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Alexander Griboedov’s Woe from Wit is one of the masterpieces of Russian drama. A verse comedy set in Moscow high society after the Napoleonic wars, it offers sharply drawn characters and clever repartee, mixing meticulously crafted banter and biting social critique. Its protagonist, Alexander Chatsky, is an idealistic ironist, a complex Romantic figure who would be echoed in Russian literature from Pushkin onward. Chatsky returns from three years abroad hoping to rekindle a romance with his childhood sweetheart, Sophie. In the meantime, she has fallen in love with Molchalin, her reactionary father Famusov’s scheming secretary. Chatsky speaks out against the hypocrisy of aristocratic society—and as scandal erupts, he is met with accusations of madness. Woe from Wit was written in 1823 and was an immediate sensation, but under heavy-handed tsarist censorship, it was not published in full until forty years later. Its influence is felt not just in Russian literary language but in everyday speech. It is the source of a remarkable number of frequently quoted aphorisms and turns of phrase, comparable to Shakespeare’s influence on English. Yet owing to its complex rhyme scheme and verse structure, the play has frequently been considered almost untranslatable. Betsy Hulick’s translation brings Griboedov’s sparkling wit, spirited dialogue, and effortless crossing of registers from elevated to colloquial into a lively contemporary English.
Woe from Wit is Alexander Griboyedov's comedy in verse, satirizing the society of post-Napoleonic Moscow, or, as a high official in the play styled it, "a pasquinade on Moscow." The play, written in 1823 in the countryside and in Tiflis, was not passed by the censorship for the stage, and only portions of it were allowed to appear in an almanac for 1825. It was not, however, actually published until 1833, after the author's death, with significant cuts, and was not published in full until 1861. The play was a compulsory work in Russian literature lessons in Soviet schools, and is still considered a golden classic in modern Russia and other Russian-speaking countries. The play gave rise to numerous catchphrases in the Russian language, including the title itself.
It does not treat Romanticism as a limited "period" dominated by some construed singular master-ethos or dialectic; rather, it follows the literary patterns and dynamics of Romanticism as a flow of interactive currents across geocultural frontiers
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