The "present" century and the "past" century in Griboedov's comedy "Woe from Wit"

The present century and the past century
A. S. Griboyedov

"Woe from Wit" is one of the most topical works of Russian drama. The problems posed in the comedy continued to excite Russian social thought and literature many years after its birth.
“Woe from Wit” is the fruit of Griboedov’s patriotic thoughts about the fate of Russia, about ways of renewal and reconstruction of its life. From this point of view, the comedy highlights the most important political, moral and cultural problems of the era.
The content of the comedy is revealed as a collision and change of two eras of Russian life - the “present” century and the “past” century. The border between them, in my opinion, is the War of 1812 - the fire of Moscow, the defeat of Napoleon, the return of the army from foreign campaigns. After Patriotic War Two public camps have developed in Russian society. This is the camp of feudal reaction in the person of Famusov, Skalozub and others, and the camp of advanced noble youth in the person of Chatsky. The comedy clearly shows that the clash of centuries was an expression of the struggle between these two camps.
In the enthusiastic stories of Fvmusov and the accusatory speeches of Chatsky, the author creates an image of the 18th, “past” century. The “past” century is the ideal of Famusov’s society, because Famusov is a convinced serf owner. He is ready to exile his peasants to Siberia for any trifle, hates education, grovels before his superiors, currying favor as best he can to receive a new rank. He bows to his uncle, who “ate on gold,” served at the court of Catherine herself, and walked “all in orders.” Of course, he received his numerous ranks and awards not through faithful service to the fatherland, but by currying favor with the empress. And he diligently teaches this vileness to young people:
That's it, you are all proud!
Would you ask what the fathers did?
We would learn by looking at our elders.
Famusov boasts of both his own semi-enlightenment and that of the entire class to which he belongs; boasting that Moscow girls “bring out the top notes”; that his door is open to everyone, both invited and uninvited, “especially from foreigners.”
In the next “ode” by Fvmusov there is praise to the nobility, a hymn to servile and selfish Moscow:
For example, we have been doing this since ancient times,
What honor for father and son:
Be bad, but if you get enough
Two thousand family showers - he and the groom!
Chatsky’s arrival alarmed Famusov: expect only trouble from him. Famusov turns to the calendar. This is a sacred rite for him. Having begun to list the upcoming tasks, he comes into a complacent mood. In fact, there will be a dinner with trout, the burial of the rich and respectable Kuzma Petrovich, and the doctor’s christening. Here it is, the life of the Russian nobility: sleep, food, entertainment, more food and more sleep.
Next to Famusov in the comedy stands Skalozub - “and a golden bag and aims to become a general.” Colonel Skalozub is a typical representative of the Arakcheev army environment. At first glance, his image is caricatured. But this is not so: historically it is quite true. Like Famusov, the colonel is guided in his life by the philosophy and ideals of the “past” century, but in a rougher form. He sees the purpose of his life not in serving the fatherland, but in achieving ranks and awards, which, in his opinion, are more accessible to a military man:
I am quite happy in my comrades,
Vacancies are currently open:
Then the old ones will be turned off,
The others, you see, have been killed.
Chatsky characterizes Skalozub as follows:
Khripun, strangled, bassoon,
A constellation of maneuvers and mazurkas.
Skalozub began to make his career from the moment when the heroes of 1812 began to be replaced by stupid martinets, slavishly loyal to the autocracy, led by Arakcheev.
In my opinion, Famusov and Skalozub take first place in the description of lordly Moscow. The people of Famusov's circle are selfish and selfish. They spend all their time in social entertainment, vulgar intrigues and stupid gossip. This special society has its own ideology, its own way of life, its own outlook on life. They are sure that there is no other ideal than wealth, power and universal respect. “After all, only here they value the nobility,” says Famusov about lordly Moscow. Griboyedov exposes the reactionary nature of feudal society and thereby shows where the dominance of the Famus family is leading Russia.
He puts his revelations into the monologues of Chatsky, who has sharp mind, quickly determines the essence of the subject. For friends and enemies, Chatsky was not just smart, but a “freethinker,” belonging to the progressive circle of people. The thoughts that worried him disturbed the minds of all progressive youth of that time. Chatsky arrives in St. Petersburg when the “liberalist” movement is born. In this environment, in my opinion, Chatsky’s views and aspirations take shape. He knows literature well. Famusov heard rumors that Chatsky “writes and translates well.” Such a passion for literature was typical of free-thinking noble youth. At the same time, Chatsky is also fascinated by social activity: we learn about his connection with the ministers. I believe he even managed to visit the village, because Famusov claims that he “made a fortune” there. One can assume that this whim meant good attitude to the peasants, perhaps some economic reforms. These high aspirations of Chatsky are an expression of his patriotic feelings, hostility towards lordly morals and serfdom in general. I think I won’t be mistaken in assuming that Griboedov, for the first time in Russian literature, revealed the national historical origins of the Russian liberation movement of the 20s of the 19th century, the circumstances of the formation of Decembrism. It was the Decembrist understanding of honor and duty that public role people are opposed to the slave morality of the Famusovs. “I would be glad to serve, but it’s sickening to be served,” Chatsky declares, like Griboyedov.
Just like Griboyedov, Chatsky is a humanist who defends the freedoms and independence of the individual. He sharply exposes the feudal basis in an angry speech “about judges.” Here Chatsky denounces the serfdom he hates. He highly evaluates the Russian people, speaks of their intelligence and love of freedom, and this, in my opinion, also echoes the ideology of the Decembrists.
It seems to me that comedy contains the idea of ​​independence of the Russian people. The groveling before everything foreign and the French upbringing, common among the nobility, provoke a sharp protest from Chatsky:
I sent wishes away
Humble, yet out loud,
So that the unclean Lord destroys this spirit
Empty, slavish, blind imitation;
So that he would plant a spark in someone with a soul;
Who could, by word and example
Hold us like a strong rein,
From the pitiful nausea on the stranger's side.
Obviously, Chatsky is not alone in comedy. He speaks on behalf of the entire generation. A natural question arises: who did the hero mean by the word “we”? Probably the younger generation taking a different path. Famusov also understands that Chatsky is not alone in his views. “Today there are more crazy people, deeds, and opinions than ever before!” he exclaims. Chatsky has a predominant optimistic idea of ​​the nature of his contemporary life. He believes in the offensive new era. Chatsky says to Famusov with satisfaction:
How to compare and see
The present century and the past:
The legend is fresh, but hard to believe.
Until quite recently, “it was an age of obedience and fear.” Today, a sense of personal dignity is awakening. Not everyone wants to be served, not everyone is looking for patrons. Public opinion arises. It seems to Chatsky that the time has come when it is possible to change and correct the existing serfdom through the development of progressive public opinion and the emergence of new humane ideas. The fight against the Famusovs in comedy has not ended, because in reality it has just begun. The Decembrists and Chatsky were representatives of the first stage of the Russian liberation movement. Goncharov noted very correctly: “Chatsky is inevitable when one century changes to another. The Chatskys live and are not transferred in Russian society, where the struggle between the fresh and the outdated, the sick and the healthy continues.”

"The present century and the past" (the main conflict in the comedy "Woe from Wit")

The comedy of Alexander Sergeevich Griboyedov became innovative in Russian literature of the first quarter of the 19th century.

Classic comedy was characterized by the division of heroes into positive and negative. Victory was always for positive heroes, while the negative ones were ridiculed and defeated. In Griboyedov's comedy, the characters are distributed in a completely different way. The main conflict of the play is connected with the division of the heroes into representatives of the “present century” and the “past century”, and the first includes almost only Alexander Andreevich Chatsky, moreover, he often finds himself in a funny position, although he is a positive hero. At the same time, his main “opponent” Famusov is by no means some notorious scoundrel; on the contrary, he is a caring father and a good-natured person.

It is interesting that Chatsky spent his childhood in the house of Pavel Afanasyevich Famusov. Moscow lordly life was measured and calm. Every day was the same. Balls, lunches, dinners, christenings...

He made a match - he succeeded, but he missed.

All the same sense, and the same poems in the albums.

Women are mainly concerned with their outfits. They love everything foreign and French. The ladies of Famus society have one goal - to marry or give their daughters to an influential and rich man. With all this, as Famusov himself puts it, women “are judges of everything, everywhere, there are no judges over them.” Everyone goes to a certain Tatyana Yuryevna for patronage, because “officials and officials are all her friends and all her relatives.” Princess Marya Alekseevna has such weight in high society that Famusov somehow exclaims in fear:

Oh! My God! What will he say?

Princess Marya Aleksevna!

What about men? They are all busy trying to move up the social ladder as much as possible. Here is the thoughtless martinet Skalozub, who measures everything by military standards, jokes in a military way, being an example of stupidity and narrow-mindedness. But this just means a good growth prospect. He has one goal - “to become a general.” Here is the petty official Molchalin. He says, not without pleasure, that he “received three awards, is listed in the Archives,” and he, of course, wants to “reach the well-known levels.”

The Moscow “ace” Famusov himself tells young people about the nobleman Maxim Petrovich, who served under Catherine and, seeking a place at court, did not show any business qualities, no talents, and became famous only for the fact that he often “bent his neck” when bowing. But “he had a hundred people at his service,” “all wearing orders.” This is the ideal of Famus society.

Moscow nobles are arrogant and arrogant. They treat people poorer than themselves with contempt. But special arrogance can be heard in remarks addressed to the serfs. They are “parsleys”, “crowbars”, “blocks”, “lazy grouse”. One conversation with them: “Get you to work! Get you settled!” In close formation, the Famusites oppose everything new and advanced. They can be liberal, but they are afraid of fundamental changes like fire. There is so much hatred in Famusov’s words:

Learning is the plague, learning is the reason,

What is worse now than then,

There were crazy people, deeds, and opinions.

Thus, Chatsky is well acquainted with the spirit of the “past century,” marked by servility, hatred of enlightenment, and the emptiness of life. All this early aroused boredom and disgust in our hero. Despite his friendship with sweet Sophia, Chatsky leaves the house of his relatives and begins an independent life.

“The desire to wander attacked him...” His soul thirsted for novelty modern ideas, communication with the leading people of the time. He leaves Moscow and goes to St. Petersburg. “High thoughts” are above all for him. It was in St. Petersburg that Chatsky’s views and aspirations took shape. He apparently became interested in literature. Even Famusov heard rumors that Chatsky “writes and translates well.” At the same time, Chatsky is fascinated by social activities. He develops a “connection with the ministers.” However, not for long. High concepts about honor they do not allow him to be served; he wanted to serve the cause, not individuals.

After this, Chatsky probably visited the village, where, according to Famusov, he “made a mistake” by mistakenly managing the estate. Then our hero goes abroad. At that time, “travel” was looked at askance, as a manifestation of the liberal spirit. But just the acquaintance of representatives of Russian noble youth with life, philosophy, history Western Europe had great importance for their development.

And now we meet the mature Chatsky, a man with established ideas. Chatsky contrasts the slave morality of Famus society with a high understanding of honor and duty. He passionately denounces the feudal system he hates. He cannot calmly talk about “Nestor of the noble scoundrels,” who exchanges servants for dogs, or about the one who “drove to the serf ballet... from mothers, fathers of rejected children” and, having gone bankrupt, sold them all one by one.

These are the ones who lived to see their gray hairs!

This is who we should respect in the wilderness!

Here are our strict connoisseurs and judges!

Chatsky hates “the meanest traits of the past,” people who “draw judgments from forgotten newspapers from the times of the Ochakovskys and the conquest of the Crimea.” His sharp protest is caused by his noble servility to everything foreign, his French upbringing, common in the lordly environment. In his famous monologue about the “Frenchman from Bordeaux”, he talks about the ardent attachment of the common people to their homeland, national customs and language.

As a true educator, Chatsky passionately defends the rights of reason and deeply believes in its power. In the mind, in education, in public opinion, he sees the power of ideological and moral influence as the main and powerful means of remaking society and changing life. He defends the right to serve education and science:

Now let one of us

Among the young people there will be an enemy of quest,

Without demanding either places or promotion,

He will focus his mind on science, thirsting for knowledge;

Or God himself will stir up heat in his soul

To the creative, high and beautiful arts, -

They immediately: robbery! Fire!

He will be known among them as a dreamer! Dangerous!!!

Among such young people in the play, besides Chatsky, one can perhaps also include cousin Skalozub, nephew of Princess Tugoukhovskaya - “chemist and botanist”. But the play talks about them in passing. Among Famusov's guests, our hero is a loner.

Of course, Chatsky makes enemies for himself. Well, will Skalozub forgive him if he hears about himself: “Khripun, strangled, bassoon, constellation of maneuvers and mazurkas!” Or Natalya Dmitrievna, whom he advised to live in the village? Or Khlestova, at whom Chatsky openly laughs? But, of course, Molchalin gets the most. Chatsky considers him a “most pitiful creature”, like all fools. Out of revenge for such words, Sophia declares Chatsky crazy. Everyone happily picks up this news, they sincerely believe in the gossip, because, indeed, in this society he seems crazy.

A.S. Pushkin, having read “Woe from Wit,” noticed that Chatsky was throwing pearls before swine, that he would never convince those to whom he addressed with his angry, passionate monologues. And one cannot but agree with this. But Chatsky is young. Yes, he has no goal of starting disputes with the older generation. First of all, he wanted to see Sophia, for whom he had a heartfelt affection since childhood. Another thing is that in the time that has passed since their last meeting, Sophia has changed. Chatsky is discouraged by her cold reception, he is trying to understand how it could happen that she no longer needs him. Perhaps it was this mental trauma that triggered the conflict mechanism.

As a result, there is a complete break between Chatsky and the world in which he spent his childhood and with which he is connected by blood ties. But the conflict that led to this break is not personal, not accidental. This conflict is social. We didn't just collide different people, But different worldviews, various social positions. The external outbreak of the conflict was Chatsky’s arrival at Famusov’s house; it was developed in disputes and monologues of the main characters (“Who are the judges?”, “That’s it, you are all proud!”). Growing misunderstanding and alienation lead to a climax: at the ball, Chatsky is declared insane. And then he understands himself that all his words and emotional movements were in vain:

You all glorified me as crazy.

You are right: he will come out of the fire unharmed,

Who will have time to spend a day with you,

Breathe the air alone

And his sanity will survive.

The outcome of the conflict is Chatsky’s departure from Moscow. The relationship between Famus society and the main character is clarified to the end: they deeply despise each other and do not want to have anything in common. It's impossible to tell who has the upper hand. After all, the conflict between old and new is as eternal as the world. And the topic of the suffering of an intelligent, educated person in Russia is topical today. To this day, people suffer more from their intelligence than from their absence. In this sense, Griboyedov created a comedy for all times.

ATTITUDE TO EDUCATION

The present century: The main representative of the present century in comedy is Chatsky. He is smart, well-developed, “knows how to talk,” “he knows how to make everyone laugh, he chats and jokes.” Unfortunately, his mind makes him feel "out of place" in Famusov society. People do not understand and do not listen to him, and towards the end of the work they consider him crazy.

The past century: In the work, Famusov (it is he and his society that are considered as representatives of the past century) has a very negative attitude towards education: “They would take the books and burn them.”

(In a conversation about Sophia:) “Tell me that it’s not good for her to spoil her eyes, and there’s no great use in reading: she can’t sleep from French books, but the Russians make me sleepy." "Learning is the plague, learning is the reason." "All my life I've been reading fables, and these are the fruits of these books" (about Sophia).

Famusov believes that education is a completely unnecessary part human life that, having money, a person does not need either education or books (as a way of entertainment).

ATTITUDE TO THE SERVICE

The present century: Chatsky was in military service. His the main objective- business, not profit, rank. Service is necessary for self-development and improvement of abilities. “I would be glad to serve, but being served is sickening.”

The past century: For Famusov, service is, first of all, receiving a rank. Military service- also a way to develop a career, and a career is money.

Famusov believes that a person without money is a nobody - a person of the lowest class.

ATTITUDE TO WEALTH AND RANK

The present century: For Chatsky, wealth is not the main characteristic of a person, although he understands that it is an indicator of power (in any century). “And for those who are higher, flattery was woven like lace.” - people are ready to say goodbye to pride and do anything for the sake of money. "Ranks are given by people, but people can be deceived."

The past century: Wealth is the definition of position in society. If a person is rich, then Famusov will most likely happily begin to communicate with him (These are visits to dear guests, and also, perhaps, benefits for himself). Of course, Famusov also wants to find a rich husband for his daughter Sophia - to improve his own income. "Whoever is poor is not a match for you." “Be inferior, but if there are two thousand family souls, that’s the groom.”

ATTITUDE TOWARDS FOREIGNERS

The present century: While in Europe, Chatsky got used to its variability, life, movement, fashion. “What new will Moscow show me?” “As from an early time we were accustomed to believe that without the Germans there is no salvation for us.” “Ah, if we were born to adopt everything, at least from the Chinese we could borrow a little from their wise ignorance of foreigners. Will we ever resurrect from the foreign power of fashion? So that our smart, cheerful people, even in language, do not consider us Germans.”

The past century: Having become accustomed to his generation, Famusov does not welcome French fashion. Not approving of books at all, he dislikes French novels even more. "French books make her sleepless." When Famusov found Molchalin at Sophia’s: “And here are the fruits of these books! And all the Kuznetsk Most, and the eternal French, from there fashion for us, and authors, and muses: destroyers of pockets and hearts! When will the Creator deliver us from their hats! Cheptsov! And hairpins! And pins! And book and biscuit shops!"

ATTITUDE TO FREEDOM OF JUDGMENT

This century: First of all, you need to listen to yourself and your mind. “Why are other people’s opinions only sacred? I believe my own eyes.” In a conversation with Molchalin, Chatsky completely disagrees with him that “at their age they should not dare to have their own judgments.” But, unfortunately, having his own opinion leads him to troubles in Famus society.

The past century: “Today, more than ever, there are more crazy people, deeds, and opinions.” Accordingly, all troubles occur due to the emergence of other people’s own opinions. In Famus society, it is beneficial to keep with you those who do not have such a “flaw”. People must live and act strictly according to the template, obeying, most importantly, people who are higher in rank.

ATTITUDE TO LOVE

Current century:

1) For Chatsky, love is, first of all, a sincere feeling. Despite this, he knows how to think sensibly and puts love no higher than reason.

2) Raised on French novels, Sophia completely loses herself in her dreams, which are often very different from reality. This makes her blind, not seeing that Molchalin is looking exclusively for profit from their “love.” “I don’t care what’s in it, what’s in the water!”, “ happy hours do not notice".

3) Molchalin hardly understands the concept of “sincere love”. Beautiful words- the only way he influences Sophia, for whom this and the ideal fictional image she created of him are quite enough. For Molchalin, Sofya is an ideal way to get close to her father’s money. According to Chatsky, Molchalin is not worthy of love. At the same time, he manages to flirt with Lisa. As a result, for him Sophia is a benefit, Lisa is entertainment.

The past century: Famusov does not believe in the existence of love, since he himself is in love only with his own income. In his opinion, marriage is about good connections, a rise in career ladder. "That beggar, that dandy friend, is a notorious spendthrift, a tomboy; What kind of commission, creator, is there to be adult daughter father!"

The comedy “Woe from Wit” by A.S. Griboedov was written in the first half of the 19th century and is a satire on the views of the noble society of that time. In the play, two opposing camps collide: the conservative nobility and the younger generation of nobles who have new views on the structure of society. Main character“Woe from Wit” Alexander Andreevich Chatsky aptly called the disputing parties “the present century” and “the past century.” The generational dispute is also presented in the comedy “Woe from Wit”. What each side represents, what their views and ideals are, will help you understand the analysis of “Woe from Wit.”

The “past century” in comedy is much more numerous than the camp of its opponents. The main representative of the conservative nobility is Pavel Afanasyevich Famusov, in whose house all the phenomena of comedy take place. He is a manager in a government house. His daughter Sophia was raised by him from childhood, because... her mother died. Their relationship reflects the conflict between fathers and sons in Woe from Wit.

However, Famusov believes that the best educational influence on a daughter should be the example of her own father. In this regard, in the play “Woe from Wit” the problem of fathers and children becomes even more acute. Famusov says about himself that he is “known for his monastic behavior.” But is he like that? good example for imitation, if a second before he began to moralize Sophia, the reader watched him openly flirt with the maid Lisa? For Famusov, the only thing that matters is what people say about him in the world. And if noble society does not gossip about his love affairs, it means his conscience is clear. Even Liza, imbued with the morals reigning in Famusov’s house, warns her young mistress not against nightly meetings with Molchalin, but against public gossip: “Sin is not a problem, rumor is not good.” This position characterizes Famusov as a morally corrupt person. Does an immoral person have the right to talk about morality in front of his daughter, and even be considered an example for her?

In this regard, the conclusion suggests itself that for Famusov (and in his person for the entire Old Moscow noble society) it is more important to seem like a worthy person, and not to be one. Moreover, the desire of representatives of the “past century” to make a good impression extends only to rich and noble people, because communication with them contributes to the acquisition of personal gain. People who do not have high titles, awards and wealth receive only contempt from the noble society: “Whoever needs it: those who are in need, they lie in the dust, and for those who are higher, flattery is woven like lace.”

Famusov transfers this principle of dealing with people to his attitude towards family life. “Whoever is poor is not a match for you,” he tells his daughter. The feeling of love has no power; it is despised by this society. Calculation and profit dominate the life of Famusov and his supporters: “Be inferior, but if there are two thousand family souls, that’s the groom.” This position creates a lack of freedom for these people. They are hostages and slaves of their own comfort: “And who in Moscow hasn’t had their mouths gagged at lunches, dinners and dances?”

What is humiliation for progressive people of the new generation is the norm of life for representatives of the conservative nobility. And this is no longer just a generational dispute in the work “Woe from Wit,” but a much deeper divergence in the views of the two opposing sides. With great admiration, Famusov recalls his uncle Maxim Petrovich, who “knew honor before everyone,” had “a hundred people at his service,” and was “all decorated.” What did he do to deserve his high position in society? Once, at a reception with the Empress, he stumbled and fell, painfully hitting the back of his head. Seeing the smile on the face of the autocrat, Maxim Petrovich decided to repeat his fall several more times in order to amuse the empress and the court. Such ability to “curry favor,” according to Famusov, is worthy of respect, and to the younger generation one should take an example from him.

Famusov envisions Colonel Skalozub as his daughter’s groom, who “will never utter a smart word.” He is good only because “he has picked up a ton of marks of distinction,” but Famusov, “like all Moscow people,” “would like a son-in-law... with stars and ranks.”

The younger generation in a society of conservative nobility. Image of Molchalin.

The conflict between the “present century” and the “past century” is not defined or limited in the comedy “Woe from Wit” to the theme of fathers and children. For example, Molchalin, belonging to the younger generation by age, adheres to the views of the “past century.” In the first appearances, he appears before the reader as Sophia’s modest lover. But he, like Famusov, is very afraid that society might have a bad opinion about him: “ Gossips scarier than a pistol" As the action of the play develops, Molchalin's true face is revealed. It turns out that he is with Sophia “out of position,” that is, in order to please her father. In fact, he is more passionate about the maid Liza, with whom he behaves much more relaxed than with Famusov’s daughter. Beneath Molchalin's taciturnity lies his duplicity. He does not miss the opportunity at a party to show his helpfulness in front of influential guests, because “you have to depend on others.” This young man lives according to the rules of the “past century”, and therefore “Silent people are blissful in the world.”

“The Present Century” in the play “Woe from Wit.” The image of Chatsky.

The only defender of other views on the problems raised in the work, a representative of the “present century,” is Chatsky. He was brought up together with Sophia, there was youthful love between them, which the hero keeps in his heart even at the time of the events of the play. Chatsky has not been to Famusov’s house for three years, because... traveled around the world. Now he has returned with hopes of Sophia's mutual love. But here everything has changed. His beloved greets him coldly, and his views are fundamentally at odds with the views of Famus society.

In response to Famusov’s call “go and serve!” Chatsky replies that he is ready to serve, but only “to the cause, not to individuals,” but he is generally “sickened” to “serve.” In the “past century” Chatsky does not see freedom for the human person. He does not want to be a buffoon for a society where “he was famous whose neck was more often bent,” where a person is judged not by his personal qualities, but by the material wealth he possesses. Indeed, how can one judge a person only by his ranks, if “ranks are given by people, but people can be deceived”? Chatsky sees enemies in Famus society free life and does not find role models in him. The main character, in his accusatory monologues addressed to Famusov and his supporters, speaks out against serfdom, against the slavish love of the Russian people for everything foreign, against servility and careerism. Chatsky is a supporter of enlightenment, a creative and seeking mind, capable of acting in accordance with conscience.

The “present century” is inferior in number to the “past century” in the play. This is the only reason why Chatsky is doomed to defeat in this battle. It’s just that the Chatskys’ time hasn’t come yet. A split among the nobility has only just begun, but in the future the progressive views of the protagonist of the comedy “Woe from Wit” will bear fruit. Now Chatsky has been declared crazy, because the accusatory speeches of a madman are not scary. The conservative nobility, by supporting the rumor of Chatsky's madness, only temporarily protected themselves from the changes that they are so afraid of, but which are inevitable.

conclusions

Thus, in the comedy “Woe from Wit” the problem of generations is not the main one and does not reveal the full depth of the conflict between the “present century” and the “past century”. The contradictions between the two camps lie in the difference in their perception of life and the structure of society, in in different ways interactions with this society. This conflict cannot be resolved by verbal battles. Only time and succession historical events will naturally replace the old with the new.

Conducted comparative analysis two generations will help 9th grade students describe the conflict of the “present century” with the “past century” in their essay on the topic ““The present century” and the “past century” in the comedy “Woe from Wit” by Griboyedov”

Work test

The comedy “Woe from Wit” by A.S. Griboedov was written in the first half of the 19th century and is a satire on the views of the noble society of that time. In the play, two opposing camps collide: the conservative nobility and the younger generation of nobles who have new views on the structure of society. The main character of “Woe from Wit,” Alexander Andreevich Chatsky, aptly called the disputing parties “the present century” and “the past century.” The generational dispute is also presented in the comedy “Woe from Wit”. What each side represents, what their views and ideals are, will help you understand the analysis of “Woe from Wit.”

The “past century” in comedy is much more numerous than the camp of its opponents. The main representative of the conservative nobility is Pavel Afanasyevich Famusov, in whose house all the phenomena of comedy take place. He is a manager in a government house. His daughter Sophia was raised by him from childhood, because... her mother died. Their relationship reflects the conflict between fathers and sons in Woe from Wit.

However, Famusov believes that the best educational influence on a daughter should be the example of her own father. In this regard, in the play “Woe from Wit” the problem of fathers and children becomes even more acute. Famusov says about himself that he is “known for his monastic behavior.” But is he such a good example to follow if, a second before he began to lecture Sophia, the reader watched him openly flirt with the maid Lisa? For Famusov, the only thing that matters is what people say about him in the world. And if noble society does not gossip about his love affairs, it means his conscience is clear. Even Liza, imbued with the morals reigning in Famusov’s house, warns her young mistress not against nightly meetings with Molchalin, but against public gossip: “Sin is not a problem, rumor is not good.” This position characterizes Famusov as a morally corrupt person. Does an immoral person have the right to talk about morality in front of his daughter, and even be considered an example for her?

In this regard, the conclusion suggests itself that for Famusov (and in his person for the entire Old Moscow noble society) it is more important to seem like a worthy person, and not to be one. Moreover, the desire of representatives of the “past century” to make a good impression extends only to rich and noble people, because communication with them contributes to the acquisition of personal gain. People who do not have high titles, awards and wealth receive only contempt from the noble society: “Whoever needs it: those who are in need, they lie in the dust, and for those who are higher, flattery is woven like lace.”

Famusov transfers this principle of dealing with people to his attitude towards family life. “Whoever is poor is not a match for you,” he tells his daughter. The feeling of love has no power; it is despised by this society. Calculation and profit dominate the life of Famusov and his supporters: “Be inferior, but if there are two thousand family souls, that’s the groom.” This position creates a lack of freedom for these people. They are hostages and slaves of their own comfort: “And who in Moscow hasn’t had their mouths gagged at lunches, dinners and dances?”

What is humiliation for progressive people of the new generation is the norm of life for representatives of the conservative nobility. And this is no longer just a generational dispute in the work “Woe from Wit,” but a much deeper divergence in the views of the two opposing sides. With great admiration, Famusov recalls his uncle Maxim Petrovich, who “knew honor before everyone,” had “a hundred people at his service,” and was “all decorated.” What did he do to deserve his high position in society? Once, at a reception with the Empress, he stumbled and fell, painfully hitting the back of his head. Seeing the smile on the face of the autocrat, Maxim Petrovich decided to repeat his fall several more times in order to amuse the empress and the court. Such an ability to “help oneself,” according to Famusov, is worthy of respect, and the younger generation should take an example from him.

Famusov envisions Colonel Skalozub as his daughter’s groom, who “will never utter a smart word.” He is good only because “he has picked up a ton of marks of distinction,” but Famusov, “like all Moscow people,” “would like a son-in-law... with stars and ranks.”

The younger generation in a society of conservative nobility. Image of Molchalin.

The conflict between the “present century” and the “past century” is not defined or limited in the comedy “Woe from Wit” to the theme of fathers and children. For example, Molchalin, belonging to the younger generation by age, adheres to the views of the “past century.” In the first appearances, he appears before the reader as Sophia’s modest lover. But he, like Famusov, is very afraid that society might have a bad opinion about him: “Evil tongues are worse than a pistol.” As the action of the play develops, Molchalin's true face is revealed. It turns out that he is with Sophia “out of position,” that is, in order to please her father. In fact, he is more passionate about the maid Liza, with whom he behaves much more relaxed than with Famusov’s daughter. Beneath Molchalin's taciturnity lies his duplicity. He does not miss the opportunity at a party to show his helpfulness in front of influential guests, because “you have to depend on others.” This young man lives according to the rules of the “past century”, and therefore “Silent people are blissful in the world.”

“The Present Century” in the play “Woe from Wit.” The image of Chatsky.

The only defender of other views on the problems raised in the work, a representative of the “present century,” is Chatsky. He was brought up together with Sophia, there was youthful love between them, which the hero keeps in his heart even at the time of the events of the play. Chatsky has not been to Famusov’s house for three years, because... traveled around the world. Now he has returned with hopes of Sophia's mutual love. But here everything has changed. His beloved greets him coldly, and his views are fundamentally at odds with the views of Famus society.

In response to Famusov’s call “go and serve!” Chatsky replies that he is ready to serve, but only “to the cause, not to individuals,” but he is generally “sickened” to “serve.” In the “past century” Chatsky does not see freedom for the human person. He does not want to be a buffoon for a society where “he was famous whose neck was more often bent,” where a person is judged not by his personal qualities, but by the material wealth he possesses. Indeed, how can one judge a person only by his ranks, if “ranks are given by people, but people can be deceived”? Chatsky sees enemies of free life in Famus society and does not find role models in it. The main character, in his accusatory monologues addressed to Famusov and his supporters, speaks out against serfdom, against the slavish love of the Russian people for everything foreign, against servility and careerism. Chatsky is a supporter of enlightenment, a creative and seeking mind, capable of acting in accordance with conscience.

The “present century” is inferior in number to the “past century” in the play. This is the only reason why Chatsky is doomed to defeat in this battle. It’s just that the Chatskys’ time hasn’t come yet. A split among the nobility has only just begun, but in the future the progressive views of the protagonist of the comedy “Woe from Wit” will bear fruit. Now Chatsky has been declared crazy, because the accusatory speeches of a madman are not scary. The conservative nobility, by supporting the rumor of Chatsky's madness, only temporarily protected themselves from the changes that they are so afraid of, but which are inevitable.

conclusions

Thus, in the comedy “Woe from Wit” the problem of generations is not the main one and does not reveal the full depth of the conflict between the “present century” and the “past century”. The contradictions between the two camps lie in the difference in their perception of life and the structure of society, in different ways of interacting with this society. This conflict cannot be resolved by verbal battles. Only time and a series of historical events will naturally replace the old with the new.

The conducted comparative analysis of two generations will help 9th grade students describe the conflict of the “present century” with the “past century” in their essay on the topic ““The present century” and the “past century” in the comedy “Woe from Wit” by Griboyedov”

Work test