Griboyedov's comedy "Woe from Wit", being in many ways innovative, differs from the classic comedies that existed before it in the way of portraying heroes. The author made the images more realistic than it was in the tradition of classicism, endowing his characters with both positive and negative features at the same time. Presenting to the public on the pages of the play the conflict of the conservative way of life of the noble life with the progressive views of the younger generation of nobles, the conflict of the “past century” with the “present century”, the author significantly expands the system of comedy images. This helps him to make the secular Moscow society depicted in the work brighter and more memorable. In the development of the action of the comedy, an important role is assigned to the secondary characters. In this regard, to comprehend the play, it is necessary to pay attention to the characterization of Liza in the comedy "Woe from Wit".

In Russian literature, the servant Liza in the comedy "Woe from Wit" takes a worthy place in the gallery of female images, despite the fact that her role is secondary. This became possible thanks to

The fact that the reader is attracted by the mind and cunning of this girl, and her character is interesting, deep and bright. Those apt characteristics that we hear from her lips regarding other characters make us pay even more attention to her.

Lisa plays an important role in the development of the love affair of comedy. She is the person with the help of whom Molchalin, the beloved of her mistress Sophia, is exposed. It is to Lisa that the unfortunate lover admits that he "loves" Sophia "according to his position", for personal gain, and laments that the young lady is not so attracted to him as the maid: "Why is she not you?" In addition, in communication with Lisa, Molchalin manifests himself in a completely different way than with Sophia. This helps to understand what this hero really is. And the reader hears the conclusion regarding this hero precisely from Liza: "You and the young lady are modest, but from the rake."

In the comedy "Woe from Wit" Liza reveals the true face of not only Molchalin. Each hero, directly or indirectly in contact with her, appears in a new way before the reader. For example, Famusov, Sophia's father, believes that he is the best moral model for his daughter, because in society he is "known for his monastic behavior." But in secret from everyone, he drags after Lisa, and very frankly.
The fact that two heroes of the play are trying to draw Lisa into their love game at once does not in the least discredit the image of this girl. She is a bonded person, but her natural intelligence and ingenuity help her to delicately get out of delicate situations. In addition, a timid but sincere feeling for a person of her circle - the barman Petrusha - lives in her heart. And Molchalin cannot seduce Lisa with any gifts, which indicates that the girl has certain moral principles and attitudes.

In the comedy Woe from Wit, the characterization of Liza is largely based on how she evaluates the other characters in the play. This girl is well versed in people, seeing the very essence in them. It is she who, even before Chatsky's appearance on the stage, gives him the most accurate description: "Who is so sensitive, and cheerful, and sharp, like Alexander Andreich Chatsky."

Lisa is also distinguished by her soulfulness, the ability to maintain a conversation, listen and even offer good advice. It is not by chance that, as the servant recalls, Chatsky shared his fears with her before leaving abroad: “It’s not without reason, Liza, I am crying: who knows what I’ll find when I return? And how much, perhaps, I will lose! "

Despite the fact that in the play "Woe from Wit" the image of Liza belongs to the secondary characters, without her it would be impossible to imagine this comedy. The heroine is a connecting link between all parts of the work, has a significant impact on the development of the action of the comedy, on the disclosure of the characters of other characters. Without Lisa, the comedy's denouement would have been completely different.

What historical period in the life of Russian society is reflected in the comedy "Woe from Wit"? What do you think, is I.A.Goncharov right when he believed that Griboyedov's comedy ...
What phrase do you think defines the idea of Poor Liza? Justify the answer. The phrase - "and the peasant women know how to love." Sentimentalists, in contrast to the classicists, preferred the cult of feeling over ...
The story "Poor Liza" by Karamzin is based on the story of the unhappy love of a peasant woman for a nobleman. The work, written and published in 1792, influenced the further development of the Russian ...
Liza Turaeva and Kostya Karnovsky met at a gymnasium ball. They danced together all evening, and then decided to correspond. Fate gave them very few meetings, so ...
VA Kaverin In front of the mirror, Liza Turaeva and Kostya Karnovsky met at a gymnasium ball. They danced together all evening, and then decided to correspond. Fate gave ...
Two young girls, "poplar and birch", Lizaveta Grigorievna Bakhareva and Evgenia Petrovna Glovatskaya are returning from Moscow after graduation. On the way, they stop by a monastery ...
NS Leskov Nowhere Two young girls, "poplar and birch", Lizaveta Grigorievna Bakhareva and Evgenia Petrovna Glovatskaya are returning from Moscow after graduation. Along the way ...
The Turgenev girl ... Readers associate this concept with the image of a pure, decent, kind and gentle, subtly feeling, but at the same time smart, bold and decisive ...
Alexander Sergeevich Griboyedov "Woe from Wit" brought worldwide fame. In this comedy, the mores of the Moscow nobility of the 19th century are presented in a satirical manner. The main conflict erupts between ...
Innovation of the comedy "Woe from Wit" The comedy by A. Griboyedov "Woe from Wit" is innovative. This is due to the artistic method of comedy. Traditionally, "Woe from Wit" is considered ...
NM Karamzin Poor Liza The author discusses how nice the surroundings of Moscow are, but best of all around the Gothic towers of Si ... a new monastery, from here you can see all of Moscow with an abundance ...
I really love to read, and I have a lot of favorite books. One of them is "Belkin's Tale", the author of which is the remarkable Russian writer Alexander Pushkin. "Tale" ...

June 27 2011

The era of classicism lasted more than two thousand years in Europe - from antiquity to the beginning of the 19th century. During this not short period, theorists and writers of classicism created the most stringent and detailed system of rules, which was considered mandatory.
for every creator. The most solid and well-known rules related to tragedy and. The public reacted quite strongly to the violation of these established canons, so few of Griboyedov's contemporaries understood his comedy "Woe
from the mind. " It did not correspond to the usual ideas about comedy so much that even Pushkin saw this as a flaw, and not innovation. First of all, readers are accustomed to the "three oneness" rule. Undoubtedly, in Woe from Wit
the unity of place and time is observed, but the main thing - the unity of time - is not visible in any way. At least two storylines are visible in the comedy. First, the love triangle: the protagonist of the work Chatsky-Molchalin-Sofya Pavlovna. Secondly,

a story of confrontation and a whole society, which ends with gossip about madness. These lines are connected, but still the plot is clearly “bifurcated”. Dubious
it seemed to how much the work had the right to be called a comedy. The plot itself should be comical, which is definitely not in the comedy, although it is full of funny remarks and many of the characters are rather ridiculously outlined. In addition, according to the literary actions of Griboyedov's time, the positive heroes win, and the negative ones remain in the fools. As a result, there are no winners, and no one strives to win, and even more so there is no one to laugh at either. Nevertheless, the works of "Woe from Wit" did not set itself the task of destroying the poetics of classicism. His credo is creative freedom. Therefore, in

in cases where the requirements of classicism limited its possibilities, not allowing to achieve the desired artistic effect, he resolutely rejected them. But not infrequently, it was the principles of classical poetics that made it possible to effectively solve an artistic problem. For example, Griboyedov skillfully used some private techniques of stage roles: the unlucky hero of the work-lover, his sneaky rival,

capricious and somewhat eccentric, the servant is the confidant of her mistress, the deceived father, the comic old woman, the gossip. But even here Griboyedov makes his own adjustments.

These changes can be traced in the portrayal of two female characters of the comedy "Woe from Wit". In general, the sys-example of the composition of images in classicism was built hierarchically - like a ladder. So the servant could never become the object of description, she could not have her own opinion, but had to support the opinion of the mistress. In Jean Baptiste Moliere's comedy "Bourgeois in the Nobility", which obeys all the canons of classicism, the servant Nicole is a kind of resemblance to Madame Lucille, only less educated and with a different circle of friends. Both girls are in love, only Lucille is in love with Cleonte, and Nicole is
his servant Koviel. They express the same thoughts, only in different ways. For example, in the scene of a quarrel between lovers, the acting, like an echo, repeats the words of the mistress, changing them. Lucille says: "Are you speechless, Cleont?" And Nicole repeats: "Have you taken away, Koviel?" We can't even figure out if the servant is smart.
The female characters are depicted in a different way in the comedy "Woe from Wit" departing from classicism. In it, we can understand the life positions of both heroines. As in the above-mentioned work, Lisa is Sophia's faithful companion and friend. Maid
covers secret, but very chaste dates of his mistress from her father. She very quickly makes Famusov leave so that he does not suspect that there is a man in his daughter's room:

It's time, sir, you know you are not a child,
The girls have such a thin morning sleep,
You hide a little by the door, you whisper a little:
Everyone hears ...
And the hostess herself was confused at the sight of Pavel Afanasyevich:
Allow me, father, my head is spinning,
I can hardly catch my breath from fright;
You deigned to run in so nimbly,
I was confused.
Suspecting his daughter's immoral behavior, he sets himself up as an example of "monastic" behavior, praising himself as a respectable father of the family, although we have just seen his flirtation with Lizonka. To which the servant uttered a phrase that in
later it will become a catch phrase:

Pass us more than any sorrow
And lordly anger, and lordly love.
The girl is smart, but with a practical mind, characteristic of everyday life, that is, cunning.

The second heroine drew the wisdom of everyday life from literary works and stories, because French books, which Famusov murmured, French, dances - that's what became the education of the young lady. But for all its bookishness and its obvious comic

love is a feeling not characteristic of Famus society, the heroine gave herself to a man, not being seduced by either wealth or his nobility. She is so happy with her love that she is not afraid of exposure and possible punishment: "Happy hours are not observed." Also, Sophia, sincere and frank, cannot hide her love for Molchalin from those around her, and she is transparent about her sleep, especially since the situation when her father entered the young lady's room was very frank.
Molchalin is almost clearly the hero of a dream piece told by her; she simply cannot immediately abandon her forgetfulness of music and love.

So, the heroine is completely immersed in her love, she is blinded by it. And Liza thinks sensibly, guided by the mind. She believes that there will be no good in Sophia's love!
forever and ever ", as the father would like a son-in-law" with stars and ranks. " She likes Chatsky better: “Who is so
sensitive, and cheerful, and sharp. " But Sophia seems to be annoyed by the fact: "Listen, you don't take too much liberty." The young lady feels her power over the serf, there is some kind of lordly willfulness in her, despite the fact that she saved her from
father a few minutes ago. That is why we cannot attribute the heroine to the "present century." Liza, sensing her position, does not allow herself much. She admires Chatsky, but does not allow herself to fall in love with him - this is her life
wisdom, she also defies Molchalin because she cannot help but "love the barman Petrusha." She knows her place in society, and therefore will be happy.
Sophia, as an inhabitant of the Famusian society, had the same ideals as all its representatives. And one of the ladies' aspirations is "husband is a boy, husband is a servant, the ideal of Moscow husbands." She also likes to patronize a poor, humble person.
But in the finale, her love is replaced by contempt for Molchalin, she is tormented by a sense of conscience: "I myself am ashamed of the walls." She understands her self-deception, and sincerely regrets. Sophia suffered a complete fiasco in her love, it is possible that the heroine will withdraw into
of offended pride, in distrust of the whole world. One way or another, her fate is tragic.
So, Griboyedov departs far from the established rules of classicism. Alexander Sergeevich used the techniques of classicism only as a "highlight", emphasizing the key individuality of the characters, the originality of their characters and positions.

Sophia loves Molchalin, but hides this from her father, he, of course, would not recognize him as a son-in-law, knowing that he is poor. The heroine sees a lot of good in her father's secretary: "... compliant, modest, quiet, not a shadow of anxiety in her face, and no misconduct in her soul, strangers and at random, that's what I love him for."
Sophia also fell in love with Molchalin because she, a girl with character, needed in life one that she could control. "The desire to patronize a loved one, poor, modest, who does not dare to raise his eyes to her, to raise him to himself, to his circle, to give him family rights" - this is her goal, according to Goncharov.

Therefore, Chatsky, returning to Moscow and saw how Sophia had changed under the influence of the environment, is very worried. It hurt him to see her like this after three years of absence, it was hard to realize that his beloved had chosen Molchalin. Sophia is also worried, but because of a different thing. She involuntarily hears the conversation between Molchalin and Lisa and suddenly sees her chosen one in a different light. She realized that in fact, Molchalin assumed the appearance of a lover only "to please the daughter of such a person." He needed Sophia only in order to take advantage of her influence at the right time. His goal was also to get a higher rank, therefore, according to the precepts of his father, he pleased: "all people without exception." Perhaps someday Sophia found out about the true intentions of Molchalin, and she would not have been so painful. But now she lost a man who was very suitable for the role of a husband - a boy, a husband - a servant. It seems that she will be able to find such a person and repeat the fate of Dmitrievna Gorech and Princess Tugouhovskaya. She did not need a person like Chatsky, but it was he who opened her eyes to everything that was happening. If Sophia had grown up in a different environment, she might have chosen Chatsky. But she chooses such a person who suits her best, since she does not think of another hero for herself, and in the end, according to Goncharov's remark, “It's harder than everyone, harder even than Chatsky,” Sophia.

Griboyedov introduced the comedy heroine to us as a dramatic person. This is the only character that is conceived and executed as close to Chatsky, but in the finale, when Sophia becomes an unwitting witness to Molchalin's "courtship" for Liza, she is struck in the very heart, she is destroyed. And this is one of the most dramatic moments of the play.

Need a cheat sheet? Then save - "Sophia and Liza in the comedy of A.S. Griboyedov's "Woe from Wit": two characters and two destinies. Literary works!

In the satirical comedy by Alexander Sergeevich Griboyedov "Woe from Wit", Liza plays a secondary, but very important role.

Liza is a cheerful, young servant who lives and works in Famusov's house. She is a typical soubrette who helps her mistress Sophia in love affairs. We can say that Lisa is smart and very smart. She easily and masterfully twists herself in front of Famusov, and then tells Sophia about this: “Your father has come here, I have died; spun in front of him, I do not remember that I was lying ”. Famusov and Molchalin show interest in her, but Liza is a brave girl: she rebuffs the first, and reproaches the second for baseness and meanness. Although she still has fear in her soul: "Pass us more than all sorrows, and the lordly anger and the lordly love." Liza herself believes in light and pure love, she sympathizes with the lackey Petrushka, but is afraid of her feelings.

Lisa has the ability to evaluate other characters, she gives everyone very accurate characteristics. I would like to believe that Lisa's fate will change, since she is a clean girl who has not been spoiled by the Famus society.

Sophia and Liza in the comedy by A. Griboyedov "Woe from Wit": two characters and two destinies

The heroines of "Woe from Wit" - Sophia and Liza - seem to be involved only in the development of love intrigue and are not involved in the conflict between the "present century" and the "past century". Girls, on the one hand, are connected by the relations between the mistress and the servant, which are quite typical for world drama. In the plays of Shakespeare, Beaumarchais, Moliere, we often encounter a situation when an intelligent and resourceful servant helps her mistress to arrange her fate or find a way out of a difficult life situation. On the other hand, both girls are involved in complex love affairs. Sophia is crazy about Molchalin, her father's secretary, although she understands that it will be very difficult or almost impossible to arrange fate with him. Molchalin is a man without means and of noble birth, almost a servant. Sophia is loved by Chatsky, who returned to Moscow after a three-year absence, and Famusov wants his daughter to marry Colonel Skalozub. Molchalin, although he depicts love for Sophia, prefers Lisa, who, moreover, is the subject of encroachments by the owner of the house, Famusov. Liza loves the person of her circle - the barman Petrusha. Thus, the mistress and mistress are the heroines on whom the love affair rests.

Although Liza is only a servant in the Famusovs' house, she is an important character in the play; it is no coincidence that the author places it not at the end of the list of characters, as was customary to do, but immediately after Famusov and Sophia. In addition, Lisa is practically the main character of the first act. It is she who appears first on the stage, saves Soyu from her father's wrath and even sets the clock, thereby changing the action time:

I will translate the clock, even though I know: there will be a race,
I'll make them play.

Both Lisa and Sophia are young beautiful girls. The author does not give specific descriptions; we can judge their external data only by the impression they make on others. So, Famusov, flirting with Liza, says about her: “Oh! potion, darling ", Molchalin also does not get tired of repeating about the beauty of the servant:" What your face! " But the main thing that catches the eye in the alleged image of Lisa is her liveliness and cheerful disposition. “You are a merry creature! Alive! " - the same Molchalin says to her.

Only the enamored Chatsky does not notice anyone except Sophia:

Yes, and now,
At seventeen, you bloomed beautifully,
Inimitable ...

He says absentmindedly to Famusov: "How Sophia Pavlovna has become prettier with you!" - and then more than once throughout the play repeats: "How good!". Molchalin is not at all seduced by Sophia's appearance: “I don't see anything enviable in Sophia Pavlovna,” he admits to Lisa.

As for Sophia, her image is rightfully considered one of the most complex in the series of characters in Woe from Wit. One cannot but agree with Pushkin that it is "not clearly drawn." Sophia is not devoid of intelligence, but prefers Molchalin to Chatsky. Not being cruel, she goes to meanness, spread rumors about Chatsky's madness.

Of course, Sophia idealizes Molchalin. It seems to her that he is a man of a kind soul and positive qualities, only he "will make the family happy." Chatsky is right when he says to Sophia: "Admiring your qualities, you gave darkness to it." But her love, apparently, is quite sincere, and the girl herself has a warm heart and ardent nature. “What do I care about whom? before them? to the whole universe? " she says. Sophia lives with thoughts about the object of her passion, She understands that her father will not give her up for Molchalin, and all the time prepares for the fight. Chatsky has known her for a very long time, and, believing in her mind, for a long time he cannot recognize the obvious fact that Sophia is falling in love with an insignificant person.

Skalozub’s stupidity is obvious to her: “He hasn’t uttered a clever word ever.” And even in Molchalin itself, she does not see the mind. Defending her lover, she says:

Of course, this mind is not in him,
What a genius for some, but for others a plague ...

Sophia is well-read, educated. Many of her remarks have become proverbs and sayings ("Happy hours are not observed", "I went into a room, ended up in another", "The hero is not my novel").

Sophia's problem, apparently, is not that she lacks intelligence, but that she does not know how and is not accustomed to think. She leads her life according to generally accepted standards. She is brought up by French novels. Reading stories about the love of a noble girl and a poor young man, or vice versa, she builds her relationship with Molchalin in accordance with them. Submission, modesty and resignation Molchalina Sophia takes for love. She does not even think that Molchalin is pretending. If Sophia had not happened to overhear the conversation of her chosen one with the servant, she would have remained confident in his love.

Sophia grew up in an atmosphere of immoral zaons of Famus society. That is why she so easily goes to meanness in relation to Chatsky, slandering him. This is a fairly typical way for light to solve its problems. Maybe Molchalin is good for Sophia: she appreciates his shyness and lack of individuality, because she needs a “husband-boy”, “husband-servant” who indulges the whims of his wife, Moreover, it is through the mouth of Sophia that Griboyedov expresses the attitude of society towards ordinary people, When Chatsky asks her if the Frenchman Guillaume is still married to some princess, then Sophia, as befits a young lady of her croix, throws with contempt: “Dancemaster! Is it possible! "

Lisa is completely different. Although she is a servant, she sometimes turns out to be, if not smarter than her mistress, then, at least, more reasonable. She has a sober look at everything. She repeats to the young lady that "there will not be this proa in love", realizing that Famusov wants a rich husband for her daughter and "with the stars." "And the golden bag, and marks the generals" - this is how the witty Liza characterizes both Skalozub and the ideal of Famusov's son-in-law. She is also able to appreciate the merits of Chatsky:

Who is so sensitive and cheerful and sharp,
Like Alexander Andreevich Chatsky!

Lisa is well aware of her position in the house. Although she often acts as Sophia's friend, nevertheless, she repeats more than once that she knows her place. She sees the difference in the situation of her and her mistress when she notices that Molchalin is modest with the young lady, but with the maid as a playboy.

Who is Lisa - a semblance of a French sabrette or a Russian serf? Apparently, both.

She is a serf, but she grew up in the Famusovs' house in the position of Sophia's friend. This is where her free manners and liberty of dealing with Mrs. and Chatsky come from. She is a half-lady, half-servant and plays the role of the companion of the daughter of the owner of the house. Her speech, a serf servant who for a long time grew up with her educated young lady, is a mixture of colloquial vernacular style with literary and bookish. Along with the peasant words ("passed", "an", "pokudova", "push"), with expressions inherent in the lackey environment ("from the young lady," "I dare"), she also uses explicit literary expressions, such as “I ask to serve with a young lady in love”, “what do you need a better prophet for”.

Lisa well understands the true state of affairs, while Sophia in love remains blind for a long time:

Well, people are on the side here!
She to him, and he to me,
And I ... I am the only one who crushes love to death, -
And how not to fall in love with the barman Petrusha!

Lisa is constantly trying to reason with Sophia. She has repeatedly protected her from her father's wrath. However, Sophia shows her real attitude towards Lisa. “Listen, don't take too much liberty,” she says to her, indicating the abyss that lies between her and a simple servant. In the scene of Molchalin's fall from the horse, when Liza tries to reason with Sophia again, she in response hears a sharp rebuke from the young lady: “Which of them do I value? // I want - I love, I want - I will tell. "

A sharp discrepancy in the position of the heroines is also manifested in how their future is shaped. At the end of the play, both Sophia and Liza await the verdict of the owner of the house, but their fate is too different. The innocent Liza, who grew up in the position of almost a friend of Sophia, is expelled to the poultry yard, that is, transferred to the category of servants, and even the lowest. “Please go to the hut, march, go for birds,” Fasmusov tells her. Sophia also faces exile. The angry father states:

You will not be in Moscow, you will not live with people:
Further away from these grips,
To the village, to my aunt, to the wilderness, to Saratov.

However, the reader and the viewer understand that if for Lisa life is broken forever, then for Sophia everything will soon go on as before. The story of her love for Molchalin will be forgotten, and, most likely, Sophia will repeat the usual fate of all Moscow young ladies. “You will make peace with him, on reflection mature,” - Sophia Chatsky contemptuously throws. Apparently, he is not so far from the truth. Sophia will marry another taciturn and will live as is customary in a crooked and stupid world.

Sophia and Lisa, of course, are not ordinary natures. But the best qualities of Famusov's daughter are crushed, twisted by the whole way of her life in the world. And Liza is not at all the mistress of her own destiny. Here Chatsky's monologue “Who are the judges?” Involuntarily comes to mind. Lisa is the same thing as those serfs about whom the protagonist speaks with pain. Her life is an illustration of Chatsky's words about the powerlessness of serfs, and her fate will turn out as the owner decides. As for Sophia, she is unlikely to help her maidservant. Why would a successful Moscow lady (and she most likely will be such) keep before her eyes the witness of the sins of her youth?

Thus, both in the character and in the fate of the two heroines, the love and social lines are constantly intertwined. Sophia and Liza are not only the heroines of a love affair, their images are successfully woven into that “harsh picture of manners”, which, in Pushkin's opinion, was painted by Griboyedov.

Sophia and Liza in A. Griboyedov's comedy "Woe from Wit": two characters and two destinies. How would you describe Lisa from Woe from Wit? Who was Lisa's lover, woe from wits

Other works on this topic:

Sophia and Liza in the comedy by A. Griboyedov "Woe from Wit": two characters and two destinies