The main conflict of Griboyedov's comedy is grief from wit. Composition: Conflicts in the comedy Woe from Wit. The role of love conflict in the comedy "Woe from Wit"

(391 words) Griboyedov showed in his work that in the first third of the 19th century in Russia there was a split into two political camps. There were progressive nobles who advocated social change. Their views are expressed by Chatsky. On the other hand, the conservative nobility is portrayed in the comedy in the person of Famusov and people like him. The main conflict is determined by the fact that the heroes have opposite views on the main issues of social development.

The conflict of generations makes itself felt in the attitude of the heroes to serfdom. Representatives of the Famus society are accustomed to dispose of other people's lives. For example, a rich lady Khlestova treats her slave in the same way as a dog. She brings both of them to the party for her own entertainment, and then asks Sophia to send them a "handout" from the master's table. Chatsky expresses his attitude to this in the monologue "Who are the judges?" He tells of a landowner who exchanged his faithful servants for dogs, although they were faithful and saved him many times. Such actions cause indignation in him. He is opposed to serfdom. Also, the characters have different attitudes towards education. Representatives of the Famus society oppose education. In their opinion, unnecessary knowledge is harmful. When there is a rumor in society about Chatsky's madness, everyone is sure that the reason is in his desire to learn. Alexander, on the contrary, is a supporter of education, as it develops a person. In addition, the attitude of the actors to the service is noteworthy. Moscow society is convinced that it is worth serving only for the sake of profit. For example, Skalozub wants not to defend his homeland, but to become a general. Famusov is "the manager of the state house." Service for him is a boring duty, but he does not retire, as his position gives him a good position in society. Chatsky calls all these goals with one contemptuous word - "to serve." The protagonist believes that a decent person should, first of all, benefit the people, and not care about personal gain. In the past, he held a high position. He could have made a good career, but he left, because the sovereign's people did not appreciate his ideas. This suggests that their understanding of patriotism is different. Famusov praises Moscow for the fact that no one here wants change. Alexander condemns Moscow just for this, exposes "the most vile features of the past life." But all the same, she is dear to him, since this is his hometown. Chatsky's patriotism lies in his desire to make his country more civilized.

Thus, A.S. Griboyedov managed to show that the social conflict between the progressive and conservative nobility was very acute. These people did not find a common language on any serious issue.

Interesting? Keep it on your wall!

With artistic means, Griboyedov expressed protest against the inertia and backwardness of the then society, against class privileges and serfdom. The most educated, smartest man of his era, he caught the main social conflict that emerged after the Patriotic War of 1812, this is the realism of Griboyedov the writer. The comedy reflected the explosive, heated atmosphere of noble society on the eve of 1825. The comedy brings to the fore the ideological disagreement of the main characters, the struggle of the present century with the past, the struggle of two worldviews that developed in Russian society in the first half of the 19th century. On the one hand, representatives of the feudal reaction, the serf of antiquity Famusov, Skalozub, Countess Khryumina, on the other, the progressive noble youth, whose features are embodied by Griboyedov in the image of Chatsky. In the accusatory speeches of Chatsky and the enthusiastic stories of Famusov, the ideal of the past century rises. This was the age of Catherine with her nobles and flatterers courtiers, an age of obedience and fear, depraved morals, when insane extravagance and luxurious feasts in magnificent chambers flourished alongside the humiliating poverty and powerlessness of serfs, who could be easily sold or exchanged for the dogs they liked. This century has become the ideal of the lordly, famus society, which lives by the principle of both taking awards and having fun.

Famusov himself, of course, is the exponent of outdated feudal institutions. He is a convinced serf-owner, ready in anger to send his serfs to Siberia, a fierce opponent of education and enlightenment (if evil is to stop collecting all the books and burn them). Finally, this is a person devoid of true dignity and honor, creeping before the highest ranks for the sake of promotion, for the sake of his own enrichment.

Chatsky opposes the defenders of feudal antiquity, the enemies of free thought and enlightenment in the comedy. This is a Decembrist, this is a man who ends the era of Peter I and is trying to discern the promised land at least on the horizon, wrote about Chatsky A. I. Herzen. Between the like-minded people of Famusov and Chatsky is one of the main figures of the comedy Sophia, who also survived her grief from her wits. It is she who is assigned the difficult, but very important role of repelling Chatsky's attacks. However, the image of Sophia in the comedy is controversial. Sophia is not clearly drawn, A.S. Pushkin noted in his time. Indeed, she is endowed with both positive traits that attracted such an extraordinary person as Chatsky, aroused his love, and negative ones, constantly increasing his bewilderment and disappointment. In Sophia's behavior, her moods, there is always a contradiction between a subtle sober mind and sentimental empty experiences.

What attracted Chatsky to Sofya? What made her stand out in the world of the Famusovs, the Tugoukhovsky princesses and the Countess Khryumina-granddaughter? First of all, independence of views, independence in decision-making, in relations with people. She fell in love with the unequal to herself and with this, as it were, challenged the rules of the house-building. Deceived in her feelings, Sophia is not afraid of the judgment of others. She courageously says to Chatsky: I blame myself all around. And Molchalin contemptuously orders him to get out of the house before dawn. The strong, proud character of the girl cannot but arouse sympathy, participation in her destiny. Apparently, Chatsky always admired this independence, Sophia's determination, always hoped for her understanding, support, especially when he fell madly in love. His youthful feelings were not cooled by the distance, neither the entertainment, nor the change of places. It is no coincidence that, returning to his homeland and meeting with Sophia, he constantly appeals to the mind of his beloved, does not believe in her mental blindness.

Sophia is smart in her own way, she reads a lot. But the subject of her reading is sentimental novels, very far from reality. Under the influence of these books, Sophia develops an idea of a certain ideal hero whom she would like to love. That is why, in Chatsky's opinion, she idealizes Molchalin, a flatterer and low-worshiper. But this is not the only reason for her inclination towards Molchalin.

Observing Sophia in various situations, Chatsky finally realizes that over the years of their separation, Sophia has not grown spiritually, has not learned to critically comprehend what is happening. She succumbed to the influence of famusism, destroying all living things, that she herself imperceptibly becomes an active defender of her interests.

Why was Chatsky not convinced by Sophia's declaration of love for Molchalin? Yes, because Chatsky has a certain system of assessments, which he considers universally binding. In his assessment, Silent-ling is a pitiful creature. He is not worthy of anyone's love, let alone Sophia. According to Chatsky, she, a smart, outstanding girl, simply cannot love such a person. Chatsky still hopes that Sophia is the same as she was as a child, when they laughed at people like Molchalin together. However, he was wrong. Sophia takes Molchalin (the miserable creature!) Quite seriously. As a result, Chatsky's fight for Sophia turns into a fight with Sophia for Molchalin.

Sophia rejects Chatsky not only out of female pride (I have not written for three years ...), but also for the same reasons that Famusov and the princess reject him: he is not one of his own, he is from a different circle. The independent and mocking mind of Chatsky scares Sophia, and this finally throws him into the camp of opponents. But will such a mind make the family happy? she says directly to Chatsky.

Sophia uses traditional methods that are very common in secular society: the invention of insanity, slander, gossip could hurt a person very painfully, compromise an unwanted person. Sophia forgets the feelings that connected her with Chatsky in the past, and, offended for Molchalin, strikes Chatsky an unexpected blow: she declares him crazy! Chatsky was avenged, avenged in the most effective way in the world. Thus, the line of intimate relationships acquires a social character in comedy.

The image of Sophia is one of the central ones, since it unites many plot lines, affects the integrity of the composition of the entire work. The peculiarity of comedy is also determined by the presence in it of a cross-cutting action by Chatsky's desire to find out whom Sophia preferred to him. Cross-cutting action develops in comedy as a conflict, based on the confrontation between representatives of the two temporary systems of the present century and the past century. In the image of Sophia, A.S. Griboyedov showed how an extraordinary girl is enslaved by Famusism, how she gradually becomes an expression of the interests of the environment in which she is brought up.

The main conflict of the comedy "Woe from Wit" is the conflict between enlightenment and serfdom

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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, honor, 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, "venerable chamberlain", with "a key, and he knew how to deliver a key to his son," "he was rich and he was married to a rich man," and therefore he chills with 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: "Who is poor, he is not a match for you", or: "We have it from olden times that honor for father and son, Be bad, 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 the future of his daughter.

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, 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, audacity, becomes a troublemaker 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 is also 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. We can 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 Famusian 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 the nephew of Princess Tugoukhovskoy "chemist and botanist" Prince Fyodor, but there is also Repetilov, who is proud of his involvement in a certain 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 are 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.

The main conflict in the comedy "Woe from Wit

Pushed around by Paskevich,

The disgraced Ermolov slanders ...

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 Afanasyevich 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 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 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 that 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 he often "bent his neck" in bows. But "he had a hundred people at his service," "all in orders." This is the ideal of the 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 system, 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 familiar with the spirit of the “past century”, marked by servility, hatred of enlightenment, and the emptiness of life. All this early aroused boredom and disgust in our hero. Despite his friendship with dear 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” 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, according to Famusov, he "got it right" by 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.

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

That is to respect whom 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 of the times of the Ochakovskys and the conquest of the Crimea”. A sharp protest arouses in him a noble admiration for all foreigners, a French upbringing, which is common in a lordly environment. 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, a “chemist and botanist”. But the play speaks about 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: "Hrypun, 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 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 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.

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,” advocating drastic 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 mocks the vices of society: serfdom, soldierism, careerism, sycophancy, bureaucracy, low level of education, admiration for all foreigners, servility, servility, the fact that society values not the personal qualities of a person, but “souls of two thousand tribal”, rank, money ...
The past century is a Moscow noble society, consisting of Famusovs, whip, tugouhovsky, 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 characterizes her master. Famusov lives in the old-fashioned way, considers his uncle, Maxim Petrovich, who “deduces” and “gives pensions” his ideal. He “is not the same 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 his 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, honor, 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, “venerable chamberlain,” with “a key, and he knew how to deliver the key to his son,” “he was rich and he was married to a rich man,” and therefore he is deeply respected by 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: "Who is poor, he is not a match for you", or: "We have it from olden times that 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 the future of his daughter.
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, audacity, becomes a troublemaker of social rules and norms. And society takes revenge on him. At the very 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 is also 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. We can 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 the priest 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 and rejection. His tragedy lies in the fact that he alone opposes the Famusian 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 the nephew of Princess Tugoukhovskoy, "chemist and botanist" Prince Fyodor, but there is also Repetilov, who is proud of his involvement in a certain secret society, whose entire activity boils 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 are 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 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.

Essay on literature on the topic: The main conflict of the comedy "Woe from Wit"

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The main conflict of the comedy "Woe from Wit"