"The present century" and "the past century". Generational dispute in the comedy "Woe from Wit"

"THE PRESENT CENTURY" AND "THE PAST CENTURY" IN THE COMEDY OF GRIBOEDOV "Woe FROM MIND"
Plan.
1. Introduction.
Woe from Wit is one of the most topical works in Russian literature.
2. The main part.
2.1 Collision of the "present century" and the "past century".
2.2. Famusov is a representative of the old Moscow nobility.
2.3 Colonel Skalozub is a representative of the Arakcheev army environment.
2.4 Chatsky is a representative of the "present century".
3. Conclusion.

The collision of two eras gives rise to changes. Chatsky is crushed by the amount of the old power, inflicting a mortal blow on it with the quality of the fresh power.

I. Goncharov

Comedy by Alexander Sergeevich Griboyedov "Woe from Wit" can be called one of the most topical works in Russian literature. Here the author touches upon the acute problems of that time, many of which continue to occupy the minds of the public even many years after the creation of the play. The content of the comedy is revealed through the collision and change of two eras - the "present century" and the "past century".

After Patriotic War In 1812, a split occurred in the Russian noble society: two social camps were formed. The camp of feudal reaction represented by Famusov, Skalozub and other people of their circle embodies the "past century." New time, new beliefs and positions of the forefront noble youth represented by Chatsky. Griboyedov expressed the collision of "centuries" in the struggle of these two groups of heroes.

"The Past Century" is presented by the author by people different positions and age. These are Famusov, Molchalin, Skalozub, Countess Khlestova, guests at the ball. The worldview of all these characters was formed in the "golden" Catherine's age and since then has not changed in any way. It is this conservatism, the desire to preserve everything “as the fathers did,” that unites them.

Representatives of the "past century" do not accept novelty, but in education they see the cause of all the problems of the present time:

Learning is the plague, learning is the reason
What is more now than when,
Insane divorced people, and deeds, and opinions.

Famusov is usually called a typical representative of the old Moscow nobility. He is a convinced serf-owner, he does not see anything reprehensible in the fact that young people should learn to “bend over,” in order to achieve success in their service. Pavel Afanasyevich categorically does not accept new trends. He adores his uncle, who “ate on gold,” and the reader perfectly understands how his numerous ranks and awards were received - of course, not thanks to his faithful service to the Motherland.

Next to Famusov, Colonel Skalozub is "a golden bag and marks the generals." At first glance, his image is caricatured. But Griboyedov created a completely truthful historical portrait a representative of the Arakcheev army environment. Skalozub, just like Famusov, is guided in life by the ideals of the "past century", but only in a rougher form. The purpose of his life is not to serve the Fatherland, but to achieve ranks and awards.

All representatives Famus society- selfish, hypocritical and selfish. They are only interested in their own well-being, secular entertainment, intrigue and gossip, and their ideals are wealth and power. Griboyedov exposes these people in Chatsky's passionate monologues. Alexander Andreevich Chatsky - humanist; he defends the freedom and independence of the individual. In an angry monologue "Who are the judges?" Serious worship of all foreigners evokes a sharp protest from Chatsky.

Chatsky is a representative of the progressive noble youth and the only hero in a comedy who embodies the "present century." Everything says that Chatsky is the bearer of new views: his behavior, lifestyle, speech. He is convinced that the "age of obedience and fear" must become a thing of the past along with its morals, ideals and values.

However, the traditions of bygone days are still strong - Chatsky becomes convinced of this very quickly. Society sharply puts the hero in his place for his directness and insolence. The conflict between Chatsky and Famusov only at first glance is seen as an ordinary conflict between fathers and children. In fact, this is a struggle of minds, views, ideas.

So, along with Famusov, the peers of Chatsky - Molchalin and Sophia - belong to the "past century". Sophia is not stupid and, perhaps, in the future her views could still change, but she was brought up in the society of her father, on his philosophy and morality. Both Sophia and Famusov favor Molchalin, and let "this mind be absent in him, / What a genius for others, but a plague for others."

He, as it should be, is modest, helpful, silent and will not offend anyone. They do not notice that behind the mask of the ideal groom lies deceit and pretense, aimed at achieving the goal. Molchalin, continuing the traditions of the "past century", is meekly ready to "please all people without exception" in order to achieve benefits. But it is him, and not Chatsky, that Sophia chooses. The smoke of the Fatherland is "sweet and pleasant" to Chatsky.

After the lapse of three years he returns to native home and very friendly at first. But his hopes and joys are not justified - at every step he runs into a wall of misunderstanding. Chatsky is alone in his opposition to the Famus society; even his girlfriend rejects him. Moreover, the conflict with society is closely intertwined with Chatsky's personal tragedy: after all, it is with the suggestion of Sophia that conversations about his madness begin in society.

What conflict determines the collision of Chatsky with society? How was the historical conflict of the era reflected in a coma? Which of the heroes belongs to the "past century" and who belongs to the "present century"?

Answers:

The conflict of Chatsky's clash with society is initially in disappointment in love. The fact is that after a long absence (separation), returning to Moscow, he realizes that his beloved is seriously carried away by someone else. Chatsky simply loses his head, because Sophia does not immediately point out her chosen one to him. She avoids answering for a very long time, does not want to talk to her former fan. Moreover, Chatsky is tormented by thoughts about who she exchanged him for, because in her environment, in his opinion, there are no worthy options. In her actions in relation to Sophia, Chatsky reaches almost madness, which Sophia successfully took advantage of, pursuing the goal of revenge. In addition to emotional experiences, Chatsky also disappoints the whole of Moscow society. Having seen the world, and returning to his native land, he finds that during this time a lot of foreign things have been introduced (fashion, languages, etc.), but the foundations have remained the same. Ranks are still obtained by acquaintance, by kinship. Girls are looking for profitable marriages. Bribery and arbitrariness flourish. In his monologues, Chatsky "denounces" the secular society. Naturally, nobody likes this. Historical conflict era, in my opinion, in the comedy "Woe from Wit" is that, after reading French novels, Sophia dared to invite a young man to her room for the night. This is, indeed, nonsense. This is the historical conflict. Because this, in principle, should not have happened, the girls were brought up in a different spirit and could not afford it. And Sophia, for the sake of an insignificant creature, was ready to defend her opinion, to sacrifice herself. She can be justified by the fact that she was on the verge of "love madness", "love blindness." The entire “Famusian society” belongs to the “past century”, because despite the introduction of a lot of foreign into it, the foundations remain the same, there is no desire to change anything, Moscow society wants to preserve, freeze the old way. Chatsky himself can be attributed to the "present century", because he is an intelligent, modern young man, with ambitions and striving for the best. But he challenges society, and one, as you know, is not a warrior in the field. The more sublime and tragic the image of Chatsky is outlined, the more absurd. The circumstances in which he finds himself seem vulgar and stupid.

The comedy "Woe from Wit" by A.S. Griboyedov was written in the first half of the 19th century and is a satire on the views noble society 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"Woe from Wit" Alexander Andreevich Chatsky aptly called the disputing parties "the present century" and "the past century." Also presented in the comedy "Woe from Wit" generation dispute. What is each of the parties, what are their views and ideals, will make it possible to understand the analysis of "Woe from Wit".

The "bygone age" in the 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 comedy phenomena take place. He is the manager of the government house. His daughter Sophia was brought up by him since childhood, because her mother died. Their relationship reflects the conflict between fathers and children in Woe From Wit.
In the first act, Famusov finds Sophia in a room with Molchalin, his secretary, who lives in their house. He does not like the behavior of his daughter, and Famusov begins to read her morality. His views on education reflect the position of the entire nobility: “These languages ​​were given to us! We take vagrants, both into the house, and on tickets, so that our daughters can learn everything. " A minimum of requirements are imposed on foreign teachers, the main thing is that they should be "more in number, at a cheaper price."

However, Famusov believes that the example of her own father should have the best educational impact on a daughter. 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 good example for imitation, if a second before he began to lecture Sophia, the reader watched him openly flirt with the servant Lisa? For Famusov, only what is said about him in the world matters. And if the noble society does not judge him love affairs, which means that his conscience is clear. Even Liza, imbued with the morals prevailing in the house of Famusov, warns her young mistress not from night meetings with Molchalin, but from public gossip: "Sin is not a problem, rumor is not good." This position characterizes Famusov as a morally decayed 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 and for the entire old Moscow noble society) it is more important to seem a worthy person, and not to be such. Moreover, the desire of representatives of the "past century" to make a good impression applies only to rich and noble people, because communication with them contributes to the acquisition of personal gain. People who do not have high ranks, awards and wealth, are rewarded only with contempt from the noble society: "For those in need: for those arrogance, 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 the attitude to family life... “The poor man is no match for you,” he says to his daughter. The feeling of love has no power, it is despised by this society. Calculation and profit dominate in the life of Famusov and his supporters: "Be inferior, but if there are two thousand family souls, he is the groom." This position gives rise to the lack of freedom of these people. They are hostages and slaves of their own comfort: "And who in Moscow has not been gagged with lunches, dinners and dances?"

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

Famusov reads his daughter Colonel Skalozub as the bridegroom, who "will not utter the words of a clever one ever." He is good only because "he picked up the signs of darkness," but Famusov, "like everyone in Moscow," "would like a son-in-law ... with stars and ranks."

The younger generation in the society of the conservative nobility. The 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 humble lover. But he, like Famusov, is very afraid that a bad opinion might develop in society: “ Gossips worse than a pistol. " As the play develops, the true face of Molchalin is revealed. It turns out that he is with Sophia "according to his position", that is, in order to please her father. In fact, he is more attracted by the servant Liza, with whom he behaves much more relaxed than with the daughter of Famusov. Molchalin's laconicism hides his duplicity. He does not miss the opportunity to show his helpfulness to influential guests at the evening party, because "you have to depend on others." This young man lives according to the rules of the "past century", and therefore "The Molchalins 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 touched upon in the work, a representative of the "present century", is Chatsky. He was brought up together with Sophia, between them there was youthful love, which the hero keeps in his heart at the time of the events of the play. Chatsky was not in Famusov's house for three years, because wandered around the world. Now he is back with hopes for Sophia's mutual love. But here everything has changed. The beloved meets him coldly, and his views are fundamentally at odds with the views of Famus society.

To Famusov's call, "go serve!" Chatsky replies that he is ready to serve, but only "to the cause, not to the persons", but "to serve" he is generally "sick". In the "past century" Chatsky does not see freedom for the human person. He does not want to be a jester for a society where “he was famous, whose neck was more often bent,” where a person is judged not by personal qualities, but by those material benefits that he possesses. Indeed, how can one judge a person only by his ranks, if “ranks are given by people, and people can be deceived”? Chatsky sees enemies in Famus society free life and finds no role models in him. The main character in his accusatory monologues addressed to Famusov and his supporters opposes serfdom, against the slavish love of Russian people for everything foreign, against rank-worship and careerism. Chatsky is a supporter of enlightenment, a creative and seeking mind, capable of acting in harmony with conscience.

"The present century" is inferior in the play to the "past century" in number. This is the only reason why Chatsky is doomed to defeat in this battle. It's just that the time of the chatskys hasn't come yet. A split in the noble milieu has only been outlined, but in the future the progressive views of the protagonist of the comedy "Woe from Wit" will give lush shoots. Now Chatsky has been declared insane, because the accusations of a madman are not terrible. The conservative nobility, supporting the rumor about 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 by no means reveals 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 interaction with this society. This conflict cannot be resolved by verbal battles. Only time and sequence historical events will naturally replace the old with the new.

Carried out comparative analysis two generations will help students in grades 9 to describe the conflict of the "present century" with the "past century" in his essay on the theme "The present century" and "the past century" in the comedy "Woe from Wit" by Griboyedov

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Chatsky's clash with society initially determines love conflict between Chatsky and Sophia, who attracts Chatsky's wandering and condescending gaze to the environment. Trying to solve a love problem, he pays close attention, even simply recalls the existence of a number of persons whom he had previously ignored in his thoughts.

Chatsky is unpleasantly surprised and intrigued, the "Famus society" has already hooked him with its hooks, drew his attention to himself, and he, trying to understand the people around him, as a person of high intellectual analytical culture, gives them precise, concise characteristics. As typical characters, such people, even in their small and private manifestations, will reflect some historical patterns.

The historical conflict of the era between the disinterested emerging intelligentsia and the emerging extremely self-centered dullness (Chatsky, Molchalin and Repetilov) is reflected in their dialogues. Chatsky does not take them seriously, and it is completely in vain, because they take him seriously. The clash between the old straightforward sycophants and new sycophants-rogues ends with Molchalin's temporary retreat, but not Famusov is the reason for this. Famusov just after what happened can consider himself a cheated "young and early" assistant. The struggle between Chatsky and the old society will divert all of Chatsky's attention, and when he is ready to celebrate victory, it will turn out that the taciturns have come to power on the sly. Therefore, although the confrontation between Chatsky and Famusov is the most energetic and vociferous, it is actually a false path for Chatsky, which he does not notice, but what A.S. Pushkin noticed, who, as you know, refused Chatsky in his mind.

Speaking about which of the heroes belongs to the “past century” and who belongs to the “present century”, it is necessary to clearly articulate the following: A.C. Griboyedov created immortal characters, a kind of archetypes, that is, the original types of the human breed. In any society, including modern, we can find all the representatives of this comedy. It's another matter that over time, naturally, these characters change, and the current Famusov is unlikely to so openly preach subservience to the authorities as an undoubted merit and an indicator of intelligence. In the same way, Molchalin's outright vile hypocrisy is now, as a rule, hidden and hidden in the depths of his soul, coming out only occasionally.

Such as Chatsky - the eternal tomorrow of society, its energy, indomitable will, pushing everyone to show their true face. He, undoubtedly, belongs to the "present age", as, perhaps, the subtle sly Molchalin, who, despite the absence of a high origin, knows how to get into the confidence of the powers that be and use them in his petty little interests.

Famusov himself, or Skalozub, or any other of the noble guests, of course, belong to the "past century." They lack the minimum flexibility of behavior required to exist in changing conditions. The same chatterbox Repetilov, ready to join any company in order to extol it afterwards, is much more tenacious than the stupid Skalozub. Monolithic slow-witted and outright fools are replaced by cunning, courteous rogues and verbose fools who try to pass themselves off as something attractive, that is, a gradual involuntary correlation of oneself with a certain emerging ideal begins, and the first, still inept attempts to play plausible roles begin.

A.S. Griboyedov became the author of one brilliant work, which provided a huge impact for all Russian literature and took an exclusive place in it. The comedy "Woe from Wit" became the first realistic comedy in the history of Russian literature. It reflected with amazing accuracy the main conflict of the era - the clash of the conservative forces of society with new people and new trends.
For the first time in the history of Russian literature, a comedy ridiculed not one vice of society, but all at once: serfdom, emerging bureaucracy, careerism, sycophancy, martyrdom, low level of education, admiration for everything foreign, servility, servility, the fact that it is not personal qualities that are valued in society person, and “souls of two thousand generic”, rank, money.
The main representative of the "present century" in comedy - Alexander Andreevich Chatsky is a young man, well educated, who understood that “the smoke of the Fatherland” is “sweet and pleasant”, but much in the life of Russia at that time had to be changed, and, first of all, the consciousness of people.
The hero confronts the Famus society, united in its unwillingness to change anything, which is possessed by the fear that any progressive ideas, free-thinking thoughts will interfere with their calm, serene, well-fed existence. Its main representative is Famusov - an official, an intelligent person in everyday life, but an ardent opponent of everything new, progressive, the manifestation of any free thinking, liberty, new ideas:
I would strictly forbid these gentlemen
Drive up to the capital for a shot,
he says, referring to Chatsky and people like him.
Famusov, expressing the ideas of the society of which he is a representative, considers any education unnecessary and says that "there is little use in reading", and his "colleague", in the "scientific committee that settled", with a cry demanded an oath so that "literacy no one knew or studied, and the teachers for their children were nobles, who had to flatter the culture in themselves Russian society, hired "in more numbers, at a cheaper price."
Foreigners and everything foreign - this is the ideal that the representatives of the Famus society are equal to. Famusov himself - "The English Club is a venerable member to the grave" - ​​declares that "the door is open for the invited and uninvited, especially from foreigners", and it is natural that the people of the "past century", in the words of Chatsky, speak a language that is a mixture of languages "French with Nizhny Novgorod".
But not only foreigners are welcome guests in Famusov's house. It is clear that he considers every man who visits his house as a potential groom for Sophia, but certain requirements are imposed on the “candidate for groom”, and not to mental qualities, not to character traits, before that the representatives of the Famus society do not care, but to material well-being:
Be inferior, but if you have enough
There are two thousand generic souls,
He and the groom.
Of course, Sofia's beloved Molchalin, a penniless, rootless and wordless secretary of Famusov, who “needs to depend on others,” remains without a chance: “whoever is poor,” Sophia is “not a couple,” but Colonel Skalozub - “and a golden bag, and marks the generals ”.
And Chatsky has a different attitude to “stars and ranks”. He "would be glad to serve," but it is sickening to serve him, he believes that one should serve "the cause, not the persons."
But in the society of the "past century" servility and servility are considered honorable. For example, Famusov talks about his uncle Maksim Petrovich, who “ate not that on silver, on gold” and had “a hundred people at his service,” but
When do you need to curry favor,
And he bent forward.
And Chatsky is not ready to put up with such sycophancy, I opposes "the present century" and "the past century":
As he was famous, whose neck often bent,
As if not in war, but in peace, they took it with their foreheads.
They knocked on the floor without regretting! ..
But between those whom the hunt will take,
Though in servility the most ardent
Now, to make people laugh.
It is courageous to sacrifice the back of the head.
But ranks, uniforms, money - these are the ideals worshiped by the “past century”. Women "cling to their uniforms," ​​"but because they are patriots," Griboyedov notes with irony through Chatsky's lips.
But the "embroidered and beautiful" uniform concealed the "weakness and reason of poverty" of the military. A prime example Colonel Skalozub serves this, eloquently speaking only about "fry and ranks", judging everything "like a true philosopher", and casually speaks about a woman: "We did not serve together with her." V women's society the same laws reign as in the male. Topics for discussion in it are outfits, the last "ball and masquerade" and fresh gossip, "a word in simplicity will not say, all with a grimace." Having read sentimental French novels, they create in their imagination the ideal of “husband-boy, husband-servant”.
And in this, oddly enough, Famusov himself becomes Chatsky's “comrade-in-arms”, exclaiming:
When will the creator deliver us
From their hats! Cheptsov! And hairpins! And pins!
He calls the French "pockets and hearts destroyers." The origins of the vices of society surrounding Chatsky lie in society itself. Thus, representatives of the “past century” are in awe of “what Princess Marya Aleksevna will say” and what “ strongest of the world this "will not" please the dear little man. " "After all, nowadays they love the dumb," Chatsky exclaims in despair, referring to Molchalin, who does not "dare to utter his judgment."
The dependence of everything and everyone on the opinion of more than not always worthy people is a consequence of the prosperity of the Famus society, where serfs are the subject of talk and bragging, who can be exchanged for “three greyhounds”, where a low and vile person is “scolded everywhere, but accepted everywhere” where there is no place for nobility, dedication and love.
But, fortunately, Chatsky is not alone. His fresh strength was just being “born”. In addition to Chatsky, none of the stage characters represents her in the comedy, but in replicas actors there is a mention of Prince Fedor, cousin Skalozub, "chemist and botany", about the professors of the Pedagogical Institute, "practicing in schisms and disbelief."
Contrary to the author's sympathies, the victory is on the side of the Famus society, although moral victory Chatsky is obsessed. This showed the realism of comedy.
Nobody knows what will happen to Chatsky and people like him, the author leaves it to the reader to speculate.