Lesson “Analysis of Act 1 of A. Griboedov’s comedy “Woe from Wit”

In the work of A. S. Griboedov, “Woe from Wit,” the morals of the nobles of the 19th century are ridiculed. The author raises the eternal question of the difference in views between generations. The main clash occurs between Chatsky, an adherent of the new nobility, and Famusov’s social circle, where the main thing is not personality, but material condition and rank. But there is also a romantic motive in the text. When analyzing Act 2 of “Woe from Wit”, it is necessary to take into account all the plot lines.

Main storylines and characters

When considering the main storylines, it is necessary to identify their participants. In the first case, these are people of the same age. This explains some naivety and ardor of feelings. The play contains a love triangle:

1. Chatsky.
2. Sophia.
3. Molchalin.

In the second case, we are talking about different ages and upbringing. This was reflected in the difference in views. This leads to the second conflict of the play - the conflict of the “present century” and the “past century”, the participants of which:

1. Chatsky.
2. Famusov.

These plot lines in the comedy text interact with each other.

When compiling a brief summary of the play, it is necessary to pay attention in “Woe from Wit” to act 2 and its analysis. First you need to look at the list of main people given in the table and their characteristics:

Before Chatsky appears, the heroes lie to each other, trying to hide something. This is the norm for them. And that is why Chatsky’s truthful words in his monologues caused such indignation and a change of mood in other characters.

Already in act 2, scene 1 “Woe from Wit”, Famusov’s outdated views on society and its values ​​are visible, where what is important is not intelligence, honesty and decency, but wealth and power.

Development of a literature lesson on the topic: “Analysis of Act 1 of the comedy “Woe from Wit” by A.S. Griboyedov"

Summary of a literature lesson in 9th grade on the topic:

“Alexander Andreich Chatsky to see you!”
Reading and analysis Act
I. Developed by:

master's student FL – LM-21

Safonova T.S.

Lesson objectives:

1.Educational

: begin to analyze comedy by action.

2.Developing

:

3. Educational:

to cultivate in students an interest in Russian classics, to form such moral qualities of the individual as respect for family, honesty, and the desire for enlightenment.

Universal learning activities:

1) communicative: the ability to express one’s thoughts with sufficient completeness and accuracy in accordance with the tasks and conditions of communication; 2) cognitive: establishing cause-and-effect relationships, building a logical chain of reasoning; 3) regulatory: assessment, awareness of the quality and level of assimilation.

Planned results :

· personal:

formation of communicative competence in communication and cooperation with peers in the process of educational activities;

· meta-subject:

the ability to consciously use verbal means in accordance with the task of communication to express one’s thoughts and feelings;

· subject:

the ability to present a detailed oral response to questions posed; the ability to express a personal attitude to a work of art and argue one’s point of view.

Lesson type

: combined.

Methods:

commented reading, text analysis.

Pedagogical technologies:

problem-based learning, ICT.

During the classes

I. _ Checking homework.

II . The teacher's word.

Repetition of the concept of “comedy of classicism”.

Comedy is a type of drama. Features of such a work are the absence of the author’s narration (list of characters and stage directions); limiting the action to spatial and temporal frameworks, hence revealing the character’s character through moments of confrontation (the role of conflict); organization of speech in the form of dialogues and monologues that are addressed not only to other characters, but also to the viewer; stages of conflict development (exposition, beginning, development of action with culmination, denouement). Composition scheme

dramatic work is projected on the screen, students write it down in their notebooks

In the system of genres of classicism, comedy belongs to the low genre. One of the main plot schemes of the comedy of classicism is the struggle of two contenders for the hand of one girl. The positive hero is poor, but endowed with high moral qualities; everything ends with a happy ending.

This is the formal concept of A.S. Griboedov’s comedy “Woe from Wit.” However, the play went beyond the limited everyday conflict and was endowed with social and political meaning, which made it immortal.

The comedy by A. S. Griboyedov “Woe from Wit” is a work in which momentary ideological and political disputes are accurately reproduced and at the same time problems of a national and universal nature are identified. These problems in the play are born of the collision of a bright personality with an inert social structure, in the words of the author himself, “a sane person” with “twenty-five fools.”

Such a clash, “the contradiction between characters, or characters and circumstances, or within character, underlying action,” is called conflict. Conflict is the “mainspring”, the source of dynamic tension in a literary work, ensuring the development of the plot.

Notebook entry: Plot —

it is “a chain of events depicted in a literary work, i.e. the life of the characters in its spatio-temporal changes, in changing positions and circumstances.” The plot not only embodies the conflict, but also reveals the characters' characters, explains their evolution, etc.

III.
Working on the comedy text.
1) Analysis of the list of actors:

Students pay attention to several points:

1. Speaking names.

Famusov (from Latin Fata —

rumor), Repetilov (from the French hereger
-
repeat), Molchalin - silent, will not say too much, Tugoukhovsky - deaf, Skalozub -... Khryumina -... Khlestova -...

2. Heroes are characterized based on the following criteria: the principle of birth and place on the career ladder.

1. Chatsky and Repetilov are deprived of these characteristics. Why?!
2. Two characters are designated conventionally G.N. and G.D. Why?
3. The surname Chatsky is “rhymed” (Chadsky - Chaadaev). Here the teacher talks about how Griboyedov foresaw the fate of P.Ya. with his comedy. Chaadaeva.

The surname “Chatsky” carries an encrypted hint to the name of one of the most interesting people of that era: Pyotr Yakovlevich Chaadaev. In the draft versions of “Woe from Wit,” Griboedov wrote the hero’s name differently than in the final version: “Chadsky.” The surname of Chaadaev was also often pronounced and written with one “a”: “Chadaev”. This is exactly how, for example, Pushkin addressed him in the poem “From the Sea Shore of Taurida”: “Chadaev, do you remember the past?..”

So, the action of the comedy takes place in the Famusovs’ house, in Moscow, but in the conversations and remarks of the characters, both the capital’s ministries of St. Petersburg and the Saratov “wilderness”, where Sophia’s aunt lives, appear. The comedy features people of different social status: from Famusov and Khlestova to serf servants. Imagine the house of a wealthy Moscow gentleman in the first half of the 19th century.

2) Reading by roles of the 1st and 2nd phenomena
of Act
I. 3) Conversation on content.

Teacher:

• Is it difficult to read and listen to comedy? (play in verse)
• Can we imagine the individual appearance of each hero? What have we learned about characters’ hobbies and activities?
• What kind of person is Famusov? How does he treat others?
• Why does Pavel Afanasyevich pretend that he does not notice his daughter’s meetings with Molchalin?
• What stage are phenomena 1-6 in terms of plot development? (exposition)
• What phenomenon begins the action? (from the 7th - Chatsky appears)

4) Reading by roles of the 7th phenomenon.

5) Conversation on the content of the 7th phenomenon.

• How does Chatsky appear? Where he was?
• What traits of his character immediately catch your eye?
• How does Sophia meet Chatsky?
• How does Chatsky try to return the “tone of the previous relationship” with his beloved?
• -When does Sophia begin to treat Chatsky with open hostility? Why?
• Why is Famusov concerned about Chatsky’s arrival?
• Why doesn’t he see worthy candidates for his daughter’s hand in either Molchalin or Chatsky?

IV . Conclusion. Write in a notebook.

Analyzing Act I, we got acquainted with the characters and noted two main conflicts: love, with which the play begins, and social, which manifested itself in the confrontation between the views of Famusov and Chatsky. Social conflict does not fit into the framework of love conflict; it is much broader. In Act I, the love line develops mainly, while the social one is only outlined by Chatsky’s minor remarks about old Moscow.

V.Homework
:

1. Reread Act II.
2. Write down the quotes in a comparison table:

3. Individual task:

prepare an expressive reading of Chatsky’s monologues “And exactly, the world began to grow stupid...”, “Who are the judges?” and Famusov “That’s it, you are all proud!”, “Taste, father, excellent manner.”

The origin of the conflict

In scene 2 from act 2, the core of the emerging conflict between the adherents of the “past century” and the “present century”, Famusov and Chatsky, is shown. A tense conversation took place between Chatsky and Famusov. People belonging to two different eras collided.

At first, the young man can only talk about Sophia, Famusov’s daughter, with whom he has been in love since childhood. The latter, who does not want to marry his daughter to Chatsky , on the contrary, is trying to avoid this topic that is unpleasant to him . But Chatsky does not accept Famusov’s words. Thoughts about his beloved do not leave Chatsky, and he again talks about the girl.

Gradually, Famusov’s conversation with the young man changes and becomes more intense. The conversation about Sophia flows into a conflict of principles, views on life, concepts of morality and decency. But the imprint of the personal remains in this dispute, even when it turns into something not personal at all. Sophia's theme did not disappear, but grew into a second veiled subtext. This is precisely the reason for the hot temper of the discussion heroes.

Of particular importance in the second phenomenon of the second act is Chatsky’s speech: “And exactly, the world began to grow stupid...”, in which “the present century” and “the past century” are compared. He is not trying to convince Famusov, he simply passionately believes in what he says and is trying to defend his principles and views, which are important and binding for him.

Perhaps the hero’s age plays a significant role here, because he is young and ardent, passionately believes in what he is talking about. He is convinced that the “past century” should become a thing of the past, giving way to the “present century”, which will bring good changes and freedom.

Characteristics of Famusov and Chatsky Act 2. Woe from the mind. help me please

Characteristics of Famusov with aphorisms from the work

Pavel Afanasyevich Famusov is a manager in a government place (“There’s no rest, I’m rushing around like crazy. I’m busy with my position, my job, this one pesters me, the other one, everyone cares about me!”)

A widower, he raised his daughter Sophia alone. Being at a very respectable age, he does not lose his presence of mind, he is very cheerful and fresh (“Look at me: I don’t boast about my build, but I am vigorous and fresh, and lived to see my gray hairs; free, widowed, I am my own master... I am known for my monastic behavior!” .").

Disappointed with today's morals, the fashion for foreign languages ​​(“We were given these languages! We take vagabonds, both into the house and on tickets, so that we can teach our daughters everything, everything—and dancing! And singing! And tenderness! And sighs!”; “And all the Kuznetsky Bridge, and the eternal French, from there fashion to us, and authors, and muses: destroyers of pockets and hearts! When the creator will deliver us from their hats! Caps! And hairpins! And pins! And book and biscuit shops!.."

He takes a big part in his daughter’s love choice (“Ah! Mother, don’t finish the blow! He who is poor is not a match for you”).

He treats his work conscientiously, tries to do everything on time and not put it off until tomorrow (“I’m afraid, sir, I am mortally afraid that a lot of them (papers) will not accumulate; my custom is this: it’s signed, then off your shoulders”).

By character, Famusov is a little boring, omnipresent, restless, very emotional, quick to take revenge (Sofia about her father: “Grumpy, restless, quick, always like that...”).

Characteristics of Chatsky with aphorisms from the work

Alexander Andreevich Chatsky is Sofia’s former boyfriend, a close friend of the family.

Smart, simple-minded, cheerful, witty, a pleasant conversationalist on diverse topics (Liza about Chatsky: “Who is so sensitive, and cheerful, and sharp, like Alexander Andreich Chatsky!”; Sofia about Chatsky: “He knows how to make everyone laugh nicely; he chats, jokes , it’s funny to me; you can share laughter with everyone”, “Sharp, smart, eloquent, especially happy with friends...”)

Chatsky has a high opinion of himself, loves to travel and relax (Sofia about Chatsky: “He thought highly of himself... The desire to wander attacked him, ah! If someone loves someone, why look for intelligence and travel so far?” Liza about Chatsky: "Where is he running around? In what parts? He was treated, they say, in sour waters, not from illness, tea, from boredom - more freely."

Despite the craving for travel, mainly abroad, at heart he is a sincere patriot of his country (“When you travel, you return home, and the smoke of the Fatherland is sweet and pleasant to us!”).

Alexander Andreevich is an overly self-confident, free young man, a reveler, a reveler (Famusov about Chatsky “... this dandy is a friend; he is a notorious spendthrift, a tomboy...”)

He doesn’t work (doesn’t serve) anywhere, he’s too proud (“I’d be glad to serve, it’s sickening to be served”; Famusov about Chatsky: “He doesn’t serve, that is, he doesn’t find any benefit in it, but if he wanted to, he would be businesslike. It’s a pity, it’s a pity, He's a smart guy, and he writes and translates nicely. You can't help but regret that he has such a mind...").

He condemns the “light” and likes to argue (“No, today the light is not like that”).

Very jealous, his former lover Sofia is jealous of literally everyone. First to Skalozub, then to Molchalin (“Who is this Skalozub? His father is very raving about him, and maybe not just his father...”; After Molchalin fell from his horse and Sofia fainted: “Confusion! Fainting! Haste! Anger! Fear! So you can only feel it when you are deprived of your only friend”; “I’ll wait for her and force a confession: who is finally dear to her? Molchalin? Skalozub?”).

He can be insolent, rude, harsh, angry (Sofia to Chatsky: “Your gaiety is not modest...”; “Yes! A menacing look, and a harsh tone, and there are an abyss of these features in you...”; “examples are not new to me; it is noticeable that you are bile ready to pour it out on everyone...").

Lover of the female sex (Chatsky to Molchalin “I go to women, but not for that”).

Repetilov about Chatsky: “He’s not stupid, now we’re bumping into each other, there are all sorts of turuses here, and a sensible conversation turned to vaudeville. Yes! Vaudeville is a thing, but everything else is rotten. He and I... we have... days and the same tastes.”

Touchy and capricious (“get out of Moscow! I don’t go here anymore. I’m running, I won’t look back, I’ll go looking around the world, where there is a corner for the offended! A carriage for me, a carriage!”