Synopsis for act 4: woe from mind. Literature lesson “Reading and analysis of the fourth act of A.S. Griboyedov’s comedy “Woe from Wit” (9th grade)

Goals:

Educational:

View document contents
“Lesson summary on literature on the topic: “N.V. Gogol. "Officials at a reception with the "auditor". Analysis of act 4 of the comedy "The Inspector General."

Novik N.G., teacher of Russian language and literature, State Budgetary Educational Institution JSC “Vychegda SKOSHI”.

Literature lesson summary on the topic: “N.V. Gogol."Officials at a reception with the "auditor". Analysis of Act 4 of the comedy "The Inspector General".

Lesson Type: Content Analysis Lesson

Goals:

Educational:

introduce, comment and discuss the events of Act IV of the comedy; continue observing the plot of the comedy, the characters;

work on the artistic features of the play; fear of the auditor as the basis of comedic action.

developing the skill of expressive reading by role, research work with text, development of students’ communication skills;

analyze the images of comedy heroes through the speech characteristics of the characters, revealing the inner world of the heroes through their actions and speech;

deepen knowledge of literary concepts.

Educational:

development and improvement of skills and techniques for working with literary text: (ability to analyze, compare, draw conclusions);

development of speech and imagination, thinking of students.

Educational:

cultivate interest in the writer’s work;

to cultivate a caring attitude towards words, interest in knowledge, a sense of responsibility for the results of one’s work, and a culture of communication;

Visibility and equipment: cards with words and phrases, album "N.V. Gogol", computer, media projector, textbook: Literature, 8th grade. Textbook-reader for educational institutions. At 2 o'clock. Auto-stat. V.Ya.Korovina and others - 5th ed. – M.: Education, 2009; dictionary of literary terms, cards for text analysis, computer presentation.

During the classes

	Lesson stage	Activities of a teacher	Student activities
	Motivation for activity(inclusion in educational activities)	Good afternoon Are you ready to start the lesson? Let's listen, reason and help each other!	Place educational materials at the workplace and demonstrate readiness for the lesson. Included in educational activities.
	Homework survey.	What was the homework assignment? In “The Inspector General,” Gogol recalled, “I decided to collect in one pile everything bad in Russia that I knew then, all the injustices, and laugh at everything at once.” This idea was brilliantly realized in his comedy “The Inspector General”. He came to the city incognito to conduct an inspection, and all the officials of the county town were alarmed. “We need to slip it to him!” - the officials gathered in the mayor’s house decide. How do they do it? Did Khlestakov, the imaginary auditor, understand who he is taken for in this city or not, and what is happening in the 4th act of the comedy, we will talk about this a little later. At home you re-read Act 4. In front of you are signs with the names of officials. I will ask questions about the content, and you must choose the correct answer and raise the correct sign (Appendix No. 2)	1. Prepare a selective retelling of “Khlestakov’s Lies.” Complete the sentences . The head of the department is with me on…. I only go into ... for two minutes to say ... . They even wanted to...make me. The watchman is flying after me... Once they mistook me for... With... on a friendly footing. I also write for magazines... My first house is in…. I am giving … . There is a watermelon on the table for ... rubles, the soup came from .... Every day I go to... On the packages they write to me…. Once I even managed... Sometimes, when I was passing through a department, everything... and... was like a leaf. 2. Fill out the second part of the table with quotes (see Appendix No. 1)
	Lesson topic message	Teacher's word. The topic of today's lesson is “The Comedy by N.V. Gogol “The Inspector General”. Content analysis of actions 4.”	We will continue to study the comedy “The Inspector General” and get acquainted with the 4th act of the comedy. We will find out... We will learn... We will repeat...
	Introduction of new material.Working on the topic: « N.V.Gogol. Comedy "The Inspector General". Content Analysis4 actions".	1. Work on mastering the content of 4 actions. 1). Phenomenon 1 Where does the action take place? With what intentions did the officials gather at the mayor’s house the next day? Give a lexical interpretation of the word "bribe". Why do you think Gogol replaced the word “bribe” with the vernacular? “slip”? What details indicate that bribes are commonplace? Who is the first to offer to “slip”? The purpose of these bribes? 2. Painting"Parade of Officials" Phenomenon 3. Read the words of Ammos Fedorovich “to the side.” How does a judge feel when giving a bribe? How does he give a bribe? How does Khlestakov explain why he needs money? Phenomenon 4. Who is trying to “loan” Khlestakov in scene 4? What is his speech like? How many rubles did the postmaster lend to Khlestakov? Phenomenon 5. We read the 5th phenomenon by role. How does the official behave in this scene? Does Khlestakov understand why they give him money? What amount does Luka Lukich give to Khlestakov? Phenomenon 6. Watching an episode from the movie “The Inspector General” (Strawberry gives a bribe). Why does Strawberry come to Khlestakov last? Why does he inform on his “friends”? How much does he lend? Phenomenon 7 Why does Khlestakov not stand on ceremony with Dobchinsky and Bobchinsky? How much money did Khlestakov ask them for? How much money were they able to give him? What request does Dobchinsky make to Khlestakov? Remember the moment when Khlestakov realized that he was being mistaken for a statesman. What can you say about the officials? Conclusion: Confusion, fear, and trepidation are common to all officials, but each of them gives a bribe in their own way, which is reflected in speech, actions and remarks. Apparitions 8-9 - To whom is Khlestakov writing a letter? How does he speak about local officials? What do we learn about the Ragman? Painting "Khlestakov and the Complainants." Phenomena 10 -11 Who did the merchants come to complain about? -Why are the merchants unhappy with the mayor? -Make a story “Complaints of merchants” -What kind of bribe do the merchants give to Khlestakov? Expressive reading in faces 11 phenomena. -What are the complaints of the mechanic and non-commissioned officer? Painting"Khlestakov's red tape." Expressive action readingIV, phenomena 12 - 15. How does Khlestakov behave with Marya Antonovna and Anna Andreevna? Why does Khlestakov’s stay in the mayor’s house end with the matchmaking scene? Painting “Seeing Khlestakov”. How do they see off Khlestakov? When does Khlestakov promise to return? Generalization. What are these events in the plot plan? What created the comic effect in these scenes? - “naive” self-exposure of the heroes; - Khlestakov’s growing “revelry”, his looseness and frankness.	 Vocabulary work Court councilor, titular councilor, senator, courier, prisoner, frieze, declaration They seek the best form of presentation to the “auditor” and strive to find the best way to bribe the distinguished guest. Vocabulary work. Bribe - money or material assets given to an official as a bribe, as payment for actions punishable by law. They talk about how bribes are given and how they are taken. “Well, we know what” (Artemy Filippovich) “Slip it?” (Ammos Fedorovich) Judge Protect, protect your department from audits. “And the money is in your fist, and your fist is all on fire,” “like hot coals under you,” “here I am on trial.” Fear. Postmaster. All his thoughts revolve around mail. Incoherent mumbling. Three hundred rubles The superintendent of the schools is trembling all over, his tongue is tangled. Three hundred rubles He is seasoned and experienced. Strawberry is the last one, it is impossible to check. Four hundred rubles. A thousand rubles. Sixty-five rubles This is a scene with Bobchinsky and Dobchinsky, where Khlestakov “shows out” the guests. Tryapichkin lives in St. Petersburg. Writes articles. Whoever gets in his way, beware: he won’t spare his own father for a word, and he loves money. He likes to move apartments frequently and underpay. The story “Complaints of the Merchants”: “We endure insults from the mayor. Let's wait, I'm starving. Pulling his beard. The order is always followed: we give cloth for the dress to the wife and daughter. We carry food for the holidays. You can’t contradict him (say something against him). The locksmith complains about the mayor because... The non-commissioned officer complains about the mayor because... Red tape – courting women (usually without serious intentions). The mayor offers him money and the best Persian carpet. Elements in the development of action.
	Homework	1.Fill in the tables with quotes.	They open their diaries and write down their homework.
	Reflection. Summing up the lesson.	Complete the sentences During the lesson I learned... During the lesson I learned... I can praise myself for...	 Fill out the self-assessment form.

Appendix No. 1

Officials, Anna Andreevna, Maria Antonovna	Khlestakov
“We are even more pleased to see such a person.” “How can you, sir, you do a lot of honor. I do not deserve this. I live in the village".	“For mercy, madam, it’s quite the opposite: it’s even more pleasant for me.” “You, madam, deserve it. Yes, the village, however, also has its hills and streams...”
Mayor: “The rank is such that you can still stand.”	“No rank, please sit down.” “Well, brother, we completely took you for the commander-in-chief.”
“You also publish them in magazines, right? Tell me, were you Brambeus?”	“Yes, and I publish them in magazines... Why, I correct articles for all of them...”
“So, that’s right, and “Yuri Miloslavsky” is your composition?”	“Yes, this is my essay”
“I think with what taste and splendor the balls are given there”	“Just don't talk. On the table, for example, there is a watermelon - a watermelon costs seven hundred rubles...”
“This is Mr. Zagoskin’s essay.”	“Oh yes, it’s true, it’s definitely Zagoskina; and there is another “Yuri Miloslavsky”, so that’s mine.”
“The mayor and others timidly rise from their chairs.”	“The State Council itself is afraid of me.”

Appendix No. 2

Test.

Who was the first to offer to “slip” a bribe to the auditor? (Artemy Filippovich)

Who is the first to go to see Khlestakov? (Ammos Fedorovich)

Continue the phrase: “I have the honor to introduce myself: superintendent of schools, titular councilor...” (Khlopov)

Who tells the imaginary auditor that “the local postmaster is doing absolutely nothing: everything is in great disrepair, parcels are delayed...”? (Artemy Filippovich Strawberry)

Whom does Dobchinsky ask to help legitimize his illegitimate son? (Khlestakov)

Whose words are these: “But you know what, Ivan Alexandrovich? Get out of here! By God, it's time! We walked here for two days, well, that’s enough”? (Osip)

“How I would like, madam, to be your handkerchief to hug your lily neck...” Whose words? (Khlestakov)

Anna Andreevna: “Do you know what honor he honors us with... He asks for our daughter’s hand in marriage.” Who is she talking about? (Khlestakov)

Who ordered Avdotya to take the Persian carpet out of the storeroom and give it to Khlestakov for his journey? (Governor)

Who does Khlestakov ask for money from: “But then you gave two hundred, that is, not two hundred, but four hundred: I don’t want to take advantage of your mistake, so, perhaps, now the same amount, so that it’s already exactly eight hundred”? (Governor)

Appendix No. 3

Khlestakov and...	Quote	Khlestakov's behavior
Ammos Fedorovich	“Do you know what: lend them to me”; “You know, I ran out of money on the road: this and that... However, I’ll send them to you from the village now.”	Obsequious, ready to apologize, curry favor with a respectable judge, probably ready to back down.
Postmaster	“Can you lend me three hundred rubles? But I admit, I don’t like to deny myself death on the road, and why should I?”	Speaks more freely. He sets the amount himself, which is already quite bold.
	“Which do you like - brunettes or blondes? There’s definitely something in my eyes that inspires timidity.”	Blooms and becomes impudent - in inverse proportion to the timidity of his interlocutor
Artemy Filippovich	“Please tell me, it seems to me as if yesterday you were a little shorter, isn’t it?”; "Hey you! as you? I’m forgetting everything, like your name and patronymic.”	Allows impudence towards Strawberry
Bobchinsky and Dobchinsky	“You don’t have any money? Borrow a thousand rubles"	Brazenly extorting money

He complains bitterly to himself: he expected to find in Moscow the joy of meeting his acquaintances and lively participation from them, but he did not find either one or the other. (See the full text of "Woe from Wit".)

Chatsky's lackey cannot find the coachman for a long time. Meanwhile, the fussy Repetilov, who arrived late, stumbles upon Chatsky. He begins to hurriedly tell him: he broke up with his former wild life - and became friends with the smartest people. At the English Club they formed a “most secret alliance” with secret meetings on Thursdays. They talk about “cameras”, about juries, “About Beiron, well, about important mothers.” He offers to bring Chatsky together with his friends (“What are these people, mon cher! The juice of smart youth!”). Chatsky: “Why are you freaking out so much?” - “We’re making noise, brother, we’re making noise.” - “Are you making noise? but only?"

Woe from the mind. Maly Theater performance, 1977

Repetilov begins to describe the members of the “most secret union”: Prince Grigory, an eccentric, makes us laugh, a century with the English, the whole English fold, and he also speaks through clenched teeth; Evdokim Vorkulov – performer of Italian love arias; brothers Levon and Borinka, about whom “you don’t know what to say”; “But if you order a genius to be named: Udushev Ippolit Markelych!!” [allusion to Chaadaev]. He advises Chatsky to read his works, although Udushev, however, writes almost nothing, only his can be found in magazines excerpt, sight And something, “but we have a head like no other in Russia,” although “the hand is firmly unclean; Yes, an intelligent person cannot help but be a rogue.” However, Udushiev likes to talk about “high evil spirits” with a burning face, so much so that everyone around is crying. At meetings, members of the Repetilov “union” compose vaudevilles, set them to music - and themselves clap when they are performed in theaters.

To use presentation previews, create a Google account and log in to it: https://accounts.google.com

Slide captions:

Heroes' epiphany. Analysis of act 4 of the comedy by A.S. Griboyedov "Woe from Wit")

What is the role of action 4? How do they characterize the Moscow nobility? How does the tragedy of Chatsky’s situation intensify? What is the ending of the play?

Well done! Well Famusov! knew how to name guests! Some freaks from the other world, And no one to talk to, and no one to dance with...

The Countess is a granddaughter. The angry, quarrelsome character of an old maid. “Some freaks from the other world...” - this is what she says about the society to which she belongs.

Ball is a good thing, bondage is bitter; And who forces us to marry! After all, it was said, to another generation... Who owns the words?

Who is Repetilov? - How do Famusov’s guests convince Repetilov of Chatsky’s “insanity”? - Why does he also agree with “public opinion”?

Repetilov presents himself as a person of progressive convictions, although he has no convictions at all. His stories about “secret meetings” reveal all the vulgarity, pettiness, and stupidity of this man. Repetilov is a kind of parody of Chatsky. His appearance further aggravates the loneliness and drama of Chatsky’s situation.

All together: Monsieur Repetilov! You! Monsieur Repetilov, what are you talking about! Yes, like you! Is it possible against everyone! Yes, why you? shame and laughter. (Repetilov is suppressed by unanimity).

Do you agree that the image of Repetilov contains a mockery of some of Chatsky’s views? - How does the author contrast Repetilov with Chatsky?

Chatsky Repetilov It’s barely light and he’s already on his feet! And I'm at your feet! Remark: At the very entrance he falls as fast as he can. He writes nicely, translates... (Famusov about Chatsky) However, when I, having strained my mind, I sit down, I don’t sit for an hour, and somehow by chance, I suddenly make a pun. Others will pick up the same idea from me And six of them, lo and behold, they’re making a vaudeville show... Yes, he doesn’t recognize the authorities! (Famusov about Chatsky) ... We have ... determined people, a dozen hot heads! Carriage for me, carriage! (Final remark of Chatsky) Go, put me in the carriage, Take me somewhere. (Final remark by Repetilov)

How do Sofia and Chatsky behave when they are simultaneously convinced of the infidelity of those they love?

This is a strong shock for the heroes, but they face the blow of fate with dignity. Sofia rejects Molchalin. Chatsky gets irritated by the angry monologue and talks about breaking up.

Sofia blames only herself for everything. Chatsky accuses Sofia, even of things for which she is clearly not to blame. Chatsky is cruel to his beloved girl.

What epiphany did Famusov have? Why is Famusov’s last remark needed in scene 15?

Famusov looks comical. What worries him most is public opinion: Ah! My God! What will Princess Marya Aleksevna say?

The heroes' epiphany has come. What will happen to them next?

Winner or loser? “A Million Torments” by A.A. Chatsky “25 fools for one smart person” A.S. Griboyedov

On the topic: methodological developments, presentations and notes

“Alexander Andreich Chatsky is coming to you” (analysis of act 1) The beginning of a love conflict in A. Griboedov’s play “Woe from Wit”

The lesson examines the social and love conflict in the play, determines the place of the first act in the plot and compositional structure of A. Griboyedov’s work “Woe from Wit”...

The work was prepared by 9th grade students of the Kuznetsovo-Mikhailovsk secondary school of levels I-III

Teacher: Krivonos E.I.

2006

Lesson type: knowledge control.

Lesson genre: protection of creative projects.

Goals and objectives: development of productive creative activity (individual and group) through monologue and dialogic statements, testing a work of art, promoting self-development and self-education of students, evaluating the creative projects of classmates based on the comedy “Woe from Wit” by A. S. Griboedov, based on a partial analysis of the text of the work; educating a person of culture, a person of creative search: promoting personal self-improvement.
Equipment: portrait of A. S. Griboyedov, illustrations of students for the comedy “Woe from Wit”, computers, the “Test Designer” program, local network.

Note. Tasks to prepare for the defense of creative projects and the algorithm of action for each group were offered to students in advance.

Algorithm of action of the creative group:
1. Carefully re-read the work.
2. Compose and select different questions about the biography and the content of the work.
3. Write a critical article on the topic: “What makes comedy successful?”
4. Make drawings and provide them with appropriate text

LESSON STRUCTURE

I. Update
The teacher’s opening statement, which also emphasizes that the defense is carried out orally, and the materials in writing are handed over to the teacher:
regulations (for introductory remarks - 2 minutes; testing - 5 minutes);
individual or group protection in the form of a monologue, dialogue, message, testing;
During the lesson, an arbitration commission (students) works. The content of the text, adherence to the author’s style, depth of understanding of the content of the work and the characters’ characters, expressiveness of the statement, and artistry are assessed.

II. Protection of creative projects

Creative group of literary historians
Confirm Belinsky’s words that “..Griboyedov belongs to

to the most powerful manifestations of the Russian spirit." Testing.
A. S. Griboyedov
(1795-182.9)

QUESTIONS
1. The generally accepted date of birth of the writer is January 4 (15), 1795. Do you know (indicate) two more dates of birth of Griboedov, which are named by various literary researchers?
2.Which three faculties did Alexander Griboyedov study at Moscow University?
3. How old was Griboyedov when he entered Moscow University?
4. How many foreign languages ​​did Griboyedov know?
5.What title did Griboyedov receive after graduating from Moscow University?
6.What was the name of Griboedov’s first literary work?
7.What was the name of the article published by Griboedov in 1814 in the journal “Bulletin of Europe”, which he said was “a small research work on the country’s economy”?
8.What plays of Griboyedov, besides “Woe from Wit,” do you know?
9.Which Russian poet served with Griboyedov in the Collegium of Foreign Affairs?
10. Who gave Griboyedov the following description: “While under my command as an adjutant, he carried out both this position and other assignments given to him with special zeal, zeal and activity”?
11.Which of the Russian poets, admiring the comedy “Woe from Wit,” wrote to Griboedov: “I’m not talking about poetry, half of it should become a proverb”?
12.Who said: “Griboyedov belongs to the most powerful manifestations of the Russian spirit”?
13. Which Russian writer said: “The comedy “Woe from Wit” stands somehow apart in literature and is distinguished by its youthfulness, freshness and stronger vitality from other works of the word”?
14.Which of the Russian writers, having learned about the death of Griboedov, wrote: “How many people envied his rise,
not having even a hundredth part of his talents... Lightning does not fall on the fort, but on the heights of the towers and on the heads of the mountains”?
15. On the grave of Griboyedov in Tiflis (now Tbilisi), a bronze figure of a woman is cast, bending in anguish at the foot of the cross; the words are inscribed on the pedestal: “Your mind and deeds are immortal in Russian memory, but why did my love survive you.” Who do they belong to?

ANSWERS
1. 1790 and 1794, neither of the writer’s birth dates; la, even the generally accepted one - 1795, has no documented basis.
2. In philosophy (verbal department), law and physics and mathematics.
3. And years.
4. Eight (English, French, Italian, /German, Persian, Latin, Greek, Arabic).
5. Candidate of Literature and Law.
6. “Dmitry Dryanskoy” - a poetic parody of the tragedy “Dmitry Donskoy” by V. A. Ozerov.
7. “About cavalry reserves.”
8. “Young Spouses” (1815), “Sample Interlude” (1818), co-authored: with P. A. Katenin “Student” (1817), with A. A. Shakhovsky and with N. I. Khmelnitsky “Own Family” , or The Married Bride" (1817), with A. A. Gendre, "Feigned Infidelity" (1818), with P. A. Vyazemsky, "Who is Brother, Who is Sister, or Deception after Deception" (1823).
9. A. S. Pushkin and V. K. Kuchelbecker.
10. Cavalry General Andrei Semenovich Kologrivov, whose adjutant Griboedov served in the Irkutsk Hussar Regiment, in Brest-Litovsk.
11. A. S. Pushkin.
12. V. G. Belinsky.
13. I. A. Goncharov in the article “A Million Torments.”
14. Decembrist writer Alexander Bestuzhev.
15. To Griboyedov’s wife Nina Alexandrovna.

Creative group of literary critics
“A Million Torments” by Sofia Famusova

The only character conceived and performed in the comedy “Woe from Wit” as close to Chatsky is Sofya Pavlovna Famusova. Griboyedov wrote about her: “The girl herself is not stupid, prefers a fool to an intelligent person...” This character embodies a complex character, the author here abandoned satire and farce. He presented a female character of great strength and depth. Sophia was “unlucky” in criticism for quite a long time. Even Pushkin considered this image a failure of the author: “Sophia is drawn unclearly.” And only Goncharov in “A Million Torments” in 1878 first understood and appreciated this character and his role in the play.

Sophia is a dramatic person; she is a character in an everyday drama, not a social comedy. She, like Chatsky, is a passionate nature, living with a strong and real feeling. And even if the object of her passion is wretched and pitiful, this does not make the situation funny, on the contrary, it deepens its drama. In the best performances, actresses play love in the role of Sophia. This is the most important thing about her; it shapes the line of her behavior. The world for her is divided in two: Molchalin and everyone else. When there is no chosen one, all thoughts are only about meeting soon. Sophia embodied the power of the first feeling, but at the same time her love is joyless and unfree. She is well aware that the chosen one will never be accepted by her father. The thought of this darkens life; Sophia is already internally ready for the fight. Feelings so overwhelm her soul that she confesses her love to seemingly completely random people: first to the maid Liza, and then to the most unsuitable person - Chatsky. Sophia is so in love and at the same time depressed by the need to constantly hide from her father that common sense simply fails her. The situation itself deprives her of the opportunity to reason: “What do I care about? Before them? To the whole universe? From the very beginning you can sympathize with Sophia. But there is as much freedom in choosing it as there is predetermination. She chose and fell in love with a comfortable man: soft, quiet and resigned (this is how Molchalin appears in her characteristics). Sophia, it seems to her, treats him sensibly and critically: “Of course, he doesn’t have this mind, What a genius is for others, and for others a plague, Which is quick, brilliant and will soon become disgusting... Will such a mind make a family happy?” She probably thinks she was being very practical. But in the finale, when she becomes an involuntary witness of Molchalin’s “courtship” of Liza, she is struck to the very heart, she is destroyed - this is one of the most dramatic moments of the play.

How did it happen that an intelligent and deep girl not only preferred the scoundrel, the soulless careerist Molchalin, to Chatsky, but also committed betrayal by spreading a rumor about the madness of the man who loved her? Let's take a break from Sophia and remember another literary heroine - Marya Bolkonskaya from War and Peace. Let us remember how her father gave her daily geometry lessons, which the poor princess could not understand. Was this geometry really necessary for Maria Bolkonskaya? No, of course not. The prince sought to teach his daughter to think: after all, mathematics develops logical thinking. By forcing the princess to study mathematics, the prince was only looking for ways of a new education, because he saw the destructiveness of the education that the noble girls of his era received. “Woe from Wit” has an exhaustive definition of such education:

We take tramps into the house and with tickets,
To teach our daughters everything, everything -
And dancing! And foam! And tenderness! And sigh!
It’s as if we are preparing them as wives for buffoons.

How clearly formulated in this angry remark are the answers to the basic questions of education: who teaches, what and why. And it’s not that Sophia and her contemporaries were dull and uneducated: they knew not so little. The point is different: the entire system of women's education had the ultimate goal of giving the girl the necessary knowledge for a successful secular career, that is, for a successful marriage. Sophia doesn’t know how to think - that’s her problem. He does not know how to be responsible for his every step. She builds her life according to generally accepted patterns, not trying to find her own path.

On the one hand, I bring her up with books. She reads sentimental love stories between a poor boy and a rich girl. He admires their loyalty and devotion. Molchalin looks so much like a romantic hero! There is nothing wrong with a young girl wanting to feel like the heroine of a novel. Another bad thing is that she does not see the difference between romantic fiction and life, she does not know how to distinguish a true feeling from a fake. She loves it. But her chosen one is only “serving his duty.”

On the other hand, Sophia unconsciously builds her life in accordance with generally accepted morality. In the comedy, the system of female images is presented in such a way that we see, as it were, the entire life path of a society lady: from girlhood to old age. From the princesses Tugoukhovsky to the countess grandmother. This is the successful, prosperous path of a society lady, which any young lady strives to accomplish - and Sophia too: marriage, the role of a judge in society drawing rooms, the respect of others - and so on until the moment when “from the ball to the grave.” And Chatsky is not suitable for this path, but Molchalin is simply ideal!

And no matter how tragic it may be, having abandoned Molchalin, Sophia will not abandon the “Molchalin type.” Let us remember the scene of Sophia’s breakup with Molchalin. Insulted and humiliated, Sophia drives away her unworthy lover. And yet she blurts out:

...be glad
What happens when dating me in the silence of the night?
They were more timid in their disposition,
Than even during the day, and in front of people, and in the open;
You have less insolence than crookedness of soul.

Even this “crookedness of the soul,” which caused Sophia such suffering, frightens her less than insolence, Molchalin’s defining quality. The whole life of the world is built on crookedness - that’s why Sophia so easily resorted to meanness, spreading a rumor about Chatsky’s madness. But the world does not accept insolence. Disappointed in Molchalin, Sophia continues to appreciate his timidity: a sure guarantee that her next chosen one will not be much different from Molchalin.

Sophia, of course, is an extraordinary person: passionate, deep, selfless. But all her best qualities received a terrible, ugly development - that’s why the image of the main character in “Woe from Wit” is truly dramatic.

The best analysis of the image of Sophia belongs to I. Goncharov. In the article “A Million Torments,” he compared her with Tatyana Larina and showed her strength and weakness. And most importantly, I appreciated all the advantages of a realistic character in her. Two characteristics deserve special attention: “Sofya Pavlovna is not individually immoral: she sins with the sin of ignorance and blindness, in which everyone lived...” “This is a mixture of good instincts with lies, a lively mind with the absence of any hint of ideas and beliefs, confusion of concepts, mental and moral blindness - all this does not have the character of personal vices in her, but appears as general features of her circle.”

computers preparing testing:

Do you know Griboyedov’s comedy “Woe from Wit”?

QUESTIONS

1. On what day of the week does the play take place?
2. At what time of year do the events of the play take place?
3. How old is Sofya Famusova?
4.What were the names of Chatsky’s paternal grandfather and maternal grandfather?
5. Since what year has Colonel Skalozub served in the army?
6.What division does Colonel Skalozub serve in?
7.What was the name of Uncle Famusov and what act did he commit to earn favor at the court of Catherine II?
8. How old is Sophia’s aunt Khlestova?
9.What were the names of Sophia’s paternal grandfather and maternal grandfather?
10.Who and about whom from the comedy characters says:
a) “And the golden bag aims to become a general.”

B) “But be a military man, be a civilian,
Who is so sensitive, and cheerful, and sharp,
How..."
c) “He knows how to make everyone laugh so well...
And it’s true that I’m happy where the people are funnier.”
d) “...it’s not on silver,
Ate on gold; one hundred people at your service;
All in orders; I was always traveling in a train;
A century at court, and at what court!
Then it was not the same as now,
He served under the Empress Catherine.”
e) “It does not serve, that is, he does not find any benefit in it,
But if you wanted to, it would be businesslike.
It's a pity, it's a pity, he's small in head,
And he writes and translates well.
One cannot help but regret that with such a mind...”
f) “Now retired, was a military man,
And everyone who only knew before affirms
What about his courage, his talent?
When would I continue my service?
Of course he would
Moscow commandant."
g) “Wheezer, strangler, bassoon,
A constellation of maneuvers and mazurkas!”
h) “Call me a vandal;
I deserve this name
I valued empty people!
I myself raved about a dinner or a ball for a whole century!
I forgot about the children! He deceived his wife!
Played! Lost! Taken into custody by decree!
He held the dancer! And not just one:
Three at once!
Drank dead! I didn’t sleep at night until nine!
He rejected everything: Laws! Conscience! I believe!”
i) “But we have a head like no other in Russia.
You don’t need to name it, you’ll recognize it from the portrait:
Night robber, duelist,
He was exiled to Kamchatka, returned as an outlaw,
And he’s very unclean in his hand.”
j) “...he is a secular man,
a notorious swindler, rogue...
With it, beware: endure too much,
And don’t play cards: he’ll sell.”
k) “of the most wonderful quality
He is finally: compliant, modest, quiet,
Not a shadow of worry in his face
And there are no wrongdoings in my soul,
He doesn’t cut strangers at random, -
That’s why I love him.”

M) “Ah! This person is always
Causing me terrible distress!
I am glad to humiliate, to stab; envious, proud and angry!?

ANSWERS
1. The play takes place on Thursday:

"We have a society, and secret meetings
On Thursdays. The most secret alliance..."
“Let’s go now; we find good;
What kind of people will I introduce you to!”

Repetilov - Chatsky, act 4, phenomenon 4.

2. The events of the play “Woe from Wit” take place in winter:

“And day and night in the snowy desert,
I’m rushing to you, headlong.”

3. Sophia is seventeen years old:

“Yes, sir, and now,
At seventeen you blossomed beautifully,
Inimitable, and you know it.”

Chatsky - Sophia, act 1, scene 7.

4. Chatsky’s grandfathers’ names were Ilya and Alexey:

“...Here you go - Chatsky, my friend,
Andrei Ilyich’s late son.”
Famusov - Skalozub, act 2, phenomenon 5.
“I followed my mother, Anna Aleksevna;
The deceased went crazy eight times.”

Famusov to guests, act 3, scene 21.

5. Colonel Sergei Sergeevich Skalozub has served since 1809:

“I’ve been serving since eight hundred and nine”.

6. Colonel Sergei Sergeevich Skalozub serves in the 15th division.

“Sometimes I’m luckier than mine,
In our fifteenth division, not far away,
At least say something about our brigadier general.”

Skalozub to Famusov, act 2, phenomenon 5.

7. Uncle Famusov’s name was Maxim Petrovich, on the reception day in the royal court he slipped and fell, hitting the back of his head, then fell two more times, making Catherine P. laugh.

“...or the deceased uncle, Maxim Petrovich...
On the kurtag he happened to take a vow:
He fell so hard that he almost hit the back of his head...
Was granted the highest smile...
Got up, recovered...
A row suddenly fell - on purpose
And the laughter is worse, it’s the same the third time.”

Famusov - Chatsky, act 2, phenomenon 2.

8. Khlestova sixty-five years old:

“Is it easy at sixty-five years old?
Should I drag myself to you, niece?

Khlestova - Sophia, act 3, scene 10.

9. Sophia’s grandfathers’ names were Afanasy and Neil. Famusov's name is Pavel Afanasyevich. Hence,
His paternal grandfather's name was Afanasy. Sophia's aunt, her mother's sister Khlestova, is called Anfisa Nilovna, we learn about this from Act 4, Episode 8, where Repetilov says, addressing Khlestova:

“King of heaven! Anfisa Nilovna! Oh! Chatsky! Poor! Here!..."

This means that Sophia’s mother’s middle name was also Nilovna. Therefore, my maternal grandfather's name was Neil.

10. 1) Lisa about Colonel Skalozub, act 1, scene 5.
2) Lisa about Chatsky, act 1, phenomenon 5.
3) Sophia about Chatsky, act 1, scene 5.
4) Famusov about his uncle Maxim Petrovich, act 2, phenomenon 2.
5) Famusov about Chatsky, act 2, phenomenon 5.
6) Natalya Dmitrievna Gorich about her husband Platon Mikhailovich Gorich, act 3, scene 5.
7) Chatsky about Skalozub, act 3, phenomenon 1.
8) Repetilov about himself, action 4, phenomenon 4.
9) Repetilov about the chairman of the English Club, act 4, phenomenon 4.
10) Gorich Platon Mikhailovich about Zagoretsky Anton Antonovich, act 3,

phenomenon 9.
11) Sophia about Molchalin, act 3, phenomenon 1
12) Sophia about Chatsky, act 3, scene 14.

Creative group of literary scholars when using

computers preparing testing:
Do you know the comedy characters?

To which of the characters in the play “Woe from Wit” do these words belong?
1. “Bah! All the faces are familiar."
2. “Blessed is he who believes, he is warm in the world!”
3. “When I’m in business, I hide from fun,
When I'm fooling around, I'm fooling around.
And mix these two crafts
There are a thousand skilled people, and not one of them.”
4. “I’m not a reader of nonsense, but more than exemplary.”
5. “At my age I should not dare to have my own judgment.”
6. “So: often there
We find protection
where we don’t mark.”
7. “Ranks are given by people,
And people can be deceived."
8. “For mercy, you and I are not guys,
Why are other people’s opinions only sacred?”
9. “You don’t watch happy hours.”
10. “Pass us beyond all sorrows
And lordly anger and lordly love.”
11. “I would be glad to serve, but being served is sickening.”
12. “Who are the judges? - In ancient times
Their enmity towards a free life is irreconcilable,
Judgments are drawn from forgotten newspapers
The times of the Ochakovskys and the conquest of Crimea."
13. “How to compare, and see
The present century and the past century;
The legend is fresh, but hard to believe.”
14. “Sin is not a problem, rumor is not good.”
15. “To the village, to my aunt, to the wilderness, to Saratov!”
16. “Get out of Moscow! I don’t go here anymore.”
17. “That’s why you are all proud!
Would you ask what the fathers did?
We would learn from our elders."
18. “What does he say? And he speaks as he writes!
19. “Why search for intelligence and travel so far”.
20. “I’m running, I won’t look back, I’ll go looking around the world,
Where is there a corner for an offended feeling!”
21.“Learning is the plague, learning is the reason,
What is worse now than then,
There have been crazy people, deeds, and opinions.”
22. “When you have wandered, you return home,
And the smoke of the fatherland is sweet and pleasant to us!”
23. “What a commission, creator, to be a father to an adult daughter!”
24. “The women shouted hurray!
And they threw caps into the air!”
25. "A! Evil tongues are worse than a gun."
26. «<герой>not my novel."
27. “Some freaks from the other world,
and there is no one to talk to, and no one to dance with.”
28. “Ball is a good thing, bondage is bitter;
And who is forcing us to marry!”
29. “I’m pathetic, I’m ridiculous, I’m ignorant, I’m a fool.”
“We’re making noise, brother, we’re making noise.”
30. "Husband-boy, husband-servant...".
31. “I am Prince Gregory and I will give you Sergeant-major Voltaire,
He will line you up in three ranks,
Just make a noise and it will instantly calm you down.”
32. “I took a dowry - shish, but for service - nothing.”
33. “Listen, lie, but know when to stop.”
34. “Where, show us, are the fathers of the fatherland,
Which ones should we take as models?
35.“However, he will reach the known degrees,
After all, nowadays they love the dumb.”
36.“I am quite happy in my comrades,
The vacancies are just open;
Then the elders will turn off others,
The others, you see, have been killed.”
37. “With me, strangers serving as employees are very rare;
More and more sisters, sisters-in-law and children.”
“Well, how can you not please your loved one!”
38. “The houses are new, but the prejudices are old.”
39. “Terrible century! Don't know what to start!
Everyone is wise beyond their years.”
40. “What new will Moscow show me?”
41. “...he was famous whose neck bent more often.”
42. “There are many joys besides honesty.”
43. “What is he happy about? What kind of laughter is there?
It’s a sin to laugh at old age.”
44. “...if we stop evil:
Take all the books and burn them."
45. “...Fables are my death!
Eternal mockery of lions! Over the eagles!
Whatever you say:
Although they are animals, they are still kings.”
46. “I will make you happy: universal rumor,
That there is a project about lyceums, schools, gymnasiums;
There they will only teach in our way: one, two;
And the books will be saved like this: for special occasions.”
47. “The silent are blissful in the world!”
48. “And for me, whatever it is or not, my custom is this: Signed, off your shoulders.”
49. “What a genius is to some, is a plague to others.”
50. "Oh! My God! What will Princess Marya Aleksevna say?”

ANSWERS
1. Famusov, act 4, phenomenon 14.
2. Chatsky, act 1, phenomenon 7.
3. Chatsky, act 3, phenomenon 3.
4. Chatsky, act 3, phenomenon 3.
5. Molchalin, act 3, phenomenon 3.
6. Molchalin, act 3, phenomenon 3.
7. Chatsky, act 3, phenomenon 3.
8. Chatsky, act 3, phenomenon 3.
9. Sophia, act 1, phenomenon 3.
10. Lize, action 1, phenomenon 2. //. Chatsky, act 2, phenomenon 2.
11. Chatsky, act 2, phenomenon 2.
12. Chatsky, act 2, phenomenon 5.
13. Chatsky, act 2, phenomenon 2.
14. Lize, act 1, phenomenon 5.
15. Famusov, act 4, phenomenon 14.
16. Chatsky, act 4, phenomenon 14.
17. Famusov, act 2, phenomenon 2.
18. Famusov, act 2, phenomenon 2.
19. Sophia, act 1, phenomenon 5.
20. Chatsky, act 4, phenomenon 14.
21. Famusov, act 3, phenomenon 21.
22. Chatsky, act 1, phenomenon 7.
23. Famusov, act 1, phenomenon 10.
24. Chatsky, act 2, phenomenon 5.
25. Molchalin, act 2, phenomenon 11.
26. Sophia, act 3, phenomenon 1
27. Countess, granddaughter of Khryumin, act 4, phenomenon 1
28. Gorich Platon Mikhailovich, act 4, phenomenon 2
29. Repetilov, action 4, phenomenon 4.
30. Chatsky, act 4, phenomenon 14.
31. Skalozub, action 4, phenomenon 5.
32. Repetilov, act 4, phenomenon 5.
33. Chatsky, act 4, phenomenon 4.
34. Chatsky, act 2, phenomenon 5.
35. Chatsky, act 1, phenomenon 7.
36. Skalozub, action 2, phenomenon 5.
37. Famusov, act 2, phenomenon 5.
38. Chatsky, act 2, phenomenon 5.
39. Famusov, act 1, phenomenon 4.
40. Chatsky, act 1, phenomenon 7.
41. Chatsky, act 2, phenomenon 2.
42. Chatsky, act 3, phenomenon 9.
43. Khlestovoy, act 3, phenomenon 10.
44. Famusov, act 3, phenomenon 21.
45. Zagoretsky, act 3, phenomenon 21.
46. ​​Skalozub, act 3, phenomenon 21.
47. Chatsky, act 4, phenomenon 13.
48. Famusov, act 1, phenomenon 5.
49. Sophia, act 3, phenomenon 1.
50. Famusov, act 4, phenomenon 15.

Creative group of literary critics
Answer the question: “What makes comedy successful?”

Creative group of artists
Draw the main characters of the comedy and emphasize the character of the characters with text:

A) Chatsky;

B) Famusova;

c) Skalozub

d) Silent?

III. Homework
Draw an analogy of images: Chatsky-Onegin-Pechorin.

Chatsky, Onegin, Pechorin
And he was alone in the world...
D. Byron

How fast is the passage of time! Many years have separated us from the heroes of Griboyedov, Pushkin, Lermontov. But again and again we turn to them, to their feelings, thoughts, reflections, we look for and find in them what is close and necessary for us, the children of the turbulent 20th century.
Literature has always been closely connected with the life of society and reflected in artistic form the most exciting problems of its time.
The first half of the 19th century - the period in which the life and work of these wonderful Russian poets and writers occurred - was an era of great events and upheavals; the ideas of the Great French Revolution were still alive; The Patriotic War of 1812 showed the whole world examples of unprecedented courage of the Russian people; advanced German philosophy substantiated the freedom-loving aspirations of advanced noble youth.
These are the three components of that first organized revolutionary uprising in Russia, which was called “Decembrism.”
Literature, like a mirror, reflected the emergence, formation and strengthening of free-thinking, disobedience, and rebellion of the most advanced part of the noble youth.
Chatsky, Onegin and Pechorin are brilliant representatives of this youth, in whose deeds and actions the authors reflected the strength and weakness of their generation.
One of the first in Russian literature to show a person who proudly and directly opposed himself to society, an amazing, “mysterious”, in the words of A. Blok, was a writer and person - Alexander Sergeevich Griboyedov (1795-1829). He was a man gifted with many talents : a brilliant poet and writer, an interesting composer and musician, an outstanding diplomat. But most importantly, he was a man of bright mind, nobility, honor, love for the Motherland, respect for the Russian people and a passionate desire for happiness and freedom for Russia and its people.
Much brought Griboedov closer to the Decembrists: origin, upbringing, education, participation in the Patriotic War of 1812. Just like the Decembrists, he hated serfdom and unlimited autocratic power. But in many ways Griboedov was wiser and more perspicacious than the future Decembrists. He expressed doubt about the victory of this movement, saying that one hundred warrant officers are not able to change the political system of Russia. But it was Griboedov who showed the first of these “hundred ensigns”, embodying in his image all the best that he saw in the future Decembrists.
The comedy "Woe from Wit" was created in 1816 - 1824. - during the period when the first problems of society arose and took effect in Russia. The comedy is like an artistic chronicle and history of Decembrism. The main conflict of the comedy - the clash between the camp of young Russia, represented by Chatsky, and the camp of the serf-owners, represented by Famusov, Skalozub, Molchalin and others - is not an invention of the author, but a reflection of the social struggle that was characteristic of Russian life at the beginning of the 19th century.
What is Chatsky rebelling against, about whom A. Herzen said that he was a Decembrist who was on the straight road to hard labor? Serfdom is what fettered the creative forces of the “smart, vigorous Russian people” and hindered the economic and cultural development of Russia. In his passionate monologues, Chatsky stigmatizes the barbaric world of serfdom, where a person is valued for the number of serf souls, where a faithful servant who saved the life of his master was “exchanged for two greyhounds.”
This world - "a bygone century" - is Chatsky's eternal enemy. The hero of the comedy is a passionate fighter against businessmen, buffoons, “traitors in love, insatiable in enmity, indomitable storytellers.”
Chatsky himself is undoubtedly an ardent patriot who loves the people's Russia, but not the state of the tsar, landowners and officials. Serving the Fatherland and the people is Chatsky’s motto.
Chatsky's advanced worldview, his faith in the power of reason, the closeness of freedom collide with the real feudal reality, with the terrible world of the famusovs, desperately fighting for their position and privileges. The comedy ends with Chatsky's visible defeat. According to I. Goncharov, the hero is “broken by the amount of old power, having dealt it, in turn, a fatal blow by the quality of the fresh power.” I. Goncharov calls Chatsky “the eternal exposer of lies hidden in the proverb: “alone in the field is not a warrior.” No, a warrior, if he is Chatsky, and, moreover, a winner, but an advanced warrior, a skirmisher and always a victim.” (I.A. Goncharov)
Chatsky is A.S.’s favorite hero. Griboedova. Griboyedov's voice, sounding sometimes mocking and angry, sometimes excited and inspired, is the voice of a writer who gave all his sympathy to Chatsky, and all his contempt to “the crowd of his tormentors.”
Chatsky's struggle against Famus society did not end in comedy. It was just beginning in Russian life.
If Chatsky is a “hero of his time,” a hero of the era preceding the upbringing of the Decembrists, then Eugene Onegin represents a later period of Russian history.
Roman A.S. Pushkin's Eugene Onegin, "the writer's most intimate work, the most beloved child of his fantasies," was begun in 1823 and completed in 1831. It reflects the poet’s cherished thoughts and feelings, his views and reflections on modern life.
With all the breadth of its themes, the novel "Eugene Onegin" is, first of all, an artistic study of the spiritual quests of advanced noble youth, their doubts and anxieties, aspirations and hopes.
Work on the novel began during the years of social upsurge, and ended after the defeat of the Decembrists, in the atmosphere of the Nikolaev reaction. During the years of writing the novel, the author had to endure exile, lose many friends, and experience the bitterness of the death of the best people of Russia.
Therefore, the first chapters are imbued with joyful, life-affirming moods, and in the last chapters tragic motives intensify. The novel was the fruit of “a mind of cold observations and a heart of sorrowful notes.”
With his mind and “heart” the author tries to understand and present to the reader the spiritual and moral image of the best people of his time. Their typical representative in the novel is Evgeny Onegin. Even the title of the novel emphasizes his central place among the other characters.
So, before us is a metropolitan aristocrat. Although Onegin, according to the author’s humorous remark, “learned anything and somehow,” he still stands at a high level of the culture of his time, differing in his erudition from most of those around him. Pushkin's hero is a product of secular society, but at the same time alien and hostile to it. Alienation and opposition to the surrounding society do not appear immediately. At first, the young man plunges headlong into social life, finding joy and pleasure in it, but the monotony and emptiness of these “joys and pleasures” quickly bored him, and, according to Belinsky, he “left the world, as too few have done.” Onegin is too deep and rich in nature not to notice the vices of the world around him. There are many things that make him stand out from the crowd:

Involuntary devotion to dreams,
Inimitable strangeness
And a sharp, chilled mind.

Having left the light, the hero tries to engage in some useful activity. He is talented, tries to write:

I wanted to write, but it’s hard work
He felt sick; Nothing
Didn't come from his pen

He gets bored with books just as quickly:

Like women, he left books
And a shelf with their dusty family
Covered it with mourning taffeta.

On the estate inherited from his uncle, Evgeniy tries to improve the lives of the peasants:

A yoke from the ancient corvée
I replaced it with a light quitrent...

But this single reform limited the entire activity of Onegin the landowner. And again life “without purpose, without work.” Fate sends him a friend, he sincerely becomes attached to Lensky. Onegin and Lensky are very different, but together they personify the beauty that was inherent in the youth of that time: prudence and impetuosity, skepticism and daydreaming, a sober mind and romanticism. But secular prejudices led to a fatal, irreparable event: the duel and death of Lensky.
“Having killed a friend in a duel,” Onegin is left alone with pangs of conscience, melancholy, disappointment in everything and everyone.
Depressed, Onegin leaves the village and goes on a journey. But this does not save him: melancholy, melancholy and dissatisfaction with himself only intensify. This is the degree of despair a person must reach to utter these words:

Why am I not wounded by a bullet in the chest?
Why am I not a frail old man?
How is this poor tax farmer?
I'm young, life is quite strong,
What should I expect? Longing, longing...

According to Belinsky, Onegin is a rich, gifted nature, but his strengths and capabilities remained unused. In Onegin, Pushkin was the first Russian writer to show the type of enlightened nobleman that developed in the 20s of the 19th century. This part of the noble intelligentsia avoided serving tsarism, but at the same time stood aloof from public activities. This path, being a kind of protest against the political system, inevitably doomed the hero to inaction, passivity, and to increased attention to his own, selfish interests and desires. It is not for nothing that Belinsky called Onegin a “reluctant egoist”: the inactivity, emptiness and vulgarity of life choke him, but he still does not know what he wants, what he needs for happiness, peace of mind and harmony. A new meeting with Tatyana revealed in the hero the ability to love sublimely and passionately. But true to duty, brought up in the traditions of folk morality, Tatyana is not capable of another person - her husband:

But I was given to another;
And I will be faithful to him forever.

Onegin is lonely again. What lies ahead for him? “... The powers of this rich nature were left without application, life without meaning, a novel without end,” this is how the great critic Belinsky assessed Onegin and the “poem” about him.
The life story of the “superfluous man,” a man capable of much and having accomplished nothing, was continued by the great successor of A.S. Pushkin, Mikhail Yuryevich Lermontov, by creating the novel “A Hero of Our Time.” This is Lermontov's final work, the first Russian socio-philosophical and psychological novel in prose. As in the poem “Duma,” the author is trying to find an answer to the question that worries him: why young people, smart, energetic, full of strength, do not find use for their remarkable abilities and “wither without a fight” at the very beginning of their life’s journey. The life story of Pechorin, a representative of the generation of the 30s, his tragic fate is the answer to this question. In the preface to the novel, the author wrote: “This is definitely a portrait, but a portrait made up of the vices of an entire generation.” As in the poem “Duma,” Lermontov in the novel pronounces a harsh sentence on his generation, reproaching it for indifference, inaction, and inability “to make greater sacrifices, neither for the good of humanity, nor even for their own happiness.”
Lermontov deeply and comprehensively reveals the inner world of his hero, the strengths and weaknesses of his nature, conditioned by time and environment. Following A.S. Pushkin, Lermontov makes the hero of the novel a typical representative of educated noble youth. But the time was different and its “heroes” looked different. This was the period of the terrible Nikolaev reaction, which came after the defeat of the December uprising. I.A. called this period “a black page in the history of Russia.” Herzen. The reaction could not drown out the voice of M.Yu. Lermontov, but time left its mark on the work of the great poet, it dictated its themes, images, moods. According to A. Herzen, "... those were doubts, denials; thoughts full of rage."
The contradictions between the high consciousness of the noble intellectual, the passionate inner activity of the soul and external inactivity, wasting his life in a masquerade hell, in a meaningless existence led to the gloomy curses of the “Duma”, which sounded like a funeral song for a lost generation:

Shamefully indifferent to good and evil,
At the beginning of the race we wither without a fight:
In the face of danger they are shamefully cowardly,
And before the authorities - despicable slaves

"Duma" is a poetic expression of the problems and thoughts of the novel "A Hero of Our Time".
The image of Pechorin, the main character of the novel, is the pinnacle of Lermontov’s entire work. The writer was able to create the image of a hero of his time, summarizing a large material of life impressions, well knowing and understanding the historical essence of the reality around him.
Pechorin is a strong personality, he has a lot of exceptional, special things: an outstanding mind, extraordinary willpower. Thinking about the people of previous generations, full of faith, thirst for freedom, passionate and fiery, Pechorin counts himself among their pitiful descendants who wander the earth without pride and convictions. The lack of faith in heroism, love and friendship and the boredom generated by this deprive life of all value for Pechorin. Pechorin feels “immense forces” in his soul, and at the same time he does not know why he lives, for what purpose he was born. The author does not hide the shortcomings and contradictions of his hero, but these were the vices of an entire generation. The young man's tragedy was compounded by the fact that he was forced to live in an environment that he despised and rejected. The progressive man of the 30s of the 19th century felt “superfluous” in his country and even in the whole world. But in the realistic novel “A Hero of Our Time,” Lermontov already brings his hero to the realization that although life brings suffering and is unbearably “boring,” but only in it can a person find happiness, experience both sadness and joy.
This is the optimism and life-affirming power of the novel “A Hero of Our Time.”
Thus, Chatsky, Onegin, Pechorin are typical representatives of a certain historical era, each of them is a hero of his time. Time determined their common features and those differences that allowed contemporaries to see in Chatsky the future Decembrist, in Onegin - a “reluctant egoist”, in Pechorin a “suffering egoist”.
For us, children of the turbulent 20th century, these heroes are interesting and important for their high, human merits: nobility of thoughts and aspirations, desire to live meaningfully, for a great cause; to benefit the homeland and people, to live honestly, according to conscience. These human qualities are eternal, which means the heroes of A. Griboyedov, A. Pushkin, M. Lermontov are eternal and will always excite the reader.

The play raises two layers of questions. At the social level, this is the question “who is to blame?”, and at the philosophical level, “what to do?” Until the last action, such global questions did not worry the heroes; what or who excited their minds and souls? Of course, this is the appearance of Luke in their lives. At first, everyone treated him differently, but it was this wanderer who changed the worldview of the heroes.

All the characters' remarks carry a certain meaning. From random, fleeting phrases one can predict behavior; behind words and aphorisms a clearly defined character is revealed.

Luke believes in each person individually, does not rely on God and interferes in destinies, very often fails, and only those whom he tried to help suffer from this. The Wanderer instills hope in souls, illuminates a low existence with unrealizable dreams. But only a higher life force can help a person, and only those who already have it will take this help.

Tsvetaeva wrote:

“You can only give to the rich,

Only the strong can be helped.”

And Luka promised Anna happiness in the afterlife, the Actor - a cure for alcoholism, Vaska Ash - a joyful life with Natasha in Siberia. Yes, Luke supported people out of pity; he understood that they would not withstand the harsh truth. But what does his pity lead to? We see this in the fourth act, the denouement of the entire play.

Let's try to understand the social problem of the play. Who is to blame? I believe that it cannot be said that only people are to blame; to some extent, society is also to blame. After all, we can say that the Actor is a kind of successor to the Marmeladovs. He complains about life, prays, but has no strength to fight, he has even lost his name. He finds no sympathy. Of course, he is largely to blame. But wasn’t society to blame for the fate of the Marmeladovs? Note that only two heroes leave the shelter on their own. Luke and Actor. The second finds the courage and strength to commit suicide. Although Satin believes that this is cowardice, his views may not coincide with the opinions of others.

As for the highest universal human level, Gorky once again tries to answer the question of what to do and how to treat a person. We understand that Bubnov does not believe in anything, not even money. Passions have consumed everything from him; he does not respect death. He is characterized by cynicism and lack of any convictions. The Baron is also tormented by doubts and unresolved questions. “It seems to me that all my life I’ve only been changing clothes... why? ... and everything... like in a dream... why? ... A?" Would a tramp have thought about such moral aspects of life before Luke arrived?

The atmosphere of communication in the shelter is changing. If earlier each of the heroes existed on their own, not paying attention to those around them, now the inhabitants of the shelter listen to each other, try to think together. The Baron first yelled at Nastya, and then looks for her. “I’ll go and see... where is she? Still... she..." Sympathy, pity, and a kind of tenderness for each other awaken in the characters. But some remain cynicism (Bubnov) and a sense of superiority (Nastya). A former prostitute, no different from the others, shouts: “I wish I could sweep you like rubbish... into a hole somewhere!” And what hole if they are all already at the bottom...

Of course, Satine plays the leading role in the fourth act, and the climax is his monologue about Man. It seems that he changes his views and supports the old man: “The old man is not a charlatan! Be silent! But from his phrases it is clear that he also considers himself superior to everyone else. “Lies are the religion of slaves and masters... Truth is the God of a free man!” He didn’t buy Luke’s lies and considers himself a strong person. “You are all brutes!” Does that mean he doesn't? He who? He wants to elevate himself above others through pathetic phrases: “Man! It's great! It sounds... proud! Human! We must respect the person!” Satin seems to believe in humanity and in each individual, but he himself does not notice how people are toiling around him. True, he lacks an evil will, but this does not mean the presence of a good one! It seems to me that he does not change his views. He lies to all the inhabitants of the shelter, because all his words are unfulfilled in this world.

At the end of the play, we never get answers to the eternal questions: “What to do?” and “Who is to blame?” Gorky, a man-worshipper, puts his thoughts into Satin’s words: “Everything is for man!” But is this possible in our world? The suicide of the Actor, the death of Ash, the disappearance of Natasha, the hopelessness of Nastya were a response to the stories about the “promised land” that was “prepared for them.”