Sections: Literature
Class: 9
Conduct form: a combined lesson of summarizing what has been learned.
The purpose of the lesson: to show students the dependence of a correct understanding of the idea of an episode and dramatic work in general, from the ability to analyze its key episodes.
- To continue acquaintance of students with the features of the analysis of an episode of a dramatic work on the example of the analysis of scene 21 from Act III of the comedy by A.S. Griboyedov "Woe from Wit"; give an idea of the features of stylistic devices gradation and grotesque; repeat the elements of the composition: the plot, the denouement, the development of the action, the exposition and the climax.
- To form in students the skill of analyzing an episode of a dramatic work, the characteristics of characters; to develop students' speech by introducing literary terms and theatrical vocabulary into active word usage.
- To educate students in honesty and adherence to principles, an uncompromising attitude towards lies, hypocrisy and unscrupulousness, goodwill towards others, a persistent cognitive interest in the study of both dramatic works and literature in general.
Decor boards.
- Number.
- Lesson topic.
- Epigraphs for the lesson.
Texts ... outwardly, even the most clear and pliable ones speak only when you know how to ask them. Mark Bock
- Literary terms:
But everyone in the living room takes
Such incoherent, vulgar nonsense,
Everything in them is so pale, indifferent,
They slander even boringly. A.S. Pushkin
... Comedy is immortal because its conflict is immortal - the conflict between Chatsky and Molchalin, talent and mediocrity, intelligence and common sense. I.S. Grachev
- gradation, grotesque;
- plot, exposition, development of action, denouement.
During the classes
1. Organization of students for the lesson. Communicating to students the topic and objectives of the lesson. (Slide 1). Presentation
- Hello guys! Which of you can say that you have read and understood the comedy “Woe from Wit” by A.S. Griboyedov? I want to start our lesson with an excerpt from a version of the poem "Retribution" by A. Blok.
Whoever you are - among dinners,
Or keeping official fervor,
You may have completely forgotten
That the official Griboyedov lived,
That the duty did not interfere with the service
He sees in a disturbing dream
Chatsky's nonsense about the impossible,
And Famusova noisy ball,
And Lisa plump lips
And - the end of all miracles -
You, Sophia ... Messenger of heaven
Or a small imp in a skirt?..
I hear an outraged cry:
"Who doesn't know Griboyedov?"
- You, you! - Enough. falls silent
My satirical language
Have you read " A million torments”,
We watched "Woe from Wit".
In the minds - all a dream of half-consciousness.
In the hearts - all the same semi-darkness.
- Today in the lesson we will try to dispel this “darkness” in the hearts and the “sleep of half-consciousness”, and for this we will analyze the episode of a dramatic work, you will get acquainted with a new literary term, repeat the compositional features of a dramatic work using the example of A.S. Griboyedov "Woe from Wit". You have to understand what are the features of the analysis of the episode of a dramatic work, to consolidate the skills of characterizing the characters and their language, to find out the significance of the analysis of the episode for understanding the idea of the work. I suggest you choose an epigraph for the lesson from among the following statements ... (Slide 2). Which of them is suitable as an epigraph - we will discuss at the end of the lesson.
2. Finding out the features of dramatic works and their composition (frontal conversation).
What work is called dramatic and what can be considered as its episode?
(A dramatic work is intended to be staged, therefore, a feature of its composition is the division into actions, which, in turn, consist of scenes (or phenomena). They should be considered as episodes of a dramatic work). (Slide 3)
- Whatever the work you are analyzing, it will definitely contain elements of the composition that are written on the board. Arrange them in the order in which they appear in the work. Are any of the compositional elements missing? (Slide 4)
(The exposition, the plot of the action, the development of the action, the climax, the denouement. The climax was missed - the moment of the highest tension in the action of the work).
2. Determining the criteria for episode analysis (drawing up a plan).
What does it mean to analyze an episode (scene)? Formulate the questions to be answered.
(To analyze the scene means to determine the relationship of the characters, to understand what this scene gives for understanding the characters of the characters, their state of mind, to show what techniques are used in this scene to reveal the characters and what is the role of this scene in the development of the action and conflict of the play.
- What is the place of the episode in the composition of the work?
- What kind of characters take part in the action in this episode?
- What means did the author use to portray the characters?
- How does this episode help to understand the idea of the work?).
– Your questions resonate with the analysis plan for the episode we will be working on today. ( Students are provided with printed materials.
3. Analysis of scene 21 from act III of the comedy.
– Who and why might need to analyze a dramatic work? (This is necessary for the director of the performance in order to correctly select the actors, choose the appropriate scenery; for the actors in order to best play the role of a particular character; for the theater workers who take part in the production of the performance; for the audience so that they correctly understand the essence of what is happening on the stage; for critics who should give a true assessment of both a literary work and a theatrical production).
Determination of the place and role of phenomenon 21 in the work, its connection with the problematic.
– In the role of a director who will introduce us to his vision of the composition of the comedy and the place in it, 21 scenes will perform ... If you do not agree with the interpretation of the director, you can express your critical remarks after the performance. (A student who has prepared in advance talks about the place of the episode in the composition of the work).
- The comedy begins with an exposition, then in the first act the plot of the action takes place. Moreover, first the action of a love conflict - Chatsky's arrival at Famusov's house and his conversation with Sophia - and almost immediately a public conflict - Chatsky's conversation with Famusov, in which for the first time the opposite of their views on the social structure and life principles is manifested. Throughout Acts II and III, these conflicts continue to develop. Chatsky, in love with Sofia, understands that he is unloved and is looking for a happy rival. The confrontation between Chatsky and Famusov, Chatsky and Molchalin, Chatsky and all Famus Society. It turns out that Chatsky is a stranger to everyone, disagrees with the rest in his views on all public affairs. In 21 scenes, this social conflict culminates: everyone unanimously calls Chatsky crazy. Anger, hatred and fear of those present in relation to Chatsky reach the highest point. Chatsky's feelings (“a million torments”) and his loneliness reach the highest tension in the next scene 22. Scenes 21 and 22 can be called the culmination of social (social) conflict. In act IV, the love conflict also reaches its climax. There we also find their denouement, and the denouement of the social conflict is not only moved away from the climax, but also somehow erased, indefinite.
- Why is there no denouement of the social (public) conflict in scene 22, as is usually the case after the climax?
-Decoupling involves a decrease in tension, a successful resolution of the conflict or an open confrontation between the characters. None of this happens in comedy, nor in the life that comedy reflects.
- Why don't representatives of the Famus society go into open conflict with Chatsky?
- They are afraid of him, he seems dangerous to them not because they declared him “crazy”, but because in an open fight with him they can lose, give in, remain in the cold, and common sense tells them: it’s better to stay away from Chatsky don't mess with him.
- What catchphrases from 21 and 22 scenes can serve as titles for these episodes?
- 21 scenes - "Mad around"; Scene 22 - "A million torments."
- What, in your opinion, would the comedy be called if it did not have these two scenes?
(Students give their own options, for example: “Woe from love”).
Main heroes. (Slides 5, 6, 7)
- I want to continue our conversation with another quote from the comedy: “Well, ball! Well Famusov! He knew how to call guests! Let's get to know Famusov's guests better. What is the best way to do this? It would be nice if they told about themselves or someone “introduced” them. K.S. Stanislavsky before staging the comedy Woe from Wit at the theater distributed a special questionnaire to the actors playing the roles of guests, which allowed the actors to better understand the character, habits, views of their characters and get used to the character. Our "actors" received in advance a small "questionnaire" compiled on the basis of Stanislavsky's questions. Now they will tell about themselves, more precisely, about Famusov's guests, based on these questions. (Students talk about Famusov's guests in the 1st or 3rd person).
- I Khlestova Anfisa Nilovna. Woman 65 years old, I live on Pokrovka in my house, large and majestic, but somewhat dilapidated. The atmosphere is old, already slightly worn and dusty. I am rich.
During the day I managed to see my sister Praskovya, discuss what kind of arapok Zagoretsky brought us, and gossip about Moscow balls, aces, etc.
I treat Famusov well, but as a sister-in-law I argue with him and command everyone.
Famusov himself invited to the ball. I met the rest of the guests earlier at Famusov's and in other places, and hosted many of them. I fully share Famusov's position in life. And Chatsky, although he revolts me with his disrespect, evokes sympathy. However, this will not prevent me from telling Sister Praskovya about his madness tomorrow.
- I Princess Tugoukhovskaya. I am very proud of my title, which I received along with my marriage. I live with my family in a large Moscow mansion, but there is no great wealth left: I have to give balls to find a worthy match for my six daughters, and spend money on a dowry. We need rich grooms, which means you can’t invite just anyone to the balls.
During the day I prepared for the ball, gathered my daughters, commanded the servants. I am familiar with many of Famusov's guests. I consider Famusov himself an intelligent and respectable person. What Chatsky says is not at all interesting to me. My daughters and I are interested in clothes and men. Tomorrow, and especially on Thursday at the evening, I will tell everyone I know about the ball at Famusov's. Of course, I will also mention the madness of Chatsky.
- Allow me to introduce you Platon Mikhailovich Gorich. Former military man, now retired, recently married. Lives in a small house of his wife, in Moscow. There is an estate with serfs, but my wife likes to live in Moscow. There are few rooms in the house and the furnishings are modest, so the Gorichs themselves often do not give balls, but rather like to go to others.
Today, during the day, Platon Mikhailovich Gorich managed to complete many small assignments for his wife. At the ball, he does not know everyone. All the time is next to his wife. Thoughts Famusova, basically, approves. He married because it was time to do it, and his wife was found with a small fortune. He does not believe in Chatsky's madness, but does not argue with the rest of the guests, especially with his wife. The views of Chatsky a year ago may have been close to him.
– Natalya Dmitrievna Gorich, a young lady who recently married a retired military man, a man not very rich, but who has a village with peasants. In Moscow, she lives with her husband in her house, since the prospect of moving to the village does not appeal to her. Fortunately, she managed to get her husband in her hands so much that even the thought does not arise to argue with her.
During the day, Natalya Dmitrievna prepared for the ball at Famusov's, sent her husband for hairpins and ribbons to a fashion store. Famusova respects, is proud of meeting him and receiving an invitation to the ball. He knows all the guests of Famusov, since this is not the first time at such a ball. The next day, she will discuss with her husband, and if possible, with friends, Chatsky's madness and his success at the ball.
– Countess granddaughter lives in his grandmother's house, after her death he will receive both a house and a fortune. She is not married, so she leaves with her grandmother so as not to cause rumors. The house is large and rich, but my grandmother has not updated either the furniture or decoration for a long time, so balls at the Khryumins are extremely rare. Therefore, the Countess loves to travel to others.
During the day, the countess prepared for the ball, urging her grandmother to go. Famusova knows guests, but she has a very low opinion of many. I did not meet worthy dance partners at the ball, so I was disappointed with the ball. The only entertainment for her is the rumor about the madness of Chatsky, the spread of which the Countess granddaughter herself greatly contributed to. The dream is to get married. Wealth and title are already there, it remains to find a husband among the people of his circle.
Tomorrow she will have to explain to her grandmother what kind of rumor spread at the ball, and also tell all her friends about it.
– Zagoretsky Anton Antonovich. Let me be called: “ A swindler, a rogue and a toady…”. It doesn't bother me. I live in a small, poorly furnished apartment. I don’t arrange evenings at my place, because I barely have enough money to look decent. Yes, in such a small apartment with variegated furniture and you will not invite anyone.
During the day I managed to go to Khlestova and her sister - I brought them arapok, which I bought on the occasion inexpensively (at the sale of the serfs of some ruined nobleman). Khlestov called the price much higher, so today with the money.
Famusov is my idol, as, in fact, any wealthy person. To become such a Moscow gentleman is my dream. In the meantime, I will play around and crawl, provide services and spread rumors around Moscow. Chatsky's thoughts are alien to me. Tomorrow I will travel all over Moscow to tell about the madness of Chatsky. Perhaps they will feed me, or even some lucky chance will present itself to serve the powers that be.
– Sergei Sergeevich Skalozub. Colonel, a well-known and respectable person. I have many awards. Very rich and unmarried. I am an enviable groom for any young lady from high society. I live in my mansion, the atmosphere in the house is rich, but there is no time to give balls: the service, and even to my friends I need to have time to go. If I get married, then my wife will take care of the balls.
This morning I already visited my potential father-in-law. Having learned about the ball, I managed to go home to change clothes. Such an enviable groom as I can be late. I have already met the rest of the guests at the balls. I've seen Gorich somewhere before, but I don't remember where. After all, it seems that he fought, and I served in the Jaeger regiment.
I look at life the same way as Famusov. I fully support and respect him. In addition, they give a good dowry for Sophia. And wealth, as you know, reaches for wealth.
Tomorrow there will be something to tell in the regiment. A funny incident with the madness of Chatsky, perhaps, will make everyone laugh.
- Yes, of course it is. different people but they have a lot in common. What? Describe them. Find among the notes on the board a statement in which they have already been given a characteristic. Do you agree with her?
- They all live according to the same laws, they have a common ideal, they all eagerly pick up gossip about Chatsky's madness and spread it. These are vulgar, indifferent and prudent people. Their slander is not boring, but terrible.
- The birth of a rumor about Chatsky's madness.
– How did it all start? How was the rumor about Chatsky's madness born?
Act III, phenomenon 1
Sophia (to herself): That reluctantly drove me crazy!
Event 14
Sofia: He's out of his mind.
G.N.: Have you lost your mind?
Sofia (after a pause): Not really...
G.N.: However, are there signs?
Sofia (looks at him intently): I think so.
Event 15
GN: Did you hear?
G.N.: About Chatsky?
GD: What is it?
G.N.: I've gone crazy!
GD: Empty.
G.N.: I didn’t say it, others say…
GD: And you are happy to glorify it.
Event 16
GD: Do you know about Chatsky?
Zagoretsky: Well?
GD: Crazy..!
Zagoretsky: Ah! I know, I remember, I heard...
Event 17
Countess granddaughter: ... I spoke to him.
Zagoretsky: So I congratulate you.
He is crazy...
Countess granddaughter: What?
Zagoretsky: Yes, he went crazy.
Appearance 19
Zagoretsky: In the mountains, his forehead was wounded, he went crazy from the wound.
phenomenon 20
Countess grandmother: Prince, have you heard?
Prince: A - hmm?
Grandma Countess: He can't hear anything!
Though, maybe you saw the chief of police was here?
Prince: E-hm?
Countess grandmother: In prison, prince, who grabbed Chatsky?
phenomenon 21
Zagoretsky: Mad about everything!
Thus was born gossip about Chatsky's madness. And he owes the birth of this gossip to his beloved Sophia. (Slide 8)
(Commented reading of scene 21. Speech characteristics).
- Gossip about the madness of Chatsky found lively support from all the guests of Famusov. Or is it not for everyone? Which of the guests does not agree with the wattle and why does not object to its distribution?
–This is Platon Mikhailovich Gorich, who previously served with Chatsky in the same regiment and was considered his friend. He does not refute the gossip for several reasons: firstly, his wife says so, and it is better not to argue with her; secondly, the Moscow aces Famusov and Skalozub say so. How can you argue with them? That and look, you, too, are recognized as crazy! It's better to remain silent.
- What do Famusov's guests and the host himself see as a manifestation of Chatsky's madness?
- He scolded the authorities, condemned meanness, laughed “out of place”, advised one to live in the village, the other not to serve in the archives ...
- By the way, which of those present, accusing Chatsky, lied?
– Molchalin, to whom Chatsky did not advise anything of the kind, really wants to be on a par with everyone even here, in the birth of gossip.
- Do you think Chatsky is crazy?
- No. He is smart. He has a critical mindset, a serious education and high moral qualities, which do not allow him to put up with the shortcomings of society that he encounters in Famusov's Moscow.
– What does the word “mind” mean for Chatsky? And what about Famusov and his guests?
- For Chatsky, the mind is the ability to think, high intellectual abilities. For Famusov, the mind is the ability to keep one's own benefit, get along with rich people, earn high ranks, i.e. prudence, ability to adapt.
Who do you agree with and why? Whose side is the author on?
(Students express their opinion, including how the author understands the word "mind". Griboyedov has in the comedy "25 fools for one smart person", in his own words). (Slide 9)
– As we found out, there are no crazy people in comedy, it’s just that the characters understand the word “mind” differently. Illustrate your point of view with one of the statements of the critics. What do the guests see as the reasons for Chatsky's madness?
- In the abuse of alcoholic beverages, in teaching, in books.
- You wrote out the definition of gradation. Read it out and use the example of scene 21 to show how and why the author uses this stylistic device.
– gradation- the arrangement of words and expressions in increasing or decreasing importance. (Students give an example of gradation from scene 21.) (Slide 10)
– What other language means does the author use in this scene?
- The grotesque is used - an exaggeration brought to the point of absurdity. (For example, a proposal to close schools and lyceums or burn all books in order to save society from the danger of insanity). Many characters use colloquial, rude expressions or just colloquial vocabulary in their speech: “crazy jumped off”, “champagne glasses pulled”, “on fables laid down”, “tea, drank out of season”, “requires cutting", "All lie calendars”, etc. Others use clichés (“stop the evil”, “I humbly ask”, etc.), foreign words whose meanings they do not understand (“Lancart” is a distorted word for “Lancastrian”) or simply military terminology (“They will only teach in our way: one, two…”). These and other linguistic means help to characterize the characters, their interests, life philosophy. We understand from this distorted illiterate, sometimes incoherent speech, how uneducated they are.
- Zagoretsky pronounces his lie about Chatsky's drunkenness "with heat." So he enjoys lying and gossiping. Famusov speaks with Chatsky "cautiously", that is, carefully, because he does not want to go into conflict, just in case he avoids an open quarrel. And all the rest want to dissociate themselves from Chatsky, so they "back away from him in the opposite direction."
4. The ideological role of the episode. (Slide 11)
(Determining the importance of the episode for understanding the idea of the work).
- So, scene 21 is the culmination of the conflict between Chatsky and Famusov's Moscow, whose representatives started a rumor about his madness. There was no disconnect. Who is the winner and who is the loser in this confrontation, and is Chatsky alone in his struggle?
– Chatsky is not alone, as off-stage characters appear in the work every now and then, causing dissatisfaction with the Famus society: this is Skalozub’s cousin, who left the service, and Prince Fedor, who, having received an education, leaves for the village, and “professors” who practice split. Surely there will be more. And even if there is no denouement, and Chatsky leaves with a broken heart, slandered and lonely - the time of the Famusovs is already ending. New people have appeared who do not allow the Famus society to live in peace. The future is undoubtedly theirs.
5. Summing up the lesson. (Slide 12)
– We talked today about one episode of the comedy “Woe from Wit”. And what have we learned? Make a conclusion about the work in the lesson.
– Those who oppose the Famus society cannot immediately win, they are considered strange, they are declared crazy. They are still in the minority, but the future is theirs, and Chatsky is one of them.
- A correct understanding of each episode helps to correctly understand the main idea of the whole work, its idea.
- Our work is coming to an end, and we still have not picked up an epigraph for the lesson. What do you think, which of the statements written on the board is more suitable as an epigraph? (Slide 13)
- This could be a statement by A.S. Pushkin, the meaning of which coincides with our assessment of the Famus society in scene 21, as, indeed, in this comedy. Could become an epigraph and the words of I.S. Gracheva, which speaks about the essence of Chatsky's opposition to the entire Famus society, about a different understanding of the meaning of the word "mind". But it was thanks to the analysis of 21 scenes that we were able to better understand what this conflict is.
But it was the analysis of the episode of the dramatic work that we performed today that helped us better understand the idea of comedy and the nature of its characters. We have learned to “ask for texts” better, which means that Mark Bock’s statement more accurately reflects the content and results of our work in the lesson. So, it is this statement that can serve as an epigraph to the lesson.
- Today at the lesson you were attentive to the word, active and interested, so you learned a lot. I think that in your hearts there is no “darkness” left, and in your minds there is no “sleep of half-consciousness”.
6. Comments on homework. (Slide 14)
- At home, analyze in writing one of Chatsky's monologues and memorize it.
Literature
- Leonov S.A. Literature. Integrated lessons. 8-9 grades. A guide for the teacher. [Text] - M .: Iris-press, 2003.
- Leifman I.M. Cards for differentiated control of knowledge in literature. [Text] Grade 9. – M.: Materik-Alfa, 2003.
- Semenov A.N. Russian literature in questions and assignments. XII-XIX centuries: 9-10 classes. A guide for the teacher. [Text] - M .: Vlados Humanitarian Publishing Center, 2000.
- Reading. We think. We argue ... Didactic materials on literature: Grade 9. / Compiled by V.Ya. Korovina and others [Text] - M .: Education, 2004.
- Reading. We think. We bet… A book for independent work students in literature: grade 9. / Compiled by G.I. Belenky and others. Ed. G.I. Belenky. [Text] - M.: Enlightenment. Educational literature. 1996.
Annex 1
Episode Analysis Plan
1. The place and role of this episode in the work, its connection with the problem. (The significance of the episode for the further development of events, connection with the previous ones).
2. The main characters, visual means of language. What is new for us to observe these characters in this episode to understand their views on life, characters, actions.
A) ways to create images;
B) artistic features languages, their meaning.
3. How important is the episode for understanding the meaning of the whole work, its main idea.
Annex 2
Questionnaire for Famusov's guests, compiled by
Based on the “questionnaire for actors” K.S. Stanislavsky
-
Who you are? First name, patronymic, last name. The composition of your family social status. Where do you live?
- What did you do today in a day? Who did you see?
- What is Famusov to you? How do you feel about him? How did you hear about the ball at his house? Do you know the rest of the guests? Where?
- How do you feel about the thoughts expressed by Famusov? Chatsky?
- To whom and what will you tell tomorrow about how the ball went?
Annex 3
Sayings of critics
Chatsky ... is nothing more than a madman who is in the company of people who are not at all stupid, but uneducated, and who is clever in front of them, because he considers himself smarter.
M.A. Dmitriev
Chatsky Griboyedov is the only truly heroic face of our literature ... an honest and active nature, moreover, the nature of a fighter.
A.P. Grigoriev
The comedy [“Woe from Wit”] is an accurate, completely accurate self-report of how an intelligent person lives, or rather, dies, how an intelligent person dies in Rus'.
A.V. Lunacharsky
Optimism is the main mood of “Woe from Wit”. Whatever the outcome, the internal impotence of the Famus society and the strength of Chatsky are obvious to the reader and viewer.
N.K. Piksanov
Appendix 4
Texts of scenes 21 and 22 from act III of the comedy
A series of lessons on the topic of A.S. Griboedov "Woe from Wit"
Creativity A.S. Griboyedov
Lesson 1
The creative path and fate of A.S. Griboyedov
The history of the comedy "Woe from Wit"
Objectives: to introduce students to the fate of A.S. Griboyedov and the history of the creation of comedy, to repeat the specific features of the composition of a dramatic work and the genre features of comedy.
I. Creative path and fate of A.S. Griboyedov (1795-1829).
1. The teacher's story about Griboyedov
1) Childhood and youth of the writer
Griboyedov comes from an old noble family. 1803 - studying at the Moscow University Noble Boarding School. 1806 - student of the verbal department of Moscow University. Previously, a manifestation of talent: he knew the main European, ancient, oriental languages, composed music, was a pianist-improviser. Military service- 1812-1816.
2) Start literary activity and civil career
1815 - the debut of Griboyedov - playwright (the comedy "Young Spouses"); in the late 1810s - the plays "Student", "Feigned infidelity"; 1817 - entering the service of the Collegium of Foreign Affairs with the rank of provincial secretary; 1818 - Secretary of the Russian diplomatic mission in Persia
3) 1812-1824 - work on "Woe from Wit". The idea of a comedy arose in 1820
4) 1825-1829 - last years life. Bringing Griboyedov to the investigation after the Decembrist uprising.
Griboyedov in the Caucasus. The role of the writer in the conclusion of the Turkmenchay peace (1828). Appointment as Minister Plenipotentiary - Resident of Russia in Persia.
On January 30, 1829, Griboyedov was killed during an attack on the Russian mission in Tehran by a crowd of militant Muslims.
2.Customized student message:
- Griboyedov and the Decembrists;
- Griboyedov and Pushkin;
- Griboedov is a diplomat.
3. In a strong class - a review of the novel by Yu. Tynyanov "The Death of Vazir - Mukhtar."
II. Repetition of the typological features of the dramatic kind of literature, the specifics of the composition of a dramatic work and the genre features of comedy.
III. The history of the creation of comedy.
IV. Homework
2. Analyze the dialogues of Chatsky and Sophia: the behavior of the characters, their attitude towards each other, the nature of the statements.
3. What causes the condemnation of Chatsky in the manners of the Moscow nobility?
Lesson 2
Analysis of the first act of the comedy "Woe from Wit"
Objectives: during the analysis of the first act, to identify the plot of the comedy, to form an initial idea of the conflict, to continue the formation of the skill of analyzing a dramatic work, taking into account its genre specifics.
I. Introductory speech of the teacher
In 1919, a century after the creation of Woe from Wit, the great Russian poet Alexander Blok wrote: “The 19th century immediately created a great comedy. "Woe from Wit" is still unsolved and, perhaps, the greatest creation of all literature.
Today, more than two centuries have passed, and Griboedov's comedy not only continues to be staged, but is still fiercely argued about. it seemed that everything was said about “Woe from Wit”: the images of the characters were examined from all sides, thought and pathos were interpreted in different ways, but the “textbook gloss” does not prevent new readers from admiring Griboedov’s skill and seeing living people behind the textbook images. Let us, together with Griboyedov, "enter" Famusov's house.
II. Analysis of the first action.
What is the exposition and setting of the first act? What is external conflict and how does it develop?
Acquaintance with the house of the Moscow gentleman Famusov, the emergence of an intrigue: the secret love of a lord's daughter and a rootless secretary. The unexpected arrival of Chatsky is the beginning of a comedy action, a love conflict: Chatsky is in love with Sophia, she is in love with Molchalin.
The dialogue between Chatsky and Sophia is Chatsky's satirical denunciation of Moscow morals. What in the way of life and behavior of the Moscow nobility causes Chatsky's condemnation? How is the nature of the hero himself revealed in his accusatory speeches? The plot of the socio-political conflict of the comedy between Chatsky and the Moscow nobility.
III. Generalization
The exposition introduces the reader to the house of the Moscow gentleman Famusov. His 17-year-old daughter Sophia is in love with the poor secretary of Father Molchalin. They meet secretly from their father. Sophia's maid Lisa helps in this. From the conversations of Lisa and Sophia, we learn that three years ago Chatsky, who was brought up in the Famusovs' house, left to "seek his mind" in St. Petersburg, then abroad.
The plot of the comedy is the unexpected arrival of Chatsky, who passionately confesses his love to Sophia. This is how an external conflict arises: a struggle for a bride, a love triangle - Sophia loves Molchalin, Chatsky loves Sophia. The dialogue between Sophia and Chatsky reveals Sophia's complete indifference to her childhood friend. The conflict is complicated by the fact that the father of Sophia Famusov would not be pleased with either one or the other applicant: Molchalin is poor and waterless, Chatsky is also not rich, in addition he is free-thinking, impudent.
IV. Homework
1. Prepare an oral report on the first act of the comedy. Where does the comedy take place? What event becomes the beginning of a comedy? What intrigue drives the action? How does the first dialogue between Chatsky and Sophia reveal the hero's attitude towards the Moscow lords?
2. Read the second act of the comedy. What is the essence of the conflict emerging between Chatsky and Famusov? Define the positions of the disputants. What does Moscow look like in the perception of the heroes? Describe Colonel Skalozub.
3. What do you think is the conflict of the play? How does it develop in the second act?
4. Analyze the dialogues between Chatsky and Molchalin. Can heroes be called antipodes? Why?
Lesson 3
Analysis of the second act of the comedy "Woe from Wit"
Objectives: during the analysis of the second act, to determine the ambiguity of the comedy conflict; to show the collision of the "current century" and the "past century" in the monologues of Famusov and Chatsky.
I. A brief oral summary of students on the first action (answers to homework questions).
II. Analysis of the second act
1. Reading and analysis of the second act, phenomenon 2.
What is the essence of the conflict emerging in the dialogues between Famusov and Chatsky? Identify the disputants' positions.
Let us designate the initial conflict between Famusov and Chatsky as a conflict of generations. The younger generation, in order to achieve something in life, must be guided by the ideals of their fathers - this is the position of Famusov; uncle Maxim Petrovich as a role model.
The preaching of a new way of life in the speeches of Chatsky, the rejection of the ideals of the Moscow nobility. Whose position is preferred? Is there any rightness in Famusov's statements.
2. Moscow in the perception of heroes
For Famusov, the regularity and smoothness of Moscow life, the strength of traditions, and the patriarchal way of life are valuable.
For Chatsky, Moscow is a world of inert, conservative rules, habits, he hates the emptiness, the fussiness of Moscow life, the lack of creative free thought, and the cruelty of the feudal lords.
The development of the socio-political conflict of comedy, the clash of the old and new generations.
3.Characteristics of Colonel Skalozub. A new twist in the love affair: Skalozub as a possible contender for Sophia's hand. A new turn of the social conflict: not so much a conflict of generations as a conflict of advanced and conservative views, life values.
4. Modern interpretations of the comedy conflict, ambiguous assessments, the desire to remove class antagonism.
III. Generalization
In the second act, it is not so much the love conflict that develops as the social conflict of the comedy. It has several aspects. interpretation of the conflict of comedy as a conflict of generations (Famusov - Chatsky), as a clash between the "current century" and the "past century" can be regarded as correct, but this is a rather narrow interpretation. A broader understanding of the conflict is a clash of advanced views on life and a stagnant, stagnant worldview (lordly Moscow and Chatsky).
IV. Homework
2. Analyze the ball scene as a culmination (see questions for analysis during the next lesson on p. 64)
3. Repetilov and his role in the play.
Lesson 4-5
Analysis of the third, fourth acts of the comedy "Woe from Wit"
Objectives: in the course of the analysis of the third and fourth acts, to generalize ideas about the lifestyle and ideals of the Moscow nobility, to show the role of Repetilov in the play, to determine the climax and denouement of the comedy.
I. Generalization on the second act of the comedy
The development of love and social comedy conflict. Views on the life of Chatsky and Famusov.
II. Analysis of the third act
1. Molchalin and his role in comedy. Dialogue between Sofia and Chatsky about Molchalin. Molchalin in the perception of Sophia - moral ideal, essentially Christian, with its humility, love for neighbor, spiritual purity, readiness for self-sacrifice, unwillingness to judge, etc.
Why does Chatsky perceive Sophia's words as a mockery of Molchalin?
Molchalin in the perception of Chatsky is a low-flyer, a person deprived of independence, a flatterer, a saint, extremely not smart.
Why is Molchalin scary?
He is a hypocrite, hides his true face, changes his behavior all the time depending on the situation, nothing is dear to him, he is a man without principles and honor.
Chatsky and Molchalin as antipodes.
2. Analysis of the ball scene.
Describe the guests at the ball. What is the role of supporting characters in comedy?
In the play, events follow one after another, but suddenly seem to stop, giving way to a panoramic image of a ball in Famusov's house. Invited people come to the house. The ball begins with a peculiar parade of guests, each of whom appears for the first time in the play. But with just a few expressive strokes, above all speech characteristics, Griboyedov manages to create a three-dimensional image, a lively, full-blooded character.
The first in the guest gallery is the Gorich couple. Platon Mikhailovich, a former colleague of Chatsky, is now not just a retired military man, but a “charming husband”, a man without a will, completely subordinate to his wife. His remarks are monotonous and short, and he does not have time to answer Chatsky, his wife does it for him. All he can say to a former friend: "Now, brother, I'm not the one ...".
It seems to him that he is “not the one”, because he fell under the heel of his wife. But in fact, he is “not the same” primarily because he has lost his former ideals. Not having the will to defend Chatsky decisively against the slanderers, he eventually betrays his friend. And it is no coincidence that in the fourth act, at the departure, Gorich grumbles over the wire of boredom and does not remember his slandered comrade in a word.
A string of guests pass in front of the audience. The princes Tugoukhovsky, concerned only with successfully marrying off their daughters, the evil and caustic countess - a granddaughter who finds flaws in each of those present; "an inveterate swindler, a rogue" Anton Antonych Zagoretsky, a gossip and a cheater, but a master of obsequiousness; the old woman Khlestova, an old Moscow lady, distinguished by her rude frankness.
The dispute between Khlestova and Famusov is indicative of how many serf souls Chatsky has. Everything here is significant: both the exact knowledge of the state of another person (“I don’t know other people’s estates!”), And the famous Khlestov’s “Everyone lies calendars”, and the fact that the last word appears behind her.
All the characters of the second plan are important in comedy not in themselves - in the aggregate they represent the world of noble Moscow, where their own laws and rules reign. In their midst, Chatsky's foreignness is especially clearly manifested. If in a collision with Molchalin, Famusov, Skalozub they "converged" one on one, then the ball scene revealed the complete loneliness of Chatsky.
3. The climax of the play
The climax of the whole comedy is gossip about the hero's madness. How did it happen? Was Chatsky's announcement as crazy inevitable and followed from the whole development of the action, or is it still an accident?
Why did gossip about Chatsky's madness spread so quickly?
Do the guests fully believe in Chatsky's madness?
What do the guests and members of the Famusov family see as signs and causes of Chatsky's "madness"?
Sophia's first remark: "He's out of his mind" - just slipped out of her mouth, but secular gossips G.N., then G.D. saw an opportunity to have fun spreading rumors. Then Sophia made a conscious decision, which was dictated by resentment for Molchalin: “Ah, Chatsky, you love everyone as a joke, Would you like to try on yourself?”
The gossip spread with unusual rapidity. Why? Firstly, from the point of view of the Famus society, Chatsky really looks crazy. All in chorus list the not quite normal actions of Chatsky to the doubting Platon Mikhailovich:
Try about the authorities - and what will he say? (Famusov)
I said something and he started laughing. (Khlestova)
He advised me not to serve in the Archives in Moscow. (Molchalin)
He deigned to call me a fashionista! (Countess - granddaughter)
And he gave my husband advice to live in the countryside. (Natalya Dmitrievna)
And the overall verdict is "crazy all over".
Arriving at the ball, the countess - granddaughter, entering a room full of people will say to her grandmother:
Well, who arrives early!
We are first!
It is hard to imagine that she did not notice at least a dozen faces in the room at that moment. Of course not, it speaks arrogance. Griboyedov shows that there is no friendliness or intimacy among Famusov's guests. It is amazing how this mutual hostility will turn into complete unanimity, with which all those present, forgetting about their own strife, will fall upon Chatsky. And here there will be no time for their own petty grievances, because everyone will equally feel the danger posed by Chatsky for their world.
III.Conclusion
The ball scene ends with Chatsky's famous monologue about "a million torments." Exploring Russian culture, Yu. Lotman wrote that the Decembrists loved to "rattle at the ball and in society", to publicly express their advanced views. But Chatsky utters his monologue into the void: having declared him insane, everyone immediately forgot about him. He speaks passionately of "empty, slavish, blind imitation," but "everyone waltzes with the greatest zeal." This episode reinforces Chatsky's loneliness and to some extent demonstrates the meaninglessness of his speech - a knock on a closed door. Here, at the ball, he himself begins to feel his loneliness.
IV. Analysis of the fourth step
1. Chatsky and Repetilov. Repetilov's self-disclosure.
Repetilov pretends to be a man of advanced convictions, although he has no convictions at all. His stories about "secret meetings" reveal all the vulgarity, pettiness, stupidity of this man. Repetilov is a kind of parody of Chatsky. His appearance further exacerbates the loneliness and drama of Chatsky's position.
2.Decoupling of comedy.
V. Generalization
In the third act, the way of life and ideals of the Moscow nobility were clearly revealed - emptiness and monotony, the absence of bright events, hatred of enlightenment and education.
Do the guests fully believe in Chatsky's madness? Yes and no. Of course, his actions are illogical from the point of view of the Moscow nobility, but in many ways their desire to declare the hero insane is similar to revenge, reprisal against dissent. This is exactly what they will do not in the play, but in life with P.Ya. Chaadaev, somewhat similar to Chatsky.
The comedy conflict reached its logical conclusion at a ball in Famusov's house.
Chatsky's freethinking has become synonymous with madness for his opponents.
VI. Homework
1.Individual task: to restore the biography of Chatsky according to the text of the play.
2. Give examples from the text of the comedy proving the ambiguity of Chatsky's character.
3. Formulate Chatsky's point of view on the main problems of the time. Validate with quotes.
4. Write reviews about Chatsky A.S. Pushkin, I.A. Goncharova, I. Ilyin to comment on them.
5. Using the book by M. Nechkina "Decembrists", find parallels between the images of Chatsky and the Decembrists.
Lesson 6
Image of Chatsky (seminar)
Objectives: to generalize and systematize students' knowledge about the comedy hero, to give a detailed description of the image in the historical and cultural context, through historical and functional analysis to show the diversity of interpretation and evaluation of the image.
I. Biography of Chatsky
Approximate content of the answer
The biography of the hero is typical for a representative of the advanced noble youth of 1810-1820.
Chatsky's childhood passed in the manor house of Famusov. In the years, "when everything is so soft, and tender, and immature," his young heart reacts sharply to the impressions of the life of the Moscow nobility. The spirit of the "past century", "low worship" and the emptiness of life aroused boredom and disgust in Chatsky early. Despite his friendship with Sophia, Chatsky leaves the Famusovs.
... he seemed bored with us,
And rarely visited our house, -
says Sophia.
started independent life. At that time, the Guards, who had just returned with a victory from foreign campaigns, were visiting Moscow. An ardent patriotic feeling and ideas of liberty also embraced the ardent hero.
All this decided his fate. Nor careless Savor, not a happy friendship, not even youthful, but deep and then still mutual love to Sophia could not satisfy him.
Here he thought highly of himself ...
The desire to wander attacked him, -
Sophia continues her story about his life.
Chatsky ended up in Petersburg just at the time when the "liberalist" movement was being born there, at first still uncertain in terms of program and plans, but full of freedom-loving hopes and free-thinking. In this situation, the views, aspirations and mind of Chatsky were formed.
He appears to have taken an interest in literature. Even in Moscow, Famusov heard rumors that Chatsky "writes and translates nicely." Passion for literature was typical for free-thinking noble youth. Many of the Decembrists were writers.
At the same time, Chatsky is fascinated social activity. He has a "connection with the minister." However, not for long ... The comedy clearly states that "communication with the ministers" ended with Chatsky's break ("then a break").
After that, Chatsky may have visited the village. He, according to Famusov, "enjoyed." Obviously, this "whim", which led to the "mistaken management" of the estate, meant humane attitude to the serfs and progressive economic reforms.
Then Chatsky went abroad. At that time they began to look askance at "travels", as a manifestation of the liberal spirit and oppositional independence.
The acquaintance of advanced Russian people with the life, philosophy, and history of Western Europe was of undeniable importance for their ideological development.
After three years of absence, Chatsky returns to Moscow to Famusov's house.
II. The ambiguity of the character of the hero; the inconsistency of his nature: laughing at others, he himself is ridiculous, while he does not feel mockery of himself and suffers deeply; is quite insightful, but he himself is in the power of self-deception ”blaming others, he never feels guilty. The ambiguity of the character of the hero also causes ambiguity of assessments: both irony and compassion. Chatsky is at the same time a hero - a lover included in a comic plot, and a hero - a reasoner.
III. The role of Chatsky in the play and the history of literature is determined not by character, but by convictions. The views of the hero characterize him as an advanced person of his time:
- protest against serfdom, humane treatment of serfs;
- the fight against ignorance, the need for enlightenment;
- condemnation of servility and careerism;
- a call for freedom of thought and expression against slave morality;
- protest against admiration for foreignness.
IV. Russian criticism, starting with A.S., Grigoriev and A. Herzen, began to bring the image of Chatsky closer to the Decembrists. This was facilitated not only by the views of the hero, but also by certain biographical parallels: Chatsky does not want to serve, Ants and Ryleev left the service; traveling around Europe as a sign of freethinking; high speech system, oratorical intonations (“he speaks as he writes”), characteristic of the Decembrists.
Chatsky's loneliness is softened by the fact that he has like-minded people: in the historical context, these are the Decembrists, in the play they are off-stage characters (Skalozub's cousin, Prince Fyodor).
V. Chatsky is a tragicomic figure. The "double" tragedy is embodied in his fate: he is rejected by Sophia and society. The tragedy of Chatsky is the tragedy of an intelligent person when his mind, talent, honesty are not in demand.
VI. Chatsky in the mirror of criticism.
A.S. Pushkin believed that Chatsky was stupid, since he was “throwing pearls” in front of Repetilov, and the only intelligent person in the play was Griboyedov himself.
I. Goncharov in the article “A Million of Torments” emphasizes that Chatsky is a hero who appears when one century changes to another. He is "an advanced warrior, a skirmisher, but always a victim."
I. Ilyin, a religious philosopher of the early 20th century, noted that the drama of Chatsky is that his mind is overshadowed by pride. The mind, directed only at criticism and denunciation, becomes heartless and is a terrible and empty force.
In modern interpretations, Chatsky is undoubtedly a bright personality, an advanced, educated, honest person, but at the same time he is largely mistaken and makes mistakes. His image is inherent in the tragic conflict between the mind, ideas, on the one hand, and the heart, the moral nature of man, on the other. Perhaps Chatsky will learn to live not only with his mind, but also with his heart; his ability to feel deeply is said by the “million torments” that he experiences at the end of the comedy.
VII. Homework
1. What problems does Griboyedov raise in his comedy? How are the title of the comedy and its poetics related?
2. What does it mean to be smart in understanding the lordly Moscow?
3. Is Chatsky smart? What is his mind?
4. How do you understand the meaning of what has become catch phrase"Mind and heart are not in harmony"?
5.Individual task: to prepare a report on the topic "What was the importance attached to the concept of "smart" in the Griboedov era?"
Lesson 7
The Meaning of the Comedy Title and the Problem of the Mind
Objectives: to generalize and consolidate knowledge about the conflict and the problems of comedy, the system of characters, to reveal the key problem of the mind for the play.
I. Opening speech of the teacher. Creation of a problem situation.
“What do you think? In our opinion, he is smart, ”Famusov says to Chatsky, talking about his uncle, Maxim Petrovich. What does "smart" mean "our way" and "your way"?
Sofya says about Molchalin: “Of course, there is no mind in this, that a genius for others, but for others a plague.” What is this?
The reader immediately sees that the key concept of the comedy "mind" is interpreted by the characters in different ways and is generally ambiguous. No wonder the word "mind" is also included in the title of the play.
II. Conversation with the class.
1. What does it mean to be smart in understanding the lordly Moscow?
For Famusov, Molchalin, Skalozub, the concept of "mind" is interpreted from an everyday, practical point of view. This is the mind that brings prosperity to its owner: promotion, profitable marriage, useful acquaintances. From their point of view, “it is impossible not to wish that with such a mind” Chatsky does not want such well-being for himself.
It is impossible not to see that Sophia is smart enough. At the same time, although she stands head and shoulders above her father and his entourage, her mind is of a very special kind. Dreamy and at the same time pragmatic, she sees her ideal in Molchalin, because he is “yielding, modest, quiet” and will, as it seems to her, be an excellent husband. The rebelliousness and love of freedom of Chatsky scare her away: “Will such a mind make the family happy?”
2. Is Chatsky smart? What is his mind?
From the very beginning of the comedy, the hero is evaluated by other characters as an intelligent person. Famusov does not deny him the mind ("he is small with a head"), Sophia is forced to admit that Chatsky is "sharp, smart, eloquent." What is the mind of Chatsky? First of all, in high intelligence, education, brilliant speech (“he speaks as he writes”). Many of his statements are aphoristic, accurate, witty (give examples) and - derogatory (Skalozub - "creating maneuvers and mazurka", Molchalin - "on tiptoe and not rich in words", etc.).
Chatsky is the bearer of new advanced ideas, his judgments reflect courage and independence of views.
But what made Sophia say: “Is he out of his mind?”
With all his mind, Chatsky often does things that are incompatible with the idea of smart person. Everyone is familiar with Pushkin's statement that Chatsky is stupid, because he "throws pearls" in front of unworthy people who simply do not hear him. In addition, he is devoid of insight: he does not see anyone but himself;
Can you call smart? criticisms Chatsky to Sophia's friends and relatives in the very first hours of their meeting after a long separation? Did he do it smartly at the end of the play, when, having witnessed the shame and humiliation of Sophia, he discovered his presence, and even delivered another accusatory speech? Thus, the mind of Chatsky is manifested in comedy in his passionate speeches and judgments, he is not in behavior and actions. Chatsky has an ardent loving heart, but his mind is abstract and sketchy, it is not for nothing that he himself notices that his “mind and heart are out of tune.”
III. The problem of the mind in the context of time (speech by a prepared student or teacher's message).
In democratic criticism back in the 19th century, the opinion was established that for Griboedov and other progressive people of that time, the concept of smart was directly connected with the freedom-loving ideals of the era. In Griboedov's times, the very problem of "mind" was extremely relevant and was interpreted very broadly, as in general the problem of intelligence, education, and career. The concepts of "mind", "smart", "smart", etc. was given at that time, in addition to the usual, also a special meaning. Then, as a rule, these concepts were associated with the idea of a person not just smart, but free-thinking, a person of independent convictions, a herald of new ideas.
IV. Generalization
In Griboyedov's comedy, the problem of the mind, the understanding of what it means to be smart, determines the main conflict of the comedy between Chatsky and Famusov's society, and the behavior of the characters. Griboyedov himself noted that in his comedy "25 fools per sane person", but in the course of the play it becomes clear that the concept of the mind is ambiguous. The mind, in the understanding of Famusov and his guests, is associated with the ability to "reach certain degrees." The mind of Chatsky is in his education and advanced ideas, of which he is the bearer. At the same time, often in specific situations, in communicating with other people, Chatsky lacks subtlety and sensitivity, he does not always control the situation and can give an objective assessment of what is happening, that is, his abstract mind, according to the hero himself, "is out of tune with the heart."
Calling the comedy "Woe from Wit", Griboyedov primarily had in mind Chatsky's mind as free-thinking, freedom-loving. Woe from wit, intertwined with grief from love, became the "driving force" of the entire comedy action, determined its conflicts and problems.
Lesson 8
Humor and satire in the comedy by A.S. Griboyedov "Woe from Wit"
Objectives: to generalize students' knowledge of the poetics of comedy, to focus students' attention on the skill of Griboyedov - a humorist and satirist, to give a sample of a monologue on a literary topic; to form the skill of perceiving the lecture in accordance with the plan, recording the main theses.
Teacher's lecture.
Lecture plan
1. The specifics of comedy as a genre
2. Humor and satire in comedy
A) the "double" plan of the scenes of "Woe from Wit"; combination of dramatic and comic.
B) satirical pathos in exposing the morals of the Moscow nobility. relevance of satire.
C) Chatsky as a "comic face".
D) the language of the play and its role in creating a special element of the comedy movement.
3.Conclusion
A.S. Griboyedov is the author of one work, but so bright and amazing that for almost two centuries it continues to captivate readers and viewers. We laugh at the heroes of the famous play, we sympathize with Chatsky, we never get tired of following the comedic intrigue, we are again and again amazed at the bright and figurative language.
Textbook is the idea that at the heart of "Woe from Wit" is the struggle of the protagonist with Famusov's Moscow, and the role of Chatsky is "a passive role." I.A. also wrote about this. Goncharov in his article "A Million of Torments".
Meanwhile, Griboedov himself defined his play as a comedy, and comedy presupposes that the plot is based on a comic (that is, funny) contradiction between the characters, their views and actions, humor and satire dominate it.
Laughter pervades the whole play; in the words of Gogol, this is a peculiar, positive hero of a comedy. A hero who conquers a gloomy environment, teeming with silent, puffer, Khryumin, Tugoukhov. The strength felt in Chatsky is poured throughout the play and manifests itself precisely in that crushing and cleansing laughter that we perceive as an ally of the hero.
The main events taking place in Woe from Wit are, of course, dramatic in their essence, and nevertheless, almost every scene of the play carries a double semantic load: in addition to serious contradictions, it reveals a humorous essence. So, during the clash of the main characters, Famusov, accusing Chatsky of freethinking, waiting for an answer, quickly forgets his ears, “sees and hears nothing,” as the remark says. Here is Puffer. There is a lot of humor in this whole scene: Famusov, like a parrot, repeats his “to court”, and Chatsky vainly draws his attention to the fact that someone has come to visit. Famusov, on the other hand, “does not see or hear anything,” but instead shouts out: “Huh? rebellion? There is a comically exaggerated result of the feelings and thoughts of the well-intentioned and loyal subject Pavel Afanasyevich. Now this last remark - the hyperbole of the character - contains not only a humorous meaning, but also reveals Famusov's obvious fear of a new way of thinking. Humor gives way to a different tone, satire takes over.
In the image of the "past century" satirical pathos reaches its intensity. Griboyedov denounces the mores of the Moscow nobility, ridicules Famus's views on career, stupid martinetism. Skalozub, obsequiousness and wordlessness of Molchalin. The edge of Griboedov's satire is directed against mental and spiritual stagnation, against a world where "noble scoundrels" and sycophants, notorious swindlers and swindlers, informers and "sinister old women" flourish, united, as if by mutual responsibility, by irreconcilable hostility to "free life". Unfortunately, it must be admitted that these vices were not the offspring of serfdom. Griboedov's satire is universal in nature and is relevant today more than ever.
This was foreseen by I.A. Goncharov, noting that “Griboyedov’s Chatsky, and with him the whole comedy, will hardly ever grow old.”
The main character Chatsky is a “passionate person”, he enters into an irreconcilable conflict with the Famus society, his fate is dramatic. But even a contemporary of the playwright P.A. Vyazemsky noted that Chatsky is "a comical person." He is "madly in love" and therefore does stupid things. Indeed, Griboyedov was not afraid in a number of cases to put the hero in a comic position. So, Chatsky's incredulity about Sophia's love for Molchalin is ridiculous, but Griboedov's ability to create not a rhetorical figure, but a living person can be seen behind such an image of the hero. “Chatsky's distrust ... charming! - and how natural! - Pushkin admired. But this comedic shade in the image of Chatsky exists along with the high intensity of the true drama of the position and behavior of the hero, with the penetrating lyricism of expressing his feelings.
The poetic language of the play itself undoubtedly contributes to the elements of the fast comedy movement.
"Woe from Wit" is written in multi-foot iambic. This size perfectly conveys live, colloquial intonations. No wonder the lines of comedy have become proverbs. Perhaps there is no other work in Russian literature that would contain such an abundance of phrases sparkling with humor.
“Ah, evil tongues are worse than a gun!”, “That’s something by chance, notice you”, “Ah, mother, don’t complete the blow! Who is poor is not a couple for you”, “I would be glad to serve, it’s sickening to serve”, “The legend is fresh, but hard to believe”.
In general, the entire linguistic, stylistic element of "Woe from Wit" reflected the main features of speech, and hence national character Russian person.
Pushkin wrote about this very accurately in connection with Krylov's fables: "... distinguishing feature in our morals there is some kind of cheerful cunning of the mind, mockery and a picturesque way of expressing ... "
Turning to Griboedov's comedy, we always admire her catchy, capacious phrases that hit right on target, without breaking away, we follow unexpected plot twists, situations full of irresistible humor and satirical energy.
Lesson 9
Speech development
Themes of essays on the work of Griboyedov
1) Why hasn’t Griboedov’s Chatsky grown old, and with him the whole comedy?
2) The conflict of two eras in the comedy "Woe from Wit".
3) The theme of education in the comedy "Woe from Wit".
4) The theme of national identity in the comedy "Woe from Wit".
5) The problem of the mind in the comedy "Woe from Wit".
6) Analysis of the episode and its role in the composition of the comedy (episodes: ball scene, meeting with Repetilov, dialogue between Chatsky and Molchalin).
7) Chatsky's friends on stage and behind the stage (in A.S. Griboyedov's comedy "Woe from Wit").
Let's plunge into the atmosphere of the ball of the 19th century The ball is a solemn event, which, like a ritual, has its own ceremonial and rules of conduct, which makes it so majestic and luxurious. Therefore, in order to maintain sophistication and delightfulness, it is necessary to follow the rules of ballroom etiquette.
Brass music sounded at the balls, minuet, country dances, Russian amusing dances, Polish and English dances were danced. Thousands of candles burned in the halls. Stairs were covered with expensive carpets, tropical plants crowded in tubs, and fragrant water flowed from specially arranged fountains.
Important! In the ball scene, Griboedov's innovation was manifested: for the first time in Russian literature, a gallery of human types of noble Moscow was created. The off-stage characters that Chatsky, Famusov, Sofya, and Skalozub talked about in the first acts of the comedy, and episodic characters for the first time do not represent the background of the personal drama of the heroes, but become direct participants in the comedy.
Gorichi, Natalya Dmitrievna and Platon Mikhailovich Natalya Dmitrievna, "young lady", "Fire, blush, laughter, play in all features." Platon Mikhailovich is a retired military man, an old friend of Chatsky, "a Moscow resident and married." He plays the flute, although he is bored, according to Chatsky, he has changed a lot, has become "calm and lazy." He is bored during the ball, the appearance of an old friend revived in him memories of a turbulent youth, but he will not change, he is ready to do everything at the behest of his wife, who powerfully commands her husband, caring little about his spiritual needs (the parallel “my husband is a lovely husband is not accidental”). "And later from the mouth of Molchalin -" Your Spitz is a lovely Spitz ... "
Zagoretsky Anton Antonovich An accurate and capacious description of the character is given by Platon Mikhailovich Gorich: What are these people called more courteously? Tenderer? - he is a man of the world, A notorious swindler, a rogue: Anton Antonych Zagoretsky. With him beware: to endure much, And do not sit down at cards: he will sell. The main purpose of life is to serve, to please everyone. Therefore, he is "scold here, but thanked there."
Skalozub Pavel Afanasyevich He comes to the ball last, and leaves one of the first - this negligence was fashionable among the richest and privileged. He does not have special feelings for Sophia, so he does not need to stay longer in the Famusovs' house, he is always a welcome guest here anyway. In addition, he manifests himself as an army dandy, who pulls his waist with a belt so that his chest sticks out with a “wheel” and his voice resembles a roar (“Wheeperous, strangled man, bassoon”) The surname is speaking. Oddly enough, he turns out to be practically a double of Chatsky in terms of slander and ridicule. Only the first scoffs from bitterness and fullness of the soul, then the second - because it is fashionable
Countess Hryumina: grandmother and granddaughter Countess Granddaughter - “Evil, in girls for a century” Her last remark confirms the evil and absurd character of the old maid, who boasts of her aristocratic origin, looks down on everyone (recall that in the scene of appearance at the ball, when in there were already many guests in the hall, she complains that she arrived first!) And her last phrase is comical in that it aptly characterizes the society to which she herself belongs. Well ball! Well Famusov! Know how to call guests! Some freaks from the other world, And no one to talk to, and no one to dance with!
Why did Famusov gather just such a society? The evening is appointed for the sake of Sophia and Skalozub. This is exactly what the owner of the house is waiting for, and Skalozub, as befits the main guest, was late: he knows his own worth well! In the afternoon there was talk of matchmaking, and now Famusov wants to consolidate his position so that Skalozub can make sure that Sophia is a good match for him. That is why he seeks to introduce Skalozub to his influential sister-in-law. The choice of other guests is also not accidental. Is there a rival for Sophia among women? No! Natalya Dmitrievna with her husband, Countess Khryumina the granddaughter is an evil old maid, the Tugoukhovsky princesses have a much smaller dowry, because there are six marriageable girls in the family. Conclusion: Famusov is a good father who cares about the future of his daughter, and a far-sighted prudent person.
Why is the rumor spreading so fast? Everyone is interested in this, no need to attach importance to words if they come from a person who has gone mad. How does public opinion develop further? It is unanimous. Now the search for the causes of this "unfortunate phenomenon" begins.
Dispute of guests. An important scene in a play. For all its external comicality, Griboedov shows the process of forming public opinion and its true price: absurd conjectures become the ultimate truth for Famusov's guest. Irritation against Chatsky is growing. Everyone finds their own explanation of the causes of madness. Each of the guests turns out to be an enemy who somehow united in their imagination with Chatsky: lyceums and gymnasiums, a pedagogical institute and Prince Fedor, chemistry and fables, professors, and, most importantly, books. “Learning is the plague, learning is the cause,” exclaims Famusov. The multitude of these "enemies" gradually causes fear. The point, it turns out, is not only in Chatsky, who can be pitied. “There was a man, he had about three hundred souls,” Khlestova’s remark is sympathetic.
A new incomprehensible direction of life is disturbing, and projects for the suppression of evil are already being born. Puffer is in a hurry to please: in schools "they will only teach in our way: one, two!" Famusov dreams of more: “To collect all the books and burn them.” For all the comical nature of the scene, it is quite ominous: these projects at different times in the history of our country were truly implemented.
The climax is the most intense moment in the development of the plot, the decisive crucial moment in the relationship and clash of the characters, from which the transition to the denouement begins. To whom are Chatsky's words addressed? Why? What is the meaning of this episode? Describe the state of the hero at the end of this scene.
This monologue of the hero is the only one during the ball. Where it is said about high and significant things: - about deceived hopes for love, - about the loss of faith in changing society, mores. Chatsky still turns his monologue to Sophia, not noticing her mockery. And again in the play - a combination of a comic situation and a dramatic state of the hero. jpg htm
Lesson topic: “Analysis of the third, fourth acts of the comedy “Woe from Wit”
Goals: in the course of the analysis of the third and fourth acts, generalize ideas about the lifestyle and ideals of the Moscow nobility, show the role of Repetilov in the play, and determine the climax and denouement of the comedy.
I. Organizational moment.
A summary of the second act of the comedy.
The development of love and social comedy conflict.
Views on the life of Chatsky and Famusov.
II. Analysis of the third act.
1. Molchalin and his role in comedy. Dialogue between Sofia and Chatsky about Molchalin.
What is Molchalin, according to Sophia?
Molchalin in the perception of Sophia is a moral ideal, essentially Christian, with its humility, love for one's neighbor, spiritual purity, readiness for self-sacrifice, unwillingness to judge, etc.
Why Chatsky perceives Sophia's words as a mockery
over Molchalin?
Molchalin in the perception of Chatsky is a low-flyer, a person deprived of independence, a flatterer, a saint,
extremely unintelligent.
What impression did Molchalin make on you?
Why is Molchalin scary?
He is a hypocrite, hides his true face, changes his behavior all the time depending on the situation, nothing is dear to him, he is a man without principles and honor.
Chatsky and Molchalin as antipodes.
2. Analysis of the ball scene.
Describe the guests at the ball. What is the role of supporting characters in comedy?
In the play, events follow one after another, but suddenly seem to stop, giving way to a panoramic image of a ball in Famusov's house. Invited people come to the house. The ball begins with a peculiar parade of guests, each of whom appears for the first time in the play. But with the help of just a few expressive strokes, primarily a speech characteristic, Griboedov manages to create a three-dimensional image, a lively, full-blooded character.
The couple is the first in the guest gallery Gorichey. Platon Mikhailovich, a former colleague of Chatsky, is now not just a retired military man, but "adorable husband" a man without a will, completely submissive to his wife. His remarks are monotonous and short, and he does not have time to answer Chatsky, his wife does it for him. Anything he can say to a former friend. "Now, brother, I'm not the one...".
He seems to be "not the one" because he fell under the heel of his wife. But in fact, he is “not the same” primarily because he has lost his former ideals. Not having the will to defend Chatsky decisively against the slanderers, he eventually betrays his friend. And it is no coincidence that in the fourth act, at the departure, Gorich grumbles about boredom and does not remember his slandered comrade in a word.
A string of guests pass in front of the audience.
Princes Tugoukhovsky concerned only with the successful marriage of their daughters; evil and vicious granddaughter countess who finds flaws in everyone present, "notorious swindler, rogue" Anton Antonych Zagorets cue, gossiper and sharper, but a master of obsequiousness; old woman Khlestov, an old Moscow lady, distinguished by her rude frankness.
The dispute between Khlestova and Famusov is indicative of how many serf souls Chatsky has. Everything is significant here: and the exact knowledge of the state of another person ( “I don’t know other people’s estates!” ), and the famous Khlestov "Everybody Lies Calendars" , and the fact that the last word is hers.
All the characters of the second plan are important in the comedy not in themselves - in the aggregate they represent the world of noble Moscow, where their own laws and rules reign. In their midst, Chatsky's foreignness is especially clearly manifested. If in a collision with Molchalin, Famusov, Skalozub they "converged" one on one, then the ball scene revealed the complete loneliness of Chatsky.
3. The climax of the play.
What is the climax of comedy?
The climax of the whole comedy is gossip about the hero's madness.
How did it happen? How and why was the rumor about Chatsky's madness born?
Sophia's first line: "He has a screw loose" - just fell off her tongue, at first she was frightened: "Not at all." but the social gossips G.N., then G.D. saw an opportunity to amuse themselves by spreading rumors. Then Sophia made a conscious decision, which was dictated by resentment for Molchalin: “Ah, Chatsky, do you like to dress everyone up as jesters, / Do you want to try on yourself?”
- Let's try to trace the spread of this "news»/spreadsheet/
Was Chatsky's announcement crazy inevitable and followed from the whole development of the action, or is it still an accident?
Why did gossip about Chatsky's madness spread so quickly?
His thoughts, ideals are incomprehensible, he does not accept what they value, he is a man of a different breed, he White crow". For them, his truth sounds like an insult for which they want to avenge
Do the guests fully believe in Chatsky's madness?
What do the guests and members of the Famusov family see as signs and causes of Chatsky's "madness"?
The gossip spread with unusual speed.
Firstly, from the point of view of the Famus society, Chatsky really looks crazy. All in chorus list the not quite normal actions of Chatsky to the doubting Platon Mikhailovich:
Try about the authorities - and knows what he will say! (Famusov)
1. PLACE OF THE EPISODE
3 action 3 phenomenon. This episode begins immediately after the words of Chatsky “I will sacrifice whole days there to rumor. About the mind of Molchalin…”, which makes it clear that we are talking about the discovery of the image of Molchalin.
2. ROLE OF THE EPISODE
Description of some points in the character of Molchalin. Thanks to dialogue and disagreements, a description of Chatsky is also given, a comparison of their attitude to service, to life, business and entertainment, the presence or absence of each of their own opinions is revealed.
Therefore, this episode helps to characterize
characters for a deeper further understanding of the action in comedy.
3. MAIN CONFLICTS
There are two main conflicts: love and social. In this episode, there is no clash in a love conflict, Chatsky only leads a short reflection on how Sophia could choose a person like Alexei Stepanych. The role of this piece of comedy is mainly traced in the disclosure of social conflict. For this, two sides are opposed: reason, honor, moral values- Alexander Andreevich Chatsky, and servility, the desire for profit, wealth by any means - Alexei Stepanovich Molchalin.
4. THE ROLE OF THE EPISODE IN REVEALING THE CHARACTER OF THE MAIN ACTORS
“- You were not given ranks, did you fail in your service?”
“- Ranks are given by people, but people can be deceived”
Molchalin is primarily interested in rank, judges a person by his career and thus forms an attitude towards him. Chatsky immediately makes it clear that for him the rank is only a separate characteristic of a person. Alexander Andreevich judges by the mind, inner qualities, and each according to a single standard of assessments. Chin is an indicator of how much a person knows how to serve and grease up to more “higher people”.
“I don't know her.
– With Tatyana Yurievna!!!”
Molchalin focuses on this name, as if saying: “How can you not know such a great person with such a high rank?” For Chatsky, this woman is not a saint because of her position; to the statement of the interlocutor that Alexander Andreevich needs to go to her, he replies: “What for?” - I don't see the point in it.
5. CHARACTERISTICS OF CHATSKY
Chatsky is smart, eloquent and, in general, very talkative. A fighter for social independence and the assessment of a person not by rank, but by mind and development. He believes that "ranks are given by people, but people can be deceived." He does not seek patronage, being in business, he gives himself completely to them, in fun - fun. He is not one of those who "mix these two crafts." He is "not a reader of nonsense, but more exemplary."
According to Chatsky, a person should not completely surrender to someone else's opinion, regardless of his rank; you should always have your own opinion.
6. CHARACTERISTICS OF MOLCHALIN
Molchalin is a pronounced servant. As Chatsky said: “There is only little mind in him”, “Helpful, modest in the face there is a blush”, “not rich in words”. In conversation, he immediately began to boast of his ranks. Has two talents: moderation and accuracy. Subservience and the desire for wealth deprive him of all moral values. He admires rich people with a high position, does not dare to express his opinion due to the fact that “in his years one should not dare to have his own judgment”, and someone else’s, stereotyped opinion is sacred to him.
7. COMPOSITION OF THE EPISODE
Plot: Chatsky's reflections on Molchalin and the beginning of a conversation with him.
Action development: Conversation between characters
The climax: “I don’t dare to pronounce my judgment ...” is the beginning of the main moment that determines the position and pity of Molchalin.
The denouement: “With such feelings, with such a soul, we love! .. The deceiver laughed at me!”
The author has an ambiguous attitude towards Chatsky. On the one hand, he is goodie relatively famusovskogo society, smart, has not lost moral values, noble. On the other hand, Alexander Andreevich is too intrusive, too smart for those people. He is trying to change the already formed worldview of the representatives of the past century and those who are under their influence. This was the reason that they began to call him crazy. Molchalin - explicit villain. Griboyedov shows him as miserable and immoral, but at the same time lucky because of his position: he greases up Famusov, making his career path, and everything, for the time being, went very well with Molchalin. Only because of this, he wins over Chatsky in love, in relation to strangers.
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