• On the Genesis of the Image of Lisa: Woe from Wit by A.S. Griboyedov and The Talker by N.I. Khmelnitsky

УДК: 821.161.1-22

DOI: 10.35852/2588-0144-2024-4-139-148

EDN: NTZJWQ

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Andrey M. Ranchin

Dr. Sc. in Philology, Professor of the Faculty of Philology
Lomonosov Moscow State University
Moscow, Russia
E-mail: aranchin@mail.ru

On the Genesis of the Image of Lisa: Woe from Wit by A.S. Griboyedov and The Talker by N.I. Khmelnitsky

Abstract

The similarity between the comedies Woe from Wit (1823–1824) by A.S. Griboyedov and The Talker (1817) by N.I. Khmelnitsky has been repeatedly noted by researchers (A.L. Zorin, V.Yu. Proskurina). However, the comparison was limited to the main characters — members of the love triangle. It was stated that Griboyedov radically reinterprets the role of the “false groom” and the “false smart guy — talker” (common in Russian secular comedies of his time). The rejected character, prone to making long speeches, was turned into the main character of the play, intended to arouse the sympathy of both the readers and potential viewers. Meanwhile, in the texts of Woe from Wit and The Talker there is a case of even more obvious similarity: these are the images of maids to young mistresses, distinguished by their intelligence, common sense and giving sensible advice regarding the choice of the object of love. In Griboyedov play it is Liza, who advocates for Chatsky, and not for Molchalin, beloved by Sofia; Khmelnitsky’s heroine persistently stand for Modestov, speaking ill of Count Zvonov, whom her aunt predicts as a husband for the main character. At the same time, both maids are named Liza, and their speech characteristics (lively, fluent, free speech with an orientation towards the folk elements) are similar. This name in Russian drama of the late 18th — first quarter of the 19th century seemed not to be widespread in the onomasticon of comedy maids. Traditionally, it was believed that the image of Liza in Woe from Wit goes back to the French comedy. Meanwhile, Khmelnitsky’s The talker obviously plays the role of an intermediary text here: N.I. Khmelnitsky’s play is a free adaptation of the French comedy by Louis de Boissy Le Babillard (1725), where the maid is called Nerina (Nerine). In 1756, Boissy’s comedy was already freely translated into Russian by V.I. Lukin under the title Pustomelya, in Pustomelya the maid was named Daria. The image of Liza in Griboyedov’s work is an example of the deep roots of Woe from Wit in the tradition of the comedy genre. However, the playwright significantly rethinks the role of the servant — the mistress’s confidant: his Lisa does not influence on the course of events, but only contemplates and comments on them.

Keywords

A. S. Griboyedov, N. I. Khmelnitsky, Woe from Wit, The Talker, Liza, role of a servant.

For citation

Ranchin A.M. On the Genesis of the Image of Lisa: Woe from Wit by A.S. Griboyedov and The Talker by N. I. Khmelnitsky. Theatre. Fine Arts. Cinema. Music. 2024, no. 4, рр. 139–148.

DOI: 10.35852/2588-0144-2024-4-139-148

EDN NTZJWQ

References

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Received: 11.10.2024

Revised: 25.10.2024

Accepted: 26.10.2024