Griboyedov's personal life briefly. The creative and life path of Alexander Sergeevich Griboyedov

Alexander Sergeevich GRIBOEDOV was born - playwright, diplomat.

He came from an old noble family.

Since his youth, Alexander Sergeevich spoke French, German, English and Italian languages, also studied Latin and Greek and subsequently Persian, Arabic and Turkish. He played the piano very well and wrote several musical compositions. His teachers were the librarian of Moscow University Petrosilius, then B.I. Ion, a graduate of the University of Göttingen; V further education was led by the philosopher, philologist and art critic I. T. Bule.

The young man spent his summer holidays with his rich uncle, A.F. Griboyedov, in the Smolensk province. In Moscow, the Griboyedovs were related to the Odoevskys, Paskeviches, Rimsky-Korsakovs, Naryshkins and were familiar with a huge circle of the capital's nobility.

Around 1803, Griboedov entered the Moscow University Noble Boarding School.

In 1806 he was admitted to Moscow University, studied in the programs of three faculties (literature, law and physics and mathematics) and in 1812 was “ready to be tested for admission to the rank of doctor” (law).

At the Noble boarding school and at the university, Alexander Sergeevich could communicate with many future Decembrists: I. D. Yakushkin, N. I. Turgenev, Nikita and Artamon Muravyov, V. F. Raevsky, S. P. Trubetskoy, A. I. Yakubovich and others.

During the outbreak of the Patriotic War, patriotism attracted the poet to military service. Griboedov volunteered to serve as a cornet in the Moscow Hussar Regiment. However, the regiment remained in the Kazan province all autumn and December 1812.

In December 1812, the regiment was attached to the Irkutsk Hussar Regiment under the command of General Kologrivov. Soon Griboyedov became Kologrivov’s adjutant and took part in recruiting cavalry reserves in Belarus, about which he published an article in the “Bulletin of Europe” (1814). In Belarus he became friends with S.N. Begichev. Having not been in a single battle, at the end of the war Griboedov tendered his resignation “to be assigned to civil affairs.”

In 1817 he was accepted into the service of the State Collegium of Foreign Affairs in St. Petersburg; met Pushkin and Kuchelbecker.

In St. Petersburg, Griboyedov entered social, literary and theatrical circles. He communicates with members of emerging secret organizations, participates in two Masonic lodges, and meets many writers. Griboyedov A. S. acts both in journalism (with the epigram “From Apollo” and anti-criticism of N. I. Gnedich in defense of Katenin), and in dramatic literature -

"Young Spouses" (1815),

“One’s own family” (1817; in collaboration with Shakhovsky and Khmelnitsky),

"Feigned Infidelity" (1818),

"Sideshow Sample" (1818).

On the Kostroma estate of Griboyedov's mother, serf unrest began, caused by excessive taxes. The unrest turned into an entire uprising that lasted several years. In the end, Nastasya Fedorovna was forced to sell the serfs to other hands, which greatly undermined financial situation families. This forced Alexander Sergeevich to seek permanent service.

At the beginning of 1818, a Russian representation at the Persian court was organized in the Ministry of Foreign Affairs; S.I. Mazarovich was appointed attorney under the Shah, and A.S. Griboedov was appointed secretary under him.

In August 1818, Alexander Sergeevich left St. Petersburg. In Tiflis he became close to the “proconsul of the Caucasus” A.P. Ermolov. Hero of the Patriotic War of 1812, a man of great culture and personal charm, Ermolov greatly influenced “ young man"(as he himself called Griboedov) in matters of general policy and international relations. In particular, this influence on Griboedov’s views and actions in Georgia and Persia was strong.

In Georgia, Alexander Sergeevich very soon entered into friendly relations with the local advanced national intelligentsia. The house of P. N. Akhverdova served as the unification of the Russian and Georgian intelligentsia. She was the teacher of Nina Chavchavadze, whom Griboyedov married (1828). Alexander Sergeevich entered into close communication with Georgian poets - his future father-in-law A. Chavchavadze, N. Baratashvili, G. Orbeliani.

In February 1819, the Russian diplomatic mission arrived in Tabriz, the residence of the heir to the throne Abbas Mirza, was received in Tehran by the Shah and then returned to Tabriz. According to the Treaty of Gulistan, the Russian mission had the right to demand the return of Russian soldiers - prisoners and deserters who served in the Persian troops. Griboyedov found up to 70 such soldiers and brought this detachment in the fall of 1819 to Tiflis. Ermolov nominated him for the award.

From November 1821 to February 1823, Griboyedov served in Tiflis under Yermolov as secretary for foreign affairs, and often traveled with him around the Caucasus. In Tiflis, he communicated with Kuchelbecker, who arrived there in December 1821 and lived until May 1822. At that time, Griboedov was already working on “Woe from Wit” and read the comedy to his friend, scene by scene, as they were created. After Kuchelbecker left for Russia, he became very homesick and, through Ermolov, applied for a vacation to Moscow and St. Petersburg. At the end of March 1823 he was already in Moscow. Here he read to Begichev the first two acts of “Woe from Wit” (in an early version). The second two acts of the comedy were written in the summer of 1823 on Begichev’s Tula estate.

In September, Griboyedov returned to Moscow. Here he continued to work on the text of the comedy and read it in literary circles. Together with P. A. Vyazemsky he wrote a vaudeville "Who is brother, who is sister, or Deception after deception", with music by A. N. Verstovsky.

In June 1824, Alexander Sergeevich moved to St. Petersburg, obviously fearing that Moscow censorship would not allow the publication of the comedy “Woe from Wit,” which satirically depicted Moscow gentry society.

Griboyedov read his comedy in theater and literary circles in St. Petersburg. But it was not possible to bring the play to the stage, despite influential connections and efforts. The censorship only allowed passages into print: 7-10, the first act and the third act with large cuts. The appearance of excerpts in Bulgarin’s almanac “Russian Waist for 1825” caused a stream of critical articles in St. Petersburg and Moscow magazines, including the Decembrist A. A. Bestuzhev.

"Woe from Wit" quickly spread in uncensored full lists. But the gloomy mood did not leave the poet. He tried to go abroad. He had made such attempts before, and failed in 1825. Then Griboyedov went to Kiev and Crimea to return to the Caucasus from there.

In May 1825, Griboyedov arrived in Kyiv, where he studied antiquities. He met with members of the secret Decembrist society: Prince Trubetskoy, Bestuzhev-Ryumin, Sergei, Matvey and Artamon Muravyov. Among them, the idea arose to involve Griboyedov in the secret society, but the question of Griboyedov’s formal affiliation with the Decembrist organization remains unclear. Alexander Sergeevich shared Ermolov's skepticism regarding the revolutionary military uprising.

Returning to the Caucasus at the end of September, in the fortification of the Stone Bridge, on the Malka River, Griboedov wrote a poem "Predators on Chegem", inspired by the recent attack of the highlanders on the village of Soldatskaya. By the end of January 1826, Ermolov, Velyaminov, Griboyedov, and Mazarovich gathered in the Grozny fortress. Here Griboedov was arrested; on February 11, 1826 he was already in the guardhouse of the General Staff in St. Petersburg. In the Commission of Inquiry and in a letter to the Tsar, he resolutely denied his membership in a secret society. Such denial was a bold tactical move.

Alexander Sergeevich Griboedov sympathized with the ideas of the Decembrists, their protest against autocracy and serfdom. At the same time, he was skeptical about the feasibility of the conspiracy movement and saw a lot in Decembrism weaknesses. Alexander Sergeevich did not share the radical socio-political opinions that were formed in the Southern Society and in the Society of United Slavs. He was closer to the moderate Northern society, and within it, closer to the center than to the left or right wing. It is possible that the intercession of I.F. Paskevich, a member of the Investigative Commission, took place, as well as the calculation of Nicholas I to preserve an outstanding diplomat in the East. The commission decided to release him, Griboedov received a “cleansing certificate” and money for travel, and was promoted to court councilor.

Griboedov lived in St. Petersburg in June and July. It was for him hard times. The joy of liberation faded at the thought of friends executed or exiled to Siberia. Towards the end of July he arrived in Moscow, where the entire court and troops had gathered for the coronation of the new emperor; Paskevich was also here. Suddenly news came here that the Persians had violated the peace and attacked the Russian border post. Nicholas I was angry at this, blamed Yermolov for inaction and sent Paskevich to the Caucasus with great powers. Ermolov resigned, and Griboyedov was transferred to the service of Paskevich. Physical ailments were added to the work troubles - attacks of fever and nervous attacks began to recur frequently. Griboyedov's political and moral position was even more difficult. Paskevich was a major representative of the noble-serf reaction. He treated the Decembrists exiled to the Caucasus harshly, and Alexander Sergeevich sought to alleviate their lot; in particular, he took care of A.I. Odoevsky, A.A. Dobrinsky, and the Bestuzhev brothers.

Paskevich entrusted Griboyedov with foreign relations with Turkey and Persia. He conducted Paskevich’s enormous correspondence, participated in the discussion of military operations, endured all the hardships of camp life, and took over diplomatic negotiations with Persia in Dey-Kargan and Turkmanchay. After the victories of Paskevich, the capture of Erivan and the occupation of Tabriz, the Turkmanchay Peace Treaty, beneficial for Russia, was concluded.

Paskevich sent Griboyedov to present the Turkmanchay Treaty to the Tsar in St. Petersburg. On March 15, 1828, Alexander Sergeevich was received by the tsar; Paskevich received the title of Count of Erivan and a million rubles in reward, and Griboyedov received the rank of state councilor and four thousand chervonets. He lived in St. Petersburg for three months and was about to retire. But there was no Russian experienced diplomatic representative left in Persia. There was no choice: Griboyedov had to go. He was appointed resident minister under the Shah. Together with his young wife, Griboyedov arrived in Tabriz. In Persia, he had two difficult assignments: to collect indemnity for the last war and to search for and send to Russia Russian subjects who had fallen into the hands of the Persians or, often, who had fled from serfdom or cruel soldiery. Both of these caused anger among the Persian people. To settle matters, he went to Tehran to visit the Shah, leaving his wife in Tabriz. In Tehran, disputes escalated over indemnities and over prisoners. Griboyedov gave shelter in the mission to a former Russian subject, a eunuch of the Shah's harem, and two Armenian women from the harem of the Shah's son-in-law Alayar Khan. A riot broke out. The matter was affected by the intrigues of British diplomats. According to the Turkmanchay and Adrianople peace treaties, Russia strengthened its influence, political and economic, in the East, thereby undermining the influence of England. With the connivance of the Persian authorities, the Russian mission, led by Griboyedov, was exterminated on January 30. 1829 (except for the embassy secretary Maltsev). Griboedov's body was taken from Tehran to Tiflis and buried on Mount St. David. Griboyedov’s wife erected a monument with the inscription: “Your mind and deeds are immortal in Russian memory, but why did my love outlive you?”

The work of Alexander Sergeevich Griboyedov is organically connected with the political movement in the country after Patriotic War 1812. He was published for 14 years, but his literary heritage is small. There is absolutely no epic prose in it and almost no lyrics. Griboyedov has the most dramatic works, but most of them, with the exception of the famous comedy, are of low merit. The early plays are interesting only because they gradually developed language and verse. In form they are completely ordinary, like dozens of plays of that time in the genre of light comedy and vaudeville. In terms of content, the plays written after “Woe from Wit” are much more significant:

"1812"

"Georgian Night",

"Radomist and Zenobia", but they have reached us only in plans and in fragments, but for which it is difficult to judge the whole; the dignity of the verse here is greatly reduced, and their scenarios are too complex and extensive to fit into the framework of a harmonious stage play.

In the draft of the play “1812” (provisional title), one can hear the responses of the patriotic upsurge experienced by the author during the Patriotic War. The play touches on the theme of serfdom - in connection with the characterization of the role of the people and the nobility in the war.

In the tragedy "Georgian Night" Griboyedov again raises the problem of serfdom. The Georgian prince, in exchange for a horse, gives to another prince a serf boy, the son of his wet nurse, now his daughter’s nanny. The nurse reproaches the prince for his inhumane act, but her son remains in slavery; then the nurse plots revenge - and the development of the drama is built on this.

Even more significant is the unfinished text of the historical and political drama “Radomist and Zenobia” (from the history of ancient Georgia and Iveria). In the dispute between the despot of Iveria Radomist and the ambassador of Rome Casperius, the latter boasts of the freedom of the fatherland - he praises Roman valor and patriotism, and the eastern ruler boasts of the blind devotion of his subjects and objects that Rome has become an “autocratic empire.” In the future it was planned to depict courtiers. In terms of the tragedy, there are clear hints of the Decembrist era: the omnipotence of the temporary worker Arfaksad (Arakcheev), the readiness for regicide of Ashoda (Yakubovich), hostility towards foreigners (German-eating) and so on. If this socio-historical tragedy were over, it would become a document of the Decembrist fiction. But Griboedov left the play in fragments.

Alexander Sergeevich entered the history of literature as the author of “Woe from Wit.” He worked on the play for several years. It was completed in the village of Begichev in 1823. Before leaving for St. Petersburg, Griboedov gave Begichev the manuscript of the comedy, which is now kept in the State Historical Library in Moscow (Museum autograph). In St. Petersburg, he again improved the play, for example, inserting a scene of Molchalin flirting with Liza in the fourth act. The corrected list was presented to him in 1824 by A. A. Zhandru (“Zhandrovskaya manuscript”, stored in the same place).

In 1825, excerpts from the comedy were reprinted in Bulgarin’s “Russian Waist” (“the first printed text”).

In 1828, Griboedov commissioned Bulgarin to publish a list of “Woe from Wit,” again revised (“Bulgarin List,” stored in the Saltykov-Shchedrin State Public Library in Leningrad). These four texts form the chain of authorized texts that have come down to us.

Meanwhile, for all generations of readers and critics, the close connection of “Woe from Wit” with Decembrism was obvious. This connection was not determined by Griboedov’s belonging to secret organizations, but his deep blood relationship with the social environment, which was directly manifested in the ideology and pathos of the play. Ideologically and artistic creativity Griboyedov walked in the first row of noble revolutionaries; No wonder the Decembrists accepted “Woe from Wit” with such enthusiasm; while censorship prohibited printing full text comedy, the Decembrists in St. Petersburg copied it as a whole group under a common dictation and distributed it. It is known that the comedy “Woe from Wit” was published in two different underground publications, apparently issued from regimental printing houses. But the lists were distributed not only among the advanced nobility, but also among wide circles of the democratic common intelligentsia. The legend of 40 thousand copies must be rejected, but we have the right to talk about many hundreds of handwritten copies.

The comedy is full of echoes of the then public life: the scientific committee, the carbonari, talk about the chambers, that is, the chambers of deputies, about the jury, about Byron and many others. There are sharp attacks against the abuses of serfdom.

The reactionary significance of Skalozubovshchina - Arakcheevshchina exacerbated the political satire on characteristics military-feudal monarchy that emerged in those days. Griboyedov speaks with warm sympathy about new people, Chatsky’s friends. By creating the image of Repetilov, he satirically responded to the petty liberalism that bred around Decembrism. Ideologically, “Woe from Wit” is closely related to the civil poetry of those times. Contemporary readers perceived “Woe from Wit” as a bold pamphlet-satire. The abundance of artistic and satirical elements gives “Woe from Wit” a place in the first rank of artistic achievements of early critical realism. This is supported by the analysis of the play. Her language is realistic. The development of a literary language was a huge problem for writers of the Decembrist era. Griboyedov A.S. consistently destroyed elements of bookishness and replaced them with elements of live, colloquial speech. In comedy there are old words and sayings, but they are used artistically. The speech of individual characters is masterfully individualized. Skalozub’s speech consists of fragmentary words, short phrases, sprinkled with professional military words. Molchalin avoids rude, common expressions. He is taciturn: he does not dare to have his own opinion. Khlestova’s speech is remarkably well-crafted. This is the language of a noble Moscow lady, intelligent and experienced, but uncultured, a mother-commander in rich lordly drawing rooms. The role of Liza is conceived and compositionally organized by Griboedov as the traditional role of a confidential woman in a young lady’s love affair, however, in Liza’s speech there are many elements of living vernacular. Famusovskaya Moscow speaks everyday language, the Moscow dialect. Sometimes it is difficult to distinguish the speech of a lady from the speech of a maid. Speech is replete with realities, it is elementary, figurative, and gravitates towards everyday life. Other tasks had to be resolved by Chatsky’s speech and Sophia’s speech. The language of these characters is designed to express a complex range of feelings: love, jealousy, heartache, civil grief, irony, sarcasm and so on. In Sophia’s language, psychological and ethical concepts appear most clearly. They are also numerous in Chatsky’s speeches: “when everything is soft and tender and immature”, “the face of the holy praying mantis”, “the mind and heart are not in harmony”, “confusion”, “the fervor for the creative, high and beautiful arts”, “ faint-heartedness, poverty of reason”, “the most pitiful creature”, “that passion, that feeling, that ardor”, “where is the charm of these meetings, the participation in whom is alive?”, “what is worse in them - the soul or the language?”

But an essential feature of Chatsky’s speeches is their socio-political ideology and pathos. Chatsky’s speeches have their own special vocabulary: “participation”, “genius”, “desolation”, “alien power”, “weakness”, “beating”, “ardor”, “humiliation”; its own system of epithets: “inimitable”, “angry”, “wordless”, “mean”, “hungry”, “creative”, “slavish”, “majestic”; its own syntax - with developed sentence forms, simple and complex, with a tendency towards periodic construction.

The artist's desire to highlight the two heroes not only in imagery, but also in a language different from the everyday speech of other characters - a language rich in inversions, anaphors, gradations, antitheses, pathos - is clear.

The language of Chatsky and Sophia is also processed realistically by the playwright. The lyrical style was more difficult than the everyday one. Nevertheless, here too the author’s achievements in verbal expression of complex psychology are enormous. The merit of the realist playwright was to recreate the speech of the noble intelligentsia of the Decembrist era. As in the speeches of Sophia, Famusov and Khlestova, in Chatsky’s speech there are words and sayings from the common people and living noble, Moscow, speech: “besides”, “further”, “not by a hair”, “I won’t remember”, etc. But wrongly it would be to include Chatsky’s speech in the speech of the Moscow Famus Society. Contemporaries most acutely perceived the journalistic nature of Chatsky’s speeches, which related them to the language of St. Petersburg, Decembrist-oriented literature. A popular word in the Decembrist patriotic vocabulary was the word “fatherland” and phrases associated with it. From Chatsky: “Where, show us, are the fathers of the fatherland...” The Decembrists wrote odes to the glory of freedom. Griboyedov - “Everyone breathes more freely.” Even Famusov: “He wants to preach freedom.” The word “freedom” and its derivatives resonated in Chatsky’s monologue: “Their enmity towards a free life is irreconcilable.” In the Decembrist vocabulary, the word “slave” was widespread in the meaning of a politically oppressed or corrupted person and derivatives from it; from Chatsky: “in the most ardent servility.” In the Museum’s autograph of the comedy, Zagoretsky says: “I myself am a terrible liberal and I hate slavery to death.” The use of the word “people” is typical: “So that our people are smart and vigorous.” Chatsky’s words are famous: “this unclean spirit of empty, slavish, blind imitation.”

The significance of “Woe from Wit” is enormous in the renewal of poetic language, in the culture of comedic dialogue, in the enrichment of literary speech with living vernacular.

Analysis of the artistic form of “Woe from Wit” confirms Griboyedov’s departure from both the traditions of classicism and the latest lightweight comedy and the then widespread romantic drama. The desire to write “freely and freely” led him to realism, to originality. Russian life itself demanded a realistic form. In the press, critics were divided into two camps. Reactionaries sought to discredit the artistic merits of comedy and to disparage Chatsky. All progressive criticism sided with Woe from Wit. A. A. Bestuzhev wrote more clearly and deeply about “Woe from Wit” in the Decembrist almanac “Polar Star”.

The problem of the national future, the problem of socio-historical optimism in “Woe from Wit” was close to the Decembrists. The struggle between Famusov - Skalozub and Chatsky ends in the play as if unfavorably for Chatsky: he flees from Moscow. Some literary scholars hastened to attribute to Chatsky “disappointment in humanity” and “hopeless pessimism.” But Herzen thought differently: Chatsky, “if he survived December 14, then, probably, he did not become either a painfully melancholy person or a proudly despising person.” The internal powerlessness of Famus society and the internal strength of Chatsky are clear to the reader and viewer. The author believes in this power and in its ultimate victory over external oppression. He sympathizes with his hero in his struggle for " free life" His optimism was close to the Decembrists. The realistic method of the Decembrist writers was just emerging. Griboyedov A.S. moved on. “Woe from Wit” fully met the objectives of a satirical image. And at the same time, along with Onegin, it raised the problem of a realistic depiction of modern life.

Goncharov in “A Million Torments” convincingly showed that in “Woe from Wit” there are two dramas, social and psychological. Social drama and psychological drama are balanced in “Woe from Wit” both compositionally and in content. Not an external love affair, typical of the old light comedy, but precisely the drama of love - this is a huge achievement of Griboedov’s dramaturgy. In his warm praise of Sophia Molchalin, he masterfully reveals the corrupting influence of an inert social environment, under which this strong girl also falls. In the fourth act, Alexander Sergeevich realistically and psychologically convincingly portrays Sophia’s mental catastrophe. Essentially, “Woe from Wit” is not a comedy, but a drama, using this term not in its generic, but in its specific, genre meaning. The victory of realism for Griboyedov was also a victory of humanism. Militant humanism was most clearly reflected in Chatsky’s monologues. This is Decembrist humanism. Chatsky's civic pathos influenced the next generation of readers, for example. on young Dobrolyubov.

“Griboyedov’s Moscow” is not only a broad frame for the psychological drama of Chatsky - Sophia. On the contrary, the intimate drama of the individual is interpreted as the result of a public, social drama. The first title of the drama was even more significant: “Woe to Wit.” The comparison of Chatsky and lordly Moscow is not only a contrast of a given individual character and environment. This is a clash between the decrepit but still strong feudal world and new people. The playwright creates, along with individual images, another image - a collective, image of lordly society. Griboyedov brilliantly depicted the life of Famusov's Moscow. But in “Woe from Wit” an even different Moscow is recreated - social, lordly, serfdom, militant, not at all comic. It was this Moscow, with its special morality, with its educational system, with its everyday Ideals, that crippled Sofya Pavlovna. Her father is a prominent representative of Moscow. At Famusov's ball there is a clash between two community groups depicted by Griboedov with remarkable realistic power. In the living room, a kind of flying meeting is gathering - a whole trial of Chatsky and his like-minded people. This is the culmination of a social drama.

The high ideological and moral significance of “Woe from Wit” was appreciated by V. I. Lenin. In his writings we find many dozens of quotes and references to “Woe from Wit.” Griboyedov's sharp and aphoristic speech turned into proverbs and sayings.

“Woe from Wit” occupies an important place in the history of Russian theater. From the 1830s to the present day, comedy has not left the stage of capital and peripheral theaters. “Woe from Wit” was illustrated by Pavel Sokolov (1850), M. Bashilov (1862), D. N. Kardovsky (1913, 1915), N. Kuzmin (1958) and many other artists.

Died - Tehran.

Russian writers. Biobibliographical dictionary.

The creator of the delightful comedy "Woe from Wit", which was later simply disassembled into quotes. Decembrists, talented musician and the smartest diplomat. And all this is Alexander Sergeevich Griboyedov. A short biography always contains only superficial data. It will be revealed here detailed information, based on official facts, which were confirmed by archival documents. This author has had to go through so much. Ups and downs, intrigues and duels, inner experiences and, of course, tender affection for his young wife.

Future writer Griboyedov. Biography. Photo

The very story of Griboyedov’s birth is still shrouded in mystery. If we take various biographical data or track records of Alexander Sergeevich, then significant differences in dates immediately become noticeable. Therefore, the year of birth cannot be determined exactly, but approximately between one thousand seven hundred and ninety and ninety-five.

Moreover, many biographers speculate that Griboedov was illegitimate. This is why the dates of his birth in all archival documents are so inaccurate. His mother's family deliberately hid this fact. Later, a husband was found who hid the girl’s shame and took her with the child. He also had the last name Griboyedov and was one of the poor relatives.

Father and mother of the great writer

A man of low education, a retired major, his father subsequently very rarely appeared in the family, preferring to stay in the village. There he devoted all his time to card games, which significantly depleted his fortune.

Alexander Sergeevich’s mother was a fairly rich and noble lady who became known not only in Moscow, but also beyond its environs as a wonderful pianist. The woman is very domineering and harsh, but she surrounded her children with warmth and care, and also gave them a wonderful home education. Her family came from Lithuania, their surname was Grzybowski. And only in the sixteenth century the family received the surname Griboedov.

Moreover, the Griboedov family was related to such famous families as the Odoevskys, Rimsky-Korsakovs, and Naryshkins. And they made acquaintances with a fairly wide circle of the capital’s nobility.

The beginning of little Alexander's education

In 1802, Alexander entered the Moscow University boarding school, received several awards there for excellent teaching, and at the age of eleven he already became a candidate of literary sciences. Carefully studies many sciences.

All this is just a youthful biography of Griboyedov. Interesting facts about the writer's life concern more late period. The only point that needs to be noted is that, despite his excellent learning abilities, Alexander Sergeevich decides to devote himself to military service.

Beginning of a military career

Since 1812, the facts of Griboyedov’s biography are directly related to his military career. Initially, he was enrolled in Saltykov’s regiment, which spent the entire fall in the Kazan province, never joining the active army.

After the death of the count, this regiment was attached to the command of General Kologrivy. And Alexander ends up as his adjutant, where he becomes very close to Begichev. Without becoming a participant in a single battle, Griboyedov resigned and came to St. Petersburg.

Getting to know theatrical and literary circles

Enough interesting biography Griboyedov begins with a service at the State Collegium, where he meets the famous Kuchelbecker and Pushkin. At the same time, he begins to communicate in theatrical and literary communities.

Moreover, in 1816, Alexander became a member of the Masonic lodge, which included Pestel, Chaadaev and even the future head of the imperial chancellery Benckendorff.

Various intrigues and theatrical hobbies - all this includes further biography Griboedova. Interesting facts from this period of the writer’s life indicate that he was drawn into an unpleasant story connected with the dancer Istomina. Because of her, a duel took place between Sheremetyev and Zavadovsky, which ended in the death of the former.

This greatly influenced the future writer; life in St. Petersburg became simply unbearable for him, as rumors began to spread throughout the city that he was a pimp and a coward. And Alexander Griboedov, whose biography was impeccable in terms of courage and bravery, could no longer stand this.

Trip to the Caucasus

At the same time, the financial situation of Griboyedov’s mother deteriorated significantly, and he had to seriously think about his future. At the beginning of 1818, a Russian embassy was formed at the Persian court. And Alexander Sergeevich accepts a new appointment there as secretary. He took his new position seriously enough and begins to intensively study Persian and Arabic languages, as well as get acquainted with various literature about the East.

Arriving in Tiflis, Griboedov immediately participates in a duel with Yakubovich, but, fortunately, no one was hurt. Moreover, the opponents immediately made peace. Soon, Alexander Sergeevich becomes the favorite of General Ermolov, sincere conversations constantly take place between them, which had a huge influence on Griboedov.

Life and creativity in Tabriz

In 1819, the Russian mission arrived at the residence, which was located in Tabriz. Here Alexander wrote the first lines of the famous “Woe from Wit”.

It was at this time that the biography of Griboedov became especially interesting, Interesting Facts which reports that the writer, despite the embitterment of the Persians, was able to achieve the release of seventy Russian soldiers and bring them to the territory of Tiflis. And General Ermolov even nominated Alexander Sergeevich for the award.

Griboyedov stayed here until 1823, citing the need for long-term treatment. Meanwhile, he continued studying oriental languages and writing “Woe from Wit,” scenes of which, as they were being created, he read to his friend Kuchelbecker. This is how it was born not only famous work, but also new biography: Griboyedov is a writer and a great creator.

Homecoming

In 1823, in March, Alexander Sergeevich returned to Moscow and met with his friend Begichev. She remains to live in his house and continue to work on her work. Now he often reads his creation in literary circles, and with Prince Vyazemsky he even writes a vaudeville called “Who is Brother, Who is Sister, or Deception after Deception.”

Then the writer moves to St. Petersburg specifically in order to obtain permission to publish his creation. Unfortunately, it was not possible to publish the work in full, but some excerpts were published, which caused an avalanche of criticism.

And when Alexander Sergeevich read out his comedy in artistic circles, he received the maximum positive emotions. But, despite great connections, it was never possible to stage the comedy.

This is how the great writer Alexander Griboedov began to be born, whose biography is now known to almost every schoolchild.

Decembrist Alexander Griboyedov

But the joy from the stunning success did not last long, Griboyedov began to have sad thoughts more and more often, and he decided to go on a trip to the Crimea and visit Kyiv.

Alexander Sergeevich meets here with his friends - Trubetskoy and Bestuzhev-Ryumin, who are members secret society Decembrists.

They immediately have the idea of involving Alexander, but he then political views was not interested, but continued to enjoy the beauty of those places and studied all sorts of sights. But depression does not leave him, and at the end of September, Alexander Sergeevich joined the detachment of General Velyaminov. Here he writes his poem “Predators on Chegem”.

Soon Ermolov received a message that Alexander should be detained because of his involvement in the uprising, and he secretly told the writer about this. But despite this, the arrest still took place. This is how the Decembrist Griboyedov appeared. The biography is short but sad. Alexander spent about six months in prison, and then was not only released, but also invited to a reception with the king, where he asked in vain for pardon for his friends.

The further fate of the writer after the unsuccessful uprising

The famous writer spent the first months of the summer of 1826 at Bulgarin’s dacha. This is a particularly difficult period, and Griboyedov, whose biography and work these days are filled with sadness and pain for his executed and exiled comrades, decides to move to Moscow.

Here he finds himself in the thick of things. Ermolov is dismissed due to insufficient competence in commanding troops, and Alexander is transferred to the service of Paskevich. Very often, Griboyedov, a writer and poet, now began to experience attacks of fever and nervous attacks.

At this time, Russia and Türkiye were launching military operations; in the East it was necessary professional diplomat. Naturally, they send Alexander Sergeevich, despite the fact that he made every effort to refuse. Nothing helped.

In any literature where Griboyedov is mentioned (biography, photos and other information relating to his life), it is impossible to find any facts about why this talented person so urgently he was sent on this mission, which turned out to be fatal for him. Was this not the king's deliberate revenge for participating in the uprising for which he was accused? After all, it turns out that then Alexander’s future fate was already predetermined.

From the moment he was appointed to this position, Griboyedov begins to mope more and more, anticipating his imminent death. He constantly repeated even to his friends that this was where his grave would be. And on the sixth of June, Alexander Sergeevich leaves St. Petersburg forever. But in Tiflis there is a lot waiting for him. an important event. He marries Princess Chavchavadze, whom he had known for many years and knew her as a child.

Now his young wife accompanies Griboyedov; he constantly writes letters to friends filled with wonderful epithets about his young Nina. The writer arrived in Tehran already New Year's holidays, initially everything went well. But then, due to controversial issues regarding prisoners, conflicts began, and already on January 30, a group of armed men, inspired by the Muslim clergy, attacked the premises in which the great writer and diplomat was located.

This is how Alexander Sergeevich Griboedov was killed, whose biography and work ended completely unexpectedly for everyone. And they will forever remain an irreplaceable loss.

Alexander Sergeevich Griboyedov is a famous Russian diplomat, but the reader knows him primarily as greatest writer and playwright, author of the immortal comedy “Woe from Wit.”

Griboyedov was born on January 4, 1795 (according to other sources, 1794) in Moscow. His father was a guards officer who dreamed of his son receiving a decent education and career. Sasha first studied at home, then entered in 1802 (according to other sources 1803) the Noble boarding school at Moscow University.

Studying at the University

For getting higher education young Alexander Griboyedov entered the Faculty of Philosophy Moscow University, the best at that time educational institution Russia. He graduates from the law and literature departments of the university and continues his education by attending lectures for students in the physics and mathematics department.

The young man stands out among his comrades for his versatile talents and desire to acquire knowledge from certain branches of the humanities and exact sciences. He is fluent foreign languages, not only mandatory knowledge of French and German, but also Italian and English. In addition, he has extraordinary musical abilities.

Griboedov's first steps in literature

In 1812, a patriotic young man volunteered to join the army; he served in the Moscow Hussar Regiment, in the reserve cavalry troops. In 1814, his first opuses appeared in the popular magazine “Bulletin of Europe”, small letters-notes reporting on the everyday life of cavalrymen in reserve.

He appeared as a playwright in 1815, presenting to the public the comedy “The Young Spouses,” a revised play French writer. Griboyedov's creation receives its stage embodiment and, at the same time, deserved criticism from the famous writer M.N. Zagoskin. But the young writer does not accept caustic remarks about the play; on the contrary, he responds to the critic with a bright pamphlet entitled “Lubochny Theater.”

Circle of friends

Alexander Griboedov joins the St. Petersburg literary society, meets writers Grech and Kuchelbecker. A little later, he will meet the genius of Russian poetry, Alexander Pushkin.

The circle of acquaintances is expanding, close cooperation with A. Shakhovsky, N. Khmelnitsky, P. Katenin begins. In 1817, co-authored with the latter, he wrote the comedy “Student”, which ridiculed the poets who followed the enthusiastic N. Karamzin and the sentimental V. Zhukovsky. In terms of literary views, Krylov and Kuchelbecker, Derzhavin and Katenin, Shishkov and his company, the so-called “archaists,” were closer to Griboedov.

Career and creativity

Griboyedov retired in 1816 and chose St. Petersburg, famous for its cultural traditions. A year later he is enrolled in the College of Foreign Affairs, thus beginning his career as a diplomat. Soon he was appointed secretary of the Russian diplomatic mission in Persia. However, this position is not a career boost, but rather a punishment and exile, since the future diplomat allowed himself to participate in a duel, albeit as a second.

Tabriz meets the diplomat and writer in the chilly February of 1819; probably, the first meeting with the place of future service contributed to the writing of the poem “The Traveler” (another name is “The Wanderer”), especially the part that talks about the sale of a captive Georgian boy at the Tabriz market.

Since 1822, Griboyedov has been in Tiflis in the diplomatic service at the headquarters of General Ermolov, who is the commander-in-chief of Georgia. In 1823 - 25 Alexander Sergeevich is on a long vacation, part of which he spends on the estate of his friend Begichev near Tula. It was here that in the summer of 1823 the third and fourth parts of the comedy “Woe from Wit” were born (the first two, according to creativity researchers, were written in Tiflis). And in the fall of the same year, in collaboration with P. Vyazemsky, Griboyedov wrote “Vaudeville”, A. Verstovsky composed music for it.
At the end of 1825, the vacation ends, and Griboedov has to return to Tiflis. But literary activity comes to the fore; unfortunately, most of his works have not been identified to date or are known in fragments.

The writer’s great ideas are evidenced by the plan of the drama called “1812”, the surviving fragment of the tragedy “Georgian Night”, based on local ancient legends, another tragic work telling about historical events that took place in Armenia and Georgia.
In the first half of 1826, Griboedov was under investigation related to the Decembrists’ speech at Senate Square. No incriminating information about him has been revealed; in September of this year he returns to the Caucasus.

The tragic ending of Griboyedov's biography

A year later, Griboedov was given an important diplomatic mission - maintaining relations with Persia and Turkey. In August 1828, Griboedov married Nadya Chavchavadze in Tiflis, who is distinguished by her refined manners, human qualities and, moreover, is unusually beautiful.
A young wife, expecting her first child, accompanies her husband to Tabriz, and then, a few months later, returns to Tiflis. In Tehran in those days it was turbulent, and Griboyedov feared for the life of his mother and unborn baby.

Diplomat accepts Active participation in the political, economic, social life of the Caucasus region, contributes to the opening of the “Tiflis Gazette”, a “workhouse” for women serving sentences. With his participation, the Turkmanchin peace treaty with Persia was signed, and soon he was appointed minister plenipotentiary to this country.

But he views this position as just another exile, and not at all a royal favor. Together with the embassy, he travels to Tehran, where the events took place. tragic events. Embassy employees, including Alexander Griboyedov, were brutally killed by Persian fanatics, who were backed by Shah Fet-Ali and his subordinates, who did not want to allow Russian influence to increase in the East.

On January 4, 1795, the life of Alexander Griboedov, a great diplomat, writer and playwright, tragically ended. But his works have retained their relevance, they are more modern than ever, and any reader today can be convinced of this.

Alexander Sergeevich Griboyedov(January 4 (15), 1795 (17950115), Moscow - January 30 (February 11), 1829, Tehran) - Russian nobleman, playwright, poet and diplomat, composer (two “Griboedov Waltzes” have survived), pianist. State Councilor (1828).

Griboedov is known as homo unius libri - the writer of one book, the brilliantly rhymed play "Woe from Wit", which is still one of the most popular theatrical productions in Russia, as well as the source of numerous catchphrases.

Biography

Born in Moscow in the family of a guards officer. Received a comprehensive home education. From 1802 (or 1803) to 1805 he studied at the Moscow University Noble Boarding School (the same place where Lermontov would study in his time). In 1806 he entered Moscow University at the Faculty of Philosophy. In 1810, having graduated from the literature and law departments, he continued to study at the Faculty of Physics and Mathematics. At the university, Griboyedov stood out for his versatile talents, extraordinary musical abilities(Alexander played the piano superbly); mastered French, German, English and Italian. Griboedov's mentors were Petrosilius, Doctor of Laws Ion, and finally Professor Bule. Griboyedov retained his scientific interests throughout his life. In 1812, Griboyedov volunteered for the army; the cavalry units in which he was a member were in reserve. In 1814 A.S. Griboyedov published correspondence “On cavalry reserves”, “Letter from Brest-Litovsk to the publisher” in the journal “Bulletin of Europe”. In 1815, Griboyedov’s comedy “The Young Spouses” was published and staged - a reworking of the comedy by the French playwright Creuset de Lesser “La secret du menage”, which caused criticism from M.N. Zagoskina. Griboedov responded with the pamphlet “Lubochny Theater.” In 1816, after retiring, Griboyedov settled in St. Petersburg. In 1817, he enlisted in the College of Foreign Affairs and met writers - V.K. Kuchelbecker, N.I. Grech, and somewhat later with the genius of Russian literature A.S. Pushkin.

At first literary activity Griboyedov collaborates with P. A. Katenin, A. A. Shakhovsky, N. I. Khmelnitsky, A. A. Gendre. In 1817, the comedy “Student” was written (together with Katenin), directed against the poets of “Arzamas”, followers of N. M. Karamzin. Making fun of them, Griboyedov polemicized both with the sensitivity of sentimentalism and with the dreaminess of romanticism in the spirit of V. A. Zhukovsky. Sharing the literary views of I. A. Krylov and G. R. Derzhavin, Katenin and Kuchelbecker, Griboedov was close to the group of so-called “archaists” who were members of the “Conversation of Lovers of the Russian Word” society, headed by A. S. Shishkov. These views were reflected in Griboedov’s article “On the analysis of the free translation of the Burger’s ballad “Leonora”,” in which he defended the translation made by Katenin from the criticism of N. I. Gnedich. The comedy “One’s Own Family, or The Married Bride” was written in 1817 mainly by Shakhovsky, but with the help of A.S. Griboedov (who wrote the beginning of the second act) and Khmelnitsky. The comedy “Feigned Infidelity”, which is a free translation (written together with Gendre) of the comedy of the French playwright Barthes “Les fausses infidelites”, was presented on the stages of St. Petersburg and Moscow in 1818, and in Orel in 1820.

In mid-1818, Alexander Sergeevich Griboedov was appointed secretary of the Russian diplomatic mission in Persia. This appointment was essentially an exile, the reason for which was Griboyedov’s participation as a second in the duel between officer V.A. Sheremetev and gr. A.P. Zavadovsky because of the artist Istomina. In February 1819 A.S. Griboyedov arrived in Tabriz. Probably, an excerpt from his poem “Traveler” (or “Wanderer”) - “Kalyanchi” - about a captive Georgian boy who is sold at the Tabriz market, dates back to this time. Since 1822 A.S. Griboedov is on the staff of the Chief Administrator of Georgia, General A.P. Ermolov “on the diplomatic side” in Tiflis. The first two acts of the comedy “Woe from Wit,” conceived, according to S. N. Begichev, back in 1816, were written here. In 1823-25 A.S. Griboyedov was on a long vacation. In the summer of 1823, on the Tula estate of his friend Begichev, he wrote the third and fourth acts of the comedy “Woe from Wit.” In the autumn of the same year, together with P. A. Vyazemsky, he wrote the vaudeville “Who is Brother, Who is Sister, or Deception after Deception,” the music for which was composed by A. N. Verstovsky. In the summer of 1824, Griboedov completed the final revision of the comedy “Woe from Wit.”

At the end of 1825 A.S. Griboyedov returned to the Caucasus. Alexander Sergeevich had ideas for new works, which, unfortunately, have reached us only in fragments. The outline of the drama “1812” (1824-25) indicates that Griboyedov intended to portray the heroes of the Patriotic War, among whom was a serf peasant who experienced a sense of high patriotism in battles; returned at the end of the war “under the stick of his master,” he commits suicide. Came down to us in a fragment and in a retelling by F.V. Bulgarin's tragedy “Georgian Night” (1826-27), based on Georgian legend, is imbued with anti-serfdom thought. The plan of the tragedy from the history of Ancient Armenia and Georgia “Rodamist and Zenobia” shows that A.S. Griboyedov paid tribute, on the one hand, to a penchant for historical research, and on the other, to the political problems of the present, transferred to a distant era; he was thinking about royal power, the failure of a conspiracy of nobles who did not rely on the people, about the role of the people, etc.

From January 22 to June 2, 1826 A.S. Griboyedov was under investigation in the Decembrist case. However, no charges were brought against him. Moreover, it turned out that long before the Decembrist putsch A.S. Griboyedov left the Masonic lodge, refusing any cooperation with them. After returning to the Caucasus in September 1826, A.S. Griboyedov is already acting as statesman and a distinguished diplomat. In 1827, Griboyedov was ordered to be responsible for diplomatic relations with Persia and Turkey. Alexander Griboyedov takes part in issues of civil governance in the Caucasus, draws up the “Regulations on the governance of Azerbaijan”; with his participation, the Tiflis Gazette was founded in 1828, and a “workhouse” was opened for women serving sentences. A.S. Griboyedov, together with P. D. Zaveleisky, draws up a project on the “Establishment of the Russian Transcaucasian Company” in order to boost the industry of the region. In 1828, Griboyedov took part in the Turkmanchin Peace Treaty concluded with Persia. He is then appointed Minister Plenipotentiary to Persia. Alexander Sergeevich Griboyedov viewed this not as “royal mercy,” but as “political exile,” as a “cup of suffering” that he had to drink. In August 1828, in Tiflis, before leaving for Persia, Griboedov married N.A. Chavchavadze. Leaving his wife in Tabriz, he went with the embassy to Tehran. Here he became a victim of a conspiracy led by Fet-Ali Shah and his dignitaries, bribed by England, which was afraid of the strengthening of Russian influence in Persia after Russian-Persian war 1826 - 1828. During the extermination of the Russian embassy in Tehran, Alexander Sergeevich Griboedov was killed by a crowd of Persian fanatics, the embassy fought to the last with the angry, uneducated crowd. Griboyedov was advised to hide in a chimney, but he was discovered and killed. The brutal crowd continued to mutilate the body of the now deceased Griboyedov. His body was transported to Tiflis and buried on Mount St. David. So Russia lost a great literary figure. There were still the deaths of Pushkin and Lermontov ahead.

A.S. Griboyedov entered the ranks of great Russian and world playwrights as the author of the comedy “Woe from Wit.” Rejected by censorship (during Griboedov’s lifetime, excerpts were published in the anthology “Russian Waist”, 1825), the comedy was distributed in numerous lists.

Works by A. S. Griboyedov

Griboedov's dramaturgy:

1812 (plan and scene from drama) (year unknown)
Woe from Wit (comedy in four acts in verse) (1824)
Georgian Night (excerpts from the tragedy) (1826 or 1827)
Dialogue of Polovtsian husbands (excerpt) (not earlier than 1825)
Who is brother, who is sister, or deception after deception (new vaudeville opera in 1 act) (1823)
The Young Spouses (comedy in one act, in verse) (1814)
Feigned Infidelity (a comedy in one act in verse) (1818)
Sample interlude (interlude in one act) (1818)
Rodamist and Zenobia (tragedy plan) (year unknown)
<"Своя семья, или замужняя невеста">(excerpt from a comedy) (1817)
Serchak and Itlyar (1825)
Student (comedy in three acts, written together with P. A. Katenin) (1817)
Youth of the Prophet (sketch) (1823)

Griboedov's journalism:

<Заметка по поводу комедии "Горе от ума"> (1824-1825)
On cavalry reserves (1814)
On the analysis of the free translation of the Burger ballad “Lenora” (1816)
My uncle's character
Special cases of the St. Petersburg flood (1824)

Travel notes of Griboyedov:

Mozdok - Tiflis
Tiflis - Tehran
Tehran - Sultaneya
Vagina's story
Miana - Tabriz - Gargari
Ananur quarantine
Tiflis - Tabriz
Single notes
Erivan campaign

Works attributed to Griboyedov:

Country Trip (1826)

Poems by A. S. Griboyedov

From Apollo (1815)
Lubochny Theater (1817)
<Эпитафии доктору Кастальди> (1820)
<Н. А. Каховскому> (1820)
David
Romance (1824)
"Fluttering with wings, ringing with arrows..." (1824)
Epigram (1824)
"How do magazine brawls settle down" (1824?)
Excerpt from Goethe (1824)
Teleshova (1824)
Predators on Chegem (1825)
"- According to the spirit of the times and taste..." (1826)
Liberated (1826)
A. O[doevsky]
Sorry, Fatherland!
"Where Alazan winds..."
Kalyanchi
Brownie

Poems attributed to Griboyedov

Important Acquisition (1825)
East
Ode to Duels (1819)

Memory

In Moscow there is an institute named after A. S. Griboyedov - IMPE named after. Griboyedova
In 1995, an Armenian postage stamp dedicated to Griboyedov was issued
In Tbilisi there is a theater named after A. S. Griboyedov, a monument (author M. K. Merabishvili)
There are Griboyedov streets in Bryansk, Yekaterinburg, Ryazan, Irkutsk and a number of other cities and settlements in Russia, Yerevan, Minsk, Simferopol, Tbilisi.
Griboedov Canal (until 1923 - Ekaterininsky Canal) - a canal in St. Petersburg

When Griboyedov finished work on the comedy “Woe from Wit,” the first person he went to show his work was the one whom he feared most, namely the fabulist Ivan Andreevich Krylov. With trepidation, Griboyedov went to him first to show off his work.

“I brought the manuscript! Comedy..." "Commendable. So what? Leave it." “I will read my comedy to you. If you ask me to leave from the first scenes, I will disappear.” “If you please, start right away,” the fabulist agreed grumpily. An hour passes, then another - Krylov sits on the sofa, hanging his head on his chest. When Griboyedov put down the manuscript and looked questioningly at the old man from under his glasses, he was struck by the change that had occurred in the listener’s face. Radiant young eyes shone, the toothless mouth smiled. He held a silk handkerchief in his hand, preparing to apply it to his eyes. “No,” he shook his heavy head. - The censors won't let this pass. They make fun of my fables. And this is much worse! In our time, the empress would have sent this play along the first route to Siberia.” So much for Griboyedov.

Alexander Sergeevich Griboyedov; Russian empire, Moscow; 01/04/1795 – 01/30/1829

Composer, poet, playwright and diplomat A. S. Griboedov left a mark in the history of literature as the author of one work. And although this is not entirely true, and many essays came from Griboedov’s pen, travel notes and comedies, he is remembered mainly for the comedy “Woe from Wit.” It was thanks to the popularity of reading Griboedov’s “Woe from Wit” that the author was included in our rating.

Biography of A. S. Griboyedov

Griboyedov was born in Moscow into a noble family. Since childhood, the boy was distinguished by his lively mind and already at the age of six he was fluent in three languages. After entering the Moscow University Noble Boarding School at the age of nine, he learned three more languages. At the age of 11, he already entered Moscow University, where three years later he became a candidate of literary sciences. But he did not finish his education there and entered first the moral and political faculty, and then the physics and mathematics faculty. At the same time, during his studies he tries himself as a poet. Unfortunately, Griboedov's poems from this time have not survived.

The Patriotic War of 1812 forced Griboyedov to volunteer in the hussar regiment, where he served until 1815. It was at the end of 1814 that the publication of first his correspondence and then his comedies began. Since 1817, Griboyedov held the position of provincial secretary and then translator. Around this time, he joined the United Friends Masonic Lodge, and then organized his own Masonic Lodge. At the same time, he met with, whose work he always spoke very reverently.

In 1818, Griboedov was appointed to the position of secretary under the attorney in Persia. In the same year, he received a slight wound in the arm in a duel. From Tiflis he sends a number of travel notes to his homeland. There, in 1822, Griboyedov began working on the comedy “Woe from Wit,” which he read online, which is so popular in our time. Work on the comedy continued during a two-year vacation at home, and in 1824 Griboyedov completed work on the work.

In 1925, immediately after the opportunity to read “Woe from Wit” appeared, Griboyedov was forced to return to service. But at this time he is arrested, suspected of having connections with the Decembrists. For a long time a trial is underway, but the diplomat and writer are released. In 1826, Griboedov in Tiflis took part in concluding a very beneficial treaty for Russia. For this he was appointed ambassador to Iran. On the way there, Griboyedov marries Nina Chavchavadze. But their marriage was not destined to last long; upon arrival in Tehran, a maddened crowd of Persians committed a massacre at the Russian diplomatic mission. During it, Griboyedov also dies, who was identified only by the wound left after the duel.

Books by A. S. Griboyedov on the Top books website

As we have already mentioned, Griboyedov got into our rating thanks to the popularity of “Woe from Wit” read. Moreover, this popularity is so high that it allowed the book to take a place in the top twenty and in the ranking. Interest in reading Griboedov's comedy "Woe from Wit" online is quite stable, which suggests the presence of the book in our next ratings.