A. Griboyedov. The play “Woe from Wit. The problem of the genre of the play by A.S. Griboyedov “Woe from Wit” Author’s definition of the genre of the play Woe from Wit

Features of the comedy genre "Woe from Wit"

A.S. Griboyedov initially defined his work as:

• "stage poem"
• then as a “dramatic picture”
• and only then as a comedy .

"Woe from Wit" is a satirical comedy. The main thing in it is the discrepancy between external and internal, thoughts and behavior. So, Molchalin, well-behaved in words, is a cynic in relation to people, but in words and in behavior he is kind and helpful.

The characters’ statements about Skalozub are also contradictory:

“And a golden bag, and aims to become a general” - “... I haven’t uttered a smart word for a long time.”

The high position of the characters does not correspond to their behavior or thoughts.

Skalozub says:

“...to get ranks, there are many channels.”

Famusov occupies a fairly large post - a manager in a government place, but he formally and lazily approaches his duties:

“My custom is this: it’s signed, then off your shoulders.”

The morality of this society is opposed to universal human morality:

“Sin is not a problem, rumor is not good.”

Sometimes Chatsky’s speeches are not understood by other characters or misunderstood.

Comic features and transformations in the play "Woe from Wit"

There are also comic inconsistencies in Chatsky’s character. Pushkin, for example, denied Chatsky intelligence. The fact is that this smart man finds himself in an absurd situation and still throws pearls before swine. No one listens to him (3rd act) or hears him.

The love triangle is comically transformed into a comedy.

Chatsky loves Sophia, who loves Mochalin, while Molchalin confesses his love to the maid Liza, who in turn dreams of the bartender Petrusha.

The characters' language is comical. Contemporaries already noted that many lines of the comedy became aphorisms

(“Well, how can you not please your loved one”, “I went into a room and ended up in another”, “A carriage for me, a carriage”, “Kuznetsky Most and the eternal French” and many others).

So, the poet Griboyedov defined the genre of his text as comedy. However, everything is not so simple: the comic circumstances in which the main character finds himself, the constant various inconsistencies, the contradictions between the comic and the tragic - all this helps him to most fully reveal the tragic conflict between

"past century" and "present century". Perhaps the genre “Woe from Wit” should be called a tragicomedy. The predominance of socio-political conflict over love is what makes the play a tragicomedy. Gogol called “Woe from Wit” a “social comedy.”

What is important here is that the best satirical writer and playwright of the 19th century calls this text a comedy, thus confirming Griboyedov’s definition.

At the same time, the fact that experts are still arguing about the genre uniqueness of the play “Woe from Wit” suggests that this wonderful thing still remains a mystery for critics, literary scholars, readers and viewers.

Comedy is the flower of civilization, the fruit of a developed society. To understand the comic, one must be at a high level of education.
V. G. Belinsky

The genre of “Woe from Wit” is a social (ideological) satirical comedy. The theme of this work is the depiction of a socially significant collision between the “present century”, which wants to replace the old social order and correct the morals of society, and the “past century”, which is afraid of any social changes, because these changes really threaten its well-being. That is, the comedy describes the clash between the progressive and reactionary nobility. The named social contradiction is fundamental for the era that came after the Patriotic War of 1812, which exposed many of the fundamental vices of Russian society. First of all, these were, of course, absolutism, serfdom, bureaucracy, and cosmopolitanism.

“Woe from Wit” is an ideological comedy, since Griboyedov pays a lot of attention to the heroes’ disputes on the most pressing issues of his time, social and moral. At the same time, the playwright cites statements from both Chatsky, who expresses progressive views, and Famusov, Skalozub, Molchalin and guests who defend a conservative point of view.

The most important issue in Griboedov's contemporary Russia was the question of serfdom, which underlay the economic and political structure of the state. Chatsky, it must be admitted, does not oppose the serfdom, but boldly condemns the abuses of the serf owners, as evidenced by the famous monologue “Who are the judges?” The hero mentions “Nestor of the noble scoundrels,” who exchanged his serf servants for three greyhound dogs, although Zealous, in the hours of wine and fights, both his honor and his life saved him more than once... (II, 5) Chatsky also talks about the owner serf theater: having gone bankrupt, he sold his serf artists one by one.

All discussions about the cruelty of serfdom do not touch the representatives of Famus society - after all, all of today’s well-being of the nobility is built on serfdom. And how easy it is to manage and push around completely powerless people! This can also be seen in Famusov’s house, who pesters Lisa, scolds the servants, and is free to punish them all when and how he pleases. This is evidenced by Khlestova’s behavior: she orders her dog and the blackamoor girl to be fed in the kitchen. Therefore, Famusov simply does not respond to Chatsky’s angry attacks against the serf owners and leaves the room, and Skalozub from the monologue “Who are the judges?” I only caught the condemnation of the guards uniform, embroidered with gold, (!) and agreed with it.

Chatsky, like Griboyedov, believes that the dignity of a nobleman is not in being a serf owner, but in being a faithful servant of the Fatherland. Therefore, Chatsky is convinced that it is necessary to serve “the cause, not the persons” (II, 2). To Famusov’s advice to serve, he reasonably replies: “I would be glad to serve, it’s sickening to serve” (ibid.). Representatives of Famus society have a completely different attitude towards service - for them it is a means of achieving personal well-being, and the ideal is an idle life for their own pleasure. That’s why Pavel Afanasyevich talks with such delight about his uncle Maxim Petrovich, who rose to the rank of chamberlain, entertaining Catherine with buffoonery. "A? What do you think? In our opinion, he’s smart,” exclaims Famusov. Skalozub echoes him:

Yes, to get ranks, there are many channels;
I judge them as a true philosopher:
I just wish I could become a general. (II, 5)

Molchalin advises Chatsky:

Well, really, why would you serve with us in Moscow?
And take awards and have fun? (III,3)

Chatsky respects smart, efficient people, and he himself is not afraid to do bold things. This can be judged from Molchalin’s vague hints about Chatsky’s St. Petersburg activities:

Tatyana Yuryevna said something,
Returning from St. Petersburg,
With ministers about your connection,
Then the break... (III, 3)

In Famus society, people are valued not by their personal qualities, but by their wealth and family ties. Famusov proudly speaks about this in a monologue about Moscow:

For example, we have been doing this since ancient times,
What honor is there between father and son;
Be bad, but if you get enough
Two thousand ancestral souls, -
He's the groom. (II, 5)

People in this circle revere foreigners and foreign culture. However, the low level of education allows Countess-granddaughter Khryumina and the Tugoukhovsky princesses to understand only French fashion - they excitedly discuss folds and fringes on new outfits at the ball. Chatsky in his statements (especially in the monologue “In that room there is an insignificant meeting...” III, 22) very sharply condemns servility before foreign countries. He, on the contrary, acts as a patriot of Russia and believes that Russian history is in no way inferior, for example, to French, that the Russian people are “smart, cheerful” (ibid.), that while respecting someone else’s culture, one should not neglect one’s own.

Famus society is afraid of true enlightenment. It associates all troubles with books and “learning.” This opinion is formulated very clearly by Pavel Afanasyevich himself:

Learning is the plague, learning is the reason,
What is worse now than then,
There were crazy people, deeds, and opinions. (III, 21)

All the guests are in a hurry to agree with Famusov on this issue; everyone has words here: Princess Tugoukhovskaya, old woman Khlestova, even Skalozub. Chatsky, as a spokesman for the progressive ideas of his time, cannot agree with such views of Famusov and his guests. On the contrary, he respects those

Who is the enemy of written out faces, frills, curly words,
In whose head, unfortunately,
Five, six there are healthy thoughts,

And he will dare to publicly announce them... (III, 22) A frivolous attitude towards the education and upbringing of noble children naturally follows from the disdain on the part of Famus society for education and science. Loving parents

The regiments are busy recruiting teachers;
More in number, cheaper in price...(I, 7)

Foreigners with dubious pedagogical reputations become educators of noble minors. The sad result of such an education system (admiration for Europe and contempt for the Fatherland) can be observed in the third act:

Oh! France! There is no better region in the world!
The two princesses, sisters, decided, repeating

A lesson that was taught to them from childhood. (III, 22) Since the love line is one of the two plot-forming elements, the comedy also examines relationships in noble families. The Gorich couple become an exemplary family for Famus society. The “ideal husband” Gorich turns into the toy of his capricious wife. Chatsky ridicules such relationships, and Platon Mikhailovich himself complains about his life, boring, monotonous, empty (III, 6).

“Woe from Wit” is a satirical comedy, because it evilly ridicules the socially significant vices of the heroes. Almost all the characters in the play are described satirically, that is, their outward appearance hides their inner emptiness and petty interests. This is, for example, the image of Skalozub - an undeveloped man, a martinet, who, however, “aims to become a general” (I, 5). This colonel is only well versed in uniforms, orders, and cane discipline. His tongue-tied phrases indicate primitive thinking, but this “sage” is the hero of all living rooms, Famusov’s desired daughter’s fiancé and relative. Molchalin is satirically depicted as an outwardly quiet, modest young official, but in his last frank conversation with Lisa he is revealed as a low hypocrite:

My father bequeathed to me:
First, please all people without exception -
The owner, where he will live,
The boss with whom I will serve,
To his servant who cleans dresses,
Doorman, janitor, to avoid evil,
To the janitor's dog, so that it is affectionate. (IV, 12)

Now all his talents take on a different meaning: he appears before the characters of the play and readers as a man without honor and conscience, ready to do any baseness for the sake of his career. Repetilov also has a satirical character. This one hints at a secret society, at some important state task, but it all comes down to the empty noise and scream of his drinking companions, because for now there is an important “state matter: It, you see, has not matured” (IV, 4). Of course, Famusov’s guests are also presented satirically: the gloomy old woman Khlestova, the absolutely stupid princesses, the faceless gentlemen N and D, the nosy Zagoretsky. The countess-granddaughter gives an exhaustive description of them all:

Well Famusov! He knew how to name guests!
Some freaks from the other world,

And there is no one to talk to, and no one to dance with. (IV, 1) Satirically depicts Griboyedov and Chatsky: this enthusiast preaches noble ideas in Famusov’s living room in front of self-satisfied and empty people who are deaf to the preaching of goodness and justice. A.S. Pushkin pointed out such unreasonable behavior of the main character in his review of “Woe from Wit” (letter to A.A. Bestuzhev at the end of January 1825).

However, the ending of the satirical work is not only not funny, but even dramatic: Chatsky lost his beloved girl, whom he dreamed of for three years apart; he is declared crazy and is forced to leave Moscow. Why did Griboyedov call his play a comedy? This issue is still discussed in literary criticism. It seems that the best interpretation of Griboyedov’s plan is given by I.A. Goncharov in the article “A Million Torments”: by calling “Woe from Wit” a comedy, the playwright wanted to emphasize the optimism of his work. In the struggle between the “present century” and the “past century,” Famus society wins only outwardly. Chatsky, the only one defending progressive ideas, was broken by the “number of old forces”, while he himself dealt her a fatal blow - after all, to all his critical remarks and reproaches, ideological opponents could not object to anything on the merits and, without thinking twice, declared him crazy. Chatsky, according to Goncharov, refutes the Russian proverb: one in the field is not a warrior. A warrior, Goncharov objects, if he is Chatsky, and a winner, but at the same time a victim.

So, “Woe from Wit” is an extremely meaningful work of art. The comedy is full of concrete life material from Griboyedov’s era and reflects the political struggle of its time, the struggle between the leading part of the nobility and the inert majority. In a short play, the playwright raised the most important social problems (about serfdom, the appointment of noble service, patriotism, upbringing, education, family relations among the nobility, etc.), and presented opposing points of view on these problems.

The serious and multi-problem content determined the genre originality of the work - a social (ideological) satirical comedy, that is, high comedy. The importance of the social problems raised in “Woe from Wit” becomes clear when comparing this work with other plays of the same time, for example, with the popular household comedies of I.A. Krylov “A Lesson for Daughters”, “The French Shop”.

Essay plan

1. Introduction. Genre definition of Griboyedov’s play “Woe from Wit” by Russian criticism.

2. Main part. Features of various genres in the play.

The linguistic element of the comic in the play.

? "Woe from Wit" as a comedy of characters.

? "Woe from Wit" as a sitcom. The motive of the fall and its comic significance.

? "Woe from Wit" as a sitcom. The motive of deafness and its comic meaning.

Parody effects of the play.

? "Woe from Wit" as a satire and political comedy.

Features of drama in Griboedov's comedy.

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

Comedy “Woe from Wit” by A.S. Griboedova destroyed traditional genre principles. Sharply different from the classic comedy, the play was not based on a love affair. It could not be attributed to the genre of everyday comedy or comedy of characters in its pure form, although the features of these genres were also present in the work. The play was, as contemporaries said, “high comedy,” the genre that Decembrist literary circles dreamed of appearing. Woe from Wit combined social satire and psychological drama; comic scenes were replaced by lofty and pathetic scenes. Let's try to consider the genre features of the play in more detail.

First of all, let us note the comic elements in the work. It is known that Griboyedov himself called “Woe from Wit” a comedy. And here, of course, it is worth noting the presence in the play of both obvious comic devices and hidden authorial irony. The playwright's comic language techniques are hyperbole, alogism, ambiguity, reduction to absurdity, distortion of foreign words, the use of foreign words in the Russian speech of characters. Thus, we notice hyperbole in the remarks of Molchalin, who strives to please “the janitor’s dog so that it is affectionate.” This technique has something in common with the technique of reduction to absurdity. So, discussing Chatsky’s madness with guests, Famusov notes the “hereditary factor”: “I followed my mother, Anna Aleksevna; The deceased went crazy eight times.” In the speech of old woman Khlestova there is an alogism: “There was a sharp man, he had three hundred souls.” She determines Chatsky’s personal characteristics by his condition. Ambiguity is heard in the speech of Zagoretsky, who condemns the fabulists for “...eternal ridicule of lions! over the eagles! At the end of his speech, he declares: “Whatever you say: Even though they are animals, they are still kings.” It is this line that equates “kings” and “animals” that sounds ambiguous in the play. The comic effect is also created due to the author’s distortion of foreign words (“Yes, the power is not in Madame,” “Yes, from Lankart mutual teaching”).

“Woe from Wit” is also a comedy of characters. The image of Prince Tugoukhovsky is comedic, who, suffering from deafness, misunderstands those around him and misinterprets their remarks. An interesting image is of Repetilov, who is both a parody of Chatsky and at the same time the antipode of the main character. There is also a character in the play with a “talking” surname - Skalozub. However, all his jokes are rude and primitive; this is real “army humor”:

I am Prince Gregory and you
I'll give the sergeant major to Voltaire,
He will line you up in three ranks,
Just make a noise and it will instantly calm you down.

Skalozub is not witty, but, on the contrary, stupid. A certain element of the comic is also present in the character of Chatsky, whose “mind and heart are not in harmony.”

The play has features of a sitcom and parody effects. Thus, the author repeatedly plays on two motives: the motive of falling and the motive of deafness. The comic effect in the play is created by Repetilov's fall (he falls at the very entrance, running into Famusov's house from the porch). Chatsky fell several times on the way to Moscow (“More than seven hundred versts flew by - wind, storm; And he was completely confused, and fell how many times ...”). Famusov talks about the fall of Maxim Petrovich at a social event. Molchalin's fall from his horse also causes a violent reaction from those around him. So, Skalozub declares: “Look at how it cracked - in the chest or in the side?” Molchalin’s fall reminds him of the fall of Princess Lasova, who “the other day was completely crushed” and is now “looking for a husband for support.”

The motif of deafness is heard already in the first scene of the play. Already in her first appearance, Lisa, having failed to reach Sofya Pavlovna, asks her: “Are you deaf? - Alexey Stepanych! Madam!.. - And fear does not take them!” Famusov covers his ears, not wanting to listen to Chatsky’s “false ideas”, that is, he becomes deaf of his own free will. At the ball, the countess-grandmother’s “ears got blocked,” and she notes that “deafness is a big vice.” At the ball, Prince Tugoukhovsky is present, who “hears nothing.” Finally, Repetilov covers his ears, unable to bear the choral recitation of the Tugoukhovsky princesses about Chatsky’s madness. The deafness of the characters here contains a deep internal subtext. Famus society is “deaf” to Chatsky’s speeches, does not understand him, does not want to listen. This motive strengthens the contradictions between the main character and the world around him.

It is worth noting the presence of parody situations in the play. Thus, the author parodically reduces the “ideal romance” of Sophia with Molchalin by comparing Liza, remembering Aunt Sophia, from whom the young Frenchman ran away. However, in “Woe from Wit” there is also a different kind of comedy, which ridicules the vulgar aspects of life, exposing the playwright’s contemporary society. And in this regard, we can already talk about satire.

Griboyedov in “Woe from Wit” denounces social vices - bureaucracy, veneration of rank, bribery, serving “persons” rather than “causes,” hatred of education, ignorance, careerism. Through the mouth of Chatsky, the author reminds his contemporaries that there is no social ideal in his own country:

Where? show us, fathers of the fatherland,
Which ones should we take as models?
Aren't these the ones who are rich in robbery?
They found protection from court in friends, in kinship,
Magnificent building chambers,
Where they spill out in feasts and extravagance,
And where foreign clients will not be resurrected
The meanest features of the past life.

Griboyedov's hero criticizes the rigidity of the views of Moscow society, its mental immobility. He also speaks out against serfdom, recalling the landowner who traded his servants for three greyhounds. Behind the lush, beautiful uniforms of the military, Chatsky sees “weakness” and “poverty of reason.” He also does not recognize the “slavish, blind imitation” of everything foreign, manifested in the dominance of the French language. In “Woe from Wit” we find references to Voltaire, the Carbonari, the Jacobins, and we encounter discussions about the problems of the social system. Thus, Griboyedov’s play touches on all the topical issues of our time, which allows critics to consider the work a “high” political comedy.

And finally, the last aspect in considering this topic. What is the drama of the play? First of all, in the emotional drama of the main character. As noted by I.A. Goncharov, Chatsky “had to drink the bitter cup to the bottom - not finding “living sympathy” in anyone, and leaving, taking with him only “a million torments.” Chatsky rushed to Sophia, hoping to find understanding and support from her, hoping that she would reciprocate his feelings. However, what does he find in the heart of the woman he loves? Coldness, causticity. Chatsky is stunned, he is jealous of Sophia, trying to guess his rival. And he cannot believe that his beloved girl chose Molchalin. Sophia is irritated by Chatsky’s barbs, his manners, and behavior.

However, Chatsky does not give up and in the evening he comes to Famusov’s house again. At the ball, Sophia spreads gossip about Chatsky's madness, which is readily picked up by everyone present. Chatsky enters into an altercation with them, makes a hot, pathetic speech, exposing the meanness of his “past life.” At the end of the play, the truth is revealed to Chatsky, he finds out who his rival is and who spread rumors about his madness. In addition, the entire drama of the situation is aggravated by Chatsky’s alienation from the people in whose house he grew up, from the whole society. Returning “from distant wanderings,” he does not find understanding in his homeland.

Dramatic notes are also heard in Griboyedov’s depiction of the image of Sofia Famusova, who suffers her “millions of torments.” She bitterly repents, having discovered the true nature of her chosen one and his real feelings for her.

Thus, Griboyedov’s play “Woe from Wit,” traditionally considered a comedy, represents a certain genre synthesis, organically combining the features of a comedy of characters and sitcoms, features of a political comedy, topical satire, and, finally, psychological drama.

1) comedy 2) tragedy 3) drama 4) vaudeville.

A 2. Chatsky and Sophia discuss the relationship problem:

1) to public service 2) to morality and duty 3) to love 4) to native places and foreign lands.

A 3. The above dialogue between Chatsky and Sophia occurs:

1) in the epilogue of the play 3) at the very beginning of the play, in Famusov’s house;

2) in the middle of the play during the ball 4) immediately after Chatsky’s arrival at Famusov’s house

A 4. What prompts Chatsky to say that morals in Moscow have not changed?

1) the desire to show off in front of Sophia;

2) the desire to express one’s own views to a loved one;

3) concern about the situation in Moscow;

4) Chatsky’s reluctance to be sincere with Sophia.

IN 1. Chatsky’s words that nothing has changed in Moscow represent a complete, detailed statement. What is this type of statement called in a dramatic work?

AT 2. What is the name of the question asked by Chatsky to Sophia, the answer to which would help to understand the heroine’s mental turmoil: “Aren’t you in love?”?

AT 3. Chatsky's speech features heroes who do not appear on stage. What are such characters called in drama?

AT 4. In the conversation of the heroes there are the following statements: “ Where is better? / Where we are not”, “He made a match - he managed, but he missed”. What do you call a saying that is distinguished by brevity, capacity of thought and expressiveness?

Give a complete, detailed answer to the problematic question, drawing on the necessary theoretical and literary knowledge, relying on literary works, the author’s position and, if possible, revealing your own vision of the problem. (8-10 sentences)

C1. Describe the behavior of Chatsky and Sophia in this fragment of A.S. Griboyedov’s play “Woe from Wit”.

Answers

Option 4 (group 2)

Famusov

Perhaps all the fuss will fall on me.

Sofia

In a vague dream, a trifle disturbs;

Tell you a dream: you will understand then.

Famusov

What's the story?

Sofia

Should I tell you? Famusov

Well, yes. . (Sits down.) Sofia

Let me... see... first

Flowery meadow; and I was looking

Grass

Some, I don’t remember in reality.

Suddenly a nice person, one of those we

We'll see - it's like we've known each other forever,

He appeared here with me; and insinuating and smart,

But timid... You know, who is born in poverty...

Famusov

Oh! Mother, don’t finish the blow!

Anyone who is poor is not a match for you.

Sofia

Then everything disappeared: the meadows and the skies. -

We are in a dark room.

To complete the miracle

The floor opened - and you are from there,

Pale as death, and hair on end!

Then the doors opened with thunder

Some are not people or animals,

We were separated - and they tortured the one sitting with me.

It’s like he’s dearer to me than all the treasures,

I want to go to him - you drag him with you.

We are accompanied by groans, roars, laughter, and whistles of monsters!

He shouts after him! -

Awoke. -

Someone says -

I run here and find you both.

Famusov

Yes, it’s a bad dream; as soon as I see it,

Everything is there, if there is no deception:

And devils and love, and fears and flowers.

Well, my sir, what about you?

Famusov

He is heard by everyone, and he calls everyone until dawn!

Molchalin

With papers, sir.

Famusov

Yes! they were missing.

Have mercy that this suddenly fell

Diligence in writing!

(Rises.)

Well, Sonyushka, I will give you peace:

Some dreams are strange, but in reality they are stranger;

You were looking for some herbs,

I came across a friend quickly.

Get rid of the nonsense from your head;

Where there are miracles, there is little stock. -

Go, lie down, go to sleep again.

(Molchalin)

Let's go sort out the papers.

(A.S. Griboedov “Woe from Wit”)

A1. How A.S. Griboedov determined the genre of his play “Woe from Wit”?

1) tragicomedy 2) drama 3) tragedy 4) comedy

A2. The scene shown in this fragment takes place

1) in the morning at the door of Sophia’s bedroom 3) at night after the guests leave

2) during the day in Famusov’s office 4) in the evening in the ballroom

A3. Famusov's dissatisfaction is caused by the fact that

1) he accidentally woke up Sophia 3) he found Molchalin next to Sophia

2) Sophia had a strange dream 4) he will have to “sort out the papers”

A4. Among Famusov’s remarks, the most significant (key) is his phrase

1) “Dreams are strange, but in reality they are stranger” 3) “Yes, stupid owl; I see"

2) “Whoever is poor is not a match for you” 4) “Where there are miracles, there are few resources”

“Woe from Wit” by A. S. Griboyedov can truly be considered an innovative work. There is still controversy over the genre of this play.

It is customary to define the genre of a work as a comedy. Indeed, in the play one can observe comic situations in which comic characters find themselves. For example, the image of Skalozub personifies lack of education and narrow-mindedness; in all scenes he is funny. Yes, even Chatsky himself, according to A.S. Pushkin, looks funny when he tries to “throw pearls” in front of uneducated people. The language of the play is also comical, it is light, witty, and easy to remember. It’s not for nothing that the speech is so aphoristic.

But it is impossible to precisely define the type of comedy. There are features of character comedy, domestic comedy, and social satire here.

Griboyedov himself initially defines the work as a stage poem, then calls it a dramatic picture, and subsequently designates the play as a comedy in verse. Even here we see the impossibility of clearly defining the genre uniqueness of Griboyedov’s work. The writer's contemporaries called the play a high comedy, since in it the author raises quite serious problems of his contemporary society.

However, there are critics who argue about whether the play Woe from Wit is a comedy. An important argument is that the main character, Chatsky, is far from comical. In the play there is a confrontation between an educated person and a society that does not understand him. And this conflict between the “past century” and the “present century” is tragic. In this we note the features of a tragedy.

Chatsky even experiences a spiritual drama, finding himself in confrontation with the entire society. Sophia, who is disappointed in her lover, also experiences a drama, but of a personal nature. Therefore, the features of the dramatic genre appear here.

Thus, the author's intention was so great that it could not fit into the framework of one genre. One can note the features of drama and tragedy, although the leading genre, of course, is comedy, the principle of which is “laughter through tears.”

Option 2

The work is not one of the classical literary genres, since it refers to the innovative creation of the writer, who initially defined the play in the form of a stage poem, then called it a dramatic picture, and subsequently classified it as a comedy work.

The author deliberately departs from the traditional principles of the works of classicism, introducing several conflicts into the storyline of the play, in which, in addition to the love line, there is an acute socio-political orientation, which determines the main theme of the comedy in the form of a tragic confrontation between an intelligent person, exposing bribery, careerism, hypocrisy, and the narrow-minded people around her. to society.

To realize his creative plan, the writer makes significant adjustments to the classic canons of the traditional understanding of the comedic literary genre.

Secondly, the author, describing the characteristic features of the characters in the comedy, adds realistic, reliable qualities to them, endowing each of the heroes with both positive and negative character traits. The realism of the play is emphasized by the author’s disclosure of pressing problems that concern progressive representatives of modern society, which the writer expresses through the image of the main character of the work.

In addition, the comedy contains elements of a dramatic work, which are expressed in the emotional experiences of the main character, faced with unrequited love.

Using sharp satire in the narrative, the writer presents his work as a living demonstration of existing social life, mired in hypocrisy, servility, deceit, hypocrisy, and greed. The comic speech of the play's heroes is replete with the use of numerous picturesque, bright, expressive aphorisms, which the author puts into the mouths of almost all the characters in the comedy.

A distinctive feature of the play is its poetic form, enclosed in an inevitable rhythm that does not allow pauses or stops, presenting the work in the form of a musical drama.

All of the above allows us to classify Griboyedov’s work as a literary creation that represents a genre combination, the main one being social comedy. The use of comic circumstances in the play with the use of various inconsistencies and contradictions between tragedy and comedy allows the author to demonstrate the true meaning of the dramatic conflict of the present century and the past century, revealing the genre essence of the work in the form of tragicomedy, expressed in the psychological realism of the events described.

The work created by the writer, replete with artistic and satirical elements, is a significant contribution to the development of Russian literature.

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  The image of Maxim Maksimych is examined in detail by M. Yu. Lermontov in the novel “A Hero of Our Time” in order to reveal in more detail the image of Grigory Pechorin through the character and worldview of this experienced person.

• Analysis of the fairy tale of the play The Snow Maiden by Ostrovsky

  In terms of genre, the work belongs to a lyrical fairy tale, called by the author a spring fairy tale, the basis of the plot of which the writer borrows from folk legends.

I like the way autumn is starting. On this first autumn day, people usually get up early and get ready for the ceremonial assembly. September 1 is the Day of Knowledge, which means that soon you will need to sit down at your desk