The study of A.A. Grigoriev's intellectual legacy faces a fundamental methodological challenge: his proclaimed method of "organic criticism" conflicts with his own improvisational, intuitive, and creative practice, complicating historical and philosophical systematization. Overcoming this challenge requires examining not only the critic's theoretical works but also the ways his ideas were expressed in the cultural milieu of his time. New opportunities for this are offered by P.D. Boborykin's recently published manuscript, which is a valuable source for reconstructing the intellectual landscape of Russia in the second half of the 19th century. This article analyzes Grigoriev's ideas in the text and context of the play, particularly his concept of organic criticism and notions of the folk character of art. Through the prism of theatrical hermeneutics, it examines how dramatic form captures and interprets the intellectual everyday life of the era. The authors identify the connection between the everyday intellectual life of the Russian intelligentsia and its representation in the structure of the play, where characters embody specific ideological paradigms of the era. These debates and ideological quests are embodied in the dialogues and personalities of the characters. The novelty of this approach is ensured by the application of the methodology of theatrical hermeneutics, which allows for the identification of the mechanisms by which the theoretical concepts of organic criticism are transformed into the living fabric of stage dialogue and a system of artistic images. The article contributes to the reconstruction of Russian organicism by demonstrating how dramatic form becomes a tool for self-discovery within the philosophical tradition. The study also complements existing understandings of Grigoriev's influence on literary thought by clarifying the nature of the reception of his ideas among his contemporaries.