Alexander Sergeevich Griboyedov was born in Moscow in 1795. He came from a wealthy noble family, belonging to that high Moscow society, which he later described in his comedy “Woe from Wit” (see its full text and summary on our website). He received an excellent upbringing and education, first at home, with various teachers and tutors, then at the Noble boarding school. Griboyedov was fluent in several foreign languages, played the piano beautifully and was sometimes fond of musical improvisations; From childhood, a talented, gifted nature was visible in him. At the age of fifteen he entered Moscow University, where he remained for 2 years. Here his literary views and tastes were formed and determined; Griboyedov was greatly influenced by the professor of aesthetics Boulet, a supporter of the classical theory of art, with whom he had many and frequent conversations.
Portrait of Alexander Sergeevich Griboyedov. Artist I. Kramskoy, 1875
Griboyedov left the university in 1812, at the height of the Patriotic War; he immediately volunteered for military service, but he was unable to participate in hostilities; His regiment spent more than three years in Belarus, moving from one town to another. Subsequently, Griboedov recalled these years with bitterness. military service He spent most of his time playing cards, in carousing and entertainment, which distracted him from all cultural work. Cheerful, ardent, passionate Griboyedov, then still very young, was easily carried away by the example of the officer environment around him, often becoming the center of various pranks and antics. They say, for example, that once, on a bet, he rode into a ball of a rich Belarusian landowner on horseback.
In 1816, Griboyedov retired and decided to serve in the Collegium of Foreign Affairs. While living in St. Petersburg, he was interested in theater and met the writers Shakhovsky, Khmelnitsky, Katenin, whose works were then staged. Through Shakhovsky, Griboyedov met members of the literary society “Conversation of Lovers of the Russian Word” and wholeheartedly joined the classical movement. (See Stages of Griboyedov's creativity.) In his first comedy - “Student” - Griboedov ridicules, offends Zhukovsky and even, oddly enough, Batyushkov. But in this same comedy, the issue of serfdom is also quite seriously touched upon, depicting the difficult situation of the serf peasant, from whom the master demands an unbearable quitrent.
Together with Shakhovsky and Khmelnitsky, Griboyedov wrote a very funny comedy, “One’s Own Family, or a Married Bride,” which is still sometimes staged on stage; This comedy is always a success thanks to its lively, funny pictures and very easy language.
One of Griboyedov’s plays, “The Young Spouses” (adapted from French), was staged on stage already in 1815.
In 1819, Griboyedov was appointed secretary at the Russian embassy in Persia, and had to go to the Persian city of Tabriz. He wanted to devote himself entirely to literature, but his mother demanded that he serve. Griboedov devoted himself wholeheartedly to his official activities and soon attracted attention with his outstanding diplomatic abilities. Despite his service, Griboyedov found time for serious studies. In Tabriz, which he wittily called his “diplomatic monastery,” he seriously studied the Persian and Arabic languages, Persian literature, and history. There he also worked on his famous comedy “Woe from Wit,” which he conceived at almost the age of fifteen. In Tabriz the 1st and 2nd actions were completed.
Woe from the mind. Maly Theater performance, 1977
On business matters, Griboyedov traveled from Tabriz to Tiflis (Tbilisi) several times. The famous General A.P. Ermolov, commander-in-chief in the Caucasus, drew attention to the brilliant abilities young man, and, at his request, Griboedov was appointed his secretary for foreign affairs. He remained in Tiflis until 1823. Despite his success at work and Ermolov’s cordial attitude, Griboyedov was irresistibly drawn to Russia. Finally, he received leave and spent about a year in Moscow, then in St. Petersburg, then on the estate of his friend Begichev in the Tula province.
Arriving in Moscow after a long absence, plunging, like his hero Chatsky, into the whirlpool of Moscow society, Griboedov, under a fresh impression, finished “Woe from Wit” on Begichev’s estate.
Rarely what literary work, without being published, spread and became known as quickly as “Woe from Wit.” Friends rewrote it and passed the manuscripts on to each other. Many memorized passages and entire scenes of the comedy. “Woe from Wit” immediately aroused stormy delight in society - and the same stormy indignation; All those who felt hurt and ridiculed in the comedy were indignant. Griboedov's enemies shouted that his comedy was an evil libel against Moscow; they did everything they could to prevent Woe from Wit from being published and to be staged. Indeed, “Woe from Wit” was published only after Griboedov’s death, and he saw the production of his truly wonderful comedy only once, performed by amateur officers in Erivan (Yerevan), in 1827.
Despite Griboedov's ardent desire to resign, he had to, at the insistence of his mother, return to serve in the Caucasus.
After the accession of Emperor Nicholas I to the throne in 1826, Griboyedov was unexpectedly arrested and brought to St. Petersburg; he was accused of participating in Decembrist conspiracy, but very soon he was justified and was released. It has not yet been established whether he was really a member of the “Northern Society”. In “Woe from Wit” Griboyedov expressed his negative attitude towards secret societies (Repetilov); but it is known that he was really close and corresponded with some of the Decembrists (Kuchelbecker, Bestuzhev, Prince Odoevsky), poets and writers.
In 1826-27, Griboyedov took an active part in the war against Persia, serving under General Paskevich, who replaced Ermolov in the Caucasus. Many times Griboedov showed brilliant courage and self-control during the war. The conclusion of the Turkmanchay Peace Treaty, according to which Russia received the Erivan region and a large indemnity, was the work of Griboyedov, who led the diplomatic negotiations. Paskevich, appreciating his merits, wanted him to personally report to the Emperor about the concluded peace. Nicholas I received him very graciously, rewarded him and soon appointed him envoy to Persia.
Griboedov's diplomatic career was brilliant; he was only 33 years old when he was appointed to the responsible post of envoy. But this honor and distinction did not please him. Never before had it been so difficult for him to leave Russia. Heavy, vague premonitions did not give him peace. Saying goodbye to his friends, he felt that he would never see them again.
On the way to Persia, Griboyedov stopped in Tiflis and spent several months here. Griboyedov loved one young girl, Princess Nina Chavchavadze, whom he had previously seen as a girl. Having met Nina again, Griboyedov proposed to her and, having received consent, soon got married. The happiness of the young couple did not last long! Griboyedov had to go to Persia, to his destination. He did not want to take his young wife with him, since the atmosphere in Persia after the recent war was very tense; his wife accompanied Griboyedov to Tabriz, from where he went alone to Tehran, hoping after a while to discharge his wife there. But they were never destined to meet again in this world...
The Persians were extremely irritated against Griboedov, who concluded such a disadvantageous peace for them. There is reason to believe that British diplomacy also supported this irritation of the Persians against Russia. Griboyedov, as a representative of Russia, immediately took a very firm and decisive position; he did everything he could to free many Russian prisoners languishing in Persian captivity, and also took under his protection the Christians who were persecuted by the Mohammedans. The irritation of the Persians was fueled by fanatical mullahs. Having learned that Christians who had fled from Persian persecution were hiding in the embassy house, an excited crowd of people surrounded the embassy, demanding their extradition.
Griboedov refused to hand over the Christians hiding under his protection. A huge crowd of Persians began to storm the house. Griboyedov himself, with a saber in his hands, became the head of the Cossacks defending the embassy and was killed in this unequal battle - the Persians were ten times more numerous than the Russians, who were all killed by the enraged crowd. From the entire Russian embassy, one person escaped, and he spoke about Griboyedov’s firm, courageous behavior and his heroic death. Only on the third day did the troops arrive; the rebellion was pacified. A vengeful crowd of Persians mutilated Griboedov's body, dragging him through the streets of the city; he was recognized only by the cramped finger of his hand, which had been shot through in a duel several years earlier.
Biography
Russian writer, poet, playwright, diplomat. Alexander Griboyedov was born on January 15 (according to the old style - January 4) 1795 (some sources indicate 1790) in Moscow, into an old noble family. "The noble family of the Griboyedovs is of gentry origin. Jan Grzhibovsky moved to Russia in the first quarter of the 17th century. His son, Fyodor Ivanovich, was a clerk under the tsars Alexei Mikhailovich and Fyodor Alekseevich and was the first to write as Griboyedov." ("Russian Biographical Dictionary") He spent his childhood in the Moscow house of Alexander’s loving, but wayward and unyielding mother, Nastasya Fedorovna (1768-1839) (Novinsky Boulevard, 17). Alexander and his sister Maria (1792-1856; married to M.S. Durnovo) received a serious education at home: educated foreigners Petrosilius and Ion were tutors, and university professors were invited for private lessons. In 1803, Alexander was assigned to the Moscow Noble University Boarding School. In 1806, Alexander Griboedov entered the literature department of Moscow University, from which he graduated in 1808 with the title of candidate of literature; continued his studies at the ethical and political department; In 1810 he graduated from law, and then entered the Faculty of Physics and Mathematics. From the moment he studied at the university and throughout his life, Alexander Sergeevich retained his love for studying history and economic sciences. Upon completion of his education, Griboedov surpassed all his peers in literature and society: he spoke French, English, German, Italian, Greek, Latin languages, later mastered Arabic, Persian and Turkish. In 1812, before Napoleon's invasion of Russia, Alexander Sergeevich was preparing for the exam for his doctorate.
In 1812, despite his family’s dissatisfaction, Griboyedov signed up as a volunteer cornet in the Moscow hussar regiment, recruited by Count Saltykov, but while it was being organized, Napoleon managed to leave Moscow, and then Russia. The war ended, but Alexander decided to prefer the unattractive cavalry service in the remote corners of Belarus to the career of an official. He spent three years first in the Irkutsk Hussar Regiment, then at the headquarters of the cavalry reserves. In Brest-Litovsk, where cornet Griboyedov was seconded to the headquarters of the reserves and served as an adjutant to the humane and educated cavalry general A.S. Kologrivov, his taste for books and creativity reawakened in him: in 1814 he sent his first articles (“About cavalry reserves” and “Description of the holiday in honor of Kologrivov”). Having visited St. Petersburg in 1815 and prepared his transition to the Collegium of Foreign Affairs, Griboedov retired in March 1816.
In 1817, Alexander Griboyedov was enrolled in the College of Foreign Affairs, where he soon began to be in good standing. His first plays were published and staged in St. Petersburg, he met A.S. Pushkin, V.K.Kuchelbecker, P.Ya.Chaadaev. Griboyedov's official position almost spoiled his participation as a second in the duel between Sheremetev and Zavadovsky, which outraged everyone with the bitterness of the opponents: according to some assumptions, after this duel a duel between the seconds should have taken place. At the insistence of his mother, in order to allow the gossip to subside and soften the anger of his superiors, Alexander Griboedov had to temporarily leave St. Petersburg and, against his will, he was provided with the position of secretary of the embassy in Persia. On March 4, 1819, Griboyedov entered Tehran, but a significant part of the service took place in Tabriz. The duties were simple, which made it possible to intensively study Persian and Arabic languages. Periodically, Griboedov had to travel to Tiflis on business errands; once he took out of Persia and returned to their homeland a group of Russian prisoners unjustly detained by the Persian authorities. This enterprise brought Griboedov to the attention of the commander of the Russian troops in the Caucasus, Alexei Petrovich Ermolov (1777-1861), who recognized in him rare talents and an original mind. Ermolov achieved the appointment of Alexander Griboedov as secretary for foreign affairs under the commander-in-chief in the Caucasus, and from February 1822 he began serving in Tiflis. Here work continued on the play "Woe from Wit", which began even before his appointment to Persia.
After 5 years of stay in Iran and the Caucasus, at the end of March 1823, having received leave (first short, and then extended and generally covering almost two years), Griboyedov arrived in Moscow, and in 1824 - in St. Petersburg. The comedy, completed in the summer of 1824, was banned by tsarist censorship and on December 15, 1825, only fragments were published in F.V. Bulgarin’s almanac “Russian Waist”. In order to promote their ideas, the Decembrists began to distribute “Woe from Wit” in tens of thousands of lists (in January 1825, the list of “Woe from Wit” was brought to Pushkin in Mikhailovskoye). Despite Griboyedov’s skeptical attitude towards the military conspiracy of the future Decembrists and doubts about the timeliness of the coup, among his friends during this period were K.F. Ryleev, A.A. Bestuzhev, V.K. Kuchelbecker, A.I. Odoevsky. In May 1825, Griboyedov again left St. Petersburg for the Caucasus, where he learned that on December 14 the Decembrist uprising was defeated.
In connection with the opening of the case about the Decembrists, in January 1826, Alexander Griboyedov was arrested in the Grozny fortress; Ermolov managed to warn Griboedov about the arrival of the courier with the order to immediately take him to the investigative commission, and all incriminating papers were destroyed. On February 11, he was delivered to St. Petersburg and put in the guardhouse of the General Staff; Among the reasons was that during interrogations 4 Decembrists, including S.P. Trubetskoy and E.P. Obolensky, named Griboedov among the members of the secret society and in the papers of many of those arrested they found lists of “Woe from Wit”. He was under investigation until June 2, 1826, but because... It was not possible to prove his participation in the conspiracy, and he himself categorically denied his involvement in the conspiracy, he was released from arrest with a “cleansing certificate.” Despite this, Griboyedov was under secret surveillance for some time. In September 1826, Griboyedov continued his diplomatic activities, returning to Tbilisi. Ivan Fedorovich Paskevich (1782-1856), married to Alexander Griboedov's cousin Elizaveta Alekseevna (1795-1856), was appointed commander-in-chief in the Caucasus. Griboedov returned to the Caucasus reluctantly and seriously thought about retirement, but his mother’s requests forced him to continue serving.
At the height of the Russian-Iranian war, Griboedov is entrusted with managing relations with Turkey and Iran. In March 1828 he arrived in St. Petersburg, delivering the Turkmanchay Peace Treaty, which was beneficial for Russia, which brought it significant territory and a large indemnity. Alexander Sergeevich Griboedov took a direct part in the negotiations with Abbas Mirza and the signing of the agreement. The concessions were made by the Persians against their will and Griboedov, rightly proud of his success, did not hide his fears of revenge and the imminent resumption of the war.
In April 1828, Griboyedov, who enjoyed a reputation as a specialist in Persian affairs, was appointed plenipotentiary resident minister (ambassador) to Iran. Despite the reluctance to go to Persia, it was impossible to refuse the appointment due to the categorically stated desire of the emperor. During his years of service in the East, Griboyedov took a closer look at the Eastern way of life and way of thinking, and the prospect of a long life that opened up to him in one of the centers of stagnation, arbitrariness and fanaticism did not arouse in him any particular desire to begin fulfilling new duties; he treated the appointment as a political exile.
On the way to his destination, Griboyedov spent several months in Georgia. In August 1828, while in Tiflis, he married the daughter of his friend, the Georgian poet and Major General Alexander Garsevanovich Chavchavadze (1786-1846), Princess Nina Chavchavadze (1812-1857), whom he knew as a girl. Despite the fever that did not leave him even during the wedding ceremony, Alexander Sergeevich, perhaps for the first time, experienced happy love, experiencing, in his words, such a “novel that leaves far behind the most bizarre stories of fiction writers famous for their imagination.” The young wife has just turned sixteen. After recovery, he took his wife to Tabriz and went without her to Tehran to prepare everything there for her arrival. On December 9, 1828 they saw each other for the last time. One of his last letters to Nina (December 24, 1828, Kazbin) speaks about the tenderness with which he treated his little “Muriliev shepherdess,” as he called Nina: “My priceless friend, I feel sorry for you, I’m sadder without you than I could be.” Now I truly feel what it means to love. Before I parted with my legs, to which I was also tightly attached, but a day, two, a week - and the melancholy disappeared, now the further we get from you, the worse it will be, my angel. Let us pray to God that we will never be separated after that."
Arriving in Tehran, Griboedov sometimes acted in a defiant manner, did not yield in any way to the obstinacy of the Persians, persistently demanding payment of indemnity, violated the etiquette of the Shah's court, showing the Shah himself the least possible respect. All this was done contrary to personal inclinations, and English diplomats took advantage of these mistakes to incite hatred of the ambassador in court spheres. But a more formidable hatred of the Russians, supported by clergy, was kindled among the masses: on market days the ignorant crowd was told that the Russians should be exterminated as enemies of the people's religion. The instigator of the uprising was the Tehran mujshehid (highest cleric) Mesih, and his main accomplices were the ulema. According to the official version, the purpose of the conspiracy was to cause some damage to the Russian mission, and not to massacre. When on the fateful day of February 11 (according to the old style - January 30) 1829, about 100 thousand people gathered (according to the testimony of the Persian dignitaries themselves), and a mass of fanatics rushed to the embassy house, the leaders of the conspiracy lost power over them. Realizing the danger he was exposed to, the day before his death, Griboyedov sent a note to the palace, declaring in it that “in view of the inability of the Persian authorities to protect the honor and very lives of the representatives of Russia, he asks his government to recall him from Tehran.” But it was already too late. The next day there was an almost complete massacre of the Russians (only embassy adviser Maltsov managed to escape); The murder of Griboyedov was especially brutal: his disfigured and mutilated body was found in a pile of corpses. Alexander Sergeevich Griboyedov was buried in accordance with his wishes on Mount David in Tiflis - near the Monastery of St. David. On the gravestone are the words of Nina Griboedova: “Your mind and deeds are immortal in Russian memory, but why did my love survive you?”
Among the works are plays, poems, journalism, letters: “Letter from Brest Litovsk to the publisher” (1814; letter to the publisher of “Bulletin of Europe”), “On cavalry reserves” (1814, article), “Description of the holiday in honor of Kologrivov” ( 1814, article), "The Young Spouses" (1815, comedy; adaptation of the play by Creuset de Lesser " Family secret" 1807), "One's own family, or The Married Bride" (1817, comedy; co-authored with A.A. Shakhovsky and N.I. Khmelnitsky: Griboyedov owns five phenomena of the second act), "Student" (1817, comedy; co-authored with P.A. Katenin), “Feigned Infidelity” (1818, play; co-authored with A. Gendre), “Test of Interlude” (1819, play), “Woe from Wit” (1822-1824, comedy; origin of the idea - in 1816, first production - November 27, 1831 in Moscow, first publication, cut by censorship - in 1833, full publication - in 1862), "1812" (drama; excerpts published in 1859), "Georgian Night" (1827-1828, tragedy; publication - 1859), “Special cases of the St. Petersburg flood” (article), “Country trip” (article) Musical works: two waltzes for piano are known.
(Compiler of a short biography of A.S. Griboyedov - Elena Lavrenova)
Sources of information:
Based on “To Kill a Mockingbird”, and Patrick Suskind - based on the novel “Perfume”. The listed authors and works are foreign, so everything can be attributed to the lack of translations. But what then to do with domestic authors - with Alexander Griboedov, for example?
Childhood and youth
The future writer and diplomat was born in Moscow. In literature textbooks they write that this happened in January 1785, but experts doubt this - then some facts from his biography become too surprising. There is an assumption that Alexander was born five years earlier, and the date in the document was written differently, since at the time of his birth his parents were not married, which was perceived negatively in those years.
By the way, in 1795, Alexander Griboedov had a brother, Pavel, who, unfortunately, died in his infancy. Most likely, it was his birth certificate that later served the writer. Sasha was born into a noble family, which descended from the Pole Jan Grzybowski, who moved to Russia. The surname Griboyedov is literal translation Pole's surname.
The boy grew up curious, but at the same time sedate. He received his first education at home, reading books - some researchers suspect that this is due to hiding his date of birth. Sasha’s teacher was the encyclopedist Ivan Petrosalius, popular in those years.
Despite his sedate manner, Griboedov was also prone to hooligan antics: once, during a visit to catholic church, the boy performed the folk dance song “Kamarinskaya” on the organ, which shocked the clergy and church visitors. Later, already as a student at Moscow state university, Sasha will write a caustic parody called “Dmitry Dryanskoy”, which will also put him in an unfavorable light.
Even before studying at Moscow State University, Griboyedov entered the Moscow University Noble Boarding School in 1803. In 1806 he entered the literature department of Moscow State University, which he graduated in 2 years.
Afterwards, Griboedov decides to study in two more departments - physics and mathematics and moral and political. Alexander receives his PhD degree. He plans to continue his studies further, but his plans are ruined by the Napoleonic invasion.
During Patriotic War In 1812, the future writer joined the ranks of the volunteer Moscow hussar regiment, led by Count Pyotr Ivanovich Saltykov. He was enrolled as a cornet along with other people from noble families - the Tolstoys, Golitsyns, Efimovskys and others.
Literature
In 1814, Griboyedov began to write his first serious works, which were the essay “On Cavalry Reserves” and the comedy “The Young Spouses,” which was a parody of French family dramas.
The following year, Alexander moves to St. Petersburg, where he ends his service. In St. Petersburg, the aspiring writer meets the publicist and publisher Nikolai Ivanovich Grech, in whose literary magazine “Son of the Fatherland” he would later publish some of his works.
In 1816 he became a member of the Masonic lodge “United Friends”, and a year later he organized his own lodge - “Blago”, which will differ from classical Masonic organizations by focusing on Russian culture. At the same time, the writer begins work on “Woe from Wit” - the first ideas and sketches appear.
In the summer of 1817, Griboyedov entered the public service to the Collegium of Foreign Affairs, first as a provincial secretary, and later as a translator. In the same year, Griboyedov met Wilhelm Kuchelbecker.
He will become friends with both and will cross paths more than once for his short life. While still working as a provincial secretary, the writer wrote and published the poem “Lubochny Theater,” as well as the comedies “Student,” “Feigned Infidelity” and “The Married Bride.” The year 1817 was marked in Griboyedov’s life by another event - the legendary quadruple duel, the reason for which was the ballerina Avdotya Istomina (as always, cherchez la femme).
However, to be precise, in 1817 only Zavadovsky and Sheremetev fought, and the duel between Griboedov and Yakubovich took place a year later, when the writer, having refused the position of an official of the Russian mission in America, became the secretary of the Tsar's attorney Simon Mazarovich in Persia. On the way to his place of duty, the writer kept a diary in which he recorded his journey.
In 1819, Griboedov completed work on “Letter to a Publisher from Tiflis” and the poem “Forgive me, Fatherland.” Autobiographical moments related to the period of service in Persia will also appear in “Vagina’s Tale” and “Ananur Quarantine”. In the same year he received the Order of the Lion and the Sun, first degree.
Working in Persia was not to the writer’s liking, so he was even glad that his arm was broken in 1821, because thanks to the injury, the writer was able to achieve a transfer to Georgia, closer to his homeland. In 1822 he became diplomatic secretary under General Alexei Petrovich Ermolaev. At the same time he wrote and published the drama “1812”, dedicated to the Patriotic War.
In 1823, he left the service for three years to return to his homeland and rest. Over the years he has lived in St. Petersburg, Moscow and on the estate of an old friend in the village of Dmitrovskoye. He is finishing work on the first edition of the comedy in verse “Woe from Wit,” which he gives to an elderly fabulist for review. Ivan Andreevich appreciated the work, but warned that the censors would not let it through.
In 1824, Griboedov wrote the poem “David”, the vaudeville “Deception after Deception”, the essay “Special Cases of the St. Petersburg Flood” and the critical article “And they compose - they lie, and they translate - they lie.” The following year he began work on a translation of Faust, but managed to finish only the Prologue in the Theater. At the end of 1825, due to the need to return to service, he was forced to abandon his trip to Europe, instead leaving for the Caucasus.
After participating in the expedition of General Alexei Alexandrovich Velyaminov, he wrote the poem “Predators over Chegel.” In 1826, he was arrested and sent to the capital on suspicion of Decembrist activities, but six months later he was released and reinstated in service due to the lack of direct evidence. Nevertheless, the writer was under surveillance.
In 1828, Griboedov took part in the signing of the Turkmanchay Peace Treaty. In the same year he received the Order of St. Anne, second degree, and got married. The writer was unable to write or publish anything else, although his plans included many works, among which creativity researchers especially highlight the tragedies of and. According to them, Griboyedov had potential no less than that of.
Personal life
There is a theory that the quadruple duel of 1817 took place due to a short intrigue between Griboedov and the ballerina Istomina, but there are no facts to prove this hypothesis. On August 22, 1828, the writer married the Georgian aristocrat Nina Chavchavadze, whom Alexander Sergeevich himself called Madonna Bartalome Murillo. The couple was married in the Zion Cathedral, located in Tiflis (now Tbilisi).
By the end of 1828, Alexander and Nina realized that they were expecting a child. That is why the writer insisted that his wife stay at home during his next ambassadorial mission the following year, from which he never returned. The news of her husband's death left the young girl in shock. Premature birth occurred and the baby was stillborn.
Death
At the beginning of 1829, Griboyedov was forced by work to go as part of an embassy mission to Feth Ali Shah in Tehran. On January 30, the building in which the embassy was temporarily located was attacked by a large group of Muslim fanatics (more than a thousand people).
Only one person managed to escape; by pure chance, he ended up in another building. Alexander Griboyedov was found among the dead. His disfigured body was recognized by the injury to his left hand received during a duel with cornet Alexander Yakubovich in 1818.
Posthumously, Griboedov was awarded the Order of the Lion and the Sun, second degree. The writer was buried, as he had bequeathed, in Tiflis, on Mount Mtatsminda, located next to the Church of St. David.
- Griboyedov’s parents were distant relatives: Anastasia Fedorovna was Sergei Ivanovich’s second cousin.
- Sergei Ivanovich, Griboyedov’s father, was a renowned gambler. It is believed that it was from him that the writer inherited a good memory, thanks to which he was able to become a polyglot. His arsenal included French, English, Italian, German, Arabic, Turkish, Georgian, Persian and ancient Greek, as well as Latin.
- Griboedov's sister, Maria Sergeevna, was at one time a popular harpist and pianist. The writer himself, by the way, also played music well and even managed to write several piano pieces.
- Artists depicted Griboyedov and some of his relatives on canvas. The writer's wife is the only one who was captured in the photo.
Bibliography
- 1814 – “The Young Spouses”
- 1814 – “On cavalry reserves”
- 1817 – “Lubochny Theater”
- 1817 – “Feigned Infidelity”
- 1819 – “Letter to the publisher from Tiflis”
- 1819 – “Forgive me, Fatherland”
- 1822 – “1812”
- 1823 – “David”
- 1823 – “Who is brother, who is sister”
- 1824 – “Teleshova”
- 1824 – “And they compose - they lie, and they translate - they lie”
- 1824 – “Woe from Wit”
- 1825 – “Predators on Chegem”
GRIBOEDOV, Alexander Sergeevich - poet, playwright, diplomat. He entered Russian literature primarily as the author of the comedy "Woe from Wit", although he wrote several more plays, as well as poems and poems. He also had the gift of a musician: he played the piano, organ, flute, studied music theory, and composed music (two waltzes have survived). As a musician, M. I. Glinka greatly appreciated him. Born into an eminent noble family. Received an excellent education. First at home: he had good home teachers (Moscow University librarian Petrosilius, Göttingen University graduate B.I. Ion). He studied at the Moscow University Noble Boarding House, from whose walls in different times Many future famous poets and cultural figures came out: V. A. Zhukovsky, A. I. Turgenev, V. F. Odoevsky and others. In 1806-1812. studied at Moscow University, where he graduated from the faculties of literature and law and studied physics and mathematics. During this time he studied Greek and Latin; later he would learn Persian, Arabic and Turkish; since childhood he spoke French, English, German and Italian. G.'s closest friends at the university were P. Ya. Chaadaev, Nikita Muravyov, N. I. Turgenev, friendship with whom contributed to the formation of G.'s advanced and independent worldview. At the university, G.'s poetic abilities also began to manifest themselves: he reads his own poems to his friends - satires and epigrams, writes a comic play "Dmitry Dryanskoy", parodying the tragedy of V. A. Ozerov "Dmitry Donskoy" and in a witty form depicting the discord between scientists Moscow University. In 1812, G. was preparing to take the exam for the degree of Doctor of Law, but the outbreak of the Patriotic War with Napoleon dramatically changed his plans. He volunteers to join the army - as a cornet in the Moscow Hussar Regiment. He did not have to participate directly in hostilities, but his service in the army gave him a new supply of impressions and, most importantly, helped him get to know and love the Russian soldier better. In 1816, after the end of the war with Napoleon, G. resigns. Settles in St. Petersburg, enters the service of the Collegium of Foreign Affairs, where Pushkin and V.K. Kuchelbecker serve at this time. G. gets acquainted with them, as well as with other employees in the Collegium, many of whom are future Decembrists. G. has the closest relations with the Decembrists, both now and later. It cannot be said with certainty whether G. was a formal member of any Decembrist society, but there is no doubt that his views on modern life and social structure are close to those of the Decembrists. In St. Petersburg, G. also became close to a circle that united people involved in the theater. The circle is headed by playwright and theater figure A. A. Shakhovskoy, writers P. A. Katenin, N. I. Khmelnitsky, actor I. I. Sosnitsky, tragic actress Ekaterina Semenova and others belong to the circle. At the same time, G. collaborates in magazines, writes plays. In the magazine "Son of the Fatherland" he published an epigram "From Apollo", in 1816 he published an article "On the analysis of the free translation of the Burger ballad "Lenora", in which he defends the translation of P. A. Katenin from the critical attacks of N. I. Gnedich, who saw in in Katenin's poems "an insult to hearing, taste, reason." Taking the side of Katenin, G. affirms his favorite ideas about the need for naturalness and looseness of verbal expression, about the inadmissibility of false pathos and linguistic affectation. Back in 1815, G. wrote a comedy in one act. in the poems “Young Spouses”, in 1817 he took part (together with Shakhovsky and Khmelnitsky) in writing the comedy “Own Family, or the Married Bride”. In the same year, together with Katenin, he wrote the comedy in prose “She has a special one”. interest, because some of its characters (for example, the St. Petersburg gentleman Zvezdov) resemble the future heroes of “Woe from Wit.” In general, all of G.’s St. Petersburg comedies were a kind of preparation, a creative laboratory: both in language, in characters, and in everyday pictures. they prepared G.'s main work. In 1818, G. was appointed secretary of the Russian diplomatic mission in Persia. This appointment, outwardly honorable, was for G. a kind of exile for participating as a second of A.P. Zavadovsky in his duel with V.A. Sheremetev, which ended in the death of the latter. On his way to the East, G. stopped in Moscow. He shares his bitter and desolate impressions with his friend S. N. Begichev: “Everything in Moscow is not for me. Idleness, luxury, not associated with the slightest feeling for anything good...” (Op. - M. , 1953. - P. 480). G.'s mood is akin to the mood of his future hero Chatsky. Finding himself in Persia against his will, G., however, shows his extraordinary abilities here too, this time as a diplomat. He seeks the release from captivity and return of 150 Russian soldiers to their homeland. In August 1819, in his travel diary, G. writes: “Efforts for the prisoners. Fury and sadness... I’ll lay my head for my unfortunate compatriots...” (Works. - M., 1953. - P. 422) . G. does all his work with great skill and passion. In 1822, G. was transferred from service to Tiflis, where he served as secretary for diplomatic affairs under the chief administrator of Georgia, General A.P. Ermolov. Ermolov was very popular in Decembrist circles, moreover, among his associates there were both direct Decembrists and people who sympathized with them. G. finds himself in a political environment close to himself, which contributes to the growth of his creative activity. In Tiflis, G. works on the first two acts of “Woe from Wit”. However, working on a comedy requires more time, more solitude, and more freedom from official concerns. G. asks Ermolov for a long leave and receives it. Vacation - from mid-1823 to 1825 - G. spends first in the Tula province, on Begichev's estate, and then in Moscow and St. Petersburg. on the Begichev estate, in the village of Dmitrovskoye, in the summer of 1823, G. wrote the last two acts of the comedy. Begichev recalled it this way: “At this time he rose almost with the sun; he came to us for dinner and rarely stayed with us long after dinner, but almost always left soon and came to tea, spent the evening with us and read the scenes he had written. We have always looked forward to this time" (A.S. Griboyedov in the memoirs of his contemporaries. - M., 1980. - P. 28). From Begichev's estate G. goes to Moscow. He reads excerpts from “Woe from Wit” to his literary friends. Together with P. A. Vyazemsky he writes the vaudeville “Who is brother, who is sister, or Deception after deception” (the music for the vaudeville was written by composer A. N. Verstovsky). In the almanac of V. Kuchelbecker and V.F. Odoevsky, “Mnemosyne” publishes his programmatic poem (in the spirit of Decembrist poetry) “David”. In June 1824, G. moved to St. Petersburg, where he became a regular at Ryleev’s “Russian breakfasts.” Collaborates in his and A. A. Bestuzhev's almanac " North Star": prints there "An excerpt from Goethe" (a free translation from Goethe's Faust). At the end of 1825, G. returned to the Caucasus. Here he was caught by the December events. G.'s closeness to the Decembrists did not remain a secret to the government: to the office Ermolov receives an order to arrest G. and bring him to St. Petersburg. Ermolov warns G. about the upcoming arrest, and G. manages to destroy the papers and letters incriminating him. In St. Petersburg, for four months he is in the guardhouse of the General Staff under investigation. he denies his affiliation with any of the secret societies . His testimony is confirmed by the Decembrists Ryleev, A. Bestuzhev and others. The authorities drop the charges against G. and release him from arrest. The successful completion of the case was greatly facilitated by both G.’s calm courage and self-control and General Ermolov’s petition for him to the Tsar. In September 1826, G. returned to the Caucasus. At this time, there is a war between Russia and Persia, and G.'s diplomatic activities are becoming increasingly widespread. And not only diplomatic. G. takes an active part in resolving important issues of civil governance in the Caucasus. In 1828, the war with Persia ended; its diplomatic conclusion was the Turkmanchay Peace Treaty. The agreement was beneficial for Russia, and a large share of the credit for this belonged to G. The Tsar outwardly appreciated G.’s merit, rewarded him, and appointed him minister plenipotentiary to Persia. But G. did not indulge in illusions: he clearly understood the true price of the royal reward and distinction. His letters to friends are filled with gloomy forebodings: he views the appointment as ambassador to Persia as a “political exile”, as a “cup of suffering” that he will have to drink. Most of all, he wants freedom and creativity for himself; instead, he faces difficult trials and inevitable dangers. On the way to Persia, G. stays for some time in Tiflis. Here, in August 1828, he married Nina Chavchavadze, the daughter of his friend, the famous Georgian poet Alexander Chavchavadze. But, having just gotten married, G. must be separated from his young wife: business requires that he immediately go to Persia. In Persia, as an ambassador, he manages to do a lot of useful things, acting with his characteristic energy and perseverance. This does not suit the enemies of Russia and the enemies of Germany - a conspiracy is being prepared against him. On January 30, 1829, a crowd of Persian fanatics attacked the Russian embassy and caused destruction. Among those killed and torn to pieces by the crowd is Alexander Sergeevich Griboyedov. G. was buried in Tiflis, in the upper part of the city, on Mount St. David. On his grave monument the inscription is the words of his wife, Nina Griboedova, who remained faithful to him until the end of her life: “Your mind and deeds are immortal in Russian memory, but why did my love outlive you?” The main work of G.’s life, the comedy “Woe from Wit”, A. A. Blok called “the most brilliant Russian drama” (Blok A. Collected works: In 8 volumes - M.; L., 1962. - T 5.-- P. 168). There is no exact information about the time when the idea for the comedy arose. According to S. Begichev, it was conceived in 1816; there are, however, assumptions that the first thoughts about comedy appeared in G. even earlier. Having finished writing the comedy in 1824, G. made a lot of efforts to publish it, but he failed. It was also impossible to obtain permission to stage “Woe from Wit” on stage: censorship considered G.’s comedy politically dangerous and banned it. During the author’s lifetime, only small excerpts from the comedy appeared in print (in the anthology “Russian Waist”, in 1824), and even then in a greatly altered form due to censorship requirements. But this did not prevent the comedy from becoming widely known. It was circulated in lists, it was read and discussed, it aroused admiration - especially among the Decembrists. Decembrist D.I. Zavalishin recalled that in the spring of 1825, members of the Northern Society “wanted to take advantage of the upcoming vacations of officers to distribute Griboedov’s comedy in manuscript, without hoping in any way for permission to publish it. For several days in a row they gathered at Odoevsky’s, where Griboedov lived, so that several hands can copy out a comedy from dictation" (Notes of a Decembrist. - Petersburg, - 1906. - P. 100). The comedy was approved for publication only in 1831, after G.’s death. The condition of permission was the removal from the text of those passages that were recognized by the censorship as particularly “unreliable.” In this form, and at the same time, the comedy was staged on the professional stage: first in St. Petersburg (with the participation of Karatygin in the role of Chatsky and Ekaterina Semenova in the role of Sophia), and then in Moscow, where Chatsky was played by P. S. Mochalov, and Famusov - - M. S. Shchepkin. The comedy "Woe from Wit" belongs to the genre of high social comedies. Gogol called his “The Inspector General” a social comedy, in the spirit of “her father Aristophanes” (Gogol N.V. Collected works: In 7 volumes - M., 1977. - P. 229). G.'s comedy was the same in principle. The social nature of the comedy "Woe from Wit" means, first of all, the social significance of its main conflict. G.'s comedy is based on a conflict that is both personal, psychological (love) and general, problematic and social. At the same time, one thing turns out to be closely connected with the other, the social problems of comedy directly follow from the personal ones. In "Woe from Wit", the hero's unrequited love turns out to be essential for the development of the action, and even more so - the insoluble contradiction between the intelligent and honest hero and the crazy society in which he lives. G. spoke about it this way in a letter to Katenin: “... a girl, not stupid herself, prefers a fool smart person(not because our sinners had an ordinary mind, no! and in my comedy there are 25 fools for one sane person); and this person, of course, is in contradiction with the society that surrounds him, no one understands him, no one wants to forgive him, why is he a little higher than others..." (Soch. - M., 1953. - P. 527). In the text of the comedy, all this is unfolded and presented very vividly, unforgettably, and psychologically authentically. “Woe from Wit” is one of the first truly realistic comedies on the Russian stage. This does not mean that other, not strictly realistic, features are not found in its poetics. In G.'s comedy, for example, it is easy to notice some signs of classicism: unity of action, unity of place, unity of time. At first glance, G.'s characters correspond to the traditional roles of classical comedy: the unlucky hero, blinded by love, is a weasel and a spoiled man; the heroine; the heroine's father, whom everyone deceives and who deceives himself, etc. The characters, in full accordance with the rules of classicism, are endowed with meaningful names: Chatsky (in the first edition - Chadsky)- being in a state of intoxication; Famusov is familiar to everyone; Molchalin - dumb; Repetilov - repeating other people's thoughts and words, etc. These are all separate external signs classicism, but not classicism. G. partially uses the poetics of classicism to achieve specific artistic goals. Thus, observing the unity of place helps him to present the diversity in a single thing, that is, especially tangibly and clearly. G.'s Famusov's house is not just a permanent place of action, not just a private house of a Moscow gentleman, but an image special world, in Gogol’s words about “The Inspector General,” “a gathering place.” It presupposes and expresses not the singular, but the plural, while leaving the impression of unity and wholeness. This is most noticeable in the third act of the comedy. Events in it develop both progressively and in breadth. The walls of the Famusovs’ house seem to move apart, and not one, but many small, funny and typical comedies are played out in front of the viewer (reader), the heroes of which are the Goriches, the Tugoukhovsky family, the Countess-grandmother and the Countess-granddaughter, etc. The picture turns out to be extremely generalized, extremely large-scale and extremely integral. G. easily and freely uses classicist poetics - and easily deviates from it. In "Woe from Wit" there are not five (as required by the laws of classicism), but four acts. In a comedy there is no decisive ending, the fate of the heroes remains unresolved, everything ends not with a period, but with an ellipsis. The viewer (reader) must think through a lot. Even more important is the general tragic meaning of G.’s comedy. In the comedies of classicism, tragic feelings and collisions are possible, but most often they find more or less calm resolutions. G. does not have such permission. Throughout the entire course of the play, Chatsky lives and acts with “a million torments” in his heart, and in the same state he leaves the stage. Not alien to individual comic traits, sometimes involved in comic situations, Chatsky is fundamentally tragic - and he makes G.'s comedy as a whole tragic. But comedy, which is at the same time tragedy, is a phenomenon that is most characteristic of realism. The realism of "Woe from Wit" is also revealed in the principles of depicting the characters. In G. all the characters are characters true to the truth of life, bright, multi-dimensional. Speaking about the difference between Shakespeare's heroes and the heroes of the classicist Moliere, Pushkin wrote: “The faces created by Shakespeare are not, like Moliere’s, types of such and such a passion, such and such a vice, but living beings, filled with many passions...” (Pushkin A. S. Collected works: In 10 volumes - M., 1976. - P. 178). In his comedy, G. follows Shakespeare and develops his achievements. The characters in “Woe from Wit,” being heroes of a comedy, are by no means caricatures, but exact likenesses of living people, “I hate caricatures, you won’t find a single one in my picture,” wrote G. Katenin (Occupations—M., 1953. -- P. 527). These words of G. are well confirmed by the audience and reader perception characters Griboyedov's comedy. Most of all, Famusov characterizes the society that opposes Chatsky: it’s not for nothing that we call this society “Famusov’s.” Famusov is a typical Moscow gentleman of the beginning of the last century with a characteristic mixture of tyranny and patriarchy. He is used to being a master, and cannot imagine himself as anyone else. That is why he is so confident in himself, loves himself so much. He occupies a large official position, but he also treats his service like a lord and does not burden himself with it. His political ideals boil down to the glorification of everything old and established: he lives well, and he does not want any changes. He is afraid of Chatsky and does not like him, because he sees in him a subverter of foundations, a rebel. The ideal person for Famusov is one who has made a profitable career; at the same time, it does not matter to him by what means this was achieved. Slavery and meanness are also a good path for him, as long as it leads to desired result. What is striking about Famusov is the outright immorality of concepts and ideals. She is especially scary because Famusov, as a master, has great power over people. The immorality of power cannot but be terrible and dangerous. And yet Famusov, like other heroes, is not a caricature, but a character, and an ambiguous one at that. He has a mind, or rather, that kind of mind called common sense; His judgments also contain everyday truth - the result of his life experience. Some of his remarks are apt and sharp (for example, from his remark to Chatsky: “It wouldn’t be a bad idea to ask me. / After all, I’m somewhat akin to her...”, etc.). Famusov’s language reflects the vernacular of the nobility, which largely absorbed living wealth folk speech, although the meaning of what he said is most often alien and unacceptable to us. Famusov, as G. created him, is not an abstract evil, but a concrete, living one. You believe in its reality - and that is why it is especially frightening. This is also true for Skalozub. Famusov likes Skalozub. He is relatively young, but already in rank; now he is a colonel, and tomorrow he will certainly become a general; he is a reliable defender of antiquity. All this in Skalozub suits Famusova. Chatsky perceives Skalozub differently than Famusov. He speaks of him in words similar to an epigram: “Wheezer, strangler, bassoon, / A constellation of maneuvers and mazurkas.” Skalozub, as Chatsky understands him (and we along with him), is all external, humanly insignificant, spiritual: noisy, dressed in a uniform, preoccupied only with military exercises and dancing. This is a typical Arakcheevsky officer, stupid and thoughtless, an opponent of all free thought and enlightenment. This scary man. Human resemblance is given to him, in particular, by his constant attempts to joke; No wonder Lisa says about him: “He’s also good at joking, / After all, who doesn’t joke these days?” When Famusov asks who Nastasya Nikolaevna is to him, Skalozub replies: “I don’t know, sir, it’s my fault; / She and I didn’t serve together.” This is Skalozub’s kind of joke (even the most limited person cannot say this seriously). In a similar way, Skalozub jokes more than once, but his jokes do not so much make you laugh as they puzzle you. They are too rude, “soldierish”, and the one who jokes like that seems to us to be a very self-righteous, very stupid and scary person. In terms of all his character traits, Molchalin also belongs to the Famus society: moreover, he is its direct product. From the very first appearance on stage, he seems to us a complete nonentity: he is afraid to utter an extra word, willingly panders to everyone, does not dare to have his own opinion, and considers “moderation and accuracy” to be his main talent. All these properties ensure his present and future successes in Famus’s world. N.V. Gogol wrote about Molchalin: “Molchalin... a wonderful type. This face is aptly captured, silent, low, while silently making its way among people...” (Gogol N.V. Collected works: In 7 vols. -- M., 1978.-- T. 6.--P. 362). Famus society is represented in the comedy widely and diversely. These are not only many of the main characters - Famusov, Skalozub, Molchalin, etc., but also minor, episodic ones. Such, for example, is Khlestova - an important Moscow lady, rude, domineering, accustomed to not holding back her words. Even in relation to Famusov, she cannot help but show her authority. This does not prevent her from being very similar to Famusov: both with a constant desire to command people, and with devotion to old, outdated foundations and orders. Zagoretsky, an essential companion of the Famusovs and Khlestovs, also belongs to the episodic characters of great importance. He is always ready to offer his services, despite his dubious moral qualities do not in the least interfere with his friendship with the owners of society. Khlestova says about him: “He’s a liar, a gambler, a thief... / I even locked the doors from him; / Yes, a master of service...” It’s remarkable that Khlestova in her own words not only characterizes Zagoretsky, but no less characterizes and himself, shows the moral level of both his own and his entire circle. The circle that opposes Chatsky. Chatsky is the only visibly active positive hero in G.’s comedy. But he cannot be called an exceptional hero and completely alone. He has like-minded people: we learn about them thanks to off-stage characters (those who are talked about in the play, but who are not directly involved in the action). These are, for example, professors Pedagogical Institute, who, according to Princess Tugoukhovskaya, “practice in schisms and lack of faith,” these are “mad people” inclined to study, this is the princess’s nephew Prince Fyodor, “a chemist and a botanist,” etc. Chatsky in the comedy represents the young thinking generation Russian society, its best part. A. I. Herzen wrote about Chatsky: “The image of Chatsky, sad, restless in his irony, trembling with indignation, devoted to a dreamy ideal, appears at the last moment of the reign of Alexander I, on the eve of the uprising on St. Isaac's Square. This is a Decembrist, this is a man who ends the era of Peter the Great and is trying to discern, at least on the horizon, the promised land..." (Herzen A.I. Collected works: In 30 volumes - M., 1959. - Volume XVIII. - - P. 180). From his first appearance on stage, Chatsky attracts the viewer. He is ardent, sharp, smart, eloquent, full of life, impatient. But he is too impatient. And this “too much” causes a smile when meeting him: that smile with which a world-wise man looks at a nice, pure, but not yet sufficiently sophisticated young man. Chatsky is the embodiment of good youth: youthful strength, honesty, gullibility, youthful boundless faith in oneself and one’s capabilities. This youth and boundless self-confidence make him completely open to mistakes of both a comic nature and tragic ones. One of the main distinguishing qualities of Chatsky is the fullness of feelings. It is reflected both in the way he loves and in the way he is angry and hates. In everything he shows true passion, he is always warm at heart. Most of all, he hates despotism and slavery, stupidity and dishonor, mental and moral deafness. He castigates the meanness of the serf owners and the criminal abnormality of serfdom. He cannot remain silent because it is painful and painful for him to see evil and injustice around him; he hates everything bad, because he loves goodness and truth. Chatsky is not only a Decembrist by conviction, but also a romantic. The very fullness of his feelings and the power of denial are romantic in nature. The thinker, the Decembrist fighter and the romantically sensitive person are united in him as organically as they were often united in that era. real people and reality. As a human type, as a special character, Chatsky goes beyond strictly defined time boundaries: the Chatskys existed in life beyond the romantic and Decembrist eras. Over time, they changed in appearance, but remained unchanged in their main features. They are always fighters for truth, always selfless seekers of truth. The deep realism of G.'s comedy is also matched by its language: bright, multi-colored, very lively. The language of “Woe from Wit” is based on national speech. These are common words: “frightened”, “don’t remember”, etc.; these are also expressions that were found in noble colloquial use: “without squinting your eyes,” “scolds on the spot”; these are book words that have been preserved manpower. G. uses all the riches of the Russian language and at the same time shows himself to be an incomparable master of live dialogue. In G.'s comedy, living people speak in a living language. And everyone speaks differently. The character's speech is always special, unique; it matches the character's personality and brings out his character well. G. has an excellent command of not just the language, but all the techniques of linguistic and speech characteristics. The servant Lisa has apt folk language. Her speech is cunning, behind it is a living thought, intelligence, and folk wisdom. Repetilov’s speech seems to be uncontrollable: everything is out of order for him - both words and thoughts. Chatsky’s speech is another matter. She is logical and harmonious, her harmony comes from the integrity of her thoughts and feelings. In its composition, Chatsky’s speech is largely bookish; it is the speech of an educated, well-read person. At the same time, the inner passion that spiritualizes her gives her liveliness and freshness. A. S. Pushkin wrote about the language of G.’s comedy: “I’m not talking about poetry: half of it should be included in the proverb” (Pushkin A. S. Collected works: In 10 volumes - M., - 1977 .-- T. 9.-- P. 127). Pushkin’s prediction came true: many expressions from “Woe from Wit”, such as “Happy people do not watch the clock”, “And the smoke of the fatherland is sweet and pleasant to us”, “The legend is fresh, but hard to believe”, etc., really became proverbs . They seemed to have flown away from their native nest and filled with themselves the living, everyday and literary Russian speech. About sixty proverbial poetic expressions found their way from “Woe from Wit” into collections of popular words and phraseological units. Closely related to the peculiarities of the language of comedy is its verse size. Before G., comedies in Russia were written, as a rule, in “Alexandrian verse” - iambic hexameter with a caesura after the third foot. This size was rather monotonous in rhythm, which limited the visual possibilities of the comedy genre. G. was one of the first to use free iambic in comedy. The latter, thanks to its rhythmic diversity and flexibility (in free iambic verses have different quantity stop), best conveys the natural flow of live speech, so necessary for a dramatic work, especially in its realistic forms. Even before comedy, free iambic was developed in fables - and most of all in the fables of I. A. Krylov. From Krylov, learning from him, G. also came. In G.’s comedy, the free iambic reached such perfection, such a living sound that after G., almost all comedies in verse were written (and translated) in precisely this meter. The comedy "Woe from Wit" made a great impression on his contemporaries and had an equally strong impact later - right up to our time. She was admired by N.V. Gogol and A.I. Herzen, F.M. Dostoevsky and M.E. Saltykov-Shchedrin and many other Russian writers and readers. In the 70s In the 19th century, almost fifty years after the creation of the comedy, I. A. Goncharov wrote a critical essay about it, “A Million Torments,” full of such living pathos, as if it were talking not about an old, but about a modern dramatic play. Goncharov wrote in his essay: “The comedy “Woe from Wit” somehow stands apart in literature and is distinguished by its youthfulness, freshness and strong vitality from other works of the word. It is like a hundred-year-old man, around whom everyone, having lived out their time in turn, dies and they fall, and he walks, vigorous and fresh, between the graves of old and the cradles of new people" (Goncharov I.A. Collected works: In 8 volumes - M., 1955. - Vol. 8. - C .7). G. Goncharov sees the reason for the extraordinary vitality of the comedy in the vastness of its content and in its artistic perfection: “Like a painting, it is, without a doubt, huge... In a group of twenty faces, the whole of former Moscow, its drawing, was reflected like a ray of light in a drop of water , its spirit at that time, historical moment and morals" (Ibid. - P. 10). The central place in Goncharov’s essay is captured by Chatsky’s characterization. Polemicizing with Pushkin, who denied Chatsky intelligence, Goncharov writes: “Chatsky is not only smarter than all other people, but also positively smart” (Ibid. - P. 13). In his speeches and actions, Chatsky, as Goncharov persuades, sometimes falls into exaggeration, but this is explained by the hero’s inner turmoil, his “millions of torments,” the blows that Famus’s world dealt him. In “a million torments” Goncharov sees the psychological solution to Chatsky’s behavior. Over the years, "Woe from Wit" revealed its ideological and artistic richness more deeply and fully. It is no coincidence that editions of the comedy were published again and again and immediately sold out. It is no coincidence that its name never left theater posters. G.'s comedy was staged in central cities and on the periphery, at the Maly Theater and at the Moscow Art Theater in Moscow, at the Alexandria Theater in St. Petersburg and at the Leningrad Bolshoi Drama Theater, etc. The best Russian actors of different times are V. N. Davydov. A. I. Yuzhin, K. S. Stanislavsky, V. I. Kachalov. B. N. Livanov, I. A. Yablochkina, V. N. Ryzhova, T. V. Doronina, S. Yu. Yursky, K. Yu. Lavrov - tested and perfected their art, playing Chatsky, Fausov, Molchalin, Sophia, Lisa. For comedy, theatrical and reading life always continues - and there is not and will not be an end to it. As his most gifted student and successor A. N. Ostrovsky said about G., “on the high mountain above Tiflis stands the great grave of Griboedov, and his genius soars just as high above all of us...” (Ostrovsky A. N. Complete. collected works - M., 1952. - T. XII. - P. 187). Op.: Full collection op.; In 3 volumes / Ed. and with notes N.K. Piksanova and I.A. Shlyapkina.-- St. Petersburg, 1911--1917; Woe from the mind. Play. Articles. Comments / Ed. N.K. Piksanova and Vl. Filippova.-- M., 1946; Op. / Prepare text, preface and comment. Vl. Orlova.-- M.; L., 1959; Essays in verse / Intro. Art. and note. I. N. Medvedeva - L., 1967; Works: In 2 volumes / Ed. and with a preface. M. P. Eremina. - M., 1971; Favorites / Prepared text, intro. Art. and comment. S. A. Fomicheva. - M., 1978; Op. / Comp., intro. Art. and comment. A. L. Grishunina. - M., 1986; Essays in verse / Intro. Art. V. P. Meshcheryakova; Comp., prepared. text, notes by D. M. Klimova. - L., 1987. Lit.: Orlov V. N. Griboyedov. Brief essay life and creativity.--2nd ed.--M., 1954; A. S. Griboyedov in Russian criticism. Sat. Art. / Comp., intro. Art. and note. A. M. Gordina. - M., 1958; Piksanov N.K. Creative history “Woe from Wit” / Prepared by. text and comment. A. L. Grishunina.-- M. 1971; Medvedeva I. N. “Woe from Wit” by A. S. Griboyedov. - 2nd ed. - M., 1974; A. S. Griboyedov. Creation. Biography, Traditions. Sat. Art. / Ed. S. A. Fomicheva. - L. 1977; Nechkina M.V. Griboyedov and the Decembrists. - 3rd ed. - M., 1977; "Woe from Wit" on the stage of the Moscow Art Theater. The experience of four editions / Comp., intro. Art. and comment. L. M. Freidkina. - M., 1979; A. S. Griboedov in the memoirs of his contemporaries / Ed. V. E. Vatsuro, N. K. Geya, S. A. Makashina and others - M., 1980; Lebedev A. A. Griboedov. Facts and hypotheses. - M., 1980; Fomichev S. A Griboedov in St. Petersburg. - L., 1982; Lebedev A. Where does a free mind take you. - M., 1982; Fomichev S. A. Griboyedov's comedy "Woe from Wit". Commentary / Book for teachers - M., 1983.
This man's talent was truly phenomenal. His knowledge was enormous and multifaceted, he learned many languages, was a good officer, a capable musician, an outstanding diplomat with the makings of a major politician. The comedy "Woe from Wit" put him on a par with the greatest Russian writers. Alexander Sergeevich Griboedov...
He belonged to a noble family and received a serious education at home. Already in early age Griboedov's multifaceted talent was revealed. His two waltzes for piano became famous in calm, merchant-like Moscow. Griboedov studied at the Moscow University Noble Boarding School, then entered Moscow University. Having graduated from the literature department in 1808 with the title of candidate, he continued to study in the ethical and political department. One of the most educated people of his time, Griboyedov spoke French, English, German, Italian, Greek, Latin, and later mastered Arabic, Persian, and Turkish. The widespread version according to which Griboedov graduated from three faculties of Moscow University and only because of the War of 1812 did not receive a doctorate has not yet been confirmed by documents.
With the beginning of the Patriotic War, Griboyedov left his academic studies and joined the Moscow Hussar Regiment as a cornet. But he never had the chance to take part in battles: the regiment was in the rear. After the war, the future writer served as an adjutant in Belarus. Griboyedov spent his youth stormy. He called himself and his fellow soldiers, the Begichev brothers, “stepchildren of common sense” - so unbridled were their pranks. There is a known case when Griboyedov once sat down at the organ during a service in a Catholic church. At first he played sacred music for a long time and with inspiration, and then suddenly switched to Russian dance music.
Having retired at the beginning of 1816, Griboedov settled in St. Petersburg and was assigned to serve in the Collegium of Foreign Affairs. Leads a secular lifestyle, moves in theatrical and literary circles in St. Petersburg. He begins to attend Shakhovsky's circle, he himself writes and translates the comedy "Young Spouses" for the theater, "One's Own Family, or The Married Bride." The consequence of “ardent passions and powerful circumstances” was drastic changes in his fate - in 1818, Griboyedov was appointed secretary of the Russian diplomatic mission to Persia. On July 16, Count Nesselrode notified the commander-in-chief in writing Caucasian Army General Ermolov, that "The official Mazarovich is appointed charge d'affaires of Persia, Griboyedov is appointed secretary under him, and Amburger is appointed clerical employee." Nesselrode loved brevity. Not the least role in this kind of exile was played by Griboyedov’s participation in the duel.
Two friends of Griboyedov, revelers Sheremetev and Zavadovsky, competed over the ballerina Istomina. A well-known duelist in the city, the future Decembrist Alexander Yakubovich inflamed the quarrel, and accused Griboyedov of ignoble behavior. Sheremetev had to fight with Zavadovsky, Yakubovich - with Griboedov. Both duels were to take place on the same day. But while they were providing assistance to the mortally wounded Sheremetev, time was running out. The next day, Yakubovich was arrested as the instigator and exiled to the Caucasus. Griboyedov was not punished for the duel, but public opinion found him guilty of Sheremetev's death.
In February 1822, after three years of service in Tabriz, Griboyedov transferred to Tiflis to the chief administrator of Georgia, Ermolov. There the postponed duel with Yakubovich took place. Griboyedov was wounded in the arm - for him as a musician it was very sensitive.
It was him who General Ermolov made his secretary “for foreign affairs.” Loving Griboedov like a son, according to Denis Davydov, he tried not to burden the young man with everyday work. And even to high authorities he boldly said that "Poets are the pride of the nation." And in general, he had a fatherly attitude towards smart and courageous youth, not at all embarrassed that the young people working for him, such as, for example, Yakubovich, Kuchelbecker, Kakhovsky, the Raevsky brothers, were considered “unreliable” at that time. Griboyedov, in his own words, stuck to Ermolov “like a shadow.” Secluded, sometimes even at night, they talked - for hours Griboyedov could listen to how the “proconsul of the Caucasus” described Napoleon, the carnivals of Venice, his date with Lady Hamilton.
It was in Tiflis that the 1st and 2nd acts of “Woe from Wit” were written; their first listener was the author’s colleague and close friend of Pushkin, Wilhelm Kuchelbecker. In the spring of 1823, Griboyedov went on vacation. In Moscow, as well as on the estate of S. Begichev near Tula, where he spends the summer, the 3rd and 4th acts of the immortal comedy are created. By the autumn of 1824, the comedy was completed. Griboedov travels to St. Petersburg, intending to use his connections in the capital to obtain permission to publish it and theatrical production. However, he soon becomes convinced that comedy “is not to be missed.” Only excerpts published in 1825 by Bulgarin in the almanac “Russian Waist” were censored. The first complete publication in Russia appeared only in 1862; The first production on the professional stage was in 1831. Meanwhile, the comedy immediately became an event in Russian culture, spreading among the reading public in handwritten copies, the number of which was close to the book circulation of that time. The distribution of lists was facilitated by the Decembrists, who viewed comedy as a mouthpiece for their ideas; Already in January 1825, Ivan Pushchin brought “Woe from Wit” to Pushkin at Mikhailovskoe. As Pushkin predicted, many lines of “Woe from Wit” became proverbs and sayings.
In the fall of 1825, Griboedov returned to the Caucasus, but already in February 1826 he again found himself in St. Petersburg - as a suspect in the Decembrist case. There were many reasons for the arrest: during interrogations, four Decembrists, including Trubetskoy and Obolensky, named Griboedov among the members of the secret society, and lists of “Woe from Wit” were found in the papers of many of those arrested. Warned by Ermolov about the impending arrest, Griboyedov managed to destroy part of his archive. This came especially easy for him. He was surprisingly indifferent to the fate of his creations. He could have forgotten the manuscript of “Woe from Wit” with a friend or left it on the piano in some salon. During his many travels, chests of papers disappeared somewhere, and he took care of the piano, which he always carried with him. And even after his death, traces of Griboyedov’s work continued to disappear; all his papers, letters, and things were destroyed in Persia. A fire in the house of his nephew Smirnov, who had been searching for the archives of his famous uncle for many years, completely destroyed all Griboyedov’s papers.
During the investigation, he will categorically deny his involvement in the conspiracy. At the beginning of June, Griboyedov was released from arrest with a “cleaning certificate.” There really wasn’t any serious evidence against him, and there still isn’t documentary evidence that the writer somehow participated in the activities of secret societies. On the contrary, he is credited with a disparaging characterization of the conspiracy: “One hundred warrant officers want to turn Russia over!” But, perhaps, Griboyedov owed such a complete acquittal to the intercession of a relative - General Paskevich, the favorite of Nicholas I.
Upon returning to the Caucasus in the fall of 1826, Griboyedov took part in several battles of the outbreak of the Russian-Persian War. He achieves significant success in the diplomatic field. As Muravyov-Karsky would later write, Griboyedov “replaced an army of twenty thousand with his single face.” He will prepare a Turkmanchay peace that will be beneficial for Russia. Having brought the documents of the peace treaty to St. Petersburg in March 1828, he received awards and a new appointment - minister plenipotentiary to Persia. Instead of literary pursuits, to which he dreamed of devoting himself, Griboedov is forced to accept a high position.
Griboedov's last departure from the capital in June 1828 was tinged with gloomy forebodings. On his way to Persia, he stops for some time in Tiflis. There he hatches plans for economic transformations in Transcaucasia. In August he marries 16-year-old Nina Chavchavadze. When the young people went out into the street, it seemed that the whole city was welcoming them. In front of them was a continuous sea of flowers, from all the windows roses flew at Nina’s feet. White, red. Two days later there was a dinner for a hundred invited persons, and on September 9 the Griboyedovs mounted their horses. Their huge caravan stretched for a mile. We spent the night under tents in the mountains, breathing the frosty air. In Tabriz, the newlyweds parted: Griboedov was supposed to go to Tehran and transfer his “high appointment” to the Shah of Iran.
Among other matters, the Russian envoy is engaged in sending captive Russian citizens to their homeland. The appeal to him for help by two Armenian women who ended up in the harem of a noble Persian was the reason for reprisals against the active and successful diplomat. On January 30, 1829, a crowd incited by Muslim fanatics destroyed the Russian mission in Tehran. The Russian envoy was killed. Along with him, the entire staff of the Russian mission was destroyed; only the senior secretary Maltsov, an unusually cautious and cunning man, survived. He offered salvation to Griboyedov too, all he had to do was hide. Alexander Sergeevich’s answer was the answer of a man of honor: "A Russian nobleman does not play hide and seek."
Griboyedov was buried in Tiflis on Mount St. David. The whole city mourned him. Residents of Tiflis dressed in black clothes; the balconies were covered with a black veil falling onto the black ground. They held lit torches in their hands. The whole city, like a black cameo, was in darkness and tears. There was complete silence...
The inscription made by Nina Chavchavadze on the grave of Alexander Sergeevich is like a cry from the soul, carved into the stone: “Your mind and deeds are immortal in Russian memory, but why did my love survive you?”
