The conflict of generations is the main conflict in A. Griboyedov’s comedy “Woe from Wit”

Alexander Sergeevich Griboyedov was one of the smartest people of his time. He received an excellent education, knew several oriental languages, and was a keen politician and diplomat. Griboyedov died a painful death at the age of 34, torn to pieces by fanatics. He left to his descendants two wonderful waltzes and the comedy “Woe from Wit.”

“Woe from Wit” is a socio-political comedy. Griboyedov gave in it a true picture of Russian life after the Patriotic War of 1812. The reader can trace the development of the conflict between two socio-political camps: serf owners (Famus society) and anti-serf owners (Chatsky).

Famus society is traditional. His principles of life are such that he must learn, “looking at his elders,” destroy free-thinking thoughts, serve with obedience to persons standing a step higher, and most importantly, be rich. A unique ideal of this society is represented in Famusov’s monologues by Maxim Petrovich and Uncle Kuzma Petrovich:

Here's an example:

The deceased was a venerable chamberlain,

He knew how to deliver the key to his son;

Rich, and married to a rich woman;

Married children, grandchildren;

He died, everyone remembers him sadly:

Kuzma Petrovich! Peace be upon him! -

What kind of aces live and die in Moscow!...

The image of Chatsky, on the contrary, is something new, fresh, bursting into life, bringing change. This is a realistic image of a man expressing the progressive ideas of his time. Chatsky could be called a hero of his time. A whole political program can be traced in Chatsky’s monologues. He exposes serfdom and its products: inhumanity, hypocrisy, stupid military, ignorance, false patriotism. He gives a merciless characterization of Famus society.

The dialogues between Famusov and Chatsky are a struggle. At the beginning of the comedy, it does not yet appear in acute form. After all, Famusov is Chatsky’s teacher. At the beginning of the comedy, Famusov is favorable to Chatsky, he is even ready to give Sophia’s hand, but sets his own conditions:

I would say, firstly: don’t be a whim,

Brother, don’t mismanage your property,

And, most importantly, go ahead and serve.

To which Chatsky throws:

I would be glad to serve, but being served is sickening.

But gradually another struggle begins to ensue, an important and serious one, a whole battle. Both Famusov and Chatsky threw down the gauntlet to each other.

If only we could see what our fathers did

You should learn by looking at your elders! –

Famusov's war cry rang out. And in response - Chatsky’s monologue “Who are the judges?” In this monologue, Chatsky brands “the meanest traits of his past life.”

Each new face that appears during the development of the plot becomes in opposition to Chatsky. Anonymous characters slander him: Mr. N, Mr. D, 1st Princess, 2nd Princess, etc.

But in comedy there is another conflict, another intrigue - love. I. A. Goncharov wrote: “Every step of Chatsky, almost every word of his in the play is closely connected with the play of his feelings for Sophia.” It was Sophia’s behavior, incomprehensible to Chatsky, that served as the motive, the reason for irritation, for that “millions of torments”, under the influence of which he could only play the role indicated to him by Griboyedov. Chatsky is tormented, not understanding who his opponent is: either Skalozub or Molchalin? Therefore, he becomes irritable, unbearable, and caustic towards Famusov’s guests. Sophia, irritated by Chatsky’s remarks, who insult not only the guests, but also her lover, in a conversation with Mr. N mentions Chatsky’s madness: “He is out of his mind.” And the rumor about Chatsky’s madness sweeps through the halls, spreads among the guests, acquiring fantastic, grotesque forms. And Chatsky himself, not yet knowing anything, confirms this rumor with a heated monologue about the “Frenchman from Bordeaux,” which he pronounces in an empty hall. In the fourth act of the comedy, both conflicts come to a denouement: Chatsky finds out who Sophia’s chosen one is. This is Molchalin. The secret is revealed, the heart is broken, there is no end to the torment.

Oh! How to comprehend the game of fate?

A persecutor of people with a soul, a scourge! -

Silent people are blissful in the world! –

says the grief-stricken Chatsky. His hurt pride, the escaping resentment, burns. He breaks up with Sophia:

Enough! With you I am proud of my breakup.

And before leaving forever, Chatsky angrily throws out to the entire Famus society:

He will come out of the fire unharmed,

Who will have time to spend a day with you,

Breathe the air alone

And his sanity will survive...

Chatsky leaves. But who is he - the winner or the loser? Goncharov answered this question most accurately in his article “A Million Torments”: “Chatsky was broken by the amount of old strength, having in turn dealt it a fatal blow with the quality of fresh strength. He is the eternal denouncer of lies, harnessed to the proverb: “Alone in the field is not a warrior.” There is no warrior if he is Chatsky, and, moreover, a winner, but an advanced warrior, a skirmisher and always a victim.”

Innovation of the comedy "Woe from Wit"

Comedy A.S. Griboyedov's "Woe from Wit" is innovative. This is due to the artistic method of comedy. Traditionally, “Woe from Wit” is considered the first Russian realistic play. The main departure from classicist traditions lies in the author’s rejection of the unity of action: there is more than one conflict in the comedy “Woe from Wit”. In the play, two conflicts coexist and flow from one another: love and social. It is advisable to turn to the genre of the play to identify the main conflict in the comedy “Woe from Wit”.

The role of love conflict in the comedy "Woe from Wit"

As in a traditional classic play, the comedy “Woe from Wit” is based on a love affair. However, the genre of this dramatic work is social comedy. Therefore, social conflict prevails over love conflict.

Nevertheless, the play opens with a love conflict. Already in the exposition of the comedy, a love triangle is outlined. Sophia's night date with Molchalin in the very first scene of the first act shows the girl's sensual preferences. Also in the first appearance, the maid Liza remembers Chatsky, who was once connected with Sophia by youthful love. Thus, a classic love triangle unfolds before the reader: Sophia - Molchalin - Chatsky. But as soon as Chatsky appears in Famusov’s house, a social line begins to develop in parallel with the love one. The plot lines closely interact with each other, and this is the uniqueness of the conflict in the play “Woe from Wit.”

To enhance the comic effect of the play, the author introduces two more love triangles into it (Sofya - Molchalin - maid Liza; Liza - Molchalin - bartender Petrusha). Sophia, in love with Molchalin, does not even suspect that the maid Liza is much nicer to him, which he clearly hints to Liza. The maid is in love with the bartender Petrusha, but is afraid to confess her feelings to him.

Social conflict in the play and its interaction with the love story

The social conflict of the comedy was based on the confrontation between the “present century” and the “past century” - the progressive and conservative nobility. The only representative of the “present century,” with the exception of off-stage characters, in the comedy is Chatsky. In his monologues, he passionately adheres to the idea of ​​serving “the cause, not persons.” The moral ideals of Famus society are alien to him, namely the desire to adapt to circumstances, to “serve the favor” if this will help him get another rank or other material benefits. He appreciates the ideas of the Enlightenment, and in conversations with Famusov and other characters he defends science and art. This is a person free from prejudice.

The main representative of the “past century” is Famusov. All the vices of the aristocratic society of that time were concentrated in it. Most of all, he is concerned with the opinion of the world about himself. After Chatsky leaves the ball, his only concern is “what Princess Marya Aleksevna will say.” He admires Colonel Skalozub, a stupid and shallow man who only dreams of “getting” the rank of general. It is his Famusov who would like to see him as his son-in-law, because Skalozub has the main advantage recognized by the world - money. With rapture, Famusov talks about his uncle Maxim Petrovich, who, after an awkward fall at a reception with the Empress, was “bestowed with the highest smile.” In Famusov’s opinion, the uncle’s ability to “curry favor” is worthy of admiration: to amuse those present and the monarch, he fell two more times, but this time on purpose. Famusov is sincerely afraid of Chatsky’s progressive views, because they threaten the usual way of life of the conservative nobility.

It should be noted that the clash between the “present century” and the “past century” is not at all a conflict between the fathers and children of “Woe from Wit”. For example, Molchalin, being a representative of the “children” generation, shares the views of the Famus society on the need to make useful contacts and skillfully use them to achieve their goals. He has the same reverent love for awards and ranks. In the end, he communicates with Sophia and supports her passion for him only out of a desire to please her influential father.

Sophia, Famusov’s daughter, cannot be attributed either to the “present century” or to the “past century.” Her opposition to her father is connected only with her love for Molchalin, but not with her views on the structure of society. Famusov, who openly flirts with the maid, is a caring father, but is not a good example for Sophia. The young girl is quite progressive in her views, smart, and not worried about the opinions of society. All this is the reason for the disagreement between father and daughter. “What a commission, creator, to be a father to an adult daughter!” - Famusov laments. However, she is not on Chatsky’s side. With her hands, or rather with a word spoken out of revenge, Chatsky is expelled from the society he hates. It is Sophia who is the author of the rumors about Chatsky’s madness. And the world easily picks up these rumors, because in Chatsky’s accusatory speeches everyone sees a direct threat to their well-being. Thus, in spreading the rumor about the protagonist’s madness in the world, a love conflict played a decisive role. Chatsky and Sophia do not clash on ideological grounds. Sophia is simply concerned that her ex-lover could destroy her personal happiness.

conclusions

Thus, the main feature of the conflict in the play “Woe from Wit” is the presence of two conflicts and their close relationship. A love affair opens the play and serves as the reason for Chatsky’s clash with the “past century.” The love line also helps the Famus society to declare its enemy insane and disarm him. However, the social conflict is the main one, because “Woe from Wit” is a social comedy, the purpose of which is to expose the mores of the noble society of the early 19th century.

Work test

The author shows several conflicts at once. This is a complex relationship between the characters, where there is deception, betrayal, betrayal and subsequent disappointment and repentance. But the most important conflict is the very attitude of society towards the main character Alexander Chatsky. After an evening event in the Famusovs’ house, where all the “high society” were invited, the young man began to be considered crazy.

These two conflicts are closely intertwined with each other. It was she who was responsible for giving Chatsky a “bad” reputation. His “militant” attitude and non-standard views on the situation in society confused the girl. She reproaches the man for his “inflexibility” and unrestrained comments, involuntarily comparing him to Molchalin about those around him.

Molchalin, trying to please everyone and everywhere, was also indirectly drawn into the main conflict between society and Chatsky. He acts as a reverse example of Alexander's behavior.

For the majority, Famusov's secretary evokes only tenderness. He seems to “smooth out” the rough edges with his complaisance and imaginary “good nature”. In fact, the man chose the tactics of always being useful in everything. Having set this goal, he fulfilled the “whims” of Pavel Famusov’s daughter, Sophia. The girl, due to her naivety, perceived the “suave” gentleman as a potential groom. In fact, Molchalin liked a completely different girl, who also lived in the Famusovs’ house. She turned out to be the maid Lisa.

In turn, due to his ingenuity, unlike Chatsky, he prevents conflict every time. The girl tries to “smooth out” the rough edges and avoids a direct answer. She often succeeds.

Nevertheless, the main conflict becomes the attitude of society to the new worldview and opinion of Chatsky. His condemning roars and aggressive attitude against the “prosperous” flattery and lies, in order to obtain any benefits, excite the entire Famus society. For those around him, this “approach” to life that the man advocates is not only unacceptable, but also truly crazy. The shocking truth sounds like an insult and is received with hostility by everyone.

A sense of heightened justice forces a man to condemn even the behavior of his long-time friend. In a conversation with him, Alexander learns that he got married and found himself “under the thumb” of his own wife. Seeing the picture of what was happening, the woman immediately rushed to participate in the conversation and free her chosen one from Chatsky’s “revolutionary” instructions.

Famusov's entourage delivered its verdict. People simply began to make fun of all Alexander’s phrases. Both conflicting parties were absolutely confident that they were right and that their opponent was weak-minded. Minor characters add to the picture of what is happening with their appearance and fill it with characteristic features.

Griboyedov shows with his work how the whole society will subsequently be divided, where everyone, regardless of the opinions of others, will see only their own truth. Where people will make friends and even get married not for love, but only for their own benefit. On the other side of the “barricade” there will always be those who are “mad” about what is happening and under no circumstances will go against their desires, honor and conscience.

Through artistic means, Griboedov expressed the protest of the leading part of the Russian nobility against the inertia and backwardness of the society of that time, against class privileges and serfdom. The most educated, smartest man of his era, he grasped the main social conflict that emerged after the Patriotic War of 1812, and this is the realism of Griboyedov the writer. The comedy reflected the explosive, tense atmosphere of noble society on the eve of 1825. The comedy brings to the fore the ideological disagreement of the main characters, the struggle of the present century with the past century, the struggle of two worldviews that developed in Russian society in the first half of the 19th century. On the one hand, representatives of feudal reaction, serf antiquity Famusov, Skalozub, Countess Khryumina, on the other, advanced noble youth, whose features are embodied by Griboyedov in the image of Chatsky. In Chatsky’s accusatory speeches and Famusov’s enthusiastic stories, the ideal of the past century emerges. This was the age of Catherine with her nobles and flatterers of the court, the age of obedience and fear, depraved morals, when insane extravagance

And luxurious feasts in magnificent chambers flourished next to the humiliating poverty and lack of rights of serfs, who could easily be sold or exchanged for dogs of their choice. This century has become the ideal of the lordly, Famus society, which lives by the principle of winning awards and having fun.
The spokesman for outdated feudal institutions is, of course, Famusov himself. He is a convinced serf owner, ready in anger to exile his serf servants to Siberia, a fierce opponent of education, enlightenment (if evil could be stopped, he would collect all the books and burn them). This is, finally, a person devoid of true dignity and honor, groveling before higher ranks for the sake of promotion, for the sake of his own enrichment.
Chatsky contrasts the defenders of feudal antiquity, the enemies of free-thinking and enlightenment in the comedy. This is a Decembrist, this is a man who ends the era of Peter I and is trying to discern, at least on the horizon, the promised land, A. I. Herzen wrote about Chatsky. Between the like-minded people Famusov and Chatsky is one of the main figures of the comedy, Sophia, who also experienced her grief from the mind. It is she who is assigned the difficult, but very important role of repelling Chatsky’s attacks. However, the image of Sophia in the comedy is contradictory. Sophia is drawn unclearly, A.S. Pushkin noted at one time. Indeed, she is endowed with both positive traits that attracted such an extraordinary person as Chatsky and aroused his love, and negative ones that constantly increase his bewilderment and disappointment. In Sophia's behavior and moods, one always feels a contradiction between a subtle, sober mind and sentimental empty experiences.
What attracted Chatsky to Sofya? What made her stand out in the world of the Famusovs, the Tugoukhovsky princesses and Countess Khryumin’s granddaughter? First of all, independence of views, independence in decision-making, in relationships with people. She fell in love with someone unequal to herself and thus, as it were, challenged the Domostroev rules. Deceived in her feelings, Sophia is not afraid of the judgment of others. She courageously says to Chatsky: I blame myself all around. And Molchalin contemptuously orders to get out of the house before dawn. The strong, proud character of the girl cannot but arouse sympathy and participation in her destiny. Apparently, Chatsky always admired this independence, Sophia’s determination, always hoped for her understanding,

1. The so-called Lancastrian schools of mutual education for the people, which arose in St. Petersburg in 1821-1822, also caused hostility among the reactionary nobles. These schools, highly valued by the Decembrists, were organized by advanced officers for...
2. The main role, of course, is the role of Chatsky, without which there would be no comedy, but, perhaps, there would be a picture of morals. Chatsky is not only smarter than all other people, but also positively smart. Speech...
3. Every comedy, as a type of dramatic work, is intended to be staged. Therefore, in order to understand comedy better, to understand its situations, characters and ideas, we must imagine when reading a comedy...
4. The comedy in “Woe from Wit” is created not by deliberately comic situations, but by a truthful depiction of the vulgar sides of life, ridicule of everything low and vile. With Russian comedy of the 18th – early 19th centuries. “Grief...
5. Polemicizing with the statements of the reactionary camp, Bestuzhev and those close to the Decembrist literary circle V.F. Odoevsky and O.M. Somov pointed to the veracity of the depiction in “Woe from Wit” of the lordly environment, to...
6. The idea for “Woe from Wit” apparently came to Griboedov in 1816. The playwright began working directly on the comedy later. Two acts were written by him during his stay in the Caucasus in 1821...
7. Go” by G-dov is a socio-political realistic comedy, one of the most topical works of Russian literature. The comedy “Go” was written in the 20s of the 19th century, when, after the Patriotic War of 1812, in Russian...
8. The main conflict of A. S. Griboedov’s comedy “Woe from Wit” is the conflict of new and old, progressive and reactionary, enlightenment and serfdom. Through artistic means, Griboyedov expressed the protest of the advanced part of the Russian nobility against...
9. In his comedy “Woe from Wit” Griboyedov directly contrasts Chatsky with all the other (without exception) characters. Opposed to the main character is the society of Famusov and his entourage: Molchalin, Skalozub, Repetilov and others. In their...
10. I. A. Goncharov, in his critical sketch “A Million Torments,” wrote about A. S. Griboyedov’s play “Woe from Wit”: “This is a subtle, smart, elegant and passionate comedy. she is disguised by the typical faces of the heroes...
11. A. S. Griboyedov was born in 1794, the famous comedy was written in 1824, at the beginning of the 19th century. The author was 28 years old at that time. Quite a mature age. And the issues raised...
12. It is difficult to predict the fate of a person seeking, so different assumptions can be made about Chatsky’s future. Determining the past of such a person is the same. Anyone who has dedicated himself once and for all to creating a career and wealth...
13. The comedy “Woe from Wit” by A. S. Griboedov is one of the outstanding examples of Russian drama in the first quarter of the 19th century. The comedy was created at a time when classicism dominated the stage in Russia...
14. The comedy “Woe from Wit” was written in 1824. In this work, A. S. Griboedov recreated a true picture of Russian life in the first quarter of the 19th century: he showed the changes that took place in Russian society...
15. Chatsky begins a new century - and this is his whole meaning and his whole mind. I. A. Goncharov A. S. Griboyedov’s comedy “Woe from Wit” played an outstanding role in the matter of socio-political and...
16. In 1824, AS G-dov wrote his comedy “Go,” which had a huge impact on the further development of Russian literature. In this play, G-dov showed an important problem of all times - the conflict between...
17. Having combined the features of classicism and realism in the comedy “Go”, G-dov abandoned the one-sidedness in the depiction of the heroes. Therefore, there are no ideal, positive characters in the play, but Chatsky, Sophia,...
18. The comedy “Woe from Wit” by Alexander Sergeevich Griboedov was completed in 1824, on the eve of the Decembrist uprising. Therefore, its author simply could not help but be influenced by the pre-revolutionary atmosphere of those years. However, the plot...
19. The comedy “Woe from Wit” gives a general picture of the entire Russian life of the 10-20s of the 19th century, reproduces the eternal struggle between old and new, which unfolded with great force at that time throughout...
20. The innovation of A. S. Griboyedov in creating the play “Woe from Wit” was manifested in the organic fusion of the tragic and the comic. Therefore, researchers of Griboyedov’s work call this work “high comedy” or tragicomedy. Among the main actors...

Paskevich is pushing around,
The disgraced Yermolov is slandering...
What is left for him?
Ambition, coldness and anger...
From bureaucratic old women,
From caustic social jabs
He's riding in a wagon,
Resting your chin on the cane.
D. Kedrin

Alexander Sergeevich Griboyedov gained great literary fame and national fame by writing the comedy “Woe from Wit.” This work was innovative in Russian literature of the first quarter of the 19th century.
Classic comedy was characterized by the division of heroes into positive and negative. Victory always went to the positive heroes, while the negative ones were ridiculed and defeated. In Griboyedov's comedy, the characters are distributed in a completely different way. The main conflict of the play is connected with the division of the heroes into representatives of the “present century” and the “past century”, and the first one actually includes Alexander Andreevich Chatsky, moreover, he often finds himself in a funny position, although he is a positive hero. At the same time, his main “opponent” Famusov is by no means some notorious scoundrel; on the contrary, he is a caring father and a good-natured person.
It is interesting that Chatsky spent his childhood in the house of Pavel Afanasyevich Famusov. Moscow lordly life was measured and calm. Every day was the same. Balls, lunches, dinners, christenings...

He made a match - he succeeded, but he missed.
All the same sense, and the same poems in the albums.

Women were mainly concerned with their outfits. They love everything foreign and French. The ladies of Famus society have one goal - to marry or give their daughters to an influential and rich man. With all this, as Famusov himself puts it, women “are judges of everything, everywhere, there are no judges over them.” Everyone goes to a certain Tatyana Yuryevna for patronage, because “officials and officials are all her friends and all her relatives.” Princess Marya Alekseevna has such weight in high society that Famusov somehow exclaims in fear:
Oh! My God! What will Princess Marya Aleksevna say?
What about men? They are all busy trying to move up the social ladder as much as possible. Here is the thoughtless martinet Skalozub, who measures everything by military standards, jokes in a military way, being an example of stupidity and narrow-mindedness. But this just means a good growth prospect. He has one goal - “to become a general.” Here is the petty official Molchalin. He says, not without pleasure, that “he received three awards, is listed in the Archives,” and he, of course, wants to “reach the well-known levels.”
The Moscow “ace” Famusov himself tells young people about the nobleman Maxim Petrovich, who served under Catherine and, seeking a place at court, showed neither business qualities nor talents, but became famous only for the fact that his neck often “bent” in bows. But “he had a hundred people at his service,” “all wearing orders.” This is the ideal of Famus society.
Moscow nobles are arrogant and arrogant. They treat people poorer than themselves with contempt. But special arrogance can be heard in remarks addressed to the serfs. They are “parsleys”, “crowbars”, “blocks”, “lazy grouse”. One conversation with them: “You’re welcome! You are welcome!” In close formation, the Famusites oppose everything new and advanced. They can be liberal, but they are afraid of fundamental changes like fire. There is so much hatred in Famusov’s words:

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

Thus, Chatsky is well acquainted with the spirit of the “past century,” marked by servility, hatred of enlightenment, and the emptiness of life. All this early aroused boredom and disgust in our hero. Despite his friendship with sweet Sophia, Chatsky leaves the house of his relatives and begins an independent life.
“The desire to wander attacked him...” His soul thirsted for the novelty of modern ideas, communication with the progressive people of the time. He leaves Moscow and goes to St. Petersburg. “High thoughts” are above all for him. It was in St. Petersburg that Chatsky’s views and aspirations took shape. He apparently became interested in literature. Even Famusov heard rumors that Chatsky “writes and translates well.” At the same time, Chatsky is fascinated by social activities. He develops a “connection with the ministers.” However, not for long. High concepts of honor did not allow him to serve; he wanted to serve the cause, not individuals.
After this, Chatsky probably visited the village, where, according to Famusov, he “made a mistake” by mishandling the estate. Then our hero goes abroad. At that time, “travel” was looked at askance, as a manifestation of the liberal spirit. But it was precisely the acquaintance of representatives of Russian noble youth with the life, philosophy, and history of Western Europe that was of great importance for their development.
And now we meet the mature Chatsky, a man with established ideas. Chatsky contrasts the slave morality of Famus society with a high understanding of honor and duty. He passionately denounces the feudal system he hates. He cannot calmly talk about “Nestor of the noble scoundrels,” who exchanges servants for dogs, or about the one who “drove ... from their mothers, fathers, rejected children to the serf ballet” and, having gone bankrupt, sold them all one by one.

These are the ones who lived to see their gray hairs!
This is who we should respect in the wilderness!
Here are our strict connoisseurs and judges!

Chatsky hates “the meanest traits of the past,” people who “draw their judgments from forgotten newspapers from the times of the Ochakovskys and the conquest of the Crimea.” His sharp protest is caused by his noble servility to everything foreign, his French upbringing, common in the lordly environment. In his famous monologue about the “Frenchman from Bordeaux,” he talks about the ardent attachment of the common people to their homeland, national customs and language.
As a true educator, Chatsky passionately defends the rights of reason and deeply believes in its power. In reason, in education, in public opinion, in the power of ideological and moral influence, he sees the main and powerful means of remaking society and changing life. He defends the right to serve education and science:

Now let one of us
Of the young people, there is an enemy of quest, -
Without demanding either places or promotion,
He will focus his mind on science, hungry for knowledge;
Or God himself will stir up heat in his soul
To the creative, high and beautiful arts, -
They immediately: robbery! Fire!
And he will be known among them as a dreamer! Dangerous!!!

Among such young people in the play, in addition to Chatsky, one can also include, perhaps, Skalozub’s cousin, the nephew of Princess Tugoukhovskaya - “a chemist and a botanist.” But the play talks about them in passing. Among Famusov's guests, our hero is a loner.
- Of course, Chatsky is making enemies for himself. Well, will Skalozub forgive him if he hears about himself: “Wheezing, strangled, bassoon, constellation of maneuvers and mazurkas!” Or Natalya Dmitrievna, whom he advised to live in the village? Or Khlestova, at whom Chatsky openly laughs? But, of course, Molchalin gets the most. Chatsky considers him “the most pitiful creature”, like all fools. Out of revenge for such words, Sophia declares Chatsky crazy. Everyone happily picks up the news, they sincerely believe in the gossip, because, indeed, in this society he seems crazy.
A.S. Pushkin, having read “Woe from Wit,” noticed that Chatsky was throwing pearls before swine, that he would never convince those to whom he addressed with his angry, passionate monologues. And one cannot but agree with this. But Chatsky is young. Yes, he had no intention of starting disputes with the older generation. First of all, he wanted to see Sophia, for whom he had had a heartfelt affection since childhood. Another thing is that in the time that has passed since their last meeting, Sophia has changed. Chatsky is discouraged by her cold reception, he is trying to understand how it could happen that she no longer needs him. Perhaps it was this mental trauma that triggered the conflict mechanism.
As a result, there is a complete break between Chatsky and the world in which he spent his childhood and with which he is connected by blood ties. But the conflict that led to this break is not personal, not accidental. This conflict is social. Not just different people collided, but different worldviews, different social positions. The external outbreak of the conflict was Chatsky’s arrival at Famusov’s house; it was developed in disputes and monologues of the main characters (“Who are the judges?”, “That’s it, you are all proud!”). Growing misunderstanding and alienation lead to a climax: at the ball, Chatsky is declared insane. And then he himself understands that all his words and emotional movements were in vain:

You all glorified me as crazy.
You are right: he will come out of the fire unharmed,
Who will have time to spend a day with you,
Breathe the air alone
And his sanity will survive.

The outcome of the conflict is Chatsky’s departure from Moscow. The relationship between Famus society and the main character is clarified to the end: they deeply despise each other and do not want to have anything in common. It's impossible to tell who has the upper hand. After all, the conflict between old and new is as eternal as the world. And the topic of the suffering of an intelligent, educated person in Russia is topical today. To this day, people suffer more from their intelligence than from their absence. In this sense, A.S. Griboyedov created a comedy for all times.