In his comedy, Griboyedov deliberately collides the “present century” and the “past century.” For what? In order to expose the problems of both centuries. But there are many problems in Russia - serfdom, upbringing and education of youth, promotion to ranks. The present century is represented by the young nobleman Chatsky, who was educated in Europe. He wants to apply the acquired knowledge in Russia. But, alas, Russia lives in the past century with its terrible, ugly plague - serfdom. The past century is represented by conservative feudal lords led by Famusov. They are not going to give up their positions without a fight. And so the swords of a verbal duel crossed, only sparks fly.

The first round is the attitude towards wealth and rank. Young people are ready and want to serve Russia. “I would be glad to serve, but being served is sickening.” This is Chatsky's slogan. What can Famusov offer in response? Hereditary service. His ideal is the dense uncle Maxim Petrovich (and where did he find him)? He served under Catherine the Great, and it doesn’t matter that he was a stupid buffoon.

Round two - attitude to education issues. Famusov's attack - education is not needed, it is scary, like the plague. Educated people are dangerous and scary. But following the fashion, they hire foreign teachers. Chatsky counters - he sees Russia as educated, enlightened, cultural. Somewhat reminiscent of the ideas of the early Decembrists.

Round three - attitude towards serfdom. Chatsky is indignant - he does not understand how people sell people like cattle, change them, play cards with them, separate families, send them to distant cold Siberia. For Famusov, this is common practice.

“The Past Century,” as is often customary in Russia, fights not according to the rules, not fairly. If you lose to your opponent, you need to neutralize him for a while and take him out of the game. Everything is simple and tastefully made by the hands of a once beloved woman. So as not to interfere with her and others living in the old way, she publicly slandered Chatsky, saying that he was mentally ill. It’s good that at least he’s not violently insane, otherwise he’d be completely isolated from society. And what to take from a sick person? He doesn't know what he's saying.

In fact, there is no one to support Chatsky. He has no comrades-in-arms, and he alone cannot cope with Famusov and others like him. The play mentions people who, from the point of view of the Famus company, are strange. This is Skalozub's cousin, reading books in the village. Yes, Prince Fedor, to whom the label “chemist and botanist” was firmly stuck. What is funny and shameful about this is not clear. Repetilov confidentially reports that he is a member of some society. Nobody knows what they are doing there. “We make noise,” as Repetilov himself puts it about his activities.

Humiliated, insulted, but not defeated, Chatsky has no choice but to leave this city and the people who slandered and rejected him.

Option 2

The story was completed by 1824. At this time, disagreements over views were growing between people in different strata of society. Literally a year later, the Decembrists rebelled and this happened approximately because of an emerging problem. Those who supported everything new, reforms, changes in both politics and literature, stood against conservative relatives.

Chatsky was approximately as liberal-minded as he was, literally personifying youth, ardor and the desire for change. And Famusov, like all older people, was inclined to believe that “it was better before,” and therefore he advocated preserving this “before.” When Chatsky had to return to the capital, the first thing that caught his eye was that Sophia began to speak the same way as her father. The words of his beloved hurt, but the young man understood the power of propaganda that fell in powerful waves on Sophia from her father.

Actually, the first clash between the “past century” and the “present” occurred on the basis of military service. For Famusov, service is only a way to earn money. What is noteworthy: earning money at any cost. He doesn’t care that sometimes he has to accommodate higher ranks, but Chatsky has a different attitude. Having succinctly and a little rudely said the phrase “I would be glad to serve, it’s sickening to be served,” he clearly explained his position. He literally has an aversion to the blind worship of foreign things, veneration of rank, and serfdom, which are so dear to the Famus circle.

Famusov's friends, in turn, consider Sophia's lover to be an extravagant, insane, sloppy dandy in his actions and words. And now, you can imagine how difficult it was for Sophia: on the one hand, her father promotes foreign writers and everything else, and on the other, the young man talks about the uselessness of foreign teachers.

Thus, through the mouth of Chatsky, Griboyedov himself spoke to the people about the need for change. He tried in vain to convey that everything that exists in Russia is already good, that they have their own teachers, much better than foreign ones. And creativity... Griboyedov decided to prove by his own example that creativity is better in Russia.

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The comedy “Woe from Wit” by Alexander Sergeevich Griboedov is a bright and original work. It not only outlived its creator and immortalized his name, but to this day remains sharply satirical and, unfortunately, relevant. Written during the era of preparation for the “knightly feat” of the Decembrists, the play spoke about the moods and conflicts of that tense time. Echoes of pre-Decembrist sentiments were heard in Chatsky’s harsh denunciations, in the frightened remarks of Famusov and his friends, and in the general tone of the comedy. Thus, the confrontation between the main character Chatsky and “Famusov’s Moscow” was a real projection of the processes taking place in the country.

The image of the main character, Alexander Andreevich Chatsky, is still ambiguous, arousing either admiration for his courage or sympathy. After all, he vehemently denounces lies and all the foundations that prevent one from living honestly and freely. But why are such worthy people doomed to be rejected, misunderstood and unhappy? Is this really the fate of everyone who fights for bright ideals, who is ahead of their time?

So, at the center of the comedy lies a clash between supporters of lordly Moscow and a group of new people. These new people are represented in the comedy by Chatsky, Princess Tugoukhovskaya’s nephew, Skalozub’s brother, Gorich, professors and students of the Pedagogical Institute, “who practice schisms and unbelief,” some people who teach in boarding houses and lyceums. Chatsky constantly says “we” about these people, each of them “breathes more freely and is in no hurry to fit into the regiment of jesters.” It is easy to understand that such people in a society of rock-toothed and silent people are considered “dangerous dreamers.” They are afraid of them, hearing their speeches, they shout “Robbery! Fire!".

But only Chatsky directly opposes the old order in the comedy. By this, the author emphasizes the exceptional position of people with new views, the views of the “present century.” “In my comedy,” wrote Griboyedov, “there are twenty-five fools for one sane person.” The figure of Chatsky, receiving a special place in the play, becomes large and strong.

The hero's life story is outlined in the comedy in separate strokes. Childhood in the Famusovs’ house (Sophia talks about this in the 5th episode and Chatsky himself in the 7th episode I), then service in the regiment “five years ago”, St. Petersburg - “connection with the ministers, then a break”, travel abroad - and a return to the sweet and pleasant smoke of the Fatherland.

Chatsky is young, he is no more than twenty-three to twenty-four years old, and he already has a lot of events behind him. It is no coincidence that he is so observant and understands people well.

In one of his letters, Griboedov wrote about the features of his play: “The girl herself, who is not stupid, prefers a fool to an intelligent man... And this man, of course, is in conflict with the society around him, no one understands him, no one wants to forgive him, why is he a little taller than others... Voice general unkindness reaches him, and the dislike of the girl for whom he came to Moscow alone is completely explained to him, he did not give a damn to her and everyone else - and was like that. The queen is also disappointed about her honey honey..."

From this author’s explanation it becomes clear that Chatsky’s tragedy unfolds at the core of love experiences. But this also emphasizes the socio-political intensity of the comedy, strengthens it, because this intensity arises as a result of real life circumstances. Chatsky fights for his bright feelings and for his life ideals.

Each outbreak of personal resentment entails Chatsky’s involuntary rebellion against the inertia of Sophia’s circle. This characterizes the hero as a thinking, progressive and youthfully ardent person, doomed to misunderstanding in Famus society, because this is a time of silent, soulless and ambitious sycophants. And, knowing this, Molchalin became bolder and adopted a patronizing tone in his relations with Chatsky, whom he considered a loser.

Meanwhile, the unexpected coldness of the girl whom the protagonist passionately and sincerely loves, her neglect so stuns Chatsky that in despair he throws all his pain and contempt into the eyes of Famus society in accusatory monologues. And only self-esteem saves him from useless humiliation before this world of servility and servility: “Chatsky is broken by the amount of old power, having dealt his blow to it with the power of the new. He is the personification of the proverb: “alone in the field is not a warrior.” But I still think that a warrior and, moreover, a winner, is only an advanced warrior, a skirmisher and therefore always a victim.”

Of course, he did not bring Famusov to his senses or correct him. But if Famusov had no witnesses when leaving, he would have easily dealt with his grief, he would have just hastened with his daughter’s wedding. But this is no longer possible. Thanks to Chatsky, the next morning this incident will be discussed throughout Moscow. And Famusov will inevitably have to face something that had never even occurred to him before.

And only Sofya Pavlovna is difficult to treat with the same indifference with which we part with the other heroes of the play. There is a lot of cuteness in her, she has all the makings of a remarkable nature: a lively mind, courage and passion. She was ruined by the stuffiness of her father's house. Her ideals are wrong, but where do other ideals come from in Famus society? It’s hard for her, of course, harder even than for Chatsky, she gets her “millions of torments.”

And Chatsky’s words will spread, be repeated everywhere and create their own storm. The battle is just beginning. Chatsky’s authority was known before; he already has like-minded people. Not all of his peers have such experience: Skalozub complains that his brother left the service without receiving rank and began reading books. One of the old women complains that her nephew, Prince Fyodor, is studying chemistry and botany.

All that was needed was an explosion, and the battle began, stubborn and hot, on one day, in one house, but its consequences would affect all of Moscow and Russia.

Chatsky, undoubtedly, boldly looked into the future and could not accept and understand the inertia and hypocrisy of the Famusovs and Molchalins. He is a representative not only of the present century, but also of the coming century. He suffered the same fate as many: those around him did not find anything sensible in his thoughts, they did not understand him and did not even try to understand him. Unfortunately, many people find it difficult to reject outdated stereotypes, principles, habits, because it is easier to consider those who think about development and strive forward as crazy.

Chatsky created a split among the representatives of the past century, and, although he himself was deceived in his personal expectations and did not find the “charm of meetings”, “living participation,” he “sprinkled living water on the dried soil,” taking with him “a million torments.”

(9)

“THE PRESENT CENTURY” AND “THE PAST CENTURY” IN GRIBOEDOV’S COMEDY “WOE FROM MIND”
Plan.
1. Introduction.
“Woe from Wit” is one of the most topical works in Russian literature.
2. Main part.
2.1 The 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 Arakcheevo army environment.
2.4 Chatsky is a representative of the “present century”.
3. Conclusion.

The collision of two eras gives rise to change. Chatsky is broken by the amount of old power, having dealt it, in turn, a fatal blow with the quality of fresh power.

I. Goncharov

The comedy “Woe from Wit” by Alexander Sergeevich Griboyedov can be called one of the most topical works in Russian literature. Here the author touches on the pressing issues 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 the Patriotic War of 1812, a split occurred in Russian noble society: two public camps were formed. The camp of feudal reaction in the person of Famusov, Skalozub, and other people in their circle embodies the “past century.” New times, new beliefs and positions of advanced noble youth are represented in the person of Chatsky. Griboedov expressed the clash of “centuries” in the struggle of these two groups of heroes.

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

Representatives of the “past century” do not accept novelty, and see enlightenment as the cause of all the problems of the present:

Learning is the plague, learning is the reason,
What is now, more than ever,
There were crazy people, deeds, and opinions.

Famusov is usually called a typical representative of the old Moscow nobility. He is a convinced serf owner and sees nothing reprehensible in young people learning to “bend over backward” and serve in order to achieve success in their careers. Pavel Afanasyevich categorically does not accept new trends. He bows to his uncle, who “ate on gold,” and the reader understands perfectly well 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 aims to become a general.” At first glance, his image is caricatured. But Griboedov created a completely truthful historical portrait of a representative of the Arakcheev army environment. Skalozub, 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 of Famus society are egoists, hypocrites and self-interested people. They are only interested in their own well-being, social entertainment, intrigue and gossip, and their ideals are wealth and power. Griboyedov exposes these people in Chatsky's passionate monologues. Alexander Andreevich Chatsky - humanist; it protects the freedom and independence of the individual. In the angry monologue “Who are the judges?” the hero denounces the feudal system he hates, and highly values ​​the Russian people, their intelligence, and love of freedom. Chatsky’s groveling before everything foreign evokes a sharp protest.

Chatsky is a representative of the progressive noble youth and the only hero in the comedy who embodies the “present century.” Everything says that Chatsky is a bearer of new views: his behavior, lifestyle, speech. He is confident that the “age of submission 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 straightforwardness and audacity. The conflict between Chatsky and Famusov only at first glance appears to be an ordinary conflict between fathers and children. In fact, this is a struggle of minds, views, ideas.

So, along with Famusov, Chatsky’s peers, Molchalin and Sophia, also belong to the “past century.” Sophia is not stupid and, perhaps, in the future her views could still change, but she was raised in the company of her father, on his philosophy and morality. Both Sophia and Famusov favor Molchalin, and let him “not have this mind, / What a genius is for others, but for others a plague.”..

He, as expected, 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 three years, he returns to his home and at first is very friendly. 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 Famus society; Even the girl he loves rejects him. Moreover, the conflict with society is closely intertwined with Chatsky’s personal tragedy: after all, it is with Sophia’s suggestion that conversations about his madness begin in society.

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 of the noble society of 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 of “Woe from Wit,” Alexander Andreevich Chatsky, aptly called the disputing parties “the present century” and “the past century.” The generational dispute is also presented in the comedy “Woe from Wit”. What each side represents, what their views and ideals are, will help you understand the analysis of “Woe from Wit.”

The “past century” in 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 the phenomena of comedy take place. He is a manager in a government house. His daughter Sophia was raised by him from childhood, because... her mother died. Their relationship reflects the conflict between fathers and sons in Woe from Wit.

In the first act, Famusov finds Sophia in a room with Molchalin, his secretary, who lives in their house. He doesn’t like his daughter’s behavior, and Famusov begins to read morals to her. His views on education reflect the position of the entire noble class: “We were given these languages! We take tramps, both into the house and on tickets, so that we can teach our daughters everything.” There are minimum requirements for foreign teachers, the main thing is that there should be “more in number, at a cheaper price.”

However, Famusov believes that the best educational influence on a daughter should be the example of her own father. 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 such a good example to follow if, a second before he began to moralize Sophia, the reader watched him openly flirt with the maid Lisa? For Famusov, the only thing that matters is what people say about him in the world. And if noble society does not gossip about his love affairs, it means his conscience is clear. Even Liza, imbued with the morals reigning in Famusov’s house, warns her young mistress not against nightly meetings with Molchalin, but against public gossip: “Sin is not a problem, rumor is not good.” This position characterizes Famusov as a morally corrupt 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 for the entire Old Moscow noble society) it is more important to seem like a worthy person, and not to be one. Moreover, the desire of representatives of the “past century” to make a good impression extends only to rich and noble people, because communication with them contributes to the acquisition of personal gain. People who do not have high titles, awards and wealth receive only contempt from the noble society: “Whoever needs it: those who are in need, 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 his attitude towards family life. “Whoever is poor is not a match for you,” he tells his daughter. The feeling of love has no power; it is despised by this society. Calculation and profit dominate the life of Famusov and his supporters: “Be inferior, but if there are two thousand family souls, that’s the groom.” This position creates a lack of freedom for these people. They are hostages and slaves of their own comfort: “And who in Moscow hasn’t had their mouths gagged at lunches, dinners and dances?”

What is humiliation for progressive people of the new generation is the norm of life for representatives of the conservative nobility. And this is no longer just a generational dispute in the work “Woe from Wit,” but a much deeper divergence in the views of the two opposing sides. With great admiration, Famusov recalls his uncle Maxim Petrovich, who “knew honor before everyone,” had “a hundred people at his service,” and was “all decorated.” What did he do to deserve his high position in society? Once, at a reception with the Empress, he stumbled and fell, painfully hitting the back of his head. Seeing the smile on the face of the autocrat, Maxim Petrovich decided to repeat his fall several more times in order to amuse the empress and the court. Such an ability to “help oneself,” according to Famusov, is worthy of respect, and the younger generation should take an example from him.

Famusov envisions Colonel Skalozub as his daughter’s groom, who “will never utter a smart word.” He is good only because he “picked up a ton of marks of distinction,” but Famusov, “like all Moscow people,” “would like a son-in-law ... with stars and ranks.”

The younger generation in a society of conservative nobility. 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 sons. 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 modest lover. But he, like Famusov, is very afraid that society might have a bad opinion about him: “Evil tongues are worse than a pistol.” As the action of the play develops, Molchalin's true face is revealed. It turns out that he is with Sophia “out of position,” that is, in order to please her father. In fact, he is more passionate about the maid Liza, with whom he behaves much more relaxed than with Famusov’s daughter. Beneath Molchalin's taciturnity lies his duplicity. He does not miss the opportunity at a party to show his helpfulness in front of influential guests, because “you have to depend on others.” This young man lives according to the rules of the “past century”, and therefore “Silent people 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 raised in the work, a representative of the “present century,” is Chatsky. He was brought up together with Sophia, there was youthful love between them, which the hero keeps in his heart even at the time of the events of the play. Chatsky has not been to Famusov’s house for three years, because... traveled around the world. Now he has returned with hopes of Sophia's mutual love. But here everything has changed. His beloved greets him coldly, and his views are fundamentally at odds with the views of Famus society.

In response to Famusov’s call “go and serve!” Chatsky replies that he is ready to serve, but only “to the cause, not to individuals,” but he is generally “sickened” to “serve.” In the “past century” Chatsky does not see freedom for the human person. He does not want to be a buffoon for a society where “he was famous whose neck was more often bent,” where a person is judged not by his personal qualities, but by the material wealth he possesses. Indeed, how can one judge a person only by his ranks, if “ranks are given by people, but people can be deceived”? Chatsky sees enemies of free life in Famus society and does not find role models in it. The main character, in his accusatory monologues addressed to Famusov and his supporters, speaks out against serfdom, against the slavish love of the Russian people for everything foreign, against servility and careerism. Chatsky is a supporter of enlightenment, a creative and seeking mind, capable of acting in accordance with conscience.

The “present century” is inferior in number to the “past century” in the play. This is the only reason why Chatsky is doomed to defeat in this battle. It’s just that the Chatskys’ time hasn’t come yet. A split among the nobility has only just begun, but in the future the progressive views of the protagonist of the comedy “Woe from Wit” will bear fruit. Now Chatsky has been declared crazy, because the accusatory speeches of a madman are not scary. The conservative nobility, by supporting the rumor of 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 does not reveal 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 of interacting with this society. This conflict cannot be resolved by verbal battles. Only time and a series of historical events will naturally replace the old with the new.

The conducted comparative analysis of two generations will help 9th grade students describe the conflict of the “present century” with the “past century” in their essay on the topic ““The present century” and the “past century” in the comedy “Woe from Wit” by Griboedov”

Work test

Characteristics	This century	The past century
Attitude to wealth, to ranks	“They found protection from the court in friends, in kinship, in building magnificent chambers where they indulge in feasts and extravagance, and where the foreign clients of their past lives do not resurrect the meanest traits,” “And for those who are higher, flattery, like weaving lace...”	“Be poor, but if you get enough, two thousand family souls, that’s the groom”
Attitude to service	“I’d be glad to serve, it’s sickening to be served”, “Uniform! one uniform! In their former life, he once covered, embroidered and beautiful, their weakness, their poverty of mind; And we follow them on a happy journey! And in wives and daughters there is the same passion for the uniform! How long ago did I renounce tenderness towards him?! Now I can’t fall into this childish behavior...”	“And for me, no matter what’s the matter, what’s not the matter, my custom is this: it’s signed, off your shoulders.”
Attitude towards foreign	“And where foreign clients will not resurrect the meanest traits of their past lives.” “As from an early time we were accustomed to believe that without the Germans there was no salvation for us.”	“The door is open for those invited and uninvited, especially for foreigners.”
Attitude towards education	“What, now, just like in ancient times, are they trying to recruit more teachers from the regiments, at a cheaper price? ... we are ordered to recognize everyone as a historian and geographer.”	“They would take away all the books and burn them,” “Learning is a plague, learning is the reason that now, more than ever, people, deeds, and opinions have become more insane.”
Attitude to serfdom	“That Nestor is a noble scoundrel, surrounded by a crowd of servants; zealous, they saved his honor and life more than once in the hours of wine and fights: suddenly, he exchanged three greyhounds for them!!!”	Famusov is a defender of the old century, the heyday of serfdom.
Attitude to Moscow morals and pastimes	“And who in Moscow hasn’t had their mouths gagged at lunch, dinner and dance?”	“I’m called to Praskovya Fedorovna’s house on Tuesday for trout,” “On Thursday I’m called to a funeral,” “Or maybe on Friday, or maybe on Saturday, I have to baptize at the widow’s, at the doctor’s.”
Attitude towards nepotism, patronage	“And who are the judges? - Over the centuries of free life, their enmity is irreconcilable...”	“When I have employees, strangers are very rare, more and more sisters, sisters-in-law and children.”
Attitude to freedom of judgment	“For mercy, you and I are not guys, why are other people’s opinions only sacred?”	Learning is the plague, learning is the cause. What is worse now than before, crazy people and affairs and opinions
Attitude towards love	Sincerity of feeling	“Be bad, but if there are two thousand family souls, that’s the groom.”
Ideals	Chatsky’s ideal is a free, independent person, alien to slavish humiliation.	Famusov’s ideal is a nobleman of the Catherine century, “hunters of indecency”

• Hero Brief description Pavel Afanasyevich Famusov The surname “Famusov” comes from the Latin word “fama”, which means “rumor”: by this Griboedov wanted to emphasize that Famusov is afraid of rumors, public opinion, but on the other hand, there is a root in the root of the word “Famusov” from the Latin word "famosus" - a famous, well-known wealthy landowner and high official. He is a famous person among the Moscow nobility. A well-born nobleman: related to the nobleman Maxim Petrovich, closely acquainted […]
• A. A. Chatsky A. S. Molchalin Character A straightforward, sincere young man. An ardent temperament often interferes with the hero and deprives him of impartial judgment. Secretive, cautious, helpful person. The main goal is a career, position in society. Position in society Poor Moscow nobleman. Receives a warm welcome in local society due to his origin and old connections. Provincial tradesman by origin. The rank of collegiate assessor by law gives him the right to nobility. In light of […]
• The very name of the comedy "Woe from Wit" is significant. For educators, convinced of the omnipotence of knowledge, mind is a synonym for happiness. But the powers of the mind have faced serious tests in all eras. New advanced ideas are not always accepted by society, and the bearers of these ideas are often declared crazy. It is no coincidence that Griboyedov also addresses the topic of the mind. His comedy is a story about progressive ideas and society's reaction to them. At first, the title of the play is “Woe to Wit,” which the writer later replaces with “Woe from Wit.” More […]
• After reading A. S. Griboyedov’s comedy “Woe from Wit” and critics’ articles about this play, I also thought about: “What is he like, Chatsky?” The first impression of the hero is that he is perfect: smart, kind, cheerful, vulnerable, passionately in love, loyal, sensitive, knowing the answers to all questions. He rushes seven hundred miles to Moscow to meet Sophia after a three-year separation. But this opinion arose after the first reading. When in literature lessons we analyzed comedy and read the opinions of various critics about [...]
• The image of Chatsky caused numerous controversy in criticism. I. A. Goncharov considered the hero Griboyedov a “sincere and ardent figure”, superior to Onegin and Pechorin. “...Chatsky is not only smarter than all other people, but also positively smart. His speech is full of intelligence and wit. He has a heart, and, moreover, he is impeccably honest,” the critic wrote. Apollo Grigoriev spoke about this image in approximately the same way, who considered Chatsky to be a real fighter, an honest, passionate and truthful person. Finally, I myself held a similar opinion [...]
• When you see a rich house, a hospitable owner, elegant guests, you involuntarily admire them. I would like to know what these people are like, what they talk about, what they are interested in, what is close to them, what is alien. Then you feel how the first impression gives way to bewilderment, then to contempt for both the owner of the house, one of the Moscow “aces” Famusov, and his entourage. There are other noble families, from them came heroes of the War of 1812, Decembrists, great masters of culture (and if great people came from such houses as we see in comedy, then […]
• The title of any work is the key to its understanding, since it almost always contains an indication - direct or indirect - of the main idea underlying the creation, of a number of problems comprehended by the author. The title of A. S. Griboyedov’s comedy “Woe from Wit” introduces an extremely important category into the conflict of the play, namely the category of the mind. The source of such a title, such an unusual name, which also originally sounded like “Woe to the Wit,” goes back to a Russian proverb in which the opposition between the smart and […]
• A “social” comedy with a social clash between the “past century” and the “present century” is called the comedy of A.S. Griboyedov "Woe from Wit". And it is structured in such a way that only Chatsky speaks about progressive ideas for transforming society, the desire for spirituality, and a new morality. Using his example, the author shows readers how difficult it is to bring new ideas into the world that are not understood and accepted by a society that is ossified in its views. Anyone who starts doing this is doomed to loneliness. Alexander Andreevich […]
• In the comedy “Woe from Wit” A. S. Griboyedov portrayed noble Moscow of the 10-20s of the 19th century. In the society of that time, they worshiped uniform and rank and rejected books and enlightenment. A person was judged not by his personal qualities, but by the number of serf souls. Everyone sought to imitate Europe and worshiped foreign fashion, language and culture. The “past century,” presented vividly and fully in the work, is characterized by the power of women, their great influence on the formation of tastes and views of society. Moscow […]
• The comedy by A. S. Griboedov “Woe from Wit” consists of a number of small episodes-phenomena. They are combined into larger ones, such as, for example, the description of a ball in Famusov’s house. Analyzing this stage episode, we consider it as one of the important stages in the resolution of the main dramatic conflict, which lies in the confrontation between the “present century” and the “past century”. Based on the principles of the writer’s attitude to the theater, it is worth noting that A. S. Griboyedov presented it in accordance with the traditions […]
• It’s rare, but it still happens in art that the creator of one “masterpiece” becomes a classic. This is exactly what happened with Alexander Sergeevich Griboedov. His only comedy, “Woe from Wit,” became the national treasure of Russia. Phrases from the work have entered our daily life in the form of proverbs and sayings; We don’t even think about who published them; we say: “Just by chance, keep an eye on you” or: “Friend. Is it possible to choose // a nook further away for a walk?” And such catchphrases in comedy […]
• CHATSKY is the hero of A.S. Griboyedov’s comedy “Woe from Wit” (1824; in the first edition the spelling of the surname is Chadsky). The probable prototypes of the image are PYa.Chaadaev (1796-1856) and V.K-Kuchelbecker (1797-1846). The nature of the hero’s actions, his statements and relationships with other comedy personalities provide extensive material for revealing the theme stated in the title. Alexander Andreevich Ch. is one of the first romantic heroes of Russian drama, and as a romantic hero, on the one hand, he categorically does not accept the inert environment, […]
• The very name of the comedy is paradoxical: “Woe from Wit.” Initially, the comedy was called “Woe to Wit,” which Griboyedov later abandoned. To some extent, the title of the play is a “reversal” of the Russian proverb: “fools have happiness.” But is Chatsky surrounded by only fools? Look, are there so many fools in the play? Here Famusov remembers his uncle Maxim Petrovich: A serious look, an arrogant disposition. When you need to help yourself, And he bent over... ...Huh? what do you think? in our opinion - smart. And myself [...]
• The famous Russian writer Ivan Aleksandrovich Goncharov said wonderful words about the work “Woe from Wit” - “Without Chatsky there would be no comedy, there would be a picture of morals.” And it seems to me that the writer is right about this. It is the image of the main character of Alexander Sergeevich Griboedov’s comedy “Woe from Wit” that determines the conflict of the entire narrative. People like Chatsky always turned out to be misunderstood by society, they brought progressive ideas and views to society, but conservative society did not understand […]
• The comedy “Woe from Wit” was created in the early 20s. XIX century The main conflict on which the comedy is based is the confrontation between the “present century” and the “past century.” In the literature of that time, the classicism of the era of Catherine the Great still had power. But outdated canons limited the playwright’s freedom in describing real life, so Griboedov, taking classic comedy as a basis, neglected (as necessary) some of the laws of its construction. Any classic work (drama) should […]
• The great Woland said that manuscripts do not burn. Proof of this is the fate of Alexander Sergeevich Griboyedov’s brilliant comedy “Woe from Wit” - one of the most controversial works in the history of Russian literature. A comedy with a political bent, continuing the traditions of such masters of satire as Krylov and Fonvizin, quickly became popular and served as a harbinger of the coming rise of Ostrovsky and Gorky. Although the comedy was written back in 1825, it was published only eight years later, having outlived its […]
• In the comedy "Woe from Wit" Sofya Pavlovna Famusova is the only character conceived and performed close to Chatsky. Griboedov wrote about her: “The girl herself is not stupid, she prefers a fool to an intelligent person...”. Griboyedov abandoned farce and satire in depicting the character of Sophia. He introduced the reader to a female character of great depth and strength. Sophia was “unlucky” in criticism for quite a long time. Even Pushkin considered the author’s image of Famusova a failure; “Sophia is sketched unclearly.” And only in 1878 Goncharov, in his article […]
• The famous comedy "Woe from Wit" by AS. Griboyedov was created in the first quarter of the 19th century. The literary life of this period was determined by obvious signs of the crisis of the autocratic-serf system and the maturation of the ideas of noble revolution. There was a process of gradual transition from the ideas of classicism, with its predilection for “high genres, romanticism and realism. A.S. Griboedov became one of the prominent representatives and founders of critical realism. In his comedy “Woe from Wit,” which successfully combines [... ]
• Molchalin - characteristic features: desire for a career, hypocrisy, ability to curry favor, taciturnity, poverty of vocabulary. This is explained by his fear of expressing his judgment. Speaks mainly in short phrases and chooses words depending on who he is talking to. There are no foreign words or expressions in the language. Molchalin chooses delicate words, adding a postive “-s”. To Famusov - respectfully, to Khlestova - flatteringly, insinuatingly, with Sophia - with special modesty, with Liza - he does not mince words. Especially […]
• In Griboyedv's work "Woe from Wit" the episode "Ball in Famusov's House" is the main part of the comedy, because it is in this scene that the main character Chatsky shows the true face of Famusov and his society. Chatsky is a free and free-thinking character; he is disgusted by all the morals that Famusov tried to comply with as much as possible. He is not afraid to express his point of view, which differs from Pavel Afanasyevich. In addition, Alexander Andreevich himself was without ranks and not rich, which means that he was not only a bad party […]