The essay “Chatsky’s Million Torments” involves considering the love and social torments of the protagonist of A. S. Griboyedov’s comedy “Woe from Wit.”

The concept of “a million torments”

This expression is observed in the comedy by A. S. Griboyedov “Woe from Wit”. In the third act of the comedy, in response to Famusov’s thought that Chatsky is not at ease, the protagonist replies that upon his arrival in Moscow he received “a million torments.” Chatsky says that he feels lost among the “friendly clutches,” “shuffling,” “exclamations,” and “all sorts of trifles.” Once in Moscow, Chatsky, according to him, feels real grief.

The expression “A million torments” gained popularity in Russian literature thanks to critical sketch I. A. Goncharov, which is called “A Million Torments”. The author aptly noted that Chatsky is tormented throughout the entire narrative and leaves with the same torment.

Love's torments

The entire comedy “Woe from Wit” is tied to a love conflict. Main character Chatsky, after a long departure, finds himself in the Famusovs’ house to see his beloved Sophia. Showing his caring attitude towards the girl, Chatsky sees that she is cold towards him. This makes the main character think about love, tormented by doubts whether Sophia loves him, and if she doesn’t, then why.

Chatsky literally immediately determines the reason for Sophia’s indifference: she is in love with Molchalin. He is internally and externally tormented by a lack of understanding of what his beloved sees in this hypocritical man. Chatsky is trying to prove to Sophia that Molchalin is not a match for her.

Public torment

Finding himself in Famusov’s house, Chatsky sees differences in his worldview and the worldview of representatives of Famusov’s society. The main character condemns the lifestyle of those people in whose circle he finds himself. Chatsky is tormented not only internally, but also shows everyone around his dissatisfaction with secular traditions. He doesn't understand why people try to do everything to get high status, why people are willing to serve in order to achieve success in their careers. Chatsky’s torment reaches its final point in his famous monologue “Who are the judges?”, in which the hero is horrified that such hypocrites and egoists stand in the center of the entire country.

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The personality of Ivan Goncharov entered the history of literature. Writer, literary critic, corresponding member of the Academy of Sciences of St. Petersburg and actual state councilor, is known from many works. Of the most important - “Oblomov”, published in “ Domestic notes", "Breakage" - a text that was published in "Bulletin of Europe", as well as "Ordinary History" from Sovremennik.

In 1872, the text “A Million Torments” was published. This is the name of the literary-critical article published by Goncharov. The author turns to the analysis of another masterpiece of Russian literature, which has already become a classic, “Woe from Wit.” A Russian critic writes that “Woe from Wit” has taken its rightful place in Russian literature, because the text is relevant and fresh. Let's turn to summary critical prose of Goncharov.

Remark about Griboyedov’s text “Woe from Wit”

Since Goncharov turns to Griboyedov’s play, we consider it useful to recall in a few words what kind of work it is. “Woe from Wit” is considered a comedy written in verse by the Russian writer, diplomat and state councilor Alexander Griboyedov. The work was written in the style of classicism, but it is clear that the author was also inspired by romanticism and realism, which just began to come into fashion during this period. The play is deeply aphoristic - this feature led to the dismantling of Griboedov’s work into quotes, many of which turned into idioms(for example, the phrases “Who are the judges?”, “The hero is not my novel”, “With feeling, with sense, with arrangement”, “The legend is fresh, but hard to believe” and other expressions).

Ilya Ilyich Oblomov in Ivan Goncharov’s work “Oblomov” is a lazy, apathetic, overly dreamy person and completely unadapted to real life. We invite readers to familiarize themselves with which is central and most striking in the novel.

About “Woe from Wit,” in addition to Goncharov’s text, to which this article is dedicated, there are other reviews. For example, Pushkin also wrote about the play, and he was almost the first to highlight the significance of the play for culture:

In the comedy "Woe from Wit" who is the smart character? Answer: Griboyedov. Do you know what Chatsky is? An ardent, noble and kind fellow, who spent some time with a very smart man (namely Griboyedov) and was imbued with his thoughts, witticisms and satirical remarks<…>The first sign of an intelligent person is to know at first glance who you are dealing with and not throw pearls in front of the Repetilovs and the like...

Brief description of the content of “A Million Torments”

The Russian critic says from the very beginning that Griboyedov’s play is difficult to classify because this text stands apart from others significant works in Russian literature. Goncharov calls the work strong, youthful and fresh, as well as tenacious, because the relevance of “Woe from Wit” does not disappear. The writer is original when it comes to comparisons and analogies. Thus, Ivan Goncharov draws parallels between Griboyedov’s text and a hundred-year-old old man: it would seem that the old man should die, but everyone around him dies, but not he himself.

On the other hand, Goncharova is surprised that Griboedov’s work suffered the fate of a hundred-year-old man in literature. According to the critic, Pushkin has “more rights to longevity.” But the characters in Alexander Sergeevich’s works do not seem to stand the test of time. Pushkin's characters are pale, the time of the heroes of the Russian genius has passed, and Pushkin himself has already become history. Meanwhile, Griboyedov is not history, but modernity.

Goncharov emphasizes that “Woe from Wit” is a comedy that contains within itself another comedy, like peace within the world. Thus, several plots emerge to the surface. The first story is dedicated to love affair in pairs Chatsky - Sofia, as well as Lisa - Molchalin. Goncharov comments on this phenomenon as follows:

...When the first one breaks through, another unexpectedly appears in the gap, and the action begins again, a private comedy plays out into a general battle and is tied into one knot...

Pushkin, Lermontov and Griboedov: the vitality of “Woe from Wit”

Despite the fact that the “shelf life” of Pushkin’s texts passed earlier, Griboyedov’s works were created before Pushkin’s. Thus, “Woe from Wit” came out of the writer’s pen before “Eugene Onegin” and “A Hero of Our Time,” but managed to survive both texts. “Woe from Wit” could survive even the enchanting Gogol. The Russian critic is confident: this play “will survive many more eras and still not lose its vitality.”

Griboedov's play was immediately snapped up for quotes as soon as the text was published. However, this did not lead to the vulgarization of the text, as usually happens when a text gains popularity. Goncharov noted that, on the contrary, “Woe from Wit” from such popularization “seemed to have become more expensive for readers.”

A separate situation occurs when trying to stage “Woe from Wit” on stage. At the same time, according to Goncharov, actors should use a creative approach and create ideals. In addition, performers should perform the language of the play artistically. Griboedov's play is, of course, based on real historical motives, but the Russian critic emphasizes that “Woe from Wit” cannot be performed on stage under the guise of a work that refers to historical fidelity. No, “Woe from Wit” has rather a strong artistic verisimilitude:

...the living trace has almost disappeared, but the historical distance is still close. The artist must resort to creativity and the creation of ideals, according to the degree of his understanding of the era and Griboyedov’s work<…>An actor, like a musician, is obliged... to think of the sound of the voice and the intonation with which each verse should be pronounced: this means to come up with a subtle critical understanding of all poetry...

“Woe from Wit” as a picture of morals

So, Griboyedov’s play has a special role in Russian literature. The author of “A Million Torments” considers the work specific picture morals The writer draws for the reader a gallery of living types, really existing people. But what is “Woe from Wit”? According to Goncharov, these are:

...eternally sharp, burning satire, and at the same time comedy<…>Her canvas captures a long period of Russian life - from Catherine to Emperor Nicholas...

For the most part, "Woe from Wit", of course, appears as a comedy work. But this is a huge world that shows the reader the realities of life in Russian culture. Special attention should also be paid to the heroes of “Woe from Wit”.

About the heroes of "Woe from Wit"

The key characters in Griboyedov’s play are no more than twenty, but in these types the author managed to reflect the entire former Moscow, the spirit of the city, the historical situation, as well as moral principles and customs.

Opposition groups of characters in "Woe from Wit"

Each of the character groups is associated with a specific set of qualities. For example, Chatsky plays a passive role, exposes lies, acts as a marker of outdated things and orders. The image of Chatsky reveals what interferes with a new, free life. The ideal of the hero, therefore, is freedom from “all the chains of slavery that bind society.” The Famus group, on the one hand, deeply understands Chatsky’s rightness, but the desire to survive and continue to exist prevents the “brotherhood” from openly taking the side of the hero.

Ivan Aleksandrovich Goncharov is one of the leading prose writers of the 19th century. We offer classics lovers

Goncharov concludes that Chatsky is the rock of any time, which is why “Woe from Wit” does not lose its relevance. Chatsky’s star becomes especially bright during the change of eras.

The Famus group is distinguished by its thirst for honor and fame, its desire to please and assent for the sake of personal gain. Goncharov calls such heroes masters and hunters to please, to receive awards, in order, above all, to live a fun and carefree life. This lifestyle is accompanied by various vices: lies, gossip, idleness and, ultimately, emptiness.

The figure of Chatsky in detail

As for the map of heroes, that is, the general layout of the characters in “Woe from Wit,” the critic is of the opinion that in Griboyedov’s text everything characters divided into two groups. In the first symbolic camp, the “Famusovs and all the brethren” took their places, and Chatsky found himself in the other group. Goncharov calls Chatsky an ardent and brave fighter who participates in the struggle “for life and death,” in the battle for the opportunity to exist. However, this way of life logically leads to fatigue, because, having survived the ball, the hero certainly wants to find peace. At least for a while. Goncharov writes:

...He, like a wounded man, gathers all his strength, challenges the crowd - and strikes everyone - but he does not have enough power against the united enemy...

Chatsky is gradually mistaken for a madman: the hero often resorts to exaggeration, the speech of Griboyedov’s character smacks of drunkenness. There comes a moment when Chatsky is no longer able to notice that he himself has turned into a ball, into a performance from which he was running away.

Chatsky has a treasure that many seem to have lost in our time. The hero has a heart. Lisa, the maid, speaks positively about Chatsky, calling the hero sensitive, cheerful and intelligent to the point of wit.

Meanwhile, Chatsky’s image is darkened by personal grief. The play is called “Woe from Wit,” but Goncharov writes that the reason for Chatsky’s personal misfortunes does not lie in the mind. The trouble lies in the compassionate role of the hero Griboyedov.

The bitterness of Chatsky's fate

Goncharov notes that Chatsky’s fate consists only of sowing. Other people are destined to reap the fruits of this sowing. Chatsky - we are talking in plural, because this is a type, and not just one image, they carry a kind of crown of thorns on their heads: such people are tormented by every little thing, but most of all by the clash of mind and compassion, unrequited love feeling, the pain of insulted dignity. Goncharov speaks about Chatsky’s personality as follows:

...He demands space and freedom for his age: he asks for work, but does not want to serve, and stigmatizes servility and buffoonery...

Thus, we are slowly approaching the idea of ​​a free life, which is embodied by the personality of Chatsky. What's happened free life in Goncharov's interpretation? First of all, this is an opportunity not to depend on slave chains, not to grovel before superiors. Unfortunately, the chains of addiction have so enshrouded society that the Famusov camp, although it understands the truth of the state of affairs, is still afraid of breaking the system or going against the established order. What is Chatsky's role? Goncharov answers this question in the following lines:

...He is the eternal exposer of the lies hidden in the proverb: “Alone in the field is not a warrior.” No, a warrior, if he is Chatsky, and a winner at that, but an advanced warrior, a skirmisher - and always a victim<…>The Chatskys live and are not translated in society, repeating themselves at every step, in every house, where the old and the young coexist under the same roof<…>Every business that requires updating evokes Chatsky’s shadow...

Who is Sofia?

Of course, Goncharov could not forget about the figure of Sofia. The heroine belongs to the category of women who draw “everyday wisdom from novels and stories.” Such women are characterized by a vivid imagination and the ability to feel. But Sofia is weak in those areas that relate to thoughts and knowledge. However, the heroine strives for knowledge and thoughts that young ladies were not usually taught at that time.

In our opinion, Sofia is similar to the type of the so-called Turgenev young ladies, but Goncharov sees in the image of Griboyedov’s Sofia a resemblance to the figure of Tatyana from Pushkin’s “Eugene Onegin”:

...both, as if sleepwalking, wander in fascination with childish simplicity...

Sophia wants to feel like a patron. So, it is in this image that the heroine appears in the novel with Molchalin. Chatsky's feelings for Sophia also play an important role in the work. Chatsky is annoyed by the lies visible in the girl’s actions. On the one hand, Chatsky is drawn to Sophia, but, on the other hand, the heroine serves as Chatsky’s motive and reason for suffering, which ultimately darkened the hero’s soul. Chatsky, although he suffers, still wins as a result. The hero is trying to beg for something that cannot be obtained by asking, namely: love:

But does he have that passion?
That feeling? That ardor?
So that, besides you, he has the whole world
Did it seem like dust and vanity?

Confrontation between feelings and mind

In the opposition and incompatibility of mind and feelings lies main drama plays. Goncharov believes that Chatsky was initially saved by his intelligence and sharpness of thought, but the flames of passion consumed the hero’s dignity and personality. All that saves Chatsky from the final “useless humiliation” is the “remnants of his mind.”

Sophia needs not so much Molchalin as the insignificant character of this hero. However, the girl, at the same time, admits that the meeting with Chatsky is significant and not accidental for her:

Look, he gained the friendship of everyone in the house;
He served under his father for three years,
He is often pointlessly angry,
And he will disarm him with silence<…>
<…>old people won't set foot outside the threshold<…>
<…>He doesn’t cut strangers at random, -
That's why I love him...

“A million torments” like Chatsky’s grief

Chatsky, indeed, goes into madness, because he tries to find in Sophia’s words what is actually not in these words. For the hero, this method seems to be an attempt at reassurance and self-justification.

After the failure with Sophia, Chatsky is plunged into other cycles of Moscow life. For example, the Gorichev group is a master who has completely degenerated, an obliging husband who is under the thumb of a stern wife, and the wife herself, Mrs. Goricheva, is a cutesy and sugary person. Chatsky also meets with Khlestova, a heroine who seems to have remained from the age of Catherine, with Pyotr Ilyich, another ruin from the past, with Zagoretsky, an obvious swindler, and other heroes from the “Famusov” category.

Transformations of Chatsky's personality

Chatsky's mind is undergoing transformation. Now Chatsky’s speech is distinguished by caustic remarks, cynicism and sarcasm. With this style of communication and behavior, the hero evokes antipathy from the people around him. Chatsky still has hope - to find compassion and empathy in Sophia’s soul. However, the hero does not know that a conspiracy is being prepared against him in the Famusov camp:

“A million torments” and “grief” - that’s what he reaped for everything he managed to sow. Until now, he was invincible: his mind mercilessly hit the sore spots of his enemies...

Chatsky's mind weakens at the moment when the hero gets tired of the endless struggle. The former cheerfulness, sharpness, cuteness and sensitivity are replaced by bile, pickiness and sadness. Even at the end, Chatsky does not behave like Onegin or Lermontov’s hero, like a dandy. Griboedov's hero continues to maintain his sincerity, but allows himself a fatal weakness: jealousy overwhelms Chatsky when the hero sees a girl meeting with Molchalin. The man reproaches the heroine because she gave him hope. However, Goncharov emphasizes that Sophia, on the contrary, constantly pushed Chatsky away:

Meanwhile, Sofya Pavlovna is not individually immoral: she sins with the sin of ignorance, blindness, in which everyone lived...

Goncharov's conclusions

To convey the main moral and ideological message of “Woe from Wit,” the Russian critic turns to Pushkin’s poetry:

The light does not punish delusions,
But it requires secrets for them!

On the one hand, Chatsky helps Sophia lose that unreasonable naivety and blindness that was initially characteristic of the heroine’s personality. However, Sophia is still not able to show Chatsky respect: the hero is evidence of Sophia’s mistakes and vices, a “reproachful witness” who opens the girl’s eyes to Molchalin’s true face. Sophia, according to Goncharov’s interpretation, appears as a kind of mixture of “good instincts” and lies, a “living mind” and the absence of even hints of the presence of ideas, her own opinions and beliefs. Sophia is sick with mental and moral blindness, which creates an insurmountable gap between the girl and Chatsky. However, this is not a shortcoming of Sophia herself, these are qualities instilled by her upbringing. The heroine herself is hot, gentle and dreamy. Let's remember what we talked about at the beginning of our article:

... Women learned only to imagine and feel and did not learn to think and know ...

In the work, the author shows the intertwining of the relationship between his protagonist and Sophia with his dissatisfaction and irritation with the life of the Moscow nobility, the conservative and selfish views with which it is imbued.

Chatsky is trying to awaken Sophia’s love for him, but she is interested in Molchalin. For the main character of the work, this is doubly offensive: he is not just rejected, but for the sake of a person whom he has every reason to despise.

This forces him once again to face the truth that is well known to him, that the bureaucratic world values ​​only ranks and positions, and his talents and wit, as well as liberal beliefs and desire for progress, can only attract attention, although not always favorable.

In the person of Famusov, Skalozub and other people he met who occupy more high position, he sees limitation and inertia. Chatsky is certainly a person with inner freedom.
This, combined with his liberal views, gives rise to his dislike for rank and careerism, which pervades most of his interlocutors. Communication with Repetilov, who at first glance is more inclined to accept new ideas and progress in a broad sense, also irritates Chatsky. Repetilov's free-thinking is not real, it is simply a tribute to fashion.

How clever man, Chatsky the emptiness of the people he met. He understands that such people do not bring great benefit to society and hinder development, while he considers progress a means capable of eradicating many of Russia’s ills. However, all this is mixed with personal motives and wounded pride. Chatsky’s statements containing criticism of the prevailing social order, quite naturally, should cause irritation among others, for whom the changes proposed by him would incur significant personal losses or, at least, cause inconvenience. The hostility they demonstrate, aggravated by the fact that no one supports Chatsky and he remains alone, being in a constant state of psychological discomfort, accelerates the denouement.

Chatsky was unable to convince anyone of anything, he also failed to establish relations with Sophia, so he understands, or at least feels, that he must leave; remaining in Famus’s society is meaningless for him and is fraught only with the continuation of meaningless disputes and unpleasant communication.

Essay No. 2

Comedy A.S. Griboyedov is a work that played a big role in the formation and education of the moral character of Russian society. In this work we see a call to fight stupidity, immorality, meanness and violence. The work still does not leave the theater stages; it excites minds just as it did during the times of the Russian Empire.

In the play, Griboyedov depicted only one day in Famusov’s house. But, despite this, the author managed to touch upon many significant issues: education, debt, service, serfdom and worship of everything foreign. We see the struggle between old foundations and the new century.

In Famus society, everything is built on hypocrisy and lies. All they do is just fun and carefree. And so, Chatsky bursts into this house, where every corner is drained of vices. In his image, Griboedov captured a young man full of new ideas and aspirations. He has his own mentality, different from others, he is in constant search of something new, hitherto unknown.

At the heart of the work is a love drama, behind the screen of which social and ideological conflicts are hidden. In them we see Chatsky’s suffering and mental anguish. He comes to the Famusovs' house to see his girlfriend, but she cheats young man, preferring Molchalin. Silent is a man of short minds, whose talents are only accuracy and helpfulness. Sophia belongs entirely Famusov society, and therefore cannot be with Chatsky, since he is completely different, unusual for her understanding. Sophia turns out to be one of the “tormentors” of the poor protagonist. Chatsky alone opposes this society, he is a simple dreamer who wants to overthrow the old and establish in its place the bright and good.

Chatsky is disgusted by the Russian society of those times, he sees all the horror of serfdom, when people are exchanged for dogs, when they are treated as second class. He sees that power is in the hands of the worst of people; they do not care about the fate of the people.

In such a society, it is the Molchalins who feel great, knowing how to flatter and serve at the right moment. Chatsky is superfluous, he understands this, and finally wants to change everything.

Chatsky is a man new era, he opposes the foundations of old Moscow. He has his own views on the issue of serving the people. He does not want to see that rank and wealth dominate honesty and intelligence. He is against those who are afraid of science and enlightenment. In his opinion, progress will come only when people begin to develop and think, but in Famusov’s society this is alien.

Chatsky's ideas and speeches remain ununderstood by anyone. He wants to open his soul and express everything. At the ball, he turns everyone against him, because he considers it impossible to behave like that of the assembled “gentlemen.” But society laughs at him. He is mistaken for a madman and thrown out.

"A Million Torments" by Chatsky

A. S. Griboedov entered Russian literature as the author of one work. His comedy “Woe from Wit” cannot be put on a par with the immortal creation of A. S. Pushkin “Eugene Onegin”, since “Eugene Onegin” has already become history for us, an encyclopedia of the life of the Russian nobility of the early 19th century, Griboyedov’s play was, is and will be a modern and vital work until careerism, veneration, and gossip disappear from our lives, as long as the thirst for profit, living at the expense of others, and not at the expense of one’s own labor, dominates in our society, as long as hunters to please and serve are alive .

All this eternal imperfection of people and the world is superbly described in Griboyedov’s immortal comedy “Woe from Wit.” Griboyedov creates a whole gallery of negative images: Famusov, Molchalin, Repetilov, Skalozub, etc. They seem to have absorbed all the negative features of the development of their contemporary society.

But all these heroes are opposed alone by the main character of the comedy, Alexander Andreevich Chatsky. He came to Moscow, “returning from distant wanderings,” only for the sake of Sophia, his beloved. But, returning to his once dear and beloved home, he discovers very strong changes: Sophia is cold, arrogant, irritable, she no longer loves Chatsky.

Trying to find an answer to his feeling, the main character appeals to his former love, which was mutual before his departure, but all in vain. All his attempts to bring back the old Sophia are a complete fiasco. To all Chatsky’s passionate speeches and memories, Sophia replies: “Childishness!” This is where the young man’s personal drama begins, which ceases to be narrowly personal, but develops into a clash between a man in love and the entire Famus society. The main character stands alone against the army of old "warriors", starting an endless struggle for new life and for your love.

He encounters Famusov himself and argues with him about the way and path of life. The owner of the house recognizes the correctness of his uncle’s life: Maxim Petrovich: he didn’t eat silver, he ate gold, a hundred people are at his service.

It is absolutely clear that he himself would not refuse such a life, which is why he does not understand Chatsky, who demands “service to the cause, not to persons.” Love and social conflicts are combined, becoming a single whole. For the hero, personal drama depends on society’s attitude towards him, and public drama is complicated by personal relationships.

This exhausts Chatsky and, as a result, he experiences “a million torments,” as Goncharov aptly puts it.

The state of uncertainty in life drives him into a frenzy. If at the beginning of the action he is calm and self-confident: No, today the world is not like that... Everyone breathes more freely And is not in a hurry to fit into the regiment of jesters, The patrons yawn at the ceiling. Show up to be silent, shuffle around, have lunch, offer a chair, bring a handkerchief.

Then in the monologue at the ball in Famusov’s house, all the imbalance of the soul and mind is visible. He makes himself a laughing stock, from which everyone shies away. But, at the same time, his image is very tragic: his entire monologue is a consequence of unhappy love and society’s rejection of those thoughts and feelings, those beliefs that Chatsky defends throughout the comedy.

Under the weight of “a million torments,” he breaks down and begins to contradict common logic. All this entails absolutely incredible rumors that seem unfounded, but the whole world is talking about them: Suma has gone crazy, it seems to her! No wonder? So... Why would she take it! But Chatsky not only does not refute the rumors, but with all his might, without knowing it, he confirms them, arranging a scene at the ball, then a scene of farewell to Sophia and Molchalin’s exposure: You are right, he will come out of the fire unharmed, Whoever manages to stay with you for an hour, He will breathe the air alone, and his sanity will survive... Get out of Moscow! I don’t go here anymore, I run, I won’t look back, I’ll go looking around the world Where there is a corner for an offended feeling! In a fit of passion, our hero more than once sins against logic, but in all his words there is the truth of his attitude towards Famus society. He is not afraid to say everything to everyone’s face and rightly accuse representatives of Famusov’s Moscow of lies, hypocrisy, and hypocrisy. He himself is clear proof that the obsolete and sick closes the way to the young and healthy.

The image of Chatsky remains unfinished; the framework of the play does not allow us to fully reveal the full depth and complexity of this character’s nature. But we can say with confidence: Chatsky has strengthened in his faith and, in any case, will find his way in a new life. And the more such Chatskys there are on the path of the Famusovs, Molchalins and Repetilovs, the weaker and quieter their voices will sound.

Bibliography

To prepare this work, materials were used from the site http://sochinenia1.narod.ru/

Alexander Chatsky is a young man who has strong beliefs and principles. He is ready to serve his cause, idea, Fatherland, but Alexander will not serve people. He is very smart and educated.

Alexander decides to return to Moscow to his beloved Sophia, but he does not even suspect that she has a completely different life here. His love is no longer the same as before, it has changed in a completely different direction. As children, they had the same views. Young and ardent hearts, they loved each other, but one day Chatsky left and left Sophia to the Famus Society. Not only did the girl grow up without a mother, but now she came under the influence of Moscow ladies who taught her how to live correctly. Now her views and beliefs have changed radically.

Chatsky goes to Moscow, expecting to see the same Sophia as before. But he doesn’t even suspect that he will meet a completely different person. The Sophia he loved is a thing of the past. The realities of her life changed for the worse. Under the influence of a helpful, selfish and greedy society, the girl became completely different. Now her ideal is Alexei Molchalin, he is easy to crush, he always agrees with her and will never object. The girl is crazy about him.

Alexander, encountering this reality, finds himself in a state of shock. He does not understand how one can love such a stupid and hypocritical person as Molchalin. Immediately after his arrival, Alexander starts a conversation with Sophia about his feelings, but stumbles upon a cold iceberg of misunderstanding and rejection. The girl perceives their past relationship as something frivolous, as childish. Alexander's heart is broken, his feelings are trampled. Sophia openly praises Alexei in front of Chatsky, which irritates him. Alexander only mocks Molchalin. He doesn’t understand how Sophia could become so stupid.

The dreams of youth are shattered. The love that Chatsky had kept all these years was trampled upon. Famus society absolutely does not understand the hero’s ideas and beliefs; they are far from them. This society needs only material things, only money, ranks and titles. Representatives of this society are ready to do anything for the sake of promotion. Chatsky is ready to serve only a cause or an idea; he will never serve people. For Alexander this is baseness, he will never stoop to such a level.

Now he regrets coming. Alexander could not even imagine that his love would change so much. Sophia, with whom in his youth he shared all his experiences and views, who supported him in all his endeavors, is now completely different. That Sophia is no longer there, and in addition, she is also spreading a rumor that Alexander has gone crazy. And this nonsense quickly spreads throughout the house. Chatsky expressed everything he thought about everything and left this house forever. His life will never be the same.

Option 2

Comedy A.S. Griboyedov is a work that played a big role in the formation and education of the moral character of Russian society. In this work we see a call to fight stupidity, immorality, meanness and violence. The work still does not leave the theater stages; it excites minds just as it did during the times of the Russian Empire.

In the play, Griboyedov depicted only one day in Famusov’s house. But, despite this, the author managed to touch on many significant issues: education, debt, service, serfdom and worship of everything foreign. We see the struggle between old foundations and the new century.

In Famus society, everything is built on hypocrisy and lies. All they do is just fun and carefree. And so, Chatsky bursts into this house, where every corner is drained of vices. In his image, Griboedov captured a young man full of new ideas and aspirations. He has his own mentality, different from others, he is in constant search of something new, hitherto unknown.

At the heart of the work is a love drama, behind the screen of which social and ideological conflicts are hidden. In them we see Chatsky’s suffering and mental anguish. He comes to the Famusovs' house to visit his beloved girl, but she cheats on the young man, preferring Molchalin. Silent is a man of short minds, whose talents are only accuracy and helpfulness. Sophia belongs entirely to Famus society, and therefore cannot be with Chatsky, since he is completely different, unusual for her understanding. Sophia turns out to be one of the “tormentors” of the poor protagonist. Chatsky alone opposes this society, he is a simple dreamer who wants to overthrow the old and establish in its place the bright and good.

Chatsky is disgusted by the Russian society of those times, he sees all the horror of serfdom, when people are exchanged for dogs, when they are treated as second class. He sees that power is in the hands of the worst of people; they do not care about the fate of the people.

In such a society, it is the Molchalins who feel great, knowing how to flatter and serve at the right moment. Chatsky is superfluous, he understands this, and finally wants to change everything.

Chatsky is a man of a new era, he opposes the foundations of old Moscow. He has his own views on the issue of serving the people. He does not want to see that rank and wealth dominate honesty and intelligence. He is against those who are afraid of science and enlightenment. In his opinion, progress will come only when people begin to develop and think, but in Famusov’s society this is alien.

Chatsky's ideas and speeches remain ununderstood by anyone. He wants to open his soul and express everything. At the ball, he turns everyone against him, because he considers it impossible to behave like that of the assembled “gentlemen.” But society laughs at him. He is mistaken for a madman and thrown out.

In this comedy we see a man who suffers from his mind. Because of his education, he becomes an eccentric and crazy in the eyes of the public. He is among those in whom there is nothing human, they only hide behind moral standards. He is unable to stay with them and eventually leaves them.

Several interesting essays

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