The comedy of A. S. Griboyedov "Woe from Wit" was written after the Patriotic War of 1812, during the period of the rise of the spiritual life of Russia. The comedy poses topical social issues of that time: about public service, serfdom, education, upbringing, about the slavish imitation of the nobles to everything foreign and contempt for everything national, folk.

The ideological meaning is in the opposition of two common forces, lifestyles, worldviews: the old, feudal, and the new. The conflict of comedy is a conflict between Chatsky and Famus society, between "the present century and the past."

Famusov is an official, but he regards his service only as a source of income. He is not interested in the meaning and results of labor - only ranks. The ideal of this man is Maksim Petrovich, who "knew honor before everyone," "he ate on gold," "he traveled forever in a train." Famusov, like the rest of society, admires his ability to "bend into a bend", "when do you need to help out", since it is this ability that helps in Moscow "to reach the degrees of the known." Famusov and his society (Khlestovs, Tugoukhovskys, Molchalins, Skalozubs) represent the “past century”.

Chatsky, on the other hand, is a representative of the "present century." He is the spokesman for the advanced ideas of his time. In his monologues, a political program can be traced: he exposes serfdom and its products: dishonor, hypocrisy, stupid military clique, ignorance, false patriotism. He gives mercilessly. khar-ku famus society, stigmatizes "the most vile features of the past life." Chatsky's monologue "Who are the judges? .." He condemns them for their conservatism:

Judgments are drawn from forgotten newspapers

The times of the Ochakovskys and the conquest of Crimea ...

for the passion for wealth and luxury obtained by "robbery", shielding themselves from responsibility by mutual guarantee and bribery:

And who in Moscow didn’t have their mouths shut

Lunches, dinners and dancing?

He calls the feudal landlords "noble scoundrels" for their inhuman treatment of serfs. One of them, “that Nestor of noble villains,” exchanged his faithful servants, who “saved his life and honor more than once,” for three greyhounds; another villain "drove to the serf ballet on many wagons from mothers, fathers of rejected children," which were then all "sold out one by one." In Famus society, the external form as an indicator of career success is more important than enlightenment, selfless service to the cause, sciences and arts:

Tunic! one uniform! he is in their former life

Once covered, embroidered and beautiful,

Their weakness, misery of reason ...

In the comedy, Famusov and Chatsky are opposed to each other: on the one hand, the gray, limited, ordinary people, Famusov and the people of his circle, and on the other, the talented, educated, intellectual Chatsky. Chatsky's daring mind immediately alarms Moscow society, accustomed to calmness. The dialogues between Famusov and Chatsky are a struggle, and it begins from the very first minutes of the meeting between Famusov and Chatsky. Chatsky sharply condemns the system of educating young nobility adopted in Moscow:

In Russia, under a great fine,

We are told to recognize everyone

Historian and geographer.

And Famusov expresses the idea:

Learning is the plague, learning is the reason ...

The attitude of Famusov and Chatsky to the service is also the opposite. Chatsky sees service to the cause as his main goal. He does not accept "serving elders", pleasing the bosses:

I would be glad to serve, to serve is sickening.

For Famusov, service is an easy matter:

And I have something that does not matter,

My custom is this:

Signed, off your shoulders.

The entire comedy is permeated with contradictions in the views of the "present century" and the "past century". And the more Ch. Has in common with F. and his entourage, the greater the abyss separates them. Ch. Speaks sharply about this society, which, in turn, calls him "Voltairian", "Jacobin", "Carbonary".

Chatsky is forced to renounce even his love for Sophia, realizing that she does not love him and does not see an ideal in him, remaining a representative of the "past century." Each new face in the comedy replenishes the Famus society, which means it becomes in opposition to Chatsky. He frightens them with his reasoning and ideals. It is fear that makes society recognize him as insane. And this was the best way to combat free-thinking. But before leaving forever, Chatsky says in anger to the Famus society:

He will come out of the fire unharmed,

Who will have time to stay with you for the day,

Breathe the air alone

And in him the mind will survive ...

Who is Ch. - the winner or the loser? I. A. Goncharov in his article "Million of Torments" says:

“Chatsky is overwhelmed by the amount of the old force, inflicting a mortal blow on it with the quality of the fresh force. He is an eternal denouncer of lies ... "Chatsky's drama is that he sees tragedy in the fate of society, but cannot influence anything.

A.S. Griboyedov raised in his comedy important issues of the era: the question of serfdom, the struggle against serf reaction, the activities of secret political societies, education, Russian national culture, the role of reason and progressive ideas in public life, duty and human dignity.

The author of the comedy focuses on the clear confrontation that existed at the beginning of the 19th century between the adherents of the "old" order, reactionaries and younger, enlightened and progressive representatives of the nobility.

Adhering to the "old" views on life, the landowners tried in every possible way to preserve the everyday life of the feudal landowners, as their opponents strenuously assured those around them that the "present century" had already come and that it was high time to end the "past century". The hero of Griboyedov belongs to the number of such nobles, throughout the entire action of the play trying to convince people of his rightness who do not want not only to understand him, but at least hear him.

At the very beginning of the comedy, a naive and inclined to dreams young man comes to Famusov's house, trying to change the society of his day, imbued with vices. He tells about his ideas to the owner of the house and his guests, just as old-fashioned and reactionary people who are afraid of any new trends and consider them extremely harmful, for this reason, Chatsky's words are not at all perceived by his opponents.

It is worth paying attention to how the author characterizes his heroes, in particular, “a member of the English club” Famusov, and his relative, a man who demands that “no one knows how to read,” and other acquaintances of Sophia's father, evaluating with one single phrase the whole their closeness, narrow-mindedness and hatred for everything unknown to them, which seems to them alien and dangerous.

As a result, Chatsky, who received a deep insult in this “chosen” society, gets rid of all his illusions and realizes how senseless it was to try to change such people in any way. According to him in the finale of the play, the veil finally fell from his eyes.

Famusov, the main antagonist of Chatsky, does not at all hide his indifference to the service, which for him is only a formality, as he claims, “signed - and out of sight”. In addition, this gentleman, confident in his infallibility, constantly protects only relatives and friends, saying that he will find relatives “at the bottom of the sea” and is ready to do anything for her. The main rule for him is outright groveling before higher ranks, and only in this way, according to Famusov, it is possible to "go out into the people" and become a truly "worthy" person.

Such words infuriate Chatsky, and the young man utters a passionate, ardent, full of the most sincere indignation and anger monologue, denouncing the undisguised "servility" and "buffoonery", without which his interlocutor cannot imagine life. Famusov, in turn, is frankly horrified by such statements and begins to insist that such dissenting personalities as Chatsky should not be allowed into the capital at all, moreover, they must be immediately brought to justice. The guests gathered in the house are happy to learn from the owner that there is a “new project” concerning educational institutions, where they will teach “our way, one-two,” while books will actually not be needed by the younger generation.

The people present in Famusov's chambers consider the teaching a real "plague", Colonel Skalozub without hesitation expresses his dream "to collect all the books and burn everything." Molchalin, with whom Sophia is in love, also learned from childhood that everyone around needs to "please" and behaves in this way, absolutely not thinking about self-esteem and pride, he tries to please not only his immediate boss, but also the janitor, and even “ the janitor's dog. "

Chatsky turns out to be completely alien in this environment of "correct", old-regime people, enemies of all progress and improvement of society. His reasoning only frightens those around him, he seems to them a very strange person, there is an assumption that he is simply "out of his mind", the high intellect of Chatsky and his ardent impulses only repel those gathered at Famusov's.

The main monologue of a young nobleman, in which he asks who are the judges of innovations, and denounces the heartless landowners who do not hesitate to sell children and separate them from their parents or exchange servants for dogs. Chatsky has already served and traveled, but he wants to be useful to his native country, and not to his superiors, so while the man, leaving his previous occupations, is trying to find his way in life.

He is also deeply outraged by the absence of any patriotism among the members of the "high society", their obvious admiration for everything foreign and conversations among the nobility in such an absurd combination of languages ​​as "French and Nizhny Novgorod." He believes that the aristocracy should be closer to the common people and at least be able to speak Russian correctly, while for most nobles it is easier to explain themselves in any of the European languages. At the same time, even opponents of Chatsky notice his outstanding intelligence and excellent speech. According to Famusov, his guest is "small with a head" and clearly, competently expresses his thoughts.

The young man is in a completely alien environment for him only for the sake of Sophia, whom he loved from his youth. However, the girl is completely under the influence of the society around her, which formed all her ideas about life, and she is unable to reciprocate Chatsky, who contradicts the world of values ​​and concepts that is familiar to her.

When it becomes clear to Famusov's guest that Sophia easily betrayed their previous feelings and promises, and exposed Chatsky to a general ridicule, talking about his loss of reason, he immediately leaves the empty, devoid of any inner content, realizing that now he has absolutely no need to be here. In the final monologue, he emphasizes his complete disappointment in the audience, from now on all his ties with the "Famus" world have been severed.

For people like this progressive nobleman, being in such an environment brings only suffering, "woe from the mind," as the play is called. But Chatsky's efforts are still not in vain, his denunciations also deal a serious blow to people like Famusov, Skalozub, Molchalin, and other adherents of the "old order".

True, the fight against reactionaries in comedy does not end with the victory of progress, since in real life in Russia it was just beginning at that time. However, Famusov, like his supporters, feels his powerlessness in the face of the enlightenment, the approaching new era and a different life, they cannot but realize that their established world is gradually receding into the past and they are being replaced by completely different people who adhere to different views and aspirations ...

The main conflict in the comedy "Woe from Wit

Pushed around by Paskevich,

The disgraced Ermolov is slandering ...

What is left for him?

Ambition, coldness and anger ...

From bureaucratic old women,

From the stinging secular injections

He rolls in a wagon,

Leaning your chin on the cane.

D. Kedrin

Alexander Sergeevich Griboyedov gained great literary fame and nationwide fame by writing the comedy "Woe from Wit". This work was innovative in Russian literature of the first quarter of the 19th century.

Classical comedy was characterized by the division of heroes into positive and negative. Victory has always been with the goodies, while the bad ones were ridiculed and defeated. In the comedy of Griboyedov, the characters are distributed in a completely different way. The main conflict of the play is connected with the division of heroes into representatives of the “century of the present” s “century of the past”, and the former includes actually only Alexander Andreyevich Chatsky, moreover, he often finds himself in a ridiculous position, although he is a positive hero. At the same time, his main “opponent” Famusov is by no means some notorious bastard, on the contrary, he is a caring father and a good-natured person.

It is interesting that Chatsky's childhood passed in the house of Pavel Afanasevich Famusov. Moscow lordly life was measured and calm. Every day was like another. Balls, lunches, dinners, christenings ...

He wooed - he was in time, and he made a mistake.

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

Women were mainly concerned with outfits. They love everything foreign, French. The ladies of the Famus society have one goal - to marry or marry their daughters to an influential and wealthy person. With all this, in the words of Famusov himself, women are "judges of everything, everywhere, there are no judges over them." For patronage, everyone goes to a certain Tatyana Yuryevna, because "officials and officials are all her friends and all relatives." Princess Marya Alekseevna has such weight in high society that Famusov somehow exclaims in fear:

Oh! My God! What will Princess Marya Aleksevna say!

And what about men? They are all busy moving up the social ladder as high as possible. Here is the thoughtless soldier 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 get into the generals." Here is a minor official, Molchalin. He says, not without pleasure, that “he has received three awards, is listed in the Archives,” and, of course, he wants to “reach the degrees of the known”.

The Moscow "ace" Famusov himself tells young people about the nobleman Maxim Petrovich, who served even under Catherine and, seeking a place at the court, did not show any business qualities or talents, but became famous only for the fact that he often "bent his neck" in bows. But "he had a hundred people at his service," "all in orders." This is the ideal of Famus society.

Moscow nobles are arrogant and arrogant. They treat people poorer than themselves with contempt. But a special arrogance is heard in the remarks addressed to the serfs. They are “parsley”, “crowbar”, “block”, “lazy teterie”. One conversation with them: “To work you! To settle you! ”. In a closed formation, the Famusians oppose everything new and advanced. They can be poly-liberal, but they are afraid of fundamental changes like plague. How much hatred is in the words of Famusov:

Learning is the plague, learning is the reason

What's more important now than when,

Insane divorced people, and deeds, and opinions.

Thus, Chatsky is well aware of 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 longed for the novelty of modern ideas, communication with the progressive people of the time. He leaves Moscow and goes to Petersburg. “High thoughts” are above all for him. It was in St. Petersburg that Chatsky's views and aspirations took shape. He appears to have taken an interest in literature. Even Famusov heard rumors that Chatsky “writes and translates gloriously”. At the same time, Chatsky is carried away by social activities. He has a "connection with the ministers." However, not for long. High notions of honor did not allow him to serve, he wanted to serve the cause, not persons.

After that, Chatsky probably visited the village, where he, according to Famusov, "got it right", mistakenly managing the estate. Then our hero goes abroad. At that time, “travel” was viewed askance as a manifestation of the liberal spirit. But it was precisely the acquaintance of the representatives of the Russian noble youth with life, philosophy, and the history of Western Europe that was of great importance for their development.

And now we are meeting with a mature Chatsky, a man with established ideas. Chatsky opposes the slave morality of the Famus society with a high understanding of honor and duty. He passionately denounces the serf system that 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 everyone one by one.

Here are those who have lived to see the gray hair!

That is who we must respect in the absence of people!

Here are our strict judges and judges!

Chatsky hates “the most vile features of the past life,” people who “draw their judgments from forgotten newspapers from the times of the Ochakovskys and the conquest of the Crimea”. A sharp protest evokes in him the noble servility before everything foreign, the French upbringing, which is common among the aristocratic milieu. In his famous monologue about the “Frenchman from Bordeaux,” he speaks of the ardent attachment of the common people to their homeland, national customs and language.

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

Now let one of us

Of young people, there is an enemy of quest, -

Requiring neither places nor promotion,

In science he will stick a mind hungry for knowledge;

Or God himself will stir up a fever in his soul

To the creative arts, high and beautiful, -

They immediately: robbery! Fire!

And he will be known as a dreamer! Dangerous !!!

Among such young people in the play, in addition to Chatsky, can be attributed, perhaps, also Skalozub's cousin, the nephew of Princess Tugouhovskoy - “chemist and botanist”. But the play speaks of them in passing. Among the guests of Famusov, our hero is a loner.

Of course, Chatsky makes enemies for himself. Well, will Skalozub forgive him if he hears about himself: "Hripun, 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 most of all, of course, goes to Molchalin. Chatsky considers him a “pitiful creature,” like all fools. Sophia, out of revenge for such words, declares Chatsky to be crazy. Everyone happily picks up the news, they sincerely believe in gossip, because, indeed, in this society he seems insane.

A. S. Pushkin, having read “Woe from Wit,” noticed that Chatsky was throwing pearls in front of pigs, that he would never convince those to whom he was addressing with his angry, passionate monologues. And one cannot but agree with this. But Chatsky is young. And he had no intention of starting up disputes with the older generation. First of all, he wanted to see Sophia, for whom he had a heartfelt affection from childhood. Another thing is that during 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 rupture of Chatsky with the world in which he spent his childhood and with which he is connected by blood ties. But the conflict that led to this rupture is not personal, not accidental. This conflict is social. It was not just different people that collided, but different worldviews, different social positions. The external plot of the conflict was Chatsky's arrival at Famusov's house; it was developed in the arguments and monologues of the main characters (“Who are the judges?”, “That's it, you are all proud!”). The growing misunderstanding and alienation lead to a culmination: at the ball, Chatsky is recognized as insane. And then he realizes himself that all his words and mental movements were in vain:

You all glorified me insane in unison.

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

Who will have time to stay with you for the day,

Breathe the air alone

And in him the reason will survive.

The denouement of the conflict - the departure of Chatsky from Moscow. The relationship between the Fa-Musa society and the protagonist has been fully clarified: they deeply despise each other and do not want to have anything in common. It is impossible to tell who is gaining the upper hand. After all, the conflict between the old and the new is eternal, like the world. And the theme of the suffering of an intelligent, educated person in Russia is topical even today. To this day, they suffer more from the mind than from its absence. In this sense, A.S. Griboyedov created a comedy for all time.

CONFLICT COMEDY "WINE FROM MIND"

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

Classical comedy was characterized by the division of heroes into positive and negative. Victory has always been with the goodies, while the bad ones were ridiculed and defeated. In the comedy of Griboyedov, 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 former includes practically only Alexander Andreyevich Chatsky, moreover, he often finds himself in a funny situation, although he is a positive hero. At the same time, his main "opponent" Famusov is by no means some notorious bastard, on the contrary, he is a caring father and a good-natured person.

It is interesting that Chatsky's childhood passed in the house of Pavel Afanasevich Famusov. Moscow lordly life was measured and calm. Every day was like another. Balls, lunches, dinners, christenings ...

“He wooed - he was in time, and he made a mistake.

All the same sense, and the same verses in the albums. "

Women are mainly occupied with outfits. They love everything foreign, French. The ladies of the Famus society have one goal - to marry or marry their daughters to an influential and wealthy person.

Men, on the other hand, are all busy trying to move up the social ladder as high as possible. Here is the thoughtless soldier 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 get into the generals." Here is a minor official, Molchalin. He says, not without pleasure, that “he has received three awards, is listed in the Archives,” and, of course, he wants to “reach the known degrees.”

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 or talents, but became famous only for the fact that his neck often bent in bows. But "he had a hundred people at his service," "all in orders." This is the ideal of Famus society.

Moscow nobles are arrogant and arrogant. They treat people poorer than themselves with contempt. But a special arrogance is heard in the remarks addressed to the serfs. They are “parsley”, “crowbar”, “block”, “lazy teterie”. One conversation with them: “To work you! To settle you! ". In a closed formation, the Famusians oppose everything new and advanced. They can be polyberal, but they are afraid of fundamental changes like plague.

"Learning is the plague, learning is the reason,

What's more important now than when,

Crazy people have divorced, and deeds, and opinions. "

Thus, Chatsky is well aware of the spirit of the "past century", marked by servility, hatred of enlightenment, 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.

His soul longed for the novelty of modern ideas, communication with the advanced people of the time. "High thoughts" for him above all. It was in St. Petersburg that Chatsky's views and aspirations took shape. He appears to have taken an interest in literature. Even Famusov heard rumors that Chatsky "writes gloriously, translates." At the same time, Chatsky is carried away by social activities. He has a "connection with the ministers." However, not for long. High notions of honor do not allow him to serve, he wanted to serve the cause, not persons.

And now we are meeting with a mature Chatsky, a man with established ideas. Chatsky opposes the slave morality of the Famus society with a high understanding of honor and duty. He passionately denounces the serf system that he hates.

“These are the ones who have lived to see the gray hairs!

That is who we must respect in the absence of people!

Here are our strict connoisseurs and judges! "

Chatsky hates "the most vile features of the past life", people who "draw their judgments from forgotten newspapers from the times of the Ochakovskys and the conquest of the Crimea." A sharp protest evokes in him the noble servility before everything foreign, the French upbringing, which is common among the aristocratic milieu. In his famous monologue about the "Frenchman from Bordeaux," he speaks of the ardent attachment of the common people to their homeland, national customs and language.

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

In addition to Chatsky, such young people in the play, perhaps, include Skalozub's cousin, the nephew of Princess Tugouhovskoy, a “chemist and botanist”. But the play speaks of them in passing. Among the guests of Famusov, our hero is a loner.

Of course, Chatsky makes enemies for himself. But most of all, of course, goes to Molchalin. Chatsky considers him "a pitiful creature," like all fools. Sophia, out of revenge for such words, declares Chatsky to be crazy. Everyone happily picks up this news, they sincerely believe in gossip, because, indeed, in this society he seems insane.

A.S. Pushkin, having read Woe from Wit, noticed that Chatsky was throwing pearls in front of pigs, that he would never convince those to whom he was addressing with his angry, passionate monologues. And one cannot but agree with this. But Chatsky is young. And he has no intention of starting up disputes with the older generation. First of all, he wanted to see Sophia, to whom he had a heartfelt affection from childhood. Another thing is that during 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 rupture of Chatsky with the world in which he spent his childhood and with which he is connected by blood ties. But the conflict that led to this rupture is not personal, not accidental. This conflict is social. It was not just different people that collided, but different worldviews, different social positions. The external plot of the conflict was the arrival of Chatsky to Famusov's house, it was developed in the disputes and monologues of the main characters ("Who are the judges?", "That's it, you are all proud! .."). The growing misunderstanding and alienation lead to a culmination: at the ball, Chatsky is recognized as insane. And then he realizes himself that all his words and mental movements were in vain:

“You all glorified me insane in unison.

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

Who will have time to stay with you for the day,

Breathe the air alone

And in him the mind will survive. "

The denouement of the conflict - the departure of Chatsky from Moscow. The relationship between the Famus society and the protagonist has been fully clarified: they deeply despise each other and do not want to have anything in common. It is impossible to tell who is gaining the upper hand. After all, the conflict between the old and the new is eternal, like the world. And the theme of the suffering of an intelligent, educated person in Russia is topical even today. To this day, they suffer more from the mind than from its absence. In this sense, Griboyedov created a comedy for all time.

In the first scenes of the comedy, Chatsky is a dreamer who cherishes his dream - the idea of ​​the possibility of changing an egoistic, vicious society. And he comes to him, to this society, with an ardent word of conviction. He willingly enters into an argument with Famusov, Skalozub, reveals to Sophia the world of his feelings and experiences. The portraits that he paints in the first monologues are even funny. The characteristics of the label are accurate. Тут и «старинный, верный член «Английского клуба» Фамусов, и дядюшка Софьи, который уж «отпрыгал свой век», и «тот черномазенький», который всюду «тут как тут, в столовых и в гостиных», и толстый помещик-театрал with his skinny serf artists, and the "consumptive" relative of Sophia - "the enemy of books", demanding with a cry "oaths so that no one knows and does not learn to read and write", and the teacher of Chatsky and Sophia, "all the signs of learning" which make up a cap, a robe and forefinger, and "Guillon, Frenchman blown by the breeze."

And only then, slandered, offended by this society, Chatsky becomes convinced of the hopelessness of his sermon, frees himself from his illusions: "Dreaming out of sight, and the veil fell asleep." The clash between Chatsky and Famusov is based on the opposition of their attitude to service, to liberty, to the authorities, to foreigners, to education, etc.

Famusov in the service surrounds himself with relatives: his man will not let down, and "how not to please a dear little man." Service for him is a source of ranks, awards and income. But the sure way to achieve these benefits is servility before the superiors. It is not without reason that the ideal of Famusov is Maxim Petrovich, who, currying favor, "bent into a bend", "bravely sacrificed the back of his head." But he was "treated kindly at court", "he knew honor before everyone." And Famusov convinces Chatsky to learn from the example of Maxim Petrovich of worldly wisdom.

Famusov's revelations angered Chatsky, and he delivers a monologue saturated with hatred of "servility" and buffoonery. Listening to Chatsky's seditious speeches, Famusov becomes more and more infuriated. He is already ready to take the strictest measures against such dissidents as Chatsky, believes that they need to be banned from entering the capital, that they need to be brought to justice. Next to Famusov is a colonel, the same enemy of education and science. He is in a hurry to please the guests with those

“What is the project about lyceums, schools, gymnasiums;

There they will only teach in our way: one, two;

And the books will be kept like this: for big occasions. "

For all those present, "learning is a plague," their dream is "to take all the books and burn them." The ideal of the Famus society is "Take awards and have fun." Everyone knows how to get ranks better and faster. Skalozub knows many channels. Molchalin received from his father the whole science of "pleasing all people without exception." The Famus society strongly protects its noble interests. A person is valued here by origin, by wealth:

“We have been doing it from time immemorial,

What honor is there for father and son. "

Famusov's guests are united by the defense of the autocratic-serf system, hatred of everything progressive. A fiery dreamer, with rational thought and noble impulses, Chatsky is opposed to the close-knit and many-sided world of the famus, rocktooths with their petty goals and base aspirations. He is a stranger in this world. Chatsky's "mind" places him in the eyes of the famusovs outside their circle, outside their usual norms of social behavior. The best human qualities and inclinations of the heroes make him, in the minds of those around him, a “strange man”, “carbonary”, “eccentric”, “insane”. A clash between Chatsky and Famus society is inevitable. In the speeches of Chatsky, the opposition of his views to the views of Famusov Moscow is clearly expressed.

With indignation he speaks of the serf-owners, of serfdom. In the central monologue "Who are the judges?" he angrily opposes the dear to the heart of Famusov the order of the Catherine's age, "the age of obedience and fear." For him, the ideal is an independent, free person.

With indignation he speaks of the inhuman landowners-serf-owners, “noble scoundrels”, one of whom “suddenly exchanged his faithful servants for three greyhounds!”; another drove to the "serf ballet from mothers, fathers of rejected children," and then they were sold out one by one. And there are not a few of them!

Chatsky also served, he writes and translates "gloriously", he managed to attend military service, saw the light, has connections with ministers. But he breaks all ties, leaves the service because he wants to serve his homeland, and not his bosses. “I would be glad to serve, it’s sickening to serve,” he says. Being an active person, in the conditions of the prevailing political and social life, he is doomed to inaction and prefers to “scour the world”. Staying abroad expanded Chatsky's horizons, but did not make him a fan of everything foreign, unlike Famusov's like-minded people.

Chatsky is outraged by the lack of patriotism among these people. His dignity as a Russian person is offended by the fact that among the nobility "a mixture of languages ​​still prevails: French and Nizhny Novgorod." Painfully loving his homeland, he would like to protect society from longing for someone else's side, from "empty, slavish, blind imitation" of the West. According to him, the nobility should stand closer to the people and speak Russian, "so that our people are smart, cheerful, although they do not consider us Germans by language."

And how ugly is secular upbringing and education! Why do they "bother to recruit regiments of teachers, in more numbers, at a cheaper price"?

Griboyedov is a patriot who fights for the purity of the Russian language, art and education. Making fun of the existing education system, he introduces such characters as the Frenchman from Bordeaux, Madame Rosier into the comedy.

The clever, educated Chatsky stands for genuine enlightenment, although he is well aware of how difficult it is under the conditions of the autocratic-serf system. After all, the one who, "not demanding either places or promotion ...", "will stick a mind thirsty for knowledge into science ...", "will be known as a dangerous dreamer!" And there are such people in Russia. Chatsky's brilliant speech is evidence of his extraordinary mind. Even Famusov notes this: "he is small with a head", "he speaks as he writes."

What keeps Chatsky in a society alien in spirit? Only love for Sophia. This feeling justifies and makes clear his stay in Famusov's house. Chatsky's intelligence and nobility, a sense of civic duty, indignation of human dignity come into sharp conflict with his "heart", with his love for Sophia. Socio-political and personal drama unfolds in a comedy in parallel. They are inseparably fused. Sophia belongs entirely to the Famusian world. She cannot fall in love with Chatsky, who with all his mind and soul opposes this world. The love conflict between Chatsky and Sophia grows to the scale of the rebellion he raised. As soon as it became clear that Sophia had betrayed her past feelings and turned everything past into laughter, he leaves her house, this society. In the last monologue Chatsky not only accuses Famusov, but he himself spiritually frees himself, courageously conquering his passionate and tender love and breaking the last threads that connected him with the Famusian world.

Chatsky still has few ideological followers. His protest, of course, does not find a response among "sinister old women, old people aging over inventions and nonsense."

For people like Chatsky, staying in Famusian society brings only "a million torments", "grief from the mind." But the new, the progressive is irresistible. Despite the strong resistance of the dying old man, it is impossible to stop the forward movement. Chatsky's views inflict a terrible blow with their accusations of "famus" and "taciturn". The calm and carefree existence of the Famus society ended. His philosophy of life was condemned, revolted against it. If the "Chatsk" are still weak in their struggle, then the "Famus" are powerless to stop the development of enlightenment, advanced ideas. The fight against the famusovs did not end in a comedy. It was just beginning in Russian life. The Decembrists and the spokesman for their ideas - Chatsky - were representatives of the first early stage of the Russian liberation movement.

The conflict "Woe from Wit" is still controversial among different researchers, even Griboyedov's contemporaries understood it differently. If we take into account the time of writing "Woe from Wit", then we can assume that Griboyedov uses the collision of reason, public duty and feelings. But, of course, the conflict of Griboyedov's comedy is much deeper and has a multi-layered structure.

Chatsky is an eternal type. He tries to harmonize feeling and reason. He himself says that "the mind and the heart are out of tune," but he does not understand the seriousness of this threat. Chatsky is a hero whose actions are based on one impulse, everything he does, he does in one breath, practically not allowing pauses between declarations of love and monologues denouncing the noble Moscow. Griboyedov portrays him so alive, full of contradictions that he begins to seem almost a real person.

Much has been said in literary criticism about the conflict between the "present century" and the "past century." "The present century" was represented by the youth. But young people are Molchalin, Sophia, and Skalozub. It is Sophia who first speaks of Chatsky's madness, and Molchalin is not only alien to Chatsky's ideas, he is also afraid of them. His motto is to live by the rule: "My father bequeathed to me ...". Skalazub, in general, is a man of an established order, he is concerned only with his career. Where is the conflict of the ages? So far, we observe only that both centuries not only coexist peacefully, but also the “present century” is a complete reflection of the “past century”, that is, there is no conflict of centuries. Griboyedov does not confront "fathers" and "children", he opposes them to Chatsky, who finds himself alone.

So, we see that the basis of comedy is not a socio-political conflict, not a conflict of centuries. Chatsky's phrase "mind and heart are out of tune", uttered by him at the moment of a moment's epiphany, is an allusion not to a conflict of feelings and duty, but to a deeper, philosophical conflict of living life and our mind's limited ideas about it.

It is impossible not to mention the love conflict of the play, which serves to develop the drama. The first lover, so smart, brave, is defeated, the comedy finale is not a wedding, but a bitter disappointment. From the love triangle: Chatsky, Sophia, Molchalin, it is not the mind that comes out the winner, and not even narrow-mindedness and mediocrity, but disappointment. The play gets an unexpected end, the mind turns out to be inconsistent in love, that is, in that which is inherent in living life. At the end of the play, everyone is confused. Not only Chatsky, but also Famusov, unshakable in his confidence, who suddenly turns everything that went smoothly upside down. The peculiarity of the conflict of comedy is that in life everything is not the same as in French novels, the rationality of the heroes comes into conflict with life.

The meaning of "Woe from Wit" can hardly be overestimated. One can speak of the play as a thunderous blow to the society of the "famus", "silent", skalozubov, about the play-drama "about the collapse of the human mind in Russia." The comedy shows the process of the withdrawal of the advanced part of the nobility from the inert environment and the struggle with their class. The reader can trace the development of the conflict between two socio-political camps: serfdom (Famus society) and anti-serfdom (Chatsky).

Famus society is traditional. His life foundations are such that “you need to learn, looking at your elders,” to destroy free-thinking thoughts, to serve with obedience to those who stand a step higher, and most importantly, to be rich. A kind of ideal of this society are Maxim Petrovich and Uncle Kuzma Petrovich in Famusov's monologues: ... Here is an example:

“The deceased was a venerable chamberlain,

He knew how to deliver the key with the key to his son;

He is rich, and he was married to a rich man;

Survived children, grandchildren;

He died, everyone remembers him sadly:

Kuzma Petrovich! Peace be upon him! -

What aces live and die in Moscow! .. "

The image of Chatsky, on the contrary, is something new, fresh, bursting into life, bringing changes. This is a realistic image, the spokesman for the advanced ideas of his time. Chatsky could be called a hero of his time. An entire political program can be traced in Chatsky's monologues. He exposes serfdom and its offspring, inhumanity, hypocrisy, stupid militarism, ignorance, false patriotism. He gives a merciless characterization of Famus society.

The dialogues between Famusov and Chatsky are a struggle. At the beginning of the comedy, it does not yet appear in an acute form. After all, Famusov is Chatsky's educator. At the beginning of the comedy, Famusov is supportive of Chatsky, he is even ready to concede Sophia's hand, but at the same time sets his own conditions:

“I would say, first of all: do not whims,

In name, brother, do not run wrongly,

And, most importantly, come and serve. "

To which Chatsky throws: "I would be glad to serve, it is sickening to serve." But gradually another struggle begins, an important and serious one, a whole battle. "We would have watched as the fathers did, We would have studied, looking at the elders!" - came the war cry of Famusov. And in response - Chatsky's monologue "Who are the judges?" In this monologue, Chatsky condemns "the most vile features of the past life."

Each new face that appears in the development of the plot becomes in opposition to Chatsky. Anonymous characters speak against him: Mr. N, Mr. D, 1st princess, 2nd princess, etc. Gossip grows like a snowball. In a collision with this world, the social intrigue of the play is shown.

But in comedy there is another conflict, another intrigue - love. I.A. Goncharov wrote: "Every step of Chatsky, almost every word in the play is closely connected with the play of his feelings for Sophia." It was Sophia's behavior, incomprehensible to Chatsky, that served as a motive, a reason for irritation, for that “million torment”, under the influence of which he alone could play the role indicated to him by Griboyedov. Chatsky is tormented, not understanding who his rival is: whether Skalozub, or Molchalin? Therefore, he becomes irritable, unbearable, caustic in relation to Famusov's guests.

Sophia, irritated by Chatsky's remarks, insulting not only the guests, but also her lover, in a conversation with Mr. N mentions Chatsky's madness: "He is out of his mind." And the rumor about Chatsky's madness rushes through the halls, spreads among the guests, acquiring fantastic, grotesque forms. And he himself, still not knowing anything, confirms this rumor with a hot monologue "Frenchie from Bordeaux", which he pronounces in an empty hall. There comes a denouement of both conflicts, Chatsky finds out who Sophia's chosen one is. - The taciturns are blissful in the world! - says the heartbroken Chatsky. His hurt pride, the escaped resentment burns. He breaks up with Sophia: Enough! With you I am proud of my break.

And before leaving forever, Chatsky, in anger, throws the whole Famus society:

“He will come out of the fire unharmed,

Who will have time to stay with you.

Breathe the air alone

And in him the mind will survive ... "

Chatsky leaves. But who is he - the winner or the loser? Goncharov answered this question most accurately in his article “A Million Torments”: “Chatsky is crushed by the amount of old power, inflicting a mortal blow on it with the quality of fresh power. He is an eternal denouncer of lies, hidden in the proverb - "One is not a warrior in the field." No, a warrior, if he is Chatsky, and, moreover, a winner, but an advanced warrior, a skirmisher and is always a victim. "

The bright, active mind of the hero requires a different environment, and Chatsky enters the struggle, begins a new century. He strives for a free life, for pursuing science and art, for serving the cause, not individuals. But his aspirations are not understood by the society in which he lives.

Comedy conflicts deepen off-stage characters. There are quite a few of them. They expand the canvas of the life of the capital's nobility. Most of them belong to the Famusian society. But their time is already passing. No wonder Famusov regrets that times are not the same.

So, non-stage characters can be divided into two groups and one can be attributed to Famus society, the other to Chatsky.

The first deepen a comprehensive description of the noble society, show the times of Elizabeth. The latter are spiritually connected with the main character, close to him in thoughts, goals, spiritual searches, aspirations.

Griboyedov's comedy "Woe from Wit" is an outstanding work of Russian literature. The main problem of the work is the problem of two worldviews: the "past century", which defends the old foundations, and the "present century", which stands for decisive changes. The difference in the worldview of the old Moscow nobility and the advanced nobility in the 10-20s of the 19th century constitutes the main conflict of the comedy.

The comedy ridiculed the vices of society: serfdom, soldierism, careerism, sycophancy, bureaucracy, low level of education, admiration for everything foreign, servility, servility, the fact that society values ​​not the personal qualities of a person, but "two thousand family souls", rank, money ...

The past century is a Moscow noble society, consisting of Famusovs, whip, tugoukhovsky, skalozubov. In society, people live by the principle:

You shouldn't dare in my years

Have your own judgment

because

We are small in ranks.

Famusov is a representative of the past century, a typical Moscow gentleman with all the views, manners and ways of thinking characteristic of that time. The only thing he admires is rank and wealth. “Like everyone in Moscow, your father is like this: He would like a son-in-law with stars, but with ranks,” the servant Liza describes her master. Famusov lives in the old fashioned way, he considers his uncle, Maxim Petrovich, who "deduces" and "gives pensions" his ideal. It is “not so on silver, on gold; I ate on gold; one hundred people at the service; All in orders; I always drove in a train. " However, for all his haughty disposition, "He bent into the fold" in front of the superiors, when it was necessary to serve.

Famusov most fully absorbed the laws and foundations characteristic of this time. The main norms adopted in life, he considers careerism, respect for rank, pleasing elders. Famusov is afraid of the opinions of noble nobles, although he himself willingly spreads them. He is worried about "what Princess Marya Aleksevna will say."

Famusov is an official, but he regards his service only as a source of Sitnov and income, a means of achieving prosperity. He is not interested in either the meaning or the results of labor. When Molchalin reports that there are inaccuracies in the papers:

And I have something that does not matter,

My custom is this:

Signed - off your shoulders

Nepotism is another of the ideals so dear to Famusov's heart. Kuzma Petrovich, a “venerable chamberlain,” with “a key, he knew how to deliver a key to his son,” “he was rich and he was married to a rich man,” and therefore he gets deep respect from Famusov.

Famusov is not very educated, and he “sleeps well from Russian books”, unlike Sophia, who does not “sleep from French books”. But at the same time, Famusov developed a rather playful attitude towards everything foreign. Appreciating the patriarchal way of life, he denounces Kuznetsky Most and the "eternal French", calling them "destroyers of pockets and hearts."

Poverty is considered a great vice in Famus society. So Famusov directly declares to Sophia, his daughter: "He who is poor, he is not a match for you," or: "We have a tradition since olden times, That there is honor for father and son, Be inferior, but if there are two thousand family souls, He and the groom." At the same time, a caring father shows truly worldly wisdom, taking care of his daughter's future.

An even greater flaw in society is learning and education: "Learning is the plague, learning is the reason, What is more so now than when crazy people and deeds and opinions were divorced."

The world of interests of the Famus society is rather narrow. It is limited to balls, dinners, dances, name days.

A prominent representative of the "present century" is Alexander Andreevich Chatsky, who embodies the features of the progressive noble youth of that time. He is the bearer of new views. Which he proves by his behavior, his way of life, but especially by his passionate speeches, denouncing the foundations of the "past century", to which he is clearly dismissive:

And as if the light began to grow stupid,

You can say with a sigh;

How to compare and see

The present century and the past century:

As he was famous,

Whose neck bent more often ...

Chatsky considers that century "the century of obedience and fear." He is convinced that those morals are a thing of the past and that nowadays the hunters are scared of laughter and keeps shame in check.

The traditions of days gone by are too strong. Chatsky himself turns out to be their victim. He, with his directness, wit, insolence, becomes an outrager of social rules and norms. And society takes revenge on him. At the first meeting with him, Famusov calls him "Carbonari". However, in a conversation with Skalozub, he speaks well of him, says that he is “a guy with a head”, “he writes nicely translates,” while he regrets that Chatsky does not serve. But Chatsky has his own opinion on this matter: he wants to serve the cause, not individuals. At first it may seem that the conflict between Chatsky and Famusov is a conflict of different generations, a “conflict between fathers and children,” but this is not so. After all, Sophia and Molchalin are almost the same age as Chatsky, but they fully belong to the "past century." Sophia is not stupid. Chatsky's love for her can serve as proof of this. But she absorbed the philosophy of her father and his society. Her chosen one is Molchalin. He, too, is young, but also a child of that old environment. He fully supports the morals and customs of the old noble Moscow. Both Sophia and Famusov speak well of Molchalin. The latter keeps him in the service, "because he is businesslike," and Sophia sharply rejects Chatsky's attacks on her lover. She says:

Of course, this mind is not in him

What a genius for some, but for others a plague ...

But for her, the mind is not the main thing. The main thing is that Molchalin is quiet, modest, helpful, disarms the priest with silence, does not offend anyone. In general, he is the perfect husband. You could say the quality is wonderful, but they are deceitful. This is just a mask behind which his essence is hidden. After all, his motto is "moderation and accuracy", and he is ready to "please all people without exception", as his father taught him, he persistently goes to his whole - a warm and financial place. He plays the lover only because it pleases Sophia herself, the daughter of his master:

And now I take the form of a lover

To please the daughter of such a man

And Sophia sees in him the ideal of a husband and boldly moves towards her goal, not being afraid of "what Princess Marya Alekseevna will say." Chatsky, getting into this environment after a long absence, is at first very friendly. He aspires here, because the "smoke of the Fatherland" is "sweet and pleasant" to him, but Chatsky meets a wall of misunderstanding, rejection. His tragedy lies in the fact that he alone opposes the Famus society. But the comedy mentions Skalozub's cousin, who is also “odd” - “suddenly left the service,” “locked himself in the village and began to read books,” and yet he was “followed by the rank”. There is also a nephew of Princess Tugoukhovskoy "chemist and botanist" Prince Fyodor, but there is also Repetilov, who is proud of his involvement in a secret society, all activities of which boil down to "making noise, brother, making noise". But Chatsky cannot become a member of such a secret union.

Chatsky is not only a bearer of new views and ideas, but also stands for new norms of life.

In addition to a public tragedy, Chatsky is experiencing a personal tragedy. He is rejected by his beloved Sophia, to whom he “flew, trembled”. Moreover, with her light hand, he is declared insane.

Chatsky, who does not accept the ideas and customs of the "past century", becomes a troublemaker in the Famus society. And it rejects him. Chatsky is a mocker, wit, troublemaker and even an offender. So Sophia tells him:

Has it ever happened that you laughing? or in sorrow?

A mistake? Did you say good things about someone?

Chatsky does not find friendly sympathy, he is not accepted, he is rejected, he is exiled, but the hero himself could not exist in such conditions.

"The present century" and "the past century" collide in a comedy. The past is still too strong and gives birth to its own kind. But the time for changes in the person of Chatsky is already coming, although it is still too weak. The "present age" replaces the "past age", for it is an immutable law of life. The appearance of the Chatsk-Carbonarii at the turn of historical eras is natural and logical.