow nobleman, and the question of the latter as a father is legitimate?

Chatsky called his inner passions love. They boil in this person, overwhelming a sound mind, sobriety of judgments and care for the "beloved" girl. He, striving to prove his uniqueness to everyone, judges this feeling criminally ("The fate of love is to play blind man's buff;" But to have children, // Who lacked intelligence "). Alexander Andreevich acts dishonestly in relation to Sophia, trying to find out the truth about whom she loves: "Once in my life I will pretend." How can you be a little mean by lying once and be honest? We see that there is a sinful basis in Chatsky. Giving an apologetic characterization of Molchalin, the protagonist asks: “But is there that passion in him? that feeling? is that ardor? // So that, besides you, he has a whole world // Seemed ashes and vanity? " But what is happening in the soul of Alexander Andreevich himself: "... now it boils in me, worries, enrages ...". This is the source of Chatsky's troubles - he is "enraged", he is ardent and passionate !!! Only the wicked one can make a person think of demanding from his beloved girl a confession that is not at all in Christian love for one's neighbor. But quite recently the main character called himself “friend”, “brother” of Sophia. Indeed, Chatsky's mind is darkened. In this person there is neither meekness, nor mercy, nor purity, he knows in advance what he will do if Sophia refuses:

Do not think about love, but I will be able to

Get lost in the world, forget and have fun.

Could such actions heal the protagonist's mind? Of course not, since the last three verbs (“to get lost”, “to forget”, “to have fun”), meaning actions, do not lead to gaining virtues and sobriety of mind, but provoke a person to an even deeper spiritual fall. Chatsky's damaged mind took possession of his soul. Sophia, in contrast to her childhood friend, uses a different vocabulary: “the truth is in your guesses”; “What to pretend?”; “Why be, I’ll tell you bluntly, / So incontinent on the tongue?”. The girl is mistaken in people, she is naive in relation to Molchalin. But Sophia is natural in her feeling. We will remember how Chatsky, after passionate conversations with his girlfriend, enthusiastically showered Natalia Dmitrievna with words of praise:

Fuller than ever, prettier fear.

You are younger, fuller than steel;

Fire, blush, laughter, play in all features.

This woman interrupts the outpourings with the appropriate remark: "I am married." One cannot help but feel Chatsky's irritation: "How long ago would you have said!" We see that Alexander Andreevich, albeit not in such a hyperbolic form as a secular society, is just as actively playing games of light.

As soon as the main character, hiding behind a column, learns the truth about Sofia and Molchalin, he immediately declares: "... I am proud of the break with you." He revels in revenge:

Now it would not be bad in a row

To the daughter and to the father,

And a foolish lover

And to the whole world to pour out all the bile and all the annoyance.

What kind of love can we talk about if Chatsky is overwhelmed with revenge, irritation, anger. All this only deadens and drains his heart. Forgiveness, mercy, patience are the main sources that feed the river of true, sacrificial love. This work of the soul, which leads to inner Christianity, to a real living faith, to good relations with people, is inaccessible to the main character of the comedy. He only shouts, like the atheists: "Crucify!" In front of the viewer's eyes, the comedy turns into a tragicomedy. It is a pity for Chatsky, because no society is capable of taking away from a person “in image and likeness” based on Christian morality (only ten commandments!). Griboyedov shows step by step the path of a good, gifted person to madness. The main character does not address "I" in any of his actions, but this is self-deception: everyone is to blame, "the whole world." And "I" by the end of the play goes blind and deafens completely.

Let's see how Chatsky is not self-sufficient. In assessing his personality as a standard, he repels from Molchalin (!): "Why am I more stupid than Molchalin?" Sophia, herself not knowing her psychological foresight, advises Alexander Andreevich to remember his childhood:

Has it ever happened that you laughing? or in sorrow?

A mistake? did you say good about someone?

Maybe not now, but in childhood?

The roots of Chatsky's damage should probably be looked for in childhood. It is then that respect for the world around him, tolerance, and solicitude are laid in a person. Something (maybe the absence of a family?) Was violated during this period of life, because our hero confesses:

I'm in eccentrics to another miracle

Once I laugh, then I will forget ...

For him, people are "eccentrics", their thoughts, actions are a "miracle" over which one can only laugh "once" and "forget". It is hard to believe in the sincerity of such a lightweight attitude towards others. Rather, it looks like protection from humans. Laughter is a deceiving curtain that separates one world from another. Such a fence will inevitably lead the hero to loneliness. I. Medvedeva points out that "the unthinking and angry at Chatsky, because" no one wants to forgive him. " (1) I. Medvedeva. Three playwrights // Library of World Literature. A. Griboyedov "Woe from Wit". M., 1974. S. 9. 2) Answer to PA Katenin about “Woe from Wit”. // A.S. Griboyedov. Writings in verse. L., 1967. P.481.) We see that between Chatsky and society there is a watershed - evil. Where did it come from? Famusov, Skalozub, Molchalin, Repetilov, Zagoretsky and others are “unthinking”. But isn't the Chatsky, criticizing everyone and all that uses offensive, sharp epithets, comparisons, metaphors ("black-eyed, on the legs of the caravalny", "our treasure", "that truly", "French, born by the breeze"), not hearing anyone and nothing , can be called a thinking person? Why should they not forgive someone who is essentially the same as them? But for what - for pride. The hero considers himself educated and well-mannered (although, just in case, he notes: "... and in whom can we not find stains?"), And Moscow society is vicious and depraved. “The light has begun to become stupid,” and Chatsky does not know what to do with his mind. Alexander Andreevich, having traveled, returns to a society that cannot enrich him with anything. His mind is enough to use, alas, a trivially sinful instrument of influence on those who, in his opinion, are imperfect. Irritation, causticity, condemnation, opposition to the whole world - this is what the protagonist's mind betrays. The old woman Khlestova "in a Christian way" believes that Alexander Andreevich is "worthy of pity." It is clear that “Christianity” as understood by Khlestova has a different semantic quality than in the biblical context. That is why the phrase "in a Christian way ... he is worthy of pity" carries an energetic meaning independent of Khlestova.

Maybe Alexander Andreevich has a business that he could do for the soul providentially? The hero declares that "I would be glad to serve." The question arises: "Whom should I serve?" Motherland, fatherland? As Chatsky himself remarked, all this "will soon get bored." The hero's patriotism is based only on the false “smoke of the fatherland.” It means that there is no deed, like love, either. There is also no faith, which gives the highest meaning to life, is there no kindness and beauty of the soul, strength of spirit and love for one's neighbor? Madness - that's what "God judged him," in the words of the same Khlestova. The trouble is that Chatsky takes upon himself not foolishness in Christ (as a spiritual feat), but becomes persecuted by society and "public opinion."

Indeed, Chatsky needs healing, but for this he needs to go through the path of the cross. Khlestova, without knowing it herself, predicts healing - "they will heal, they will cure." In the meantime, Andrei Andreevich receives from people what he himself is sinful with: laughter, anger, absurdity, gossip, condemnation of "awkward clever men", "cunning simpletons", "sinister old women", "decrepit old men."

The disease has come to the surface - "offended feeling." Famusovskaya Moscow is just a scalpel that opens an abscess. Chatsky is offended, humiliated, insulted. Hence, passionate and sinful. In the pages of the play, he sets off on a long journey not as a wanderer with a staff, but as a fugitive in a carriage. The goal of his path is to find a corner for "offended feelings". Chatsky does not know that attempts to think in terms of geography will lead to futile attempts to find peace of mind. The classic warns about this. As the wise A.S. Pushkin leaves Onegin at a critical moment in the life of one, so A.S. Griboyedov, making a diagnosis of human damage, seems to know how and which path his hero should take to heal. Making a diagnosis is the most difficult thing. Griboyedov coped with this task. A comedy has been written about this and for this, for Chatsky is hiding in each of us. It is useful to look in the mirror and see the true face, although this occupation requires a heroic deed from a person.

List of used literature

1. Krupchanova A.L. A.S. Griboyedov. M., 2001.

2. Metropolitan Hierotheos (Vlachos) Orthodox psychotherapy. Holy

Trinity Lavra of St. Sergius, 2006, p. 124.

3. Ibid. P. 138.

4. Ibid. C, 159.

An example of a final essay in the direction of "Sense and Sensibility."

"Mind and heart are out of tune" ... These words, spoken by the hero of the comedy A.S. Griboyedov "Woe from Wit" Chatsky, make you think. For a full life, a person needs harmony between reason and feelings. But is it always possible?

When we fall in love, feelings come to the fore, or even completely supplant the rational principle. Those who consider love to be insanity, in my opinion, are not far from the truth: a person, fixating on the subject of adoration, commits rash acts that are contrary to common sense, and at the same time may not notice the obvious things.

An excellent example confirming this idea is Griboyedovsky Chatsky. He is passionately in love with Sophia and is sure that she should reciprocate him, if only because there are simply no other worthy people around the girl. But the daughter of Famusov is alien to the words and thoughts of Chatsky, who condemns everything that is close to her. Much more attractive to her is the dumb Molchalin, whom she has endowed in her imagination with the qualities of the heroes of her favorite French novels. Chatsky is smart enough and could well understand all this, but his mind was overshadowed by love. The result is a bitter epiphany and despair of the hero in the comedy finale.

“Mind and heart are out of tune” and in Bazarov, the hero of the novel by IS Turgenev “Fathers and Sons”. Eugene is a nihilist, he completely denies everything that cannot be investigated empirically, including love. Tender feelings between a man and a woman, in his words, "romanticism, nonsense, rot, art." Life has made adjustments to the views of Bazarov: he falls in love with Anna Odintsova. Feeling turned out to be stronger than the arguments of reason.

Love is the most beautiful feeling. It ennobles a person, reveals his best qualities. However, love, by definition, cannot obey reason, no matter how much we want it. That is why lovers often have “mind and heart out of tune,” and this situation is quite natural.

The one who loves, as a rule, does not think about spiritual harmony, does not analyze what is happening. As a result, feelings often get out of the control of the mind. At the same time, a person should try to pull himself together in any case. Incidentally, both Chatsky and Bazarov succeeded in doing this. The hero of Griboyedov, having learned the unsightly truth about his beloved, leaves Moscow, but does not lose his dignity. Turgenev's nihilist also does not allow feelings to take over. Suffering a fiasco in love, both heroes demonstrate a strength of character that cannot but attract readers.

So, "the mind with the heart is out of tune" for those who are in love. If a person is overtaken by love, finding harmony between reason and feeling is not easy, even almost impossible. But with honor to withstand this test, not to lose heart, not to lose dignity, everyone can do it.

It is impossible to dispute the truth that a person knows the world in two ways: through reason and feelings. The human mind is responsible for that knowledge of the world, which is characterized by stable goals, motives of activity, inclinations and interests. However, cognizing reality, a person sensibly relates to objects and phenomena that surround him: to things, events, to other people, to his personality. Some phenomena of reality please him, others sadden, some cause admiration, others outrage him ... Joy, sadness, admiration, indignation, anger - all these are different types of a person's subjective attitude to reality, his experience of what affects him ... But it is impossible to live only by feelings, “the head must educate the heart”, because sensations and perceptions mainly reflect separate aspects of phenomena, and the mind makes it possible to establish connections and relationships between objects in order to carry out intelligent activity.

And yet, in our life it happens that we act either at the behest of the heart, or at the prompting of the mind, reaching a compromise only when we "fill the bumps." In this regard, an example from the comedy of A.S. Griboyedov "Woe from Wit", in particular, the image of Alexander Andreevich Chatsky. Note that it was after the conversation about intelligence and stupidity that took place between the servant Lisa and Sophia, and a reminder that Sophia and Chatsky once had warm relations, that Chatsky appears on the stage. The characterization of the hero has already been given, and Chatsky corresponds to it throughout the entire action of the comedy. A man of extraordinary mind (he prefers to serve “business, not persons”: “I would be glad to serve, it’s sickening to serve”), firm convictions (you cannot say about him under any circumstances: “And a golden bag, and marks the generals”), he so strongly succumbed to his feeling that he lost the ability to objectively perceive the environment. Neither Sophia's cold reception, nor her reaction to the fall of Molchalin from the horse could open the hero's eyes to the obvious: Sophia's heart is occupied by another. Intellectually, he understood that everything was over, there was no longer the former affection, Sophia had changed, now she is not the pure innocent girl she was before, but a worthy daughter of her unworthy father. But the heart ... the heart does not want to believe it and clings to the last hope, as a drowning man clings to a straw.

And only the scene of a secret meeting between Molchalin and Sophia made it possible to make sure that Sophia no longer had her former feelings. Chatsky finally comprehends what must be understood from the first minutes of his stay in Famusov's house: he is superfluous here. In his last monologue, he bitterly admits that his hopes were not justified: he hurried to Sophia, dreamed of finding his happiness with her, but, “Alas! Now those dreams have died in full beauty ... ”(M. Lermontov) He blames Sophia for giving him false hope and did not say directly that their childhood love for her now means nothing. But it was only with these feelings that he lived all these three years of separation! Bitterly is his disappointment in Sophia; in Famusov, who chose a man as a bridegroom not according to his mind, but according to his wallet; in Moscow society, far from smart, insincere, cynical. But now he does not regret the breakup, as he realizes that he has no place in Famus society. He leaves Moscow.

Even more tragic was the fate of Nastena, the heroine of V. Rasputin's story "Live and Remember". It so happened that in the last year of the war, a local resident Andrei Guskov secretly returned from the war to a distant village on the Angara. The deserter does not think that in his father's house he will be welcomed with open arms, but he believes in his wife's understanding and is not deceived. Nastena did not marry for love, she was not happy in marriage, but she was devoted to her husband and grateful for the fact that he freed her from the hard life of her aunt's workers. The story says so: "Nastena threw herself into marriage like into water - without any extra thought, you still have to go out, very few people can do without it - why wait?" And now she is ready to steal food for Andrei, lie to her family, hide him from prying eyes in winter quarters, because her heart tells her so. Intellectually, she understands that through aiding her husband-deserter she herself becomes a criminal, but it is not easy for her to cope with feelings, and she surrenders to them completely. A secret relationship with her husband makes her happy. And only at a village holiday about the Great Victory unexpected anger suddenly overtakes her: "Because of him, because of him, she has no right, like everyone else, to rejoice at the victory." Forced to hide her feelings, to restrain them, Nastena is more and more exhausted, her fearlessness turns into a risk, into feelings, wasted in vain. This state pushes her to commit suicide, here it is certainly “the mind and heart are out of tune,” and in a fit of despair she rushes into the Angara. Andrei is not a murderer, not a traitor, he is just a deserter, but as an intelligent person, he had to realize what the ending of this story would be like. He had to not only feel sorry for himself, but also worry about his parents, wife, unborn child. However, even in this situation, “the mind and the heart were out of tune”.

Of course, you can endlessly talk about reason and feelings as the two most important components of a person's inner world. But no matter how many examples we give (literary or life), it becomes clear that they equally affect a person's actions and should complement each other. Only in the unity of these two opposites is personal harmony possible. When reason and feeling come into conflict, an internal personality conflict occurs, often leading to tragedy.