The problem of "Mind" in Griboyedov's comedy "Woe from Wit"

Griboyedov worked on his comedy Woe from Wit in the late 1910s and early 20s of the nineteenth century. These were significant years in the history of Russia. The Patriotic War of 1812 had just ended in victory. This victory confirmed the will of the Russian people for freedom and independence, their ardent love for the Motherland. People hated autocracy and serfdom, which interfered with the economic and cultural development countries.
After World War II, many secret political societies, whose members were revolutionary-minded nobles, ready to fight despotism and tyranny. Future Decembrist societies were born in Moscow and St. Petersburg.
Young revolutionaries fought for the rights of their new era, defended new beliefs and opposed the society that was still true to the old foundations and lived according to the rules of the old time.
This is the historical situation that Griboyedov reflected in his sharp and well-aimed comedy Woe from Wit.
In the conflict between Chatsky and the Famusov camp, he showed the struggle of two opposite social forces: revolutionary nobles and feudal nobles.
It was in this conflict that Griboyedov revealed the theme of “mind.” Observing the development of the struggle, we recognize Chatsky as a Decembrist in the image. He represents a young, ardent mind, who, with his sincerity and honesty, replaced " notorious scoundrels", scammers and sycophants, "sinister old women" and old men who operated in the Famus world.
For them, as such, the concept of the mind with the meaning that Chatsky puts into it does not exist, if only all sorts of “troubles” have not accumulated, and the goals and desires are only to be “rewarded! take and live happily.
The "mind" problem Griboyedov comedy consists in what is a value for Chatsky, what is before Famusov, Molchalin and Skalozub.
Chatsky's ardent accusatory speeches clearly sound a challenge to the dirty world of "low worshipers" and "dealers". He sees the future of Russia in enlightenment and understands that with contempt for the sciences, for the Russian people, which reigns in the Famus world, the country will not receive any development.
The public conflict of comedy is represented by a clash of minds: the mind of Chatsky, longing for change and improvement, and the mind of the Famus and Silent world, faithful to the foundations of the times.
The feudal society repels Chatsky to a greater extent because of his mind. Advanced thoughts are not recognized in this world. For them, Chatsky, who “wants to preach freedom” and “does not recognize the authorities” is a “dangerous person”, “crazy in everything” and
obsessed, Sofya - who used to love Chatsky for his mind, now says to him: “... Will such a mind make the family happy?”.
Famusov, recognizing the mind of Chatsky, however, believes that he is worthy of regret:
And gloriously writes, translates,
One cannot but regret that with such a mind ...
Chatsky is no longer able to endure all this, he is forced to leave Moscow: “Get out of Moscow! I don't come here anymore."
So, we see that the mind of the protagonist, his advanced aspirations put him outside the circle of Famusovs, silent and pufferfish. This is what comedy is based on. internal development social conflict: best features, best qualities Chatsky make it into submission famus world first "weird", " a dangerous person and in the end just insane. "So what? Can't you see that he's gone mad? —
Famusov confidently exclaims under the curtain.

Problems of upbringing and education in comedy A.S. Griboyedov "Woe from Wit"

Alexander Sergeevich Griboyedov became famous and famous not only in the writer's circle, but also among common people it was after the release of his scandalous comedy “Woe from Wit”. The popularity of comedy at that time and in our days is caused, in my opinion, by the successful choice of the problem of the work - the confrontation between the "current century" and the "past century" in all areas human life. Created over 180 years ago, it is still relevant and topical, because it “brings eternal characters to the stage” that have not lost their brightness, truthfulness and strength.

Comedy A.S. Griboedov “Woe from Wit” was written after the Patriotic War of 1812, during the rise of the spiritual life of Russia. The comedy staged topical public issues that time: o public service, serfdom, enlightenment, education, about the slavish imitation of the nobles of everything foreign and contempt for everything national, popular.

The ideological meaning of the comedy lies in the opposition of two social forces, ways of life, worldviews: the old, feudal, and the new, progressive, in exposing everything backward and proclaiming the advanced ideas of that time. One of the components of the general conflict of comedy is the attitude of the opposing forces to education, upbringing, enlightenment. Of course, this confrontation appears in the conflict between Chatsky and "Famus" society, between the "current century" and the "past century".

What are the warring parties? The society in comedy was called "Famusovsky" by the name of Pavel Afanasyevich Famusov. He typical representative his society, possesses all the virtues valued in it: wealth, connections; he is a role model.

Famusov is an official, but he treats his service only as a source of income. He is not interested in the meaning and results of labor - only ranks. The ideal of this person is Maxim Petrovich, who “knew honor before everyone”, “ate on gold”, “went forever in a train”. Famusov, like the rest of society, admires his ability to "bend into an inflection", "when you need to serve", since it is this ability that helps in Moscow "to reach the known levels." Famusov and his society (the Khlestovs, Tugoukhovskys, Molchalins, Skalozubs) represent the "gone century".

For Famusov, the opinion of the world is sacred and infallible, the worst of all is what Princess Marya Aleksevna will say!

Famusov and his entourage fill their week with visits to the “right” people: receptions, dinners, christenings. An example of a person who has achieved everything in his life is for him Maxim Petrovich, who achieved promotion through “bows” in front of the empress and sacrifices of his own dignity.

As he was famous, whose neck often bent

Chatsky talks about this. All moral ideals Famusov lies in the material sphere, he treats everything from the point of view of practical benefit, even love. Famusov wants to profitably marry his daughter Sophia and tells her:

Oh, mother, don't finish the blow! Who is poor, he is not a couple for you.

Here, for example, we have been doing from time immemorial,

what is the honor of father and son:

be bad

Yes, if there are souls of two thousand family,

He and the groom

Famusov serves as a manager in a state-owned place, service for him is an opportunity to have connections, ranks, and not serve the fatherland or perform civic duty, in a word, Famusov treats the service formally, bureaucratically (“signed, so off your shoulders”). Famusov worries about the affairs of only one side, fearing mortally, "so that a lot of them do not accumulate." This serves as proof of the formal attitude to the service. He takes only relatives and friends to his service. He appreciates business people who can replace him, however, a person’s assessment is not based on knowledge, horizons, but on the ability to flatter, grovel, please. Famusov respects those who, having forgotten themselves, are ready to sacrifice their dignity, showing servility and servility. Depicting the life of the Moscow nobility, Griboedov emphasizes their idle pastime, ridicules the senseless and aimless waste of life. They all live in their own world, not noticing anything around and not wanting to know any innovations. Fencing off outside world, they "overflow in feasts and extravagance", "rule the show" and set the tone for life. Moral values ​​in society have changed. It all comes down to wealth and personal well-being.

The author shows readers that in Moscow society the majority are greedy, greedy, unfair, corrupt people with inert views and a conservative worldview, and you rarely meet smart, honest, noble and fair people like main character works - Chatsky.

The comedy depicts the life of society in Russia in the first two decades of the nineteenth century. Griboyedov vividly and fully showed the struggle of the old with the new, the struggle of the new generation with the old feudal foundations of society. The main character representing the new generation is Alexander Andreevich Chatsky, who is almost single-handedly trying to resist the so-called "gone century".

Chatsky and Famusov can be safely called antagonists, that is, one is the exact opposite of the other. Chatsky's parents were close friends of Famusov, so after their death Famusov took custody and raised Alexander Andreevich. However, as a young man, Alexander Andreevich left his native land and went abroad. During this time, the Famusov family did not hear anything about him. Time passed, and Chatsky returned as if nothing had happened, but this is not the same Chatsky. Having absorbed the freedom-loving spirit of Europe, Alexander Andreevich appears before us as a person with progressive and progressive thoughts.

Chatsky is a bright representative of the generation that, after the end of the Patriotic War of 1812, created new political cells, secret societies, revolutionary mugs. Society demanded changes and demanded a new hero, which Chatsky became in the literature of that time. He differed in everything from the representatives of the “past century”: in his views, convictions, character, soul, mind. Griboyedov created the image of a new positive hero with his character. Chatsky representative of the “current century”. This is a spokesman for the advanced ideas of his time. In his monologues, political program: he exposes serfdom and its offspring: inhumanity, hypocrisy, stupid militaryism, ignorance, false patriotism. He gives a merciless description of the "famus" society, stigmatizes "the meanest traits of the past life." Chatsky's monologue "And who are the judges? .." was born of his protest against the "Fatherland of the Fathers", since he does not see in them a model that should be imitated. He condemns them for their conservatism:

Judgments draw

from forgotten newspapers

Times Ochakovsky

and the conquest of the Crimea ...

for the passion for wealth and luxury obtained by "robbery", protecting himself from responsibility by mutual guarantee and bribery:

They found protection from court in friends, in kinship,

Magnificent building chambers,

Where do they overflow in feasts and prodigality?

And where foreign clients will not resurrect

The meanest traits of the past life!

Yes, and who in Moscow did not clamp their mouths

Lunches, dinners and dances?

He calls the feudal landowners "noble scoundrels" for their inhuman treatment of the serfs. One of them, “that Nestor of the noble scoundrels,” exchanged his faithful servants, who “saved his life and honor more than once,” for three greyhounds; another scoundrel "had driven many wagons from mothers, fathers of rejected children to the fortress ballet," which were then all "sold out one by one." In the "famus" society, the external form as an indicator of career success is more important than enlightenment, selfless service to the cause, sciences and arts:

Uniform! one uniform! he is in their former life

Once sheltered, embroidered and beautiful,

Their weakness, reason poverty ...

All the benefits and privileges enjoyed by the "famus" society are not achieved by knowledge and manifestation moral qualities in relation to other people, but servility, servility to superiors and boorish arrogance to inferiors. This causes enormous moral damage to society, depriving people of self-esteem.

And inevitable is the conflict of such a person as Chatsky with the "famus" society, which is afraid and does not want change. Famusov is one of the brightest representatives"of the past century" when serfdom flourished in Russia.

Griboyedov in his work calls this time the age of "... humility and fear", the age of "... flattery and arrogance." Chatsky completely rejected servility, servility. He was a free person who wanted to honestly, faithfully serve the Fatherland. Chatsky says: “I would be glad to serve, it’s sickening to serve.” This is what it consists of life position. His opponents, Famusov, Molchalin and Skalozub, on the contrary, believe that service should bring only personal benefit, that is, one should not serve a cause, but a specific person.

Chatsky wants to serve science, education, while Famusov's society benefits from illiterate people. Chatsky's words very accurately reflect the attitude of the "past century" to education:

Now let one of us

Of the young people, there is an enemy of quest,

Not demanding either places or promotions,

In the sciences, he will stick the mind, hungry for knowledge;

Or in his soul God himself will excite the heat

To creative arts, lofty and beautiful,

They immediately: robbery! fire! And they will pass for a dangerous dreamer ...

In the comedy, Famusov and Chatsky are opposed to each other: on the one hand, gray, limited, ordinary, Famusov and people of his circle, and on the other, the talented, educated, intellectual Chatsky. The air that "famus" Moscow breathes is the air of lies, deceit, "submission and fear." Famusov's society is mired in ignorance, laziness, commitment to everything foreign, does not want and cannot develop, because otherwise the ideals of the "past life" will collapse, and therefore it is afraid of everything new, progressive, embodied in the personality of Chatsky, carrying fresh ideas.

The impudent mind of Chatsky immediately alarms those accustomed to calm Moscow society. "Fathers" and "judges" are not accustomed to objections and criticism, they do not want any changes. Therefore, the dialogues between Famusov and Chatsky are a struggle, and it begins from the very first minutes of the meeting between Famusov and Chatsky. Chatsky sharply condemns the system of education of noble youth adopted in Moscow:

What is now, just as of old,

Trouble recruiting teachers regiments,

More in number, cheaper price?

Not that they are far in science,

In Russia, under a great fine,

We are told to recognize each

Historian and geographer.

And Famusov expresses the idea:

Learning is the plague, learning is the cause

What is now more than ever,

Crazy divorced people, and deeds, and opinions.

Such thoughts are expressed by one of the most respected people in society, who in the age of enlightenment does not understand its significance and importance for society and Russia as a whole.

Brought up in the same way, but differently educated, Famusov and Chatsky also have different attitudes to the service. Chatsky sees service to the cause as the main goal. He does not accept "serving the elders", pleasing the authorities:

I would be glad to serve, it is sickening to serve.

For Famusov, service is an easy matter:

And I have what's the matter, what's not the case,

My custom is this:

Signed, so off your shoulders.

The comedy also touches upon the development of national culture. Famusov and his entourage are trying to imitate foreign culture in everything, while forgetting about the culture of their own country. Undoubtedly, we need to draw the best from abroad, but also develop our own. Chatsky thinks something like this, and the “famus” society mindlessly imitates everything foreign. The views of representatives of the “past century” and the new generation differ in their assessment of a person. If the former judge a person only on the basis of his origin and the presence of serf souls, then Chatsky believes that the main thing in a person is education, intelligence, morality and spirituality.

The whole comedy is permeated with contradictions in the views between the “present century” and the “past century”. And the more Chatsky communicates with Famusov and his entourage, the greater the gap between them. Chatsky speaks sharply about this society, which, in turn, calls him "Voltairian", "Jacobin", "Carbonari".

A.S. Griboyedov raised in his comedy important questions of the era: the question of serfdom, the struggle against serf reaction, the activities of secret political societies, enlightenment, Russian national culture, on the role of reason and progressive ideas in public life about the duty and dignity of man.

1. The comedy "Woe from Wit" was written by A.S. Griboyedov at the beginning of the 19th century, and the era of the change of centuries, as a rule, is accompanied by profound changes in social environment and the rapid growth of contradictions between representatives of the two centuries, characteristic of this time. Griboedov caught the main social conflict that emerged after the Patriotic War of 1812. The most burning questions of that time are posed in the comedy: the position of the Russian people, serfdom, the relationship between landowners and peasants, autocratic power, the insane wastefulness of the nobles, the state of enlightenment, the principles of upbringing and education, the independence and freedom of the individual, national identity. 2. The ideological meaning of comedy lies in the opposition of two social forces, ways of life, worldviews: the old, feudal, and the new, progressive; in exposing everything backward and proclaiming the advanced ideas of that time. The struggle of the "current century" with the "past century" is the struggle of Chatsky, an advanced man of his time, and the backward Famus society. Representatives of the Moscow nobility are deprived of any civic thoughts and interests. They see the meaning of life primarily in enrichment, they are careerists and envious. They are in power, occupy a high social position. Service they consider only as a source of income, as a means to receive undeserved honors. Famusov's confession is very indicative: And what matters to me, what does not matter, My custom is this: Signed, so off my shoulders. In the society of the Moscow nobles, such phenomena as nepotism and nepotism are common. Famusov says: Well, how not to please your dear little man, and does not hide the fact that he has ... alien employees are very rare: More and more sisters, children's sister-in-law. These are people deprived of a sense of humanity, enemies of freedom, stranglers of education, their innermost desire is "to take away all the books and burn them." One of them trades for three greyhounds a crowd of his servants, who "both saved his honor and life more than once." Another, for the sake of empty fun, drives to the fortress ballet "from mothers, fathers of rejected children", and then sells them one by one. 3. Satirically denouncing the local and bureaucratic nobility, the entire feudal-serf system, A. S. Griboyedov clearly saw the positive social forces of his era, the emergence and growth of new, progressive aspirations and ideas. Thus, Skalozub complains to Famusov that his cousin, having acquired "some new rules", neglected the rank that followed him, left the service and "began to read books in the village." Princess Tugoukhovskaya says that her relative, who studied at the Pedagogical Institute, “does not want to know the ranks! ". Famusov, referring to the widespread freethinking, calls his time "a terrible age." But with the greatest completeness, the awakening of national, social self-consciousness is embodied in the image of Chatsky. This is undoubtedly an ardent patriot, a fearless warrior against serfdom and despotic autocracy, a courageous knight of truth, a merciless judge of all lies and falsehood, of everything that is hostile to the new, that stands in the way of reason. He stigmatizes ignorance, denounces nobility and acts as a fiery propagandist of science, education, and art. Griboedov wrote: “In my comedy there are 25 fools for one sane person; and this person is, of course, in contradiction with the society surrounding him. Deeply believing in the correctness of his ideas, Chatsky is convinced that his dreams will come true, that the future belongs to new people, his brothers in spirit. 4. In comedy, the conflict ends with the general recognition of Chatsky as crazy, and the love drama ends with the exposure of the love affair led by Molchalin. At the end of the play, Chatsky feels abandoned by everyone, the feeling of alienation from the society to which he once belonged intensifies in him. The denouement of the love drama affects the main conflict: Chatsky leaves all the contradictions unresolved and leaves Moscow. In a clash with the Famus society, Chatsky is defeated, but, losing, he remains undefeated, as he understands the need to fight against the “gone century”, its norms, ideals, life position. 5. Depicting in the comedy "Woe from Wit" the socio-political struggle of the conservative and progressive camps, the public characters, customs and life of Moscow, Griboedov reproduces the situation of the whole country. "Woe from Wit" is a mirror of feudal-serf Russia with its social contradictions, the struggle of the outgoing world and the new one, called to win. A. S. Griboyedov’s comedy “Woe from Wit” is an expression of the ideas of the first stage of the Russian liberation movement.

The problem of mind and madness has been relevant at all times. Clever, advanced people of their time often remained misunderstood by their contemporaries and were declared crazy. So society reacted to ideas that went against the generally accepted ideas that were preached by the progressive people of their time. It is no coincidence that Griboedov touches on this problem in his work. His comedy "Woe from Wit", written before the December uprising, tells about the advanced mind and the reaction of society to it. original name comedy was "Woe to the mind", then the author replaced it with "Woe from Wit". The main character Chatsky has not yet appeared in Famusov's house, but the idea of ​​​​madness is already hovers there, associated with a negative attitude towards education and enlightenment. So, Famusov says: "And in reading the use is small." Later, all the characters in the comedy will speak out about this, each will put forward their own version of Chatsky's madness, but the whole society will unanimously come to the same opinion: “Learning is the plague, learning is the reason.” The Famus society will get rid of Chatsky, declaring him crazy, not accepting accusatory speeches that stigmatize their way of life, and will choose gossip as a weapon. Famusov, as a typical representative of his society, has his own opinion about the mind and smart person. For him, an intelligent person is a practical, worldly wise person. Although he does not deny Chatsky the mind, nevertheless, he considers Skalozub to be a more suitable party for Sophia: “A respectable person and picked up the darkness of distinction, beyond his years and an enviable rank, not today, tomorrow, a general.” In a conversation with Skalozub, the Moscow gentleman speaks of the danger that comes from such wise men as Chatsky. In addition, Chatsky incorrectly uses the knowledge gained. Everything should be aimed at achieving ranks, at observing traditions, they should live “as the fathers did”. Famusov puts forward his ideal of a smart person. In his opinion, this is Maxim Petrovich, who achieved great ranks and a high position in society thanks to his practical mind, the ability to “bend over backwards” when it was necessary to “serve up”. Famusov himself did not reach such heights, and therefore fawns over the princes Tugoukhovsky and Skalozub. Molchalin, Famusov's secretary, also embodies a practical mind. This was noticed by Chatsky: Molchalin! - Who else will settle everything so peacefully! There the pug will stroke in time! Here at the time the card will be rubbed! By nature, Molchalin - small man, by any means striving to achieve the cherished goal in life, the meaning of which boils down to “to take rewards and live happily.” In his practice, he follows the precepts of his father - “to please all people without exception”, but at the same time he believes that “in his years one should not dare to have his own judgment”, since “he is in small ranks”. He loves Sophia “by duty”, calms the angry Khlestova with a game of cards. According to Chatsky, Molchalin "will reach the known levels, because now they love the dumb." Chatsky is the complete opposite of Molchalin, despite the fact that they are both young. The hero has an ardent, passionate nature. He is ready to sacrifice everything for the sake of his ideals, filled with civil meaning. He wants to serve "the cause, not the persons." For Chatsky, mind and truth, truth and honor are the main life values. The hero opposes the upbringing adopted in the Famus society, when they strive to "recruit regimental teachers, more in number, at a cheaper price." Patriotic feelings are not alien to him, which is why he is annoyed by “blind imitation” of everything foreign. Chatsky expresses his thoughts in accusatory speeches directed against the foundations of the Famus society. His monologues, oratorical in style, testify to the education and enlightenment of the protagonist, which is why they contain so many aphorisms. The mind of Chatsky is the mind of an advanced person, this is precisely the reason that the inert society does not accept his views and ideas, since they contradict the way of the old Moscow nobility. Chatsky's love for Sophia is not accidental, because she also has a mind. But Sophia's mind is practical. Sophia, as a typical girl of her time and class, draws her mind from French sentimental novels, which is why she chooses Molchalin as her beloved in order to subsequently make him a “husband-boy, husband-servant”. She is guided by worldly wisdom, because she is the daughter of her father. In comedy, there is another type of mind that we can see in the maid in the house of Famusov, Lisa. As the second voice in comedy, she expresses author's position, therefore, it is from her lips that we hear the characteristics of various characters: “Who is so sensitive, and cheerful, and sharp, like Alexander Andreyich Chatsky”, “Like all Moscow, your father is like this: he would like a son-in-law with stars and ranks” and so Further. Undoubtedly, Lisa has the natural mind and worldly wisdom of a commoner, she is resourceful, cunning, but at the same time devoted to her mistress. Thus, in the comedy "Woe from Wit" various types of mind are presented, ranging from the worldly wise to the advanced, progressive mind. But famous society does not accept the advanced mind, rejects it, declaring Chatsky a social madman and forcing him to leave Moscow.

The problem of the mind in the comedy of A.S. Griboyedov "Woe from Wit" is key. The name itself testifies to this. Talking about comedy, its subject matter and figurative system, this problem should be considered, perhaps, the very first. The problem of mind and madness has been relevant at all times. Clever, advanced people of their time were declared crazy and often remained misunderstood by their contemporaries. Ideas that went against the generally accepted and preached by the progressive people of our time were persecuted.

Griboyedov in his work touches on this problem for a reason. The comedy "Woe from Wit" was written before the December uprising and tells about the reaction of society to the emergence of an advanced mind in Russia. The original title of the comedy was "Woe to the Wit", then the author changed it to "Woe from Wit".

The idea of ​​the play was not originally what it appears to us today. Griboyedov created many versions of his work. "Woe to the mind" implies the oppression of Chatsky, who becomes an outcast in the Famus society. "Woe from Wit" makes you think about whether Chatsky needs a mind at all in such an environment, and we understand that this mind is bad for the hero himself. So the problem becomes two-sided.

For all its primitiveness, it brings wonderful results. Without exception, all members of the old Moscow society act according to the same scheme, which is not explicitly formulated in the work, but lies on the surface. If we remember that Maxim Petrovich, for the sake of a good position, acted, in fact, as a jester ("He fell painfully, got up healthy"), and Molochlin's "philosophy" ("In my years one should not dare to have one's own opinion"). To begin with, the formula for success requires servility. In front of everyone who is higher than you in rank, you need to kowtow (most of the "big" off-stage characters similar to demigods). Sooner or later, this will lead the one who previously "took his forehead in the world", "knocked the floor without sparing", as Chatsky put it, to power, and then the newly-minted " big man" It has full right humiliate those below him. Chatsky cannot afford this, he values ​​his honor, dignity and intelligence too much. That is why he is "woe from wit" - he only suffers, not accepting the ideas of Famusov and his like-minded people.

But in fact, "woe" from the mind of Chatsky, not only to himself, but also to the Famus society. Education and enlightenment deal an irreparable blow to old Moscow. We see that one Chatsky quite frightened everyone present at the evening at Famusov's, and only with their numbers they were able to oust the "foreign body" from their circle. If there are many like Chatsky, then the Famus society will suffer a final and crushing defeat.

So, "Woe from Wit", for all the complexity of the problem, gives us hope for "enlightenment at the end of the tunnel", so to speak, in the person of such smart and highly educated people as Chatsky. And the Famus society looks like something deathly pale and dying in its attempts to resist this.

The main character has not yet appeared in Famusov's house, but the idea of ​​​​madness is already hovers there, associated with a negative attitude towards education and enlightenment. So, Famusov says: "And reading is of little use." Later, all the characters in the comedy will speak out about this, each will put forward their own version of Chatsky's madness, but the whole society will unanimously come to the same opinion: "Learning is the plague, learning is the cause." The Famus society will get rid of Chatsky, declaring him crazy, not accepting accusatory speeches that stigmatize their way of life, and will choose gossip as a weapon.

Famusov, as a typical representative of his society, has his own opinion about the mind and an intelligent person. For him, an intelligent person is a practical, worldly wise person. Although he does not deny Chatsky his mind, nevertheless, he considers Skalozub to be a more suitable party for Sophia:

"A respectable person and signs
grabbed the darkness of difference,
beyond his years and an enviable rank,
not today, tomorrow general."

In a conversation with Skalozub, the Moscow gentleman speaks of the danger that comes from such wise men as Chatsky. In addition, Chatsky incorrectly uses the knowledge gained. Everything should be aimed at achieving ranks, at observing traditions, they should live “as the fathers did”. Famusov puts forward his ideal of a smart person. In his opinion, this is Maxim Petrovich, who has achieved great ranks and a high position in society thanks to his practical mind, the ability to "bend over backwards" when it was necessary to "serve". Famusov himself did not reach such heights, and therefore fawns over the princes Tugoukhovsky and Skalozub.

By his nature, Molchalin is a petty person, striving by any means to achieve his cherished goal in life, the meaning of which boils down to "taking awards and having fun." In his practice, he follows the precepts of his father - "to please all people without exception", but at the same time he believes that "in his summer one should not dare to have his own judgment", since "he is in small ranks." He loves Sophia "by duty", calms the angry Khlestova with a game of cards. According to Chatsky, Molchalin "will reach the well-known levels, because now they love the dumb."

Chatsky is the complete opposite of Molchalin, despite the fact that they are both young. The hero has an ardent, passionate nature. He is ready to sacrifice everything for the sake of his ideals, filled with civil meaning. He wants to serve "the cause, not the persons." For Chatsky, intelligence and truth, truth and honor are the main values ​​in life. The hero opposes the upbringing adopted in the Famus society, when they strive to "recruit regimental teachers, more in number, at a cheaper price." Patriotic feelings are not alien to him, which is why he is annoyed by "blind imitation" of everything foreign. Chatsky expresses his thoughts in accusatory speeches directed against the foundations of the Famus society. His monologues, oratorical in style, testify to the education and enlightenment of the protagonist, which is why they contain so many aphorisms. The mind of Chatsky is the mind of an advanced person, this is precisely the reason that the inert society does not accept his views and ideas, since they contradict the way of the old Moscow nobility.

Chatsky's love for Sophia is not accidental, because Sophia also has a mind, but a practical one. This is a typical girl of her time and class, she draws her mind from French sentimental novels. And he chooses Molchalin as his husband, in order to eventually make him a "husband-boy, husband-servant", and at the same time is guided worldly wisdom because she is the true daughter of her father and her time.

There is another type of mind in comedy. We see him at Lisa, the maid in Famusov's house. She expresses the author's position and it is from her lips that we hear the characteristics of various characters: "Who is so sensitive, and cheerful, and sharp, like Alexander Andreyich Chatsky", "Like all Moscow, your father is like this: he would like a son-in-law with stars and ranks " and so on. Undoubtedly, Liza is naturally smart and has the worldly wisdom of a commoner, she is devoted to her Sophia, but at the same time resourceful and cunning.

So, starting from the worldly wise and ending with the advanced, progressive mind, different types mind in Griboyedov's comedy "Woe from Wit". Declaring Chatsky a social madman and forcing him to leave

In the conflict “Woe from Wit” by Griboyedov, two lines are distinguished: love (personal) and public (social). The love conflict is built on a classic love triangle. Appointment literary work classicism was the proclamation of the ideal, which consisted in the performance of civic duty, the subordination of the interests of the individual to public interests and the awareness of the reasonable laws of life. To embody these ideas, the main character was chosen as the bearer of a positive ideal, his antipode - villain and perfect heroine who gave her love to the positive hero and thereby confirmed his innocence. This was the composition love triangle in a classic. On the stage for the performance of these roles, traditional roles have developed: the hero-lover (first lover), the unworthy hero (fool, fat, rogue) and ingenue (lady in love).

Griboedov rethinks the content of the classic love triangle: Chatsky - positive hero, but not flawless, as the main character should be; Molchalin is low and vile, he is a negative hero, but Sophia loves him; Sophia makes the wrong choice, preferring Molchalin to Chatsky. Sophia's mistake distorts the classical perspective of the development of the play and determines the development of the plot.

It is interesting that the name Sophia in Greek means “wise”, which, of course, hears the sad irony of the author. The heroine speaks of Chatsky and Molchalin, belittling one and extolling the other. In the 5th phenomenon of the 1st act, Sophia's servant Liza, fearing that the dates of Sophia and Molchalin could lead to trouble, tries to draw her attention to other possible suitors - Colonel Skalozub and Chatsky.

tie love conflict falls on the 7th phenomenon 1 of the action, which describes the first meeting of Chatsky and Sophia. The hero is shocked by the change in Sophia's attitude towards him, he cannot realize it and understand its reason. At first, Chatsky reproaches Sophia. Having met such a reception, Chatsky is looking for sympathy:

You are happy? at a good hour.

However, sincerely who rejoices in such a way?

I think it's the last

Chilling people and horses,

I only amuse myself.

He tries to evoke a memory of the past in the girl, hoping that she simply forgot the feelings that connected them over the three years. However, Sophia again cools the ardor of Chatsky, answering: “Childhood!”

Only then Chatsky begins to understand the true reason for the change in Sophia's attitude towards him. He asks her a direct question, is she in love, and, having received an evasive answer, guesses the truth. And after the words: "Have mercy, not you, why be surprised?" - showing a completely natural reaction to Sophia's behavior, Chatsky suddenly starts talking about Moscow:

What new will Moscow show me?

T wooed - managed, but he gave a miss.

All the same sense, and the same verses in the albums.

This change in the topic of conversation is psychologically conditioned, since Chatsky, finally realizing that he has a rival, begins to look for him. Each phrase of the hero’s previous statement confirms this, that is, there is a psychological background in each phrase: the rival is in Moscow, she met him at the ball, they all want to marry profitably, and they are all the same.

It has long been noted that a social conflict arises from a love one, and Chatsky falls upon Moscow because he is disappointed with his position as a rejected lover. If the whole scene is the beginning of a love conflict, then Chatsky's words about Moscow are the beginning of a social conflict, the beginning of which will be at the beginning of Act 2. It is Chatsky's search for an opponent that will determine the nature of the development of the action, and the play will end when the veil falls from Chatsky's eyes.

The social conflict in the comedy "Woe from Wit" by Griboedov lies in the clash between the progressive intellectual nobleman Chatsky and the conservative Famus society. The conflict is found not only in the dispute of specific people representing certain circles of society, it is a conflict of time. Griboedov the playwright did what his hero wanted to do, saying:

How to compare and see

The present age and the past...

The expression "the current century and the past century" should be understood in two senses: these are periods of the history of Russia, separated Patriotic War 1812, as well as the conflict of the era, expressed in the struggle of new ideas and forms of life with the old ones. The ideas of the new time were most clearly expressed, according to Pushkin's poetic formulation, in the Decembrists' "thought-high aspiration". And in many ways, Chatsky's views reflect the progressive ideas of the Decembrists.

The public conflict of the comedy is manifested in the disputes between Chatsky and Famusov, in relation to these heroes to a particular social problem. The peculiarity of the social conflict in the play is that it depends on the conflict of love, that is, it is not presented in specific actions and events, and we can only judge it by the monologues and replicas of the characters.

One of the most pressing issues in noble society of that time there was an attitude to power and service. It is he who serves as the tie of the social conflict in the 2nd phenomenon of the 2nd action:

Chatsky

I would be glad to serve, it is sickening to serve.

Famusov

That's it, you are all proud!

Would you ask how the fathers did?

Famusov tells Chatsky the story of his uncle Maxim Petrovich, sincerely believing that it is instructive for Chatsky and can reason with him - after all, in the behavior of Maxim Petrovich, in his deep conviction, lies supreme wisdom. The formula for this is:

When do you need to serve?

And he leaned over...

The question of service appears in three aspects. First of all, it is a moral issue, to be mean and "bend over" or to maintain dignity and honor. At the same time, the service is showing civil position of a person: to serve the Fatherland, to the cause, or to serve only for oneself, to take care of personal gain. And finally, the political side of the issue, which is clearly expressed in Chatsky's remark: "Who serves the cause, not individuals."

Next the most important question comedy is a problem of serfdom and serfdom. Chatsky expresses his attitude to serfdom in the monologue “Who are the judges?” in the 5th phenomenon 2 actions:

And who are the judges? - For the antiquity of years

To free life their enmity is irreconcilable,

Judgments are drawn from forgotten newspapers.

Chatsky speaks of two cases of inhuman behavior of the feudal lords. In the first of them, the serf-owner traded "three greyhounds" for his faithful servants. Note that Griboyedov's criticism is more moral than social in nature. Of course, a ruthless and depraved feudal lord could do this, because he had the right to do so by law, but Griboyedov is struck by the blatant inhumanity here - a person is equated with an animal. The playwright, calling the feudal lord "Nestor of noble villains", makes it clear that this person is not some exceptional villain, there are many "noble villains" around. Treating serfs as inferior beings was the norm for a serf society. So, the old woman Khlestova tells Sofya about the black-haired girl and the dog, as equal, identical creatures (action 3, phenomenon 10):

Tell them to feed, already, my friend,

A handout came from supper.

In the same monologue, Chatsky denounces the terrible consequence of serfdom - human trafficking. One serf-owner brings a serf theater to Moscow, having driven to the ballet "from mothers, fathers of rejected children." Griboyedov shows how the right to dispose of the life and fate of serfs corrupts the nobles and they lose their human qualities. The real goal of the owner of the serf theater was to make all of Moscow "marvel at the beauty" of the ballet and small artists, in order to persuade creditors to give a deferment to pay off debts. However, he did not achieve his goal and sold the children.

One of the most negative phenomena of the Russian reality of that time was dependence on foreign customs, fashion, language, rules of life. Chatsky treats the dominance of the foreign in the life of the country, “slavish, blind imitation” with particular intransigence, his indignation was most fully expressed in the monologue “There is an insignificant meeting in that room ...” (act 3, phenomenon 22). The plot episode, which is described in this monologue, is not presented on stage. Chatsky was struck by a random, “insignificant” meeting: he saw how his compatriots were courting a Frenchman just because he was a foreigner. Chatsky calls him a "Frenchman from Bordeaux" not out of disrespect for the person, but wanting to emphasize the insulting contrast between the mediocrity of the guest and the servility of the hosts. Chatsky believes that imitation of the foreign is a terrible scourge for the nation. It seems to the Frenchman that he is in the French province, so selflessly everyone around imitates French customs, outfits, speaking in a mixture of “French with Nizhny Novgorod”. Chatsky mourns the loss of the Russian nobles national traditions, national clothes, appearance. With bitterness, he throws the phrase: “Ah! If we are born to adopt everything, ”noting that such behavior is characteristic of a Russian person, but his negative side- "empty slavish, blind imitation" - must be eliminated. D.I. wrote about this. Fonvizin in the comedy Brigadier (1769), I.S. Turgenev in the story "Asya" (1858), A.P. laughs at this. Chekhov in comedy The Cherry Orchard”(1903), this problem was repeatedly raised in the literature of the 20th century. Thus, Griboedov raised a question that was relevant not only in his time, he tried to penetrate into the essence of the phenomenon.

The problem of the dominance of the foreign in Russian life is connected with the question of patriotism. Chatsky's position and his sympathies are expressed in the monologue very clearly:

So that our smart, cheerful people

Although the language did not consider us Germans.

The problem of patriotism is presented in the work widely and diversified. The author shows that patriotism should not be confused with foreign imitation or, on the contrary, stubborn swagger, isolation from the experience of other cultures. This is precisely the position of Chatsky, for whom the preservation of the dignity of his nation means respect for other peoples. Calling a foreigner a "Frenchman from Bordeaux", Chatsky does not belittle the guest - he laments the behavior of his compatriots. The rest of the characters are afraid and do not approve of everything foreign, as, for example, Khlestova is afraid of the girl of the arapka or "lankart mutual training", or they are obsequious about everything foreign. Famusov, Chatsky's main opponent, in some cases is arrogant, calling foreigners "tramps", in others, on the contrary, he is touched that the Prussian king marveled at Moscow girls, since they are not inferior to French and German women (act 2, phenomenon 5):

They won’t say a word in simplicity, everything is done with a grimace;

French romances are sung to you

And the top output notes ...

This means that the dignity of his nation for Famusov is a variable value, since it depends on whether foreigners are profitable or ruinous for him in each specific case.

The lifestyle of the Moscow nobility is another issue raised by Griboyedov in comedy. Famusov's monologue in 1 phenomenon 2 actions is indicative of this topic. What is remarkable about this scene is that Famusov, the manager at the state-owned place, plans his week as if it consisted of personal affairs and entertainment. He has three "important" things scheduled for the week: on Tuesday - trout, on Thursday - burial, "on Friday, or maybe Saturday" - christening. Famusov’s diary not only notes the schedule of the “business” week, but also reflects the philosophy and content of his life: it consists of eating, dying, being born, eating again and dying... This is the monotonous circle of life of Famusov and the Famusovites.

Speaking about the way of life of the nobility, Griboedov touches upon the problem of entertainment. At the ball, Chatsky says to Molchalin (act 3, phenomenon 3):

When in business - I hide from fun,

When I'm fooling around, I'm fooling around

And to mix these two crafts

There are plenty of artisans, I'm not one of them.

Chatsky is not against entertainment, but against mixing them with business, work. However, responsibility and work disappear from the lives of most nobles, giving way all the time to pleasure and entertainment. Such a life is empty and meaningless. Recall what Chatsky said about Moscow (act 1, phenomenon 7):

Yesterday there was a ball, and tomorrow there will be two.

Or the words of Countess Grandmother Khryumina, which sounded comical, but filled with a tragic meaning for a person (action 4, phenomenon 1):

Let's sing, mother, I can't do it right,

Once upon a time, I fell into the grave.

It's not that balls or other secular entertainment bad in themselves - this is part of the culture of the nobility of that time. But when the ball occupies a lifetime, becomes its content, then for a person its brilliance turns into the darkness of the grave, as if life itself did not exist. Only work and rest are natural, successive forms of human life, they complement and enrich each other, making life meaningful and rich.

A special place in comedy is occupied by the theme of the mind - enlightenment, education and upbringing. This is indicated by the title of the work and the author himself drew attention to this when he wrote: “In my comedy there are twenty-five fools per sane person.” Griboyedov called the first draft of the comedy "Woe to the mind." The name change shows a shift in emphasis from a general philosophical idea, which can be defined in such a way that grief is for every mind, to a social one: the mind in society is the cause of grief. The theme of the mind in the play divides the characters according to their attitude towards life. For Famusovites, only practical benefit is of value, therefore, for them, the mind is the ability to get comfortable in life. Chatsky has an exalted mind, everything is important for him: personal and general issues. His ideas about life are wide, they go beyond personal interests. It can be said that Chatsky's judgments are based on reason and moral attitude to life. The opinions of the Famusians are limited by their narrow ideas, due to personal interests and benefits. So, for Sophia, the one who is next to her is smart (action 1, phenomenon 5):

Oh! if someone loves someone

Why look for the mind and drive so far?

For Molchalin, smart behavior is the ability to please anyone on whom he is somehow dependent (action 3, phenomenon 3):

In my summers must not dare

Have your own opinion.

For Skalozub, the world order is a military system, and a “smart” position is to be in the ranks, while smart behavior is to strive to advance to the first line. Skalozub even in his own way "philosopher". He judges like a philosopher (act 2, phenomenon 4):

I just want to be a general.

So, each character speaks about the mind, about education. It seems that the ideas of the Enlightenment have finally penetrated Moscow society. However, the perception of these ideas turns out to be false: the Famusians are hostile to education and reading, their ideas about proper upbringing are distorted. Famusovites see that the threat comes from the mind of Chatsky, his enlightenment and education, and therefore they resort to the only effective way fight him - neutralize his mind so that whatever he says does not matter, because a madman is talking. In this struggle, common and personal interests coincide, so it is not by chance that Sophia starts a rumor about Chatsky's madness. The plot lines, representing the love and social conflict of the play, develop together, but compositionally in different ways. The exposition is common for both lines and ends up to the 7th phenomenon of the 1st action. The beginning of the love conflict took place in the 7th phenomenon of the 1st act, the social one - in the 2nd phenomenon of the 2nd act. The climax of the social conflict falls on the end of Act 3, when the society turns away from Chatsky, and the argument between them is no longer possible. The climax of the love conflict occurs in the 12th phenomenon of the 4th act: Chatsky begins to see clearly, Sophia is close to fainting, Molchalin "hides in his room." The denouement of both storylines coincides at the moment when Chatsky leaves Famusov's house with the words (action 5, phenomenon 14):

Get out of Moscow! I don't come here anymore.

Nevertheless, the finale of the comedy remains open: the further is unknown - neither where Chatsky will rush, nor what he will do, nor how his arrival affected the Famus society. However, Goncharov correctly noted that “Chatsky is broken by the number old force, inflicting on her, in turn, a mortal blow with the quality of fresh strength. This is the realism of comedy.

Source (abbreviated): Moskvin G.V. Literature: Grade 8: in 2 hours. Part 2 / G.V. Moskvin, N.N. Puryaeva, E.L. Erokhin. - M.: Ventana-Graf, 2016