How to use stories and plays content Introduction

Composition features "Woe from Wit" obeys the strict laws of the classic plot. Both lines (love and socio-ideological) develop in parallel to each other. The exposition is represented by all scenes from the first act to the appearance of the protagonist. The plot of the love conflict takes place during the first meeting of Chatsky and Sofia. The social begins to mature a little later - during the first conversation between Famusov and Alexander Andreevich. Comedy is distinguished by the lightning speed of the change of events. The stages of development of the love line are the dialogues of Sophia and Chatsky, during which he tries to find out the reason for the girl's indifference. The socio-ideological line consists of many personal conflicts, verbal "duels" between representatives of the Famus society and the main character. The culmination of the performance is an example of the outstanding creative skill of the creator of the comedy "Woe from Wit". The analysis of the ball in the work demonstrates how the high point of tension in the love story motivates the climax of the social and ideological conflict. Sophia's occasional line: "He's out of his mind" is taken literally by society gossip. Wanting to take revenge on Chatsky for bullying Molchalin, the girl confirms that she is convinced of his insanity. After that, the independent storylines of the play converge at one climax - a long scene at the ball, when Chatsky is declared insane. After that, they separate again. To recognize these tragicomic scenarios in Woe from Wit, one need not look beyond the conclusion of the play. In this fraught denouement, Sofya discovers the duplicity of Molchalin, society declares Chatsky crazy, and all romantic intrigues collapse. Nevertheless, the action is conveyed by carefree couplets and is accompanied by ridicule and laughter of secular characters. There is a striking discrepancy between the attitude of the characters to what is happening and their usual assessment. It cannot be said that, following Aristotle's definition, tragedy is fully expressed and causes the audience to experience an emotional catharsis, or that they simply laugh at the outcome of the play. Rather, the audience is in a kind of mixed emotional state, at the same time amused by the absurd behavior of most of the characters and full of pity for the thwarted happiness of the more sympathetic heroes of the play. The effect is thus reminiscent of Barnes' description of the tragicomic impact on the audience: "We are left with ambivalent feelings, realizing that we cannot—cannot fully sum up, neither intellectually nor emotionally...Tragedy and comedy, each in its own way. " By the way, give clear answers [to the question posed by the drama ⁴]. Tragicomedy indicates that when everything is said from all sides, the question remains, and no one is still quite sure whether it should be taken seriously. Griboedov's own literary tastes shed light on the creative process that led to his generic innovations. In an article about the aesthetics of the playwright, critic L.A. Stepanova analyzes Griboyedov's letters, his contribution to literary controversy and the memoirs of his contemporaries and concludes that his aesthetics is the aesthetics of artistic freedom from conventions, a universal dialogue with all times and cultures. and depiction of reality with "naturalness and fullness of life" In all these preferences and criticisms, we can see that Griboedov favors "naturalness" and "freedom" from rules - a typical romantic protest against the "unnatural" and rule-based classicism. The rejection of the conventions of classicism, which traditionally separated tragedy and comedy, allowed him to get carried away with a hybrid genre. While the play is clearly rooted in the tradition of early Russian comedy, the play departs from that tradition in many unprecedented ways. These innovations include moving away from heavy didactics and breaking the unity of action, as the play has the dual motive of romance and social satire. Such changes reflect not only Griboyedov's aesthetic preferences, but also the growing sophistication of the Russian public. As David Welsh notes in his pioneering study of early Russian comedy, "Part of [Griboyedov's] contribution to the development of Russian theater was his ability to use or reject rules that had thwarted his predecessors"