Genre affiliation of the work of the grief from the mind. Genre peculiarity of the comedy "grief from the mind" Griboedova A.S.

23.06.2020

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It would seem that, the author himself determined the genre: "Mount from the mind" - comedyBut after all, a comedy in the XIX century was called any dramaturgical work that has no tragic final. Comedy - a picture of the morals, and the comedy start in the play is present: the work at first glance is built according to the traditional classic comedy scheme.

Here is the trinity of time, places and actions, the usual characters are included in the number of heroes: the survey hero (Chatsky), a loved girl (Sofia), a second lover (sriskalin), a stupid papnyka (Magazov), a promnial maid (Lisa). But the usual masks of Griboedov gives a new reading, he, as it turns everything out of his legs on his head, consciously deceiving the reader in his expectations: a happy beloved is not a positive hero at all, the girl herself is very little on the sample, the hero of the resonor outraged by his behavior And, moreover, Osmayan them; The maid was denied a significant role, etc.

But the comedy intrigue, based on the love triangle, is observed, however, and Her Griboedov solves very peculiar: he introduces additional love parallels: Scalozub - Sofia -chatsky, Scalozub - Sofia - Molchanin, Magodhov - Lisa - Molchanin, Molchanin - Lisa - Parsley, Thereby deepening the comedy line and at the same time complicating the characteristics of the characters. Such parallels help to achieve and mainly effect: ridiculed the main love triangle, built on true and imaginary feelings and is false in the final.

In the comedic scheme of Griboedov introduces tragedy notes: True feelings experienced by heroes are crumbling (Chatsky is disappointed in Sofia, Sofia is humiliated and offended by silent), and only imaginary heroes are simply exposed in the spirit of the comedy. The tragedy of the main characters acquires the sound to the final, but is laid in them initially. Chatsky, carrying the features of the romantic hero, suffers from the unknown and uncertainty of his position, Sofia - from the impossibility of revealing his feelings around others and gain personal happiness.

The problem of finding personal happiness, and through it and herself worries both heroes, but it is solved in different ways. Unlocked by once the departure of Chatsky, Sofia is looking for tranquility and reliability in the face of Molchalin, and the Chatsky need an understanding of Sofia and her love.

The tragedy of heroes and causes Millon Torzania, which fell on their share. Conflict insoluble: True feelings can not adapt, and the heroes carry the tragedy features more than comedy. Combining the traits of genre data allows the author hardly to reverse the canons and bring their work on the level of complex internal, and not external contradictions.

Griboedov is building a comedy on two storylines: love associated with Sofia and Chatsky, and social, based on the difference in the views of the two opposing parties. The second, according to tradition, the genre is defined as a public satir. But is it worth limited to such an assessment?

Famusovskaya Moscow is a limited world, in it in the price of quiet life, relatives, following customs, worship in front of foreign, sinovation, denial of education and in general the whole new. All these features notify the Chatsky's ironic mind, he refuses them in front of the viewer. They carry the elements of satire as a phenomenon rethought with laughter. But the plot line of the Famusov - the Chatsky satir is not limited to: it is deeper and original. Famuses and Chatsky - Heroes of non-opposing camps; Chatsky brought up in the house of Famusov, grew in his eyes and from his house left to be walked, and Magovyov sees a loved ones in the Chaccom who has some abilities ("he writes nicely, translates"), pleasant society.

The conflict between them arises urgent: not from deep dissatisfaction with the interlocutor, and from the random of the moment of explanation. Internal experiences of Chatsky, irritable, love uncertainty are encountered on complacent persisions
and teaching. The spark of the love fire lights a fire of discontent against the existing social system: he
Gradually, responding to the replicas of Famusov, not wishing himself, it is more and more against what it is unpleasant and that, from his point of view, you need to change. Apogius This storyline reaches in the ball stage, when (again because of love peripetias), Chatsky is declared crazy.

In relations with the surrounding Chatsky, it acquires the features of the dramatic hero. But the drama of the hero is not only that he is hardly the only one sees all the shortcomings of society and denounces them, but also that at the same time it acquires comedy traits of the jester,
entertaining public.

In dramatic development, the love and social lines are connected in the final and reconciled by Farc Waterville, which, starting at the ball, ends with a scene of explanation between Liza and silent. Waterfriend's features with his deliberate comical elements (File Tagujahovsky, animally loud hunt for the grooms of the Toguhovsky family, the fall of the reheattelov, a monologue of Molchalin) shall with all the plot lines, showing almost the absurdity of any sincere experiences in the atmosphere of such farce. Griboedov is building a dramaturgical start of the work, using the features of different genres: tragedies, comedies, dramas, satires, water-mounted farce, - thereby not only destroying familiar canons, but also accumulating dramatic energy into a fundamentally new genre integer, in which you can talk at the same time and comical, and tragic.

In literary work, for some reason, the part of the view created for the viewer remained for some reason, for a long time (yes, perhaps, it remains) to belong to reader attention. According to the testimony of some contemporaries of the writer, Griboedov, aware of the impossibility of producing and publishing "grief from the mind," before you give it to the corresponders, much changed in it. It is not by chance that when analyzing the work, it is possible to detect an epic element: the traditional auditorial subjective perception is opposed not an objective author's point of view on characters, but a subjective perception of each other heroes.

In the "grief from the mind" it is difficult to place traditional classic roles precisely because each hero estimates the other from the point of view of "his truth" and has his own word in the play: Chatsky, convincing in the insignificance of Molchalin and the exclusivity of Sofia, Sofia - in irony, peeling, pepper The dangers of Chatsky, Molchanin - in the misunderstanding of life, the stupidity of Chatsky. All these points of view are equal, and the heroes that they express them acquire the epic sound in the canvas of the dramatic work. (To the arguments in defense of this thesis, it is possible to bring the fact that all the productions of "grief from the mind" on the stage were unsuccessful.)

The special depth of the poems of Griboedov, their aphoristic allows you to talk about the presence of a lyrical element in comedy. In our opinion, the author uses a number of lyrical genres: from the parody of the ballad to the civilian lyrics. Already in the first action, we are faced with such a not a favorite migrable genre of ballads, over which simply frankly mocks, speaking about what does not exist. This is a dream of Sofia, who was not at all, as the heroine night did not sleep. Ballada appears in front of us in the comedy key: Sofia, familiar with dream books, signs, literary ballads, hardly does not compose it: a flowery meadow, the heroine is looking for some kind of grass, she is a cute heart man, then - the appearance of the father, separation from the beloved , monsters, whistle, screams, Ryv are all elements of this genre.

When analyzing the comedy "grief from the mind", the genre of the work and his definition causes a lot of difficulties. Being an innovative, the comedy "grief from the mind" A.S. Griboedov destroyed and rejected many principles of classicism. Like a traditional classic play, "grief from the mind" is basically a love intrigue. However, in parallel with it, the public conflict is developing. Here questions raise bribery, kindness, hypocrisy, contempt for the mind and education, careerism. Therefore, it is not possible to clearly designate a kind of comedy "grief from the mind." It is intertwined by the features and comedies of characters, and household comedy, and public satire.

Often, there are even disputes about whether the comedy is "grief from the mind." How determines the genre of the plays "grief from the mind" of its creator? Griboedov called his creation comedy in verse. But her main character is not comic. Nevertheless, "grief from the mind" has all signs of the comedy: there are comic characters and comic situations in which they fall. For example, Sophia, caught by the father in the room with silence, says that the secretary Famusov turned out to be there by chance: "She walked into the room, got into another."

Stupid jokes of the rockozub demonstrate his inner limitity, despite the external solidity: "I did not serve with her." Comic is the inconsistency of the opinion of the characters about himself and the fact that they are actually. For example, in the first action, Sophia calls the cliffsube stupid, says that in a conversation he cannot link two words. The scalosis itself says so: "Yes, so that the ranks get, there are many channels, about them as a true philosopher I judge."

Contemporaries called the play "Woe from Wit" with a high comedy, because serious moral and social problems are raised in it.

However, the traditional possibilities of this genre were not able to fully solve the creative idea of \u200b\u200bthe writer. Therefore, Griboedov introduces significant adjustments to the traditional understanding of the comedy.

First, Griboedov violates the unity of action. Two equal conflicts appear in his play for the first time: Love and Social. In addition, in the classicism, a virtue must be defeated in the defiator of the virtue. In the play "Mount from the mind" does not happen. Chatsky, if not defeated, then forced to retreat, as he is in the minority and has no chance of winning.

Secondly, the approach to the characters comedy changes. Griboedov makes them more realistic, refusing traditional division on positive and negative heroes. Each character here, as in life, is endowed with both positive and negative qualities.

You can also talk about the presence of the elements of the dramatic genre in the play. Chatsky is not only not funny, he is also experiencing a soul drama. Being three years abroad, he came to meet with Sofia, built a happy future in dreams with her. But Sophia is coldly encountered former lover. She is passionate about silent. Not only did the hopes of Chatsky in love were not justified, he also feels superfluous in the Magazine Society, where only money and ranks are appreciated. Now he is forced to realize that it is forever torn off from people, among whom was raised, from the house in which he grown.

Personal drama is experiencing Sophia. She was sincerely in love with Molchanlin, Ryano defended him before Chatsky, found positive features in it, but turned out to be brutally devoted to his beloved. Molchanin was with her only from respect to her father.

Thus, the genre of the originality of "grief from the mind" is that the play is a mixture of several genres, leading of which is a genre of a public comedy.

Test on the work

Contemporaries called the play "Woe from Wit" with a high comedy, because serious moral and social problems are raised in it.

Thus, the genre of the originality of "grief from the mind" is that the play is a mixture of several genres, leading of which is a genre of a public comedy.

Test on the work

History of creation

The work was created for three years - from 1822 to 1824. By the fall of 1824, the play was completed. Griboedov went to Petersburg, intending to use their connections in the capital to get permission to publish it theatrical production. However, he soon made sure that the comedy "no pass". Through censorship, it was possible to hold only passages printed in 1825 in the Almana "Russian Waist". Fully Piece was first published in Russia in 1862. The first theatrical production on the professional scene took place in 183I. Despite this, Piez Griboedov immediately spread among the reading public in handwritten lists, the number of which was approaching the books of that time.

Comedy method

The play "Mountain from Wit" was written at the time when classicism dominated on stage, but romanticism and realism developed in the literature. The emergence at the turn of different directions largely determined the features of the work method: the traits of classicism, romanticism and realism are combined in comedies.

Genre

Griboedov himself determined the genre of the work as "comedy". But in the frame of the comedy genre, this play does not fit in any way, because the dramatic and tragic elements are very strong in it. In addition, contrary to all the canons of the comedy genre, "grief from the mind" ends dramatically. From the point of view of modern literary waters, "Woe from Wit" is a drama. But at the time of Griboedov, there was no such division of drama genres (drama as the genre stand out later), so the following opinion appeared: "Mount from the mind" - "high" comedy. Since the tragedy was considered traditionally a "high" genre, then such a genre definition put the play of Griboedov on the intersection of two genres - comedy and tragedy.

Plot

Chatsky, early as the orphan, lived in the house of his guardian of Famusov, a father's friend, and raised with his daughter. "The habit together to be a day every inseparable" tied them to children's friendship. But soon, the young man was already "boring" in the house of Famusov, and he "lean", acquired good friends, seriously engaged in sciences, went to "West". Over the years, his friendly location to Sofier has grown into a serious feeling. Three years later, Chatsky returned to Moscow and hurried to see Sophia. However, during his absence, the girl has changed. She is offended by Chatsky for a long lack and in love with the secretary of the father of Molchalin.

In the house of Famusov, Chatsky meets with a rockozub, a possible contender for the hand of Sophia, and other representatives of the "Famovsky" society. There is a tense ideological struggle between them. The dispute is about the dignity of a person, his values, about honor and honesty, about the attitude to the service, about the place of a person in society. Chatsky is criticized by a serfdom, cynicism and the ill "fathers of the Fatherland", their patheticism and their careerism and t. d.

"Famovskoye" Society is the personification of meanness, ignorance, cosiness. It should be attributed to the sophia that the hero loves so much. It is she who gives a gossip about Chatsky's madness, striving to take revenge on mockery over silent. The fiction about the madness of the Chatsky spreads with lightning speed, and it turns out that, according to the guests of Famusov, the crazy - it means "free-dimens » . Thus, Chatsky is recognized as crazy for her freight. In the final, Chatsky accidentally finds out that Sofya is in love with Molchalin ("I am donated to someone!"). And Sophia, in turn, discovers that Molchanin is in love with her "by position." Chatsky makes a decision forever leave Moscow.

Conflict. Composition. Problems

In the "grief from the mind", two types of conflict can be distinguished: a private, traditional love intrigue, in which Chatsky, Sophia, Molchanin and Lisa is drawn, and public (the collision of the "century of the current" and "century of the past", that is, Chatsky with oblique Public environment - "Famovsky" society). Thus, the comedy is based on a love drama and a public tragedy of Chatsky, which, of course, can not be perceived separately from each other (one determines and determines the other).

Since the time of classicism in drama, the unity of action was considered obligatory, that is, the strict causal relationship between events and episodes. In the "grief from the mind", this connection is significantly weakened. External action in the Griboedovskaya play is not so bright: it seems that there is nothing particularly significant in the comedy. This is due to the fact that in the "grief from the mind" the dynamics and tensions of drama action is created thanks to the transfer of thoughts and feelings of central characters, especially Chatsky.

The comedies of writers of the late XVIII - the beginning of the XIX century were ridiculed separate vices: ignorance, cvtism, bribery, blind imitation of foreign. "Woe from the mind" is a bold satirical impassion of the entire conservative lifestyle: reigning careerism, bureaucratic cosiness, soldier, cruelty to serfdom, ignorance. The formulation of all these problems is primarily associated with the image of Moscow Baria, Famusovsky society. A close-up is aimed by the Famuses - an ardent protector of the existing mode; In the image of the cliffs of the cores of the military environment and Arakshev soldier; Non-official service of Molchanin ascension and unprincipled. Thanks to episodic figures (Korichi, Togukhovskiy, Hryumina, Khlestov, Zagoretsky), the Moscow Baroge appears, on the one hand, many-sided and the motley, and on the other, it is shown as a cohesive public camp, ready to defend their interests. The image of the Famusov society is not only from the persons derived from the scene, but also numerous extranecting characters, which are only mentioned in monologues and replicas (the writer of the "nonsense of exemplary" Fomić, influential Tatyana Yurevna, Futright-theater, Princess Marya Alekseevna).

Heroes

The comedy's heroes can be divided into several groups: the main characters, secondary, heroes masks and insignificant characters. The main heroes of the play should include Chatsky, Molchalin, Sophia and Famusov. The interaction of these characters with each other and moves the stroke of the play. Secondary heroes - Lisa, Scalozub, Herse, Korichi and others - also participate in the development of action, but they do not have a direct relationship to the plot.

Main characters.Griboyedov's comedy was written in the first quarter of the XIX century, after the war of 1812. At this time, society in Russia was divided into two camps. The first part of the XVIII century, confessing the old principles of life, representing the "Posh age" ("Famovskoye" society). In the second - progressive noble youth, representing the "century century" (Chatsky). Belonging to any camp has become one of the principles of organization of the image system.

Famusovskoe society.An important place in the comedy is overclocked by the vices of the modern writer of society, the main value for which is "the shower of thousands of two generics" and Chin. It is no coincidence that Pharmuses are trying to give sophia for the scalosis, which "and a golden bag, and marks to the generals." With the words of Lisa Griboedov convinces us that not one migrantov adheres to such an opinion: "Like all Moscow, your father would have wanted the son-in-law with the stars of the Daschini." Relationships in this society add up on the basis of how rich man is. For example, Pharmuses, which with homemade coarse and despotic, speaking with cliffs, adds respectful "-s". As for the ranks, it is "there are many channels". Pharmuses puts in the example of the Chatkoma Maxim Petrovich, who, in order to achieve a high position, "bent forward."

The service for representatives of the Famovskogo society is an unpleasant burden, with the help of which, however, can be pretty rejected. Famuses and the like serve him are not for the good of Russia, but to replenish the wallet and acquiring useful dating. In addition, the service does not receive thanks to personal qualities, but thanks to family kin ("For me, employees are very rare," says Pharmuses).

Members of the Famow Society do not recognize books, consider the scholarship the reason for the appearance of a huge number of insane. In their opinion, the nephew of Princess Tugukhovskaya, which "Chins does not want to know," the cousin of the Scalozuba ("Chin followed him: he suddenly left the service, he began to read the book") and, of course, Chatsky. Some members of the Famow Society are even trying to demand oath, "no one knows and has learned and did not study with .. But the Formsovskoe society blindly imites the French culture, adopting its surface attributes. So, a Frenchman from Bordeaux, having arrived in Russia, "no sound of Russian, no Russian person met." Russia seemed to be the province of France: "The ladies are the same way, the same outfits." Even talking mainly in French, forgetting the native.

The Famusov Society resembles a spider that delays people into his networks and forces to live according to its laws. So, for example, Plato Mikhailovich has recently served in the shelf, rushed on the Borz Kone, not afraid of the wind, and now "Health is very weak," as his wife believes. He seems to live in captivity. It can not even go to the village: his wife loves balls and techniques too much.

Members of the Famus society do not have their own opinions. For example, reheetles, learning that everyone believed in the madness of Chatsky, also agrees with what he was crazy. Yes, and worries all just what they think about them in society. They are indifferent to each other. For example, having learned about the fall of Molchalin from a horse, the scalosis is wondering only those "how he cracked, breast or in terms of". " It is not by chance that the comedy ends with the famous phrase of Famousov "What will say the princess of Marya Alekskna". Having learned that the daughter was in love with silent Ina, he thinks not about her spiritual suffering, but about how it looks in the eyes of a secular society.

Sophia.The image of Sophia is ambiguous. On the one hand, the daughter of Famusov was raised his father, Madame Roste, cheap teachers and sentimental French novels. She, like most of the ladies of her circle, dreams of a "husband-servant." But on the other hand, Sophia prefers poor silence with a rich rockozuba, it does not bow to the ranks, capable of a deep feeling, can say: "What is Molva? Who wants, he judges! ". Love Sofia to silent, well, is a challenge to the attorney of her society. In a sense, only Sophia is able to understand Chatsky and to respond to equal to him, revenge, dissolving the gossip about his madness; Only her speech can be compared with the tongue of Chatsky.

Chatsky.The central hero of the comedy and the only positive character - Chatsky. He protects the ideals of enlightened and freedom of opinion, promotes national identity. His ideas about the human mind are completely different than those of others. If I melts and silent my mind is understood as the ability to adapt to please the power in the name of personal success, he is associated with spiritual independence, freedom, with the idea of \u200b\u200bcivil serving. "

Although Mrboedov makes it possible to understand the reader that in the modern society there are people like Cartcom in views, the comedy hero is shown lonely and persecuted. The conflict between Chatsky and Moscow Barge is enhanced by his personal drama. The sharper is experiencing the hero of his undivided love for Sofa, the stronger his performance against the Famow Society. In the last

chatsky's act appears as deeply suffering, filled with skepticism, a fierce person who wants "to pour out all the bile and all annoyance to the whole world."

Heroes masks and insignificant characters.Images of Heroes and Masks are extremely generalized. The author is not interesting to their psychology, they only occupy it as important "times of time". They play a special role: create a socio-political background for the development of the plot, emphasize and clarify something in the main characters. The masked heroes include rehetylov, Zagoretsky-th, Lords N and D, the family of Toguhukhovsky. Take, for example, Peter Ilyich Tugukhovsky. He is a face, he is a mask: nothing but "uhm", "ahm" and "uhm" does not pronounce, nothing hears anything, it's not interested in anything that is completely deprived. It was brought to the absurdity, to the absurdity of the "Musha-boy, husband's husband", which make up the "high ideal of Moscow all husbands."

The shallow characters (heroes whose names are called, but they themselves do not appear on the stage and do not accept participation in action). In addition, the heroes masks and the extratent characters seems to be "spreading" the walls of the Famovskaya living room. With their help, the author gives the reader to understand that it is not only about Famusov and his guest, but also about the entire Barkaya Moscow. Moreover, the appearance of the metropolitanist, and the Saratov wilderness, where the aunt of Sophia lives, and so on. Thus, along the course of the action, the work space gradually expands, covering the entire Moscow, and then Russia.

Value

In the comedy "Mount from the mind", all the acute political and public issues were raised: the serfdom, the service, about the enlightenment, about the noble education; Topical disputes on the court of jurors, about guest houses, institutes, on mutual education, about censorship, etc. have found their reflection.

Equally important and educational value of the comedy. Griboedov subjected to a sharp criticism of the world of violence, arbitrariness, ignorance, fohymism, hypocrisy; He showed how to die in this world where the Famuses and silence are dominated, the best human qualities.

The value of the comedy "grief from the mind" in the development of the Russian drama is especially important. It is primarily determined by its realism.

In the construction of a comedy there are some features of classicism: compliance is mostly three units, the presence of large monologues, "speaking" the names of some actors, etc. But in its content, the comedy Griboyedov is a realistic work. The playwright is fully, comprehensively outlined the heroes of the comedy. Each of them is not the embodiment of any one vice or virtue (as in classicism), and a living person endowed with his qualities. Griboedov at the same time showed his heroes as personalities with unique, individual features of character, and as typical representatives of a certain era. Therefore, the names of his heroes became nominated: synonyms for soulless officials (Famusovshchina), Pokhalesia (Mollyarchism), Rough and ignorant military (scalosubovshchyna), chasing the fashion of tribal (rehetown).

Creating images of his comedy, Griboedov allowed the most important for the realist writer (especially the playwright) the task of the speech characteristic of heroes, that is, the task of individualizing the language of the acting persons. In Comedy Griboyedov, every person tells him his characteristic spoken language. It was especially difficult to do, because the comedy is written by verses. But Griboedov managed to give a verse (the comedy was written by a multiple mamba) the character of a living, relaxed conversation. After reading the comedy, Pushkin said: "I don't say about verses - Half must enter the proverbs." Pushkin's words were justified quickly. Already in May 1825, the writer V. F. Odoyevsky claimed: "Almost all verses of Comedy Griboyedov became proverbs, and it often happened to hear entire conversations in society, which most of the verses were" hot from the mind ".

And in our conversational it was a lot of poems from Comedy Griboyedov, for example: "Happy hours do not observe", "and the smoke of the Fatherland we are sweet and pleasant," "Fresh legend, but to believe with difficulty" and many others.

Examples of the tasks of the USE on the topic 4.2.

Part 1

The answer to the tasks of B1-B11 is a word or a combination of words. Write down the answer without spaces, punctuation and quotes signs.

81. What literary genus belongs to the "grief from the mind" by A. S. Griboyedov?

82. How did A. S. Griboyedov determined the genre of "burning from the mind"?

83 . What two conflicts lie "burning from the mind"?

84. Name the participants of the love collision "Woe from Wit".

85. Name the shallow characters of the comedy A. S. Griboedov "Mount from the mind."

86. Which of the heroes "grief from the mind" calls themselves a member of the "Secret Union"?

87. About whom from the heroes "Grief from the mind"

Whoever still wives everything peacefully! There is a pussy in time! Here at the time the card is stuck! In it, Zagoretsky will not die!

88. Which of the heroes "grief from the mind" will be hearing about the madness of Chatsky?

89. Which of the heroes "grief from the mind", according to his own recognition, "Mind with a heart is not in Lada"?

AT 10 O'CLOCK. What is the name of the above type of statement in a dramatic work?

And for sure, the light began to stupidly

Say you can sighing;

How to encourage yes

Century century and century passed:

Fresh legend, but hard to believe,

As he was famous, whose neck was more often bent;

As not in the war, and in the world they took forehead,

Examples of the tasks of the EGE

I knocked on the floor not sore!

To whom the need: those fast, lie they are in dust,

And those who are above, flattery, like lace, spill.

Direct was a century of humility and fear,

All under the diligence of zeal to the king.

I'm not talking about your uncle;

It does not indignant we are dust:

But meanwhile who hunt will take,

Although in the boards, fervent ^

Now, to mix people,

Deviciously sacrifice

Asresterchki, and an old man

Other looking at that jump,

And destroying in a dilapidious skin

Tea spoke: "Ah! If I feel too! "

Although there are hunters to embellish everywhere,

Yes, now laughter is afraid and keeps shame in the ultrasound;

No wonder their scores of the sovereigns are complaining.

AT 11. What are the names of the heroes, differing in short, the capacity of thought and expressiveness: "Fresh legend, but to believe with difficulty", "serve it would be happy to serve sissing", "and the smoke of the Fatherland we are sweet."

Part 3.

Give a complete detailed answer to the problematic question, attracting the necessary theoretical knowledge, based on the literary works, the position of the author and, if possible, revealing your own vision of the problem.

C1. Describe the representatives of the "Famovsky" society.

C2. What is the problem of genre definition of the play A.S. Griboedov "Woe from Wit"?

Sz. Image of Chatsky: Winner or defeated?

A. S. Pushkin. Poem

"To Chaadaev"

The poem "To Chaadaev" was written by Pushkin at the Petersburg period, in 1818. At this time, the poet was under the strong influence of the Decembrist ideas. Under their influence, its free-lived lyrics is created, including the program poem "to Chaadaev". Genre- Friendly message.

In the poem "To Chaaadaev" sounds subjectvolosts and fighting autocracy. It reflects the views and political moods that were united by Pushkin with his friend P. Ya. Chaadaev and with all the best practices of his time. It is not by chance that the poem is widely distributed in the lists, served as a means of political agitation.

Plot.At the beginning of the message, Pushkin suggests that the hopes have quickly disappeared, which arose in the society in the first years of the reign of Alexander I. The "power of the fatal" (tightening of politics by the emperor after the war of 1812) makes people of advanced views and freedom-loving sentiments with special sharpness feel " The urgement of fragments "and impatiently expect" Minutes of the Saint Wiltyness. " The poet encourages "dedicate the souls of beautiful gusts ...", fight for her freedom. At the end of the poem, faith is expressed in the inevitability of the fall of autocracy and in the liberation of the Russian people:

Comrade, Believe: She will go out

Star of captivating happiness,

Russia will poss out from sleep,

And on fragments of selfhood

Write our names!

InnovationPushkin is that in this poem, he joined the Civic, accusatory pathos with almost intimate experiences of the lyrical hero. The first stanza makes it difficult to remember the images and aesthetics of the sentimentalist and romantic Elegy. However, the beginning of the next stanza changes dramatically the situation: a disappointed soul is opposed to the soul, full of courage. It becomes clear that we are talking about the thirst for freedom and struggle; But at the same time, the phrase "burning the desire" hints, as it seems, and that we are talking about the uneasy of the strength of a love feeling. The third stanza connects images of political and love lyrics. In two final stanas, love phraseology is replaced by civilititally patriotic images.

If the ideal for the Decembrist poetry was a hero who voluntarily refuseless happiness for the happiness of the Motherland, and the love lyrics were condemned from these positions, then Pushkin has a political and love lyrics, they were not opposed to each other, and merged in the general rumming of freedom.

"Village"

The poem "Village" was written by Pushkin in 1819, in the so-called "Petersburg" period of his work. For the poet, it was the time of active participation in the socio-political life of the country, visiting the secret union of the Decembrists, friendship with the Ryleev, Lunin, Chaadaev. The most important issues for Pushkin during this period were the publication of Russia, the social and political non-free of many people, the despoticness of the autocratic-serf system.

The poem "Village" is dedicated to the extremely relevant topicserfdom. It has a two-party composition:the first part (before the words "... but the thought is terrible ...") is an idyll, and the second is a political declaration, the appeal to the strong world of this.

The village for the lyrical hero is, on the one hand, a certain ideal world, where silence and harmony reigns. In this region, the "shelter of calm, work and inspiration", the hero acquires spiritual freedom, indulcates "creative thinks." Images of the first part of the poem - "Dark garden with its cool and colors", "light streams", "Niva striped" - romanticized. This creates an idyllic painting of rest and peace. But a completely different side of life in the village opens in the second part, where the poet ruthlessly reveals the ugliness of social relations, arbitrary landlords and the powerful position of the people. "Blizzard Wild" and "Slavery Skinny" - the main images of this part. They embody "ignorance murderous shame", all the irrefidence and inhumanity of serfdom.

Thus, the first and second part of the poem are contrasting, opposed to each other. Against the background of the beautiful, harmonious nature, the kingdom of "happiness and slaughter", depicted in the first part, the world of cruelty and violence of the second looks particularly ugly and flawed. The poet uses the reception of contrast to distinguish the main ideaworks are injustice and cruelty of serfdom.

The same purpose also serves the selection of fine-expressive linguistic agents. Speech intonation in the first part of the poem calm, smooth, friendly. The poet carefully selects epithets, transmitting the beauty of rural nature. They create a romantic and peaceful atmosphere: "Purchase of my stream", "Mills of Krilat", "Lake Azure Plains", "Peaceful Noise Oakman", "Silence of Fields". In the second part of the intonation is different. It becomes excited. The poet picks up the label epithets, gives an expressive speech characteristic: "Bald of wild", "On the womb of the people chosen by the fate", "exhausted slaves", "an inexorable owner." In addition, the last seven lines of poem are filled with rhetorical issues and exclamations. They demonstrate the perturbation of the lyrical character and its reluctance to put up with the unfair device of society.

"Rog out daylight"

The work "went out to the daylight ..." was the first poem of the new period of Pushkin creativity and the beginning of the so-called "Crimean cycle" of Elegia. This cycle also includes poems "rare clouds of flying ridges ...", "who saw the land where the luxury of nature ...", "My friend, forgotten by the traces of the past years ...", "forgive me jealous dreams. .. "," Rainy day the ground; rainy night mound ... ". Genre- Romantic Elegy.

Composition ..The poem can be divided into two parts. In the first, all thoughts and feelings of the lyrical hero are fixed to the "remote shore", travel purposes. In the second, he recalls the abandoned "decens". Parts of the poem are opposed to each other: "Remote Beach", to which the lyrical hero seeks, it seems to him the "magical" edge, in which he seeks "with a wave and longing". "Ottely the edges", on the contrary, are described as "Brecha Sad", with them the "desires and hopes of a volatory deception", "lost infant", "vicious errors", and so on.

Elegy "went out the daylight shine ..." marks the beginning of the romantic period in the work of Pushkin. It sounds traditional for romanticism subjectthe flight of the romantic hero. The poem contains the entire set of characteristic signs of romantic worldview: the tearsing of the headless, abandoned forever, hints on "insane love", on deception, etc.

It should be noted the limit romance of Pushkin images. The hero is not just on the border of the elements (between the ocean, sky and earth), but on the border of the day and night; As well as between the "crazy love of the previous years" and the "distant limits". Everything was brought to the limit: not the sea, but "the sullen ocean", not just the shore, but the mountains, not just the wind, and the wind and fog at the same time.

"Prisoner"

The poem "prisoner" was written in 1822, during the "southern" reference. Arriving to the place of its permanent service, in Chisinau, the poet was shocked by a fermented variety: instead of the blooming Crimean coast and the sea - the endless steppes scorched by the sun. In addition, there was a lack of friends, boring, monotonous work and a feeling of full dependence on the bosses. Pushkin felt a prisoner. At this time, a poem "Prisoner" was created.

the main subjectthe poem "prisoner" is the topic of freedom, bright embodied in the form of an eagle. Eagle - prisoner, as well as a lyrical hero. He grew up and focused in captivity, he never knew freedom and nevertheless tends to her. In the call of Eagle to Freedom ("Let's fly away!") The idea of \u200b\u200bPushkin poems is being implemented: a person must be free, like a bird, because freedom is the natural state of every living being.

Composition."Prisoner", like many other Pushkin poems, is divided into two parts, differing from each other with intonation and tone. Parts are not contrasting, but gradually the tone of the lyrical hero becomes more excited. In the second stanza, the calm story is rapidly moving into a passionate appeal, in a cry of freedom. In the third he reaches his peak and, as it differs on the highest note in the words "... only the wind ... Yes, I!".

"Freedom deserted sower.,." "

In 1823, Pushkin is experiencing a deep crisis. The state of spiritual decline, pessimism, mastered by the poet, was reflected in a number of poems, including in the poem "Freedom deserted sower ...".

Pushkin uses plotgospel Proverbs about the seeder. This parable utters Christ in the presence of twelve students during the coherence of the people: "The sower came out to sow his seed: and when he sowed, another fell on the road and was sweeping; And the birds of heavenly broke it. And otherwise fell on the clock and, going around, dried, because there was no moisture. And another fell between Turning, and thorns grew, and drowned it. And otherwise fell on a good land and, having risen, brought the fruit of the fruit. " If in the gospel parable, at least part of the "seeds" brought "fruit", the conclusion of the Pushkin lyrical hero is much less comfortable:

Freedom deserted sower

I went too early, to the stars;

Pure and innocent

In enslaved brazdes

Threw a lifeful seed -

But I only lost time,

Good thoughts and works ...

Composition.Compositionally and, in meaning, the poem decays into two parts. The first is dedicated to the sower, its tone - elevated-raised, which contributes to the use of gospel imagery ("Sewer", "Living Seed"). The second - "peaceful peoples", here the tone of the lyrical character changes sharply, now it is angry guards, "peaceful peoples" compare with the submissive herd:

Pass, peaceful peoples!

You will not wake the honor of Clean.

Why are the herds of the gift of freedom?

They should cut or cut.

Inheritance of their kind in childbirth

Yarmo with rats yes Beach.

With the help of the famous parashine parachin permits traditional for romanticism themethe poet prophet in a collision with a crowd. "Freedom deserted sower" - the poet (not only Pushkin himself, but the poet as such), "Living Seed", which sows a lyrical hero, symbolizes the Word, poetry in general and political poems and radical statements, marked the life of the poet in St. Petersburg and Chisinau, in particular. As a result, the lyrical hero comes to the idea that all his works are in vain: no appeals for freedom are not able to awaken "peaceful - peoples."

"Imitation of the Quran" (IX. "And the traveler tired on God Ropal ...")

"And the traveler tired on God Ropal ..." is a ninth, the final poem of the "imitation of the Qur'an" cycle, written in 1825. Pushkin, leaning on the Russian translation of M. Verevkin, outbill fragments of Sur, that is, the heads of the Quran. Genre -parable.

The cycle of Pushkin "Immissions Koran" is not just separate, although interrelated episodes from the life of the prophet, but the most important stages of human destiny at all.

The final poem of the cycle "and the tired trader on God Ropal ..." is clearly priority, and plotits enough simple. The "tired traveler" languishes from the thirst caused by the desert heat, focuses on its physical suffering. He "Rinsing" on God, having lost hope for salvation, and does not realize the divine all-expressiveness, does not believe in the constant care of the Creator about his creation.

When the hero already completely loses his faith in salvation, he sees a well with water and greedily quenching thirst. After that, he falls asleep for many years. Waking up, the traveler discovers that by the will of the Most High slept for many years and became an old man:

And grief embraced instant old man

Sobbing, trembling glasses of smoke ...

But a miracle happens:

God returns the hero youth:

And feels a traveler and power, and joy;

The blood began to play the resurrection;

Holy delights filled the chest:

And with God, he lasted on the road.

In this poem, Pushkin uses the mythological plot of "Death - Renaissance", due to which it is summoned. Traveler is perceived as a person in general. His "death" and "Resurrection" symbolize the life path of a person from misconception to the truth, from disbelief to faith, from gloomy disappointment to optimism. Thus, the "Resurrection" of the hero is interpreted primarily as spiritual revival.

"Song of the mean Oleg"

"Song about the mean Oleg" was written in 1822. Genre- Legend.

Scene base"Songs about the meaning of Oleg" served the legend of the death of Oleg, Kiev Prince, recorded in the "Tale of Bygone Years". The Kiev prince Oleg, who was nusted in the people of "prophet" for wisdom, Volkhv, "Kudesnik," predicts: "We accept death from your horse." Frightened by a terrible prophecy, the prince breaks up with his faithful martial friend-horse. It takes a lot of time, the horse dies, and the prince of Oleg, remembering the prediction, with anger and bitterness decides that the Magian deceived him. Come on the grave of the old combat friend, Oleg regrets what they had so

early part. However, it turns out that the Kudesman did not slander, and his prophecy was fulfilled: the poisonous snake, crashing the horse, was stung by Oleg.

In the legend about Prince Oleg and his horse Pushkin interested subjectroca, the inevitability of the intended fate. Oleg gets rid of how it seems to him, from the threat of death, refers to the horse, which should, on the prediction of the Cudesman, play a fateful role. But after many years when it seems that the danger passed - the horse is dead, - fate overtakes the prince.

Another poem sounds subject,extremely important for the poet, the theme of the poet-prophet, the theme of the poet is the proclaimer of the Higher Will. So, the prince says Kudesnik:

Discover me the whole truth, do not be afraid of me:

In the award of anyone you will take a horse.

And hears in response:

Magnies are not afraid of Mighty Vladyk,

And the princely gift they do not need;

Truthful and free their prophetic language

And with the will of Heavenly Friend.

"To the sea"

"To the sea" was created in 1824. This poem completes the romantic period of Pushkin creativity. It stands as it were at the junction of two periods, so there are some romantic topics and images, and the features of realism.

Traditionally genrethe poem "To the Sea" is defined as an elegge. However, it is most likely to talk about a combination of such genres as a message and an elegance. The Genre of Messages is already manifested in the title of the poem, but the content remains purely emacient.

In the first string of the poem, the lyrical hero says goodbye to the sea ("Goodbye, free element!"). This is a farewell - and with the real black sea (in 1824, Pushkin is sent out of Odessa to Mikhailovskoye, under the supervision of the Father), and with the sea as a romantic symbol of absolute freedom, and with romanticism itself.

The image of the sea, raging and free, occupies a central place. First, the sea appears in front of us in a traditionally romantic spirit: it symbolizes the life of a person, his fate. Then the picture is specified: the sea is associated with the fate of great personalities - Bairon and Napoleon.

In this poem, a farewell of a poet with romanticism, with his ideals. Pushkin gradually refers to realism. In the last two lines of Elegy Sea ceases to be a romantic symbol, and it becomes just a scenery.

In Elegia "To the Sea" rises traditional for romanticism subjectromantic hero flight. In this sense, it is interesting to compare it with one of the first poems of the romantic period in the work of Pushkin "went out the daylight shine ..." (1820), where the topic of flight also arises. Here, the lyrical hero seeks to go to some unknown "magic edges" (romantic rejection of the surrounding reality), and in the poem "to the sea" it is already said about the failure of this romantic journey:

Failed to leave forever

I have a boring stationary brag,

You are enthusiastic to congratulate

And on your waves to send

My poetic escape!

The poem "went out the daylight shine ..." The hero seeks to the "remote shore", which seems to him the perfect edge (romantic "there"), and in Elegia "To the Sea", the hero doubts his existence:

The world is empty ... Now where

I would sentence me, ocean?

The fate of people everywhere the same:

Where is a drop of good, on guard

Altitude Ile Tyran.

"Nyan"

The poem "Nyan" was written in Mikhailovsky in 1826. In 1824-1826, the nanny of the poet, Arina Rodionov, along with Pushkin lived in Mikhailovsky, dividing exile with him. She had a great influence on his work, the classes of folklore, passionate for folk poetry, fairy tales. The time spent with the nanny, the poet repeatedly sulfur in poems, and its features were embodied in the nanny images of Tatyana Larina, the nanny of Dubrovsky, women's images of the novel "Arap Peter Great", etc. Arina Rodionov also dedicated to the famous Pushkin poem "Nyan".

Work plan

1. Entry. The genre definition of the plays of Griboedov "Mount from the mind" Russian criticism.

2. The main part. The features of various genres in the play.

Language element comic in the play.

? "Woe from the mind" as a comedy of characters.

? "Woe from the mind" as a comedy of provisions. The motive of falling and its comic value.

? "Woe from the mind" as a comedy of provisions. Motive deafness and its comic value.

Pieces' parody effects.

? "Woe from the mind" as satire and political comedy.

Damage features in Comedy Griboyedov.

3. Conclusion. Synthesis of genres, presented in the play.

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.