Protection of the director's plan Colloquium grief from the mind. Key scenes in comedy a

Development of lesson in literature in grade 9

Topic: Comedy A.S. Griboedov "Woe from Wit". Acquaintance with heroes. Reading and analyzing actions.

Developer: Russian teacher and literature GBOU SOSH № 401

Lukyanova Olga Leonidovna

Objectives lesson:

1. Processing: form and deepen the concepts of dramatic work; To acquaint with the history of the creation of a play and its intent.

2. Developing: learn students on the basis of a read dramatic work to understand the system of characters, the inner logic of their thoughts and actions, continue to form the ability to characterize the characteristics of heroes.

3.Insticial: to educate interests in Russian classics, to form moral qualities of the personality: respect for the family, honesty, the desire for enlightenment.

Type of lesson : Combined.

Methods: Conversation, teacher's story, student, commented reading, text analysis.

Pedagogical technologies: Problem learning, ICT technology, technology dialogue.

Wordwork: vocabulary, assessing verse comedy; Semantics surnames.

During the classes

I. Checking homework. Performance of the test on the ballad V.A. Zhukovsky "Svetlana".

II.Bested.

Repetition of the concept of "comedy of classicism".

Comedy is one of the dramatic works. Features of such a work - the absence of the author's narration (but ... a list of actors and remarks); limitation of action by spatial and temporary framework, hence the disclosure of the character's character through the moments of confrontation (the role of conflict); Organization of speech in the form of dialogues and monologues, which are not only addressed to other heroes, but also to the viewer; Stages of the development of the conflict (exposure, tie, development with culmination, junction).

2.Shem composition Dramatic work is projected on the screen, students are recorded in the notebook

In the system of genres of classicism comedy refers to a low style. One of the main scene schemes of the comedy classicism is the struggle of two applicants for the hand of one girl. The positive hero is poor, but endowed with high moral qualities; Everything ends with a happy dialogue.

This is the formal design of the comedy A.S.Griboyedov "Woe from the mind." However, the play went beyond the limited domestic conflict, was endowed with a socially political meaning, which made it immortal.

III. Application of a new material.

1. The word of the teacher. Comedy L. S. Griboyedov "Woe from Wit" - a work in which the momentary ideological and political disputes accurately reproduce and at the same time designate problems of a nationwide and universal nature. These problems in the play were born by a collision of a bright personality with oblique public entry, according to the author himself, the "sensible person" with the "twenty-five fools."

Such a clash, "contradiction between characters, or characters and circumstances, or inside the nature underlying actions" is called conflict.The conflict is the "main spring", the source of dynamic tension of the literary product, ensuring the development of the plot.

2. Recording to the notebook.

Plot - this is a chain of events depicted in the literary work, i.e. The life of the characters in its spatial-temporary changes, in replacing each other, the provisions and circumstances. " The plot not only embodies the conflict, but also reveals the characters of the characters, explains their evolution, etc.

3. Conversation on issues.

Teacher:

How many actions in comedies? And how much should be according to the laws of classicism?

What plot elements do you know?

Which of them are the main ones, what are secondary?

What are the distinctive features of each (exposure, tie, development, culmination, junction)?

Are their permutation possible?

What artistic effect is achieved? This information teacher complements students' responses and prepares for the subsequent perception of comedy as an innovative work.

4. Analysis of the list of existing persons.

Students pay attention to several points:

1. Talking surnames.
2. Famuses (from Lat.Fat - solva), reheetals (fromfranz. hero1g - to repeat), Molchanin is silent, he will not say too much, Toguhovsky - deaf, climbing - ... Hrumina- ... Chlestov- ...

• Heroes receive a characteristic based on the following criteria: the principle of birdlikeness and place on the service staircase.
• Lained these characteristics of Chatsky and repetitives. Why?!
• Two characters are designated by G.N. and gd. Why?

Surname Chatsky "Stammerny" (Chadsky - Chaadaev). Here the teacher talks about how his comedy Griboedov was predicted by the fate of P.Ya. Chaadaeva.

The surname "Chatsky" carries an encrypted hint of one of the most interesting people of that era: Peter Yakovlevich Chaadaeva. In the draft variants of "grief from the mind" of Griboedov wrote the name of the hero otherwise than in the final: "Chadsky". The name of the same Chayadaeva also often uttered and wrote with one "A": "Chadaev". That's the way, for example, Pushkin appeared to him in the poem "from the marine shore of Taurida": "Chadaev, do you remember the have been? .."

5. Individual homework. The student makes a message about P. I. Schadaev.

On the screen - portrait of P.Ya. Schadaev.

Chaadayev participated in the Patriotic War of 1812, in a foreign anti-drug campaign. In 1814, he joined the Masonic Load, and in 1821

suddenly interrupted a brilliant military career and agreed to join the secret society. From 1823 to 1826, Chayadaev traveled in Europe, compiled the newest philosophical teachings, met the shelling and other thinkers. After returning to Russia in 1828-1830 he wrote and published the historical and philosophical treatise "Philosophical letters".

(A few words about the work).

Views, ideas, judgments - in a word, the system of the worldview of the thirty-essential philosopher turned out to be so unacceptable for the Nikolaev Russia, that the author of "philosophical letters" suffered an unprecedented and terrible punishment: the highest (that is, by the imperial) decree, he was declared crazy.

It so happened that the literary character did not repeatthe fate of his prototype, and predicted it. And here we are approaching the most important issue: what is the madness of Chatsky?

6. Reading I actions comedy.

Commented reading will be accompanied by analysis elements. Working in notebooks, students during or after reading and conversations fix the following material: "Winged" expressions, characteristics of heroes (including quoted), monitoring the development of conflict.

Phenomenon 1-5.

- What are 1-5 phenomena in terms of the development of the plot? (Exposition)

- What is the atmosphere of life in the house of Famusov and its inhabitants themselves, how does Griboedov create their characters?

What information and how do we get about the heroes that have not yet appeared on the stage?

What are the heroes and situations Comic?

The last question will make it possible to draw attention to the peculiarity of the comedy language and the skill of Griboedov - a poem. We emphasize that the poet adheres to the principles of simplicity and speaking (but not spacious) of the language, the speech of the heroes is individualized; Free Yamba is used as the most flexible and movable size; Griboedovsky rhymes are interesting (which is the rhyme in the Montologist of Famusov about the education of Sofia - "Mother" - "Accept"),

Phenomenon 7.

- How and how does Chatsky appear?

How does his Sophia meet?

What annoys sophia in Chazkom?

What feelings are visible in Chatkom in relation to Sofye?

What is the direction of the hero's irony?

After acquaintance with the phenomena 8-10, we find out if the conflict manifested itself, between whom, what character is he wears.

IV. Fastening. Writing to the notebook.

The first phenomena I of the actions of the comedy is the exposition: all the main characters are appearing: Magineuses, Sofia, Molchanin, Chatsky. The arrival of Chatsky - the tie of the play. Chatsky was cut out of the Moscow environment for three years, he was not waiting for him here, from the first words, he enters the conflict with the Famovsky society. This is the conflict between the "century of the current" and the "century of last"

V. Moving task:

1. Read the II action.

2. Individual task: prepare expressive reading of the monologues of the Chatsky "and accurately, began the light to fool ...", "And who are the judges?" And Famusov "That's the fact that you are all pride!", "Taste a father, excellent manner."

3. To learn the abstract of the lesson.

Objectives lesson:

Educational:

• expand knowledge about the comedy A. S. Griboyedov "Mount from Wit";
• learn to analyze the list of existing persons;
• analyze key actions of the comedy;
• release the features of the conflict, reveal the main stages of the plot of comedy.

Developing:

• develop the ability to evolve their point of view to evolve;
• forming the ability to interact in the team.

Equipment: Text of the Piese A.S. Griboedov "Woe from Wit" every student at the desk.

Hello guys! At the last lesson, we talked about the identity of Alexander Sergeevich Griboyedov, his extraordinary talents and outstanding abilities, about the fate of this person. The apogee of the literary activity of Griboyedov became a play in the verses of "Mount from Wit", which will be discussed today.

So, first, let's remember the definition of the drama.

The drama is one of the main types of literature, along with epic and lyrics, designed for stage.

Griboedov became the creator of one of the greatest drams of all time.

Let us touch this greatness, let's try to make your own opinion about the play and her heroes.

We need to understand what historical period is the action of the comedy. It is easy to determine, after analyzing the historical events discussed by the characters of the play. So, the war with Napoleon is already finished, but still fresh in the memory of the heroes. Prussian King Fritrich-Wilhelm visited Moscow. It is known that this visit took place in 1816. Heroes discusses the charge of three professors of the Pedagogical Institute in the "calling for an attempted legitimate power", their expulsion from the university occurred in 1821. Comedy is completed in 1824. Consequently, the time of action is the first half of the 20x GG. XIX century.

Open the poster. What we first pay attention ? (Name, list of actors and a place of action)

Read the comedy poster. Think that in its content resembles elements of classicism? (Unity of the site, "speaking" names)

We told talking names. What are they talking about us? Let's comment.

Pavel Afanasyevich FamusovManaging in a cassenoe place - Lat. Fama - "Solva" or English. Famous - "Famous". The public servant, which occupies a rather high position.

Sophia Pavlovna, his daughter - Sofias are often called positive heroines, wisdom (remember "inexpensive" phonvizin)

Alexey Stepanovich Molchanin, Secretary of Famusov, who lives in his house, silent, "the enemy of keenness", "on tiptoe and is not well-known with words," "comes to the degrees of famous - after all, they love wordless."

Alexander Andreevich Chatsky - Initially, Chadsky (in Chad, Chaadaev); An ambiguous multifaceted person, whose character will not express in one word; It is believed that the name Alexander the author gave to emphasize some similarity with him. Griboedov himself said that in his play "Twenty-five fools on a sensible person", which he considered Chatsky.

The surname "Chatsky" carries an encrypted hint of one of the most interesting people of that era: Peter Yakovlevich Chaadaeva. The fact is that in the draft variants "grief from the mind" of Griboedov wrote the name of the hero otherwise than in the final: "Chadsky". The name of the same Chayadaeva also often uttered and wrote with one "A": "Chadaev". That's the way, for example, Pushkin appeared to him in the poem "from the marine shore of Taurida": "Chadaev, do you remember the have been? .."

Chaadayev participated in the Patriotic War of 1812, in a foreign anti-drug campaign. In 1814, he joined the Masonic Life, and in 1821 he suddenly interrupted a brilliant military career and agreed to join the secret society. From 1823 to 1826 Chaadaev traveled in Europe, compiled the newest philosophical teachings, met the shelling and other thinkers. After returning to Russia in 1828-30, he wrote and published the historical and philosophical treatise: "Philosophical letters."

Views, ideas, judgments - in a word, the system of the worldview of the thirty-schoolstone philosopher turned out to be so unacceptable for the Nikolaev Russia, that the author of "philosophical letters" suffered an unprecedented and terrible punishment: he was declared by the imperial) by the decree.

Colonel Skalozub, Sergey Sergeevich - often inadequately reacts to the words of heroes, "scalosebits".

Natalia Dmitrievna, Young lady Platon Mikhailovich, her husband, - Korichi - Non-first place is a woman (!), Platon Mikhailovich - a friend and like-mindedness of Chatsky, but the slave, is under pressure from his wife and society - "Mount".

Prince Toguhovsky and Princess, His wife, with six daughters, again many women, actually hear badly, the motive of deafness.

Hryumina - The surname speaks for itself - parallel with pigs.

Reheetles - (from fr. Repeter - "repeat") - carries the image of the pseudo-oppositioner. Without having his opinion, reheetles repeats other people's thoughts and expressions. His author opposes the Chatkoma, as an internally empty man, trying on "other people's views and thoughts".

§ Try the name of the comedy and the poster to determine its key topics.

When reading a dramatic work, it is very important to be able to allocate individual scenes, follow the overall development of action.

How many key scenes can approximately be allocated in the comedy "grief from the mind"? What scenes are it?

15 key scenes:

1 - Events in the house of Famusov in the morning on the day of the arrival of Chatsky's eyes Lisa;

2 - the arrival of Chatsky to the Famusov House;

3 - Morning events and their development through the Famousov's eyes;

4 - the first collision of the Chatsky with the Famow

5 - scene with cliffs;

6 - Reflections of Chatsky about the coldness of Sofia;

7 - fainting Sofia, explanation of silence in love Lisa;

8 - explanation of Sophia and Chatsky;

9 - verbal duel of Chatsky and Molchalin;

10 - Guests in the house of Famusov, the birth of gossip about the madness of Chatsky;

11 - distribution of gossip;

12 - "Fight" of Chatsky with his opponents;

13 - traveling guests from the ball;

14 - Collision of Chatsky with a reheetle;

15 - departure Chatsky from the house of Famusov.

And now remember the main components of the plot of the dramatic work. Tie - Development of action - Culmination - Dissection.

What scene in the comedy "grief from the mind" can be considered stronger? The arrival of Chatsky, as the main conflicts are tied - love and public. Culmination? The last scene (immediately before the junction - the final monologue and the departure of Chatsky), in which the pretense of Molchalin is found in relation to Sofye and Chatsky learns that he is obliged to rumors about their madness.Junt? Departure Chatsky, his strongest disappointment.

Even a brief content of the selected scenes allows you to say that the work is based on the minimum of 2 intrigues. What kind? (Love - Chatsky loves Sophia, she loves silence, and the public is the clash of the Chatsky and Famow Society).

The first such scene is the arrival of Alexandra Andreyevich Chatsky to the Famus House. "A little light - on the legs! And I have your feet!" - So he welcomes Sophia Pavlovna, the daughter of Famusov, in which he was in love with his childhood.

Actually, for the sake of meeting with this girl he returns from abroad, so hurry to get to visit. Chatsky still does not know that in three years the separation of the feelings of Sofia cooled to him, and now she is passionate about the silence, secretary of his father.

However, Chatsky, having arrived at Famine, is not limited to attempts by love explanations with Sofia. For the years, conducted abroad, he perceived many liberal ideas that seemed to the rebellious in Russia of the beginning of the XIX century, especially for people, most of whose lives were still in the Catherine Epoch, when Favoritism flourished. Chatsky begins to criticize the image of the thoughts of the older generation.

Therefore, the following key scenes of this comedy - the dispute of Chatsky with the Magazov about the "century current and century last", when both of them say their famous monologues: Chatsky will ask "And who are the judges? ..", a perplexed, whose authority is referred to the Famuses. He believes that the heroes of the XVIII century are not worthy of such admiration.

Famus, in turn, indicates that "watched, as the fathers did!" - In his opinion, the behavior of the Favorites of the Catherine Epoch was the only true, to serve the authorities commendable.

The next key comedy is a ballast scene in the Famous House, which comes a lot of people close to the owner of the people. This society living according to the rules of the Ekaterininsky era is shown very satirically - it is emphasized that the horic under the heel at his wife, the old woman Herustov does not even consider his aratku-maid man, and the ridiculous rehearsals in fact does not see anything.

Chatsky, being liberal, does not understand such people. Especially touched by his adopted in the Galomania society - imitating everything French. He comes into the image of the "preacher on the ball" and pronounces a whole monologue ("In that room there is a slight meeting ..."), the essence of which comes down to the fact that many peasants in Russia consider their Lords almost foreigners, because there are no left Almost anything original Russian.

However, the public gathered on the ball is not at all interesting to listen to his reasoning, everyone prefer to dance.

The last key episode is worth named the junction of the comedy. When Chatsky and Pharmuses find Sophia on a secret date with silence, in the life of all heroes there is a cool turn: Sophia, his father collects from Moscow "to the village, to aunt, in the wilderness, in Saratov," her servant Lisa also wants to send to the village "for Kuraki walk. "

And Chatsky is shocked from such a turn of events - he could not imagine that his beloved Sophia could be in a poorly helped secretary of silence, could prefer His Chatkom himself.

After such a discovery, he has nothing to do in this house. In the final monologue ("I do not understand, guilty ...") He admits that his arrival and behavior may have been a mistake from the very beginning. And leaves the house of Famusov - "Careet me, carriage!".

The plot of the Comedy Griboyedov itself is already quite original and unusual. I can not agree with those who consider him banal. At first glance, it may seem that the main in the story is the story of the love of Chatsky to Sofye. Indeed, this story takes a great place in the work, giving the livelism to the development of action. But nevertheless, the main thing in the comedy is the Public Drama of Chatsky. This indicates the title of plays. The history of the unfortunate love of Chatsky to Sofier and the history of his conflict with the Moscow nobility, closely intertwined, are connected to a single line of the plot. Let's follow its development. The first scenes, morning in the house of Famusov - the exposition of the play. Sophia, Molchanin, Lisa, Famuses appear, prepare the appearance of Chatsky and Scaloze, is prepared on the characters and relationships of the actors. Movement, the development of the plot begins with the first appearance of Chatsky. And before that, Sophia responded about Chapkom very coldly, and now, when he, his lively, moving around Moscow friends, at the same time laughed at the silence, the coldness of Sophia passed into irritation and indignation: "Not a man, snake!" So Chatsky, he did not suspect himself, restored sophia against himself. All that happened to him at the beginning of the play will receive their continuation and development in the future: he will be disappointed in Sofary, and his mocking attitude to the Moscow acquaintances will grow into a deep conflict with the Famine Society. From the dispute of Chatsky with the Famusov in the second action of the comedy, it is clear that the case is not just in displeasure to each other. Two world outlook faced here.
In addition, in the second action of hints of the Famusov on the walling of the scalose and faint of Sophia, they put Chatsky before the painful mystery: is it really a chosen one who can be cliffs or silence? And if so, then who of them? .. In the third act, the action becomes very tense. Sophia unequivocally makes it clear that he does not love him, and it is openly confessed in love for Molchalin, he also says that this hero is not her novel. It seems that everything turned out, but the Chatsky Sophie does not believe. Disbelief is even more strengthened in him after a conversation with a silent, in which he shows its immorality and insignificance. Continuing his sharp attacks against Molchalin, Chatsky causes the hatred of Sophia to himself, and it is she who first randomly, and then deliberately, hearing a rumor about Chatsky's madness. The gossip picked up, the lightning point spreads, and about the past time they begin to speak in the past time. It is easily explained by the fact that he has already managed to configure himself not only the owners, but also guests. The society can not forgive the Chapsky protest against his morality.
So the action reaches the highest point, climax. The junction occurs in the fourth act. Chatsky learns about slander and immediately observes the scene between silent, Sofia and Liza. "That's finally the decision of the riddle! So I donated to someone!" - This is a final insight. With a huge inner pain, Chatsky pronounces his last monologue and leaves Moscow. Both conflicts are shown by the end: the crash of love becomes apparent, and the collision with society is completed with a gap.

Arguing about the clarity and simplicity of the composition of the play, V. Kyhehelbecker noticed: "In the" grief from the mind "... The whole tug consists in the opposite of the orders of other persons; ... here ... there is no fact that in dramaturgy is called intrigue. Dan Chatsky , other characters are given, they are switched together, and it is shown that it will certainly be to be a meeting of these antipodes - and only. It is very simple, but in this simplicity - news, courage "... The feature of the composition" grief from the mind "in The fact that its individual scenes, episodes are connected almost arbitrarily. It is interesting to trace how the Griboedov composition emphasizes the loneliness of Chatsky. At first, Chatsky sees with disappointment that his former friend Platon Mikhailovich "became not the" in a short time; Now Natalia Dmitrievna leads each movement and praises the same words that later Molchanin - Spitz: "My husband is an adorable husband." So, the old friend of Chatsky turned into an ordinary Moscow "husband - boy, her husband - servant." But this is not a very big blow for Chatsky. Yet throughout the time when guests go to the ball, he talks exactly to Plato Mikhailovich. But Platon Mikhailovich then recognizes his crazy, in favor of his wife and everything else will refuse him. Further Griboedov in the middle of her fiery monologue, first addressed to Sofye, Chatsky looks around and sees that Sophia left, without hearing him, and in general, "everything in the waltz is spinning with the greatest diligence. Old men have scattered to the card tables." And finally, the loneliness of Chatsky is felt especially sharply, when the rehearsals are beginning to be imposed on his friends, a "good conversation ... about hydroevil". The very possibility of the Words of Reetleov about Chazkom: "We are with him ... We have ... Some and the same tastes" and indulgent evaluation: "He is not stupid" shows how far Chatsky is from this society, if he has no one to talk to except the enthusiastic chatter reheetlov, which he simply does not take out.
Through the entire comedy, the topic of the fall and the theme of the deafness passes. Magovyov gladly remembers how his uncle Maxim Petrovich fell three times in a row to laugh to the sovereign to Ekaterina Alekseevna; falls from the horse of Molchanin, tightening the reins; It stumbles, falls at the entrance and "hastily will be sent" reheetles ... All these episodes are associated between themselves and echoing with the words of Chatsky: "And it was confused by all, and fell so many times" ... Chatsky also falls on his knees before the sofie's breathtaking. Also, the theme of the deafness is constantly repeated and hard and persistently repeats: Magovyov plugs the ears so as not to hear the crazy speeches of the Chatsky; All Dear Prince Toguhovsky does not hear anything without a horn; Hrumumin, Grandmother, herself is absolutely deaf, herself says anything and confuses everything, it says: "Oh! Deafness is a big shock." Then and nothing hears, carried away with their monologues, Chatsky and later reheetles.
In the "grief from the mind" there is nothing superfluous: no unnecessary character, not a single scene, no vain stroke. All episodic faces are introduced by the author with a certain goal. Thanks to the extraordinary characters, which in the comedy set are expanding the borders of the Famous house and the boundaries of time.

13. The problem of the genre and art method.

First of all, we consider how much the principle of "three unities" is preserved in the comedy - the unity of time, unity of the place and unity of action. All the action of the play occurs in the same house (although in different places it). But at the same time, Famusov's house in the play is a symbol of all Moscow, Moscow Griboyedovskaya, Barkaya, hospitable, with a leisurely running time, with its customs and traditions. However, the real space "grief from the mind" is not limited to the Famusovskaya Moscow. Space is expanding the characters of the play, stage and insignificant: Maxim Petrovich, introducing the topic of the Ekaterininsky yard; Scalozub seated in the trench; Frenchman "From Bordeaux", rehearsals with his house "On Fontanka"; Uncle Sofia, a member of the English club. In addition, the space of the comedy is expanding and references to different places of Russia: "He was treated, they say, on the acidic waters," the "smoking would be in Tver", "I was exiled in Kamchatka," in the village, to aunt, in the wilderness, in Saratov " The artistic space of the play expands and at the expense of the philosophical replicas of the characters: "Where the light is created wonderful!", "No, now the light is not so", "silent bliss in the world", "there is such transformations on Earth." Thus, the Famusov's house symbolically develops into the play in the space of the whole world.

Comedy maintains the principle of unity of time. "All the action of the play takes place for one day, starting at dawn of one winter day and ending in the morning of the next.<…> Only one day it was necessary to return to the native house, to the beloved Girl, the Chatkoma in order to cut off "Solna from the blindness of his, from the troubled sleep." However, the rigid constraint of the stage time was psychologically justified in the play. The very essence of the dramatic collision (the collision of Chatsky, with its advanced views, sharp, ursky mind, explosive temperament, with the oblique, conservative world of pharmaceutical and rehetle) - demanded that. Thus, observing the classic "unity of time" only formally, Griboedov achieves the maximum concentration of stage action. The action in the play occurs within one day, but on this day it was accompanied by a whole life.

A.S. Griboedov violates only the principle of unity of action: there are no fifth action in the comedy, and instead of one conflict, two - love and social. Moreover, if a love conflict has his own interchange in the final, the conflict of the public does not receive permits within the constitution of the Plays. In addition, the "punishment of vice" and "triumph of virtue" we do not observe either in the junction of the love line, nor in the development of public collision.

Let's try to consider the character of the Characters of Comedy "Mount from Wit." The classic canon prescribed a strictly defined set of role: "Heroine", "First Lover", "Second Lover", "Maulus" (Heroine Assistant), "Noble Father", "Comic Old Lady". And the composition of the actors rarely exceeded 10-12 people. Griboedov violates the literary tradition, introducing, except for the main characters, many secondary and inshasts. The main heroes formally correspond to the classic tradition: Sophia is the heroine having two fans (Chatsky and Molchalin), Lisa, as it is impossible to suit the role of a clever and brisk assistant, Famusov - "noble deceived father." However, all the roles of Griboedov as if confused by: chosen character Sofia (Molchanin) is not a positive character, the "second lover" (Chatsky) is an expressant of copyright ideals, but the unsuccessful cavalier. As researchers, an unusual love triangle is noticed and is allowed in the play atypically: "The noble deceived father" does not catch the essence of what is happening, the truth does not open to him, he suspects a daughter in love with Chatsky.

Violates the playwright and the principle of unambiguity of characters. For example, Famuses appear in a play in a variety of roles: this is an influential state-owned bureaucrat official, and the bomber in Moscow Barin, and aging Volokita, and a caring father, and a philosopher reasoning about life. He is in Russian to the hospital, in his own way (took the parent of the son of the deceased friend). Similarly, ambiguous in the comedy and the image of Chatsky. He is in the comedy and the hero of the accuser of public defects, and the carrier of "new trends", and dustless in love, doomed to failure, and a secular dandy, and an idealist looking at the world through the prism of his own ideas. In addition, many romantic motifs are connected with the way: the motive of the confrontation of the hero and the crowd, the motive of unfortunate love, the motive of the wanderer. Finally, there is no clear division of characters on positive and negative. Thus, Griboedov outlines the actors of the play in a realistic spirit.

Noting the realistic pathos of the comedy, we note that Griboedov presents us the life stories of heroes (from Replik Famusov we learn about the childhood of Chatsky, Sophia, about the fate of Molchalin) as a factor determining the development of the nature.

Another innovative drawing of the playwright is a Russian form of names (names, patientities). Griboedov's predecessors or emphasized their characters by names borrowed from their own names of Russian cities, rivers, etc. (Roslavlev, Lensky), or consumed the patronymic name in a comic plan (Matrain Karpovna). In the "grief from the mind", the use of Russian names-patrols is already deprived of comedy color. However, many surnames in the comedy correlate with the motive of Solva, with the words "talk" - "hear". Thus, the names of Famuses correlates from Lat. FAMA, which means "Solva"; Reptiles - from Franz. Repeter - "Repeat"; Last names Molchalin, Scalozub, Toguhovskiy are demonstratively "speaking." So, Griboedov skillfully uses the classic principle of "talking" names and at the same time acts by an innovator, introducing a Russian form of names-patience.

Thus, in the "grief from the mind" of Griboedov gives a wide panorama of the Russian life of the noble Moscow. Life in the Griboedovskaya play is shown not in the statistical images of the classic comedy of the XVIIIV, and in motion, in development, in the dynamics, in the struggle of a new one with the old.

Love conflict in the plot of the play is difficult to intertwine with the conflict public, the characters are deep and multifaceted, typical heroes operate in typical circumstances. All this led to the realistic sound of Comedy Griboyedov.

Comedy "Woe from Wit" A.S. Griboedov destroyed traditional genre principles. The sharply distinguished from the classic comedy, the play at the same time was not based on a love intrigue. It was impossible to attribute it to the genre of the household comedy or comedy of characters in its pure form, although the features of these genres were also present in the work. The play was, as contemporaries said, the "high comedy", the genre, about the appearance of which the Decembrist literary circles dreamed. In the "grief from the mind", public satire and psychological drama were combined; Comic scenes were replaced with high, pathetic scenes. Let's try to consider the genre features of the plays in more detail.

First of all, we note the elements of the comic in the work. It is known that Griboedov himself called "grief from the mind" comedy. And here, of course, it is worth noting the presence in the play and obvious comic techniques and a hidden author of irony. Language comic methods of playwright is a hyperbole, alogyrism, ambiguity, receiving approval to the absurdity, distortion of foreign words, consuming foreign words in Russian speech of characters. So, we notice the hyperbola in the replicas of Molchally, who seeks to please "the dog of the janitor, so that Laskov was." With this reception, recovering the reception to the absurdity. So, discussing with the guests of the madness of Chatsky, Magovyov notes the "hereditary factor": "According to the mother, I went, according to Anna Alekskna; The late man crazy went eight times. " In the speech of the old women, Alogi is present: "There was a sharp man, there was a hundred three shower." Personal features of the Chatsky she determines its condition. The ambiguity sounds in the speech of the Zagoretsky, condemning the basinists for "... mockery eternal above the lions! Over the eagles! ". In the final of his speech, he declares: "Whoever says: although animals, but still kings." It is this line that equalizes the "kings" and "animals" sounds ambiguous in the play. The comic effect is created and due to the distortion by the author of foreign words ("yes not in Madame strength", "Yes from Lancart mutual learning").

"The grief from the mind" is the comedy of characters. Comedy is the image of Prince Toguhovsky, who, suffering from deafness, turns around the surrounding and releasing their replicas. An interesting image of a reheetlov, which is and a parody of Chatsky, and at the same time antipode of the main character. There is a play and a character with a "talking" surname - Scalozub. However, all jokes are rude and primitive, this is a real "army humor":

I am Prince-Gregory and you
Feldwebel to Voltaires Dame,
He will build you in three ranks
And pick up, so mig leave.

Scalozub is not a sharpman, but, on the contrary, stupid. A certain element of comic is present in the nature of the Chatsky, whose "mind with a heart is not in Lada."

The play has the features of the comedy positions, parody effects. Thus, the author multiplies two motif: the motive of the fall and the deafness was motive. The comic effect in the play creates a fall of the repetillas (it falls at the entrance itself, moving to the Famousov's house from the porch). Chatsky fell several times on the way to Moscow ("the verst more seventh dies, the wind, storm; and was confused all, and fell as many times ..."). About the fall of Maxim Petrovich in a secular round tells Magazov. The turbulent reaction of the surrounding causes and falling silence from the horse. So, the rockosube says: "To see how he cracked - chest or in the side?" The Talk of Molchalin reminds him of the fall of Princess Lasova, which "the other day he drove into the fluff" and now "is looking for a husband."

The motive of the deafness sounds already in the first phenomenon of the play. Already in the first phenomenon of Lisa, failing to reach Sofary Pavlovna, asks her: "Are you deaf? - Alexey Stepanych! Madam! .. - And fear does not take them! " Pharmuses boils ears, not wanting to listen to the "cursory ideas" of Chatsky, that is, it becomes deaf at your own request. On the ball, the Graphic Grandmaker "Ears laid", she also notices that "deafness is a big vice." A prince of Toguhovsky is also present on the ball, which "doesn't hear anything." Finally, the reheetles will plug her ears, being unable to endure the choir declamation of Prinjeon Toguhovsky about the madness of Chatsky. The deafness of the acting persons here contains a deep internal subtext. Famusovskoe society "Glukhu" to the speeches of Chatsky, does not understand him, does not want to listen. This motive enhances the contradiction between the main hero and the world around him.

It is worth noting the presence of parody situations in the play. So, the "perfect novel" of Sofias with a silent author of the parody reduces the comparison of Lisa, recalling the aunt of Sophia, from which the young Frenchman escaped. However, in the "grief from the mind" there is also a competence of a different kind, which creates the vulgar parties to life, the exposure of the modern playwright of the society. And in this regard, we can already talk about satire.

Griboedov in the "grief from the mind" denies public defects - bureaucracy, sinovation, bribery, service "persons", and not "case", hatred for enlightenment, ignorance, careerism. The author of Chatsky reminds contemporaries that there is no public ideal in his fatherland:

Where? Specify us, the Fatherland Fathers,
What should we take for samples?
Isn't these robbing robes?
The protection against the court in friends was found, in relationship,
Magnificent coasoery chambers,
Where they bloom in feasts and mothers,
And where foreigners are not resurrected
Last lived in good features.

Hero Griboedov criticizes the core of the views of the Moscow society, his mental immobility. He speaks against serfdom, remembering the landowner who traded his servants on three greyhound dogs. For lush, beautiful uniforms of the Military Chatsky sees "weak" and "poverty". He does not recognize both the "slave, blind priest" around the entire foreign, manifested in the dominance of French. In the "grief from the mind" we find references to Voltaire, carbonés, jobs, we meet reasoning about the problems of a social system. Thus, in the play Griboedov, all the topical questions of our time are addressed, which allows critics to consider the work of "high", political comedy.

Finally, the last aspect in consideration of this topic. What is the drama of the play? First of all, in the spiritual drama of the main character. As I.A. notes Goncharov, Chatkomu "got a drink to the bottom of a bitter bowl - not finding in anyone" sympathy of living ", and leave, taking off with him only" Millon Torzani ". Chatsky rushed to Sofye, hoping to find her understanding and support, hoping that she would repay to his feelings. However, what does he find in the heart of the beloved woman? Coldness, ulcer. Chatsky is stunned, he jealines sophia, trying to guess his rival. And can not believe that his beloved girl chose Molchalin. Sophia annoy the knuckle of Chatsky, his manners, behavior.

However, Chatsky does not surrender and in the evening comes to the house of Famusov. On the Ball of Sophia dissolves the gossip about the madness of Chatsky, her readiness is picked up all those present. Chatsky comes with them into the rewritten, says a hot, pathetic speech, swaying the meanness of the "past live". In the final of the play, the truth is open to Chatskom, he recognizes who his rival and who dismissed rumors about his madness. In addition, all the drama of the situation is exacerbated by the alienation of Chatsky from people, in the house of which he grew up from the whole society. Rounding "from distant wanderings," he does not find an understanding in his fatherland.

Dramatic notes sound in Griboyedov and in the outcome of the image of Sofia Famusova, who gets his "Milong Torzani". She is bitterly repeated by discovering the true nature of his chosen one and the real feelings for her.

Thus, the play of Griboedov's "grief from the mind", traditionally considered a comedy, represents a certain genre synthesis, organically connect the features of the comedy of characters and comedy of the provisions, the features of a political comedy, a topical satire, finally psychological drama.

24. The problem of the artistic method "Grief from the mind" A.S. Griboedov

The problem of the art method in the mountain from the mind

The artistic method is a system of principles that manage the process of creating works of literature and art.

Written at the beginning of the XIX century, namely in 1821, the comedy of Griboedov "grief from the mind" absorbed all the features of the literary process of that time. Literature, like all social phenomena, is subject to specific historical development. Comedy A. S. Griboyedov was a kind of experience in combining all methods (classicism, romanticism and critical realism).

The essence of the comedy is a mountain of man, and it stems it from his mind. It must be said that the problem of the "mind" itself in Griboedovsky time was very topical. With the concepts of "smart", then the idea of \u200b\u200ba person is not just intelligent, but "free-reform". The fervor of such "clever" is completely and nearby turned around in the eyes of the reactionary and the madness of the "madness".

It is the mind of Chatsky in this wide and special sense puts it outside the terms of the Famow. It is on this that is founded in the comedy development of the conflict of the hero and the environment. Personal Drama Chatsky, its unrequited love for Sofa, naturally, is included in the main subject of comedy. Sophia, with all his spiritual deposits, still belongs to the Famówov world. She can't love Chatsky, who with the whole warehouse of his mind and his soul opposes the world. She also turns out to be among the "tormentors" who insulted the Fresh mind of Chatsky. That is why the personal and public drama of the main character does not contradict, but mutually complement one other: the conflict of the hero with the environment applies to all its everyday relations, including love.

From here, we can conclude that the problematic of the comedy A. S. Griboyedov is not classicistic, for we do not observe the struggle between the debt and feeling; On the contrary, conflicts exist in parallel, one complements the other.

You can allocate another non-classicistic trait in this work. If the "three unity" law unity of the place and time is observed, then the unity of action is not. Indeed, all four actions occur in Moscow, in the house of Famusov. For one day, Chatsky opens deception, and, appearing at dawn, he leaves at dawn. But the line of the plot is not odnolinene. In the play, there are two strings: one is the cold reception of the Chatsky Sofia, the other is a clash between the Chatsky and the Famusov and Famovsky society; Two plot lines, two climax and one general junction. This form of the work showed innovation A, S. Griboyedov.

But in the comedy, some other features of classicism are preserved. Thus, the chief hero Chatsky is a nobleman formed. Interesting image of Lisa. In the "grief from the mind", she keeps too much for the maid and looks like a heroine of a classic comedy, a bobbish, resourceful. In addition, the comedy is primarily written in a low style and this is also an innovation of Griboedov.

It was very interesting to show the features of romanticism in the work, for the problems of "burning from the mind" partially wears a romantic nature. In the center, not only nobleman, but also a person disappointed in the power of the mind, but Chatsky is unhappy in love, he is fatally alone. Hence the social conflict with representatives of Moscow Baria, the tragedy of the mind. It is characteristic of the romanticism and the topic of wandering over the world: Chatsky, not having time to come to Moscow, with dawn leaves it.

In Comedy, A. S. Griboyedov show the beginnings of the new method for that time - critical realism. In particular, two of its three rules are observed. This is social and aesthetic materialism.

Griboedov is faithful. Consider to allocate the most essential in it, he so pictured his heroes that we see social laws standing behind them. In the "grief from the mind" created an extensive gallery of realistic artistic types, that is, the comedies appear typical heroes in typical circumstances. The names of the characters of the Great Comedy became nominal.

But it turns out that both Chatsky, the hero in essence romantic, has realistic features. He is social. It is not due to the environment, but opposes her. Man and society in realistic works are always inextricably linked.

Also syncretic and comedy language A. S. Griboyedov. Written by low style, according to the laws of classicism, she absorbed the entire charm of the living great Russian language.

Thus, the comedy Alexander Sergeyevich Griboyedov is a complex synthesis of three literary methods, the compound, on the one hand, their traits, and on the other hand, the holistic panorama of the Russian life of the beginning of the XIX century.

Griboedov about grief from the mind.

25. I. A. Goncharov O Comedy A.S. Griboedov "Woe from Wit"

"Millon Torzaniy" (critical etude)

I.A. Goncharov wrote about the comedy "grief from the mind" that this is the painting of morals, and the gallery of living types, and forever burning, the sharp of satire, "in which the noble Moscow is 10-20 years old. According to Goncharov, each of the main characters of the comedy is experiencing "his Milong Torzani". He experiences him and Sophia. Rosier's brought up by Madame and Madame in accordance with the Rules of Education of the Moscow Runsheng, Sophia was trained "and dances, and hemp, and tenderness, and sighs." Her tastes and ideas about the surrounding world were formed under the influence of French sentimental novels. She imagines himself with the heroine of the novel, so he is badly understood in people. S. rejects the love of the too ultra of the ulcer Chatsky. Does not want to become a wife of a stupid, coarse, but rich rockozub and choose Molchalin. Molchanin plays before S. The role of Platonic in love and maybe before dawn it is elevated to be silent alone with his beloved. S. gives preference to silence because it finds a lot of advantages in it necessary for the "boy's husband, a husband-servant, from the marrying packs." She likes that Molchanin shy, compliant, respectively. Meanwhile, S. Smung and the Deposit. It gives the right characteristics of others. In the rocky, she sees a stupid, limited soldier, who "words smart will not expand this", which can only argue about "frunts and ranks", "On Petakers and Releases". She can not even imagine himself a wife of such a person: "I don't care what for him, that in the water." In the father of Sophia sees a grumpy old man who does not ceremony with subordinates and with servants. Yes, and the quality of Molchalin S. Returns correctly, but, blinded by love for him, does not want to notice his pretenses. Sophia is a female owned. She skillfully distracts the attention of the father from the presence of a silence in the living room, at the early hour of the morning. To disguise your faint and fright after the fall of Molchalin from the horse, it finds the truthful explanations, stating that very sensitive to the misfortunes of others. Wanting to punish Chatsky for his stolen attitude to silence, it was Sophia that dismisses his rumor about the madness of Chatsky. Romantic, sentimental mask is frorth now from Sofia and opens the face of irritable, vivid Moscow young lady. But the payback is waiting for both S., because her love dope disappeared. She became a witness of the betrayal of Molchalin, an offensively responded about her and fluffing with Liza. This is a blow to a pride of S., and its vengeful nature is revealed again. "I'll tell you the whole truth of Batyushka," she decides from annoyance. This once again proves that her love to silence was not real, but a book, invented, but this love makesone to survive his "Millon Torzania". Do not agree with Goncharov. Yes, the figure of the Chatsky determines the conflict of the comedy, both its storylines. The play was written in those days (1816-1824), when young people like Chatsky carried new ideas, moods into society. In the monologues and the replicas of Chatsky, in all his actions, it was expressed that the most important thing was for future Decembrists: the spirit of liberty, free life, the feeling that "breathing more than everyone." Freedom of personality is the motive of time and comedy Griboedov. And freedom from the dilapidated ideas about love, marriage, honor, service, sense of life. Chatsky and his like-minded people seek to "art creative, high and beautiful", dream of "in science to use the mind, the sharper knowledge," they crave "sublime love, in front of which the world is a whole ... - dust and bustle." All people they would like to see free and equal.

The desire of Chatsky is to serve the Fatherland, "the case, not to people." He hates all the past, including slave worship in front of all foreign, pleasing, lowlands.

And what does he see around? The mass of people who are looking for only the ranks, crosses, "money, to wish," not love, but favorable marriage. Their ideal is "moderation and accuracy", their dream - "pick up all the books would be squeezing."

So, in the center of the comedy - the conflict between the "single sensible person" (assessment of Griboedov) and the conservative majority.

As always in the dramatic work, the essence of the character of the main character is revealed primarily in the plot. Griboedov, faithful in vitality, showed a serious fate of a young progressive person in this society. The surroundings of Avenge Chatskomu for the truth that the eyes of the roller, for trying to break the usual way of life. Favorite girl, turning away from him, wounds the hero most, blossoming about his madness. Here is a paradox: the only sensible person is declared a madman!

It is surprising that now it is impossible to read without excitement about the sufferings of Alexander Andreevich. But this is so power of genuine art. Of course, Griboedov, maybe, for the first time in Russian literature, it was possible to create a really realistic image of a positive hero. Chatsky is close to us because it is not written as a flawless, "iron" wrestler for truth and good, debt and honor - we encounter such heroes in the works of classicists. No, he is a man, and nothing human is alien to him. "Mind with a heart is not in Lada," says hero himself. The fervor of his nature, which often interferes to preserve sincere equilibrium and composure, the ability to fall in love is furious, it does not give him to see the flaws of the lover, believe in her love for another - these are such natural features!

The mind is a theoretical virtue. For the predecessors of Griboedov, only observance of measures was considered. So the mind in the comedy has a silence, not Chatsky. Melskolina's mind serves his master, helps him, his mind himself only harms, he is akin to madness to others, it is he who brings him "Millon Torzani". The comfortable mind of Molchalin is opposed to the strange and sublime mind of Chatsky, but this is not the struggle of the mind and nonsense. There are no fools in Griboedov's comedy, her conflict is built on the confrontation of different types of mind. "Woe from the mind" is a comedy, overshadowed classicism.

In the work of Griboedov, the question is asked: what is the mind. Almost every hero has its own answer, almost everyone speaks about the mind. Each hero has its own idea of \u200b\u200bthe mind. There is no reference of the mind in the play Griboedov, so there is no winner in it. "The comedy gives Chatsky only" Millon Torzany "and leaves, apparently, in the same position of Famusov and his brotherhood, in which they were, not to mention anything about the consequences of the struggle" (I. A. Goncharov).

The name of the play contains an unusually important question in itself: what is the mind for Griboedov. The writer does not give a response to this question. By calling the "smart" Chatsky, Griboedov turned the concept of the mind of the old understanding of his understanding. Griboedov showed a person full of enlightenment pathos, but to understand it that escaped to unwanted, arising from the traditional concepts of "prudence", which in the "grief from the mind" are associated with a certain social and political program. The comedy of Griboedov, starting from the name, is not addressed to the Famine, but to Chatsky - funny and lonely (one smart person is 25 fools), seeking to change the unchangeable world.

Griboedov created a non-traditional comedy for his time. He enriched and psychologically rethought the characters of the characters and the problems traditional for the comedy classicism, his method is close to realistic, but still does not reach realism in its entirety. I.A. Goncharov wrote about the comedy "grief from the mind" that this is the painting of morals, and the gallery of living types, and forever burning, the sharp of satire, "in which the noble Moscow is 10-20 years old. According to Goncharov, each of the main characters of the comedy is experiencing "His Milong Torzania.

Lyceum lyrics Pushkin.

In the Lyceum period, Pushkin appears primarily as the author of lyric poems, reflecting his patriotic sentiment in connection with the Patriotic War of 1812 ("Memories in the Tsarist Selo"), enthusiastically adopted not only by lyceum friends, but even Derzhavin, who was considered the greatest literary authority of that time. The protest against political tyranny ("to Litseania" was boldly sparing in the traditional images of the ancient Roman antiquity, a wide satirical picture of the Russian socio-political reality and an angry "favorite despota" - an almighty temporary time, behind which contemporaries guessed the image hated by all Arakcheev.), Refusal to religious Look at the world ("Cleverness"), literary sympathies for caramazinists, "Arzamas" ("To Friend a poem", "Town", "Shadow of Fonvizin"). Volno-loving and satirical motifs of Pushkin's poetry at this time are closely intertwined with epicureism and anrecotics.

Of the first lyceum poems of Pushkin's experiences until 1813, nothing came to us. But they remember the comrades of Pushkin on the lyceum.

The earliest, who came to us, the lyceum poems of Pushkin are timed to 1813. Pushkin's lyceum lyrics is characterized by an exceptional genre manifold. The impression of the conscious experiments of the young poet on the development of almost all the genres of genres already presented in poetry is created. It was extremely important in search of his own path in lyrics, own lyrical style. At the same time, this genre variety determines the features of that stage of Russian poetic development, which was distinguished by the root break of the former genre traditions and the search for new ones. The Lyceum Lyrics of Pushkin's first years is distinguished by the predominance of the short sizes of verse (tropoptic yamb and chorea, two-way yamb and dactyl, three-stranded amphibery). The same early period of Pushkin lyrics is characterized by a significant length of poems, which is explained, of course, the poetic immaturity of a young author. As the genius of Pushkin develops, his poems become much shorter.

All this together, taken testifies, on the one hand, about the period of conscious students of Pushkina to master the majority of the already developed and Russian, and the Western European poetic tradition of lyrical forms, and on the other - about inorganicity for Pushkin, almost all from those who came to him, from which he Subsequently, it is fairly soon begins to be freed.

In this, initial, period of poetic development of Pushkin, when his entire creature was full of a feeling of youth and delights of life with all her gifts and pleasures, most attractive and, as it seemed to him, the most peculiar to the very nature of his dating were traditions of poetic Madrigan culture The XVIII century, dissolved acute liberty of French enlightenment.

The young poet was pleased to depict himself a poem, which poems are given without difficulty:

The main circle of motifs of the lyrics of Pushkin in the first lyceum years (1813-1815) is closed by the framework of the so-called "light poetry", "Anacreontics", a recognized master of which was considered Batyushkov. The young poet draws himself in the image of a sage epicurean, carelessly enjoying the light joys of being. Since 1816, Elegy motives in the spirit of Zhukovsky become prevailing in the Lyceum Poetry Pushkin. The poet writes about the flour of unrequited love, about the prematurely he had fading his soul, it grows about the fascinated youth. In these early poems, Pushkin still many literary conventions, poetic stamps. But through the imitative, literary-conditional is already also made through independent, its own: echoes of real life impressions and genuine internal experiences of the author. "Definition by your own way," he says in response to the advice and instructions of Batyushkova. And this "own way" is there, then it is gradually evaluated in the works of Pushkin-Liceist. So, the poem "Town" (1815) is still written in the manner of the Member of Batyushkov "My Penates". However, not as an example of their author, which bizarrely mixed antique and modern - ancient Greek "Lara" with the domestic "balalaika" - Pushkin gives you to feel the features of the life and life of a small provincial town inspired by him real Tsarski-Seli impressions. The detailed description of the royal village The poet was going to give in a special work, specifically dedicated to this, but, apparently, sketched in his lyceum diary only his plan (see inv. 7th. Ed.: "I will write the" Picture of the Tsarsky village "in the summer ).

But already in the Lyceum Pushkin develops independent and sometimes very critical attitude towards his literary predecessors and contemporaries, in this sense, "Shadow of Fonvizin", in which the poet of the mouth of the "famous Russian merry" and "mockery", "Creator, who written to prostacacle" , peaks a bold trial of literary modernity.

The anacontic and email poems of Pushkin continues to write both in these and in subsequent years. But at the same time, the exit in the middle of 1817 from the "Monastic", as their poet called, the lyceum walls in a large life was a way out and in a large public theme.

Pushkin begins to create poems that meet the thoughts and feelings of the most advanced people of Russian society during the growing season in it of revolutionary sentiment, the emergence of the first secret political societies that made their task against the struggle against autocracy and serfdom.

The approval of the joys of life and love is such, taking advantage of the term Belinsky, the main "pathos" of Pushkin lyrics of 1815. All this quite consistent with the ideal of the poet - the singer of light pleasures, which certainly seemed to Pushkin himself in the ego of the closest and its character, and the goals of life in general, and the peculiarities of his poetic gift.

eLINSIA wrote: "Pushkin from all preceding poets differs precisely the fact that according to his works it is possible to follow the gradual development of it not only as a poet, but at the same time as a person and character. The poems written by him in the same year are already sharply different in content and in form from poems written in the following "(VII - 271). In this respect, observations are particularly indicative of Pushkin's lyceum lyrics.

Pushkin began to be printed in 1814, when he was 15 years old. Its first printed work was the poem "to a friend a poem". There is a different form than in the earliest poems, and a different genre, but the path is essentially the same: the path of free, light, relaxed poetic reflection.

The literary teachers of the young Pushkin were not only Voltaire and other famous French, but even more Derzhavin, Zhukovsky, Batyushkov. As Belinsky wrote, "Everything that has been essential and life in Poetry, Zhukovsky and Batyushkova, - all this was observed by Pushkin's poetry, reworked by its original element." Communication with Zhukovsky in the Lyceum period manifested themselves particularly noticeable in such poems of Pushkina as the "Dreamer" (1815), "The Fight Knight" (1815). The undoubted impact on Pushkin also provided a delay. Obviously, its impact was manifested in the famous poem of the Lyceum Pore "Memory in the Tsarskoye Selo". Pushkin himself so recalled his reading of this poem at the solemn exam ceremony in the presence of Derzhavin: "Derzhavin was very old. He was in the uniform and plugging boots. Our exam is very tired. He was sitting, led his head with his hand. His face was meaningless, the eyes of mutted, the lips were dug; Portrait of him (where it is represented in the cap and bathrobe) are very similar. He dreamed until the exam began in Russian literature. Here he revived, his eyes were slaughte; He transformed all. Of course, readers were his poems, his verses disassembled, the poems praised him. He listened to an unusual liveliness. Finally called me. I read my "memories in the royal village", standing in two steps from Derzhavin. I can not describe the state of my soul; When I got to a verse, where I refer to the name of the Derzhavin, my voice was squeezed, and my heart beat with a suspended delight ... I do not remember how I finished my reading, I do not remember where I ran away. Derzhavin was in admiration; He demanded me, I wanted to hug me .... I was looking for but not found.

While these new works were preparing, the season of 1906/07 was opened by the play as if a completely different, "old" direction. Griboedovskoye "Mount from Wit" again put together Stanislavsky and Nemirovich-Danchenko, issued him as before the sims with the help of N. Kolupaeva. The performance was intended specifically "for a great public, which ceases to completely interested in theater, when there is no play with her *". So wrote Stanislavsky, referring to the "hatred" of the conservative part of the public to the plays "new direction" and the need to go on repertoire "compromises".

* (From the letter to K. S. Stanislavsky A. M. Gorky, July 1905 - Coll. Op., vol. 7, p. 323.)

Indeed, the "grief from the mind" as if entirely returned the theater to the line of museum and accurate reproduction of life, history, atmosphere of the 20s of the last century. Although Stanislavsky in the days of armed uprising and "tried to prove that the" grief from the mind "is the only play, suitable for the revolution," the director did not seek such a modern reading of the play, consonant political events in the country. It is characteristic that in the same recording, it follows later a crown phrase: "Why" grief from the mind "such a suitable play for the revolution, I, of course, did not know." And it was true - in that, of course, the sense that the director then did not consider it necessary to exacerbate the accusatory socio-political line of the plays.

The very concept of "revolutionary" lived in their consciousness in the distracted form of the eternal desire of mankind to "Freedom of Spirit." It is characteristic that, seeing in "the grief from the mind" those "combat notes that our modern life rings *", Nemirovich-Danchenko still believed that "the ideal of opening [the season] would be" brands ". Because it is the most revolutionary The play, what I only know, revolutionary in the best and deepest sense of the word "6. It is clear that the" Brand ", in which the idea of \u200b\u200bthe transformation of the company performed in abstract form, completely replied to the then ideas of directories about revolutionary. In accordance with this, the "grief from the mind" is interpreted.

* (Vl. I. Nemirovich-Danchenko. Selected letters. M., "Art", 1954, p. 273. 8 from the letter to Stanislavsky. Mchat Museum, N. -d Archive, No. 1622.)

The directorial plan, written in 1905, almost all Nemirovich-Danchenko in his conventional literary-narrative manner (with small marks of Stanislavsky in the third action), primarily reflects the intention of the leaders from the existing theater traditions of the Comedy: from the usual manner of "reading" of famous monologues , from banal stage images. In order for Griboedov's heroes to appear not as they played, but as they lived with Griboedov. For this, it is necessary to restore the live life of the time that the actors can play not "pamphlet", but "household comedy, live images." For this, the monologues of Chatsky and Famousov should take a secondary place, and to the forefront of the depth plot of the plays.

In this regard, it is necessary to return to the daily museum manuscript before returning, to restore those beautiful verses that were first unaware and approve the new Comedy text (which was done with the help of a special commission held from V. V. Kallasha, P. D. Boborykin , A. N. Veselovsky and V. V. Yakushkin). Then you need to clear the ideas about the heroes: Lisa can no longer play the "Moliere Side", Molchalin - "Holly", Famusov - "Ferruster", and Chatsky - "End of Mravov". "First of all, you need to get rid of those Okov, which imposes in performers glory" grief from the mind, "says Nemirovich-Danchenko." For us, for example, Chatsky is no longer primarily an accuser of public defects and migrauses with its serfs not primarily an object. Chucksky * ". In each role, it is necessary to dig up its life in prime.

The greatest revision was subjected to the image of Chatsky. Instead of the "accuser", "hot resonance", "tragic hero", a fully established political "figure", director offered the actor to play in the Chazkom of the Dusty, the "Free Spirit" of the young man of the age of 23. "Chatsky is only a fervent young man, talented and clever, but the young, only a folding future figure" - they argued. It is not necessary to look for in it by certainly Chaadayev - "the similarity between them the most running and insignificant."

Insisting on such a characteristic of Chatsky, its comprehensive argument, Nemirovich-Danchenko concerns the modern, and eternal meaning of the image. He finds a thought, perhaps the most important and defining producer plan for the entire directorial plan. "The modern age has broken up in Russian society in Russian society. It is hardly from all types of" burning from the mind "is not the strongest, the most abundant, the most sticky, the most productive. And precisely because Griboedov did not give a large figure in Chatsk. but only the sprouts of the future figure, precisely because the perspicious perspicure is depicted not by some chadaev, Nordic, Pestel, Odoyevsky, Bestuzhev and him like ... a politician, and another young, only promising, talented and witty, but not yet established The man, that is why Molchanin retained on his feet for the whole ¾ century. Chatsky could not destroy it. Yes, the real Russian man of the XIX century always possessed a distinctive feature not to kill the nonentity, but with contempt pass by him. These are all our poets, and Pushkin, and Gogol, and L. Tolstoy, and Turgenev, and Czechs ... They are all learning the same. "

Here is the position of the director. Logically communicated to the end, it concerns the very creature of the worldview, decisive issues of humanism of artists. It means that the essence is not even in the fact that Chatsky still Yun, but that the "real Russian man" is not inclined to "kill nothingness." That is why it was elected such a "universal" plan of the performance that does not affect the entire acuteness of the modern political situation. Without entering into an open struggle with meanness, the performance should be "with contempt to pass by" her to the issues of eternal, pulling the thread from the life of the story to a generalization, rising above the "politics", over time.

The generalized sense of the comedy director was invested in a wide sound of the topic of slander as the themes of an eternal nonsense, which is unable to destroy the hero. In this regard, the whole third act receives a special development, where, gradually increasing, fabricated slander and, as a block of burning from the mountains, is collapsed in Chatsky - "the Moscow factory is harmful and empty." For this, he was restored from the museum manuscript that monologue of Chatsky in the fourth act, where he paints the birth of slander:

About idle, pathetic, small light! Do not eat food, - a fairy tale, delirious liar will go to the deputy, the fool will repeat, will give, the old women who are going to be alarming, - and now public opinion! And here is Moscow! .. etc.

It is important that it is "With the appearance on the stage G.G. N and D play begins to boil with a real stage lift ... the slander finds a great soil ... - She crawls, expands, captures all the corners, and, when the Chatsky, husionated by it and Not a suspect, again appears on the stage, it creates a truly dramatic, excellent quality stage moment. The art of the theater and should be directed to the relief and with exciting gradiation a growth of this slander is depicted. "

"Woe from Wit" (1906), scene from the 3rd act

* (Sergey Glagol (S. S. Golowyshev). Art Theater and Mount from Wit. - "Moscow Weekly", 1906, No. 21, p. 44.)

"Woe from Wit" (1906). Chatsky - V. Kachalov

It is clear that that Chatsky, who was played by V. I. Kachalov, "Young, in nature, cheerful and gentle, loudly, joking, boldly witty, ardent, in love with madness ... lyrical," emotional "cazky *", that lonely "Enfant terrible's free spirit was powerless to join the" struggle "against the" crazy world ", where there are always sissed by the" past life " , "Gloatingly inflates the gossip" and "suddenly becomes pale and terrible, like a ghost **." In this world, Chatsky cannot, be the winner, gradually, "he becomes bull and caustic ... offended, offended and completely broken ***" In the final. "In the final replica:" Careet to me, a carriage, "the voice said to the voice and, as it were, he could have heard ... Exhausions of the completely exhausted soul, and not a call from whom the Chatsky runs ... ****"

*** (Sergey Vukhl. Cyt. Above article, p. 46.)

**** (Exter [al. I. Vvedensky]. "Woe from Wit" on the scene of the Art Theater. - "Moscow Vedomosti", September 29, 1906)

Such a decision, sharply rushing with all traditional ideas about the play, was not very understood from contemporaries. With the exception of cited critics, the press was quite friendly accused the theater in disturbing the author, in the fact that Griboedov took the Moliere ", which showed us" "Prosaic Bedni, Flemish School of Pedry Sor", "and will be exclaimed. Belyaev. - And pretty. Pretty! * "But the main prosecution was in rejection, the" caregot "of the image of Chatsky. The forest was trying to all, oddly enough, the camp of the Novovremenians: "Poor Chazki! He was laid yesterday and was decengive to extreme." This point of view Y. Belyaeva solidically supported A. Suvorin himself. "I'm of the opinion," he taught, "that Chapsky is a heroic personality, a romantic, a bayronist, a big and original mind." Kachalov drew him "in a very ordinary mortal ... Monologists disappeared ... **" Another, as "liberal" critic, N. Roslavlev, reproached the director in the fact that "his Chatsky is not Russia of the future, and Russia is real ", and conducted a direct analogy between this Chatsky and" Our Revolution *** "(interpreted, of course, in the spirit of the famous" Manifesto on October 17 "). It sounded sad enough: "... It began to seem that Chatsky was never in Russia, but that he will always be", that is, that we will always wait for it ... "And this conclusion was not so Far from truth.

*** ("... is our revolution not the same Chatsky? Drop the scale of socialists, anarchists, the Jews ... Stop only the wave, persecuted by the continuity and liberal strength of the Russian thought: Was it not rolled to us as Chatsky to Famow," from the ship On the ball ", full of hopes, faith, love ... And didn't she meet in us, in the ruling layer, fake and corrupted Sophia? Didn't we do with the act on October 17 as well as Moscow with Chatsky? Moninotens, Octobrists , Cadets, Socialists and Over all of them - the smug face of the Prime Minister ... Well, isn't it similar to the rocks with the rocks, family, silent, rehearsal and tapebins? " (N. Roslavlev. Thoughts. - "S. -Petherburg Vedomosti", May 3, 1907).)

Thus, the new performance of the MHT involuntarily entered close contact with reality. In his own way, his own life position of artists, their understanding of revolutionary and heroism, their attitude towards the decisive problems of humanism is fired. Probably, that is why "the old comedy Griboyedov turned out to be the most sensational performance in the two capitals for the entire theater season of this year *.

* (F. Batyushkov. Gastrol MHT. From life to the symbol. - "Modern World", 1907, May, p. 61.)

For Stanislavsky, although he is as a director and worked here less actively than Nemirovich-Danchenko, this setting was also far from random. Having at first "grief from the mind" as a kind of "response" in the quest, as a famous "compromise" for a "big public", the director could not help but feel that the brilliant work gives him the opportunity to express his attitude to life, and his artistic position. No wonder in his brilliant formulation of the third act, not only the previous skill of the decision of the "folk scenes" solutions, not only the ability to weave from a thousand stage splashes sparkling live background, but also the desire to give him a generalized symbolic sound. Thus, the "grief from the mind" was organically included in the orbit of creative searches for director.

But, of course, now he was mostly held on continuing work on the "drama of life." After "grief from the mind" again for some time the directorial routes of Stanislavsky and Nemirovich-Danchenko are diverged. They will only come down on a more "conservative" auditor. The search for both directories 1906, 1907, 1908 is in parallel, sometimes in contact with each other. Nemirovich-Danchenko puts independently "Brand", "Walls" of S. Foundova, "Boris Godunova" and "Rosmersholm", trying everywhere - sometimes unsuccessfully - overcome the usual life of the theater and felt the path to the miser, ascetic strict, philosophically saturated work of the scene. Stanislavsky continues his quest in the "Drama of Life", "Man's Life" and "Blue Bird".

"To you Alexander Andreich Chatsky ..."

(Analysis 1)

Privacy of love conflict

In the play by A. Griboyedov "Woe from Wit"

The purpose of the lesson: the definition of the differences of the works of classicism from the new comedy A. Griboyedov, the consideration of the love and public conflict in the play, determining the place of the first action in the plot-composite structure of the work.

Tasks:

Training: give theoretical concepts, consider the essence of the conflict of work, designate the originality of the development of the first action of the comedy; using ICT introduce theoretical information;

Developing: to form skills to independently determine the tasks of their activities; Search and select material on the topic; promote the development of imagination, fantasy in the process of working on the play; teach analysis; deepen knowledge of dramatic work;

Educational: awaken interest in dramatic works; form moral orientations to recognize true and false values; Learn to think over the life goals that determine the behavior of heroes, create an emotional attitude to the perception of the text.

Equipment: projector, computer.

Lesson plan:

Teacher's introductory word.

Glossary terms.

The story of the creation of the play.

Analysis of the list of existing persons.

The history of the prototypes of the heroes of the play "Mountain from the mind."

The plot of the works of "Woe from Wit".

Composition of the work of "Woe from Wit".

Traditions and innovation in the work

Staging 5, 7 phenomena 1 action.

The demonstration fragment of the performance in the formulation of O. Menshikova.

Conclusion. Homework.

During the classes

Teacher's introductory word.

Today we begin the conversation about the comedy "grief from the mind." Her fate is no less mysterious and tragic than the fate of the author himself. The disputes about the comedy began long before it was printed and put on stage, they still do not subscribe. Contemporary Griboedov A.. Bestuzhev was convinced that"The future will decide with this comedy and put it in the number of the first creations of the people." These words were prophetic: almost two hundred years have passed since the creation of a comedy "grief from the mind", but it is invariably present in the repertoire of Russian theaters. Comedy Griboyedov is truly immortal. About her mysterious and tragic fate - our today's conversation

A lot of mysterious facts are connected with this play: it is strange, the tragic fate of its author, and the ambiguity of the comedy images.

Dictionary Terminos

Before we proceed to the study of the work, turn to the theory of literature. Consider the concept of genre, plot, conflict.

Comedy - One of the dramatic works. Features of this work: lack of copyright narrative (but: a list of actors and remarks); limitation of action by spatial and temporary framework, hence the disclosure of the character's character through the moments of confrontation (the role of conflict); Organization of speech in the form of dialogues and monologues, which are not only addressed to other heroes, but also to the viewer; Stages of the development of the conflict (exposure, tie, development with culmination, junction).

In the system of genres of classicism, the comedy belongs to the lowest style. One of the main plot schemes of the comedy of classicism is the struggle of two applicants for the hand of one girl, positive poor, but endowed with high moral qualities; Everything ends with a happy dialogue.

Plot - This is a "chain of events depicted in a literary work, that is, the life of the characters in its spatial-temporary changes, in the constraints and circumstances replacing each other." The plot not only embodies the conflict, but also reveals the characters of heroes, explains their evolution, etc.

- What plot elements do you know?

Conflict – Main force, driving action, main remedy

character. The conflict organizes character.

In the choice of character and his decision, the author's position is manifested.

How the conflict will continue to develop, we will know about it by reading the comedy to the end.

History of creation

The idea of \u200b\u200bthe comedy "grief from the mind", according to the testimony of S.P. Begicheva, a writer's friend, it was possible, originated in 1816 in St. Petersburg. But more often the time of its origin is believed to stay Griboedov in Persia in 1820. In one of the letters, Griboedov writes that the intention itself, the generalized image and rhythm itself were seen in a dream.

Griboedov, who finished comedy in 1824, attached a lot of effort to print it, but he could not. He did not achieve permission to produce the "grief from the mind" on stage: censorship considered the comedy of Griboyedov politically dangerous and banned it. During the lifetime of the author in Almanac, the Russian Waist in 1824 there were small excerpts from the comedy, and even that in a highly modified form. But this did not prevent its wide fame. The comedy diverged in the lists, read it, discussed, wrote off the text under dictation. The number of handwritten copies many times exceeded the greatest colors of the then print editions.

Only in 1831, after the death of Griboyedov, the comedy was resolved to the press, although, too, with seizure of the text of those places that were recognized in censorship especially "unrealized". In the same year, the comedy was put on the scenes of St. Petersburg and Moscow. Only in 1862 the royal government had finally allowed to publish Griboyedov's comedy.

Poster. Analysis of the list of actors

In the comedy "Mount from the mind," said Ivan Alexandrovich Goncharov:

"There is a picture of the morals, and the gallery of living types, and forever acute, burning satire, and at the same time and comedy and ... - Most of the comedy - which barely people in other literature ...". "As a picture, she, no doubt, is huge ... In a group of twenty-face, it was reflected like a beam in a drop of water, the whole former Moscow, its drawing, then its spirit, historical moment and morals"

I.A.Gongcharov "Millon Torzania"

Students pay attention to several points:

1. Talking surnames.

Pharmuses (from Lat. Fama - Solva).

Repetitions (from Franz. Repeter - repeat).

Molchanin, Toguhovsky, Scalozub, Hrumina, Hershov.

2. Heroes get a characteristic based on the following criteria:

the principle of birdlikeness and place on the service staircase.

3. Lained these characteristics of Chatsky and repetitives. Why?!

4. Two characters are designated by G.N. and gd. Why?

5. The history of the prototypes of the heroes of the play "Mountain from the mind."

Griboedov points out that in the "grief from the mind" "characters are portrait": "And I, if I do not have the talent of the Moliere, then at least it is more comprehensive; Portraits and only portraits are part of the comedy and tragedy ... " Portraits became types.

In portraits "There are features, characteristic of many other persons, and other people's own way as every person looks like all his two-legged counterparts. Caricatures I hate, you will not find one in my picture. "

The history of prototypes in Russian literature began with "grief from the mind."

Famuses

The prototype of Famusov (from Lat.: Fama - Molva) called Uncle Griboyedov, Alexey Fedorovich.

"My uncle belongs to the epoch. He as a lion fought with the Turks at Suvorov, then reptiles in the front of all random people in St. Petersburg, lived in retired by gossip. A sample of its morals: "I, brother!".

A. F. Griboyedov also resembled the words of Chatsky: "Not that, you have to whom still with a bench, for ideas some incomprehensible, arded to bow." The story of S. N. Begichev was preserved, which was exactly how his uncle came with the young men-Griboedov. The widespread hospitality of Famusov also resembles Griboedov-Uncle

Due to the connection with A. F. Griboyedov, the alleged prototype of Famousov, in his family were looking for a prototype Sofia . Perhaps some features of Sofia Pavlovna Famusovoy resemble one of two daughters A. F. Griboyedov, Sophia Alekseevna, married S. A. Rimsky-Korsakov, but the author of "grief from the mind" was so closely connected with his uncle's family, so friends With his cousins \u200b\u200bthat would never have decided to make such circumstances to make the motive of scenic intrigue.

Chatsky

The face, which was pointed out as a prototype of Chatsky, was P. Ya. Chadaev. Pushkin wrote P. A. Vyazemsky: "What is Griboedov? I was told that he wrote a comedy for Chadaev; In the current circumstances, it is extremely noble on his part. " But the rapprochement of Chatsky with Chaadaev was preserved orally, then in a printed tradition.

There is no doubt that in the image of Chatsky reflected true features of the character and the views of Griboedov himself, how he is drawn in his correspondence and in the memoirs of contemporaries: hot, impoverished, sometimes sharp and independent. In the speech of Chatsky Griboedov, invested all the best that he thought himself and felt. It is possible to say that the glances of Chatsky on the bureaucracy, the cruelty of the serfdom, imitation of ingeneses, etc. - Genuine glances of Griboedov.

Prototype guesses Molchalia Contemporaries expressed a lot. V. V. Kallash reported that in the fields of one old manuscript "grief from the mind" they called someone Poludensky, Secretary of the Honorary Guardian of Lunin. In addition to this testimony, we have only one deaf indication of A. N. Veselovsky: "Molchanin is syruded from one diligent visitor to all noble vessels, who has long been in the San of the Honorary Guardian."

Plot comedies

The movement of his comedy, her "plan" quite briefly explained the Musicoadov himself in a letter to a long friend - Critique P.A. Katrenina: "The girl herself does not prefer a fool to a smart person ... And this person is coming in contradiction with his society others ...". So, both lines of development of events in the "grief from the mind" are identified: on the one hand, the story of the love "preference" of one fan to another, on the other hand - the story of "contradiction with society", fatally inevitable where "25 fools on one sensible person gathered" "

Composition of the work

According to the canons of the drama of classicism, the first act was dedicated to the exposition, the conflict taverka occurred in the second, the fourth acts were increasing, the fourth act was climbing, and the fifth was the discourse. Griboedov mixes the usual action framework:

acts

In the comedy of classicism

In the comedy "grief from the mind"

Exposition

Phenomena 1-6 exposure

Phenomena 7-10 Vazka

Tie conflict

Inpring contradictions

Development of action, increments of contradictions

Phenomenon 1-13 Development of action

Phenomena 14-21 Culmination

Culmination

Junction

Junction

There is no traditional fifth act, and therefore in the very structure of the play is predetermined in disabilities, the feeling of something hidden behind the scenic (and literary) platform, and this inexpensive will again and again force themselves: what will happen to heroes? Who is such a Chatsky?

1. Conversation about the comedy composition.

- Make some of the laws of classicism are stored in the play, and which are violated.

1) The rule of "three unities":

- unity of time (1 day);

- unity of the site (House of Famusov);

- unity of action (no, there is no one conflict in the play).

The author concerns many serious issues of public household, morality, culture. He speaks of the situation of the people, about serfdom, about the future fate of Russia, about the freedom and independence of the human person, about the recognition of a person, about the debt, about the tasks and ways of enlightenment and upbringing, etc.

2) The presence of a love triangle.

3) the presence of the resonance (Chatsky and Lisa).

5) "Speaking" surnames (read the poster: Molchanin, Famuses, reheetles, Toguhovsky, Hersey, Scalozub, Hryumina).

Tradition (traits of classicism) innovation (traits of realism)

Innovation and traditions in comedy

Traditions (traits of classicism)

Innovation (traits of realism)

Compliance with the unity of the place and time

Violation of unity of action: Personal conflict is intertwined with public, i.e. not one storyline

Compliance with the role of actors

Chatsky and resonant, and a hero-lover. Molchanin is also not quite suitable for the hero-lover: it is depicted with a clearly negative assessment.

Characters - carriers of some major quality (more often - vice).

Multilateral disclosure of characters using individual speech characteristics.

Speaking surnames

Building on classic canons

There is no union of public conflict. This is a public comedy of a new type. There is no happy finals, virtue does not triumph, but the vice is not punished. Typical characters in typical circumstances (the facts of the epoch of the late 10th anniversary of the XIX century); Accuracy in detail. The comedy is written by a multiple yamba, the language of heroes is individualized.

Many extraordinary characters

Analytical conversation on the work.

Phenomenon 1-5. Action 1.

- What are 1-5 phenomena in terms of the development of the plot? (Exposure)

- What is the atmosphere of life in the house of Famusov and its inhabitants themselves, how does Griboedov create their characters?

- What information and how do we get about the heroes that have not yet appeared on the stage?

- What are the heroes and situations Comic?

- Is it difficult to read and listen to comedy (play, and even in verse)?

The last question will make it possible to draw attention to the peculiarity of the comedy language and the skill of Griboedov - a poem. We emphasize that the poet adheres to the principles of simplicity and speaking (but not spacious) of the language, the speech of the heroes is individualized; Free Yamba is used as the most flexible and movable size; Griboedovsky rhymes are interesting (which is a rhyme in a monologue of Famusov about the education of Sofia - "Mother" - "accept").

So, 1-6 phenomena (before the appearance of the Chatsky) can be considered the exposition of the play. We see the Famous House: He is rich, spacious, boring. "The whole day will also be bored," says Sofia Solchalin during parting. Heroes have no lessons, hobbies (no one mentions about them) - a fixed life is revealed in front of us, in which time as it should be stopped.

In the same phenomena, the traditional comedy of classicism begins. In stock Love triangle: There is a heroine (Sofia), Hero-lover (Molchanin), Hero-villain (Scalozub), who will be read by her daughter in the grooms of her father (Magazov) and there is a servant (Lisa), in the heroine. Roles are distributed according to the traditional scheme.

Phenomena 5, Actions 1 (5 phenomenon Talk Lisa and Sofia,) Sophia

Lisa -

Demonstration fragment of the performance in the formulation of O. Menshikova

Performance 2000, director and executor of the role of Chatsky O. Menshikov

Mark directorial ideas, success

Founder of the Moscow Art Theater Great Director V.I. Nemirovich -Dedchenko wrote: "Most actors play it (Chatsky), at best, a fervor resonant, overload the image of the consumption of Chatsky, as a public wrestler .... We consider that as soon as the actor starts approaching the role from this end, he died for her . He died as an artist ... .. a lovely young man - this is where the actor inspiration should be sent ... the rest is from the evil. "

1, 2. What led Chatsky to the Famusov House? Why does he come so early? Is it justified?

3. What is the attitude of Sofia to Chatsky? (She's cold, itchs over him: "With a question I, even be sailor: // Didn't it meet you in the postage card?" Sophia's behavior is given in the mirror of the Chatsky replica. Why do she treat him? We know that once they grew together, Sofia was in love with Chatsky, but he left for three years and never made himself felt. It is natural that in Sofia says the offense, she is disappointed in Chatsky, so attributes to him as vices pride and No kindness: "He thought about himself highly", "did you happen that you, laughing? Or in sadness? I am mistaken? Good about someone said?" In addition, heroin in love with Molchalin can be most like Sofia It is the fact that its chosen one is the exact opposite of Chatsky. But Chatsky does not know what the reader or the viewer is already known.)

4. Why did Chatsky immediately do not understand that he was alien here? What about this is nonsense or love? (He fought the beauty of Sofia and, as a true in love, hopes to reciprocate, trying to awaken in his beloved feelings. His speech in the play begins with the words about Sofia and ends in the act of recognition in love for her. The behavior of lovers sometimes looks like "stupid "The main thing is, he does not want to offend anyone: just says that once Sophia liked, so does not understand her reactions:

Listen, have the words of my all sings?

And are harmful to whom?

But if so: the mind with a heart is not in Lada.)

What does Chatsky remember from childhood?

Analyze the words of Chatsky about Moscow. Who does he remember and what is laughing?

6. What does the replica of Sofia mean: "Ah, father, sleep in hand"? ( Sofia seeks to again deceive the Father: Transfer His suspicions with Molchalin on Chatsky.)

7. Does the conflict situation arise in the I action between Chatsky and Famowov? (No, each of the heroes is busy with their thoughts:

Pharmuses are concerned about the thoughts of Sofia ("which of two?"), He asks Chatsky about the news to distract his attention from his daughter. And Chatsky cannot talk about anything else, so his words are only feelings out loud.)

Task for groups. (Preliminary task of 1 comedy).

1. Message 1 of the Group "Analysis of the Characters of Famusov, Sofia".

Approximate answer

Famusa Pavel Afanasyevich - master of the house. Not only the rich Moscow Barin, but also a major official ("manager in a government place"), a member of the English club. Widower, cares about raising the only daughter, loves her.

Famowov himself says about herself that he "Bodr and fresh", although "lived to the seen", and immediately notes that his "monastic behavior" is known. His words sound comical, because in front of this, Famuses flirt with the maid. Probably, this is not the only case, because Lisa calls him a "windmill" and "Balovnik".

Having learned that Sofia "Night I read" the French novels, he defines his attitude to books at all:

And in the reading of the prog-from is not great:

She's no sleep from French books,

And I hurt from the Russians.

Marking over the passion of Russian nobility to all foreign, he nevertheless does not go against this fashion, gives her daughter typical for noble children home education.

For Sofia, he wishes the groom with stars and ranks. " Office does not interest him:

And I have that it is not the case,

My custom is this:

Signed, so from the shoulders.

Sami speech sounds self-confident, powerful. She is a fraction, expressive, sometimes permeated with good-natured irony:

Yes, there is a dream, as I will see,

There is everything, if there is no deception ...

Sofia - Daughter Famusov, seventeen years old. From the words of Famusov, we learn that she was too much lost his mother and brought up Madame Rosier, who, according to Famusov, was smart, the temper of the quiet, rare rules. " The coming teachers trained it "and dancing, and sheen, and tenderness, and sighs." Grew along with Chatsky, perhaps he was in love with him. Smart, Rostan, is well understood in people (her feedback about the climbing), loves books (reads French novels and is guided in life). The only truly loyal man considers the maid Lisa. Her feeling towards silence sincerely: she was not France or the frequenter of balls, she loved, and a poor, no longer-known man who seemed smart, very modest, and most importantly - like a hero of sentimental novel.

He will take his hand to the heart of the

From the depths of the soul sighed ...

At the same time, the upbringing and environment, morality and the morals of the Moscow nobility were put on her imprint: Sofia deftly deceives his father, does not sympathize with Chatkom, his sharp estimates of the Moscow nobility.

There are brief, taking expressions:

Happy hours do not observe ...

Oh! If you love who

Why look and ride so far?

2. Message 2 groups "Analysis of Chazzan and Molchalin characters."

Approximate answer

Molchanin - Secretary of Famusov, who lives in his house and diligently performing his duties.

We learn about silence from the words of Sofia, who sees many advantages in it:

Molchanin for others to forget ready,

The enemy of keenness - always shyly, looked,

The night is kissing with whom you can spend so much!

Says respectfully, little. Business Style Speech:

I just carried them for the report,

That it is impossible to start without reference, without other,

There is no counterpart, and much is not true.

Chatsky . Even before his appearance on stage, we learn some details of his biographies and individual character traits from the conversation of Sofia and Lisa. This is smart, eloquent, critical to its environment man.

Chatsky hurries to meet with Sofia after a long separation, rejoices, hopes for a mutual feeling. He ditch, full of life, faith in herself, in his strength. The coldness of Sofia puzzled, saddled him.

Exclamation: "And the smoke of the Fatherland of us is sweet and pleasant!" - breaks away from the heart of the Chatsky himself, reveals his patriotic feeling.

In the first action, he is revived, talking, joking with Sofia. His characteristic of the Moscow nobility is still more humor, irony than satires.

In the language of Chatsky, there are spacious people, people's conversational words: "We are not boring to urine to each other," "destroyed his century," where it is not sued today. " But many words of books characteristic of literary style: "And here for the exploits of the award," "You bloom lovely", "again see them is destined to fate", "there is still more mixing languages."

The proposals in his speech are deployed, complex, there are many short-term expressions (aphorisms) in it: "Blessed, who believes, warm to him in the world," "French, hit by the breeze", "and however, he will come to the degrees of famous, because now they love Wantleless, "" I wanted to go around the light and did not go through the hundredth of the share. "

Chatsky's speech is surprisingly colorfully conveys all shades of human feelings: the joyful emotion and tenderness of the in love when meeting with Sofia; Anger and indignation in the characteristics of the noble Moscow.

Conclusion

So, in the I action, there is an alignment of the comedy's acting persons, the characters of the main and some secondary characters are revealed. Here (in 7 phenomenon), the lattice of the love conflict between Sofia and Chatsky. In the first action, the characteristic of the Moscow nobility is presented, formulates the main social problems that convert the author of the comedy. This explains the inevitability of the future collisions of the Chatsky and Famow Society, but so far all the events of action I, the actions of the characters, are mainly a comic character. And even Chatsky, despite the fact that his position is dramatically, here acts as a comedy hero.

Homework:

2 and 3 Action Comedy; Fill out a table; Answer questions on the "Public Conflict of Famusov and Chatsky" (Action 2, Phenomenon 2)

Questions of comparison

"Century current"

"Century past"

1. Implemented

Chatsky, Prince Fedor, Brother Scalozub

Famuses, Guests on the Ball, Molchanin, Rockozub

2. For the fastener right

3. Attitude towards the dominance of foreign and foreigners

4. Attitude to the current system of upbringing

5. How time and attitude towards pastime

6. Attitude to the service

7. Attitude to the ranks

8. Attraction to the patronage and protection

9. Attitude to freedom of judgment