Test on the comedy by A. Griboedov “Woe from Wit”
CLASH OF MINDS
...in my comedy there are 25 fools for every sane person;
and this person, of course, is in contradiction with the society around him,
No one understands him, no one wants to forgive him, why is he a little higher than others.
A. Griboyedov, “Letter to P. A. Katenin”
The term “antithesis” comes from the Greek antithesis - opposition. This is a stylistic figure based on a sharp contrast of images and concepts. For writers of the 19th century, the very fact of replacing some antitheses with others was significant, marking a shift in the writer’s consciousness, although the semantic contrast itself is not eliminated: “They are shamefully indifferent to good and evil”; “Both we hate and we love by chance” (“Duma”, M. Lermontov).
Already in the title: “Woe from Wit,” there is a hint of an antithesis, since sound thinking does not allow the mind and cleverness to bring grief. In the artistic images of “Woe from Wit,” Griboyedov reflected the objective truth of life, created a typical image of a “new man” - a public Protestant and fighter, in the typical circumstances of his controversial historical time. The success of “Woe from Wit,” which appeared on the eve of the Decembrist uprising, was extremely great. “Thunder, noise, admiration, curiosity has no end” - this is how Griboyedov himself described the atmosphere of friendly attention, love and support with which the progressive Russian people of the twenties surrounded the comedy and its author.
According to Pushkin, the comedy “produced an indescribable effect and suddenly placed Griboyedov alongside our first poets.” There are not many works in world literature that, like “Woe from Wit,” would quickly gain such undoubted national fame. At the same time, contemporaries fully felt the socio-political relevance of comedy, perceiving it as a topical work that originated in Russia. new literature, which set as its main task the development of “own wealth” (that is, material of national history and modern Russian life) with its own original, non-borrowed funds.
The plot basis of “Woe from Wit” was a dramatic conflict between a stormy clash between an intelligent, noble and freedom-loving hero and the inert environment of reactionaries surrounding him. This conflict depicted by Griboyedov was vitally truthful and historically reliable. From a young age, moving in the circle of advanced Russian people who had embarked on the path of struggle against the world of autocracy and serfdom, living in the interests of these people, sharing their views and beliefs, Griboedov had the opportunity to closely and on a daily basis observe the most important, characteristic and exciting phenomenon of the social life of his time - the struggle of two worldviews, two ideologies, two ways of life, two generations. Using the diverse possibilities of antithesis, he a work of art solved simultaneously political, social, and purely human problems typical of that time. After Patriotic War 1812, during the years of the formation and rise of the socio-political and general cultural movement of the noble revolutionaries-Decembrists, the struggle of the new - emerging and developing, with the old - obsolete and hindering the movement forward, was most acutely expressed in the form of just such an open clash between the young heralds of the “free life" and the militant guardians of the Old Testament, reactionary orders, which are depicted in "Woe from Wit." Griboyedov himself, in a well-known, constantly quoted letter to P. A. Katenin (January 1825), with the utmost clarity revealed the content and ideological meaning of the dramatic collision on which “Woe from Wit” is based: “... in my comedy there are 25 fools per one sensible person; and this person, of course, is in contradiction with the society around him, no one understands him, no one wants to forgive him, why is he a little higher than others.”
And further Griboyedov shows how systematically and uncontrollably, becoming more and more aggravated, Chatsky’s “contradiction” with Famus society is growing; how this society betrays Chatsky with anathema, which has the character of a political denunciation - Chatsky is publicly declared a troublemaker, a carbonari, a person encroaching on the “legitimate” state and social order; how, finally, the voice of universal hatred spreads vile gossip about Chatsky’s madness. “At first he is cheerful, and this is a vice: “To joke and joke forever, how will you get on with it!” - Slightly goes over the oddities of former acquaintances, what to do if there is no noblest noticeable feature in them! His ridicule is not sarcastic, as long as it doesn’t enrage him, but still: “I’m happy to humiliate, to prick, I’m envious! proud and angry! Does not tolerate meanness: “ah! My God, he’s a Carbonari.” Someone, out of anger, made up an idea about him that he was crazy, no one believed it and everyone repeated it, the voice of general hostility reaches him, moreover, the dislike of the girl for whom he came to Moscow alone is completely explained to him, he and he didn’t give a damn in everyone’s eyes and was like that.” Griboyedov told in his comedy about what happened in one Moscow house during one day. But what breadth in this story! The spirit of the times, the spirit of history breathes in it. Griboyedov, as it were, pushed aside the walls of Famusov's house and showed the whole life of the noble society of his era - with the contradictions that tore this society apart, the boiling of passions, the enmity of generations, the struggle of ideas. Within the framework of the dramatic picture of the hero’s collision with the environment, Griboedov included the enormous socio-historical theme of the turning point that has emerged in life, the theme of the turn of two eras - “the present century” and the “past century.”
Famusov’s “rootless” secretary, Molchalin, is accepted as one of his own in this world. In his person, Griboyedov created an exceptionally expressive generalized image of a scoundrel and a cynic, a “low-worshipper and a businessman,” still a petty scoundrel who, however, will be able to reach “known degrees.” The entire lackey “philosophy of life” of this bureaucrat and sycophant, who does not dare to “have his own judgment,” is revealed in his famous confession: My father bequeathed to me:
First, please all people without exception -
The owner, where he will live,
The boss with whom I will serve,
To his servant who cleans dresses,
Doorman, janitor, to avoid evil,
To the janitor's dog, so that it is affectionate.
The gallery of typical images of old noble, lordly Moscow, created by Griboyedov, includes those who do not directly act in the comedy, but are only mentioned in the cursory characteristics given to them by the characters. Among them are such bright, relief, complete images as the “dark-skinned” regular at all balls and dinners, and the feudal theater-goer, and the obscurantist member of the “Scientific Committee”, and the deceased chamberlain Kuzma Petrovich, and the influential old woman Tatyana Yuryevna, and the impudent “Frenchman” from Bordeaux,” and Repetilov’s club friends, and many others - right up to Princess Marya Aleksevna, the guardian of public opinion in Famusov’s world, with whose name the comedy significantly ends. All these faces do not appear on stage, but nevertheless, they are very important for revealing the content of “Woe from Wit” - and this constitutes one of the innovative features of the comedy. Portraying Chatsky as an intelligent and noble man, a man of “lofty thoughts” and progressive beliefs, a herald of “free life” and a champion of Russian national identity, Griboyedov solved the problem of creating the image of a positive hero that faced progressive Russian literature of the twenties. The tasks of civic, ideologically oriented and socially effective literature in the writer’s understanding of the Decembrist movement were not at all reduced to just a satirical denunciation of the orders and morals of serf-owning society. This literature set itself other, no less important goals: to serve as a means of revolutionary socio-political education, to arouse love for the “public good” and to inspire the fight against despotism. This literature was supposed to not only condemn vices, but also praise civic virtues. Griboyedov responded to both of these demands put forward by life itself and the course of the liberation struggle.
Returning to the remarkably correct thought of D.I. Pisarev that “Woe from Wit” gives an almost scientific analysis of the Russian historical reality of the Decembrist era, it should be emphasized for complete clarity that Griboedov entered history and our lives not as a scientific researcher and not as a thinker, even a wonderful one, but as a poet of genius. Studying reality as an inquisitive analyst, he reflected it as an artist, and as a brave innovator. He painted his own accurate and reliable picture, using the techniques, means and colors of artistic depiction. He embodied the meaning of what he noticed and studied in artistic images. And because of this, the picture he painted of ideological life in the Decembrist era turned out to be much brighter, deeper, more voluminous than even the most attentive research scientist could have done.
D.I. Pisarev argued that “Griboedov, in his analysis of Russian life, reached that extreme limit beyond which a poet cannot go without ceasing to be a poet and without turning into a scholar-researcher.” And in this regard, Pisarev quite rightly noted that in order for a writer or poet to be able to paint such a reliable and accurate historical picture, he “needs to be not only an attentive observer, but also, in addition, a remarkable thinker; from the diversity of faces, thoughts, words, joys, sorrows, stupidities and meannesses that surround you, you need to choose exactly that which concentrates in itself the whole meaning of a given era, that leaves its stamp on the whole mass of secondary phenomena, that squeezes into its framework and modifies with its influence all other sectors of private and public life. Griboedov really accomplished such a huge task for Russia in the twenties.”
Comedy test by A.S. Griboyedov "Woe from Wit"
1.A. S. Griboyedov wrote: “In my comedy there are 25 fools for one sane person, and this person, of course, is at odds with the society around him.” . Who did the writer have in mind: a). Skalozub b).Molchalin c).Chatsky d).Sofya
2. “Signed, off your shoulders” A). Sophia b).Chatsky c).Molchalin d). Famusov d). Gorich z).Skalozub z).Repetilov
3. Each image of comedy reflects the specific historical essence of real social types of its era. Match the comedy characters and speech samples: “...To give ranks, there are many channels ».
A).
4. Each image of comedy reflects the specific historical essence of real social types of its era. Match the comedy characters and speech samples: “What about our old people? It’s not that new things were introduced - never, God save us! No. And they will find fault with this, that, and more often than not, they will argue, make noise, and... disperse.”
A).
5. Each image of comedy reflects the specific historical essence of real social types of its era. Match the comedy characters and speech samples: “He never said a smart word.”
A). Sophia b).Chatsky c).Molchalin d). Famusov d).Gorich g).Skalozub z).Repetilov
6. Each image of comedy reflects the specific historical essence of real social types of its era. Match the comedy characters and speech samples: “Tell me to the fire: I’ll go as if I’m going to dinner.” . A). Sofia b).Chatsky c).Molchalin d).Famusov d).Gorich g).Skalozub h).Repetilov
7. Each image of comedy reflects the specific historical essence of real social types of its era. Match the comedy characters and speech samples: “Out of boredom you will whistle the same thing ».
A). Sofia b).Chatsky c).Molchalin d).Famusov d).Gorich g).Skalozub h).Repetilov
8. Each image of comedy reflects the specific historical essence of real social types of its era. Match the comedy characters and speech samples: “Yes, an intelligent person cannot help but be a rogue.”
A). Sofia b).Chatsky c).Molchalin d).Famusov d).Gorich g).Skalozub h).Repetilov
9. Each image of comedy reflects the specific historical essence of real social types of its era. Match the comedy characters and speech samples:“What do I hear?” A). Sofia b).Chatsky c).Molchalin d).Famusov d).Gorich g).Skalozub h).Repetilov
10. An aphorism is: a).artistic justification for the actions of the heroes. b). a short saying containing a complete philosophical thought, worldly wisdom or moral teaching. c) part of the vocabulary, words and phrases used in the past to designate any objects, to create historical flavor.
11. Analyzing the speech characteristics of the heroes of the comedy “Woe from Wit”, determine which “words and catchphrases” correspond to the characters of A. S. Griboyedov: servility, prejudice, towards a free life, smoke of the fatherland A).
12. Analyzing the speech characteristics of the heroes of the comedy “Woe from Wit”, determine which “words and catchphrases” correspond to the characters of A. S. Griboedov: cracked, headlong, fainted, made a mistake, sergeant major, bruised. A).Lisa b) Chatsky c) Molchalin d). Khlestova d). Skalozub
13. Analyzing the speech characteristics of the heroes of the comedy “Woe from Wit”, determine which “words and catchphrases” correspond to the characters of A. S. Griboedov: two-s; still, sir; forgive me, for God's sake; little face, angel.
14. Analyzing the speech characteristics of the heroes of the comedy “Woe from Wit”, determine which “words and catchphrases” correspond to the characters of A. S. Griboedov:It's been a while since they called, it's gone, I'll report to me, sir.
a).Liza b)Chatsky c)Molchalin d).Khlestova d).Skalozub
15. Analyzing the speech characteristics of the heroes of the comedy “Woe from Wit”, determine which “words and catchphrases” correspond to the characters of A. S. Griboedov: I've been dragging along for an hour, I've been tearing my ears, it's time to get mad.
a).Liza b)Chatsky c)Molchalin d).Khlestova d).Skalozub Answers:
1.c; 2.g; 3.d; 4.g; 5.a; 6.b; 7.d; 8.z; 9.a; 10.b; 11.b; 12.d; 13.c; 14.a; 15.g;
>Essays on the work Woe from Wit
The Problem of the Mind in Comedy
About his work “Woe from Wit” A. S. Griboyedov wrote: “In my comedy there are 25 fools for one sane person.” This expression alone characterizes the meaning of the book. We understand that we will talk about the eternal problem of intelligence and stupidity. For its time, it was a cutting-edge comedy promoting a new movement. Main character in his knowledge and life principles he is close to the Decembrists. He is smart, but not calculating, courageous, but does not show arrogance, open to new ideas, but knows how to cast doubt on them. A. A. Chatsky is a hero of the new generation, although for Famusov’s society he is an “extra” person. According to the plot of the play, he was not afraid to confront an entire army of ignoramuses.
Griboyedov considers Pavel Afanasyevich Famusov, as well as all his colleagues and friends, to be ignoramuses and uneducated people. In fact, we see that this is the case. The author shows how such uncouth and illiterate people like Famusov occupied the most important ranks in Moscow at the beginning of the 19th century. How such scoundrels like Molchalin served and flattered in order to climb the career ladder. How did such rude people like Skalozub become colonels without having a single military feat behind them? The question inevitably arises, how did this happen? Unfortunately, society by that time was so “rotten” that another revolution could not be avoided. People had to understand that it was time to develop and reach new heights.
Chatsky’s goal, as a reasonable person, was precisely this - to convey to the nobles that one cannot remain at the same level of lack of education, one must move on. You cannot ignore books and other manifestations of art, you cannot use foreign words in Russian speech and wear dresses cut like “French milliners”, and then claim that you are a patriot of your country. All these topical problems are touched upon by Griboyedov in his acclaimed comedy. And most importantly, we see how people of progressive minds suffered surrounded by the “Famus society.” In essence, in terms of mental development, only Sophia could compete with Chatsky, and even she was too dependent on other people’s opinions.
It’s not for nothing that the author chose such a symbolic name for her. Probably, by this he wanted to emphasize the “wisdom” of Sophia, who nevertheless acts as a dual character. It is difficult to categorize her into any one camp. In intelligence and education, she kept up with the times, and in terms of education, she belonged to the “Famus society.” On the one hand, she could become a reliable companion and ally for Chatsky, and on the other, we see that she is completely imbued with “noble” ideology. In the final part of the comedy, Famusov’s society managed to oust the protagonist from their circles, but this was only due to the fact that they took in numbers, and if there are more like Chatsky, then the “Famusov society” will collapse.
“In my comedy there are 25 fools for one sane person,” wrote A.S. Griboyedov Katenina. This statement by the author clearly identifies the main problem of “Woe from Wit” - the problem of intelligence and stupidity. It is included in the title of the play, which should also be paid close attention to. This problem is much deeper than it might seem at first glance, and therefore requires a detailed analysis.
The comedy "Woe from Wit" was cutting-edge for its time. It was accusatory in nature, like all classic comedies. But the problems of the work “Woe from Wit”, the problems of the noble society of that time are presented in a wider spectrum. This became possible due to the author’s use of several artistic methods: classicism, realism and romanticism.
It is known that Griboedov initially called his work “Woe to Wit,” but soon replaced this title with “Woe from Wit.” Why did this change occur? The fact is that the first title contained a moralizing note, emphasizing that in the noble society of the 19th century, every intelligent person would suffer persecution. This did not quite correspond to the playwright's artistic intent. Griboyedov wanted to show that an extraordinary mind and progressive ideas of a particular person can be untimely and harm its owner. The second name was able to fully realize this task.
The main conflict of the play is the confrontation between the “present century” and the “past century,” old and new. In Chatsky’s disputes with representatives of the Old Moscow nobility, a system of views of one and the other side on education, culture, in particular on the problem of language (a mixture of “French with Nizhny Novgorod”) emerges. family values, issues of honor and conscience. It turns out that Famusov, as a representative of the “past century,” believes that the most valuable thing in a person is his money and position in society. Most of all, he admires the ability to “curry favor” for the sake of acquiring material benefits or respect for the world. Famusov and others like him have done a lot to create a good reputation among the nobles. Therefore, Famusov only cares about what they will say about him in the world.
Molchalin is like that, even though he is a representative of the younger generation. He blindly follows the outdated ideals of the feudal landowners. Having your own opinion and defending it is an unaffordable luxury. After all, you can lose respect in society. “You shouldn’t dare to have your own judgment in mine,” this is the life credo of this hero. He is a worthy student of Famusov. And with his daughter Sophia, he plays a love game only in order to curry favor with the girl’s influential father.
Absolutely all the heroes of “Woe from Wit,” with the exception of Chatsky, have the same ailments: dependence on other people’s opinions, passion for rank and money. And these ideals are alien and disgusting to the main character of the comedy. He prefers to serve “the cause, not the persons.” When Chatsky appears in Famusov’s house and begins to angrily denounce the foundations of noble society with his speeches, Famusov’s society declares the accuser crazy, thereby disarming him. Chatsky expresses progressive ideas, pointing out to aristocrats the need for a change of views. They see in Chatsky’s words a threat to their comfortable existence, their habits. A hero called mad ceases to be dangerous. Fortunately, he is alone, and therefore simply expelled from a society where he is not welcome. It turns out that Chatsky, being in the wrong place at the wrong time, throws the seeds of reason into the soil, which is not ready to accept and nurture them. The hero's mind, his thoughts and moral principles turn against him.
Here the question arises: did Chatsky lose in the fight for justice? One may believe that this is a lost battle, but not a lost war. Very soon Chatsky’s ideas will be supported by the progressive youth of that time, and “the meanest traits of the past” will be overthrown.
Reading Famusov’s monologues, watching the intrigues that Molchalin carefully weaves, one cannot say at all that these heroes are stupid. But their mind is qualitatively different from Chatsky’s mind. Representatives of Famus society are accustomed to dodging, adapting, and currying favor. This is a practical, worldly mind. And Chatsky has a completely new mindset, forcing him to defend his ideals, sacrifice his personal well-being, and certainly not allowing him to gain any benefit through useful connections, as the nobles of that time were used to doing.
Among the criticism that fell upon the comedy “Woe from Wit” after it was written, there were opinions that Chatsky could not be called an intelligent person. For example, Katenin believed that Chatsky “talks a lot, scolds everything and preaches inappropriately.” Pushkin, having read the list of the play brought to him at Mikhailovskoye, spoke about the main character like this: “The first sign of an intelligent person is to know at first glance who you are dealing with, and not to throw pearls in front of the Repetilovs...”
Indeed, Chatsky is presented as very hot-tempered and somewhat tactless. He appears in a society where he was not invited, and begins to denounce and teach everyone, without mincing words. Nevertheless, it cannot be denied that “his speech is seething with wit,” as I.A. wrote. Goncharov.
This diversity of opinions, even the presence of diametrically opposed ones, is explained by the complexity and diversity of the problems of Griboedov’s “Woe from Wit”. It should also be noted that Chatsky is an exponent of the ideas of the Decembrists, he is a true citizen of his country, opposing serfdom, sycophancy, and the dominance of everything foreign. It is known that the Decembrists were faced with the task of directly expressing their ideas wherever they were. Therefore, Chatsky acts in accordance with the principles of the progressive man of his time.
It turns out that there are no outright fools in comedy. There are simply two opposing sides defending their understanding of the mind. However, intelligence can be opposed not only by stupidity. The opposite of intelligence can be madness. Why does society declare Chatsky crazy?
The assessment of critics and readers can be anything, but the author himself shares Chatsky’s position. This is important to consider when trying to understand the artistic intent of the play. Chatsky’s worldview is the views of Griboyedov himself. Therefore, a society that rejects the ideas of enlightenment, personal freedom, service to a cause, and not servitude, is a society of fools. Having been afraid of an intelligent person, calling him crazy, the nobility characterizes itself, demonstrating its fear of the new.
The problem of the mind, brought out by Griboyedov in the title of the play, is key. All clashes that occur between the outdated foundations of life and Chatsky’s progressive ideas should be considered from the point of view of the opposition of intelligence and stupidity, intelligence and madness.
Thus, Chatsky is not mad at all, and the society in which he finds himself is not so stupid. It’s just that the time for people like Chatsky, exponents of new views on life, has not yet come. They are in the minority, so they are forced to suffer defeat.
Work test
