Critics about the present century and the past. “The present century” and “the past century” in the comedy “Woe from Wit” by A.S. Griboyedova

“The present century” and “the past century.”
In the comedy “Woe from Wit,” written at the beginning of the 19th century, A. S. Griboyedov touches on many serious issues of social life, morality, and culture that are relevant in the era of the change of centuries, when social foundations are changing and contradictions between representatives of the “present century” and "the century of the past."
In the work there are people from different societies, from Famusov and Khlestova to serf servants. The representative of an advanced, revolutionary-minded society is Alexander Andreevich Chatsky; he is opposed to the conservative Famus society, which includes both the older generation (Skalozub, Khryumina) and young people (Sofya, Molchalin). “The past century” is not only an indicator of age, but also a system of outdated views.
So what are the main contradictions between the “present century” and the “past century”?
Members of the Famus society value a person only by origin, wealth, and position in society. Their ideals are people like Maxim Petrovich, an arrogant nobleman and a “hunter of indecency.” All characteristic features The veneration of rank of that time is clearly expressed in the image of Mochalin: he is silent, afraid to express his opinion, seeks the favor of everyone whose rank is higher than his own, in order to become an important official, he is ready to do a lot. For Chatsky the main thing human quality is rich spiritual world. He communicates with those who are really interesting to him and does not curry favor with the guests of Famusov’s house.
The goal of life for Pavel Afanasyevich and others like him is career and enrichment. Nepotism is common in their circles. Socialites serve not for the benefit of the state, but for personal gain, this is confirmed by the statement of Colonel Skalozub:
Yes, to get ranks, there are many channels;
I judge them as a true philosopher:
I just wish I could become a general.
Chatsky does not want to serve “persons”; it was he who made the statement: “I would be glad to serve, but it’s sickening to be served.”
Alexander Andreevich is a well-educated person. He spent three years abroad, which changed his worldview. Chatsky is the bearer of new, revolutionary ideas, but it is everything new and progressive that frightens Famus society, and these people see the source of “freethinking” in education:
Learning is the plague, learning is the reason,
What's worse now than ever?
There were crazy people, deeds, and thoughts.
Society saw in Chatsky a person who contradicted basic moral principles, which is why the rumor about his madness spread so quickly, and it was not difficult for anyone to believe in him.
Representatives of two centuries have different views on love. Famusov managed to benefit from the brightest and purest feeling: for his daughter, he chose Skalozub as her husband, who “is a golden bag and aims to be a general.” It is clear that with such an attitude, oh true love there is no need to talk. Chatsky kept for many years sincere feelings to Sophia. Returning to Moscow, he hoped for reciprocity, but Sophia found herself under the strong influence of her father’s society, and also, having read French novels, she found herself “both a husband-boy and a husband-servant” Molchalin, and he, in turn, with the help of Sophia, was going to receive another rank:
And now I take the form of a lover
To please the daughter of such a man
The only time the opinions of Famusov and Chatsky coincide is on the issue of the influence of foreigners on Russia, but each has his own reasons. Chatsky says how true patriot, he is an opponent of “empty, slavish, blind imitation” of foreigners, he is disgusted to listen to the speech of the people of Famusov’s society, where “a mixture of languages: French and Nizhny Novgorod” dominated. Famusov has a negative attitude towards foreigners only because he is a father, and his daughter might accidentally marry some Frenchman:
And all the Kuznetsky Bridge and the eternal French,
From there fashion comes to us, both authors and muses:
Robbers of pockets and hearts.
In a clash with Famus society, Chatsky is defeated, but he remains undefeated, as he understands the need to fight the “past century.” He believes that the future belongs to his fellow souls.

In 1824 A.S. Griboyedov finished his comedy “Woe from Wit”. 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. At the center of the play lies the clash between supporters of lordly Moscow and a group of “new people”. Only Alexander Andreevich Chatsky directly opposes the old order in comedy. Thus, the author emphasizes the exceptional position of people with progressive views. “In my comedy,” wrote Griboyedov, “there are twenty-five fools for one sane person.” The most prominent representative of the “past century” in the play is Famusov. His image, in comparison with other representatives of Moscow society, is more clearly depicted by the author. Good-natured and hospitable Famusov, as he may seem in a conversation with Skalozub at the beginning of the play, is rude to his family, picky, stingy and petty. Here is his understanding of how one should value acquaintances and relatives: I crawl in front of relatives where I meet; I will find her at the bottom of the sea. This hero really doesn’t care about his daughter’s fate or his official affairs. Famusov is afraid of only one thing in his life: “What will Princess Marya Aleksevna say!” Thus, in the person of Famusov, the author exposed the ceremonial worship of Moscow society. Every conversation between Famusov and Chatsky ends with the former’s inevitable “upset.” So, in the second act (episode 2) the heroes are left alone and they manage to talk. Famusov has not seen Chatsky for a long time, so he still does not know what the boy he once knew became like. In their conversation, the heroes first touch on the issue of service. Chatsky immediately notes: “I would be glad to serve, but being served is sickening.” Famusov, not understanding what Alexander Andreevich means, tries to teach him how to achieve “both places and promotion to rank.” Through the mouth of Famusov, all of noble Moscow speaks at this moment: And uncle! What is your prince? What's the count? When it was necessary to serve, And he bent over... This and only this way of serving, as Famusov says, can bring glory and honor. And so it was in the era of Catherine II. But times have changed. Chatsky points to this when he retorts in an ironic and somewhat evil manner: But meanwhile? Who will the hunt take, Even in the most ardent servility, Now, in order to make people laugh, Bravely sacrifice the back of your head? Further, Chatsky, in the most apt and witty expressions, brands “the past century.” He claims that now is a new time, that people no longer fawn over patrons (“patrons yawn at the ceiling”), but achieve everything in this life only with the help of abilities and intelligence: No, today the world is not like that. Everyone breathes more freely and is in no hurry to fit into the regiment of jesters. The hero says all this in such fervor that he doesn’t notice - Famusov hasn’t listened to him for a long time, he covered his ears. Thus, the conversation between the two characters is a farce. The author uses this technique specifically in order to outline the position of the Chatskys even more clearly - their arguments are not listened to, because it is impossible to oppose them with anything. The only thing that the old familiar regime can do to protect Famusov is this: I would strictly forbid these gentlemen to approach the capitals for a shot. In Chatsky’s fair, passionate attacks on Moscow society, Famusov sees danger and freedom. He believes that the reason lies in the fact that they are scouring the world, beating their heads, They are returning, expect order from them. We also hear one of Famusov’s exclamations: “What is he saying! And he speaks as he writes! It refers to Chatsky’s speeches and stands among such characteristics of this hero as “ dangerous man", "He doesn't recognize the authorities!", "Carbonari". Why is this, from Famusov’s point of view, terrible? Later, in the third appearance, Famusov will declare that the reason for Chatsky’s madness is “study”, therefore all books

• 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. His chief representative- Famusov is an official, a smart person in everyday life, 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. 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, 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 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 lot of marks of distinction,” but Famusov, “like all Moscow people,” “would like a son-in-law ... with stars and ranks.”

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

The conflict between the “present century” and the “past century” is not defined or limited in the comedy “Woe from Wit” to the theme of fathers and sons. For example, Molchalin, belonging to the younger generation by age, adheres to the views of the “past century.” In the first appearances, he appears before the reader as Sophia’s modest lover. But he, like Famusov, is very afraid that society might have a bad opinion about him: “ Evil tongues scarier than a pistol." As the play progresses, it reveals true face Molchalina. 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.

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

/ / / “The present century” and the “past century” in Griboedov’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 that’s what the young man called them, main character 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 prominent 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, the first place is public opinion, he only worries about what the world will say. 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 temporarily limited itself from them, only postponed the dates of the inevitable onset “ this century”, which they are so afraid of.