Essay on the present century and the past century in the comedy woe from wit. “The present century” and “the past century” in the comedy by A.S. Griboyedov "Woe from Wit"

/ / / “The present century” and the “past century” in Griboyedov’s comedy “Woe from Wit”

The famous comedy is nothing more than a ridicule of the morals of the noble class of the early nineteenth century.

Its author, Alexander Sergeevich Griboyedov, vividly and masterfully showed the conflict between landowners entrenched in the old order and the young advanced generation. The two sides were called “the present century” and “the past century.” And they were named that way by a young man, the main character of the comedy, Alexander Andreevich Chatsky. Leafing through the pages of our favorite work, we inevitably encounter a dispute between these two opposing camps. Let's see what their views are, what each person's concept is based on.

So, the “past century” has a much larger number of representatives than its opponents. The most striking and large-scale figure representing this side is the manager of the state house, Pavel Afanasyevich Famusov. All the events described in the play take place in his house. The conflict between fathers and children can already be traced in his relationship with his daughter Sophia. The girl is 17 years old, a widower, and raised her alone.

Finding his daughter alone with Molchalin, the father begins to conduct moralizing conversations. The fault, he believes, is education and those books that she is so passionate about. He sees no benefit in learning. Foreign teachers are valued by their numbers, not by the knowledge they can provide. Famusov offers himself as a role model for his daughter, emphasizing that he is distinguished by the behavior of a monk. But a few minutes before this, he openly flirts with the maid.

For Pavel Afanasyevich, public opinion comes first; he only worries about what they will say in the world. For him, it is more important to look worthy, to create an image, and not to actually be one. And what’s worst is that the entire noble society of Moscow at that time was like that, because the main character is a typical representative of it.

The representative of the “current” modern century is Alexander Andreevich Chatsky. At the time of the events described, the hero had not been in the Famusovs’ house for 3 years, as he was traveling around the world. He has been in love with Sophia since his youth and still retains tender feelings. But the girl is cold. Everything has changed. Chatsky is an unwanted guest who speaks out against the established life of this house and the people living in it.

Alexander Andreevich expresses a completely opposite opinion on all the topics raised. He is happy to serve, but is not ready to be served for the sake of profit. Chatsky will not put on the mask of a jester and say what is expected. He is disgusted by that society where a person with his qualities and merits has lost all value. Only ranks matter.

He is defeated, but only because his camp is small in number. A split among the nobility has already emerged, and it will inevitably continue. Declaring Alexander Andreevich crazy will not avoid changes. Famus society only limited itself from them for a while, only moving forward the dates of the inevitable onset of the “present century” that they are so afraid of.

• The comedy by A. S. Griboyedov “Woe from Wit” reflected with amazing accuracy the main conflict of the era - the clash of conservative forces of society with new people and new trends. For the first time in the history of Russian literature, not one vice of society was ridiculed, but all at once: serfdom, emerging bureaucracy, careerism, sycophancy, martinet, low level of education, admiration for everything foreign, servility, the fact that in society it is not the personal qualities of a person that are valued, but “two thousand tribal souls,” rank, money.
• The main representative of the “present century” in comedy is Alexander Andreevich Chatsky - a young man, well educated, who realized that although the “smoke of the Fatherland” is “sweet and pleasant,” much in the life of Russia needs to be changed, and, first of all, the consciousness of people.
• The hero is opposed by the so-called “Famus society”, which is dominated by fear of progressive ideas and free-thinking thoughts. Its main representative - Famusov - is an official, in everyday life not a stupid person, but an ardent opponent of everything new and progressive.

The comedy “Woe from Wit” by A.S. Griboyedov was written in the first half of the 19th century and is a satire on the views of the noble society of that time. In the play, two opposing camps collide: the conservative nobility and the younger generation of nobles who have new views on the structure of society. 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, the analysis of “Woe from Wit” will help you understand.

The “past century” in comedy is much more numerous than the camp of its opponents. The main representative of the conservative nobility is Pavel Afanasyevich Famusov, in whose house all the phenomena of comedy take place. He is a manager in a government house. His daughter Sophia was raised by him from childhood, because... her mother died. Their relationship reflects the conflict between fathers and sons in Woe from Wit.
In the first act, Famusov finds Sophia in a room with Molchalin, his secretary, who lives in their house. He doesn’t like his daughter’s behavior, and Famusov begins to read morals to her. His views on education reflect the position of the entire noble class: “We were given these languages! We take tramps, both into the house and on tickets, so that we can teach our daughters everything.” There are minimum requirements for foreign teachers, the main thing is that there should be “more in number, at a cheaper price.”

However, Famusov believes that the best educational influence on a daughter should be the example of her own father. In this regard, in the play “Woe from Wit” the problem of fathers and children becomes even more acute. Famusov says about himself that he is “known for his monastic behavior.” But is he such a good example to follow if, a second before he began to moralize Sophia, the reader watched him openly flirt with the maid Lisa? For Famusov, the only thing that matters is what people say about him in the world. And if noble society does not gossip about his love affairs, it means his conscience is clear. Even Liza, imbued with the morals reigning in Famusov’s house, warns her young mistress not against nightly meetings with Molchalin, but against public gossip: “Sin is not a problem, rumor is not good.” This position characterizes Famusov as a morally corrupt person. Does an immoral person have the right to talk about morality in front of his daughter, and even be considered an example for her?

In this regard, the conclusion suggests itself that for Famusov (and in his person for the entire Old Moscow noble society) it is more important to seem like a worthy person, and not to be one. Moreover, the desire of representatives of the “past century” to make a good impression extends only to rich and noble people, because communication with them contributes to the acquisition of personal gain. People who do not have high titles, awards and wealth receive only contempt from the noble society: “Whoever needs it: those who are in need, they lie in the dust, and for those who are higher, flattery is woven like lace.”

Famusov transfers this principle of dealing with people to his attitude towards family life. “Whoever is poor is not a match for you,” he tells his daughter. The feeling of love has no power; it is despised by this society. Calculation and profit dominate the life of Famusov and his supporters: “Be inferior, but if there are two thousand family souls, that’s the groom.” This position creates a lack of freedom for these people. They are hostages and slaves of their own comfort: “And who in Moscow hasn’t had their mouths gagged at lunches, dinners and dances?”

What is humiliation for progressive people of the new generation is the norm of life for representatives of the conservative nobility. And this is no longer just a generational dispute in the work “Woe from Wit,” but a much deeper divergence in the views of the two opposing sides. With great admiration, Famusov recalls his uncle Maxim Petrovich, who “knew honor before everyone,” had “a hundred people at his service,” and was “all decorated.” What did he do to deserve his high position in society? Once, at a reception with the Empress, he stumbled and fell, painfully hitting the back of his head. Seeing the smile on the face of the autocrat, Maxim Petrovich decided to repeat his fall several more times in order to amuse the empress and the court. Such 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 “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 scarier than a pistol" As the action of the play develops, Molchalin's true face is revealed. It turns out that he is with Sophia “out of position,” that is, in order to please her father. In fact, he is more passionate about the maid Liza, with whom he behaves much more relaxed than with Famusov’s daughter. Beneath Molchalin's taciturnity lies his duplicity. He does not miss the opportunity at a party to show his helpfulness in front of influential guests, because “you have to depend on others.” This young man lives according to the rules of the “past century”, and therefore “Silent people are blissful in the world.”

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

The only defender of other views on the problems raised in the work, a representative of the “present century,” is Chatsky. He was brought up together with Sophia, there was youthful love between them, which the hero keeps in his heart even at the time of the events of the play. Chatsky has not been to Famusov’s house for three years, because... traveled around the world. Now he has returned with hopes of Sophia's mutual love. But here everything has changed. His beloved greets him coldly, and his views are fundamentally at odds with the views of Famus society.

In response to Famusov’s call “go and serve!” Chatsky replies that he is ready to serve, but only “to the cause, not to individuals,” but he is generally “sickened” to “serve.” In the “past century” Chatsky does not see freedom for 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 those material benefits which 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. Conservative nobility, by supporting the rumor about Chatsky’s madness, they 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 naturally will replace the old with the new.

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

Work test

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

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

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

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

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

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

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

Option 2

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

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

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

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

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

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

The collision of two eras gives rise to change. Chatsky is broken by the amount of old power, inflicting it, in turn, death blow quality of fresh strength.

I. Goncharov

The comedy “Woe from Wit” by Alexander Sergeevich Griboyedov can be called one of the most topical works in Russian literature. Here the author touches on the pressing issues of that time, many of which continue to occupy the minds of the public even many years after the creation of the play. The content of the comedy is revealed through the collision and change of two eras - “the present century” and the “past century”.

After Patriotic War 1812 in Russian noble society a split occurred: two public camps formed. The camp of feudal reaction in the person of Famusov, Skalozub, and other people in their circle embodies the “past century.” New times, new beliefs and advanced positions noble youth represented by Chatsky. Griboedov expressed the clash of “centuries” in the struggle of these two groups of heroes.

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

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

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

Famusov is usually called a typical representative of the old Moscow nobility. He is a convinced serf owner and sees nothing reprehensible in young people learning to “bend over backward” and serve in order to achieve success in their careers. Pavel Afanasyevich categorically does not accept new trends. He bows to his uncle, who “ate on gold,” and the reader understands perfectly well how his numerous ranks and awards were received - of course, not thanks to his faithful service to the Motherland.

Next to Famusov, Colonel Skalozub is “a golden bag and aims to become a general.” At first glance, his image is caricatured. But Griboyedov created a completely truthful historical portrait representative of the Arakcheevo army environment. Skalozub, like Famusov, is guided in life by the ideals of the “past century,” but only in a rougher form. The purpose of his life is not to serve the Fatherland, but to achieve ranks and awards.

All representatives of Famus society are egoists, hypocrites and self-interested people. They are only interested own well-being, social entertainment, intrigue and gossip, and their ideals are wealth and power. Griboyedov exposes these people in Chatsky's passionate monologues. Alexander Andreevich Chatsky - humanist; it protects the freedom and independence of the individual. In the angry monologue “Who are the judges?” the hero denounces what he hates serfdom, highly appreciates the Russian people, their intelligence, love of freedom. Chatsky's groveling before everything foreign evokes a sharp protest.

Chatsky is a representative of the progressive noble youth and the only hero in the comedy who embodies the “present century.” Everything says that Chatsky is a bearer of new views: his behavior, lifestyle, speech. He is confident that the “age of submission and fear” should become a thing of the past, along with its morals, ideals and values.

However, traditions days gone by are still strong - Chatsky is convinced of this very quickly. Society sharply puts the hero in his place for his straightforwardness and audacity. The conflict between Chatsky and Famusov only at first glance appears to be an ordinary conflict between fathers and children. In fact, this is a struggle of minds, views, ideas.

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

He, as expected, is modest, helpful, silent and will not offend anyone. They do not notice that behind the mask of the ideal groom lies deceit and pretense aimed at achieving the goal. Molchalin, continuing the traditions of the “past century,” is meekly ready to “please all people without exception” in order to achieve benefits. But it is him, and not Chatsky, that Sophia chooses. The smoke of the Fatherland is “sweet and pleasant” to Chatsky.

After three years he returns to his home and at first is very friendly. But his hopes and joys are not justified - at every step he runs into a wall of misunderstanding. Chatsky is alone in his opposition Famusov society; Even the girl he loves rejects him. Moreover, the conflict with society is closely intertwined with Chatsky’s personal tragedy: after all, it is with Sophia’s suggestion that conversations about his madness begin in society.