The author of the comedy focuses on the clear confrontation that existed at the beginning of the 19th century between adherents of the "old" order, reactionaries and younger, enlightened and progressive representatives of the nobility.
The landowners adhering to the "old" views on life tried in every possible way to preserve the everyday life of the feudal landlords, while their opponents strongly assured those around them that the "present century" had already come and that it was high time to end the "past century". The hero of Griboyedov belongs to the number of such nobles, throughout the entire action of the play trying to convince people of his rightness who do not want not only to understand him, but at least hear him.
At the very beginning of the comedy, a naive and inclined to dreams young man comes to Famusov's house, seeking to change the society of his day, imbued with vices. He talks about his ideas to the owner of the house and his guests, just as old-fashioned and reactionary people who are afraid of any new trends and consider them extremely harmful, for this reason, Chatsky's words are not at all perceived by his opponents.
It is worth paying attention to how the author characterizes his heroes, in particular, “a member of the English club” Famusov, and his relative, a man who demands that “no one knows how to read,” and other acquaintances of Sophia's father, evaluating with one single phrase the whole their closeness, narrow-mindedness and hatred for everything unknown to them, which seems to them alien and dangerous.
As a result, Chatsky, who received a deep insult in this “chosen” society, gets rid of all his illusions and realizes how senseless it was to try to change such people in any way. According to him in the finale of the play, at last the veil fell from his eyes.
Famusov, the main antagonist of Chatsky, does not at all hide his indifference to the service, which for him is only a formality, as he claims, “signed - and out of sight”. In addition, this gentleman, confident in his infallibility, constantly protects only relatives and friends, saying that he will find relatives “at the bottom of the sea” and is ready to do anything for her. The main rule for him is outright groveling in front of higher ranks, and only in this way, according to Famusov, it is possible to "go out into the people" and become a truly "worthy" person.
Such words infuriate Chatsky, and the young man utters a passionate, ardent, full of the most sincere indignation and anger monologue, denouncing the undisguised "servility" and "buffoonery", without which his interlocutor cannot imagine life. Famusov, in turn, is frankly horrified by such statements and begins to insist that such dissenting personalities as Chatsky should not be allowed into the capital at all, moreover, they must be immediately brought to justice. The guests gathered in the house are happy to learn from the owner that there is a “new project” concerning educational institutions where they will teach “our way, one-two,” while books will actually not be needed by the younger generation.
The people present in Famusov's chambers consider the teaching a real "plague", Colonel Skalozub without hesitation expresses his dream "to collect all the books and burn everything." Molchalin, with whom Sophia is in love, also learned from childhood that everyone around needs to "please" and behaves that way, absolutely not thinking about self-esteem and pride, he tries to please not only his immediate boss, but also the janitor, and even " the janitor's dog. "
Chatsky turns out to be completely alien in this environment of "correct", old-regime people, enemies of all progress and improvement of society. His reasoning only frightens those around him, he seems to them a very strange person, the assumption arises that he is simply "out of his mind", the high intellect of Chatsky and his ardent impulses only repel those gathered at Famusov's from him.
The main monologue of a young nobleman, in which he asks who are the judges of innovations, and denounces the heartless landowners who do not hesitate to sell children and separate them from their parents or exchange servants for dogs. Chatsky has already served and traveled, but he wants to be useful to his native country, and not to his superiors, so while the man, leaving his previous occupations, is trying to find his way in life.
He is also deeply outraged by the absence of any patriotism among the members of the "high society", their obvious admiration for everything foreign and conversations among the nobility in such an absurd combination of languages as "French and Nizhny Novgorod." He believes that the aristocracy should be closer to the common people and at least be able to speak Russian correctly, while for most nobles it is easier to explain themselves in any of the European languages. At the same time, even opponents of Chatsky notice his outstanding intelligence and excellent speech. According to Famusov, his guest is "small with a head" and clearly, competently expresses his thoughts.
The young man is in a completely alien environment for him only for the sake of Sophia, whom he loved from his youth. However, the girl is completely under the influence of the society around her, which formed all her ideas about life, and she is unable to reciprocate Chatsky, who contradicts the world of values and concepts that is familiar to her.
When it becomes clear to Famusov's guest that Sophia easily betrayed their previous feelings and promises, and exposed Chatsky to a general ridicule, telling about his loss of reason, he immediately leaves the empty, devoid of any inner content, realizing that now he has absolutely no need to be here. In the final monologue, he emphasizes his complete disappointment in the audience, from now on all his ties with the "Famus" world have been severed.
For people like this progressive nobleman, being in such an environment brings only suffering, "woe from the mind," as the play is called. But Chatsky's efforts are still not in vain, his denunciations also deal a serious blow to people like Famusov, Skalozub, Molchalin, and other adherents of the "old order".
True, the fight against reactionaries in comedy does not end with the victory of progress, since in real life in Russia it was just beginning at that time. However, Famusov, like his supporters, feels his powerlessness in the face of the enlightenment, the approaching new era and a different life, they cannot but realize that their established world is gradually receding into the past and they are being replaced by completely different people who adhere to different views and aspirations ...
Griboyedov's comedy "Woe from Wit" is an outstanding work of Russian literature. The main problem of the work is the problem of two worldviews: the “past century”, which defends the old foundations, and the “present century,” advocating decisive changes. The difference in the worldview of the old Moscow nobility and the advanced nobility in the 10-20s of the 19th century constitutes the main conflict of the comedy.
The comedy mocked the vices of society: serfdom, soldierism, careerism, sycophancy, bureaucracy, low level of education, admiration for everything foreign, servility, servility, the fact that society values not the personal qualities of a person, but “souls of two thousand ancestral”, rank, money ...
The past century is a Moscow noble society, consisting of Famusovs, whip, tugouhovs, skalozubov. In society, people live by the principle:
You shouldn't dare in my years
Have your own judgment
because
We are small in ranks.
Famusov is a representative of the past century, a typical Moscow gentleman with all the views, manners and ways of thinking characteristic of that time. The only thing he admires is rank and wealth. “Like everyone in Moscow, your father is like this: He would like a son-in-law with stars, but with ranks,” the servant Liza characterizes her master. Famusov lives in the old-fashioned way, considers his uncle, Maxim Petrovich, who “deduces” and “gives pensions” his ideal. He “is not the same on silver, on gold; I ate on gold; one hundred people at the service; All in orders; I always drove in a train ”. However, for all his haughty disposition, “He bent into the fold” in front of his superiors, when it was necessary to serve.
Famusov most fully absorbed the laws and foundations characteristic of this time. The main norms adopted in life, he considers careerism, respect for rank, pleasing elders. Famusov is afraid of the opinions of noble nobles, although he himself willingly spreads them. He is worried about “what Princess Marya Aleksevna will say”.
Famusov is an official, but he regards his service only as a source of Sitnov and income, a means of achieving prosperity. He is not interested in either the meaning or the results of labor. When Molchalin reports that there are inaccuracies in the papers:
And I have something that does not matter,
My custom is this:
Signed - off your shoulders
Nepotism is another of the ideals so dear to Famusov's heart. Kuzma Petrovich, “venerable chamberlain,” with “a key, and he knew how to deliver a key to his son,” “he was rich and he was married to a rich man,” and therefore he is deeply respected by Famusov.
Famusov is not very educated, and he “sleeps well from Russian books”, unlike Sophia, who does not “sleep from French books”. But at the same time, Famusov developed a rather playful attitude towards everything foreign. Appreciating the patriarchal way of life, he denounces Kuznetsky Most and the “eternal French”, calling them “destroyers of pockets and hearts”.
Poverty is considered a great vice in Famus society. So Famusov directly declares to Sophia, his daughter: "He who is poor is not a match for you," or: "We have been doing since olden times, That honor is for father and son, Be bad, but if there are two thousand souls of kin, He and the groom." At the same time, a caring father shows truly worldly wisdom, taking care of his daughter's future.
An even greater flaw in society is learning and education: "Learning is a plague, learning is the reason, What is more so now than when crazy people and deeds and opinions were divorced."
The world of interests of the Famus society is rather narrow. It is limited to balls, dinners, dances, name days.
A prominent representative of the “present century” is Alexander Andreevich Chatsky, who embodies the features of the progressive noble youth of that time. He is the bearer of new views. Which he proves by his behavior, way of life, but especially by his passionate speeches, denouncing the foundations of the “past century”, to which he clearly disdainfully:
And as if the light began to grow stupid,
You can say with a sigh;
How to compare and see
The present century and the past century:
As he was famous,
Whose neck bent more often ...
Chatsky considers that century "the century of obedience and fear." He is convinced that those morals are a thing of the past, and that nowadays the hunters are scared of laughter and keeps shame in check.
The traditions of days gone by are too strong. Chatsky himself turns out to be their victim. He, with his directness, wit, audacity, becomes a troublemaker of social rules and norms. And society takes revenge on him. At the very first meeting with him, Famusov calls him “Carbonari”. However, in a conversation with Skalozub, he speaks well of him, says that he is “a guy with a head”, “he writes nicely translates,” while he regrets that Chatsky does not serve. But Chatsky has his own opinion on this matter: he wants to serve the cause, not individuals. At first it may seem that the conflict between Chatsky and Famusov is a conflict of different generations, a “conflict between fathers and children,” but this is not so. After all, Sophia and Molchalin are almost the same age as Chatsky, but they fully belong to the “past century”. Sophia is not stupid. Chatsky's love for her can serve as proof of this. But she absorbed the philosophy of her father and his society. Her chosen one is Molchalin. He is also young, but also a child of that old environment. He fully supports the morals and customs of the old noble Moscow. Both Sophia and Famusov speak well of Molchalin. The latter keeps him in the service, “because he is businesslike,” and Sophia sharply rejects Chatsky's attacks on her lover. She says:
Of course, this mind is not in him
What a genius for some, but for others a plague ...
But for her, the mind is not the main thing. The main thing is that Molchalin is quiet, modest, helpful, disarms the priest with silence, does not offend anyone. In general, he is the perfect husband. We can say the quality is wonderful, but they are deceitful. This is just a mask behind which his essence is hidden. After all, his motto is “moderation and accuracy”, and he is ready to “please all people without exception,” as the priest taught him, he persistently goes to his whole - a warm and financial place. He plays the lover only because it pleases Sophia herself, the daughter of his master:
And now I take the form of a lover
To please the daughter of such a man
And Sophia sees in him the ideal of a husband and boldly moves towards her goal, not being afraid of “what Princess Marya Alekseevna will say”. Chatsky, getting into this environment after a long absence, is at first very friendly. He aspires here, because “the smoke of the Fatherland” is “sweet and pleasant” to him, but Chatsky meets a wall of misunderstanding and rejection. His tragedy lies in the fact that he alone opposes the Famusian society. But in the comedy Skalozub's cousin is mentioned, who is also “odd” - “suddenly left the service,” “locked himself in the village and began to read books,” and yet he was “followed by the rank”. There is also the nephew of Princess Tugoukhovskoy, “chemist and botanist,” Prince Fyodor, but there is also Repetilov, who is proud of his involvement in a certain secret society, whose entire activity is reduced to “making noise, brother, making noise”. But Chatsky cannot become a member of such a secret union.
Chatsky is not only a bearer of new views and ideas, but also stands for new norms of life.
In addition to a public tragedy, Chatsky is experiencing a personal tragedy. He is rejected by his beloved Sophia, to whom he “flew, trembled”. Moreover, with her light hand, he is declared insane.
Chatsky, who does not accept the ideas and customs of the "past century", becomes a troublemaker in the Famus society. And it rejects him. Chatsky is a mocker, wit, troublemaker and even an offender. So Sophia tells him:
Has it ever happened that you laughing? or in sorrow?
A mistake? Did you say good things about someone?
Chatsky does not find friendly sympathy, he is not accepted, he is rejected, he is exiled, but the hero himself could not exist in such conditions.
“The present century” and “the past century” collide in comedy. The past is still too strong and gives birth to its own kind. But the time for changes in the person of Chatsky is already coming, although it is still too weak. The "present age" replaces the "past age", for it is an immutable law of life. The appearance of the Chatsk-Carbonarii at the turn of historical eras is natural and logical.
Essay on literature on the topic: The main conflict of the comedy "Woe from Wit"
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Innovation of the comedy "Woe from Wit"
Comedy by A.S. Griboyedov's "Woe from Wit" is innovative. This is due to the artistic method of comedy. Traditionally, Woe From Wit is considered the first Russian realistic play. The main deviation from the classicist traditions is the author's refusal of the unity of action: there is more than one conflict in the comedy "Woe from Wit". In the play, two conflicts coexist and arise from one another: love and social. It is advisable to turn to the genre of the play to identify the main conflict in the comedy "Woe from Wit".
The role of love conflict in the comedy "Woe from Wit"
Like a traditional classicist play, the comedy Woe From Wit is based on a love affair. However, the genre of this dramatic work is a public comedy. Therefore, social conflict prevails over love.
Nevertheless, the play opens with a love conflict. Already in the exposition of the comedy, a love triangle is drawn. Sophia's night meeting with Molchalin in the very first appearance of the first act shows the girl's sensual preferences. Also in the first appearance, the servant Liza recalls Chatsky, who was once associated with Sophia by youthful love. Thus, a classic love triangle unfolds before the reader: Sophia - Molchalin - Chatsky. But, as soon as Chatsky appears in Famusov's house, in parallel with the love line, a social line begins to develop. Subject lines closely interact with each other, and this is the originality of the conflict in the play "Woe from Wit".
To enhance the comic effect of the play, the author introduces two more love triangles into it (Sophia - Molchalin - the servant Liza; Liza - Molchalin - the barman Petrusha). Sophia, who is in love with Molchalin, does not even suspect that the servant Liza is much dearer to him, which he unequivocally hints to Lisa. The servant is in love with the barman Petrusha, but is afraid to confess her feelings to him.
Public conflict in the play and its interaction with the love line
The social conflict of the comedy was based on the confrontation between the "present century" and the "past century" - the progressive and conservative nobility. The only representative of the "present century", with the exception of non-stage characters, in the comedy is Chatsky. In his monologues, he passionately adheres to the idea of serving "the cause, not the person." The moral ideals of Famusian society are alien to him, namely the desire to adapt to circumstances, to "serve as a favor" if it helps to get the next rank or other material benefits. He appreciates the ideas of the Enlightenment, in conversations with Famusov and other characters he defends science and art. This is a person free from prejudice.
The main representative of the "past century" is Famusov. All the vices of the aristocratic society of that time were concentrated in it. Most of all, he is concerned about the opinion of the world about himself. After Chatsky left the ball, he was only worried about "what Princess Marya Aleksevna would say." He admires Colonel Skalozub, a stupid and shallow person who only dreams of "getting" a general's rank. Famusov would like to see him as his son-in-law, because Skalozub has the main dignity recognized by the world - money. With ecstasy Famusov talks about his uncle Maxim Petrovich, who, during an awkward fall at a reception with the empress, was "awarded the highest smile." Admiration, according to Famusov, is worthy of his uncle's ability to "serve as a favor": in order to amuse those present and the monarch, he fell two more times, but on purpose. Famusov is sincerely afraid of Chatsky's progressive views, because they threaten the usual way of life of the conservative nobility.
It should be noted that the clash of the "present century" and the "past century" is not at all a conflict between fathers and children of "Woe from Wit". For example, Molchalin, being a representative of the generation of “children,” shares the views of Famus society about the need to make useful contacts and skillfully use them to achieve their goals. He has the same reverent love for awards and ranks. In the end, he communicates with Sophia and supports her infatuation with him only out of a desire to please her influential father.
Sophia, the daughter of Famusov, cannot be attributed either to the "present century" or to the "past century". Her opposition to her father is connected only with her love for Molchalin, but not with her views on the structure of society. Famusov, who frankly flirts with the servant, is a caring father, but is not a good example for Sophia. The young girl is quite progressive in her views, intelligent, not worried about the opinion of society. All this is the reason for the disagreement between father and daughter. "What a commission, creator, to be a father to an adult daughter!" - Famusov laments. However, she is not on the side of Chatsky either. With her hands, or rather a word spoken out of revenge, Chatsky was expelled from the society he hated. It was Sophia who was the author of the rumors about Chatsky's madness. And the light easily picks up these rumors, because in Chatsky's accusatory speeches, everyone sees a direct threat to their well-being. Thus, a love conflict played a decisive role in spreading the rumor about the insanity of the protagonist in the light. Chatsky and Sophia collide not on ideological grounds. It's just that Sophia is worried that her former lover may destroy her personal happiness.
conclusions
Thus, the main feature of the conflict in the play "Woe from Wit" is the presence of two conflicts and their close relationship. The love affair opens the play and serves as a pretext for the emergence of a clash between Chatsky and the "past century." The love line also helps Famus society to declare their enemy insane and disarm him. However, the social conflict is the main one, because "Woe from Wit" is a public comedy, the purpose of which is to expose the mores of the noble society of the early 19th century.
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The nature of the main conflict in Griboyedov's comedy "Woe from Wit".
Alexander Sergeevich Griboyedov was one of the smartest people of his time. He received an excellent education, knew several oriental languages, was a subtle politician and diplomat. Griboyedov died at 34 a painful death, torn to pieces by fanatics, leaving his descendants two wonderful waltzes and the comedy "Woe from Wit".
"Woe from Wit" is a sociopolitical comedy. Griboyedov gave in it a true picture of Russian life after the Patriotic War of 1812. The comedy shows the process of withdrawal of the advanced part of the nobility from the inert environment and the struggle with their class. The reader can trace the development of the conflict between two socio-political camps: serfdom (Famus society) and anti-serfdom (Chatsky).
Famus society is traditional. His life foundations are such that “you have to learn, looking at your elders,” destroy free-thinking thoughts, serve with obedience to persons who are a step higher, and most importantly, be rich. A kind of ideal of this society are Maxim Petrovich and Uncle Kuzma Petrovich in Famusov's monologues: ... Here is an example: The deceased was a venerable chamberlain, He knew how to deliver the key to his son; He is rich, and he was married to a rich man; Survived children, grandchildren; He died, everyone sadly remembers him: Kuzma Petrovich! Peace be upon him! What aces live and die in Moscow! ...
The image of Chatsky, on the contrary, is something new, fresh, bursting into life, bringing changes. This is a realistic image, the spokesman for the advanced ideas of his time. Chatsky could be called a hero of his time. An entire political program can be traced in Chatsky's monologues. He exposes serfdom and its offspring: inhumanity, hypocrisy, stupid militarism, ignorance, false patriotism. He gives a merciless characterization of Famus society.
The dialogues between Famusov and Chatsky are a struggle. At the beginning of the comedy, it does not yet appear in an acute form. After all, Famusov is Chatsky's educator.
At the beginning of the comedy, Famusov is supportive of Chatsky, he is even ready to surrender Sophia's hand, but at the same time sets his own conditions: I would say, firstly: do not whims, Imenyom, brother, do not rule in error, And, most importantly, go serve.
To which Chatsky throws: I would be glad to serve, it is sickening to serve.
But gradually another struggle begins, an important and serious one, a whole battle. Both Famusov and Chatsky threw a glove at each other.
Would have watched as the fathers did, They would have studied, looking at the elders! Famusov's war cry rang out. And in response, Chatsky's monologue "Who are the judges?" In this monologue, Chatsky denounces "the most vile features of the past life."
Each new face that appears in the development of the plot becomes in opposition to Chatsky. Anonymous characters speak against him: Mr. N, Mr. D, 1st princess, 2nd princess, etc.
Gossip grows like a snowball. In a collision with this world, the social intrigue of the play is shown.
But in comedy there is another conflict, another love intrigue. I.A. Goncharov wrote: "Every step of Chatsky, almost every word in the play is closely connected with the play of his feelings for Sophia." It was Sophia's behavior, incomprehensible to Chatsky, that served as a motive, a reason for irritation, for that "million torments" under the influence of which he alone could play the role indicated to him by Griboyedov. Chatsky suffers, not understanding who his rival is: whether Skalozub, or Molchalin? Therefore, he becomes irritable, unbearable, caustic in relation to Famusov's guests. Sophia, irritated by Chatsky's remarks, insulting not only the guests, but also her lover, in a conversation with Mr. N mentions Chatsky's madness: "He is out of his mind." And the rumor about Chatsky's madness rushes through the halls, spreads among the guests, acquiring fantastic, grotesque forms. And he himself, still not knowing anything, confirms this rumor with a hot monologue "Frenchie from Bordeaux", which he pronounces in an empty hall. In the fourth act of the comedy, the denouement of both conflicts comes: Chatsky finds out who Sophia's chosen one is. This is Molchalin. The secret is revealed, the heart is empty, there is no end to the torment.
Oh! How to comprehend the game of fate? People with a soul persecutor, scourge! The taciturns are blissful in the world! says the heartbroken Chatsky. His hurt pride, the escaped resentment burns. He breaks up with Sophia: Enough! With you I am proud of my break.
And before leaving forever, Chatsky, in anger, throws the whole Famus society: He will come out of the fire unharmed, Who will have time to stay with you for a day, Breathe the air alone, And his mind will survive in him ...
Chatsky leaves. But who is he the winner or the loser? Goncharov answered this question most accurately in his article "A Million of Torments": "Chatsky is broken by the amount of old power, inflicting a mortal blow on it with the quality of fresh power. He is an eternal denouncer of lies, hidden in the proverb:" One is not a warrior in the field. " a warrior, if he is Chatsky, and, moreover, a winner, but an advanced warrior, a skirmisher and always a victim. "
(391 words) Griboyedov showed in his work that in the first third of the 19th century in Russia there was a split into two political camps. There were progressive nobles who advocated social change. Their views are expressed by Chatsky. On the other hand, the conservative nobility is portrayed in the comedy in the person of Famusov and people like him. The main conflict is determined by the fact that the heroes have opposite views on the main issues of social development.
The conflict of generations makes itself felt in the attitude of the heroes to serfdom. Representatives of the Famus society are accustomed to dispose of other people's lives. For example, a rich lady Khlestova treats her slave in the same way as a dog. She brings both of them to the party for her own entertainment, and then asks Sophia to send them a "handout" from the master's table. Chatsky expresses his attitude to this in the monologue "Who are the judges?" He tells of a landowner who exchanged his faithful servants for dogs, although they were faithful and saved him many times. Such actions cause indignation in him. He is opposed to serfdom. Also, the characters have different attitudes towards education. Representatives of the Famus society oppose education. In their opinion, unnecessary knowledge is harmful. When there is a rumor in society about Chatsky's madness, everyone is sure that the reason is in his desire to learn. Alexander, on the contrary, is a supporter of education, as it develops a person. In addition, the attitude of the actors to the service is noteworthy. Moscow society is convinced that it is worth serving only for the sake of profit. For example, Skalozub wants not to defend his homeland, but to become a general. Famusov is "the manager of the state house." Service for him is a boring duty, but he does not retire, as his position gives him a good position in society. Chatsky calls all these goals with one contemptuous word - "to serve." The protagonist believes that a decent person should, first of all, benefit the people, and not care about personal gain. In the past, he held a high position. He could have made a good career, but he left, because the people of the sovereign did not appreciate his ideas. This suggests that their understanding of patriotism is different. Famusov praises Moscow for the fact that no one here wants change. Alexander condemns Moscow just for this, exposes "the most vile features of the past life." But all the same, she is dear to him, since this is his hometown. Chatsky's patriotism lies in his desire to make his country more civilized.
Thus, A.S. Griboyedov was able to show that the social conflict between the progressive and conservative nobility was very acute. These people did not find a common language on any serious issue.
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