All school essays on literature. The conflict between the "past century" and the "present century" in the comedy A

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

The comedy of Alexander Sergeevich Griboyedov became the first in Russian literature quarter XIX century.

Classical comedy was characterized by the division of heroes into positive and negative. Victory has always been for goodies while the negative 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 "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. Ladies Famus society one goal is to marry or marry daughters to a powerful and wealthy person. With all this, in the words of Famusov himself, women are "judges of everything, everywhere, there are no judges above 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 say

Princess Marya Aleksevna!

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. It is not without pleasure that he says that "he 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 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 teteri”. 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. 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 friendship with sweet Sophia, Chatsky leaves the house of his relatives and begins independent life.

"The desire to wander has attacked him ..." His soul longed for novelty modern ideas communicating with the advanced people of the time. He leaves Moscow and goes to Petersburg. "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 and translates gloriously." At the same time, Chatsky is fascinated by social activity... 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.

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 just the acquaintance of representatives of Russian noble youth with life, philosophy, history Western Europe had 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 exchanged servants for dogs, or about 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 the forgotten newspapers of the times of the Ochakovskys and the conquest of the Crimea." A sharp protest evokes in him the noble servility in front of everything foreign, French upbringing, common in a lordly environment. In his famous monologue about the "Frenchie from Bordeaux," he talks about ardent affection common people to your 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 thirsty for knowledge;

Or God himself will stir up a fever in his soul

To the creative arts, high and beautiful, -

They immediately: robbery! Fire!

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

In addition to Chatsky, such young people in the play, perhaps, also include cousin Skalozub, 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 "miserable 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. Collided not easy different people, but different worldviews, different public 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 reason 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 the clever, educated person in Russia is still topical today. To this day, they suffer more from the mind than from its absence. In this sense, Griboyedov created a comedy for all time.

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 in Famus society as enemies of free life and does not find role models in it. 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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“The main role, of course, is the role of Chatsky, without

which would not be a comedy, but would be,

perhaps a picture of mores. ”

(I.A. Goncharov)

One cannot but agree with Goncharov. The figure of Chatsky defines the conflict of comedy, both of it storylines... Griboyedov describes only one day in Famusov's house, however, he touches on almost all aspects of the life of his heroes.

First about Chatsky. The play was written at a time when young people like Chatsky were bringing new ideas and moods to society. In the monologues and remarks of Chatsky, in all his actions, what was most important for the future Decembrists was expressed: the spirit of freedom, a free life. Personal freedom is the motive for writing Griboyedov's comedy. And freedom from outdated ideas about love, marriage, honor, service, the meaning of life. Chatsky and his, unfortunately, a few like-minded people strive to change the idea of ​​the characters of the Famus society, or “the past century,” about the above concepts. They would like to see all people free and equal. At the same time, Chatsky wants to serve the fatherland, "the cause, not the people." He hates the whole past: slavish admiration for everything foreign, servility, servility, sycophancy.

Now about the Famus society. It represents a mass of people who are looking only for ranks, “money to live”, not love, but a profitable marriage. Their dream, as Famusov says, is “to take all the books and burn them”.

The main representative of this society, as the name suggests, is Pavel Afanasyevich Famusov, who holds a high post. But he practically does not engage in the service, only signing papers, without delving into their meaning and without even reading them:

And I have, what is the matter, what is not the matter,

The custom is this:

Signed, off your shoulders.

Famusov appreciates ranks and wealth in people, therefore he is looking for an appropriate pair for his daughter. “He who is poor is not a match for you,” he instills in Sophia. Thus, Griboyedov creates a negative impression on the reader about the representatives of the “past century” in general, and about Famusov in particular.

Another character of the “past century” is Molchalin. It is clearly characterized by the following remark:

My father bequeathed to me:

First, to please all people without exception -

The owner, where he happens to live,

To the chief with whom I will serve,

To his servant who cleans dresses,

Swiss, janitor, to avoid evil,

To the janitor's dog, to be affectionate.

In his person, Griboyedov created an exceptionally expressive image of a scoundrel, a "low-worshiper and a businessman", as yet a petty scoundrel, who can, however, reach "the known degrees."

There are still many representatives of the Famus society in the play, whose interests, it seems to me, are largely similar to those of Famusov and Molchalin: Skalozub, Khryumina, Khlestov, Gorichi and others.

Repetilov acts as a kind of parody of Chatsky, his views and ideas. An important role is played by non-stage characters who show that Chatsky is not alone in his views. This is, for example, the nephew of Princess Tugouhovskaya, Skalozub's cousin.

All this entourage takes revenge on Chatsky for the truth, for an attempt to disrupt the usual way of life. Beloved girl, Sophia, turning away from him, hurts the hero most of all, spreading gossip about his madness. Here's the result: the only sane person is declared insane!

"So! I have sober up in full! ”- exclaims Chatsky at the end of the play. Is it a defeat or a victory? Yes, the end of this comedy is far from cheerful, but Goncharov believes that the role of all the Chatskys is “passive,” but at the same time always victorious.

So, at the center of the comedy, we see the conflict between the sane person and the conservative majority.

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

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

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. 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 say

Princess Marya Aleksevna!

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 known degrees.”

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 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. 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, 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 advanced people of the time. He leaves Moscow and goes to Petersburg. "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.

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,” exchanging 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 vilest features of the past life", people who "draw their judgments from the forgotten newspapers of 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 thirsty for knowledge;

Or God himself will stir up a fever in his soul

To the creative arts, high and beautiful, -

They immediately: robbery! Fire!

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

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. Well, will Skalozub forgive him if he hears about himself: "Wheezing, 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 this news, they sincerely believe in gossip, because, indeed, in this society he seems insane.

Alexander 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 reason 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.