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Alexander Griboyedov - Woe from Wit: Verse. Woe from the mind Woe from the mind mind |
Here is the story of the very successful career of the “rootless” Molchalin:
Is assessor good or not so good? The rank of collegiate assessor (VIII class of the Table of Ranks) gave the right to hereditary nobility, that is, at a minimum, it equated Molchalin with Chatsky, and corresponded military rank major Collegiate assessor Kovalev, the hero of Gogol’s “The Nose,” liked to call himself a major: “Kovalev was a Caucasian collegiate assessor. He had only been in this rank for two years and therefore could not forget it for a minute; and in order to give himself more nobility and weight, he never called himself a collegiate assessor, but always a major.”. Griboyedov himself, when he wrote “Woe from Wit,” was a titular adviser (IX class). Alexander Yuzhin as Famusov in the play “Woe from Wit.” Maly Theatre, Moscow, 1915What is the secret of Molchalin’s success? It can be assumed that partly because he was born in Tver, and, for example, not in Tula or Kaluga. Tver is located on the road connecting Moscow and St. Petersburg; the manager at the government place, Famusov, probably passed through Tver more than once, and, perhaps, some efficient local fellow (was it the son of the station superintendent?) was able to successfully provide him with some kind of service. And then, taking advantage of the patronage of Famusov and Tatyana Yuryevna, Molchalin quickly and very successfully began to move up the career ladder. Socially, Molchalin begins his journey precisely as a “little man” who does not reconcile himself with his position, but strives with all his might to become one of the people. “This is a man who, in swaddling clothes, has known the onslaught of fate and is therefore ready to give himself into slavery to anyone and anywhere, ready to worship both the true God and an empty idol, having neither the ability nor the skill to penetrate into the essence of things.<…>Everything in the activities of these people is imprinted with lack of understanding and a firm determination to retain for themselves the miserable piece that fate threw out to them,” Saltykov-Shchedrin wrote about Molchalin. 2. The secret of Sophia's dreamAlexander Yuzhin as Famusov and Vera Pashennaya as Sophia in the play “Woe from Wit.” Maly Theatre, Moscow, 1915 Billy Rose Theater Collection / New York Public LibraryHere Sophia tells Famusov a dream that she clearly invented:
What does all this even mean? Sophia invented her dream for a reason, but based on literature, namely a romantic ballad: the heroine finds herself in an otherworldly world inhabited by villains and monsters. The object of parody for Griboedov here is, first of all, Zhukovsky and his free translations of the ballad of the German poet Bürger “Lenora” - “Lud-mila” (1808) and “Svetlana” (1811), in which dead suitors appear to the heroines and are carried away to the afterlife world. Famusov hardly read Zhukovsky, but Griboyedov puts into his mouth a caustic maxim, very similar to the ending of the ballad “Svetlana”: “Everything is there, if there is no deception: / And devils and love, and fears and flowers.” And here is “Svetlana”:
In Sophia's dream, ballad cliches thicken: the innocent heroine and her lover are separated by a tormentor - a character from the afterlife(It is no coincidence that in a dream Famusov appears from under the opening floor). In the first edition, Famusov was completely described as an infernal hero: “Death on the cheeks, and hair standing on end.” However, not only Sophia’s dream, but also her relationship with Molchalin resembles a ballad plot. Their love affair is modeled after Zhukovsky’s ballad “Eolian Harp” (1814). Minvana, the daughter of a noble feudal lord, rejects the claims of eminent knights and gives her heart to the poor singer Arminius:
Griboyedov parodies the picture of ideal love created by Zhukovsky. The poor singer Arminius seems to be replaced by the scoundrel Molchalin; the tragic expulsion of Arminius by Minvana’s father is the finale of the comedy, when Sophia overhears Molchalin’s conversation with Liza and expels the unlucky lover. This parody is not accidental. In the literary controversy between archaists and Archaists and innovators— supporters of opposite concepts of the development of Russian literature in the 1810s. The controversy between two literary societies - "Conversation of Lovers of the Russian Word" and "Arzamas" - revolved around the system of genres, language and style of literary behavior. Griboyedov adhered to the position of the younger archaists, who were very skeptical of Zhukovsky, and ridiculed the then fashionable daydreaming: “God be with them, with dreams,” he wrote in an analysis of the translations of the Burger ballad “Lenora” in 1816, “now in any book.” look, no matter what you read, a song or a message, dreams are everywhere, but not a hair’s breadth of nature.” Molchalin is a parody of the sublime and quiet hero sentimental stories and ballads. 3. The secret of Aunt Sophia and Chatsky’s humorMaking fun of Moscow, Chatsky sarcastically asks Sophia:
Why French mixed specifically with the Nizhny Novgorod dialect? The fact is that during the War of 1812 this became a reality: Moscow nobles were evacuated to Nizhny Novgorod Vasily Lvovich Pushkin (the poet’s uncle and the poet himself), addressing the Nizhny Novgorod residents, wrote: “Take us under your protection, / Pets of the Volga banks.”. At the same time, in a patriotic upsurge, the nobles tried to abandon French speech and speak Russian (Leo Tolstoy described this in “War and Peace”), which led to a comical effect - a mixture of French pronunciation with Nizhny Novgorod Okanye. No less funny were the lexical incidents (and not only those from Nizhny Novgorod!). Thus, the Smolensk landowner Svistunova in one of her letters asked to buy her “English lace in the style of drums.” (Brabantian), "little cla-netka (lorgnette), since I am close with my eyes" (myopic), "serogi" (earrings) pisa-gram (filigree) works, fragrant alambre perfumes, and for decorating the rooms - paintings from Talyan (Italian) in the manner of Rykhvaleeva (Rafaeleva) works on canvas and a tray with cups, if you can get them, with peony flowers.” In addition, it is possible that Chatsky is simply quoting the famous journalistic text from the time of the Napoleonic Wars, written by Ivan Muravyov-Apostol, the father of three future Decembrists. It is called “Letters from Moscow to Nizhny Novgorod”, and it contains a famous fragment about how the French language is mercilessly treated in the Moscow Assembly of Nobility:
4. Mystery of August 3Boasting of his successes, Skalozub mentions the battle for which he was awarded the order:
The exact date was named for a reason. Among Griboedov's contemporaries, who well remembered the Patriotic War of 1812 and the events that followed it, this phrase could not help but cause laughter. The fact is that no battle took place that day. Sergei Golovin as Skalozub in the play “Woe from Wit.” Maly Theatre, Moscow, 1915 Billy Rose Theater Collection/New York Public LibraryOn June 4, 1813, the Pleswitz Truce was declared, which lasted until mid-August, and on August 3, a meeting between Russian Emperor Alexander I and Franz II, Emperor of Austria, took place in Prague. Franz II- Holy Roman Emperor (1792-1806), who ruled as Austrian Emperor under the name of Franz I., which received many awards. Skalozub had no need to “sit in the trench.” The static nature of Skalozub (“Wherever you order, just to sit down”) sharply contradicts the dynamism of Chatsky (“The wind, the storm swept by more than seven hundred miles; / And he was all confused, and fell so many times...”). However, in the conditions of military service in the last years of the reign of Alexander I, it was Skalozub’s life strategy that turned out to be in demand. The fact is that promotion to the next rank was carried out when there were vacancies; if Skalozub’s more active comrades died in battles or were “turned off” for political reasons, then he calmly and systematically moved towards the rank of general:
5. The Mystery of the Broken RibScene from the play "Woe from Wit". Maly Theatre, Moscow, 1915 Billy Rose Theater Collection/New York Public Library Here Skalozub tells an anecdote about Countess Lasova:
The meaning of this anecdote is an allusion to the biblical legend about the origin of Eve from the rib of Adam, that is, the secondary nature of woman in relation to man. In the Moscow world, everything happens exactly the opposite: the primacy here always and in everything belongs to women. In Griboyedov's Moscow, mat-ri-ar-hat reigns, the feminine principle is consistently replacing the masculine. Sophia teaches Molchalin to music (“You can hear a flute, then it’s like a piano”); Natalya Dmitrievna surrounds the completely healthy Platon Mikhailovich with petty care; Tugoukhovsky, like a puppet, moves according to his wife’s commands: “Prince, prince, here,” “Prince, prince!” Back!" The feminine principle also predominates behind the scenes. Tatyana Yurievna turns out to be Molchalin’s high patroness Her prototype was Praskovya Yuryevna Kologrivova, whose husband, according to the recollections of the Decembrist Zavalishin, “asked at a ball by a high person who he was, was so confused that he said that he was Praskovya Yuryevna’s husband, probably believing that this title is more important than all his titles.”. Famusov tries to influence Skalozub through Nastasya Nikolaevna and recalls some unknown to the reader, but important to him, Irina Vlasyevna, Lukerya Aleksevna and Pulcheria Andrevna; The final verdict on what happened in the Famusovs’ house must be passed by Princess Marya Aleksevna. “This female regime, to which the characters in Woe from Wit are subject, clarifies a lot,” writes Yuri Tynyanov. — Autocracy was female for many years. Even Alexander I still took into account the power of his mother. Griboyedov knew, as a diplomat, what influence a woman had at the Persian court.” “Women’s power” and “male decline” become signs of the times: Griboyedov describes that turning point in Russian life, in which the courageous life of 1812 becomes a thing of the past, and gossip turns out to be more important than actions. In this situation, slander against Chatsky arises. 6. The Mystery of the Yellow HouseMikhail Lenin as Chatsky in the play "Woe from Wit". Moscow Art Theatre, Moscow, 1911 Billy Rose Theater Collection/New York Public LibraryTowards the end of the play, almost all the guests at the Famusovs’ ball are sure that Chatsky has gone crazy:
Why is this so scary? The fact is that the gossip about the hero’s madness, acquiring more and more new details Gossip about Chatsky's madness develops like an avalanche. He himself is the first to pronounce the words about madness (“I can beware of madness...”), meaning his unhappy love; in the same sense, Sophia picks them up (“I reluctantly drove you crazy!”), and only on the third turn, infuriated by Chatsky’s attacks on Molchalin, Sophia out of revenge says: “He’s out of his mind” - giving opportunity for Mr. N. to interpret these words in the literal sense. Further, the slander is spread anonymously through Messrs. N. and D., then acquires fantastic details in the remarks of Zagoretsky, who in fact does not know Chatsky (“Which Chatsky is here? - A famous family. / With some Chatsky I once knew each other"). Griboedov knew very well about the practice of spreading gossip and its influence on the fate of people from his diplomatic activities., essentially turns into a political denunciation. It is reported about Chatsky that he is a “farmazon” (that is, a freemason Freemasons- free masons; members of a secret religious charitable society that spread throughout Europe from the 18th century. In 1822, by the highest order, all Masonic lodges in Russia were closed, Freemasonry became synonymous with freethinking.), “damned Voltairian”, “in the Pusurmans”, taken to prison, given up as a soldier, “changed the law”. Accusation of insanity as a way to deal with a rival, an objectionable person or a political opponent was a well-known technique. So, in January 1817, rumors spread about Byron's madness, and his wife and her relatives started them. Slander and noise around the poet’s personal life spread almost throughout Europe. Rumors of madness also circulated around Griboyedov himself. According to the testimony of his biographer Mikhail Semevsky, on one of Griboyedov’s letters to Bulgarin there is a note from the latter: “Griboyedov in a moment of madness.” Twelve years after the creation of “Woe from Wit,” one of Chatsky’s prototypes, Pyotr Yakovlevich Chaadaev, will be accused of insanity. After the publication of his first “Letter” in the Telescope magazine, it was closed, and the Moscow police chief announced to Chaadaev that now, by order of the government, he was crazy. A doctor came to see him every day for an examination; Chaadaev was considered to be under house arrest and could only go for a walk once a day. A year later, the doctor’s supervision of the “patient” was removed - but only on the condition that he would no longer write anything. 7. The secret of Ippolit MarkelychVasily Luzhsky as Repetilov in the play “Woe from Wit.” Moscow Art Theatre, Moscow, 1906 Billy Rose Theater Collection/New York Public LibraryRepetilov tells Chatsky about a secret society reminiscent of the Decembrist one:
And how does Chatsky himself feel about participants in secret societies? The idea that the main character of the play is a Decembrist (if not by formal membership in a secret society, then by his spirit) was first expressed by Herzen, and then became commonplace in the school study of “Woe from Wit.” In fact, Griboyedov’s attitude towards the Decembrists was very skeptical, and he ridiculed the very mystery of the societies. Repetilov immediately tells the first person he meets about the place and time of the meetings (“We have a society and secret meetings / On Thursdays. The most secret union ...”), and then lists all its members: Prince Grigory, Evdokim Vorkulov, Levon and Borinka (“Wonderful guys! You don’t know what to say about them”) - and, finally, their head - the “genius” Ippolit Markelych. The surname Udushev, given to the leader of the secret meeting, clearly shows that Griboyedov hardly had any illusions about the Decembrist programs. Among Udushev's prototypes were the head of the Southern Society Pavel Pestel, the Decembrist Alexander Yakubovich and even the poet Pyotr Vyazemsky The hero, bearing the surname Udushev, also appears in the novel by Griboedov’s friend Dmitry Begichev “The Kholmsky Family” (1832). It is interesting that his prototype there is Fyodor Tolstoy the American, an unnamed off-stage character in “Woe from Wit,” about whom Repetilov also talks: “A night robber, a duelist, / Was exiled to Kamchatka, returned as an Aleut, / And with a strong unclean hand; / Yes, an intelligent person cannot help but be a rogue.”. In a word, the only member of the secret society among the heroes of “Woe from Wit” turns out to be Repetilov - and not Chatsky. Sources
Phenomenon 2 Lisa And Famusov. Famusov Lisa Famusov Lisa Famusov Lisa Famusov Lisa Famusov Lisa Famusov Lisa Famusov Lisa Famusov Lisa Famusov Lisa Famusov Lisa Famusov Lisa Famusov Famusov Lisa Phenomenon 3Lisa, Sofia with a candle behind it Molchalin. Sofia Lisa Sofia Lisa Sofia Lisa Sofia Lisa (Separates them, Molchalin at the door collides with Famusov.) Phenomenon 4Sofia, Lisa, Molchalin, Famusov. Famusov Molchalin Famusov Sofia Molchalin Famusov Sofia Famusov Sofia Famusov Lisa Famusov Sofia Famusov Sofia Famusov Sofia Famusov Sofia Famusov Sofia Famusov Sofia Famusov Famusov Molchalin Famusov Molchalin Famusov (He leaves with Molchalin and lets him through at the door.) Phenomenon 5Sofia, Lisa. Lisa Sofia Lisa Sofia Lisa Sofia Lisa Sofia Lisa Sofia Lisa Sofia Lisa Sofia Lisa Sofia Lisa Sofia Chatsky Sofia Chatsky Sofia Chatsky Sofia Chatsky Lisa Chatsky Sofia Chatsky Sofia Phenomenon 8Sofia, Lisa, Chatsky, Famusov. Famusov Sofia Phenomenon 9Famusov, Chatsky(looks at the door through which Sofia went out). Famusov Chatsky Famusov Chatsky Famusov Chatsky Famusov Chatsky Famusov Chatsky Famusov Chatsky Chatsky Famusov Chatsky Famusov Chatsky Famusov Chatsky Famusov Chatsky Famusov Chatsky Famusov Chatsky Famusov Chatsky Famusov Chatsky Famusov Chatsky Famusov Chatsky Famusov Phenomenon 3Servant Famusov Chatsky Famusov Chatsky Famusov Chatsky Famusov Servant Famusov Famusov Skalozub Skalozub Famusov Skalozub Famusov Skalozub Famusov Skalozub Famusov Skalozub Famusov Skalozub Famusov Skalozub Famusov Chatsky Famusov Chatsky Famusov Chatsky Famusov Sofia Phenomenon 9Sofia, Lisa, Chatsky, Skalozub, Molchalin(with a tied hand). Skalozub Molchalin Skalozub Sofia Chatsky Sofia Chatsky Skalozub Sofia Chatsky (Takes his hat and leaves.) Phenomenon 10The same, except Chatsky. Sofia Skalozub Sofia Skalozub Sofia Skalozub Natalya Dmitrievna Chatsky Natalya Dmitrievna Chatsky Natalya Dmitrievna Chatsky Platon Mikhailovich Natalya Dmitrievna Platon Mikhailovich Natalya Dmitrievna Platon Mikhailovich Natalya Dmitrievna Platon Mikhailovich Natalya Dmitrievna Platon Mikhailovich Chatsky Platon Mikhailovich Phenomenon 7The same, Prince Tugoukhovsky And Princess with six daughters. Natalya Dmitrievna 1st Princess 2nd princess 1st Princess Natalya Dmitrievna 3rd princess 4th princess 5th princess 6th princess Princess Natalya Dmitrievna Princess Natalya Dmitrievna Princess Natalya Dmitrievna Princess Prince Princess Prince Princess Natalya Dmitrievna Princess Natalya Dmitrievna Princess Phenomenon 8The same And Countesses Khryumina: grandmother and granddaughter. Countess-granddaughter Princess Countess-granddaughter Chatsky Countess-granddaughter Chatsky Countess-granddaughter Chatsky Phenomenon 9The same and many other guests. By the way, Zagoretsky. Men appear, shuffle, move aside, wander from room to room, etc. Sofia comes out of himself, everything is towards her. Countess-granddaughter Zagoretsky Sofia Zagoretsky Sofia Zagoretsky Platon Mikhailovich Zagoretsky Chatsky Platon Mikhailovich (Zagoretsky interferes with the crowd.) Phenomenon 10The same And Khlestova. Khlestova Sofia Khlestova Chatsky Khlestova Sofia Khlestova Phenomenon 11The same And Famusov. Famusov Khlestova Phenomenon 12The same and Skalozub, Then Molchalin. Famusov Khlestova Skalozub Khlestova Skalozub Famusov Khlestova Molchalin Khlestova Molchalin Khlestova (She leaves, followed by Molchalin and many others.) Phenomenon 13Chatsky, Sofia and several strangers, which continue to diverge. Chatsky Sofia Chatsky Sofia Chatsky Princess Skalozub Famusov Zagoretsky Khlestova Famusov Khlestova Famusov Khlestova Famusov Khlestova Famusov Khlestova Famusov Khlestova Phenomenon 22The same everything and Chatsky. Natalya Dmitrievna Countess-granddaughter All Khlestova Famusov Chatsky Khlestova Sofia Chatsky (Looks around, everyone is spinning in the waltz with the greatest zeal. The old people scattered to the card tables.) Zagoretsky Repetilov Phenomenon 7Repetilov, Zagoretsky, Prince and Princess with six daughters; a little later Khlestova descends from the main staircase, Molchalin leads her by the hand. Lackeys in the hustle and bustle. Zagoretsky 1st Princess 2nd princess 3rd princess 4th princess 5th princess Zagoretsky 6th princess Together Repetilov Princess Khlestova Princess All (The princely family is leaving and Zagoretsky too.) Phenomenon 8Repetilov, Khlestova, Molchalin. Repetilov Khlestova (Leaves.) Phenomenon 9Repetilov with your lackey. Repetilov (Leaves.) Phenomenon 10The last lamp goes out. Chatsky Sofia Chatsky His lackey Chatsky (Hides behind a column.) Phenomenon 11Chatsky hidden, Lisa with a candle. Lisa Phenomenon 12Chatsky behind the column Lisa, Molchalin(stretches and yawns). Sofia(sneaks from above). Lisa Molchalin Lisa Molchalin Lisa Molchalin Lisa Molchalin Lisa Molchalin Sofia Chatsky Lisa Molchalin Lisa Molchalin Lisa Molchalin Sofia Molchalin Sofia Molchalin Sofia Molchalin Sofia Molchalin Sofia Molchalin Sofia Molchalin Sofia Chatsky Lisa and Sofia (Liza drops the candle in fright; Molchalin disappears into his room.) Phenomenon 13The same, except Molchalina. Chatsky Sofia Lisa Phenomenon 14Chatsky, Sofia, Lisa, Famusov, a crowd of servants with candles. Famusov Chatsky Famusov Chatsky (Leaves.) Phenomenon 15Except Chatsky. Famusov And that consumptive, your relatives, the enemy of books, who settled in the scientific committee...- The Scientific Committee was established in 1817. He supervised the publication of educational literature and pursued a reactionary policy in educational matters. And the smoke of the Fatherland is sweet and pleasant to us!- inaccurate quote from a poem by G.R. Derzhavin “Harp” (1789): Good news about our side is dear to us: Minerva- in Greek mythology, the goddess of wisdom. The deceased was a respectable chamberlain, with a key, and he knew how to deliver the key to his son...- Chamberlains (court rank) wore a golden key on their ceremonial uniforms. ...they won’t nod when they’re stupid- Tupey - an old hairstyle: a bun of hair gathered at the back of the head. A nobleman in case...- that is, in favor, favorite. Kurtag- reception day at the palace. Whist- card game. Carbonari (carbonari)- members of a secret revolutionary society in Italy (19th century). For the third of August- August 3 is the day of Alexander I’s meeting with the Austrian Emperor in Prague, marked by celebrations and awards. There were no hostilities on this day; Thus, Skalazub’s “feat” consisted only in the fact that they “sat down in a trench.” It was given to him with a bow, around my neck.- The same orders differed in degree in the way they were worn. Lower orders (III and IV degrees) were worn in the buttonhole, and the ribbon could be tied in a bow; the highest (I and II degrees) - on the neck. The times of the Ochakovskys and the conquest of Crimea...- The capture of the Turkish fortress of Ochakov and the annexation of Crimea to Russia took place in 1783. Grandmother (French). A! Good evening! Finally, you too! You are in no hurry, and we are always happy to wait for you. (French). He will tell you the whole story in detail (French). Yes, from Lankart mutual training...- Lankartachny is a distorted word for “Lancasterian”. The system of the English teacher Lancaster (1771–1838) was that the stronger students taught the weaker ones, helping the teacher. In Russia, this system was carried out by advocates of public education, advanced officers in training soldiers in the army, in particular, the Decembrists. In government circles, Lancaster schools were viewed with suspicion as a breeding ground for freethinking. The same reputation was enjoyed by boarding houses (Noble boarding house at Moscow University), lyceum (Tsarskoye Selo Lyceum) and Pedagogical Institute (St. Petersburg Pedagogical Institute). CURRENT: Actions of a comedy in verse "Woe from Wit"Action 1Phenomenon 1Living room, there is a large clock in it, on the right is the door to Sofia’s bedroom, from where Lizanka (suddenly wakes up, gets up from the chair, looks around) It's getting light!.. Ah! how quickly the night has passed! (Knocks on Sofia's door.) Gentlemen, (Moves away from the door.) Well, uninvited guest, (Back to the door) Yes, disperse. Morning. - What, sir? What time is it now? Lizanka Everything in the house rose. Sofia (from his room) What time is it now? Lizanka Seventh, eighth, ninth. Sofia (from the same place) Not true. Lizanka (away from the door) Oh! cupid * damned! (Climbs onto a chair, moves the hand, the clock strikes and plays.) Phenomenon 2Lisa And Famusov. Lisa Oh! master! Famusov Master, yes. (Stops hour-long music) After all, what a naughty girl you are. Lisa No, sir, I... just by chance... Famusov Just by chance, take notice of you; (He presses closer to her and flirts) Oh! potion, * pampered girl. Lisa You are a spoiler, these faces suit you! Famusov Modest, but nothing else Lisa Let me in, you little windbags, Famusov Lisa Well, who will come, where are we going? Famusov Who should come here? Lisa Now I'm taking a nap. Famusov Now! And the night? Lisa I spent the whole night reading. Famusov Look, what whims have developed! Lisa Everything is in French, out loud, reads while locked. Famusov Tell me that it’s not good to spoil her eyes, Lisa I'll report what happens, Famusov What to wake up? You wind the watch yourself, Lisa (as loud as possible) Come on, sir! Famusov (covers her mouth) Have mercy on the way you scream. Lisa I'm afraid it won't work out... Famusov Lisa It's time, sir, for you to know that you are not a child; Famusov Famusov (hurriedly) (He sneaks out of the room on tiptoe.) Lisa (one) Gone... Ah! away from the gentlemen; Phenomenon 3Lisa, Sofia with a candle behind it Molchalin. Sofia What, Lisa, attacked you? Lisa Of course, it’s hard for you to break up? Sofia Ah, it really is dawn! (Puts out the candle.) Both light and sadness. How fast the nights are! Lisa Push, know that there is no urine from the outside, Sofia Happy hours are not observed. Lisa Don't watch, your power; Sofia (Molchalin) Go; We'll be bored all day long. Lisa God be with you, sir; take your hand away. (Separates them; Molchalin runs into Famusov at the door.) Phenomenon 4Sofia, Lisa, Molchalin, Famusov. Famusov What an opportunity! * Molchalin, are you, brother? Molchalin Famusov Why here? and at this hour? Sofia He just came in now. Molchalin Now back from a walk. Famusov Friend. Is it possible for a walk? Sofia Excuse me, father, my head is spinning; Famusov Thank you humbly, Sofia By whom, father? Famusov They will reproach me Lisa I dare, sir... Famusov Be silent! Sofia I can’t explain your anger in any way. Famusov Did you get in or did you want to get in? Sofia Here's the whole case, though: Famusov Perhaps all the fuss will fall on me. Sofia In a vague dream, a trifle disturbs; Famusov What's the story? Sofia Should I tell you? Famusov (Sits down.) Sofia Let me... see... first Famusov Oh! Mother, don’t finish the blow! Sofia Then everything disappeared: the meadows and the skies. — Famusov Yes, it's a bad dream, I see. Famusov Molchalin With papers, sir. Famusov Yes! they were missing. (Rises.) Well, Sonyushka, I will give you peace: (Molchalin) Let's go sort out the papers. Molchalin I only carried them for the report, Famusov I'm afraid, sir, I'm mortally alone, (He leaves with Molchalin and lets him through at the door.) Phenomenon 5Sofia, Lisa. Lisa Well, here's the holiday! Well, here's some fun for you! Sofia What do I need rumors? Whoever wants to, judges it that way, Lisa I’m not judging by stories; Sofia Just think how capricious happiness is! Lisa That's it, sir, my stupid judgment Sofia How cute! and it's fun for me to fear Lisa Yes, sir, so to speak, he is talkative, but not very cunning; Sofia What do you remember? He's nice Lisa But only? as if? - Shedding tears, Sofia Listen, don’t take unnecessary liberties. Lisa Where is it running? in what areas? Sofia And, of course, he’s happy where the people are funnier. Lisa God knows Sofia He will take your hand and press it to your heart, Lisa Me, sir?.. your aunt has now come to mind, (Continues to laugh.) Sofia (with sadness) That's how they'll talk about me later. Lisa Forgive me, really, as God is holy, Phenomenon 6Sofia, Lisa, servant, behind him Chatsky. Servant Alexander Andreich Chatsky is here to see you. (Leaves.) Phenomenon 7Sofia, Lisa, Chatsky. Chatsky It's barely light on my feet! and I am at your feet. (Kisses your hand passionately.) Well, kiss me, weren’t you waiting? speak! Sofia Oh! Chatsky, I am very glad to see you. Chatsky Are you for it? good morning. Lisa Here, sir, if you were outside the doors, Sofia Always, not just now. — Chatsky Let's say so. Sofia Childishness! Chatsky Yes, sir, and now, Sofia At least someone will be embarrassed Chatsky For mercy's sake, it's not you, why be surprised? Sofia Persecution of Moscow. What does it mean to see the light! Chatsky Where we are not. Sofia I wish I could bring you and my aunt together, Chatsky And auntie? all girl, Minerva? * Sofia Chatsky At least on some princess Sofia Dancemaster! is it possible! Chatsky Well, he is a gentleman. Sofia A mixture of languages? Chatsky Yes, two, you can’t live without it. Sofia But it’s tricky to tailor one of them like yours. Chatsky At least not inflated. Sofia Not a man, a snake! (Loud and forced.) I want to ask you: Chatsky When is everything so soft? both tender and immature? (A minute's silence.) Listen, are my words really all caustic words? Sofia Yes, okay - will you burn, if not? Phenomenon 8Sofia, Lisa, Chatsky, Famusov. Famusov Here's another one! Sofia Ah, father, sleep in hand. (Leaves.) Damn dream. Phenomenon 9Famusov, Chatsky(looks at the door through which Sofia came out) Famusov Well, you threw it away! (They hug.) Great, friend, great, brother, great. (They sit down.) Chatsky (absently) How Sofya Pavlovna has become prettier for you! Famusov You young people have nothing else to do, Chatsky Oh! No; I'm not spoiled enough by hopes. Famusov “A dream in my hand,” she deigned to whisper to me, Chatsky I? - Not at all. Famusov Who was she dreaming about? what's happened? Chatsky I'm not a dream teller. Famusov Don't believe her, everything is empty. Chatsky I believe my own eyes; Famusov He's all his own. Yes, tell me in detail, Chatsky Now who cares? (Gets up hastily.) Sorry; I was in a hurry to see you soon, (In the door.) How good! (Leaves.) Phenomenon 10Famusov (one) (Leaves.) Act 2Phenomenon 1Famusov, servant. Famusov Parsley, you are always with new clothes, Phenomenon 2Famusov, servant, Chatsky. Famusov A! Alexander Andreich, please, Chatsky You're busy? Famusov (servant) (The servant leaves.) Yes, we put various things in the book as a keepsake, Chatsky Somehow you haven’t become cheerful; Famusov Oh! Father, I found a riddle: Chatsky Nobody invites you; Famusov Ugh, Lord forgive me! Five thousand times Chatsky What do you need? Famusov It wouldn't hurt to ask me Chatsky Let me woo you, what would you tell me? Famusov I would say, firstly: don’t be a whim, Chatsky I would be glad to serve, but being served is sickening. Famusov That's it, you are all proud! Chatsky And sure enough, the world began to grow stupid, Famusov Oh! My God! he's a Carbonari! * Chatsky No, the world is not like that these days. Famusov A dangerous person! Chatsky Everyone breathes more freely Famusov What does he say? and speaks as he writes! Chatsky The patrons yawn at the ceiling, Famusov He wants to preach freedom! Chatsky Who travels, who lives in the village... Famusov Yes, he does not recognize the authorities! Chatsky Who serves the cause and not the individuals... Famusov I would strictly forbid these gentlemen Chatsky I will finally give you some rest... Famusov I have no patience, it’s annoying. Chatsky I scolded your age mercilessly, Famusov And I don’t want to know you, I don’t tolerate debauchery. Chatsky I finished my sentence. Famusov Okay, I covered my ears. Chatsky For what? I won't insult them. Famusov (patter) Here they are scouring the world, beating their thumbs, Chatsky I stopped... Famusov Perhaps have mercy. Chatsky It is not my desire to continue the debate. Famusov At least let your soul go to repentance! Phenomenon 3Servant (included) Colonel Skalozub. Famusov (doesn't see or hear anything) They're going to kill you Chatsky Someone came to your house. Famusov I'm not listening, I'm on trial! Chatsky A man is coming to you with a report. Famusov I'm not listening, I'm on trial! on trial! Chatsky Turn around, your name is calling. Famusov (turns around) A? riot? Well, I’m still waiting for sodom. * Servant Colonel Skalozub. Would you like to accept it? Famusov (rises) Donkeys! should I tell you a hundred times? (The servant leaves.) Please, sir, beware in front of him: (He leaves quickly.) Phenomenon 4Chatsky How he fusses! what kind of agility? Phenomenon 5Chatsky, Famusov, Skalozub. Famusov Sergey Sergeich, come here to us, sir. Skalozub (thick bass) Why climb, for example? Famusov Should I really not take a single step for my friends? Skalozub Wherever you want, just to sit down. (All three sit down. Chatsky is at a distance.) Famusov Oh! Father, say so as not to forget: Skalozub I don’t know, sir, it’s my fault; Famusov Sergey Sergeich, is it you! Skalozub In the thirteenth year my brother and I were different Famusov Yes, it’s lucky to have such a son! Skalozub For the third of August; We settled into a trench: Famusov Kind man, and look - such a grip. Skalozub But I firmly picked up some new rules. Famusov Skalozub I am quite happy in my comrades, Famusov Yes, whatever the Lord seeks, he will exalt! Skalozub Sometimes mine is luckier. Famusov For mercy's sake, what are you missing? Skalozub I'm not complaining, they didn't bypass me, Famusov Are you in pursuit of the regiment? * Skalozub No, sir, there are people older than me in terms of body size, Famusov And judge well, God bless you Skalozub Marry? I don't mind at all. Famusov Well? who has a sister, niece, daughter; Skalozub The distances * are huge. Famusov Taste, father, excellent manner; Skalozub In my opinion, Famusov Don’t tell us, you never know how much they’re screaming! Chatsky The houses are new, but the prejudices are old. Famusov (To Chatsky) Hey, tie a knot for memory; (to Skalozub) Allow me, father. Here you go - Chatsky, my friend, Chatsky Is it possible to regret someone else? Famusov I’m not the only one, everyone is also condemning. Chatsky Who are the judges? - In ancient times Famusov (About myself) He'll get me into trouble. (Loud) Sergey Sergeich, I'll go (Leaves.) Phenomenon 6Skalozub, Chatsky. Skalozub I like it, at this estimate Phenomenon 7Skalozub, Chatsky, Sofia, Lisa. Sofia (runs to the window) Oh! My God! fell, killed himself! (Loses feelings.) Chatsky Who? Skalozub Who's in trouble? Chatsky She's dead from fear! Skalozub Who? where from? Chatsky Hurt yourself on what? Skalozub Was it our old man who made a mistake? Lisa (bustles around the young lady) Whoever is destined, sir, cannot escape fate: Skalozub The reins were tightened by, well, the pathetic rider. (Leaves.) Phenomenon 8The same ones, without Skalozub. Chatsky How can I help her? Tell me quickly. Lisa There is water in the room. (Chatsky runs and brings it. All the following - in a low voice - beforeSofia will wake up.) Pour a glass. Chatsky It's already poured. Lisa Here is the fan. Chatsky Look out the window: Lisa Yes, sir, the young ladies have an unhappy disposition: Chatsky Spray with more water. Sofia (with a deep sigh) Who's here with me? (Hurry and loudly.) Where is he? What about him? Tell me. Chatsky Let him break his neck, Sofia Murderous with their coldness! Chatsky Will you order me to suffer for him? Sofia Run there, be there, try to help him. Chatsky So that you are left alone without help? Sofia What do you need me for? (Lisa) Let's go there, let's run. Lisa (takes her to the side) Come to your senses! where are you going? (Sofia leans out the window.) Chatsky Confusion! fainting! haste! anger! scared! Sofia They're coming here. He cannot raise his arms. Chatsky I would like to kill myself with him... Lisa For company? Sofia No, stay as you wish. Phenomenon 9Sofia, Lisa, Chatsky, Skalozub, Molchalin(with a tied hand). Skalozub Risen and safe, hand Molchalin I scared you, forgive me for God's sake. Skalozub Well, I didn't know what would come of it Sofia (without looking at anyone) Oh! I really see: out of nowhere, Chatsky (About myself) Not a word with Molchalin! Sofia However, I will say about myself, Chatsky (About myself) Asks him for forgiveness Skalozub Let me tell you the news: Sofia Ax, Alexander Andreich, here - Chatsky Yes, sir, I just revealed this (Takes his hat and leaves.) Phenomenon 10The same, except for Chatsky. Sofia Will you be visiting us in the evening? Skalozub How early? Sofia Early; home friends will come over Dance to the piano, - Skalozub I will appear, but I promised to go to the priest, Sofia Farewell. Skalozub (shakes Molchalin’s hand) Your servant. (Leaves.) Phenomenon 11Sofia, Lisa, Molchalin. Sofia Molchalin! How my sanity remained intact! Molchalin I bandaged it with a scarf, and it hasn’t hurt me since then. Lisa I'll bet it's nonsense; Sofia Which one do I value? You came in, didn’t say a word, Molchalin No, Sofya Pavlovna, you are too frank. Sofia Where to get secrecy from! Molchalin This frankness would not harm us. Sofia Are they really going to challenge you to a duel? Molchalin Oh! Evil tongues are worse than a pistol. Lisa They are sitting with the priest now, Molchalin I don't dare advise you. (Kisses her hand.) Sofia Do you want?.. I’ll go and be nice through my tears; (Leaves.) Phenomenon 12Molchalin, Lisa Molchalin You are a merry creature! alive! Lisa Please let me in, there are two of you without me. Molchalin What a face! Lisa And the young lady? Molchalin Her (Wants to hug her.) Lisa Molchalin I have three things: Lisa You know that I am not flattered by interests; Molchalin Today I’m sick, I won’t take off the bandage; (He goes out the side door.) Phenomenon 13Sofia, Lisa. Sofia I was at my father’s, but there was no one there. (Goes to his room.) Phenomenon 14Lisa Well! people around here! Act 3Phenomenon 1Chatsky, Then Sofia. Chatsky I'll wait for her and force her to confess: (Sofia enters.) Are you here? I am very happy, Sofia (About myself) And very out of place. Chatsky Of course, they weren't looking for me? Sofia I wasn't looking for you. Chatsky Is it possible for me to find out Sofia Oh! My God! the whole world. Chatsky Who is more dear to you? Sofia There are many, relatives. Chatsky More and more than me? Sofia Chatsky And what do I want when everything is decided? Sofia Do you want to know two words of truth? Chatsky Me myself? isn't it funny? Sofia Yes! menacing look and harsh tone, Chatsky I'm strange, but who isn't? Sofia The examples are not new to me; Chatsky (holds her) Wait a minute. (To the side) Once in my life I'll pretend. (Loud) Let us leave this debate. Sofia (About myself) I reluctantly drove you crazy! (Aloud) What to pretend? Chatsky Oh! My God! Am I really one of those people? Sofia In vain: this all applies to others, Chatsky (with fervor) Why did you know him so briefly? Sofia I didn’t try, God brought us together. Chatsky Plays all day! (To the side) She doesn't respect him. Sofia Of course he doesn’t have this mind, Chatsky Satire and morality - the point of it all? (To the side) She doesn't give a damn about him. Sofia Of the most wonderful quality Chatsky (to the side) He's being naughty, she doesn't love him. (Aloud) I'll help you finish Sofia Not my novel. Chatsky Not yours? who will solve you? Phenomenon 2Chatsky, Sofia, Lisa. Lisa (whisper) Madam, follow me now Sofia Sorry, I need to go quickly. Chatsky Sofia To the prikhmacher. Chatsky God bless him. Sofia The tongs will catch a cold. Chatsky Let yourself... Sofia No, we are expecting guests for the evening. Chatsky God be with you, I am left again with my riddle. (Sofia shrugs, goes to her room and locks herself in, followed by Lisa.) Phenomenon 3Chatsky, Then Molchalin. Chatsky Oh! Sophia! Was Molchalin really chosen for her? (Molchalin enters.) There he is on tiptoe, and not rich in words; (Addresses him.) We, Alexey Stepanych, are with you Molchalin Still, sir. Chatsky How did you live before? Molchalin Day after day, today is like yesterday. Chatsky To pen from cards? and to cards from the pen? Molchalin As I work and force, Chatsky Lured by honors and nobility? Molchalin No, sir, everyone has their own talent... Chatsky Molchalin Two-s: Chatsky The most wonderful two! and are worth our all. Molchalin Have you not been given ranks, have you had no success in your career? Chatsky Ranks are given by people, Molchalin How surprised we were! Chatsky What a miracle is this? Molchalin They felt sorry for you. Chatsky Wasted work. Molchalin Tatyana Yuryevna said something, Chatsky Why does she care? Molchalin Tatyana Yuryevna! Chatsky I don't know her. Molchalin With Tatyana Yuryevna!! Chatsky We haven’t met her for ages; Molchalin Yes, that’s complete, isn’t it, sir? Chatsky For what? Molchalin So: often there Chatsky I go to women, but not for that. Molchalin How courteous! of good! sweetheart! simple! Chatsky When I'm busy, I hide from fun, Molchalin Sorry, but I don’t see a crime here; Chatsky Molchalin Three ministers had a department head. Chatsky Good! Molchalin How is it possible! his syllable is used as a model here! Chatsky I don't read nonsense Molchalin No, I had the pleasure of reading it, Chatsky And it’s noticeable in everything. Molchalin I don’t dare pronounce my judgment. Chatsky Why is it so secret? Molchalin At my age I shouldn't dare Chatsky For mercy's sake, you and I are not guys, Molchalin After all, you have to depend on others. Chatsky Why is it necessary? Molchalin We are small in rank. Chatsky (almost loud) With such feelings, with such a soul Phenomenon 4Evening. All the doors are wide open, except for Sofia's bedroom. The perspective reveals a series of illuminated rooms. Servants fuss; one of them, the main one, says: Hey! Filka, Fomka, well, catchers! (Knocks on Sofia's door.) Tell the young lady quickly, Lizaveta: (They disperse, only Chatsky remains.) Phenomenon 5Chatsky, Natalya Dmitrievna, young lady. Natalya Dmitrievna Am I not mistaken!.. he’s definitely in the face... Chatsky Look with doubt from head to toe, Natalya Dmitrievna I thought you were far from Moscow. Chatsky Today only... Natalya Dmitrievna Chatsky How will it happen? Natalya Dmitrievna I'm married. Chatsky You should have said it a long time ago! Natalya Dmitrievna My husband is a wonderful husband, he’ll come in now, Chatsky Natalya Dmitrievna And I know in advance Chatsky I believe he is your husband. Natalya Dmitrievna Oh no, sir, not because; Phenomenon 6Chatsky, Natalya Dmitrievna, Platon Mikhailovich Natalya Dmitrievna Here is my Platon Mikhailych. Chatsky Bah! Platon Mikhailovich Hello, Chatsky, brother! Chatsky Dear Plato, nice, Platon Mikhailovich As you can see, brother: Chatsky Have you forgotten the noise of the camp, comrades and brothers? Platon Mikhailovich No, there are still things to do: Chatsky What did you say five years ago? Platon Mikhailovich Brother, if you get married, then remember me! Chatsky Boredom! How? are you paying her tribute? Natalya Dmitrievna My Platon Mikhailych is inclined to do different things, Chatsky And who, dear friend, tells you to be idle? Natalya Dmitrievna Platon Mikhailych is in very poor health. Chatsky My health is weak! How long ago? Natalya Dmitrievna All rhumatism* and headaches. Chatsky More movement. To the village, to a warm region. Natalya Dmitrievna Platon Mikhailych loves the city, Chatsky Moscow and the city... You're an eccentric! Platon Mikhailovich Yes, brother, it’s not like that anymore... Natalya Dmitrievna Ah, my friend! Platon Mikhailovich Now, brother, I'm not the same... Natalya Dmitrievna Listen just once Platon Mikhailovich (coolly) Natalya Dmitrievna Platon Mikhailovich Now, brother, I'm not the same... Natalya Dmitrievna Platon Mikhailovich (eyes to the sky) Oh! mother! Chatsky Well, God judge you; Platon Mikhailovich (with a sigh) Eh! brother! It was a glorious life back then. Phenomenon 7The same, Prince Tugoukhovsky And Princess With six daughters. Natalya Dmitrievna (in a small voice) Prince Pyotr Ilyich, princess! My God! (Loud kisses, then they sit down and examine each other with 1st Princess What a wonderful style! 2nd princess What folds! 1st Princess Trimmed with fringe. Natalya Dmitrievna No, if only you could see my satin necklace! 3rd princess What an esharp *cousin* gave me! 4th princess Oh! yes, barezhevoy! * 5th princess Oh! lovely! 6th princess Oh! how sweet! Princess Ss! -Who is that in the corner, we went up and bowed? Natalya Dmitrievna Newcomer, Chatsky. Princess Retired? Natalya Dmitrievna Yes, I was traveling and recently returned. Princess And ho-lo-wait? Natalya Dmitrievna Yes, not married. Princess Prince, prince, come here. - More alive. Prince (turns the ear tube towards her) Princess Come to us for the evening, Thursday, ask soon Prince (He goes off, hovering around Chatsky and coughing.) Princess That's it kids: Natalya Dmitrievna Princess Natalya Dmitrievna Princess (loud as loud as you can) Prince, prince! Back! Phenomenon 8The same Countesses Khryumina: grandmother and granddaughter. Countess granddaughter Ax! Grand' maman! * Well, who arrives so early? (Disappears into a side room.) Princess This honors us! Countess granddaughter (returning, points a double lorgnette at Chatsky) Monsieur Chatsky! Are you in Moscow! How were they, were they all like that? Chatsky Why should I change? Countess granddaughter Are you back single? Chatsky Who should I marry? Countess granddaughter In foreign lands on whom? Chatsky Unhappy! Should there be no reproaches? Phenomenon 9The same and many other guests. By the way Zagoretsky. Men Countess granddaughter Eh! bon soir! vous voila! Jamais trop diligente, Zagoretsky (Sofya) Do you have a ticket for tomorrow's performance? Sofia Zagoretsky Let me hand it to you, it would be in vain for anyone to take it Sofia Thank you for the ticket, (Some more appear, meanwhile Zagoretsky goes to the men.) Zagoretsky Platon Mikhailych... Platon Mikhailovich Away! (To Chatsky) I recommend! Zagoretsky Original! grumpy, but without the slightest malice. Chatsky And it would be funny for you to be offended; Platon Mikhailovich Oh no, brother! they scold us (Zagoretsky interferes with the crowd.) Phenomenon 10The same Khlestova. Khlestova Is it easy at sixty-five years old? (Sela.) Well, Sofyushka, my friend, Sofia No, sir, at another time. Khlestova Imagine: they are being paraded around like animals... (Zagoretsky moves forward.) He is a liar, a gambler, a thief. (Zagoretsky disappears.) I left him and locked the doors; Chatsky (with laughter to Platon Mikhailovich) You won't get well from such praises, Khlestova Who is this funny guy? From what rank? Sofia This one? Chatsky. Khlestova Well? what did you find funny? Phenomenon 11The same Famusov. Famusov (loudly) We are waiting for Prince Pyotr Ilyich, Khlestova My creator! deafened, louder than any trumpet! Phenomenon 12The same Skalozub, Then Molchalin. Famusov Sergey Sergeich, we are late; (Leads to Khlestova.) My long-time sister-in-law Khlestova (sitting) Have you been here before... in the regiment... in that... in the grenadier? * Skalozub (bass) In His Highness, you want to say, Khlestova I’m not an expert at distinguishing between shelves. Skalozub But there are differences in form: Famusov Let's go, father, there I'll make you laugh; (He takes him and the prince with him.) Khlestova (Sofia) Wow! I definitely got rid of the noose; Molchalin (hands her a card) I made up your party: Monsieur Kok, Khlestova Thank you my friend. (Rises.) Molchalin Your Pomeranian is a lovely Pomeranian, no bigger than a thimble! Khlestova Thank you my dear. (She leaves, followed by Molchalin and many others.) Phenomenon 13Chatsky, Sofia and several strangers who continue Chatsky Well! cleared the cloud... Sofia Is it possible not to continue? Chatsky Why did I scare you? Sofia And they would end in anger. Chatsky Shall I tell you what I thought? Here: Phenomenon 14Sofia, Then G.N. Sofia (About myself) Oh! this person always G.N. (fits) You are in thought. Sofia About Chatsky. How was he found upon his return? Sofia He has a screw loose. Have you gone crazy? Sofia (after a pause) Not that at all... However, are there any signs? Sofia (looks at him intently) I think. As possible, in these years! Sofia How to be! (To the side) He is ready to believe! (Leaves.) Phenomenon 15G.N., Then G.D. He's gone crazy!.. It seems to her!.. here you go! About Chatsky? What's happened? Crazy! I didn't say it, others did. Are you happy to glorify this? I'll go and inquire; tea, anyone knows. (Leaves.) Phenomenon 16G.D., Then Zagoretsky. Believe the chatterbox! Zagoretsky Crazy! Zagoretsky A! I know, I remember, I heard. For mercy's sake, he was here in the room just now, right here. Zagoretsky So, therefore, they let him off the chain. Well, dear friend, you don’t need newspapers with you. Phenomenon 17Zagoretsky, Then Countess granddaughter. Zagoretsky Which Chatsky is here? - Famous family. Countess granddaughter Zagoretsky About Chatsky, he was here in the room now. Countess granddaughter I know. Zagoretsky So I congratulate you! Countess granddaughter Zagoretsky Yes, he's gone crazy. Countess granddaughter Imagine, I noticed it myself; Phenomenon 18The same Countess grandmother. Countess granddaughter Ah! grand’ maman, what miracles! that's new! Countess grandmother My T dude, my ears are hurting w silt; Countess granddaughter There is no time! (Points to Zagoretsky.) Il vous dira toute l’histoire… * (Leaves.) Phenomenon 19Zagoretsky, Countess grandmother. Countess grandmother What? What? isn't it here? w macaw? Zagoretsky No, Chatsky created all this chaos. Countess grandmother How, Chatsky? Who took you to prison? Zagoretsky In the mountains he was wounded in the forehead and went crazy from the wound. Countess grandmother What? to the pharmazons * in the club? He went to P usurmans? Zagoretsky You can't reason with her. (Leaves.) Countess grandmother Anton Antonich! Oh! Phenomenon 20Countess grandmother And Prince Tugoukhovsky. Countess grandmother Prince, prince! Oh, this prince, P alam, a little bit myself T hey! Prince Countess grandmother He doesn't hear anything! Prince Countess grandmother Who took Chatsky to prison, Prince? Prince Countess grandmother He has a cleaver and a backpack, Prince Countess grandmother Yes!.. in P He's a usurman! Oh! damned Voltairian! * Phenomenon 21The same Khlestova, Sofia, Molchalin, Platon Mikhailovich, Natalia Khlestova Crazy! I humbly ask! Platon Mikhailovich Who disclosed it first? Natalya Dmitrievna Ah, my friend, that's it! Platon Mikhailovich Well, that’s it, you can’t believe it, Famusov (entering) About what? about Chatsky, or what? Khlestova There are also some of the funny ones; Molchalin He advised me not to serve in the Archives in Moscow. Countess granddaughter He deigned to call me a milliner! Natalya Dmitrievna And he gave my husband advice to live in the village. Zagoretsky Crazy about everything. Countess granddaughter I saw it from my eyes. Famusov He followed his mother, Anna Aleksevna; Khlestova There are wonderful adventures in the world! Princess ABOUT! right… Countess granddaughter Without a doubt. Khlestova He drank glasses of champagne. Natalya Dmitrievna Bottles, sir, and big ones Zagoretsky (with fervor) No, sir, forty barrels. Famusov Here you go! great misfortune Khlestova And you'll really go crazy from these, from some Princess No, the institute is in St. Petersburg He runs away from women, and even from me! Skalozub I will make you happy: universal rumor, Famusov Sergey Sergeich, no! Once evil is stopped: Zagoretsky (with meekness) No, sir, books are different. What if, between us, Khlestova My fathers, whoever is upset in his mind, Famusov Khlestova Three, sir. Famusov Four hundred. Khlestova No! three hundred. Famusov On my calendar... Khlestova Everyone lies about calendars. Famusov Khlestova No! Three hundred! - I don’t know other people’s estates! Famusov Four hundred, please understand. Khlestova No! three hundred, three hundred, three hundred. Phenomenon 22All the same Chatsky. Natalya Dmitrievna Countess granddaughter (They back away from him in the opposite direction.) Khlestova Well, as if from crazy eyes Famusov Oh my God! have mercy on us sinners! (cautiously) Dearest! You're out of your element. Chatsky Yes, there is no urine: a million torments (Approaches Sophia.) My soul here is somehow compressed by grief, Khlestova Moscow, you see, is to blame. (Makes signs to Sofia.) Hm, Sophia! - He’s not looking! Sofia (To Chatsky) Tell me, what makes you so angry? Chatsky In that room there is an insignificant meeting: (Looks around, everyone is spinning in the waltz with the greatest zeal. The old people scattered to the card tables.) Act 4Famusov has a front porch in his house; a large staircase from the second dwelling *, to which many side mezzanines adjoin; below to the right (from the characters) is the exit to the porch and the Swiss box; on the left, in the same plan, is Molchalin’s room. Night. Poor lighting. Some lackeys are fussing, others are sleeping, waiting for their masters. Phenomenon 1Countess grandmother, Countess granddaughter, ahead of them footman. Lackey Countess Khryumina's carriage! Countess granddaughter (while they wrap her up) Well done! Well Famusov! knew how to name guests! Countess grandmother Sing T eat, mother, me, great f oh, I can't (Both leave.) Phenomenon 2Platon Mikhailovich And Natalya Dmitrievna. One footman fussing around them, Gorich's carriage! Natalya Dmitrievna My angel, my life, (Kisses her husband on the forehead.) Admit it, the Famusovs had fun. Platon Mikhailovich Natasha Mother, I doze off at balls, Natalya Dmitrievna You are pretending, and very unskillfully; (He leaves with the footman.) Platon Mikhailovich (coolly) Ball is a good thing, bondage is bitter; Lackey (from the porch) The lady is in the carriage, sir, and she deigns to be angry. Platon Mikhailovich (with a sigh) (Leaves.) Phenomenon 3Chatsky And footman him ahead. Chatsky Shout for it to be served quickly. (The footman leaves.) Well, the day has passed, and with it (The footman returns.) Lackey The coachman, you see, won’t be found anywhere. Chatsky Let's go look, don't spend the night here. (The footman leaves again.) Phenomenon 4Chatsky, Repetilov(runs from the porch, at the very entrance falls from everyone Repetilov Ugh! made a mistake. - Ah, my Creator! Chatsky That's a lot of nonsense. Repetilov You don't love me, naturally: Chatsky What a strange humiliation! Repetilov Scold me, I curse my own birth, Chatsky It's time to go to bed; Repetilov What's the ball? brother, where are we all night until broad daylight, Chatsky Have you read it? task for me Repetilov Call me a vandal: * Chatsky Listen! lie, but know when to stop; Repetilov Congratulate me, now I know people Chatsky Now, for example? Repetilov That one night doesn't count, Chatsky And I’ll figure it out myself. Repetilov In English. To start confession: Chatsky Oh! I'm afraid, brother. Repetilov Chatsky These are emergency measures, Repetilov It's in vain that fear takes over you, Chatsky God is with them and with you. Where will I go? Repetilov Eh! come on! who's sleeping now? Well, that's it, no preludes * Chatsky Why are you freaking out so much? Repetilov Let's make noise, brother, make noise! Chatsky Are you making noise? but only? Repetilov Now is not the place to explain and there is no time, Lackey (at the entrance) Skalozub's carriage! Repetilov Phenomenon 5The same Skalozub, comes down the stairs. Repetilov (towards him) Oh! Skalozub, my soul, (Strangles him in her arms.) Chatsky Where can I go from them? (Included in Swiss.) Repetilov (to Skalozub) The rumor about you has long died down, (Looks for Chatsky with his eyes) Stubborn! galloped away! Skalozub Spare me. You can't fool me with learning, Repetilov All service is on your mind! Mon cher, look here: (He stops, seeing that Zagoretsky has taken Skalozub’s place, Phenomenon 6Repetilov, Zagoretsky. Zagoretsky Please continue, I sincerely confess to you, Repetilov (with annoyance) All apart, without saying a word; There was Chatsky, suddenly disappeared, then Skalozub. Zagoretsky What do you think about Chatsky? Repetilov He's not stupid Zagoretsky Have you noticed that he Repetilov What nonsense! Zagoretsky Everything about him is of this faith. Repetilov Zagoretsky Ask everyone! Repetilov Zagoretsky By the way, here is Prince Pyotr Ilyich, Repetilov Phenomenon 7Repetilov, Zagoretsky, Prince And Princess With six daughters; A little Zagoretsky Princesses, please tell me your opinion, 1st Princess What doubt is there in this? 2nd princess The whole world knows about this. 3rd princess Dryansky, Khvorov, Varlyansky, Skachkov. 4th princess Oh! keep old ones, who are they new to? 5th princess Who doubts? Zagoretsky Yes, he doesn’t believe it... 6th princess Together Monsieur Repetilov! You! Monsieur Repetilov! what do you! Repetilov (covers his ears) Sorry, I didn't know it was too public. Princess It wouldn’t be public yet, it’s dangerous to talk to him, Khlestova (from the stairs) Princess, card debt. Princess Follow me, mother. All (to each other) Farewell. (The princely family * is leaving, and Zagoretsky Same.) Phenomenon 8Repetilov, Khlestova, Molchalin. Repetilov King of heaven! Khlestova So God judged him; but by the way, (Molchalin goes to his room.) Farewell, father; it's time to get mad. (Leaves.) Phenomenon 9Repetilov with his footman. Repetilov Where to go now? (Leaves.) Phenomenon 10The last lamp goes out. Chatsky (leaves from Swiss) What is this? did I hear with my ears! Sofia (above the stairs on the second floor, with a candle) Molchalin, is that you? (Hastily closes the door again.) Chatsky She! she herself! She has appeared! she's gone! really in a vision? His lackey (from the porch) Chatsky (Pushes him out.) I'll be here and won't sleep a wink, (Hides behind a column.) Phenomenon 11Chatsky hidden, Lisa with a candle. Lisa Oh! no urine! I'm timid. (Looks around.) Yes! of course! He wants to wander around the hallway! (Knocks on Molchalin’s door.) Listen, sir. If you please, wake up. Phenomenon 12Chatsky behind the column Lisa, Molchalin(stretches and yawns) Sofia Lisa You, sir, are stone, sir, ice. Molchalin Oh! Lizanka, are you on your own? Lisa From the young lady, sir. Molchalin Who would have guessed Lisa And to you, bride seekers, Molchalin What wedding? with whom? Lisa What about the young lady? Molchalin Come on, Lisa What are you talking about, sir! who are we? Molchalin Don't know. And I'm shaking so much, Sofia (to the side) What baseness! Chatsky (behind the column) Lisa And you are not ashamed? Molchalin My father bequeathed to me: Lisa Let me tell you, sir, you have great care! Molchalin And now I take the form of a lover Lisa Who feeds and gives water, Molchalin Let's go share love with our deplorable theft. (Lisa is not given.) Why isn't she you! (He wants to go, Sofia won’t let him.) Sofia (almost in a whisper; the whole scene is in a low voice) Molchalin How! Sofya Pavlovna... Sofia Not a word, for God's sake, Molchalin (throws himself on his knees, Sofia pushes him away) Oh! remember! don't be angry, look!.. Sofia I don't remember anything, don't bother me. Molchalin (crawls at her feet) Have mercy... Sofia Don't be mean, stand up. Molchalin Do me a favor... Sofia No. No. No. Molchalin I was joking and I didn’t say anything other than... Sofia Leave me alone, I say, now, (Molchalin gets up.) From then on, it was as if I didn’t know you. Molchalin As you order. Sofia Otherwise I'll tell you Chatsky (throws between them) He's here, you pretender! Lisa and Sofia (Liza drops the candle in fright; Molchalin disappears into his room.) Phenomenon 13The same, except Molchalina. Chatsky Rather faint, now it's alright Sofia (all in tears) Don't continue, I blame myself all around. Lisa Knock! noise! Oh! My God! the whole house is running here. Phenomenon 14Chatsky, Sofia, Lisa, Famusov, crowd servants with candles. Famusov Here! Behind me! hurry up! hurry up! Chatsky (Sofia) So I still owe you this fiction? Famusov Brother, don’t be a trick, I won’t be deceived, Chatsky (after some silence) I won’t come to my senses... it’s my fault, (With fervor.) Blind! In whom I sought the reward of all my labors! (Mockingly.) You will make peace with him, after mature reflection. (Leaves.) Phenomenon 15Except Chatsky Famusov Well? Don't you see that he's gone crazy? Notes
Comedy in four acts in verse Natalya Dmitrievna, young lady, Platon Mikhailovich, her husband - Gorichi. Prince Tugoukhovsky And princess, his wife, with six daughters. Countess-grandmother, Countess-granddaughter- Khryumins. Anton Antonovich Zagoretsky. Old woman Khlestova, sister-in-law Famusova. Repetilov. Parsley and several talking servants. Lots of guests of all sorts and their lackeys on their way out. Famusov's waiters. Action in Moscow in Famusov's house.
Woe from the mind. Maly Theater performance, 1977 ACT IPhenomenon 1The living room, there is a large clock in it, on the right is the door to Sophia’s bedroom, from where you can hear the piano and flute, which then fall silent. Lizanka in the middle of the room he sleeps, hanging from an armchair. (Morning, the day is just dawning.) Lizanka (suddenly wakes up, gets up from the chair, looks around) It's getting light!.. Ah! how quickly the night has passed! Yesterday I asked to sleep - refusal. "Waiting for a friend." - You need an eye and an eye, Don't sleep until you roll out of your chair. Now I just took a nap, It’s already day!.. tell them... (Knocks on Sofia's door.) Hey! Sofya Pavlovna, trouble. Your conversation went on overnight. Are you deaf? - Alexey Stepanych! Madam!.. - And fear does not take them! (Moves away from the door.) Well, uninvited guest, Perhaps Father will come in! I ask you to serve the young lady in love! (Back to the door.) Yes, disperse. Morning. - What, sir? What time is it now? Lizanka Everything in the house rose. Sofia (from his room) What time is it now? Lizanka Seventh, eighth, ninth. Sofia (from the same place) Not true. Lizanka (away from the door) Oh! Damn cupid! And they hear, they don’t want to understand, Well, why would they take away the shutters? I'll change the clock, at least I know: there will be a race, I'll make them play. (Climbs onto a chair, moves the hand, the clock strikes and plays.) Phenomenon 2Lisa And Famusov. Lisa Oh! master! Famusov Master, yes. (Stops hour-long music) After all, what a naughty girl you are. I couldn’t figure out what kind of trouble this was! Sometimes you hear a flute, sometimes like a piano; Would it be too early for Sophia?.. Lisa No, sir, I... just by chance... Famusov Just by chance, take notice of you; Yes, that's right, with intent. (He presses closer to her and flirts.) Oh! potion, spoiler. Lisa You are a spoiler, these faces suit you! Famusov Modest, but nothing else Mischief and the wind are on your mind. Lisa Let me in, you little windbags, Come to your senses, you are old... Famusov Lisa Well, who will come, where are we going? Famusov Who should come here? After all, Sophia is sleeping? Lisa Now I'm taking a nap. Famusov Now! And the night? Lisa I spent the whole night reading. Famusov Look, what whims have developed! Lisa Everything is in French, aloud, read while locked. Famusov Tell me that it’s not good to spoil her eyes, And reading is of little use: She can't sleep from French books, And the Russians make it hard for me to sleep. Lisa I'll report what happens, If you please go, wake me up, I'm afraid. Famusov What to wake up? You wind the watch yourself, You're blasting a symphony throughout the entire block. Lisa (as loud as possible) Come on, sir! Famusov (covers her mouth) Have mercy on the way you scream. Are you going crazy? Lisa I'm afraid it won't work out... Famusov Lisa It's time, sir, for you to know that you are not a child; Girls' morning sleep is so thin; You creak the door a little, you whisper a little: They hear everything... Famusov Famusov (hurriedly) (He sneaks out of the room on tiptoe.) Lisa (one) Gone... Ah! away from the gentlemen; They're in trouble s Prepare for yourself at any hour, Pass us away more than all sorrows And lordly anger, and lordly love. Phenomenon 3Lisa, Sofia with a candle behind it Molchalin. Sofia What, Lisa, attacked you? Lisa Of course, it’s hard for you to break up? Having locked yourself until daylight, and it seems like everything is not enough? Sofia Ah, it really is dawn! (Puts out the candle.) Both light and sadness. How fast the nights are! Lisa Push, know that there is no urine from the outside, Your father came here, I froze; I spun around in front of him, I don’t remember that I was lying; Well, what have you become? bow, sir, give it. Come on, my heart is not in the right place; Look at your watch, look out the window: People have been pouring down the streets for a long time; And in the house there is knocking, walking, sweeping and cleaning. Sofia Happy hours are not observed. Lisa Don't watch, your power; And what in return for you, of course, I will get. Sofia (Molchalin) Go; We'll be bored all day long. Lisa God be with you, sir; take your hand away. (Separates them, Molchalin at the door collides with Famusov.) Phenomenon 4Sofia, Lisa, Molchalin, Famusov. Famusov To teach our daughters everything, everything - And dancing! and stump Yu ! and tenderness! and sigh! It’s as if we are preparing them as wives for buffoons. What are you, visitor? Why are you here, sir? He warmed up the rootless one and brought him into my family, He gave the rank of assessor and took him on as secretary; Transferred to Moscow through my assistance; And if it weren’t for me, you would be smoking in Tver. Sofia I can’t explain your anger in any way. He lives in the house here, what a great misfortune! I walked into the room and ended up in another. Famusov Did you get in or did you want to get in? Why are you together? It can't happen by accident. Sofia Here's the whole case: How long ago you and Lisa were here, And I rushed here as fast as I could... 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 (Sits down.) Sofia Let me... see... first Flowery meadow; and I was looking 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 has opened - and you are out of 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 bring 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; I'll see. Everything is there, if there is no deception: And devils, and love, and fears, and flowers. Well, my sir, what about you? 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. Molchalin I was just carrying them for the report, What cannot be used without certificates, without others, There are contradictions, and many things are inappropriate. Famusov I'm afraid, sir, I'm the only one mortally afraid, So that a multitude of them do not accumulate; If you had given it free rein, it would have settled; And for me, what matters and what doesn’t matter, My custom is this: Signed, off your shoulders. (He leaves with Molchalin and lets him through at the door.) Phenomenon 5Sofia, Lisa. Lisa Well, here's the holiday! Well, here's some fun for you! However, no, it’s no laughing matter now; The eyes are dark and the soul is frozen; Sin is not a problem, rumor is not good. Sofia What is the rumor to me? Whoever wants to, judges it that way, Yes, father will force you to think: Grouchy, restless, quick, This has always been the case, but from now on... You can judge... Lisa I’m not judging by stories; He will ban you; - good is still with me; Otherwise, God have mercy, at once Me, Molchalin and everyone out of the yard. Sofia Just think how capricious happiness is! It can be worse, you can get away with it; When sad nothingness comes to mind, We lost ourselves in music, and time passed so smoothly; Fate seemed to be protecting us; No worries, no doubts... And grief awaits around the corner. Lisa That's it, sir, my stupid judgment You never regret: But here's the problem. What better prophet do you need? I kept repeating: there will be no good in love Not forever and ever. Like all Moscow people, your father is like this: He would like a son-in-law with stars and ranks, And under the stars, not everyone is rich, between us; Well, of course, then And money to live on, so he could give balls; Here, for example, Colonel Skalozub: And a golden bag, and aims to become a general. Sofia How cute! and it's fun for me to fear Listen about the frunt and rows; He never uttered a smart word, - I don’t care what goes into the water. Lisa Yes, sir, so to speak, he is talkative, but not very cunning; But be a military man, be a civilian, Who is so sensitive, and cheerful, and sharp, Like Alexander Andreich Chatsky! Not to confuse you; It's been a long time, can't turn it back And I remember... Sofia What do you remember? He's nice He knows how to make everyone laugh; He chats, jokes, it’s funny to me; You can share laughter with everyone. Lisa But only? as if? - Shed tears, I remember, poor thing, how he parted with you. - “Why, sir, are you crying? live laughing..." And he responded: “No wonder, Lisa, I’m crying: Who knows what I will find when I return? And how much I might lose!” The poor thing seemed to know that in three years... Sofia Listen, don’t take unnecessary liberties. I was very windy, perhaps I acted And I know, and I’m guilty; but where did it change? To whom? so that they could reproach with infidelity. Yes, it’s true that we were brought up and grew up with Chatsky; The habit of being together every day inseparably She bound us together with childhood friendship; but after He moved out, he seemed bored with us, And he rarely visited our house; Then he pretended to be in love again, Demanding and distressed!!. Sharp, smart, eloquent, I'm especially happy with friends, He thought highly of himself... The desire to wander attacked him, Oh! if someone loves someone, Why search for the mind and travel so far? Lisa Where is it running? in what areas? They say he was treated in sour waters, Not from illness, tea, from boredom - more freely. Sofia And, of course, he’s happy where the people are funnier. The one I love is not like this: Molchalin is ready to forget himself for others, The enemy of insolence is always shy, timid, Someone you can spend the whole night with like that! We are sitting, and the yard has long since turned white, What do you think? what are you doing? Lisa God knows Madam, is this my business? Sofia He will take your hand and press it to your heart, He will sigh from the depths of his soul, Not a free word, and so the whole night passes, Hand in hand, and doesn’t take his eyes off me. - Laugh! is it possible! what reason did you give Do I make you laugh like this? Lisa Me, sir?.. your aunt has now come to mind, How a young Frenchman ran away from her house, Darling! wanted to bury Out of frustration, I couldn’t: I forgot to dye my hair And three days later she turned gray. (Continues to laugh.) Sofia (with sadness) That's how they'll talk about me later. Lisa Forgive me, truly, as God is holy, I wanted this stupid laugh Helped to cheer you up a bit. (They leave.) Phenomenon 6Sofia, Lisa, Servant, behind him Chatsky. Servant Alexander Andreich Chatsky is here to see you. (Leaves.) Phenomenon 7Sofia, Lisa, Chatsky. Chatsky It's barely light on my feet! and I am at your feet. (Kisses your hand passionately.) Well, kiss me, weren’t you waiting? speak! Well, for the sake of it? No? Look at my face. Surprised? but only? Here's the welcome! It was as if no week had passed; It feels like yesterday together We're tired of each other; Not a hair of love! how good they are! And meanwhile, I won’t remember, without a soul, I'm forty-five hours, without squinting my eyes, More than seven hundred versts flew by - wind, storm; And I was completely confused, and fell how many times - And here is the reward for your exploits! Sofia Oh! Chatsky, I am very glad to see you. Chatsky Are you for it? good morning. However, who sincerely rejoices like that? I think this is the last thing Chilling people and horses, I was just amusing myself. Lisa Here, sir, if you were outside the doors, By God, there are not five minutes, How we remembered you here. Madam, tell me yourself. - Sofia Always, not just now. - You cannot reproach me. Whoever flashes by will open the door, While passing through, by chance, from a stranger, from far away - I have a question, even if I’m a sailor: Did I meet you somewhere in the mail carriage? Chatsky Let's say so. Blessed is he who believes, he is warm in the world! - Oh! My God! Am I really here again? In Moscow! you! how can we recognize you! Where is the time? where is that innocent age, When it used to be a long evening You and I will appear, disappear here and there, We play and make noise on chairs and tables. We are in a dark corner, and it seems like this! Do you remember? we'll be startled by the creaking of a table or a door... Sofia Childishness! Chatsky Yes, sir, and now, At seventeen you blossomed beautifully, Inimitable, and you know it, And therefore modest, do not look at the light. Aren't you in love? please give me an answer Without thought, complete embarrassment. Sofia At least someone will be embarrassed Quick questions and a curious look... Chatsky For mercy's sake, it's not you, why be surprised? What new will Moscow show me? Yesterday there was a ball, and tomorrow there will be two. He made a match - he succeeded, but he missed. All the same sense, and the same poems in the albums. Sofia Persecution of Moscow. What does it mean to see the light! Where is better? Chatsky Where we are not. Well, what about your father? all English club An ancient, faithful member to the grave? Has your uncle jumped back his eyelid? And this one, what’s his name, is he Turkish or Greek? That little black one, on crane legs, I don't know what his name is, Wherever you go: here, like here, In dining rooms and living rooms. And three of the tabloid faces, Who have been looking young for half a century? They have millions of relatives, and with the help of their sisters They will become related to all of Europe. What about our sun? our treasure? On the forehead is written: Theater and Masquerade; The house is painted with greenery in the form of a grove, He himself is fat, his artists are skinny. At the ball, remember, we opened it together Behind the screens, in one of the more secret rooms, There was a man hidden and clicking the nightingale, Singer winter weather summer. And that consumptive one, your relatives, the enemy of books, To the scientific committee that settled And with a cry he demanded oaths, So that no one knows or learns to read and write? I am destined to see them again! Will you get tired of living with them, and in whom you won’t find any stains? When you wander, you return home,
Sofia I wish I could bring you and my aunt together, To count everyone you know. Chatsky And auntie? all girl, Minerva? All the maid of honor of Catherine the First? Is the house full of pupils and mosquitoes? Oh! Let's move on to education. That now, just as in ancient times, The regiments are busy recruiting teachers, More in number, cheaper in price? It’s not that they are far off in science; In Russia, under a great fine, We are told to recognize everyone Historian and geographer! Our mentor, remember his cap, robe, Index finger, all signs of learning How our timid minds were disturbed, As we have been accustomed to believe since early times, That without the Germans we have no salvation! - And Guillaume, the Frenchman, blown by the wind? Is he not married yet? Sofia Chatsky At least on some princess, Pulcheria Andrevna, for example? Sofia Dancemaster! is it possible! Chatsky Well? he is a gentleman. We will be required to be with property and in rank, And Guillaume!.. - What’s the tone here these days? At conventions, at big ones, on parish holidays? A confusion of languages still prevails: French with Nizhny Novgorod? Sofia A mixture of languages? Chatsky Yes, two, you can’t live without it. Lisa But it’s tricky to tailor one of them like yours. Chatsky At least not inflated. Here's the news! - I'm taking advantage of the moment, Enlivened by meeting you, And talkative; isn't there a time, That I am more stupid than Molchalin? Where is he, by the way? Haven't you broken the silence of the press yet? There used to be songs where there were new notebooks He sees and pesters: please write it off. However, he will reach the known degrees, After all, nowadays they love dumb. Sofia (to the side) Not a man, a snake! (Loud and forced.) I want to ask you: Has it ever happened that you laughed? or sad? A mistake? did they say good things about anyone? At least not now, but in childhood, maybe. Chatsky When is everything so soft? both tender and immature? Why so long ago? Here's a good deed for you: The calls are just ringing And day and night across the snowy desert, I'm rushing to you at breakneck speed. And how do I find you? in some strict rank! I can endure the cold for half an hour! The face of the most holy praying mantis!.. And yet I love you without memory. - (A minute's silence.) Listen, are my words really all caustic words? And tend to harm someone? But if so: the mind and heart are not in harmony. I'm eccentric to another miracle Once I laugh, then I forget: Tell me to go into the fire: I’ll go as if for dinner. Sofia Yes, okay - will you burn, if not? Phenomenon 8Sofia, Lisa, Chatsky, Famusov. Famusov Here's another one! Sofia Ah, father, sleep in hand. (Leaves.) Damn dream. Phenomenon 9Famusov, Chatsky(looks at the door through which Sofia went out). Famusov Well, you threw it away! I haven’t written two words for three years! And it suddenly burst out, as if from the clouds. (They hug.) Great, friend, great, brother, great. Tell me, tea, you're ready A meeting of important news? Sit down, announce it quickly. (Sit down) Chatsky (absently) How Sofya Pavlovna has become prettier for you! Famusov You young people have nothing else to do, How to notice girlish beauty: She said something casually, and you, I am filled with hopes, enchanted. Chatsky Oh! no, I’m not spoiled enough by hopes. Famusov “A dream in my hand,” she deigned to whisper to me. So you thought... Chatsky I? - Not at all. Famusov Who was she dreaming about? what's happened? Chatsky I'm not a dream teller. Famusov Don't believe her, everything is empty. Chatsky I believe my own eyes; I haven’t met you in ages, I’ll give you a subscription. So that it would be at least a little like her! Famusov He's all his own. Yes, tell me in detail, Where were you? wandered for so many years! Where from now? Chatsky Now who cares? I wanted to travel around the whole world, And he didn’t travel a hundredth part. (Gets up hastily.) Sorry; I was in a hurry to see you soon, Didn't go home. Farewell! In one hour When I show up, I won’t forget the slightest detail; You first, then you tell it everywhere. (In the door.) How good! (Leaves.) Phenomenon 10Famusov (one) Which of the two? "Oh! Father, sleep in hand! And he says it out loud to me! Well, my fault! What a blessing I gave to the hook! Molchalin soon led me into doubt. Now... and halfway out of the fire: That beggar, that dandy friend; He is a notorious spendthrift, a tomboy; What kind of commission, creator, To be a father to an adult daughter! (Leaves.) And the smoke of the Fatherland is sweet and pleasant to us!- inaccurate quote from a poem by G.R. Derzhavin “Harp” (1789): Good news about our side is dear to us: The most textbook Russian comedy, an inexhaustible source of proverbs and a panopticon of immortal Russian types. Griboyedov combines a love affair with a social conflict and creates a universal image of a prophet who is not understood in his own country. comments: Varvara BabitskayaWhat is this book about? In the mid-1820s, Alexander Chatsky - a young witty nobleman and ardent citizen - after a three-year absence returns to Moscow, where he grew up in the house of a major official Famusov, and hurries to his beloved girl - Famusov's daughter, Sophia. But the cultural distance turns out to be insurmountable: Sophia fell in love with the hypocrite and careerist Molchalin, and Chatsky himself is declared crazy for his inappropriate sermons. A few years after the victory in the Patriotic War and the Moscow fire, the patriotic upsurge is replaced by a murmur against the ensuing reaction (“Arakcheevism”), and the patriarchal Moscow way of life fades into oblivion - and is finally captured by a sarcastic Muscovite. Ivan Kramskoy. Portrait of the writer Alexander Sergeevich Griboyedov. 1875 State Tretyakov Gallery When was it written? Griboyedov conceived his main play in 1820 in Persia, where he served as a diplomat (evidence that the idea arose earlier is unreliable). Griboedov wrote the first two acts in Tiflis, where he managed to transfer in the fall of 1821 and where he subsequently made a career under General Ermolov. Having left service for a while in the spring of 1823 and collected new material for comedy at Moscow balls, Griboyedov wrote acts III and IV in the summer of 1823 in the village of Dmitrovskoye, Tula province, where he was visiting his old friend Stepan Begichev Stepan Nikitich Begichev (1785-1859) - military man, memoirist. Begichev, like Griboyedov, was an adjutant to General Andrei Kologrivov, rose to the rank of colonel and retired in 1825. In the 1820s, Odoevsky, Davydov, Kuchelbecker stayed in his house in Moscow, and Griboyedov lived for a long time. Begichev wrote one of the first articles in defense of “Woe from Wit,” which he did not publish at the insistence of Griboedov. He was a member of the Decembrist Union of Welfare, but left the organization before the uprising and was not brought to trial. . At the beginning of the summer of 1824, having gone to St. Petersburg to push the finished comedy through the censorship, Griboyedov came up with a new ending on the road and already in St. Petersburg heavily reworked the comedy. He asks Begichev not to read the remaining manuscript to anyone, because since then Griboyedov “has changed more than eighty poems, or, better to say, changed the rhymes, now it’s as smooth as glass.” Work on the comedy continued for a long time - the last authorized version is the so-called Bulgarin list, which Griboedov presented to his publisher and friend Thaddeus Bulgarin on June 5, 1828, on the eve of his return to the East. The girl herself is not stupid, she prefers a fool to a smart person (not because we sinners have an ordinary mind, no! and in my comedy there are 25 fools for one sane person) Alexander GriboyedovHow is it written? Spoken language and free iambic Typical examples of free iambic can be found in Krylov's fables. Here, for example, is “Council of Mice”: “It is a sign among mice that the one whose tail is longer / is always smarter / and more efficient everywhere. / Whether this is smart, we won’t ask now; / Moreover, we ourselves often judge intelligence / By a dress or a beard...” . Both were absolute innovations in Russian comedy. Before Griboyedov, free iambic, that is, iambic with alternating verses of different lengths, was used, as a rule, in small poetic forms, for example, in Krylov’s fables, sometimes in poems with “frivolous content” - such as “Darling” Bogdanovich Ippolit Fedorovich Bogdanovich (1743-1803) - poet, translator. Bogdanovich was an official: he worked in Foreign Collegium, Russian embassy at the Saxon court, State Archives. In 1783, he published a story in verse, “Darling,” a free adaptation of La Fontaine’s novel “The Love of Psyche and Cupid.” Thanks to “Darling,” Bogdanovich became widely known, but his further works were not successful. . This size allows for the best use of both the attractiveness of poetic devices (meter, rhyme) and the intonation freedom of prose. Lines of different lengths make the verse more free, closer to natural speech; the language of “Woe from Wit” with many irregularities, archaisms and colloquialisms reproduces the Moscow accent of the era even phonetically: for example, not “Alexei Stepanovich”, but “Alexei Stepanoch”. Thanks to its aphoristic style, the play became proverbs immediately after its appearance. Having finished the first version of the comedy, which was immediately banned by censorship, Griboedov went to St. Petersburg in June 1824, hoping there, thanks to his connections, to bring the play to the stage and into print. Meanwhile, “Woe from Wit” was already widely circulating on lists. Having lost hope of publishing the comedy in its entirety, on December 15, 1824, the playwright published fragments (acts 7-10 of act I and all Act III) in the Bulgarin almanac "Russian Waist" The first theatrical almanac in Russian, published by Thaddeus Bulgarin in 1825 in St. Petersburg. In addition to Griboyedov’s “Woe from Wit,” “Talia” published translations of Moliere, Voltaire, texts by Shakhovsky, Katenin, Zhandre, and Grech. , where the text has been censored and abbreviated. The discussion in the press that followed the publication further stimulated reader interest and the circulation of handwritten copies. Andrey Zhandre said that he “had a whole office at hand: she copied “Woe from Wit” and became rich, because they demanded a lot lists" 2 Fomichev S. A. Author of “Woe from Wit” and readers of the comedy // A. S. Griboedov: Creativity. Biography. Traditions. L., 1977. S. 6-10. . The comedy was first published as a separate edition after the death of the author, in 1833 - in full, but with censored cuts. Neither this publication nor the subsequent one, in 1839, stopped the production of lists - Xenophon Field Ksenophon Alekseevich Polevoy (1801-1867) - writer, critic, translator. From 1829 to 1834 he edited the Moscow Telegraph, the magazine of his brother, writer Nikolai Polevoy. In 1839 he published “Woe from Wit” with his introductory article. In the 1850s, Polevoy published in “Northern Bee”, “ Domestic notes", published the "Picturesque Russian Library". He wrote critical texts about Pushkin, Delvig, Bogdanovich, and became the author of memoirs about Nikolai Polevoy. wrote later: “How many examples can you find where a composition of twelve printed sheets was rewritten thousands of times, for where and who does not have a handwritten “Woe from Wit”? Have we ever had an even more striking example of a handwritten work becoming the property of literature, of being judged as a work known to everyone, knowing it by heart, citing it as an example, referring to it, and only in relation to it there was no need for Gutenberg’s invention? » Thus, “Woe from Wit” became the first work to be widely circulated in samizdat. The comedy was published in its entirety and without cuts only in 1862. What influenced her? In "Woe from Wit" the influence of the French salon comedy, which reigned on the stage at that time, is obvious. At the beginning of his literary career, Griboedov himself paid tribute to this tradition - he parodied it in the play “Young Spouses” and, together with Andrey Zhandre Andrei Andreevich Zhandre (1789-1873) - playwright, translator. Gendre began his career as a civil servant as a clerk and ended with the rank of Privy Councilor with the Order of St. Alexander Nevsky. IN free time Gendre was involved in translations from French: together with Griboedov, he translated the comedy “Feigned Innocence” by Nicolas Barthes, and together with Shakhovsky, the opera “The Magic Lamp, or Cashmere Cakes.” Published in the anthology “Russian Waist”, magazines “Son of the Fatherland” and “Northern Observer”. wrote the comedy "Feigned Infidelity" - a reworking of the play by Nicolas Barthes. Russian verse comedy of the 1810s also influenced Griboedov, in particular Alexander Shakhovskoy Alexander Alexandrovich Shakhovskoy (1777-1846) - playwright. In 1802, Shakhovskoy left military service and began working in the directorate of the Imperial Theaters. His first successful comedy was “New Stern”, a few years later the comedy “Semi-Bar ventures, or Home theater”, in 1815 - “A Lesson for Coquettes, or Lipetsk Waters”. In 1825, compromised by his connections with the Decembrists, Shakhovskoy left the theater directorate, but continued writing - in total he wrote more than a hundred works. , who developed the techniques of free verse back in “Lipetsk Waters” and in the comedy “If you don’t like it, don’t listen, but don’t bother me to lie,” with which “Woe from Wit” in places coincides both verbally and plot-wise. Contemporary criticism of Griboedov pointed out the plot similarities between Woe from Wit and Moliere’s The Misanthrope and Christoph Wieland’s novel The History of the Abderites, in which ancient Greek philosopher Democritus returns after wanderings to his hometown; Stupid and ignorant fellow citizens of Democritus consider his natural science experiments to be witchcraft and declare him insane. Griboyedov himself was largely guided by Renaissance dramaturgy - primarily by Shakespeare, whom (knowing English well) he read in the original and appreciated for his freedom from genre canons and restrictions: “Shakespeare wrote very simply: he thought a little about the plot, about the intrigue and took the first plot, but processed it in his own way. In this work he was great" 1 Bestuzhev-Marlinsky A. My acquaintance with Griboyedov // A. S. Griboedov in the memoirs of his contemporaries. P. 190. . Griboyedov learned the art of plotting from Beaumarchais. Finally, in the story of Sophia’s love for Molchalin, researchers see a ballad plot - a kind of parody of Zhukovsky’s ballad “Aeolian Harp”; apparently not without reason, because Zhukovsky was an important aesthetic opponent for Griboedov. The earliest of the comedy manuscripts, 1823–1824. Belonged to Griboedov's friend Stepan Begichev How was she received? Having barely finished the comedy in June 1824 in St. Petersburg, Griboyedov read it in familiar houses - and, according to his own testimony, with constant success: “There is no end to the thunder, noise, admiration, curiosity.” After the publication of excerpts from the comedy in Russian Waist, the discussion moved to print - all important Russian magazines responded: "Son of the Fatherland" Literary magazine published from 1812 to 1852. The founder was Nikolai Grech. Until 1825, the magazine published authors from the Decembrist circle: Delvig, Bestuzhev, Zhukovsky, Pushkin, Kuchelbecker, Vyazemsky, Griboedov, Ryleev. After the defeat of the Decembrists, Thaddeus Bulgarin became a co-publisher of the magazine, combining his “Northern Archive” with “Son of the Fatherland.” Later, the magazine was headed by Alexander Nikitenko, Nikolai Polevoy, Osip Senkovsky. , "Moscow Telegraph" Encyclopedic magazine published by Nikolai Polev from 1825 to 1834. The magazine appealed to a wide range of readers and advocated the “education of the middle classes.” In the 1830s, the number of subscribers reached five thousand people, a record audience at that time. The magazine was closed by personal decree of Nicholas I due to a negative review of the play by Nestor the Puppeteer, which the emperor liked. , "Polar Star" Literary almanac of the Decembrists, published by Kondraty Ryleev and Alexander Bestuzhev from 1822 to 1825. It published poems by Pushkin, Vyazemsky, Baratynsky, and Ryleev. After the Decembrist uprising, the almanac was banned, and the 1825 edition was seized. Since 1855, Alexander Herzen began publishing a magazine of the same name in London as a sign of respect for the Decembrists. and so on. Here, along with praise for the lively picture of Moscow morals, fidelity to types and the new language of comedy, the first critical voices were heard. The controversy was caused primarily by the figure of Chatsky, whose criticism was as different in scale as Alexander Pushkin and the now forgotten Mikhail Dmitriev Mikhail Aleksandrovich Dmitriev (1796-1866) - poet, critic, translator. Dmitriev was an official for most of his life: he served in the archives of the Collegium of Foreign Affairs, the Moscow Court, and a department of the Senate. Thanks to his uncle, the poet Ivan Dmitriev, he became acquainted with the literary environment and began to engage in criticism - he published articles in Vestnik Evropy, Moskovsky Vestnik, and Moskvityanin. His polemic with Vyazemsky about the nature of romanticism and the dispute with Polevoy over Griboyedov’s “Woe from Wit” became famous. In 1865, a collection of poems by Dmitriev was published. Translated Horace, Schiller, Goethe. , accused of lack of intelligence. The latter also pointed out to Griboyedov the unnatural development of the plot and the “hard, uneven and incorrect” language. Although Dmitriev’s claims gave rise to many years of discussion, he himself became the subject of ridicule, for example, in the epigram of Pushkin’s friend Sergei Sobolevsky Sergei Alexandrovich Sobolevsky (1803-1870) - poet. From 1822 he served in the archives of the College of Foreign Affairs. It was Sobolevsky who became the author of the expression “archival youth,” meaning a young man from a wealthy family engaged in light work in the archive. Sobolevsky was known as a writer of especially caustic epigrams, communicated with Gogol, Lermontov, Turgenev, and was close friends with Pushkin. In the 1840-60s he was engaged in book publishing and collecting rare books. : “The schoolchildren gathered, and soon / Mich<айло>Dm<итриев>I scribbled the review, / In which I clearly proved, / That “Woe from Wit” is not Mishenka’s Woe.” Nadezhdin Nikolai Ivanovich Nadezhdin (1804-1856) - founder of the Telescope magazine and predecessor of Belinsky: largely under the influence of Nadezhdin, literary criticism in Russia acquires a conceptual basis. In 1836, Telescope was closed for publishing Chaadaev’s Philosophical Letter, and Nadezhdin himself was sent into exile. Upon returning, Nadezhdin abandoned criticism, got a job at the Ministry of Internal Affairs and devoted himself to ethnography. , who highly valued “Woe from Wit,” noted that the play was devoid of action and was not written for the stage, and Pyotr Vyazemsky called the comedy “a slander on morals.” Griboyedov's language surprised many of Griboedov's contemporaries, but this surprise was most often joyful. Bestuzhev-Marlinsky praised the “unprecedented fluency and nature of the spoken Russian language in poetry,” Odoevsky called Griboedov “the only writer who comprehended the secret of translating our colloquial” and in which “we find Russian flavor in one syllable.” In general, with the exception of Belinsky alone, who wrote a devastating criticism of “Woe from Wit” in 1839, no one doubted the originality, talent and innovation of comedy. As for the political background of “Woe from Wit,” it, for understandable censorship reasons, was not directly discussed until the 1860s, when Chatsky increasingly began to be brought closer to the Decembrists - first Nikolai Ogarev, followed by Apollo Grigoriev and, finally, Herzen; It was precisely this interpretation of the image of Chatsky that subsequently reigned in Soviet literary criticism. “I’m not talking about poetry, half of it should become a proverb,” said Pushkin immediately after the appearance of “Woe from Wit” and he turned out to be right. In terms of frequency of citations, Griboedov was probably ahead of all Russian classics, including even the former champion Krylov. “Happy people don’t watch the clock”, “The legend is fresh, but hard to believe” - it’s pointless to multiply examples; even the line “And the smoke of the Fatherland is sweet and pleasant to us!” is now perceived as Griboyedov’s aphorism, although Chatsky in this case quotes Derzhavin. The Famusov society has become a household name, as have its individual representatives - “all these Famusovs, Molchalins, Skalozubs, Zagoretskys.” In a certain sense, “Griboedov’s Moscow” itself has become a household word - this is how Mikhail Gershenzon titled the book, who described the typical Moscow lordly way of life using the example of a particular Rimsky-Korsakov family, and in all the household members he directly saw Griboyedov’s characters, and supported quotes from documents with quotes from the comedy. From the Griboyedov tradition arose the classic Russian drama of the 19th century: “Masquerade” by Lermontov, in whose disappointed hero Arbenin it is easy to recognize the features of Chatsky, “The Inspector General” by Gogol - “ social comedy", where a county town with a gallery of cartoons embodies the entire Russian society, a social drama by Alexander Sukhovo-Kobylin and Alexander Ostrovsky. Since that time, the discussion of dramatic social conflicts through comic means, which once amazed Griboyedov’s contemporaries, has become common place, and the genre boundaries have blurred. Moreover, the play set a kind of new canon. For a long time, theater troupes were recruited under “Woe from Wit”: it was believed that the cast of actors, between whom Griboyedov’s roles were well distributed, could be played by the entire theatrical repertoire 3 Sukhikh I. Cool reading from Gorukhshchi to Gogol. Alexander Sergeevich Griboedov 1795 (1790) - 1829. // Neva. 2012. No. 8 . In moments of crisis in social thought, the Russian intelligentsia invariably returned to the image of Chatsky, who increasingly merged in cultural consciousness with Griboyedov himself: from Yuri Tynyanov, who in 1928 explored in “The Death of Vazir-Mukhtar” eternal question about whether in Russia it is possible to serve “the cause, not the individuals” and not turn from Chatsky into Molchalin - until Viktor Tsoi, who sang “My Woe from the Mind” (“Red-Yellow Days”) in 1990. The Griboyedov House on the corner of Novinsky and Bolshoy Devyatinsky lanes. Moscow, XIX century Griboedov's grave in Tiflis How did “Woe from Wit” make its way onto the stage? The first attempt to stage a comedy was made in May 1825 by students of the St. Petersburg theater school with the live participation of Griboyedov himself, who dreamed of seeing his unsuccessful play “at least on the home stage” (the comedy was not allowed on the big stage as “a libel on Moscow”). However, on the eve of the performance, the performance was banned by the St. Petersburg Governor General Count Miloradovich Count Mikhail Andreevich Miloradovich (1771-1825) - general, participant in the Russian-Swedish War, Suvorov's Italian and Swiss campaigns, and the Russian-Turkish War of 1806-1812. In 1810, Miloradovich was appointed military governor of Kyiv. In the Patriotic War of 1812 he took part in the Battle of Borodino, the battle of Vyazma, and the capture of Paris. After the war - St. Petersburg military governor general. During the uprising on December 14, he was killed by the Decembrists on Senate Square; before his death, he bequeathed the release of all his peasants. , who considered that a play not approved by censorship could not be staged at a theater school. The next attempt was made in October 1827 in Yerevan, in the building of the Sardar Palace, by officers of the Caucasian Corps, among whom were exiled Decembrists. The theater club was soon strictly prohibited, since the craze for theater distracted officers from their service. According to some reports, amateur performances were made in Tiflis with the participation of the author, and in 1830 several young people “drove around St. Petersburg in carriages, sent a card to familiar houses on which was written “Act III of Woe from Wit,” entered the house and played there are some scenes from comedy" 4 Gamazov M. First performances of the comedy “Woe from Wit.” 1827-1832. From the memories of a student // Bulletin of Europe. 1875. No. 7. pp. 319-332. Quote by: Orlov Vl. Griboyedov. Essay on life and creativity. M.: State Publishing House of Fiction, 1954. P. 93. . During his lifetime, Griboyedov never saw his comedy on the big stage, in a professional production. Beginning in 1829, when the excerpt was staged at the Bolshoi Theater, the play gradually made its way into the theater - first in separate scenes, which were played in an interlude-divertissement among “recitations, singing and dancing.” “Woe from Wit” was first presented in its entirety (albeit with censored notes) in St. Petersburg, at the Alexandrinsky Theater, in 1831 - the first professional performer of the role of Chatsky was the tragic actor Vasily Andreevich Karatygin, brother of Pyotr Karatygin, on whose initiative the students The St. Petersburg Theater School enthusiastically staged the play five years earlier. Pyotr Karatygin himself, later a famous playwright, made his debut in literature in the same year with two vaudevilles - the second of them was called “Woe Without Mind.” “Woe from Wit” at the Theater. Meyerhold, 1928. Staged by Vsevolod Meyerhold Did the comedy heroes have real prototypes? The critic Katenin, in a letter to Griboyedov, noted that in his comedy “the characters are portraits,” to which the playwright objected that although the heroes of the comedy had prototypes, their features are characteristic of “many other people, and others of the entire human race... I hate caricatures, in my opinion.” You won’t find a single picture.” Nevertheless, rumors and guesses about who exactly was cast in this or that role began to spread already in the winter of 1823/24, as soon as Griboyedov began reading the not yet completed play in familiar houses. His sister was worried that Griboyedov would make enemies for himself - and even more so for her, “because they would say that evil Griboyedova pointed out to my brother originals" 5 . Thus, many consider the prototype of Sofia Famusova to be Sofya Alekseevna Griboyedova, the playwright’s cousin, while her husband, Sergei Rimsky-Korsakov, was considered a possible prototype of Skalozub, and the name of the house of her mother-in-law, Marya Ivanovna Rimskaya-Korsakova, in Moscow on Strastnaya Square was assigned “Famusov’s house”, its main staircase was reproduced in a performance based on Griboedov’s play at the Maly Theater. Uncle Griboyedov is called the prototype of Famusov himself, based on one passage from the playwright: “I leave it to the historian to explain why in the generation of that time some kind of mixture of vices and courtesy was developed everywhere; from the outside there is chivalry in morals, but in the hearts there is an absence of any feeling.<...>Let us explain more clearly: everyone had dishonesty in their souls and deceit in their tongues. It seems that this is not the case today, but perhaps it is; but my uncle belongs to that era. He fought like a lion with the Turks under Suvorov, then groveled in front of all the random people in St. Petersburg, and in retirement lived on gossip. The image of his teachings: “I, brother!..”
In the famous Tatyana Yuryevna, to whom “Officials and officials are / All her friends and all her relatives,” contemporaries recognized Praskovya Yuryevna Kologrivova, whose husband, “asked at a ball by one high-ranking person who he was, was so confused that he said that he was her husband Praskovya Yurievna, probably believing that this title is more important than all his titles.” The old woman Khlestova deserves special mention - the portrait of Nastasya Dmitrievna Ofrosimova, the famous legislator of Moscow drawing rooms, who left a noticeable mark on Russian literature: she was portrayed in the person of the rude, but certainly pretty Marya Dmitrievna Akhrosimova in "War and Peace" by Leo Tolstoy. In Chatsky's friend, Platon Mikhailovich Gorich, they often see features of Stepan Begichev, Griboyedov's close friend in the Irkutsk Hussar Regiment, as well as his brother Dmitry Begichev, once a member Union of Welfare The Decembrist organization, created in 1818 to replace the Union of Salvation. It consisted of about two hundred people. The declared goals of the society are the dissemination of knowledge and assistance to peasants. In 1821, the Welfare Union was dissolved due to mutual disagreements, and on its basis the Southern Society and the Northern Society arose. , an officer, and by the time of the creation of the comedy (which Griboyedov wrote directly on the Begichev estate) retired and happily married. Such a multitude of prototypes for the most common heroes of “Woe from Wit” can indeed be considered proof of the good intentions of Griboyedov, who ridiculed not specific people, but typical traits. Probably the only absolutely unmistakably recognizable character of Griboyedov is off-stage. Everyone really immediately recognized the “night robber, duelist,” whom, according to Repetilov, “you don’t need to name, you’ll recognize him by his portrait.” Fyodor Tolstoy the American Count Fyodor Ivanovich Tolstoy, nicknamed the American (1782-1846) - military man, traveler. In 1803, he set off on a circumnavigation of the world with Captain Krusenstern, but due to hooligan antics he was put ashore in Kamchatka and had to return to St. Petersburg on his own. Tolstoy owes his nickname to his travels across Russian America - Kamchatka and the Aleutian Islands. He took part in the Russian-Swedish War, the Patriotic War of 1812, and after the war he settled in Moscow. Tolstoy was known for his love of duels and card games, and married a gypsy dancer, with whom he had twelve children (only one daughter survived him). In his old age, Tolstoy became devout and considered the death of his children as punishment for the eleven people he killed in duels. , who was not offended - only suggested making a few corrections. Nikolai Piksanov, a specialist in Griboyedov’s work, studied in 1910 the list of “Woe from Wit”, which at one time belonged to the Decembrist Prince Fyodor Shakhovsky, where the hand of Tolstoy the American against the words “he was exiled to Kamchatka, returned as an Aleut and is strongly unclean” : “the devil carried to Kamchatka” (“for he was never exiled”) and “he is unclean in playing cards” (“for the fidelity of the portrait, this amendment is necessary so that they do not think that he is stealing snuff boxes from the table; at least, I thought to guess intention author") 6 Piksanov N.K. Creative history of “Woe from Wit.” M., L.: GIZ, 1928. P. 110. .
Stepan Begichev. Close friend of Griboyedov and possible prototype of Platon Mikhailovich Gorich Dmitry Begichev. Another possible prototype of Gorich Nastasya Ofrosimova. Prototype of the old woman Khlestova Well, is Chatsky Chaadaev? Contemporaries, of course, immediately thought so. In December 1823, Pushkin wrote from Odessa to Vyazemsky: “What is Griboyedov? I was told that he wrote a comedy based on Chedayev; in the current circumstances this is extremely noble of him.” With this sarcasm, Pushkin hinted at the forced resignation and departure abroad of Chaadaev, who fell a victim of slander; ridiculing the victim of political persecution was not very nice. Probably, in the final version, Griboedov renamed Chadsky to Chatsky, among other things, in order to avoid such suspicions 7 Tynyanov Yu. The plot of “Woe from Wit” // Tynyanov Yu. N. Pushkin and his contemporaries. M.: Nauka, 1969. It is curious that if Chatsky was indeed based on Chaadaev, the comedy became a self-fulfilling prophecy: 12 years after the creation of the comedy, Pyotr Chaadaev was formally declared insane by order of the government after the publication of his first "Letters" From 1828 to 1830, Chaadaev wrote eight “philosophical letters.” In them, he reflects on progressive Western values, the historical path of Russia and the meaning of religion. In the magazine "Telescope" Educational magazine published by Nikolai Nadezhdin from 1831 to 1836. In 1834, Vissarion Belinsky became Nadezhdin’s assistant. Pushkin, Tyutchev, Koltsov, Stankevich were published in the magazine. After the publication of Chaadaev’s “Letter”, “Telescope” was closed, and Nadezhdin was sent into exile. . The magazine was closed, its editor was exiled, and the Moscow police chief placed Chaadaev himself under house arrest and compulsory medical supervision, which was lifted a year later on the condition that he not write anything else. There is no less reason to assert that in Chatsky Griboedov brought out his friend, the Decembrist Wilhelm Kuchelbecker, who was slandered - namely, denounced in society as a madman - for the purpose of political discredit. When the old woman Khlestova complains about “boarding schools, schools, lyceums... lankartak mutual education” - this is a direct biography of Kuchelbecker, a student of the Tsarskoye Selo Lyceum, teacher Main Pedagogical Institute Founded in 1816 on the basis of the Pedagogical Institute. It trained teachers for gymnasiums and higher educational institutions. In 1819 it was transformed into St. Petersburg University, almost ten years later it was restored, but already in 1859 it was closed, and all students were transferred to St. Petersburg University. and Secretary of the Mutual Education Society Lancaster system A system of peer teaching in which older students teach younger ones. Invented in Great Britain in 1791 by Joseph Lancaster. The Russian “Society of Mutual Training Schools” was founded in 1819. The Lancastrian system was supported by many members of secret societies; Thus, the Decembrist Vladimir Raevsky came under investigation in 1820 for “harmful propaganda among soldiers” precisely in connection with his teaching activities. . However, another character also studied at the St. Petersburg Pedagogical Institute - the chemist and botanist Prince Fyodor, the nephew of Princess Tugoukhovskaya, who is not for nothing that she is indignant: “There they practice schisms and lack of faith / Professors!!” In 1821, several professors were charged with denying the “truths of Christianity” and “calling for an attack on legitimate authority” in their lectures, and teaching was prohibited; The case caused a great deal of publicity and was used as an argument for the dangers of higher education. So it would be most correct to say that although Griboyedov used the traits of real people, including his own, when creating his hero, Chatsky - collective portrait the progressive part of his generation. Pyotr Chaadaev. Lithograph by Marie-Alexandre Alof. 1830s Is Chatsky smart? This seems to go without saying and is postulated in the title of the comedy, which Griboyedov initially wanted to call even more specifically: “Woe to Wit.” In a letter to Pavel Katenin, the playwright, on this principle, contrasted Chatsky with all other characters (except perhaps Sophia): “In my comedy there are 25 fools for one sane person.” Contemporaries, however, disagreed on this matter. The first to deny Chatsky’s intelligence was Pushkin, who wrote to Pyotr Vyazemsky: “Chatsky is not a smart person at all, but Griboyedov is very smart.” This view was shared by many critics; Belinsky, for example, called Chatsky “a framer, an ideal buffoon, at every step profaning everything sacred he talks about.” The accusation against Chatsky was based primarily on the discrepancy between his words and actions. “Everything he says is very smart,” notes Pushkin. - But who is he telling all this to? Famusov? Skalozub? At the ball for Moscow grandmothers? Molchalin? This is unforgivable. First sign smart person“Know at first glance who you’re dealing with and don’t throw pearls in front of the Repetilovs.”
The injustice of this reproach is shown by a careful reading of the text. Chatsky, say, does not throw beads in front of Repetilov at all - on the contrary, it is Repetilov who crumbles in front of him “about important mothers,” and Chatsky answers in monosyllables and rather rudely: “Yes, that’s enough nonsense.” Chatsky makes a speech about a Frenchman from Bordeaux, although at a ball, not to Moscow grandmothers, but to Sophia, whom he loves and considers an equal (and Griboedov himself called “a smart girl”), in response to her question: “Tell me what makes you so angry ? Nevertheless, one cannot help but admit that Chatsky finds himself in funny and absurd situations that do not seem appropriate for a “smart” hero. However, Chatsky himself admits that his “mind and heart are not in harmony.” The hero’s reputation was finally cleared by Ivan Goncharov, who noted in the article “A Million Torments” that Chatsky is a living person experiencing a love drama, and this cannot be written off: “Every step of Chatsky, almost every word in the play is closely connected with the play of his feelings for Sophia” - and this internal struggle “served as a motive, a reason for irritation, for that “millions of torments”, under the influence of which he could only play the role indicated to him by Griboyedov, a role of much greater, higher significance than unsuccessful love, in a word, the role for which the whole comedy was born.” According to the critic, Chatsky not only stands out from other comedy heroes - he is “positively smart. His speech is full of intelligence and wit.<...>...Chatsky begins a new century - and this is all his meaning and all "mind" 8 Goncharov I. A. Million of torments (Critical etude) // Goncharov I. A. Collected works: In 8 volumes. T. 8. M.: GIHL, 1955. P. 7-40. . Even Pushkin, Chatsky’s first accuser, paid tribute to the “thoughts, witticisms and satirical remarks” that Chatsky imbibed, according to the poet, from a “very smart man” - Griboyedov. The poet was confused only by the inconsistency of the hero, who thinks so clearly about abstractions and acts so absurdly in practical circumstances. But he immediately noted that the blindness of Chatsky, who does not want to believe in Sophia’s coldness, is psychologically very reliable. In other words, if you do not try to squeeze Chatsky into the narrow role of a walking idea-reasoner, into which he does not fit, there is no reason to doubt his intelligence: a romantic hero who finds himself in a comedy inevitably plays a comic role - but this position is not funny, but tragic. Dmitry Kardovsky. Illustration for the comedy "Woe from Wit". 1912 Why did Pushkin call Sofya Famusova an unprintable word? Pushkin’s well-known unprintable expression from a letter to Bestuzhev - “Sophia is not written clearly: otherwise<б....>, not that Moscow cousin According to Yuri Lotman, “the Moscow cousin is a stable satirical mask, a combination of provincial panache and mannerism.” - today seems too harsh, but the same bewilderment was shared by many contemporaries. In the first home and theatrical productions usually they omitted six acts from the first act: the scenes of Sophia’s date with Molchalin (as well as the flirtations of both Molchalin and Famusov with Liza) seemed too shocking to be presented to the ladies, and were almost a bigger problem for censorship than the political subtext of the comedy . Today, the image of Sophia seems somewhat more complex and prettier than Pushkin’s formula. In the famous article “A Million Torments,” Ivan Goncharov stood up for the reputation of the girl Famusova, noting in her “the strong inclinations of a remarkable nature, a lively mind, passion and feminine softness” and comparing her with the heroine of “Eugene Onegin”: in his opinion, Sophia, although spoiled environment, but, like Tatyana, she is childishly sincere, simple-minded and fearless in her love.
This is not an unreasonable comparison. Pushkin became acquainted with “Woe from Wit” in the midst of work on “Eugene Onegin”; Traces of Griboyedov's comedy can be seen both in the comic gallery of guests at Tatyana's name day, and in her dream, a variation of Sophia's fictitious dream; Pushkin directly compares Onegin with Chatsky, who got “from the ship to the ball.” Tatyana, a kind of improved version of Sophia, a lover of novels, like her, endows a completely unsuitable candidate with the traits of her loved ones literary heroes- Werther or Grandison. Like Sophia, she shows a love initiative that was indecent by the standards of her time - she composes a “letter for a dear hero,” who did not fail to reprimand her for this. But if Pushkin condemned Sofia Pavlovna’s love recklessness, then he treats his heroine sympathetically in a similar situation. And when Tatyana marries a general without love, just as Sophia could have married Skalozub, the poet took care to clarify that Tatyana’s husband was “mutilated in battle” - unlike Skalozub, who obtains the rank of general through various channels that are far from military valor. As he put it in 1909 in the article “In Defense of S.P. Famusova” theater critic Sergei Yablonovsky, “Pushkin cries over sweet Tanya and dissolves our hearts so that we can better hide this... sleeping girl and woman in it,” but Griboedov “did not want to bring Sophia closer to us.<...>She's not even given the last word defendant" 9 “The present century and the past...” Comedy by A. S. Griboyedov “Woe from Wit” in Russian criticism and literary criticism. St. Petersburg: Azbuka-Classics, 2002. P. 249 . Sophia was often perceived as a girl of dubious morality, a typical representative of the vicious Famus society, and Tatyana Larina - as the ideal of a Russian woman. This happened largely because the author refused sympathy for Sophia - this was required by the interests of the main character, Chatsky. It’s interesting that in the first edition of the comedy, Griboyedov did give Sophia the opportunity to justify himself:
And although in the final version the author took away this monologue from the heroine, which showed Chatsky in a bad light, he allowed her to maintain her dignity: “Reproaches, complaints, my tears // Don’t you dare expect them, you’re not worth them...” - neither could have said that *****, nor the Moscow cousin. Powder sprayer. Germany, XVIII–XIX centuries Powder compact. France, 19th century What do Griboyedov's characters' surnames mean? Griboyedov, in the tradition of classic comedy, gives almost all of his characters speaking surnames. Such surnames usually highlighted the main property of a character, a personified vice, virtue, or some other one-dimensional quality: for example, in Fonvizin, stupid landowners are nicknamed Prostakovs, a government official who restores order bears the surname Pravdin, and Tsyfirkin teaches arithmetic to the underage Mitrofanushka. In “Woe from Wit” everything is less straightforward: all the speaking names in one way or another embody one idea - the idea verbal communication, mostly difficult. Thus, Famusov’s surname is derived from the Latin fama - “rumor” (it is not without reason that his main sadness at the end is “What will Princess Marya Aleksevna say!”). The name of Molchalin, “who does not dare to have his own opinion,” speaks for itself. A double meaning can be seen in the name Repetilov (from the French répéter - “to repeat by heart”, “to repeat after someone”): this character, on the one hand, silently listens to important conversations conducted by the “juice of smart youth”, and then repeats it to others , and on the other hand, he acts as a comic double of Chatsky, illustrating his spiritual impulses with his own physical clumsy movements. Prince Tugoukhovsky is deaf, Colonel Skalozub - “He’s also good at joking, because nowadays who doesn’t joke!” - a master of barracks witticisms. In Khlestova’s surname you can see a hint of a biting word, which you can’t refuse her - for example, she was the only one in the entire comedy who made the main wit Chatsky laugh, who noted that Zagoretsky “would not be well off from such praise.” Khlestova’s remark about Chatsky and Repetilov (the first “will be treated, maybe cured,” while the second is “incurable, no matter what”) anticipates later observations of literary scholars regarding the relationship between these two characters. Various researchers associated the surname of Chatsky himself (in an early edition - Chadsky) with the word “chad” on the basis of his general ardor and analysis of his remarks (“Well, the day has passed, and with it / All the ghosts, all the smoke and smoke / Hopes that filled my soul” or maxims about the sweet and pleasant “smoke of the Fatherland”). But a more direct association, of course, is with Chaadaev. Dmitry Kardovsky. Illustration for the comedy "Woe from Wit". 1912 Is Chatsky a Decembrist? The opinion that for Chatsky, as Griboyedov wrote it, the direct road lay on Senate Square, was first expressed by Ogarev, substantiated by Herzen, who argued that “Chatsky walked the direct road to hard labor,” and subsequently became firmly established in Soviet literary criticism, especially after the like the book by academician Militsa Nechkina “A. S. Griboyedov and the Decembrists” received the Stalin Prize in 1948. Today, however, the question of Chatsky’s Decembrism is no longer resolved so clearly. The argument in this dispute often revolves around another question: was Griboyedov himself a Decembrist? The writer was friends with many Decembrists, was, like many of them, a member of the Masonic lodge, and at the beginning of 1826 he spent four months in the guardhouse of the General Staff under investigation - he later described this experience in an epigram as follows:
In the case of the Decembrists, Griboyedov, however, was acquitted, released “with a cleansing certificate” and an annual salary and sent to his place of service in Persia, where a brilliant, although, unfortunately, short-lived career awaited him. And although his personal sympathies towards the Decembrists are beyond doubt, he himself was not a member of the secret society, as Bestuzhev and Ryleyev showed during interrogations, and spoke skeptically about their program: “One hundred ensigns want to change the entire state life of Russia.” Moreover: there is one directly named member of the “secret union” in his comedy - the caricature Repetilov, over whom Chatsky ironizes: “Are you making noise? But only?" To this, supporters of the “Decembrist” concept object that Repetilov is, although crooked, a mirror of Chatsky. Chatsky “writes and translates nicely” - Repetilov “makes a vaudeville show with six of us”, his quarrel with his father-in-law, the minister, is a reflection of Chatsky’s connection and break with the ministers, at the first appearance on stage Repetilov “falls with all his might” - just like Chatsky, who “fell how many times,” galloping from St. Petersburg to be at Sophia’s feet. Repetilov is like a circus clown who, during breaks between the performances of trainers and tightrope walkers, repeats their heroic acts in an absurd light. Therefore, it can be considered that the author put into his mouth all those speeches that Chatsky himself, as the author’s mouthpiece, could not utter for censorship reasons.
Of course, “Woe from Wit” had a political subtext - this is evidenced by the long-term censorship ban and the fact that the Decembrists themselves recognized Chatsky as one of their own and in every possible way contributed to the dissemination of the play (for example, in the apartment of the Decembrist poet Alexander Odoevsky, for several evenings a whole the workshop rewrote “Woe from Wit” under general dictation from Griboedov’s original manuscript, in order to later use it for propaganda purposes). But there is no reason to consider Chatsky a revolutionary, despite the civic pathos with which he criticizes the arbitrariness of the serf owners, sycophancy and corruption. "Carbonarius" From Italian - “coal miner”. Member of a secret Italian society that existed from 1807 to 1832. The Carbonari fought against the French and Austrian occupation, and then for the constitutional order of Italy. The society practiced complex rites and rituals, one of them was the burning of charcoal, symbolizing spiritual purification. , a “dangerous person” who “wants to preach freedom” and “does not recognize the authorities”, Famusov calls Chatsky - covering his ears and not hearing what Chatsky is telling him, who at this time is not calling for the overthrow of the system, but only for intellectual independence and meaningful activities for the benefit of the state. His spiritual brothers are the “physicist and botanist” Prince Fyodor, the nephew of Princess Tugoukhovskaya, and Skalozub’s cousin, who “suddenly left his service and began reading books in the village.” His, as we would say today, positive agenda is clearly expressed in the play:
Yuri Lotman in the article “Decembrist in Everyday life“actually put an end to this dispute, considering “Decembrism” not as a system of political views or a type of activity, but as a worldview and style of behavior of a certain generation and circle, to which Chatsky definitely belonged: “Contemporaries highlighted not only the “talkativeness” of the Decembrists - they also emphasized the harshness and directness of their judgments, the peremptory nature of their sentences, which was “indecent” from the point of view of secular norms...<…>...a constant desire to express one’s opinion bluntly, without recognizing the ritual and hierarchy of secular speech behavior established by custom.” The Decembrist openly and “publicly calls things by their proper names, “thunders” at the ball and in society, since it is in this naming that he sees the liberation of man and the beginning of the transformation of society.” Thus, having resolved the issue of Chatsky’s Decembrism, Lotman at the same time freed him from suspicions of stupidity, once aroused among critics by his “inappropriate” behavior. Before Griboyedov, Russian comedy of the 1810s-20s developed as is customary count 10 Zorin A. L. “Woe from Wit” and Russian comedy of the 10-20s of the 19th century // Philology: Collection of works of students and graduate students of the Faculty of Philology of Moscow State University. Vol. 5. M., 1977. S. 77, 79-80. , in two directions: a pamphlet-satirical comedy of manners (prominent representatives are Alexander Shakhovskoy and Mikhail Zagoskin) and a salon comedy of intrigue (primarily Nikolay Khmelnitsky Nikolai Ivanovich Khmelnitsky (1789-1845) - playwright. Khmelnitsky served in the Collegium of Foreign Affairs and was involved in the theater: he published theater reviews in the St. Petersburg Bulletin and translated plays. Khmelnitsky's success was brought by the productions of the comedies "Talker" and "Pranks of Lovers." It was in his house that the first reading of Griboyedov’s “Woe from Wit” took place. After the War of 1812, Khmelnitsky served as a state councilor and was the governor of Smolensk, then Arkhangelsk. In 1838, he was imprisoned in the Peter and Paul Fortress for embezzlement, but was later found innocent. ). The comedy of intrigue was written mainly from French models, often representing a directly adapted translation. Griboedov also paid tribute to this tradition in his early comedies. And he builds the love affair in “Woe from Wit” according to a seemingly familiar pattern: the despotic father of a pretty girl with the traditional name Sophia (meaning, note, “Wisdom”) and two seekers - the hero-lover and his antagonist. In this classical scheme, as Andrei Zorin notes, the rivals were certainly endowed with a number of opposing qualities. The positive hero was distinguished by modesty, silence, respect, prudence, in general, “moderation and accuracy”, the negative one was a malicious braggart and a disrespectful mocker (for example, in Khmelnitsky’s comedy “Govorun” the positive and negative characters bear the speaking surnames Modestov and Zvonov, respectively). In short, in the literary context of his time, Chatsky was recognized at first glance as a negative hero, a clownish lover - and his correctness, as well as the obvious author’s sympathy for him, caused cognitive dissonance in readers. Let us add to this that before Griboyedov, love in comedy could not be wrong: the obstacle on the path of the lovers was the poverty of the seeker, the unfavorability of the girl’s parents towards him - but in the end these obstacles were happily resolved, often due to external intervention ( deus ex machina "God Ex Machina" Latin expression, meaning an unexpected resolution of a situation due to external intervention. Originally a technique in ancient drama: one of the gods of Olympus descended onto the stage with the help of a mechanical device and easily solved all the problems of the heroes. ), lovers were united, and the ridiculed vicious rival was expelled. Griboedov, contrary to all comedy rules, completely deprived Woe from Wit of a happy ending: vice is not punished, virtue does not triumph, the reasoner is expelled as a buffoon. And this happens because the playwright excluded the latter from the classic triad of unities of time, place and action: in his comedy there are two equal conflicts, love and social, which was impossible in a classic play. Thus, in the words of Andrei Zorin, he blew up the entire comedy tradition, turning both the usual plot and role inside out - sympathizing with yesterday's negative character and ridiculing the former positive ones. A Moscow young lady, a girl with not high feelings, but with strong desires, barely restrained by secular decency. As many believe, she cannot possibly be a romantic girl: for in the most ardent frenzy of imagination it is impossible to daydream to the point of giving your soul and heart to a doll Molchalin». However, if Sophia is just an empty Moscow young lady and she herself is not far from Molchalin, why does Chatsky himself, who knows her well, love her? It was not because of the vulgar Moscow young lady that when he was three years old, “the whole world seemed like dust and vanity.” This is a psychological contradiction - meanwhile, Pushkin, among the merits of the comedy, noted its psychological authenticity: “Chatsky’s incredulity in Sofia’s love for Molchalin is charming! - and how natural!” In attempts to explain this discrepancy, many critics have had to indulge in psychological speculation. Goncharov believed, for example, that Sophia was guided by a kind of maternal feeling - “the desire to patronize a loved one, poor, modest, who does not dare raise his eyes to her, to elevate him to herself, to her circle, to give him family rights.”
Another psychological motivation for Sophia’s choice can be seen in the history of her relationship with Chatsky, which is set out in the play in some detail. Once upon a time they were connected by a tender childhood friendship; then Chatsky, as Sophia recalls, “moved out, he seemed bored with us, / And rarely visited our house; / Then again he pretended to be in love, / Demanding and distressed!!” Then the hero went to travel and “didn’t write two words for three years,” while Sophia asked any visitor about him - “even if he was a sailor”! It is clear after this that Sophia has reasons not to take Chatsky’s love seriously, who, among other things, “travels to women” and does not miss the opportunity to flirt with Natalya Dmitrievna, who is “fuller than before, fear prettier” (just like Sophia “ blossomed charmingly, inimitably"). ) - this was common practice for popular plays in the early 19th century, but what was unusual was the number and literary scope. Mikhail Bestuzhev-Ryumin Mikhail Alekseevich Bestuzhev-Ryumin (1800-1832) - poet, journalist. He published the literary newspaper “Northern Mercury” and the almanacs “Garland”, “Sirius”, “May Leaf”, “Northern Star”. He published his poems and critical articles in them under the pseudonym of Aristarchus the Testament. His attacks on Pushkin and his fierce polemics with the editor of “Literary Additions to the Russian Invalid”, Alexander Voeikov, which ended with threats to expel the journalist from St. Petersburg, became famous. published in his almanac “Sirius” a short story in letters, “The Consequence of the Comedy “Woe from Wit,” where Sophia, first sent by her father to the village, soon returns to Moscow, marries an elderly “ace”, who earned his ranks by servility and drives in a train A zug is a team in which horses go in several pairs, tail to tail. Only very rich people could afford to travel in a train. , and is looking for an opportunity to reconcile with Chatsky in order to cuckold his husband with him.Dmitry Begichev, a friend of Griboyedov, on whose estate the comedy was written and who was considered one of the prototypes of Platon Mikhailovich Gorich, in the novel “The Kholmsky Family” brought out Chatsky in old age, poor, living “quieter than the grass” in his village with a grumpy wife, then I have fully repaid my friend for the caricature. In 1868, Vladimir Odoevsky published his “Intercepted Letters” from Famusov to Princess Marya Aleksevna in Sovremennye Zapiski. Evdokia Rostopchina in the comedy “Chatsky’s Return to Moscow, or Meeting of Familiar Faces after Twenty-Five Years of Separation” (written in 1856, published in 1865) ridiculed both political parties Russian society of that time - Westerners and Slavophiles. The crown of this literary tradition was the cycle of satirical essays “Lord Molchalina”, written in 1874-1876 by Saltykov-Shchedrin: there Chatsky fell, lost his former ideals, married Sophia and lived out his life as director of the department of “State Insanity”, where he was assigned godfather Molchalin, a reactionary official, “has reached the well-known levels.” But the most odious future was painted for Chatsky at the beginning of the 20th century by Viktor Burenin in the play “Woe from Stupidity” - a satire on the revolution of 1905, where Chatsky, following the author, preaches Black Hundred ideas, branding not reactionaries, but revolutionaries, and instead of “a Frenchman from Bordeaux” his target becomes “the blackest Jew of the lawyers.” bibliography
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