Quoted plan of a million torments of potters. "A Million of Torments": excerpts from the critical prose of Ivan Goncharov. Pushkin, Lermontov and Griboedov: Vitality of "Woe from Wit"
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The personality of Ivan Goncharov entered the history of literature. The writer, literary critic, corresponding member of the Academy of Sciences of St. Petersburg and a real state councilor is known for many works. Of the most important - "Oblomov", published in "Notes of the Fatherland", "Cliff" - a text that appeared in the "Bulletin of Europe", as well as "Ordinary History" from "Contemporary".
In 1872, the text "A Million Torments" saw the light of day. This is the title of an article of a literary-critical nature published by Goncharov. The author turns to the analysis of another masterpiece of Russian literature, which has already become a classic - "Woe from Wit". The Russian critic writes that "Woe from Wit" has taken its rightful place in Russian literature, because the text is relevant and fresh. Let us turn to a brief summary of Goncharov's critical prose.
Remark about Griboyedov's text "Woe from Wit"
Since Goncharov refers to Griboyedov's play, we consider it useful to briefly recall what kind of work it is. "Woe from Wit" is considered to be a comedy written in verse by the Russian writer, diplomat and State Councilor Alexander Griboyedov. The work was written in the style of classicism, but it is clear that the author was also inspired by romanticism and realism, which had just begun to come into fashion during this period. The play is deeply aphoristic - this feature led to the pulling of Griboedov's work into quotes, many of which turned into catch phrases (for example, the phrases “Who are the judges?”, “The hero is not of my novel”, “With feeling, with sense, with arrangement”, “ The legend is fresh, but it is hard to believe" and other expressions).
Ilya Ilyich Oblomov in the work of Ivan Goncharov "Oblomov" is a lazy, apathetic, overly dreamy person and completely unadapted to real life. We invite readers to familiarize themselves with which in the novel is the central and most striking.
About "Woe from Wit", in addition to Goncharov's text, to which this article is dedicated, there are other reviews. For example, Pushkin also wrote about the play, who was almost the first to highlight the significance of the play for culture:
In the comedy "Woe from Wit" who is the smart character? Answer: Griboedov. Do you know what Chatsky is? An ardent, noble and kind fellow, who spent some time with a very smart person (namely with Griboyedov) and was fed by his thoughts, witticisms and satirical remarks<…>The first sign of an intelligent person is to know at a glance who you are dealing with and not to cast pearls in front of the Repetilovs and the like ...
Brief description of the content of "A Million of Torments"
The Russian critic says from the very beginning that Griboyedov's play is difficult to classify because this text stands apart from other significant works in Russian literature. The work is called Goncharov strong, youthful and fresh, and also tenacious, because the relevance of "Woe from Wit" does not disappear. The writer is original when it comes to comparisons and analogies. Thus, Ivan Goncharov draws parallels between Griboyedov's text and a centenary old man: it would seem that the old man must die, but everyone around him dies, but not himself.
On the other hand, Goncharova is surprised that Griboyedov's work befell the fate of a centenary old man in literature. According to the critic, Pushkin has "more rights to longevity." But the characters in the works of Alexander Sergeevich do not seem to stand the test of time. Pushkin's characters are pale, the time of the heroes of the Russian genius has passed, and Pushkin himself has already become history. Meanwhile, Griboedov is not history, but modernity.
Goncharov emphasizes that "Woe from Wit" is a comedy that contains within itself another comedy, like peace in the world. Thus, several plots come to the surface. The first plot is devoted to a love affair in pairs Chatsky - Sofia, as well as Liza - Molchalin. Goncharov comments on this phenomenon as follows:
... When the first breaks through, suddenly another appears in between, and the action is tied up again, a private comedy is played out in a general battle and tied into one knot ...
Pushkin, Lermontov and Griboedov: Vitality of "Woe from Wit"
Despite the fact that the "best before date" of Pushkin's texts passed earlier, Griboyedov's works were created earlier than Pushkin's. So, "Woe from Wit" came out from under the writer's pen before "Eugene Onegin" and "Hero of Our Time", but managed to survive both texts. "Woe from Wit" was able to survive even the enchanting Gogol. The Russian critic is sure that this play "will survive many more epochs and will not lose its vitality."
Griboyedov's play immediately, as soon as the text was published, was snapped up for quotations. However, this did not lead to the vulgarization of the text, as is usually the case when the text gains popularity. Goncharov noted that, on the contrary, “Woe from Wit” from such popularization “seemed to become more expensive for readers.”
A separate situation is observed when trying to stage "Woe from Wit" on stage. At the same time, according to Goncharov, actors should use a creative approach, create ideals. In addition, the actors should artistically perform the language of the play. Griboyedov's play, of course, is based on real historical motives, but the Russian critic emphasizes that Woe from Wit cannot be played on stage under the guise of a work that refers to historical fidelity. No, Woe from Wit has rather strong artistic credibility:
… the living trail has almost disappeared, and the historical distance is still close. The artist needs to resort to creativity and the creation of ideals, according to the degree of his understanding of the era and the work of Griboyedov<…>The actor, as a musician, is obliged ... to think of that sound of the voice and that intonation with which each verse should be pronounced: this means - to think of a subtle critical understanding of all poetry ...
"Woe from Wit" as a picture of manners
So, in Russian literature, Griboyedov's play has a special role. The author of "A Million of Torments" considers the work a specific picture of morals. The writer draws for the reader a gallery of living types, real people. But what is "Woe from Wit"? According to Goncharov, these are:
... forever sharp, burning satire, and at the same time a comedy<…>Her canvas captures a long period of Russian life - from Catherine to Emperor Nicholas ...
For the most part, "Woe from Wit", of course, appears as a comedic work. But this is a huge world that shows the reader the realities of the life of Russian culture. Special attention should also be paid to the heroes of "Woe from Wit".
About the heroes of "Woe from Wit"
There are no more than twenty key characters in Griboedov's play, but in these characters the author managed to reflect the whole of the old Moscow, the spirit of the city, the historical situation, as well as moral principles and customs.
Opposition groups of characters in "Woe from Wit"
Each of the groups of characters is associated with a certain set of qualities. For example, Chatsky plays a passive role, denounces lies, acts as a marker of obsolete things and orders. The image of Chatsky reveals what hinders a new, free life. The ideal of the hero, therefore, is freedom from "all the chains of slavery by which society is fettered." The Famus group, on the one hand, deeply understands that Chatsky is right, but the desire to survive and continue to exist prevents the “brothers” from openly taking the side of the hero.
Ivan Alexandrovich Goncharov is one of the leading prose writers of the 19th century. Recommended for lovers of the classics
Goncharov concludes that Chatsky is the rock of any time, so Woe from Wit does not lose its relevance. Chatsky's star becomes especially bright during the change of eras.
The Famus group is distinguished by a thirst for honors and glory, the desire to please and assent for the sake of personal gain. Goncharov calls such heroes masters and hunters to please, to receive awards, in order, above all, to live cheerfully and carefree. Such a way of life is accompanied by various vices: lies, gossip, idleness and, in the end, emptiness.
The figure of Chatsky in detail
As for the map of heroes, that is, the general layout of the characters in Woe from Wit, the critic is of the opinion that in Griboedov's text all the characters are divided into two groups. In the first symbolic camp, the "Famusovs and all the brethren" took their places, and Chatsky was in the other group. Goncharov calls Chatsky an ardent and courageous fighter who participates in the struggle "for life and death", in the battle for the opportunity to exist. However, this way of life logically leads to fatigue, because, having survived the ball, the hero certainly wants to find peace. At least for a while. Goncharov writes:
... He, like a wounded man, gathers all his strength, makes a challenge to the crowd - and strikes at everyone - but he did not have enough power against the united enemy ...
Chatsky is gradually mistaken for a madman: the hero often resorts to exaggerations, the speech of Griboedov's character gives away drunkenness. There comes a moment when Chatsky is no longer able to notice that he himself has turned into a ball, into a performance from which he fled.
Chatsky has a treasure that many seem to have lost in our time. The hero has a heart. Lisa, a servant, speaks positively about Chatsky, calling the hero sensitive, cheerful and smart to the point.
Meanwhile, the image of Chatsky is overshadowed by personal grief. The play is called "Woe from Wit", but Goncharov writes that the reason for Chatsky's personal misfortunes is not in the mind. The trouble lies in the compassionate role of the hero Griboyedov.
The bitterness of Chatsky's fate
Goncharov notices that Chatsky's fate consists only in sowing. The fruits of this sowing are destined to reap for other people. The Chatskys - we speak in the plural, because this is a type, and not just one image - carry a kind of crown of thorns on their heads: such people are tormented by every little thing, but most of all - from a clash of mind and compassion, an unrequited love feeling, the pain of an offended dignity. Goncharov speaks of Chatsky's personality in the following way:
... He demands a place and freedom for his age: he asks for business, but does not want to be served, and stigmatizes servility and buffoonery ...
Thus, we are slowly approaching the idea of a free life, which is embodied by the personality of Chatsky. What is a free life in the interpretation of Goncharov? First of all, it is an opportunity not to depend on slave chains, not to grovel before superiors. Unfortunately, the chains of dependencies have so enveloped society that the Famusov camp, although it understands the truth of the state of affairs, is still afraid to break the systems or go against the established order. What is the role of Chatsky? Goncharov answers this question in the following lines:
... He is the eternal debunker of lies, hidden in the proverb: "One in the field is not a warrior." No, a warrior, if he is Chatsky, and, moreover, a winner, but an advanced warrior, a skirmisher - and always a victim<…>The Chatskys live and are not translated in society, repeating themselves at every turn, in every house, where the old and the young coexist under the same roof.<…>Each case that needs updating causes the shadow of Chatsky ...
Who is Sofia?
Of course, Goncharov could not forget about the figure of Sofia. The heroine belongs to the category of women who draw "worldly wisdom from novels and stories." Such women are characterized by a vivid imagination, the ability to feel. But Sophia is weak in those areas that relate to thoughts and knowledge. However, the heroine strives for knowledge and thoughts, which young ladies at that time were usually not taught.
In our opinion, Sofia is similar to the type of the so-called Turgenev young ladies, however, Goncharov sees in the image of Griboedov's Sofia a resemblance to the figure of Tatyana from Pushkin's "Eugene Onegin":
... both, as in sleepwalking, wander in enthusiasm with childlike simplicity ...
Sophia wants to feel like a patron. So, it is in this image that the heroine appears in the novel with Molchalin. Chatsky's feelings for Sophia also play an important role in the work. Chatsky is annoyed by the lies visible in the girl's actions. On the one hand, Chatsky is drawn to Sophia, but, on the other hand, the heroine serves as a motive for Chatsky and a reason for suffering, which darkened the soul of the hero in the end. Chatsky, although suffering, still wins as a result. The hero is trying to beg for something that cannot be received with requests, namely: love:
But does he have that passion?
That feeling? Is that ardor?
So that, besides you, he has the whole world
Was it dust and vanity?
Opposition of feelings and mind
The main drama of the play lies in the opposition and incompatibility of mind and feelings. Goncharov believes that initially Chatsky was saved by his mind and sharpness of thought, but the flame of passion consumed the dignity and personality of the hero. All that saves Chatsky from the final "useless humiliation" is the "remnants of the mind."
Sophia needs not so much Molchalin as the insignificant character of this hero. However, the girl, at the same time, admits that the meeting with Chatsky is significant and not accidental for her:
Look, he has gained the friendship of everyone in the house;
He served with the father for three years,
He often gets angry for no reason,
And he will disarm him with silence<…>
<…>from the old people will not step over the threshold<…>
<…>Strangers and at random does not cut, -
That's why I love him...
"A million torments" as Chatsky's grief
Chatsky, indeed, goes into madness, because he tries to find in Sophia's words something that is not really in these words. For the hero, this method seems to be an attempt to calm down and self-justify.
After the failure with Sophia, Chatsky plunges into other cycles of life in Moscow. For example, the Gorichev group - the owner, who completely sank, the obliging husband, who is under the heels of a stern wife, and the wife herself - Mrs. Goricheva - is a cutesy and sugary person. Chatsky also meets with Khlestova, a heroine who seems to have remained from the age of Catherine, with Pyotr Ilyich, another ruin from the past, with Zagoretsky, an obvious swindler, and other heroes from the Famusov category.
Personality transformations of Chatsky
Chatsky's mind is undergoing transformations. Now Chatsky's speech is distinguished by caustic remarks, cynicism and sarcasm. With this style of communication and behavior, the hero causes antipathy from the people around him. Chatsky still has hope - to find compassion and sympathy in Sophia's soul. However, the hero does not know that a conspiracy is being prepared against him in the Famusov camp:
"A million torments" and "woe" - that's what he reaped for everything he managed to sow. Until now, he was invincible: his mind mercilessly hit the sore spots of enemies ...
Chatsky's mind weakens at the moment when the hero gets tired of the endless struggle. The former cheerfulness, sharpness, cuteness and sensitivity are replaced by bile, pickiness and sadness. Even at the end, Chatsky does not behave, like Onegin or Lermontov's hero, like a dandy. Griboyedov's hero continues to keep his sincerity, but allows himself a fatal weakness: jealousy overwhelms Chatsky when the hero sees the girl's date with Molchalin. The man reproaches the heroine because she gave him hope. However, Goncharov emphasizes that Sophia, on the contrary, constantly repelled Chatsky:
Meanwhile, Sofya Pavlovna is not individually immoral: she sins with the sin of ignorance, the blindness in which everyone lived ...
Goncharov's conclusions
To convey the main moral and ideological orientation of Woe from Wit, the Russian critic turns to Pushkin's poetry:
Light does not punish delusions,
But secrets are required for them!
On the one hand, Chatsky helps Sophia to lose that unreasonable naivety and blindness, which is initially characteristic of the heroine's personality. However, Sophia is still unable to show respect to Chatsky: the hero is evidence of Sophia's mistakes and vices, a "reproachful witness" who opens the girl's eyes to the true appearance of Molchalin. Sophia, according to Goncharov's interpretation, appears as a kind of mixture of "good instincts" and lies, "a lively mind" and the absence of even a hint of the presence of ideas, own opinions and beliefs. Sophia is sick with mental and moral blindness, which lies an insurmountable gulf between the girl and Chatsky. However, this is not a shortcoming of Sophia herself, these are qualities instilled in her upbringing. The heroine herself is hot, tender and dreamy. Let's remember what we talked about at the beginning of our article:
... Women learned only to imagine and feel and did not learn to think and know ...
Reflecting on the peculiarities of the comedy “Woe from Wit”, I. A. Goncharov noted that in the group of actors “the entire former Moscow was reflected, like a ray of light in a drop of water, ... its then spirit, historical moment and customs.” He also noted that the comedy would have remained only a picture of morals, had it not been for Chatsky, who breathed a living soul into action from his first word to the last. Without the figure of Chatsky, without his passionate monologues, the play would not have gained such popularity, would not have become one of the most beloved
works of true patriots of Russia.
The last action only sums up the clashes on this ground between the Famus society and the main character.
Chatsky is a smart, educated person. As other characters describe him, “he
small with a head”, “gloriously writes, translates”. Previously, he served, occupied a high position, but did not find any benefit in this, because he had to serve individuals, and not the cause. And Chatsky doesn’t want to “fit into the regiment of jesters” and patrons: “I would be glad to serve, it’s sickening to serve” - his credo. For his views, which are contrary to the generally accepted ones, he was “declared a wast, a tomboy”, because he managed the estate “by mistake”, that is, in his own way, he traveled for three years, which in the eyes of the world only added to the strangeness of his behavior.
Failures and wanderings have not weathered his energies. He does not seem disappointed when he appears at Famusov's house, and his talkativeness, liveliness and witticisms are not only from a date with Sophia. After all, the smoke of the Fatherland is sweet and pleasant to him, although Chatsky knows that he will not see anything new, it is the same everywhere.
Feeling insincerity in Sophia, some kind of falsehood, Chatsky, as an honest person, tries to understand her. His mind and senses are irritated by hidden lies, and everything he used to
tried to be condescending, outraged him. So the “intrigue of love” becomes “general
battle” of an advanced person with the obscurantists of his era.
First of all, Chatsky is opposed to the “past century”, so beloved by Famusov, against servility, humility and fear, inertia of thinking, when
Judgments draw from forgotten newspapers
Ochakov times and the conquest of the Crimea.
He is disgusted with the mutual responsibility of the nobility, extravagance and feasts, but most of all indignation in him
incites serfdom, in which devoted servants are exchanged for greyhounds,
sold singly "from mothers, fathers of rejected children." Chatsky cannot
to respect such people even in desertion, does not recognize their right to trial over a new
century. And they, in turn, consider people like Chatsky to be robbers, dangerous
dreamers preaching the most terrible thing for them - liberty.
For Chatsky, doing science and art is creativity, high and beautiful, but for
others it is tantamount to fire. After all, it’s more convenient “so that no one knows and does not learn to read”,
better ranks and drill.
From monologue to monologue, Chatsky's irritation grows, and this is not only about Sophia. “Houses are new, but prejudices are old” - that's the main thing. Therefore, his remarks directed at the bearers of these prejudices, old and young, become so caustic. He sowed hostility, and reaped "a million torments."
The rumor about Chatsky's madness fell on fertile ground, otherwise the Famus society would not have been able to explain his behavior, bilious, picky. The white crow has no place among the blacks, it must be rejected. Fencing off Chatsky with slander, everyone sighs
freer, and the hero weakens. His monologue “Yes, no urine: a million torments” sounds like
complaint, and pain responds to the heart. Not only Chatsky, but also the Fatherland is humiliated by the existing order, the dominance of foreigners, when “empty, slavish, blind imitation” replaces national culture, and “smart, vigorous ... people” even accept foreigners according to the language of the masters.
That is why in the last scene we see Chatsky so indignant. Disappointed in love and having not found “neither the sound of a Russian, nor a Russian face”, deceived and slandered, Chatsky flees from Moscow “to look around the world where there is a corner for an offended feeling”, taking away, like a crown of thorns, “a million torments”. But his principles are not debunked. Goncharov correctly noted that “Chatsky is broken by the amount of old strength, inflicting on it in turn
a fatal blow by the quality of fresh force.
Is he really the eternal debunker of lies, which is spoken of in the proverb “One man is not a warrior”? No, a warrior, if he is Chatsky, and, moreover, a winner, but an advanced warrior, skirmisher and always a victim.
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- I. A. Goncharov in his article “A Million of Torments” wrote about the protagonist of A. S. Griboyedov’s immortal comedy “Woe from Wit”: “The role of Chatsky is the main role, without which there would be no comedy, but would, perhaps, picture of manners. I fully agree with this opinion. Alexander Andreevich Chatsky is the main and most striking image of the comedy. He […]...
- Chatsky and Molchalin are the heroes of Griboyedov's comedy “Woe from Wit. They are absolutely different both in character, and in worldview, and in position in society. Molchalin is a typical representative of the Famus era, the personification of servility, lies, flattery, selfishness, self-humiliation for selfish purposes. Chatsky is absolutely opposite to Molchalin. Many aspects of Griboyedov's soul were reflected in the image of Chatsky. He is true and passionate [...] ...
- The comedy "Woe from Wit" is the most famous work of A. S. Griboyedov. The ideas embodied in it by the author often caused a contradictory attitude of readers. In "Woe from Wit" we see how the concepts of "the present century" and "the past century" clash. Chatsky proclaims the views of the "current century", so it is quite natural that in the comedy we find the hero's lengthy monologues. From the monologues we learn […]...
- Comedy Griboedov "Woe from Wit" touches on the most important issues of life. These are such problems as the upbringing of a person and about admiration for everything foreign, as well as about serfdom. In his work, the author of the comedy ridicules and condemns his characters. These are Famusov, Molchalin and Skalozub. All these heroes are opposed by the main character. This is Chatsky Alexander Andreevich. He received an excellent education […]
- Before answering this question, I would like to briefly return to past events and see how the action of the comedy developed before this angry and accusatory speech by Chatsky. So, Chatsky clearly realized that his return to Moscow was in vain. He feels that Sophia's heart belongs to another, although he still cannot understand who this other is. And in […]
- A clash between Chatsky and Famusov's Moscow is inevitable. As soon as Chatsky arrived at Famusov's house, disagreements immediately arose. Famusov and Chatsky are completely different people, so there are always contradictions between them. Everything that Famusov praises in Moscow, Chatsky condemns. There is a clash of the "current century", that is, the advanced nobility, with the "past century" - the mass of feudal lords. Chatsky believes that […]
- Comparative Characteristics of Chatsky and the Gorichs The protagonist of Griboyedov's play is opposed to the society around him. And this motive of confrontation sounds in the scene already cited. Chatsky's advice did not please Natalya Dmitrievna, since, according to this heroine, they violated the usual, measured way of life of secular people. Chatsky advises Gorich to get down to business, to return to the regiment, to go to the village. Such […]...
- "Woe from Wit" - the works of A. S. Griboyedov, revealing one of the most important problems of society - the problem of the collision of two worlds: "the present century" and "the past century". Later, many classics of Russian literature will raise this topic in their works. In Griboedov's play, the clash of different views is shown in the opposition of Chatsky and Famus society. Alexander Andreevich Chatsky - chief […]...
- Chatsky's clash with the Famus society was inevitable. It takes on an increasingly violent character and is complicated by Chatsky's personal drama - the collapse of hopes for personal happiness. His attacks become more and more sharp. He enters the struggle, and in his speeches, the opposite of his views to the views of Famusov's Moscow is clearly expressed: If Famusov is the defender of the old century, time […]...
- Consistently develops social intrigue. She comes to the fore in Chatsky's clashes with Famusov, Skalozub and Molchalin. And the opposite side does not skimp on assessments, she quickly finds out what kind of enemy Chatsky is for her. Each new person becomes hostile to Chatsky, and in the third act, the whole society, gathered for the evening at Famusov, becomes hostile. […]...
- A. S. Griboyedov’s comedy “Woe from Wit” was written in the first half of the 19th century. This is a time of contrasts, which has absorbed everything: both triumphs and defeats. People who wore beggarly rags tried on royal robes. And stingy innkeepers who previously held a butcher's knife received a marshal's baton. But triumphs gave way to a disastrous sunset, jubilant cries eclipsed bitter lamentation, the majestic radiance of truth [...] ...
- The figure of Chatsky determines the conflict of the comedy, both of its storylines. In the monologues and remarks of Chatsky, in all his actions, what was most important for the future Decembrists was expressed: the spirit of liberty, free life, the feeling that "he breathes more freely than anyone." Freedom of the individual is the motive of time and the comedy of A. S. Griboyedov. And freedom from outdated notions of love, [...] ...
- In the comedy "Woe from Wit" Alexander Sergeevich Griboyedov puts his cherished thoughts into the mouth of the main character Alexander Andreevich Chatsky, who expresses them most often in the form of monologues. They play an important role in revealing the ideological meaning of the work. In total, Chatsky delivers six monologues. Each of them characterizes a step in the development of the comedy plot. The first of them (“Well […]
- It seems that the writer had the gift of providence - so accurately he showed in his comedy everything that later became reality. Chatsky, having entered into a struggle with the whole old, conservative system, was doomed to defeat. He is a representative of the young progressive-minded generation of Russia of that era, and the Famus society is that conservative majority that does not want to accept anything [...]...
- In my comedy, there are 25 fools to one sane person. And sometimes a person, of course, is in conflict with the society around him, no one understands him, no one wants to forgive him, why he is a little higher than others. AS Griboyedov In 1824, Griboedov created the immortal comedy Woe from Wit. The main character of this comedy is Chatsky. Chatsky is a young […]
- Griboedov entered Russian literature as the author of the well-known comedy Woe from Wit. It touches upon very important questions: about upbringing, education, about admiration for everything foreign, about serfdom. In the comedy, the author ridicules and condemns a number of characters: Famusov, Skalozub, Molchalin, Repetilov. But all these heroes are opposed by the main character of the comedy - Alexander Andreyevich Chatsky. He received […]...
- I got acquainted with AS Griboyedov's comedy “Woe from Wit” during the summer holidays. In this comedy, the author touched on a painful topic of that time. Mind and honor are the main virtues of a person. Our protagonist has just such qualities, but falls into the wrong society, among which he would like to be. So, our main character, Alexander Andreevich [...] ...
- There are many versions. I have only read about two. The first is that originally the surname “Chatsky” was written “Chadsky”, you will agree, you can hear the echo of the surname of the famous thinker P. Ya. Chaadaev. The second - after the publication of "Woe from Wit" in St. Petersburg (June 1824), critics began to argue about whether this self-portrait was negative or positive. Pushkin was not a supporter of these versions. Of the two […]...
Composition
The main role, of course, is the role of Chatsky, without which there would be no comedy, but, perhaps, there would be a picture of morals. Chatsky is not only smarter than all other people, but also positively smart. His speech boils with intelligence, wit. He has a heart, and at the same time he is impeccably honest. In a word, this person is not only intelligent, but also developed, with feeling, or, as his maid Lisa recommends, he is “sensitive, and cheerful, and sharp.” He is a sincere and ardent figure. Chatsky yearns for a "free life" and demands "service to the cause, not to individuals."
Every step, almost every word in the play is closely connected with the play of his feelings for Sofya, irritated by some kind of lie in her actions, which he struggles to unravel to the very end. He came to Moscow and to Famusov, obviously, for Sophia and for Sophia alone. He doesn't care about others.
Meanwhile, Chatsky got to drink a bitter cup to the bottom, not finding "living sympathy" in anyone, and leave, taking with him only "a million torments."
"A million torments" and "woe"! - that's what he reaped for everything that he managed to sow. Until now, he was invincible: his mind mercilessly hit the sore spots of enemies. He felt his strength and spoke confidently. But the struggle wore him down. Chatsky, like a wounded man, gathers all his strength, makes a challenge to the crowd, and strikes at everyone, but he did not have enough power against the united enemy. He falls into exaggeration, almost into drunkenness of speech, and confirms in the opinion of the guests the rumor spread by Sophia about his madness.
He has ceased to control himself and does not even notice that he himself is putting together a performance at the ball. Alexander Andreevich is definitely “not himself,” starting with the monologue “about the Frenchman from Bordeaux,” and remains so until the end of the play. Only “a million torments” are replenished ahead.
If he had one healthy minute, if “a million torments” had not burned him, he would, of course, have asked himself the question: “Why and for what have I done all this mess?” And, of course, there would be no answer.
Chatsky is most of all a denouncer of lies and everything that has become obsolete, that drowns out a new life, “a free life. He is very positive in his demands and declares them in a ready-made program, worked out not by him, but by the century already begun. Chatsky demands a place and freedom for his age: he asks for business, but does not want to be served and stigmatizes servility and buffoonery. His ideal of “free life” is decisive: it is freedom from all the chains of slavery that fetters society, and then freedom - “to stare into science the mind that is hungry for knowledge” ...
Each case that needs updating causes the shadow of Chatsky. And no matter who the figures are, no matter what kind of human business is around - whether it be a new idea, a step in science, in politics - people are grouped, they can’t get away from the two main motives of the struggle: from the advice “to learn by looking at the elders”, on the one hand, and from thirst to strive from the routine to the "free life" forward and forward, on the other.
That is why Griboedov's Chatsky has not yet grown old, and hardly ever will grow old, and with him the whole comedy.
Ivan Goncharov
"A million torments"
(Critical study)
Woe from the mind Griboyedov.- Monakhov's benefit performance, November, 1871
How to look yes look (he says),
The present age and the age past,
Fresh legend, but hard to believe -
And about his time, he expresses it like this:
Now everyone breathes more freely -
branil your century I am merciless, -
I would be glad to serve, - it's sickening to serve, -
He hints himself. There is no mention of "yearning laziness, idle boredom", and even less of "gentle passion", as a science and an occupation. He loves seriously, seeing Sophia as a future wife.
Meanwhile, Chatsky got to drink a bitter cup to the bottom - not finding "living sympathy" in anyone, and leave, taking with him only "a million torments." Neither Onegin nor Pechorin would have acted so stupidly in general, especially in the matter of love and matchmaking. But on the other hand, they have already turned pale and turned into stone statues for us, and Chatsky remains and will always remain alive for this "stupidity" of his. The reader remembers, of course, everything that Chatsky did. Let us trace the course of the play a little and try to single out from it the dramatic interest of the comedy, that movement that goes through the whole play, like an invisible but living thread that connects all the parts and faces of the comedy with each other. Chatsky runs in to Sofya, straight from the road carriage, without stopping by, passionately kisses her hand, looks into her eyes, rejoices at the date, hoping to find an answer to his former feeling - and does not find it. He was struck by two changes: she became unusually prettier and cooler towards him - also unusually. This puzzled him, and upset him, and a little annoyed him. In vain does he try to sprinkle salt of humor on his conversation, partly playing with this strength of his, which, of course, Sofya liked before when she loved him, partly under the influence of vexation and disappointment. Everyone gets it, he went over everyone - from Sophia's father to Molchalin - and with what apt features he draws Moscow - and how many of these poems went into live speech! But all in vain: tender memories, witticisms - nothing helps. He suffers only coldness from her, until, having caustically touched Molchalin, he did not touch her to the quick. She already asks him with hidden anger if he happened to at least inadvertently “say good things about someone”, and disappears at the entrance of her father, betraying the latter almost with the head of Chatsky, that is, declaring him the hero of the dream told to his father before. From that moment on, a heated duel began between her and Chatsky, the most lively action, a comedy in the strict sense, in which two persons, Molchalin and Liza, take an intimate part. Every step of Chatsky, almost every word in the play is closely connected with the play of his feelings for Sofya, irritated by some kind of lie in her actions, which he struggles to unravel to the very end. All his mind and all his strength go into this struggle: it served as a motive, a pretext for irritation, for that “million of torments”, under the influence of which he could only play the role indicated to him by Griboyedov, a role of much greater, higher significance than unsuccessful love. , in a word, the role for which the whole comedy was born. Chatsky almost does not notice Famusov, coldly and absently answers his question, where have you been? "Now am I up to it?" - he says and, promising to come again, leaves, saying from what absorbs him:How beautiful Sofya Pavlovna has become!
Let me get married, what would you tell me?
I would be glad to serve - it's sickening to serve!
That's it, you are all proud:
Famusov says and then draws such a crude and ugly picture of servility that Chatsky could not stand it and, in turn, drew a parallel of the “past” century with the “present” century.
But his irritation is still restrained: he seems to be ashamed of himself that he took it into his head to sober Famusov from his concepts; he hurries to insert that “he is not talking about his uncle”, whom Famusov cited as an example, and even invites the latter to scold his own age, finally, he tries in every possible way to hush up the conversation, seeing how Famusov plugged his ears, he reassures him, almost apologizes.To prolong disputes is not my desire, -
He says. He is ready to go back into himself. But he is awakened by Famusov's unexpected hint at the rumor about Skalozub's matchmaking.
It’s as if he is marrying Sofyushka ... etc.
How fussy, what a rush!
Ah - he say love is the end,
Who will go away for three years! —
But he himself does not yet believe this, following the example of all lovers, until this love axiom has played out over him to the end.
Famusov confirms his hint about Skalozub's marriage, imposing on the latter the thought of "a general's wife", and almost clearly calls for a matchmaking. These allusions to marriage aroused Chatsky's suspicions about the reasons for Sophia's change for him. He even agreed to Famusov's request to give up "false ideas" and keep quiet in front of the guest. But irritation was already on the crescendo, and he intervened in the conversation, casually so far, and then, annoyed by Famusov’s awkward praise of his mind and so on, raises his tone and resolves with a sharp monologue: "Who are the judges?" and so on. Here another struggle, important and serious, a whole battle is already underway. Here, in a few words, the main motive is heard, as in an overture of operas, hinting at the true meaning and purpose of the comedy. Both Famusov and Chatsky threw a glove at each other:See what fathers did
Would learn by looking at the elders! —
Famusov's military clique rang out. And who are these elders and "judges"?
For decrepitude of years
Their enmity is irreconcilable to a free life, -
Chatsky answers and executes -
The meanest traits of the past life.
Confusion, fainting, haste, anger of fright!
(on the occasion of the fall from Molchalin's horse) -
All this can be felt
When you lose your only friend
He says and leaves in great agitation, in the throes of suspicion of two rivals.
In the third act, he gets to the ball before everyone else, with the aim of "forcing a confession" from Sophia - and with a shudder of impatience gets down to business directly with the question: "Who does she love?" After an evasive answer, she admits that she prefers his "others". It seems clear. He himself sees this and even says:And what do I want when everything is decided?
I climb into the noose, but it's funny to her!
Once in a lifetime I'll pretend
He decides in order to "solve the riddle", but in fact to keep Sofya when she rushed away with a new arrow fired at Molchalin. This is not a pretense, but a concession by which he wants to beg for something that cannot be begged for - love when it is not there. In his speech, one can already hear a pleading tone, gentle reproaches, complaints:
But does he have that passion, that feeling, that ardor...
So that, besides you, he has the whole world
Was it dust and vanity?
So that every beat of the heart
Love accelerated to you ... -
He says, and finally:
To be more indifferent to me to suffer a loss,
As a person - you, who grew up with you,
As your friend, as your brother,
Let me make sure...
These are already tears. He touches the serious strings of feeling -
From madness I can beware,
I'll go further away to catch a cold, get cold ... -
He concludes. Then all that was left to do was to fall to his knees and sob. The remnants of the mind save him from useless humiliation.
Such a masterly scene, expressed in such verses, is hardly represented by any other dramatic work. It is impossible to express a feeling more noblely and more soberly, as Chatsky expressed it, it is impossible to extricate itself from the trap more subtly and gracefully, as Sofya Pavlovna extricates herself. Only Pushkin's scenes of Onegin with Tatyana resemble these subtle features of intelligent natures. Sofya was able to completely get rid of Chatsky's new suspiciousness, but she herself was carried away by her love for Molchalin and almost spoiled the whole thing by speaking out almost openly in love. To Chatsky's question:Why did you recognize him (Molchalin) so briefly?
- she answers:
I didn't try! God brought us together.
Look, he has gained the friendship of everyone in the house.
He has been serving with the priest for three years;
He often gets angry
And he will disarm him with silence,
From the kindness of the soul, forgive.
And by the way,
I could look for fun -
Nothing, from the old people will not step over the threshold!
We frolic, we laugh;
He will sit with them all day long, glad not glad,
Playing...
Greatest property...
He is finally: compliant, modest, quiet,
And there are no misdeeds in the soul;
Strangers and at random does not cut ...
That's why I love him!
She doesn't respect him!
Shalit, she doesn't love him.
She doesn't give a damn about him! —
He comforts himself at her every praise of Molchalin and then grabs Skalozub. But her answer—that he was "not the hero of her novel"—destroyed those doubts as well. He leaves her without jealousy, but in thought, saying:
Who will guess you!
The liar laughed at me! —
He notices and goes to meet new faces.
The comedy between him and Sophia broke off; the burning irritation of jealousy subsided, and the chill of hopelessness smelt into his soul. He had to leave; but another, lively, lively comedy invades the stage, several new perspectives of Moscow life open at once, which not only oust Chatsky's intrigue from the viewer's memory, but Chatsky himself seems to forget about it and interferes with the crowd. Around him, new faces group and play, each with its own role. This is a ball, with all the Moscow atmosphere, with a number of lively stage sketches in which each group forms its own separate comedy, with a complete outline of the characters who managed to play out in a few words into a finished action. Isn't the Gorichevs playing a complete comedy? This husband, recently still a vigorous and lively person, now lowered, dressed like in a dressing gown, in Moscow life, a gentleman, "a husband-boy, a husband-servant, the ideal of Moscow husbands", according to Chatsky's apt definition, - under the shoe of a sugary, cutesy , a secular wife, a Moscow lady? And these six princesses and the granddaughter countess, all this contingent of brides, “who, according to Famusov, know how to dress themselves up with taffeta, marigold and haze”, “singing high notes and clinging to military people”? This Khlestova, a remnant of the Catherine's age, with a pug, with a girl, this princess and prince Pyotr Ilyich - without a word, but such a talking ruin of the past; Zagoretsky, an obvious swindler, escaping from prison in the best living rooms and paying off with obsequiousness, like dog diapers - and these N.N., and all their rumors, and all the content that occupies them! The influx of these faces is so abundant, their portraits are so embossed, that the viewer grows cold towards intrigue, not having time to catch these quick sketches of new faces and listen to their original dialect. Chatsky is no longer on stage. But before leaving, he gave abundant food to that main comedy that he began with Famusov, in the first act, then with Molchalin - that battle with all of Moscow, where, according to the author's goals, he then arrived. In brief, even instantaneous meetings with old acquaintances, he managed to arm everyone against himself with caustic remarks and sarcasm. He is already vividly touched by all sorts of trifles - and he gives free rein to the language. He angered the old woman Khlestova, gave some advice to Gorichev inappropriately, abruptly cut off the granddaughter countess and again touched Molchalin. But the cup overflowed. He leaves the back rooms already completely upset, and out of old friendship, in the crowd again goes to Sophia, hoping at least for simple sympathy. He confides his state of mind to her:A million torments! —
He says. he complains to her, not suspecting what kind of conspiracy has matured against him in the enemy camp.
"A million torments" and "woe!" - that's what he reaped for all that he managed to sow. Until now, he was invincible: his mind mercilessly hit the sore spots of enemies. Famusov finds nothing but to shut his ears against his logic, and shoots back with commonplaces of the old morality. Molchalin falls silent, the princesses, countesses - back away from him, burned by the nettles of his laughter, and his former friend, Sophia, whom he spares alone, cunningly, slips and inflicts the main blow on him secretly, declaring him, at hand, casually, crazy. He felt his strength and spoke confidently. But the struggle wore him down. He was obviously weakened by this "million torments", and the disorder showed up in him so noticeably that all the guests cluster around him, just as a crowd gathers around any phenomenon that goes out of the ordinary order of things. He is not only sad, but also bilious, picky. He, like a wounded man, gathers all his strength, makes a challenge to the crowd - and strikes at everyone - but he did not have enough power against a united enemy. He falls into exaggeration, almost into drunkenness of speech, and confirms in the opinion of the guests the rumor spread by Sophia about his madness. What is heard is no longer sharp, poisonous sarcasm, in which a true, definite idea is inserted, however, but some kind of bitter complaint, as if for a personal insult, for an empty, or, in his own words, "insignificant meeting with a Frenchman from Bordeaux", which he, in his normal state of mind, would hardly have noticed. He has ceased to control himself and does not even notice that he himself is putting together a performance at the ball. He also strikes at patriotic pathos, agrees to the point that he finds the tailcoat contrary to "reason and the elements", is angry that madame and mademoiselle have not been translated into Russian - in a word, "il divague!" - all six princesses and the granddaughter countess probably concluded about him. He feels this himself, saying that “in the crowd he is confused, he is not himself!” He is definitely "not himself", starting with the monologue "about the Frenchman from Bordeaux" - and remains so until the end of the play. Only “a million torments” are replenished ahead. Pushkin, denying Chatsky the mind, probably most of all had in mind the last scene of the 4th act, in the hallway, at the departure. Of course, neither Onegin nor Pechorin, these dandies, would have done what Chatsky did in the hallway. Those were too trained "in the science of tender passion", and Chatsky is different and, by the way, sincerity and simplicity, and does not know how and does not want to show off. He is not a dandy, not a lion. Here not only his mind betrays him, but also common sense, even simple decency. He did such nonsense! After getting rid of Repetilov's chatter and hiding in the Swiss waiting for the carriage, he spied on Sophia's meeting with Molchalin and played the role of Othello, having no right to do so. He reproaches her for why she “lured him with hope”, why she didn’t directly say that the past was forgotten. Not a word here is true. There was no hope for her. She only did that she left him, barely spoke to him, confessed her indifference, called some old children's romance and hiding in the corners "childhood" and even hinted that "God brought her together with Molchalin." And he, just because -So passionate and so low
There was a spender of tender words, -
In a rage for his own useless humiliation, for self-inflicted deceit voluntarily, he executes everyone, and throws a cruel and unfair word at her:
With you I am proud of my break, -
When there was nothing to break! Finally, he simply comes to swearing, pouring out bile:
For daughter and father.
And for a lover fool —
And he boils with rage at everyone, “at the tormentors of the crowd, traitors, clumsy wise men, crafty simpletons, sinister old women,” etc. And he leaves Moscow to look for “a corner for offended feelings,” pronouncing a merciless judgment and sentence on everything!
If he had one healthy minute, if “a million torments” had not burned him, he would, of course, ask himself the question: “Why and for what did I do all this mess?” And, of course, there would be no answer. Griboedov is responsible for it, and it was not without reason that the play ended with this catastrophe. In it, not only for Sophia, but also for Famusov and all his guests, Chatsky's "mind", sparkling like a ray of light in a whole play, burst out at the end into that thunder at which, according to the proverb, men are baptized. From the thunder, Sophia was the first to cross herself, remaining until the very appearance of Chatsky, when Molchalin was already crawling at her feet, all the same unconscious Sophia Pavlovna, with the same lie in which her father raised her, in which he lived himself, his whole house and the whole circle . Still not recovering from shame and horror, when the mask fell from Molchalin, she first of all rejoices that “at night she found out that there are no reproachful witnesses in her eyes!” And there are no witnesses, therefore, everything is hidden and hidden, you can forget, marry, perhaps, Skalozub, and look at the past ... Yes, do not look at all. He endures his moral sense, Liza will not let it slip, Molchalin does not dare to utter a word. And husband? But what kind of Moscow husband, "from his wife's pages", will look back at the past! This is her morality, and the morality of her father, and the whole circle. Meanwhile, Sofya Pavlovna is not individually immoral: she sins with the sin of ignorance, the blindness in which everyone lived -Light does not punish delusions,
But secrets are required for them!
Think how capricious happiness is,
She says when her father found Molchalin early in the morning in her room, -
It happens worse - get away with it!
Listen, lie, but know the measure!
Who travels, who lives in the village -
He says, and he objects with horror:
Yes, he does not recognize the authorities!