Literature lesson "Reading and analysis of the fourth act of the comedy A.S. Griboyedov" Woe from Wit "(grade 9). Insight of the heroes
Summary of a literature lesson for grade 9
on this topic " Ideological and compositional meaning of 4 actions
comedy "Woe from Wit" by A.S. Griboyedov" (2 hours)
Natalia Nikolaevna Rudakova,
teacher of Russian language and literature MBOU "Secondary school №21", Severodvinsk
The name of the educational-methodical complex: UMK on the literature of T. F. Kurdyumova for the 9th grade.
Lesson type: learning new material.
Lesson objectives:
educational - improving the skill of text analysis at the level of content and form;
developing - development of the ability to substantiate your point of view in evidence;
educating - the formation of the ability to influence in a team.
Lesson Objectives:
organization of the lesson:
homework control, performing creative tasks based on homework;
defining the purpose of the lesson, taking into account the analysis of the lexical meaning of each word in the topic and the formulated thesis: How does action 4 deepen the images of Chatsky and Sophia?
drawing up a strategic plan, formulating tasks: analysis of key episodes (meeting with Repetilov, explanation with Sophia), characteristics of Repetilov;
learning new material (work in groups);
consolidation (registration of answers in a notebook);
self-assessment and performance assessment.
Equipment: handouts (cards for group work).
During the classes:
Organization of activities.
Motivation. During a rehearsal of the comedy "Woe from Wit" KS Stanislavsky, one of the founders and leaders of the Moscow Art Theater, helped the actors who played small roles of guests at the evening at Famusov's. He gave them a questionnaire so that everyone could clearly imagine who he should play. These questions are:
- Who you are? What is your social status?
- What did you do today?
- What is your attitude to the Famusovs? How did you hear about the evening?
- What are your views on the life of the "Woe from Wit" era? What is your attitude to the thoughts of Famusov and Chatsky?
-What and to whom will you tell about the ball at Famusov's?
Pupils of our school were asked to come up with their own hero on these issues. I present to your attention one of these works.
Could the hero, invented by the student, be invited by Famusov himself? Listen carefully to the answer and, using the table compiled at home, argue your answer.
|
Famusov and society |
1) moral values, character traits;
2) attitude towards education;
3) views on the service;
4) attitude towards imitation of foreigners.
Message: I, Konstantin Ivanovich Pravdolyubov, a gymnasium teacher. I am an old acquaintance of Famusov. Today I attended an evening at Famusov's.
I have to work a lot, but I could not refuse, as I am a friend of the family. Once I taught Sophia and Chatsky. I have known Pavel Afanasyevich for many years and I can afford to express my opinion about the host and the guests who were at the ball.
Famusov and his acquaintances lead an idle lifestyle: one day succeeds another ("today is like yesterday"). Holidays, christenings, name days - this is their lot. They think a little about the service, being guided by the principle, "signed and off my shoulders." The best reward for idleness is a promotion.
Famusov's entourage is only "his own people": "how not to please a dear little man." Everyone who has gathered at Pavel Afanasyevich's are sheer gossips. I saw how the guests happily picked up the news that Chatsky had gone mad.
It is bitter to realize that decent and educated people are reputed to be fools.
Students' answers are presented in the table.
It turns out that Pravdolyubov could not have been at the ball. Chatsky is lonely:
My soul here is squeezed by some kind of grief,
And in the crowd I am lost, not myself.
Not! I'm dissatisfied with Moscow .
Goal setting. At the end of the third act, Griboyedov underlines with a remark how frankly Chatsky's loneliness became on the stage: “She looks around, everyone is spinning in a waltz with the greatest zeal. The old men scattered to the card tables. " This is the result, the way "Get out of Moscow!" is already defined here and now.
Look at the topic of the lesson, what goal will we set? (What is the ideological and compositional meaning of 4 acts? Why did the author not finish the piece on a stage of 3 acts?)
How do you understand the phrase "ideological and compositional meaning"? (How the construction of a comedy, the arrangement of the characters affect the concept, idea?)
Assistant theses: 4 action - the final of relations between Chatsky and Sophia, Chatsky and society. (How does 4 act contribute to the deepening of the images of Chatsky and Sophia?)
Contrary to the laws of the theater of classicism, in the last act, when the struggle is over, a new hero appears. This is Repetilov. (Why was he included in the comedy of Repetilov?)
Strategic planning... What scenes should be considered for answering these questions?
A) Meeting with Repetilov. B) Sophia's exposure. C) Images in criticism.
2. Learning new material. Working in groups.
1st group
The characteristic of Repetilov based on the proposed thesis and material selected from the text.
A. Pushkin, having heard “Woe from Wit” in his reading, wrote to A. A. Bestuzhev: “By the way, what is Repetilov? It has two, three, ten characters. Why make him nasty? It is enough that he is flighty and stupid with such innocence; it is enough that he confesses every minute of his stupidity, and not abominations. "
So, disgusting and disgusting, windy and stupid, simple-minded and humbly repenting of sins. Expand this Pushkin description, referring to the text (file 4, yavl. 4). Answer plan: 1) "speaking" surname; 2) speech (suggestions for the emotional coloring and purpose of the statement); 3) self-characteristics of the character; Would such an interlocutor be pleasant to you?
2nd group
Comparison and opposition of Chatsky and Repetilov .
In what words is Repetilov's position in life expressed?
Find phrases in the text in which Repetilov contradicts himself? How does this characterize the hero?
There is an opinion that in the image of Repetilov there is, as it were, a mockery of some of Chatsky's beliefs. Chatsky stated: "... in whom there are five or six sound thoughts." Repetilov said about the people of the "most secret" union: "... the juice of smart youth." Give other examples.
Do you agree with this opinion? Why does Griboyedov oppose heroes? How does the image of Chatsky deepen such opposition?
Repetilov is stupid. The lowering technique is necessary to show Chatsky's loneliness. There were no people nearby who clearly knew the goal and went to it. There can be no understanding between the heroes: Chatsky lives with lofty ideals, and Repetilov pays tribute to fashion. The juxtaposition of images helps to understand the greatness and tragedy of the protagonist.
Group 3
Comparison of the two editions of the episode "Sophia's Exposure".
Comparison of the two editions.
Compare the early version with the final text. How do they differ? Do you think the "new ending" is stronger, more important to the design of the whole comedy? Here is an early version.
Sophia
What baseness! Trap!
Sneak up, and then, of course, dishonor.
What? Did you think to attract me with this?
And to make you fall in love with fear, horror?
I owe the report to myself,
However, my deed to you
Why does it seem so angry and so insidious?
I wasn’t hypocritical, and I’m right all around.
Oh! Oh my God! knock! noise! the whole house runs here.
Here is my father.
4 group
Using theses and finding evidence. Sophia's characteristic.
How to explain Sophia's attitude to Chatsky? In the final scene of the comedy, Chatsky, referring to Sophia, says:
Why didn't they tell me directly
That all the past have you turned into laughter?
Indeed, what prevented Sophia from saying “no” to Chatsky? What drove her: insidiousness, cowardice, calculation? But then how can one explain her genuine interest in Chatsky? Maybe, blinded by love, Chatsky did not notice in Sophia's remarks and behavior her real relationship to him? Try to answer these questions using the answer options in the form of theses, give your proofs:
A) Sophia is a deceiver, a flirt who experiences joy because someone is tormented by her;
B) Sophia realizes that Molchalin is "not a match for her." Skalozub frightens her with his hopeless stupidity, so Sophia does not refuse Chatsky, seeing him as a possible contender for her hand;
C) Sophia is ashamed of her love for Molchalin, because deep down she understands the insignificance of this person;
D) Living in a world of lies, Sophia to some extent loses the ability to be straightforward, evil laughs at Chatsky. But, condemning in Chatsky the mocking sharpness of the mind, she is under the spell of his sparkling wit.
What thesis do you agree with?
5 group
The choice of emotionally evaluative vocabulary for characterizing Sophia .
Goller in his article "The Drama of a Comedy" writes: "Sophia Griboyedova is the main riddle of the comedy." What is the reason for this interpretation of the image? Use questions:
A) What is common in relation to Chatsky and Sophia in love?
B) Choose emotionally - evaluative epithets that characterize Sophia:
- character (strong, hot, resourceful, narcissistic);
- outlook on life (cynical, freedom-loving, characteristic of the environment);
- attitude towards people (hypocritical, prudent, direct, cautious);
- emotional qualities (insensitive, dreamy).
6 group
The image of Chatsky as seen by critics. Own judgment .
Get to know the different assessments of Chatsky's image.
Pushkin: "The first sign of an intelligent person is to know at first glance who you are dealing with, and not to throw beads in front of the Repetilovs ..."
Goncharov: “Chatsky is positively smart. His speech boils with wit ... "
Katenin: "Chatsky is the main person ... he speaks a lot, scolds and preaches everything inappropriately."
Why do writers and critics assess the image so differently? Does your view coincide with the above examples?
Who is Chatsky for you - a winner or a loser?
3. Anchoring... Recording answers in a notebook during the discussion.
4. Repetition... Why is action 4 necessary? ( Decoupling of love and social conflicts; deepening understanding of the images of Chatsky and Sophia).
5. Self-assessment of performance. Performance evaluation.
How did you achieve your goals? What are the most interesting stages of the lesson?
Explanatory note. This literature program for grade 9 is compiled on the basis of the federal component of the state standard of general education (2004) and the program of educational institutions "Literature" (2)
Explanatory note... for teachers: 1. Arkin I.I. Lessons literature at 9 class: Practical method: Book for... and its philosophical compositional meaning... Disputes about ... action comedy... Memorize a monologue ( on optional) 22 4 action comedy... The meaning of the name comedy "Grief from mind ...
Explanatory note, the work program on literature for grade 9 is compiled on the basis of the State standard of 2004, Programs for educational institutions Literature grades 5-11
Explanatory note...) on comedy « Grief from mind 1 UOSZ Testing knowledge of the text and understanding of the meaning comedy... IRK T 36 A. Griboyedov. " Grief from mind".Writing. one Lesson... souls "Chichikov. Ideologically- compositional meaning the image of Chichikov. 1 UONM MMP Story about Chichikov on plan. What...
Work program for the subject "Literature"
Working programmHeroes 10 Comedy « Grief from mind". Drama Chatsky Text comedy, epigraph, decoration part class for staging Be able to
In the play At the Bottom, written by A.M. Gorky in 1902, with particular vividness manifested the essential features of Gorky's drama. He approved a new type of socio-political drama in drama. His innovation manifested itself in the choice of dramatic conflict, and in the method of depicting reality. The conflict in Gorky's plays is always expressed not externally, but in the inner movement of the play. The main conflict underlying the play "At the Bottom" is the contradiction between the people of the "bottom" and the orders that reduce a person to the tragic fate of a homeless vagabond. The severity of the conflict is of a social nature in Gorky. It consists in a clash of ideas, in a struggle between worldviews and social principles. The composition of the play plays an important role. In a small exposition of the first act, the viewer gets acquainted with the atmosphere of Kostylev's little house, with the heroes living in this little house, their past. The plot is the appearance of the wanderer Luke in the shelter, his struggle for the souls of perishing people. The development of the action is the realization by the night lodgers of the entire horror of their situation, the emergence of hope for a change in life for the better under the influence of Luka's “benevolent” speeches, the culmination is an increase in the tension of the action, which ends with the murder of old man Kostylev and the beating of Natasha. And, finally, the denouement is the complete collapse of the heroes' hopes for a renewal of life: Anna dies, the Actor tragically commits suicide, Ash is arrested.
Act IV plays an important role in the composition of the play. The author's remark emphasizes the changes on the stage that have occurred since the first act: “The setting of the first act. But Ash's rooms are not, the bulkheads are broken. And in the place where Tick was sitting - there is no anvil ... Actor fiddles and coughs on the stove. Night. The stage is lit by a lamp in the middle of the table. The wind is in the yard. " At the beginning of the action, Tick, Nastya, Satin, Baron and Tatarin participate in the dialogue. They remember Luka, and everyone tries to express their attitude towards him: "He was a good old man! .. And you ... not people ... you are rust!" (Nastya), “Curious old man ... yes! And in general ... for many it was ... like a crumb for toothless ones ... "(Satin)," He ... was compassionate ... you have ... no pity "(Tick)," Like a plaster for abscesses "(Baron)," The old man was good ... the law had a soul! Whoever has a soul law is good! Those who lost the law have disappeared ”(Tatarin). The result is summed up by Satin: “Yes, it was he, the old yeast, who fermented our roommates ...” The word “fermented” perfectly reflects the essence of the situation in the shelter after the old man left. Fermentation began, all the difficulties, conflicts escalated, the most important thing - there was, albeit a weak, but hope: to break out of the "basement, which looks like a cave", and to live a normal human life. The Tick understands this well. He says: "He beckoned them somewhere ... but he did not tell the way ..." The words of the Tick that the old man did not like the truth provoke Satin's indignation, and he utters a monologue about truth and lies: "Lies are the religion of slaves and masters ... True - the god of a free man! " Satin explains to the lodgers why the old man lied: "He lied ... but - this is out of pity for you, damn you!" But Satin himself does not support this lie and says why: "There is a comforting lie, a reconciling lie ... the lie justifies the weight that crushed the worker's hand ... and blames the dying of hunger ..." No, Satin does not need such a lie, because he is a free man: "And who is his own master ... who is independent and does not eat someone else's - why should he lie?" The words of Satin, recalling the old man's statement: "Everyone thinks that he lives for himself, but it turns out that for the best!" - make the hostels listen carefully. “Nastya stubbornly looks into Satin's face. The tick stops working on harmony and also listens. The Baron, bowing his head low, gently beats the table with his fingers. The actor, leaning out of the stove, wants to carefully climb onto the bunk. "
Comprehending Luka's words, the Baron recalls his past life: a house in Moscow, a house in St. Petersburg, carriages with coats of arms, "a high position ... wealth ... hundreds of serfs ... horses ... a cook ..." Nastya responds to each Baron's remark with the words: "It didn't happen!" , which drives the Baron to fury. Satin thoughtfully remarks: "In the carriage of the past - you won't go anywhere ..."
The ongoing skirmish between Nastya and the Baron ends with an outburst of hatred from Nastya: “All of you ... to hard labor ... sweep you like rubbish ... somewhere in a pit! .. Wolves! Let you die! Wolves! " And at this moment Satin turns his attention to himself, pronouncing his famous monologue about a man. According to Satin, a person is free in his choice of attitude to faith, and to life, to its structure, its order: “A person is free ... he pays for everything himself: for faith, for unbelief, for love, for the mind - a person for everything pays himself, and therefore he is free! .. Man - that's the truth! " The maturity of Satin's judgments was always amazing. However, for the first time he rises to the realization of the need to improve the world, although he cannot go beyond these considerations: “What is a man? .. Do you understand? This is huge! This is where all the beginnings and ends are ... Everything is in a person, everything is for a person! There is only man, all the rest is the work of his hands and his brain! Person! It's great! It sounds ... proud! Person! We must respect the person! Do not regret ... do not humiliate him with pity ... we must respect! .. Let's drink to a man, Baron! " So says the sharper and the anarchist, the slacker and the drunkard. It is strange to hear these words from him. Gorky himself understood how much these speeches did not correspond to Satin. He wrote: “… Satin's speech about the person-truth is pale. However - apart from Satin - there is no one to tell her, and it is better, brighter to say - he cannot ... "
Bubnov and Medvedev appear in the shelter. Both are tipsy. Bubnov treats the inhabitants of the shelter and gives all his money to Satin, as he feels good to him. The innkeepers are dragging on their favorite song "The sun rises and sets." The shelter is still dark and dirty. But in it, however, a new sense of universal interconnectedness settles. The arrival of Bubnov reinforces this impression: “Where are the people? Why are there no people here? Hey, get out ... I'm ... treating! " The external reason is “to take away the soul” (he has money). The inner state of this man, who came to "sing ... all night," is full of old, chronic bitterness: "I will sing ... I will cry!" In the song: "... I want to be free, but I can't break the chain ..." - they all want to suffer their unhappy fate. That is why Satin responds to the unexpected news of the Actor's suicide with the words concluding the drama: "Eh ... ruined the song ... fool!" Such a harsh response to the tragedy of the unfortunate man has another meaning: the Actor's departure is the result of the death of his illusions, again the step of a person who has failed to realize the true truth. Each of the last three acts "At the Bottom" ends with the death of Anna, Kostylev, Actor. The philosophical subtext of the play is revealed in the finale of the second act, when Satin shouts: “The dead do not hear! The dead do not feel ... Scream ... roar ... The dead do not hear! .. "Living in a flophouse is not much different from death. The tramps living here are as deaf and blind as the dead. Only in Act IV do complex processes take place in the spiritual life of the heroes, and people begin to hear, feel, and understand something. Satin's thought is cleared by the "acid" of gloomy thoughts, like "old, dirty coin". This is where the main meaning of the play's finale lies.
Sections: Literature
Goals:
- Educational: work on the artistic features of the play; fear of the auditor as the basis of comedic action.
- Developing: development of analytical skills and skills of students.
- Upbringing: the formation of positive moral attitudes.
Methodological techniques: reading individual episodes of comedy, analytical conversation, dramatization, analysis of children's drawings.
Equipment: The film "The Inspector General" (a film by Vladimir Petrov, 1952), children's drawings, a reproduction of the painting by K. Bryullov "The Last Day of Pompeii", a sign with the inscription "Paphos", costumes for staging.
During the classes
1. Checking homework (knowledge of the text). Test.
In The Inspector General, - Gogol later recalled, - I decided to put together everything bad in Russia that I knew then, all the injustices that are done in those places and those cases where justice is most required of a person, and for one laugh at everything at once. " This idea was brilliantly realized in his comedy "The Inspector General". I came to the city incognito with a check, all the officials of the county town were alarmed. "We must shove him!" - Decide the officials gathered in the mayor's house. How do they do it? Whether Khlestakov, the imaginary auditor, understood who he is mistaken in this city or not and what happens in Act 4 of the comedy, we will talk about this a little later.
At home, you reread Act 4. There are tablets with the names of officials in front of you. I will ask questions about the content, and you have to choose the correct answer and raise the required sign.
Test.
- Who was the first to suggest "slipping" a bribe to the auditor? (Artemy Filippovich)
- Who goes first to see Khlestakov? (Ammos Fedorovich)
- Continue the phrase: “I have the honor to introduce myself: the superintendent of the schools, the titular councilor ...” (Khlopov)
- Who tells the imaginary auditor that “the local postmaster does nothing at all: everything is in great desolation, parcels are delayed ...”? (Artemy Filippovich Strawberry)
- Whom is Dobchinsky asking to help legalize the illegitimate son? (Khlestakov)
- Whose words are these: “Just know what, Ivan Alexandrovich? Get out of here! By God, it's time! We walked here for two days, well, that's enough ”? (Osip)
- “How I wish, madam, to be your handkerchief to embrace your lily neck ...” Whose words? (Khlestakov)
- Anna Andreevna: "Do you know what honor deserves us ... He asks for the hand of our daughter." Who is she talking about? (Khlestakov)
- Who ordered Avdotya to get the Persian carpet out of the pantry and give it to Khlestakov for the journey? (Governor)
- Whom does Khlestakov ask for money: “Yes, then you gave two hundred, that is, not two hundred, but four hundred: I don’t want to take advantage of your mistake, - so, perhaps, now the same, so that it was exactly eight hundred”? (Governor)
2. Analysis of 4 action comedy.
Write down the epigraph for today's lesson in your notebook:
Khlestakov owns the main
role in action. Beside him
all other persons apply
like planets near the sun.
Is the epigraph applicable to Khlestakov as the main character?
Can we say that the interests of most of the other heroes are directed precisely towards him?
An analysis of 4 actions, where officials come to see Khlestakov, will help us to prove this.
With what intentions did the officials gather in the mayor's house the next day? (They seek the best form of presentation to the "auditor" and seek to find the best way to bribe the distinguished guest.)
Dictionary work.
Give lexical interpretation to the word "bribe".
(A bribe is money or material values given to an official as bribery, as payment for actions punishable by law.)
Why do you think Gogol replaced the word “bribe” with colloquial speech “Slip”?
What details indicate that bribes are common?
(Discuss how bribes are given and how they are taken.)
Who is the first to propose to "slip"? (Judge) The purpose of these bribes?
(Protect, protect your department from audits)
Phenomenon 3.
Read Ammos Fedorovich's words “to the side”. (“And the money is in the fist, but the fist is all on fire”, “like hot coals under you”, “I’m already on trial”) How does the judge feel when giving a bribe? (Fear) How does he pay a bribe?
Phenomenon 4.
Who is trying to “loan” Khlestakov in 4 acts? (Postmaster. All his thoughts revolve around the mail.)
How does he address Khlestakov? (As for a clergyman.) What is his speech?
(Incoherent muttering)
Dictionary work.
Here comedy turns into tragedy, that is, the pathos of comedy changes. Give a lexical interpretation of the word "pathos".
PATHOS ... (Encouragement, enthusiasm, enthusiasm)
Write a new word in a notebook and memorize its meaning.
Phenomenon 5.
We read the 5th phenomenon by role.
How does the official behave in this scene? (The superintendent of schools is trembling all over, his tongue is braided)
Does Khlestakov understand why they give him money? (Not.)
Phenomenon 6. Viewing an episode from the movie "The Inspector General" (Strawberry gives a bribe).
Why is Strawberry the last to visit Khlestakov?
(He is seasoned and experienced) Why does he inform on his “friends”? (The strawberries are the last, it is impossible to test it).
Remember the moment when Khlestakov guessed that he was being mistaken for a statesman. (This is a scene with Bobchinsky and Dobchinsky, where Khlestakov "escorts" the guests.)
Let's turn to the epigraph again. How do you understand it? What can you say about the officials?
Notebook. Conclusion: confusion, fear, trembling are characteristic of all officials, but each of them gives a bribe in his own way, which is reflected in speech, actions and remarks.
Phenomenon 12-14. Staging (5-7 minutes).
What new properties of Khlestakov's nature did you learn about? (There is no love story. A
his explanation with his mother and daughter is a thinly veiled parody of a love affair. In dealing with the ladies, Khlestakov feels confident.)
Notebook. Conclusion on the image of Khlestakov:
An empty and frivolous person;
Will not miss what floats into your hands;
Able to play any role;
The greatest desire is to have money and power.
3. Children's drawings for the "Inspector" and their analysis.
At home, you painted portraits of the characters you liked. Give a short description of the person you portrayed.
4. Ahead homework. Acquaintance with the painting by Karl Bryullov "The Last Day of Pompeii".
When we read The Inspector General, we feel how, starting from act 4, the pathos of the play gradually changes - from the comic to the tragic, the tragedy reaches its climax precisely in the final scene. Today we will get acquainted with the painting by K. Bryullov “The Last Day of Pompeii” (a previously prepared student tells about the painting).
In 1827, K. Bryullov visited the Italian city of Pompeii, which perished in the eruption of Vesuvius. The painting "The Last Day of Pompeii" was painted by Bryullov in 1833 in Italy. In 1834. it was brought to St. Petersburg and exhibited in the Hermitage.
K. Bryullov portrayed a grandiose and, in his words, "a living picture of death." Buildings and statues are crumbling, people are rushing down the street in the reflections of lightning and the glow of a volcano. In the center of the composition there is the prostrate body of a young woman who fell out of the chariot, and a child calling for a dead mother. The tragedy of the situation enhances the alarming flaming color. Parents protect their children, the warrior and the boy carry away the old man's father, the young man rescues his bride.
The painting made such a strong impression on Gogol that under its influence he wrote the article “The Last Day of Pompeii (Bryullov's Painting)”. The writer was delighted with the genius of the artist, who managed to convey the horror of the “end of the world” through the depiction of petrified figures. The principle of depicting people seized by the horror of the day of judgment is transferred by Gogol to the last page of The Inspector General, where the heroes of the comedy froze, as if petrified.
At home, think about the question: “How did K. Bryullov's painting“ The Last Day of Pompeii ”help Nikolai Gogol in creating the final scene, which lasted at least 2 - 3 minutes? ”.
5. Summing up the lesson. Grading.
The work was prepared by pupils of the 9th grade of the Kuznetsovo-Mikhailovskaya secondary school of I-III levels
Teacher: Krivonos E.I.
2006 year
Lesson type: knowledge control.
Lesson genre: protection of creative projects.
Targets and goals: development of productive creative activity (individual and group) through monologic and dialogical statements, testing of a work of art, promoting self-development and self-education of students, evaluating classmates' creative projects on the comedy by A. Griboyedov "Woe from Wit", based on a partial analysis of the text of the work; education of a person of culture, a person of creative search: assistance to self-improvement of the individual.
Equipment: portrait of A. S. Griboyedov, illustrations of students for the comedy "Woe from Wit, Computers, Test Constructor" program, local network.
Algorithm of the creative group:
1. Carefully re-read the work.
2. Compose and select different questions about the biography and the content of the work.
3. Write a critical article on the topic: "What is the success of comedy?"
4. Make pictures and provide them with appropriate text
LESSON STRUCTURE
I. UpdatingIntroductory remarks by the teacher, where the attention is also focused on the fact that the defense is carried out orally, and the materials, drawn up in writing, are handed over to the teacher:
time limit (for an introductory speech - 2 minutes; testing - 5 minutes);
individual or group protection in the form of a monologue, dialogue, message, testing;
during the lesson, the arbitration commission (students) works. The content of the text, the observance of the author's style, the depth of understanding of the content of the work and the characters of the heroes, the expressiveness of the statement, artistry are assessed.
II. Protection of creative projects
Creative group of historians and literary critics
Confirm Belinsky's words that “.. Griboyedov belongs
to the most powerful manifestations of the Russian spirit. " Testing.
A. S. Griboyedov
(1795-182.9)
1. The generally accepted date of birth of the writer is January 4 (15), 1795, do you know (indicate) two more dates of birth of Griboyedov, which are named by various researchers of literature?
2. In what three faculties did Alexander Griboyedov study at Moscow University?
3.How old was Griboyedov when he entered Moscow University?
4. How many foreign languages did Griboyedov know?
5. What title did Griboyedov receive after graduating from Moscow University?
6. What was the name of the first literary work of Griboyedov?
7. What was the name of the article published by Griboyedov in 1814 in the journal "Vestnik Evropy", about which he said that it was "a small research work on the country's economy"?
8. What plays of Griboyedov, besides "Woe from Wit", do you know?
9. Who of the Russian poets served with Griboyedov in the Collegium of Foreign Affairs?
10. Who gave Griboyedov the following characterization: "Being with me in the position of adjutant, he performed both this position and other assignments made to him with special zeal, jealousy and activity"?
11. Which of the Russian poets, admiring the comedy "Woe from Wit", wrote to Griboyedov: "I am not talking about poetry, half should be included in the proverb"?
12. Who said: "Griboyedov belongs to the most powerful manifestations of the Russian spirit"?
13. Who of the Russian writers said: "The comedy" Woe from Wit "keeps itself somehow aloof in literature and differs in youthfulness, freshness and stronger vitality from other works of the word"?
14. Some Russian writers, having learned about the death of Griboyedov, wrote: “How many people envied his rise,
not having even a hundredth part of his talents ... Lightning is not thrown down on the ant, but on the heights of the towers and on the heads of the mountains "?
15. On the grave of Griboyedov in Tiflis (now Tbilisi), the figure of a woman bowed in anguish at the foot of the cross is cast in bronze, the words are inscribed on the pedestal: "Your mind and deeds are immortal in Russian memory, but why did my love survive you." Who do they belong to?
ANSWERS
1. 1790 and 1794, neither of the dates of birth of the writer; For, even the generally accepted one - 1795, has no documented basis.
2. At the philosophical (verbal department), legal and physical and mathematical.
3. And years.
4. Eight (English, French, Italian, / German, Persian, Latin, Greek, Arabic).
5. Candidate of Literature and Law.
6. "Dmitry Dryanskoy" - a poetic parody of the tragedy "Dmitry Donskoy" by V. A. Ozerov.
7. "On the cavalry reserves."
8. "Young spouses" (1815), "Sample of the interlude" (1818), co-authored by: with P. A. Katenin "Student" (1817), with A. A. Shakhovsky and N. I. Khmelnitsky "Own family , or The Married Bride "(1817), with A. A. Zhandre" Feigned Infidelity "(1818), with P. A. Vyazemsky" Who is a brother, who is a sister, or deception for deception "(1823).
9.A.S. Pushkin and V.K.Küchelbecker.
10. General of the cavalry Andrei Semenovich Kologrivov, whose adjutant was Griboyedov in the Irkutsk hussar regiment, in Brest-Litovsk.
11.A.S. Pushkin.
12.V.G. Belinsky.
13. IA Goncharov in the article "Million of torments".
14. Writer-Decembrist Alexander Bestuzhev.
15. Griboyedov's wife Nina Alexandrovna.
Creative group of literary critics
"Million of Torments" by Sofia Famusova
The only character conceived and performed in the comedy "Woe from Wit", as close to Chatsky, is Sofya Pavlovna Famusova. Griboyedov wrote about her: “A girl who is not stupid herself prefers a fool to a clever person ...” This character embodies a complex character, the author has left here satire and farce. He presented the feminine character of great strength and depth. Sophia was “unlucky” in criticism for a long time. Even Pushkin considered this image a failure of the author: "Sophia is not clearly drawn." And only Goncharov in “Million of Torments” in 1878 for the first time understood and appreciated this character and his role in the play.
Sophia is a dramatic person, she is a character of everyday drama, not a social comedy. She - just like Chatsky - is a passionate nature, living with a strong and real feeling. And even if the object of her passion is wretched and pathetic, this does not make the situation funny, on the contrary, it deepens her drama. In the best performances, the actress in the role of Sophia is played by love. This is the most important thing in her, it forms the line of her behavior. The world for her is divided in two: Molchalin and all the others. When there is no chosen one - all thoughts are only about a quick meeting. The power of the first feeling was embodied in Sophia, but at the same time her love is joyless and unfree. She is perfectly aware that the chosen one will never be accepted by her father. The thought of this darkens life, Sophia is already internally ready to fight. Feelings overwhelm the soul so much that she confesses her love to seemingly completely random people: first to the servant Lisa, and then to the most inappropriate person - Chatsky. Sophia is so in love and at the same time depressed by the need to constantly hide from her father that her common sense simply changes. The situation itself makes it impossible for her to reason: “But what do I care about whom? Before them? To the whole universe? " You can already sympathize with Sophia from the very beginning. But in her choice there is as much freedom as there is predestination. She chose and fell in love with a comfortable person: soft, quiet and uncomplaining (this is how Molchalin appears in her characteristics). Sophia, as it seems to her, treats him sensibly and critically: "Of course, this mind is not in him, That is a genius for some, but for others a plague, Which is swift, brilliant and will soon oppose ... But will such a mind make the family happy?" It probably seems to her that she acted in a very practical way. But in the finale, when she becomes an unwitting witness to Molchalin's “courtship” of Liza, she is struck in the very heart, she is destroyed - this is one of the most dramatic moments of the play.
How did it happen that an intelligent and deep girl not only preferred the scoundrel, the soulless careerist Molchalin to Chatsky, but also committed betrayal by spreading a rumor about the madness of the man who loved her? Let's digress from Sophia and remember another literary heroine - Marya Bolkonskaya from War and Peace. Let us recall how her father gave her daily geometry lessons, which the poor princess could not figure out. Was this geometry really needed by Maria Bolkonskaya? Of course not. The prince strove to teach his daughter to think: after all, mathematics develops logical thinking. Forcing the princess to study mathematics, the prince was only looking for ways of a new upbringing, for he saw all the perniciousness of the education that the noble girls of his era received. Woe from Wit has an exhaustive definition of such education:
We take tramps both into the house and on tickets,
To teach our daughters everything, everything -
And dancing! And singing! And tenderness! And sighs!
As if we are preparing buffoons for their wives.
How clearly the answers to the basic questions of upbringing are formulated in this angry remark: who teaches, what and why. And the point is not that Sophia and her contemporaries were gray and not educated: they knew not so little. The point is different: the entire system of women's education had the ultimate goal of giving the girl the necessary knowledge for a successful secular career, that is, for a successful marriage. Sophia does not know how to think - that's what her trouble is. Doesn't know how to be responsible for every step. She builds her life according to generally accepted models, not trying to find her own way.
On the one hand, I bring up her books. She is read by sentimental love stories of a poor boy and a rich girl. Admires them for their loyalty, dedication. Molchalin looks so much like a romantic hero! There is nothing wrong with a young girl wanting to feel like the heroine of a novel. Another bad thing is that she does not see the difference between romantic fiction and life, she does not know how to distinguish a true feeling from a fake. She loves something. But her chosen one is only "serving his duty."
On the other hand, Sophia unconsciously builds her life in accordance with generally accepted morality. In the comedy, the system of female images is presented in such a way that we see, as it were, the entire life of a secular lady: from girlhood to ripe old age. From the Tugoukhovsky princesses to the grandmother's countess. Such is the successful, prosperous path of a secular lady, which any young lady - and Sophia too - aspires to accomplish: marriage, the role of a judge in secular drawing rooms, respect for others - and so on until the moment when "from the ball to the grave." And for this path, Chatsky is not suitable, but Molchalin is just an ideal!
And no matter how tragic it may be, having abandoned Molchalin, Sophia will not abandon the “tachalin type”. Let us recall the scene of Sophia's break with Molchalin. Offended, humiliated, Sophia drives away an unworthy lover from herself. And yet she breaks out:
... be glad
That when dating me in the stillness of the night
You held on more to timidity in your disposition,
Than even during the day, and in front of people, and in the open;
You have less insolence than curvature of the soul.
Even this “curvature of the soul,” which brought such suffering to Sophia, frightens her less than insolence, the defining quality of Molchalin. The whole life of the world is built on crookedness - that's why Sophia so easily went to meanness, spreading the rumor about Chatsky's madness. But the light does not accept insolence. Disappointed in Molchalin, Sophia continues to appreciate his timidity: a sure guarantee that her next chosen one will not differ much from Molchalin.
Sophia, of course, is an extraordinary nature: passionate, deep, selfless. But all her best qualities have received a terrible, ugly development - that is why the image of the main character in Woe from Wit is truly dramatic.
The best analysis of the image of Sophia belongs to I. Goncharov. In the article “Million of Torments”, he compared her with Tatyana Larina, showed her strength and weakness. And most importantly, he appreciated all the virtues of a realistic character in her. Two characteristics deserve special attention: “Sofya Pavlovna is not individually immoral: she sins with the sin of ignorance and blindness, in which everyone lived ...” and moral blindness - all this does not have the character of personal vices in her, but appears as general features of her circle ”.
computers prepares testing:
Do you know Griboyedov's comedy "Woe from Wit"?
QUESTIONS
1.What day of the week does the play take place?
2. What time of year does the play take place?
3.How old is Sofya Famusova?
4. What were the names of Chatsky's paternal grandfather and maternal grandfather?
5. Since what year has Colonel Skalozub served in the army?
6. In which division does Colonel Skalozub serve?
7. What was the name of Uncle Famusov and what act did he do to earn mercy at the court of Catherine II?
8. How old is Sophia's aunt Khlestova?
9. What were the names of Sophia's paternal grandfather and maternal grandfather?
10. Who and about whom of the characters in the comedy says:
a) "And the golden bag marks the generals."
B) “But be a military man, be he a civilian,
Who is so sensitive and cheerful and sharp,
How..."
c) “He knows how to laugh everyone gloriously ...
And it’s true, happy where people are funnier ”.
d) “... it’s not right on silver,
I ate on gold; one hundred people at the service;
All in orders; rode something forever in a train;
A century at court, but at what court!
Then not what it is now,
Served under the Empress Catherine. "
e) “He does not serve, that is, he does not find any benefit in that,
But if you wanted it, it would be businesslike.
It's a pity, it's a pity, he is small with a head,
And he writes and translates nicely.
One cannot help but regret that with such a mind ... "
f) “Now retired, there was a military man,
And everyone who only knew before affirms
What about his courage, his talent,
Whenever I would continue my service,
Of course he would
Moscow commandant ".
g) "Hrypun, strangled, bassoon,
A constellation of maneuvers and mazurkas! "
h) “Call me a vandal;
I deserve this name
He valued empty people!
Himself raved about dinner or a ball for a century!
I forgot about the children! Cheating on my wife!
Played! Lost! Taken into custody by decree!
The dancer was holding! And not one:
Three at a time!
Drank dead! Didn't sleep until nine nights!
He rejected everything: Laws! Conscience! Faith! "
i) “But we have a head that Russia does not have.
There is no need to name, you recognize from the portrait:
Night robber, duelist,
He was exiled to Kamchatka, returned in aule,
And unclean on the hand. "
j) “... he is a secular person,
notorious swindler, rogue ...
With him, beware: carry much,
And don't get into cards: he will sell. "
k) "Wonderful properties
He is finally: compliant, modest, quiet,
Not a shadow of concern in my face
And there are no misdeeds in my soul,
He does not cut strangers at random, -
That's why I love him. "
M) “Ah! This person is always
Cause me a terrible frustration!
Glad to humiliate, to prick; envious, proud and angry !?
ANSWERS
1. The play takes place on Thursday:
“We have a society, and secret meetings
On Thursdays. The most secret union ... "
“Let's go now; we find good;
What people I will bring you with! "
Repetilov - Chatsky, act 4, phenomenon 4.
2. The events of the play "Woe from Wit" take place in winter:
"And day and night in the snowy desert,
I'm in a hurry to you, headlong. "
3.Sophia is seventeen years old:
"Yes, sir, and now,
At seventeen, you bloomed beautifully,
Inimitable, and you know that. "
Chatsky - Sophia, act 1, phenomenon 7.
4. Chatsky's grandfathers were named Ilya and Alexei:
"... Here, sir - Chatsky, my friend,
Andrei Ilyich's deceased son. "
Famusov to Skalozub, action 2, phenomenon 5.
“I went after my mother, after Anna Aleksevna;
The deceased went mad eight times. "
Famusov - to guests, act 3, phenomenon 21.
5. Colonel Skalozub Sergey Sergeevich has been serving since 1809:
"I have been serving since eight hundred and ninth".
6. Colonel Skalozub Sergei Sergeevich serves in the 15th division.
“Sometimes my luck is happier,
We have in the fifteenth division, not far away,
At least tell about our brigadier general. "
Skalozub to Famusov, action 2, phenomenon 5.
7.Famusov's uncle's name was Maxim Petrovich, on the reception day in the royal court he slipped and fell, hitting the back of his head, then fell two more times, making Catherine P. laugh.
“... or the dead uncle, Maxim Petrovich ...
At the kurtagh he happened to vow to drink:
I fell down so that I almost knocked the back of my head ...
He was awarded the highest smile ...
Got up, recovered ...
Suddenly fell in a row - on purpose
And the laughter is even greater, it is the same in the third one as well ”.
Famusov - Chatsky, act 2, phenomenon 2.
8.Kllestovoy sixty-five years:
“Is it easy at sixty-five
Dragging me to you, niece? "
Khlestova - Sophia, act 3, phenomenon 10.
9. Sophia's grandfathers were called Athanasius and Nil. Famusov's name is Pavel Afanasevich. Hence,
his paternal grandfather was called Athanasius. Sophia's aunt, her mother's sister, Khlestova, is called Anfisa Nilovna, we learn about this from the 4th act, phenomenon 8, where Repetilov says, referring to Khlestova:
"King of heaven! Anfisa Nilovna! Oh! Chatsky! Poor! Here!..."
This means that the patronymic of Sophia's mother was also Nilovna. Hence, the maternal grandfather's name was Neil.
10. 1) Liza about Colonel Skalozub, act 1, phenomenon 5.
2) Liza about Chatsky, act 1, phenomenon 5.
3) Sophia about Chatsky, act 1, phenomenon 5.
4) Famusov about his uncle Maxim Petrovich, act 2, phenomenon 2.
5) Famusov about Chatsky, act 2, phenomenon 5.
6) Natalya Dmitrievna Gorich about her husband Platon Mikhailovich Gorich, act 3, phenomenon 5.
7) Chatsky about Skalozub, act 3, phenomenon 1.
8) Repetilov about himself, action 4, phenomenon 4.
9) Repetilov about the chairman of the English club, act 4, phenomenon 4.
10) Gorich Platon Mikhailovich about Zagoretsky Anton Antonovich, act 3,
phenomenon 9.
11) Sophia about Molchalin, act 3, phenomenon 1
12) Sophia about Chatsky, act 3, phenomenon 14.
Creative group of literary scholars when using
computers prepares testing:
Do you know the characters in the comedy?
Which of the characters in the play "Woe from Wit" owns these words
1. “Bah! All familiar faces. "
2. "Blessed is he who believes, warmth to him in the world!"
3. “When in business - I hide from fun,
When fooling around - fooling around.
And to mix these two crafts
There is a darkness of artisans, and not one of them. "
4. "I am not a reader of nonsense, but more than exemplary."
5. "In my years one should not dare to have His own judgment."
6. “So: often there
We find patronage
where we do not mark. "
7. “Ranks are given by people,
And people can be deceived. "
8. "Pardon me, we are not guys,
Why are the opinions of others only holy? "
9. "Happy hours are not observed."
10. "Pass us more than all sorrows
And lordly anger and lordly love. "
11. "I would be glad to serve, it is sickening to serve."
12. “Who are the judges? - For antiquity years
Their enmity is irreconcilable to a free life,
Judgments are drawn from forgotten newspapers
The times of the Ochakovskys and the conquest of the Crimea. "
13. "How to compare and see
The present century and the past century;
The tradition is fresh, but hard to believe. "
14. "Sin is not a problem, word of mouth is not good."
15. "To the village, to my aunt, to the wilderness, to Saratov!"
16. “Get out of Moscow! I don’t come here anymore. ”
17. “That's what you are all proud of!
Would you ask how the fathers did?
They would study at the elders looking. "
18. “What he says! And he speaks as he writes! "
19. "Why should the mind seek and travel so far".
20. “I’m running, I won’t look back, I’ll go looking around the world,
Where the offended feeling has a corner! "
21."Learning is the plague, learning is the reason,
What's more important now than when,
Crazy people have divorced, and deeds, and opinions. "
22. "When you wander, you return home,
And the smoke of the fatherland is sweet and pleasant to us! "
23. "What a commission, creator, to be a father to an adult daughter!"
24. “The women were shouting hurray!
And they threw their caps into the air! "
25. "A! Evil tongues are worse than a pistol. "
26. «<герой>not my novel. "
27. “Some freaks from the other world,
and there is no one to talk to, and no one to dance with. "
28. “Ball is a good thing, captivity is bitter;
And who does not allow us to marry! "
29. "I am pathetic, I am ridiculous, I am an ignoramus, I am a fool."
"We make noise, brother, we make noise."
30. "Husband-boy, husband-servant ...".
31. “I am Prince Gregory and I will give you Feldwebel in Volters,
He will build you in three lines,
And make a sound, it will calm you down in an instant ”.
32. "He took a dowry - shish, at the service - nothing."
33. "Listen, lie, but know the measure."
34. “Where, tell us, fatherland fathers,
Which ones should we take for samples? "
35.“However, he will reach the known degrees,
After all, nowadays they love the dumb. "
36.“I'm quite happy in my comrades,
The vacancies are just open;
Then the elders will turn off others,
Others, you see, have been killed. "
37. “In my presence, foreign employees are very rare;
More and more sisters, sister-in-law of the child. "
"Well, how not to please a dear little man!"
38. "The houses are new, but the prejudices are old."
39. “A terrible century! Don't know where to start!
All have contrived beyond their years. "
40. "What's new Moscow will show me?"
41. "... he was famous, whose neck often bent."
42. "Besides honesty, there are many joys."
43. “What is he glad about? What's the laugh?
It is a sin to laugh at old age. "
44. “... if you suppress evil:
Take all the books and burn them. "
45. “... Fables are my death!
Eternal mockery of lions! Over the eagles!
Whoever says anything:
Although they are animals, they are still kings. "
46. “I will please you: everyone is rumored,
That there is a project about lyceums, schools, gymnasiums;
There they will only teach in our way: one, two;
And the books will be kept like this: for big occasions. "
47. "The silent bliss in the world!"
48. "And I have, what is business, what is not business, My custom is: Signed, so off your shoulders."
49. "What a genius for others, but a plague for others."
50. "Oh! Oh my God! What will Princess Marya Aleksevna say! "
ANSWERS
1. Famusov, action 4, phenomenon 14.
2. Chatsky, action 1, phenomenon 7.
3. Chatsky, action 3, phenomenon 3.
4. Chatsky, action 3, phenomenon 3.
5. Molchalin, act 3, phenomenon 3.
6. Molchalin, act 3, phenomenon 3.
7. Chatsky, action 3, phenomenon 3.
8. Chatsky, action 3, phenomenon 3.
9. Sophia, act 1, phenomenon 3.
10. Lise, action 1, phenomenon 2. //. Chatsky, action 2, phenomenon 2.
11. Chatsky, action 2, phenomenon 2.
12. Chatsky, action 2, phenomenon 5.
13. Chatsky, act 2, phenomenon 2.
14. Lise, act 1, phenomenon 5.
15. Famusov, action 4, phenomenon 14.
16. Chatsky, act 4, phenomenon 14.
17. Famusov, act 2, phenomenon 2.
18. Famusov, action 2, phenomenon 2.
19. Sophia, act 1, phenomenon 5.
20. Chatsky, act 4, phenomenon 14.
21. Famusov, act 3, phenomenon 21.
22. Chatsky, action 1, phenomenon 7.
23. Famusov, act 1, phenomenon 10.
24. Chatsky, action 2, phenomenon 5.
25. Molchalin, act 2, phenomenon 11.
26. Sophia, act 3, phenomenon 1
27. Countess, Khryumin's granddaughter, act 4, phenomenon 1
28. Gorich Platon Mikhailovich, act 4, phenomenon 2
29. To Repetilov, act 4, phenomenon 4.
30. Chatsky, act 4, phenomenon 14.
31. Skalozubu, action 4, phenomenon 5.
32. Repetilov, action 4, phenomenon 5.
33. Chatsky, action 4, phenomenon 4.
34. Chatsky, action 2, phenomenon 5.
35. Chatsky, act 1, phenomenon 7.
36. Skalozubu, action 2, phenomenon 5.
37. Famusov, action 2, phenomenon 5.
38. Chatsky, action 2, phenomenon 5.
39. Famusov, action 1, phenomenon 4.
40. Chatsky, action 1, phenomenon 7.
41. Chatsky, action 2, phenomenon 2.
42. Chatsky, act 3, phenomenon 9.
43. Khlestovoy, action 3, phenomenon 10.
44. Famusov, act 3, phenomenon 21.
45. Zagoretsky, act 3, phenomenon 21.
46. Skalozubu, act 3, phenomenon 21.
47. Chatsky, act 4, phenomenon 13.
48. Famusov, action 1, phenomenon 5.
49. Sophia, act 3, phenomenon 1.
50. Famusov, act 4, phenomenon 15.
Creative group of literary critics
Answer the question: "What is the success of the comedy"
Creative group of artists
Draw the main characters of the comedy and emphasize the character of the characters with the text:
A) Chatsky;
B) Famusova;
c) Skalozuba
e) Molchalin?
III. Homework
Draw an analogy of images: Chatsky-Onegin-Pechorin.
Chatsky, Onegin, Pechorin
And he was alone in the world ...
D. Byron
How swift is the running of time! For many years we have been separated from the heroes of Griboyedov, Pushkin, Lermontov. But we again and again turn to them, to their feelings, thoughts, reflections, we seek and find in them what is close and necessary to us, the children of the restless XX century.
Literature has always been closely connected with the life of society, reflecting in an artistic form the most exciting problems of its time.
The first half of the 19th century - the period in which the life and work of these remarkable Russian poets and writers fell - was an era of great events and upheavals; the ideas of the Great French Revolution were still alive; The Patriotic War of 1812 showed the whole world examples of the unprecedented courage of the Russian people; advanced German philosophy substantiated the freedom-loving aspirations of the progressive noble youth.
These are the three components of that first organized revolutionary action in Russia, which was called "Decembrism".
In literature, as in a mirror, reflected the birth, formation and strengthening of free-thinking, rebelliousness, rebellion of the most advanced part of the noble youth.
Chatsky, Onegin and Pechorin are brilliant representatives of this youth, in whose deeds and actions the authors reflected the strength and weakness of their generation.
He was one of the first in Russian literature to show a man who proudly and directly opposed himself to society, an amazing, "mysterious", according to A. Blok, a writer and a man - Alexander Sergeevich Griboyedov (1795-1829). He was a man gifted with many talents. : a brilliant poet and writer, an interesting composer and musician, an outstanding diplomat. But most importantly, he was a man of a bright mind, nobility, honor, love for the Motherland, respect for the Russian people and a passionate desire for the happiness and freedom of Russia and its people.
Many things brought Griboyedov closer to the Decembrists: origin, upbringing, education, participation in the Patriotic War of 1812. Just like the Decembrists, he hated serfdom and unlimited autocratic power. But in many ways Griboyedov was wiser and more perspicacious than the future Decembrists. He expressed doubts about the victory of this movement, saying that a hundred warrant officers are not in a position to change the state system of Russia. But it was Griboyedov who showed the first of these "hundred ensigns" by embodying in his image all the best that he saw in the future Decembrists.
The comedy "Woe from Wit" was created in 1816 - 1824. - in the period when the first problems of society arose and acted in Russia. Comedy is like an artistic chronicle and history of Decembrism. The main conflict of the comedy - the clash between the camp of young Russia, represented by Chatsky, and the camp of serfs, represented by Famusov, Skalozub, Molchalin and others - is not an invention of the author, but a reflection of the social struggle that was characteristic of Russian life at the beginning of the 19th century.
What does Chatsky rise up against, about whom A. Herzen said that he was a Decembrist who was walking a straight road to hard labor. Serfdom is what fettered the creative forces of the "smart, vigorous Russian people" and hindered the economic and cultural development of Russia. In his passionate monologues, Chatsky stigmatizes the barbaric world of serfs, where a person is valued for the number of serf souls, where a faithful servant who saved the life of his master was "exchanged for two greyhounds."
This world - "the past century" - is the eternal enemy of Chatsky. The hero of the comedy is a passionate fighter against businessmen, buffoons, "traitors in love, in unquenchable enmity, indomitable storytellers."
Chatsky himself is undoubtedly an ardent patriot who loves people's Russia, but not the state of the tsar, landowners and officials. Serving the Fatherland and the people - this is Chatsky's motto.
Chatsky's progressive worldview, his belief in the power of reason, the proximity of freedom collide with the real feudal reality, with the terrible world of the famus, desperately fighting for their position and privileges. The comedy ends with Chatsky's apparent defeat. According to I. Goncharov, the hero "is crushed by the amount of old power, inflicting a mortal blow on it with the quality of fresh power." I. Goncharov calls Chatsky "an eternal denouncer of a lie hidden in the proverb:" one is not a warrior in the field. " (I.A. Goncharov)
Chatsky's favorite hero A.S. Griboyedov. Griboyedov's voice, sounding now mocking and angry, now excited and inspired, is the voice of a writer who has given all his sympathy to Chatsky, and all his contempt to the "crowd of his tormentors."
Chatsky's struggle against Famus society did not end in a comedy. It was just beginning in Russian life.
If Chatsky is a "hero of his time", a hero of the era preceding the education of the Decembrists, then Eugene Onegin represents a later period of Russian history.
Roman A.S. Pushkin's "Eugene Onegin", "the writer's most sincere work, the most beloved child of his fantasies," was begun in 1823 and completed in 1831. It reflects the cherished thoughts and feelings of the poet, his views and reflections on modern life.
With all the breadth of the subject matter, Eugene Onegin is primarily an artistic study of the spiritual quest of progressive noble youth, their doubts and worries, aspirations and hopes.
Work on the novel began during the years of social upsurge, and ended after the defeat of the Decembrists, in an atmosphere of Nikolaev reaction. During the years of the creation of the novel, the author had to endure exile, lose many friends, experience the bitterness of the death of the best people of Russia.
Therefore, the first chapters are imbued with joyful, life-affirming moods, and in the last, tragic motives are intensified. The novel was the fruit of "the mind of cold observations and the heart of sorrowful remarks."
With his mind and "heart" the author tries to understand and present to the reader's judgment the spiritual and moral image of the best people of his time. Their typical representative in the novel is Eugene Onegin. Even the title of the novel emphasizes its centrality among the rest of the characters.
So, before us is a metropolitan aristocrat. Although Onegin, as the author jokingly remarked, “learned something, be it and somehow,” he still stands at a high level of culture of his time, distinguished by his erudition from the majority of those around him. Pushkin's hero is a product of a secular society, but at the same time he is alien and hostile to him. Alienation and opposition to the surrounding society do not manifest themselves immediately. At first, the young man plunges headlong into secular life, finding joy and pleasure in it, but the monotony and emptiness of these "joys and pleasures" quickly bored him, and, according to Belinsky, he "left the world, as too few did." Onegin is too deep and rich in nature not to notice the vices of the world around him. There are many things that make him stand out from the crowd:
Unwitting devotion to dreams
Inimitable strangeness
And a sharp, chilled mind.
Leaving the light, the hero tries to engage in some useful activity. He is talented, trying to write:
I wanted to write - but hard work
He was sick; nothing
Did not come out of his pen
Books bore him just as quickly:
Like women, he left books
And a shelf with their dusty family
I pulled it up with mourning taffeta.
On the estate inherited from his uncle, Eugene is trying to improve the life of the peasants:
Yarem from the old corvee
Replaced by light rent ...
But this only reform was the limit of all the activities of Onegin the landowner. And again life "without a goal, without work." Fate sends him a friend, he sincerely becomes attached to Lensky. Onegin and Lensky are very different, but together they personify the beauty that was inherent in the youth of that time: prudence and impetuosity, skepticism and dreaminess, sober mind and romanticism. But secular prejudices led to a fatal, irreparable event: the duel and death of Lensky.
"Killing a friend in a duel," Onegin is left alone with pangs of conscience, longing, disappointment in everything and everyone.
In a depressed state, Onegin leaves the village, goes on a journey. But this does not save him: melancholy, blues and self-dissatisfaction only intensify. It is to what degree of despair a person must go to utter these words:
Why am I not wounded by a bullet in the chest,
Why am I not a frail old man,
How is this poor tax farmer?
I'm young, life is quite strong
What should I wait for? Longing, longing ...
According to Belinsky, Onegin is a rich, gifted person, but his strength and capabilities were left without use. In Onegin, Pushkin was the first Russian writer to show the type of enlightened nobleman that took shape in the 20s of the 19th century. This part of the noble intelligentsia avoided serving tsarism, but at the same time stood aloof from social activities. This path, being a kind of protest against the political system, inevitably doomed the hero to inaction, passivity, to heightened attention to his own, selfish interests and desires. It is not for nothing that Belinsky called Onegin "selfish against his will": inactivity, emptiness and vulgarity of life strangle him, but he still does not know what he wants, what he needs for happiness, peace of mind and harmony. A new meeting with Tatiana opened the hero's ability to love sublimely and passionately. But faithful to duty, brought up in the traditions of folk morality, Tatyana is not capable of another person - her husband:
But I am given to another;
And I will be faithful to him forever.
Onegin is alone again. What lies ahead for him? "... The forces of this rich nature were left without application, life without meaning, a novel without end," - this is how the great critic Belinsky appreciated Onegin and the "poem" about him.
The life story of a "superfluous person", a person capable of much and not accomplishing anything, was continued by the great successor of A.S. Pushkin - Mikhail Yuryevich Lermontov, having created the novel "Hero of Our Time". This is the final work of Lermontov, the first Russian socio-philosophical and psychological novel in prose. As in the poem "Duma", the author tries to find an answer to the question that worries him: why young people, smart, energetic, full of strength, do not find the use of their remarkable abilities and "wither without struggle" at the very beginning of their life. The life story of Pechorin, a representative of the generation of the 30s, his tragic fate is the answer to this question. In the preface to the novel, the author wrote: "This is definitely a portrait, but a portrait made up of the vices of the entire generation." As in the poem "Duma", Lermontov in the novel pronounces a harsh sentence on his generation, reproaching him for indifference, inaction, for the inability "to make greater sacrifices neither for the good of mankind, nor even for his own happiness."
Lermontov deeply and comprehensively reveals the inner world of his hero, the strengths and weaknesses of his nature, due to the time and environment. Following A.S. Pushkin, Lermontov makes the hero of the novel a typical representative of the educated noble youth. But the time was different and his "heroes" looked different. This was the period of the terrible Nikolaev reaction that came after the defeat of the December uprising. This period was called "black page in the history of Russia" by I. Herzen. The reaction could not drown out the voice of M.Yu. Lermontov, but time left its mark on the work of the great poet, it dictated its themes, images, moods. According to A. Herzen, "... those were doubts, denials; thoughts full of rage."
The contradictions between the high consciousness of the noble intellectual, the passionate inner activity of the soul and the external inactivity, the burning of life in a masquerade hell, in a meaningless existence led to the gloomy curses of the Duma, which sounded like a funeral song for a lost generation:
Shamefully indifferent to good and evil,
At the beginning of the field, we fade without a fight:
Shamefully faint-hearted before danger,
And before the power - despicable slaves
The Duma is a poetic expression of the problems and thoughts of the novel A Hero of Our Time.
The image of Pechorin, the protagonist of the novel, is the pinnacle of Lermontov's entire work. The writer was able to create the image of a hero of his time, summarizing a large material of life impressions, knowing and understanding well the historical essence of the reality around him.
Pechorin is a strong personality, he has a lot of exceptional and special things: an outstanding mind, extraordinary willpower. Thinking about the people of previous generations, full of faith, thirst for freedom, passionate and fiery, Pechorin ranks himself among their pitiful descendants who wander the earth without pride and convictions. The lack of faith in heroism, love and friendship and the boredom generated by this deprive Pechorin's life of any value. Pechorin feels in his soul "immense strength", and at the same time he does not know why he lives, for what purpose he was born. The author does not hide the flaws and contradictions of his hero, but these were the vices of a whole generation. The tragedy of the young man was aggravated by the fact that he was forced to live in an environment that he despised and rejected. The progressive man of the 30s of the XIX century felt "superfluous" in his country and even in the whole world. But in the realistic novel "A Hero of Our Time" Lermontov already leads his hero to the realization that although life brings suffering, it is unbearable "boring", but only in it can a person find happiness, experience both sadness and joy.
This is the optimism and life-affirming strength of the novel "A Hero of Our Time".
Thus, Chatsky, Onegin, Pechorin are typical representatives of a certain historical era, each of them is a hero of his time. Time determined their common features and the differences that allowed contemporaries to see in Chatsky the future Decembrist, in Onegin as an "unwilling egoist", in Pechorin as a "suffering egoist".
For us, the children of the turbulent XX century, these heroes are interesting and important for their high, human dignities: the nobility of thoughts and aspirations, the desire to live meaningfully, for a great cause; to benefit the homeland and people, to live honestly, according to conscience. These human qualities are eternal, which means they are eternal and will always excite the reader by the heroes of A. Griboyedov, A. Pushkin, M. Lermontov.
He bitterly complains alone with himself: he expected to find in Moscow the joy of meeting acquaintances and a lively participation from them, but he did not find either one or the other. (See the full text of Woe from Wit.)
Chatsky's lackey cannot find the coachman for a long time. In the meantime, Chatsky is stumbled upon by a fussy Repetilov, who arrived late. He begins to tell hastily: he broke up with his former riotous life - and got along with the smartest people. At the English Club, they formed a "secret alliance" with secret meetings on Thursdays. They talk about "cameras", about the jury, "About Beyron, well, about important mothers." He offers to bring Chatsky with his friends (“What are the people, mon cher! Juice of clever youth!”). Chatsky: "Why are you so crazy about it?" - "We make noise, brother, we make noise." - “Are you making a noise? only?"
Woe from wit. Maly Theater performance, 1977
Repetilov begins to describe the members of the "most secret union": Prince Grigory, an eccentric, we are mortified with laughter, a century with the British, the whole English fold, and he also speaks through clenched teeth; Evdokim Vorkulov - performer of love Italian arias; brothers Levon and Borinka, about whom “you don’t know what to say”; "But if you order a genius to be called: Ippolit Markelych asphyxiation !!" [hint at Chaadaev]. He advises Chatsky to read his works, although Udushyev, however, writes almost nothing, in magazines you can only find him excerpt, sight and something, “But we have a head, which is not in Russia”, although “it is unclean on the hand; yes, an intelligent person cannot but be a rascal. " However, Udushyev likes to talk about "high evil spirits" with a burning face, so much so that everyone around is crying. At meetings, members of the Repetilov "union" compose vaudeville, put them to music - and they themselves clap when they are given in theaters.