Love conflict in comedy grief from the mind. Conflict comedy "grief from the mind

Conflict (from lat. - "Collision") - a collision of opposite interests, views; serious disagreement; A sharp dispute. Undoubtedly, the keywords in this explanation will be a "collision", "disagreement" and "dispute". All three words are united by the overall idea of \u200b\u200bconfrontation, some confrontation, and usually moral.
The conflict in the literary work plays a huge role, it constitutes the so-called "electricity" action. This is the way to defend some thought, and the disclosure of the author's position, and the key to understanding the entire work. The composition depends on the conflict. Eternal opponents in Russian literature have always been good and evil, truth and not true, will and invalo, life and death. And this struggle is shown in the early work of the people - fairy tales. Living life is always fighting with unnatural, artificial, which is visible even in the names themselves ("Live and Dead Water", "True and Crift"). The literary hero is always facing the choice, and this is also a conflict, a collision of a person in man. All Russian literature is very pedagogical. Therefore, the role of the conflict consists also in order to properly express both parties, teach a person to choose between "good" and "evil."
Griboedov, the creator of the first realistic play, it was quite difficult to cope with this task. After all, in contrast to the predecessors (Fonvizin, Sumarokov), writing plays according to the laws of classicism, where good and evil were clearly separated from each other, Griboedov made every hero of individuality, a living person who was tried to make mistakes.
The name "grief from the mind" is the thesis of the whole work, and every word is important. "Mountain", according to the dictionary of Ozhegov, is given in two values \u200b\u200b- grief, sorrow and ironic mockery over something unsuccessful. So what is it? Tragedy? And then whose? Or ridicule? Then over whom? The "mind" during the times of Griboedov had the importance of progressiveness, activity. The question arises: who is the smart in comedy? But the main semantic emphasis falls on the pretext of "from". This is the predetermination of the entire conflict. It is indicated in the poster. "Talking surnames", as R. O. Vinokur noted, characterizing the characters, are associated with the "Speech Idea" (Toguhovsky, Molchanin, rehearsals), that is, indicate the ability of characters to "hear" and "speak" with each other, and therefore Understand others, yourself and general situation. The conflict in the play of a bully character - the external is hidden internal. The whole action is subordinate to this disclosure, and small conflicts, merging together and interacting, "give" apotheosis to the main thing.
In the first action (1-6th phenomenon), the relations of Sofia and Molchalin are shown before the arrival of Chatsky. This is an exposition of a love conflict, but already the author now indicates the insincerity of the relationship of Molchalin to Sofa, shows this love ironically. It can be seen from the first remark ("Lisanka is sleeping, having flown from the chair," while the piano with a plate with a lady "), n from the words of Lisa about the aunt Sophia, and her caustic comments (" Ah! Amur damned! "). Here is also shown the ratio of Sophia to the Chazza:
Chatting, joking, I am funny;
Sharing with every possible laughter
She says, not believing in his love. "Fuck in love" - \u200b\u200bthat's how it defines Sophia his feelings.
And then ... he appears! "Oster, a smart, eloquent", he "throws" on the sophia, and then not very flattering "lists" her relatives. The public conflict is planned, which Mrboedov himself determined so - Chatsky "In anti-grief with the society surrounding it." But not in vain, the author uses the common form "Neightelling", because Chatsky in conflict not only with the "light", but also with the people, and with the past, and with himself.
He is lonely and with such character is doomed to loneliness. Chatsky is satisfied with himself, with his speeches, with pleasure passes from one subject of ridicule to another: "Ah! To raise, go! " He constantly exclaims:
"Well, what do you have a father?",
"And this, like him? ..",
"And three of the boulevard?",
"And that charming? .." -
As if it is terribly important, after three years. In general, throughout the entire play, Chatsky fell silent, makes a "minute" break, thinking about the words of the interlocutor, only twice - with the first appearance in the house and in the last monologue. And immediately explains his own inner conflict: "The mind with the heart is not in Lada," that is, the advanced ideas, which he so beautifully says, does not underlie his actions, which means everything he says is a gust of rational , coming from the heart, therefore, contrived.
The typing of the public conflict occurs in the second action. The conversation of Famusov and Chatsky about Sofye goes into a certain duel of "fathers" and "children" arguing about Russia. Moreover, Griboedov constantly points to the contradictions of Chatsky - Mr. Words and Chatsky - Mr. Del. So, in the second action, he talks about a cruel attitude towards peasants and servants, whereas in the first he himself did not notice Liza, as a wardrobe or a chair notice, and they are neglected with their own. A human speech always reflects his spiritual world. Chatsky's speech is full of both spacious and gallicalism. This once again points to the disharmony of the inner world of Chatsky in Chatsky.
"All he says is very clever! But who he says it? " - wrote Pushkin. Indeed, after all, the key remark in the third action reads: "Looks around, everything in the waltz is circling with the greatest zeal. Old men scattered to the card tables. " It remains one - the climax of public conflict. Who does he say? Maybe yourself? He himself is not knowing that he is talking to him, trying to settle the fight of "hearts" and "mind." After reaching a scheme of life, he is trying to "fit" under her life, violating her laws, so she turns away from him, and the love conflict is not forgotten. Sophia either does not accept his rationalism. In general, both of these conflicts are interrelated, and if we agree with the block that "grief from the mind" is the work "... symbolic, in the true sense of the word", then Sophia and there is a symbol of Russia, where the Chatsky is someone else, "he was a smart In a year ... the smart is not in Russian. In someone else. Alien "(Vail, Geinis." Native speech ").
So, both conflicts will develop into the main - clash of living life and scheme.
But the scheme of life was all the heroes of the play: Molchanin, Magazov, Scalozub, Sophia ... So, Sophia, which "sleep is not from French books," trying to live his life like a novel. However, the novel Sofia into the Russian Federation. As Bazhenov noted, the story of her love for silence is not frivolna, like her "French compatriots," she is clean and spiritualized, but still it is only a book fiction. In the soul of Sophia, there is also no consent. Maybe, therefore, in the poster, it is indicated like Sofya, that is, "wise", but Pavlovna is the daughter of Famusov, which means that something like him. However, at the end of the comedy, she still twisters, "breaking" her dream, and not she herself. Chatsky is also shown in evolution. But we can judge about its internal change only with the words about the past. So, leaving, he confestedly talked with Lisa: "No wonder, Lisa, crying ...", - whereas throughout the entire action does not tell her a word.
"Great, friend, great, brother! .." - on the old habit of His Magazov. Chatsky does not tell him any good word.
"And what?", "No one invites you!" "He only immediately notices him, immediately entering the argument."
Monologists of Chatsky are close in their ideological orientation to the slogans of the Decembrists. He denounces low-alphabones, the cruelty of the serfs, meanness - this is what I agree with him and the Decembrists of Griboedov. But he cannot approve their methods, the same schemes of life, just not one, but a complete society. Therefore, the culmination of all conflicts is accusing Chatsky in madness. Thus, he refuses to be a citizen, the highest blessing, on the Decembrist theory, because one of the definitions of a person-citizen is a "sound mind" (ants); In the right to be respected and beloved. It is for a rationalistic approach to life, the desire for the "low" methods of Griboedov, and calls all the heroes of the comedy "fools".
The collision of nature and uninstalistic is shown not only on the scene. Incoming characters are also struggling with themselves. Brother Skalozuba, for example, leaving suddenly service, which means, and the intention to go to the generals, began to read in the village of books, but the youth passed and "to hug ...", and he "behaved properly, a long time ago, at least serves and" recently".
Griboedov refers all the dust of Chatsky only to the romantic gusts of youth, and, maybe Saltykov-Shchedrin's rights, which described his subsequent fate as the director of the Department of Mind, shrouded with silent.
So, the main conflict of the work revealed through the public (Chatsky and society), intimate (Chatsky and Sophia, Molchanin and Sophia, Molchanin and Lisa), personal (Chatsky and Chatsky, Sophia and Sophia ...) conflicts - there is the confusion of rationalism and Reality that Griboedov masterfully depicts with remarks, insignificant characters, dialogues and monologues. Even in the very repulsion from the norms of classicism, there is a denial of subjective approach to life. "I am writing free and free," says Griboedov himself, that is, realistic. Using free yamm, different types of rhymes, distributing the replicas of one verse into several characters, the author refuses the canons, calling not only to write, but also live "freely." "Free" from prejudices.

In the play "Woe from Wit" several conflicts, whereas the presence of only one conflict was the prerequisite for the classic play.

"Woe from the mind" is a comedy with two storylines, and at first glance it seems that there are two conflicts in the play: love (between Chatsky and Sofia) and public (between Chatsky and Famovsky society).

The play begins with the strings of a love conflict - Chatsky comes to Moscow to his beloved girl. Gradually, the love conflict develops into public. Finding out if His Sofya loves, Chatsky faces the Famine Society. In comedy, the image of the Chatsky represents a new type of personality of the beginning of the XIX century. Chatsky is opposed to the whole conservative, Zaradnoye Mir Famusov. In their monologues, ridicuing life, the morals, the ideology of the old Moscow society, Chatsky is trying to open the eyes of Famusov and everyone else on how they live and what they live. Public conflict "grief from the mind" intractable. The old boric society does not listen to the freedom-loving, smart Chatsky, it does not understand him and announces crazy.

Public conflict in the play of A. S. Griboyedov is associated with another conflict - between the "century of the current" and "century last". Chatsky is the type of a new person, he is an expressive of the new ideology of the new time, the "century of the present". And the old conservative Society of Famusov belongs to the "century of last". The old one does not want to take positions and go to the historical past, while the new actively invade life, trying to establish their laws. The conflict of old and new is one of the main time in the Russian life. This eternal conflict occupies a large place in the literature of the XIX century, for example, in such works as "fathers and children", "Thunderstorm." But this conflict does not exhaust all comedy collisions.

Among the heroes of the Griboedovskaya play, there are probably no stupid people, each of them has its own everyday mind, that is, the idea of \u200b\u200blife. Each of the characters "grief from the mind" knows what he needs from life and what he should strive for. For example, Famuses want to live their lives without going beyond secular laws, so as not to give a reason to be condemned powerful secular lions, such as Marya Alekskna and Tatiana Yurievna. Therefore, Famuses are so concerned about the search for a worthy husband for her daughter. The goal of life is silence - it is quiet, even if it is slow, but it is right to move up the service staircase. He will not even be ashamed of what will humiliate in the struggle for the achievement of its goals: wealth and power ("and take the rewarding, and having fun"). He does not like sophia, but looks at her as a means to achieve his goals.

It is impossible to disagree with the pottery that the figure of the Chatsky determines the conflict of the comedy - a collision of two eras. He arises because people begin to appear in society with new views, beliefs, goals. Such people do not lie, do not adapt, do not depend on public opinion. Therefore, in the atmosphere of low-planness and chi-miscalculation, the appearance of such people makes their collision with the non-communications inevitable. The problem of the mutual understanding of the "century of the current" and "century of the past" was relevant in the time of creating a Griboedov Comedy "grief from the mind", it is relevant to on-shi.

So, in the center of the comedy - the conflict between the "Snowless People's Culture" (according to Goncharov) and the "con-servative majority". It was on this that the internal development of the conflict of the Chatsky and the surrounding Famovsky environment is founded.

The "century passed" in the comedy is presented by a number of bright types of types. This is a Formsa Rockozub, and Reetales, and Molchanin, and Lisa. One layer, their set. First of all, the figure of Famusov, the old Moscow nobleman, who deserved the general location in the metropolitan circles is divided. He is friendly, taking care, withered-smart, cheerful - in general, welcome Ho-Zyain. But this is only the outside. The author shows the Famusov all-third. He appears and as a convincing, fierce opponent of the prospect. "Pick all books would like to burn!" - he exclaims. Chatsky, the representative of the "century of the current", dreams of "to the science to use the mind, the sharper knowledge." He is outraged by orders, headed in the Famovsky Communication. If the Magizov dreams of raising, it is to marry your daughter Sophia ("Who is poor, you are not a couple"),that Chatsky is eager for "sublime either, in front of which the world is a whole ... - dust and bustle."

The desire of Chatsky is to serve the Option, "the case, not to persons." Therefore, he despises Molchalin, accustomed to please "all people without rewriting":

Owner, where rECOVED live,

Chief from by whom will i serve,

Servant his, which the cleans dresses

Swiss january for evaluan evil

Dog janitor to laskov was.

All in silence: behavior, words - emphasize the farewell of the immoral careerist. Chatsky with bitterness speaks of such people: "Silence bliss in the world!" It was Molchanin that best suits his life. In his own way, he even talented. He deserved the location of Famusov, the love of Sofia, received awards. Two qualities of their character, he dear lives most of all - moderation and accuracy.

In the relationship between the Chatsky and Famow Society, the views of the "century of the past" on a career, service, on the fact that most of all in humans is revealed. To my service of F-Musov takes only relatives and loved ones. He respects flattery and lowlands. Magovyov wants to convince Chatsky to live, "on the older looking", "substitute a chair, raise a handkerchief." To which Chatsky objects: "It would be glad to serve, doubt nausea." Chatsky is very serious about the service. And if F-Musov formalist and burearath ("under-written, so from the shoulders of a share"), then Chatsky says: "When in the affairs - I'm from the weight, hiding when fooling around - do-rush, and there are two these crafts Darkness of arts, I am not from their number. About the affairs of Pharmuses is worried only on the one hand: fearlessly, "so that many have no accumulation of them."

Another representative of the "Century Mi-Nrub" is rockozub. It was such a son-in-law that I dreamed of having Magazov. After all, the scalosis is "and a golden bag, and marks to the generals." This character combines typical features of the re-shareholder of Arakshevsky time. "Hircun, an extravagant, Bassoon. Constellation diet maneuvers and mazurki ", he is the samethe enemy of enlightenment and science, like F-Musov. "The scholarship is not a frost-chisk," says Scalozub.

It is quite obvious that the atmosphere itself of the Famusov society forces the representatives of the young generation to show their negative qualities. So, Sofya fully corresponds to the morality of "fathers". And it's a smart girl, with a strong, independent character, a hot heart, a clean soul, in her sute, whether to bring up a lot of negative ka-honor, which made it part of a conventional society. She does not understand Chatsky, does not appreciate his sharp mind, his logical merciless creek. She does not understand and Molchalin, who "loves her by position." In the fact that Sophia has become a typical Ba-Roury of the Famow Society - her tragedy.

And the society in which she was born and lived is to blame: "She is ruined, in a stuff, where no ray of light penetrates, not a single jet of fresh air" (Goncharov. "Millon Torzania").

Another comedy character is very interesting. This is reheetles. He is committed, but a unprincipled man, emptyler, but he only considered the Chatsky "High Mind" and, without believing in his Smear march, called Himer's Famine and Himer's guests and "game." Thus, he at least one step was above them all.

"So! I stem completely! " - Breed-clisters Chatsky at the end of the comedy.

What is this - defeat or pro-vision? Yes, the final of this comedy Da Leko is not cheerful, but the rights of Goncharov, who said like this: "Chatsky is broken by the coastalicity of the old force, applying to her, in turn, a fatal blow to some of the strength of fresh." And I fully agree with Goncharov, - who believes that the role of all Chatsky is "Praeller-Naya", but at the same time always "victory".

Chatsky opposes the society of ignorant and serfs. He fights the ability of noble ragins and podkhalesov, fraudsters, swords and diagrams. In his famous monologue "A su-di who?" He threw a mask from the grade and vulgar Famusov world, infor the Russian Federation, the Russian people turned into a subject of purchase and sale, where the interpretation was changed by people-serfs, spa "and honor, and life ... more than once," on "Brozy Three Dogs". Chatsky protects real human quality: humanity and honesty, mind and culture. He protects the Russian on-site, its Russia from the entire oblique and backward. Chatsky wants to see Ros-so enlightened. He protects it in disputes, conversations with all the ones of the comedy of the "grief from the mind", directing all his mind, evil, burning and determination. There is also a surroundings to Avenge Chatsky for the truth, for trying to break the habitual way of life. "Century the past", that is, the Formsovskoe society, Bao-Sia people like Chatsky, because they encroach on that system of life, which is the basis of a well-being of serfs. The past century, which is so admired by the Famus, Chatsky calls the century of "humility and fear". Highly Magazovskoye generally, the hardests of its principles, but the uniform-alert is also in Chatsky. These are episodic characters: the twirl brother of the Scalozub ("Chin followed him - he served suddenly left ..."), nephew Princess Togukhovskaya. Chatsky himself constantly says "we", "one of us", speaking, investigator, but not only from your face. So A. S. Griboedov wanted to hint at the chief that the time of the "century past" passes, and he comes to a shift "The century of the current" is strong, intelligent, educated.

The comedy "grief from the mind" had a huge success. It was divided into thousands of RU-Copier specimens even before it was printed. The advanced people of this time were warmly welcomed by the phenomenon of this work, and the pre-orders of the reaction nobility were outraged. What is this - the announcement of the "century of the past" and the "century of the ushnyh"? Of course yes.

Griboedov hotly believed in Russia, into his homeland, and completely spra-gaming words written at the Moshic Monument of the Writer: "Mind and your deeds are immortal in the memory of Russian."

In the play "Mount from the mind" several conflicts, while the prerequisite for the classic play was only one conflict.
"Woe from the mind" is a comedy with two storylines, and at first glance it seems that there are two conflict in the play: love (between Chatsky and Sofia) and public (between the Chatsky and Famovsky society).
The play begins with the strings of a love conflict - Chatsky comes to Moscow to his beloved girl. Gradually, the love conflict develops into public. Finding out if His Sofya loves, Chatsky faces the Famine Society. In comedy, the image of the Chatsky represents a new type of personality of the beginning of the XIX century. Chatsky is opposed to the whole conservative, Zaradnoye Mir Famusov. In their monologues, ridicuing life, the morals, the ideology of the old Moscow society, Chatsky is trying to open the eyes of Famusov and everyone else on how they live and what they live. The public conflict "grief from the mind" is intractable. The old boric society does not listen to the freedom-loving, smart Chatsky, it does not understand him and announces crazy.
Public conflict in the play A. S. Griboyedov is associated with another conflict - between the "century of the current" and the "century last". Chatsky is the type of a new person, he is an expressant of the new ideology of the new time, the "century of the present". And the old conservative Society of Famusov belongs to the "century of last". The old one does not want to take positions and go to the historical past, while the new actively invade life, trying to establish their laws. The conflict of old and new is one of the main time in the Russian life. This eternal conflict occupies a large place in the literature of the XIX century, for example, in such works as "fathers and children", "Thunderstorm." But this conflict does not exhaust all comedy collisions.
Among the heroes of the Griboedovskaya play, there are probably no stupid people, each of them has its own everyday mind, that is, the idea of \u200b\u200blife. Each of the characters "grief from the mind" knows what he needs from life and what he should strive for. For example, Famuses want to live their lives without going beyond secular laws, so as not to give a reason to be condemned powerful secular lions, such as Marya Alekskna and Tatiana Yurievna. Therefore, Famuses are so concerned about the search for a worthy husband for her daughter. The goal of life is silence - it is quiet, even if it is slow, but it is right to move up the service staircase. He will not even be ashamed of what will humiliate in the struggle for achieving its goals: wealth and power ("and rewarding to take, and having fun"). He does not like sophia, but looks at her as a means to achieve his goals.
Sophia, as one of the representatives of the Famovskogo society, reading the sentimental novels, dreams of a timid, quiet, gentle love, for whom she will marry and make a "boy husband", "husband-servant." It was Molchanin, and not the Chatsky comes under her standards of the future husband.
So, Griboedov in his comedy not only shows how immoral and conservative typical representatives of the Moscow society. It is also important for him to emphasize that they all understand life in different ways, its meaning and ideals.
If we turn to the final action of the comedy, we will see that each of the heroes turns out to be unhappy at the end. Chatsky, Famuses, Molchanin, Sophia - everyone remains with their own grief. And they are unhappy because of their wrong ideas about life, an improper understanding of life. Famuses always tried to live according to the laws of light, tried not to cause condemnation, the disapproval of light. And what did he get at the end? He disgraced his own daughter! "Oh! Oh my God! What will say the princess of Marya Alekshna, "he exclaims, considering himself unhappy from all people.
Molchanin is no less unhappy. All his efforts disappeared in vain: Sophia is no longer helps him anymore, or it may be even worse, pressed Patenka.
And Sofia has their grief; She betrayed his beloved man. She disappointed in his ideal of a worthy husband.
But the most unfortunate of all is Chatsky, a fermented, free-lived enlightener, an advanced man of his time, an accuser of checkers, the conservatism of Russian life. The smartest in comedy, he cannot do with all his mind so that Sophia loved him. Chatsky, who believed only in his mind, to the fact that a smart girl could not prefer the fool's smart, so much disappointed at the end. After all, everything that he believed - in his mind and advanced ideas, - not only did not help win the heart of his beloved girl, but, on the contrary, he pushed her away from him forever. In addition, it is because of his freedom-loving opinions, the Famusov society rejects him and declares crazy.
Thus, Griboedov proves that the reason for the tragedy of the Chatsky and the unfortunate of the remaining heroes of the comedy is in the inconsistency of their ideas about the life of life itself. "The mind with a heart is not in Lada" - this is the main conflict "grief from the mind." But then the question arises, what ideas about life are true and is it possible to happiness at all. The image of Chatsky, in my opinion, gives a negative answer to these questions. Chatsky deeply sympathetic Griboedov. It is favorably different from the Famow Society. In his image, the typical features of the Decembrist reflected: Chatsky ditch, dreaming, winsted. But his views are far from real life and do not lead to happiness. Maybe Griboedov foresaw the tragedy of the Decembrists who believed in their idealistic theory, torn off from life.
Thus, in the "grief from the mind" several conflicts: a love, public, conflict "century of the current" and "century of the past", but the main, in my opinion, is the conflict of idealistic ideas about life and real life. Griboedov was the first writer who raised this problem to which many XIX writers will continue to contact. century: I. S. Turgenev, F. M. Dostoevsky, L. N. Tolstoy.

Innovation of the comedy "grief from the mind"

Comedy A.S. Griboedov "Woe from Wit" is innovative. This is due to the artistic method of comedy. Traditionally, the "grief from the mind" is considered the first Russian realistic play. The main digression of classic traditions is to refuse the author from the unity of the action: the conflict in the comedy "grief from the mind" is not one. The play coexist and flow out one of the other two conflicts: love and social. It is advisable to turn to the genre of the play to identify the main conflict in the comedy "grief from the mind."

The role of love conflict in the comedy "Mount from the mind"

As in the traditional classic play, a love intrigue is at the heart of the comedy "Mount from Wense". However, the genre of this dramatic work is a public comedy. Therefore, the social conflict is dominated over love.

Nevertheless opens a love conflict. Already in the comedy exposition, a love triangle is drawn. Sophia's night date with silent in the first phenomenon of the first action shows sensual preferences of the girl. Also in the first phenomenon of the servant Lisa recalls Chatsky, who once tied you to youthful love with Sofia. Thus, a classic love triangle is unfolding in front of the reader: Sophia - Molchanin - Chatsky. But, as soon as the Chatsky appears in the House of Famousov, in parallel with the love of the social line begins to develop. Scene lines closely interact with each other, and this is the originality of the conflict of the play "Woe from Wit".

To strengthen the comic effect of the play, the author introduces two more love triangles in it (Sofya - Molchanin - Major Lisa; Lisa - Molchanin - Petrusha Buffetcher). In love with Solllyn Sophia and does not suspect that the maid of Lisa is where it is a nail, about which he hints unambiguously. The servant is in love with Petrush's Buffetcher, but it is afraid to admit him in his feelings.

Public conflict in the play and its interaction with the love line

The social conflict of the comedy was based on the confrontation of the "century of the current" and "century of the past" - progressive and conservative nobility. The only representative of the "century of the present", with the exception of the insignificant characters, the Comedy is Chatsky. In his monologues, he passionately adheres to the idea of \u200b\u200bserving the "case, not to persons." He is alien to the moral ideals of the Magazin Society, namely the desire to adapt to the circumstances, "refuel" if it helps to get another rank or other material benefits. He appreciates the idea of \u200b\u200benlightenment, in conversations with the Magazov and other characters, protects science and art. This is a person free from prejudice.

The main representative of the "century past" - Famuses. It focused on all the vices of the aristocratic society of that time. The most concerned about the opinion of the light about himself. After the departure of Chatsky, he worries him only "what the princess of Marya Alekshna will say." He is delighted with a colonel cliff, stupid and shallow man who dreams only to "get" to himself by the General Chin. It would wish him to see his son-in-law, because the scalosis has the main advantage of recognized light, money. With the use of Magovyov, it tells about his uncle Maxim Petrovich, who, with an awkward fall at the reception, the empress was "the highest granted a smile." Admiracy, according to Famusov, worthy of the uncle's ability to "rely on": to enjoy those present and the monarch, he fell two more times, but already intentionally. Pharmuses are sincerely afraid of the progressive glances of Chatsky, because they threaten the usual estate of life of the conservative nobility.

It should be paid to the fact that the collision of the "century of the current" and "century of the past" is not at all the conflict of fathers and children "grief from the mind." For example, Molchanin, being a representative of the generation of "children", shares the views of the Famusov society about the need to make useful dating and skillfully use them to achieve their goals. It nourishes the same tremendous love for awards and ranks. In the end, he communicates with Sofia and supports her passion for them only from the desire to please her influential Father.

Sophia, the daughter of Famusov, can not be attributed to the "century current", nor to the "century of last". Her opposition to the Father is connected only with her love in Molchalin, but not with her views on the device of society. Famuses, frankly flirting with the maid, is a caring father, but is not a good example for Sofia. A young girl is pretty progressive in his eyes, intelligent, is not concerned about the opinion of society. All this is the cause of the disagreements of the father and daughter. "What a commission, the creator, to be an adult daughter father!" - Famousov crushes. However, she is not on the side of Chatsky. Her hands, and more precisely, the word, said from Vesti, Chatsky is expelled from the society hated by him. It is Sophia. The author of rumors about the madness of Chatsky. And the light with ease of these rumors picks up, because in the accusatory speeches of Chatsky everyone sees a direct threat to his well-being. Thus, in the spread of hearing about the insanity of the main character in the world, a decisive role played a love conflict. Chatsky and Sophia face not on ideological soil. Just Sophia is concerned that the former lover can destroy her personal happiness.

conclusions

Thus, the main feature of the conflict of the play "Hill from the mind" is the presence of two conflicts and their close relationship. Love Intrigue opens a play and serves as a reason for the occurrence of Chatsky's collision with the "century past". The love line also helps the Famovsky society to declare his enemy insane and disgrace it. However, the social conflict is the main, because "grief from the mind" is a public comedy, the purpose of which is to appear the morals of the noble society of the early 19th century.

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