Comparative characteristics of the “present century” and the “past century” based on the comedy Woe from Wit (A. S. Griboedov)

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, then 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 bothering to recruit more teachers from regiments, at a cheaper price? ... we are ordered to recognize everyone as a historian and geographer.”	“They would take all the books and burn them,” “Learning is a plague, learning is the reason that now, more than ever, there are more crazy people, deeds, and opinions.”
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 to nepotism, patronage	“And who are the judges? - For the antiquity of years to a 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, 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 the light […]
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 Griboedov 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 can’t help but 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. Griboedov 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. Griboyedov “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 are included in 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 how romantic hero on the one hand, he categorically does not accept an 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, he is 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 Griboedov’s comedy, Alexander Sergeevich “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 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, therefore, 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. Griboyedov 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 presented to the reader female character 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. Literary life This period was determined by clear signs of the crisis of the autocratic-serf system and the maturation of the ideas of noble revolutionism. 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 - character traits: 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 true face 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 […]

The comedy “Woe from Wit” by Alexander Sergeevich Griboyedov 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 Griboedov, “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 (Sofia 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 Famusov society, because this is the 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 number old power, striking her with his blow with new force. 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.”

ATTITUDE TO EDUCATION

The present century: The main representative of the present century in comedy is Chatsky. He is smart, well-developed, “knows how to talk,” “he knows how to make everyone laugh, he chats and jokes.” Unfortunately, his intelligence makes him feel “out of place” in Famus society. People do not understand and do not listen to him, and towards the end of the work they consider him crazy.

The past century: In the work, Famusov (it is he and his society that are considered as representatives of the past century) has a very negative attitude towards education: “They would take the books and burn them.”

(In a conversation about Sophia:) “Tell me that it’s not good for her to spoil her eyes, and reading is of little use: French books make her sleepless, but Russian books make it painful for me to sleep.” “Learning is the plague, learning is the cause.” “He’s been reading fables all his life, and these are the fruits of these books” (about Sophia).

Famusov believes that education is a completely unnecessary part human life that, having money, a person does not need either education or books (as a way of entertainment).

ATTITUDE TO THE SERVICE

The present century: Chatsky was in military service. His main goal is business, not profit, rank. Service is necessary for self-development and improvement of abilities. “I would be glad to serve, but being served is sickening.”

The past century: For Famusov, service is, first of all, receiving a rank. Military service is also a way to develop a career, and a career means money. Famusov believes that a person without money is a nobody - a person of the lowest class.

ATTITUDE TO WEALTH AND RANK

The present century: For Chatsky, wealth is not the main characteristic of a person, although he understands that it is an indicator of power (in any century). “And for those who are higher, flattery was woven like lace.” - people are ready to say goodbye to pride and do anything for the sake of money. "Ranks are given by people, but people can be deceived."

The past century: Wealth is the definition of position in society. If a person is rich, then Famusov will most likely happily begin to communicate with him (These are visits to dear guests, and also, perhaps, benefits for himself). Of course, Famusov also wants to find a rich husband for his daughter Sophia - to improve his own income. "Whoever is poor is not a match for you." “Be inferior, but if there are two thousand family souls, that’s the groom.”

ATTITUDE TOWARDS FOREIGNERS

The present century: While in Europe, Chatsky got used to its variability, life, movement, fashion. “What new will Moscow show me?” “As from an early time we were accustomed to believe that without the Germans there is no salvation for us.” “Ah, if we were born to adopt everything, at least from the Chinese we could borrow a little from their wise ignorance of foreigners. Will we ever resurrect from the foreign power of fashion? So that our smart, cheerful people, even in language, do not consider us Germans.”

The past century: Having become accustomed to his generation, Famusov does not welcome French fashion. Not approving of books at all, he dislikes French novels even more. "French books keep her from sleeping." When Famusov found Molchalin at Sophia’s: “And here are the fruits of these books! And all the Kuznetsk Most, and the eternal French, from there fashion for us, and authors, and muses: destroyers of pockets and hearts! When will the Creator deliver us from their hats! Cheptsov! And hairpins! And pins! And book and biscuit shops!

ATTITUDE TO FREEDOM OF JUDGMENT

This century: First of all, you need to listen to yourself and your mind. “Why are other people’s opinions only sacred? I believe my own eyes.” In a conversation with Molchalin, Chatsky completely disagrees with him that “at their age they should not dare to have their own judgments.” But, unfortunately, the availability own opinion leads him to troubles in Famus society.

The past century: “Today, more than ever, there are more crazy people, deeds, and opinions.” Accordingly, all troubles occur due to the emergence of other people’s own opinions. In Famus society, it is beneficial to keep with you those who do not have such a “flaw”. People must live and act strictly according to the template, obeying, most importantly, people who are higher in rank.

ATTITUDE TO LOVE

Current century:

1) For Chatsky, love is, first of all, a sincere feeling. Despite this, he knows how to think sensibly and puts love no higher than reason.

2) Raised on French novels, Sophia completely loses herself in her dreams, which are often very different from reality. This makes her blind, not seeing that Molchalin is looking exclusively for profit from their “love.” “I don’t care what’s in it, what’s in the water!”, “ happy hours do not notice".

3) Molchalin hardly understands the concept of “sincere love”. Beautiful words are the only way he influences Sophia, for whom this and the ideal fictional image she created of him are quite enough. Sofia for Molchalin - perfect way get close to her father's money. According to Chatsky, Molchalin is not worthy of love. At the same time, he manages to flirt with Lisa. As a result, for him Sophia is a benefit, Lisa is entertainment.

The past century: Famusov does not believe in the existence of love, since he himself is in love only with his own income. In his opinion, marriage is about good connections and climbing the career ladder. “That beggar, that dandy friend, is a notorious spendthrift, a tomboy; What a commission, creator, to be the father of an adult daughter!”

The comedy “Woe from Wit” by A.S. Griboedov 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. Main character“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 like that? good example for imitation, 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 ability to “curry favor,” according to Famusov, is worthy of respect, and to the younger generation one 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 has 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 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 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 for mutual love Sophia. 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 human personality. 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 in different ways interaction with this society. This conflict cannot be resolved by verbal battles. Only time and succession 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 Griboyedov”

Work test

The comedy “Woe from Wit” by A.S. Griboedov 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.”

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 lecture 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?

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.

The younger generation in a society of conservative nobility. Image of Molchalin.

“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.

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.

Work test

Makeup. Skin and hair care. Manicure

The younger generation in a society of conservative nobility. Image of Molchalin.

“The Present Century” in the play “Woe from Wit.” The image of Chatsky.

conclusions

The younger generation in a society of conservative nobility. Image of Molchalin.

“The Present Century” in the play “Woe from Wit.” The image of Chatsky.

conclusions

RELATED ARTICLES