Views of the present century and the past century. Comparative characteristics of the "present century" and the "past century" based on the comedy Woe from Wit (Griboyedov A.S.)

/ / / "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 mores of the nobility of the early nineteenth century.

Its author, Alexander Sergeevich Griboyedov, vividly and masterfully showed the conflict between landowners, rooted in the old order, and the young advanced generation. The two sides received the names "present century" and "past century". And the young man called them, the main character of the comedy - Alexander Andreevich Chatsky. Leafing through the pages of our favorite work, we inevitably come across a dispute between these two warring camps. Let's see what their views are, what the concept of each is based on.

So, the “past century” in terms of the number of representatives is much wider than its opponents. The brightest and most ambitious 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.

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

For Pavel Afanasyevich, in the first place is public opinion, he worries only about what will be said in the world. It is more important for him to look worthy, to create an image, and not to be so in reality. And what is most terrible, such is the entire noble society of Moscow at that time, because the main character is a typical representative of it.

The representative of the "current" modern age 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 wandered around the world. He has been in love with Sophia since his youth and still retained tender feelings. But the girl is cold. Everything has changed. Chatsky is an unwelcome guest who speaks out against the established life of this house and the people living in it.

Alexander Andreevich expresses a radically opposite opinion on all the topics discussed. He is happy to serve, but not ready to serve for profit. Chatsky will not put on the mask of a jester and say what is expected. He is disgusted with a 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 notable for a small number. A split in the midst of the nobility has already been outlined, it will invariably be. The announcement of Alexander Andreevich insane will not allow changes to be avoided. Famus society limited itself from them only for a while, only just moved the dates of the inevitable offensive " this century"That they are so afraid of.

"THE PRESENT CENTURY" AND "THE PAST CENTURY" IN THE COMEDY OF GRIBOEDOV "Woe FROM MIND"
Plan.
1. Introduction.
Woe from Wit is one of the most topical works in Russian literature.
2. The 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 Arakcheev army environment.
2.4 Chatsky is a representative of the "present century".
3. Conclusion.

The collision of two eras gives rise to changes. Chatsky is broken by the amount old force, inflicting on her, in turn, death blow the quality of the force is fresh.

I. Goncharov

Comedy by Alexander Sergeevich Griboyedov "Woe from Wit" can be called one of the most topical works in Russian literature. Here the author touched on acute problems 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 In 1812, a split occurred in the Russian noble society: two social camps were formed. The camp of feudal reaction in the person of Famusov, Skalozub, and other people of their circle embodies the "past century." New time, new convictions and positions of the progressive noble youth are represented in the person of Chatsky. Griboyedov expressed the collision 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" Catherine's age and since then has not changed in any way. It is this conservatism, the desire to preserve everything “as the fathers did,” that unites them.

Representatives of the "past century" do not accept novelty, but in education they see the cause of all the problems of the present time:

Learning is the plague, learning is the reason
What is more now than when,
Insane divorced people, and deeds, and opinions.

Famusov is usually called a typical representative of the old Moscow nobility. He is a convinced serf-owner, he does not see anything reprehensible in young people learning to “bend over,” in order to achieve success in their service. Pavel Afanasevich categorically does not accept new trends. He admires his uncle, who "ate on gold," and the reader perfectly understands 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 marks the generals." At first glance, his image is caricatured. But Griboyedov created a completely truthful historical portrait representative of the Arakcheevskaya army environment. Skalozub, just 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 greedy people. They are only interested in their own well-being, secular entertainment, intrigue and gossip, and their ideals are wealth and power. Griboyedov exposes these people in Chatsky's passionate monologues. Alexander Andreevich Chatsky - humanist; he defends the freedom and independence of the individual. In an angry monologue "Who are the judges?" serfdom, highly appreciates the Russian people, their intelligence, love of freedom. Serious worship of all foreigners evokes a sharp protest from Chatsky.

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 the bearer of new views: his behavior, lifestyle, speech. He is convinced that the "age of obedience and fear" must become a thing of the past along with its morals, ideals and values.

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

So, along with Famusov, the peers of Chatsky - Molchalin and Sophia - belong to the "past century". Sophia is not stupid and, perhaps, in the future her views could still change, but she was brought up in the society of her father, on his philosophy and morality. Both Sophia and Famusov favor Molchalin, and let "this mind be absent in him, / What a genius for others, but a plague for others."

He, as it should be, 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 the lapse of three years he returns to native home and very friendly at first. But his hopes and joys are not justified - at every step he runs into a wall of misunderstanding. Chatsky is alone in his opposition to the Famus society; even his girlfriend rejects him. Moreover, the conflict with society is closely intertwined with Chatsky's personal tragedy: after all, it is with the suggestion of Sophia that conversations about his madness begin in society.

A.S. Griboyedov became the author of one genius work that had a tremendous influence on the entire Russian literature and took an exceptional place in it. The comedy "Woe from Wit" became the first in the history of Russian literature realistic comedy... It reflected with amazing accuracy the main conflict of the era - the clash of the conservative forces of society with new people and new trends.
For the first time in the history of Russian literature, a comedy ridiculed not one vice of society, but all at once: serfdom, the emerging bureaucracy, careerism, sycophancy, martyrdom, low level education, admiration for everything foreign, servility, groveling, the fact that society values ​​not the personal qualities of a person, but “two thousand family souls”, rank, money.
The main representative of the "present century" in comedy - Alexander Andreevich Chatsky is a young man, well educated, who understood that the “smoke of the Fatherland” is “sweet and pleasant”, but much in the life of Russia at that time had to be changed, and, first of all, the consciousness of people.
The hero confronts the Famus society, united in its unwillingness to change anything, which is possessed by the fear that any progressive ideas, free-thinking thoughts will interfere with their calm, serene, well-fed existence. Its main representative is Famusov - an official, an intelligent person in everyday life, but an ardent opponent of everything new, progressive, the manifestation of any free thinking, liberty, new ideas:
I would strictly forbid these gentlemen
Drive up to the capital for a shot,
he says, referring to Chatsky and people like him.
Famusov, expressing the ideas of the society of which he is a representative, considers any education unnecessary and says that "there is little use in reading", and his "colleague", in the "scientific committee that settled", with a shout demanded an oath so that "literacy no one knew or studied, and the teachers for their children were noblemen, who had to flatter the culture in themselves Russian society, hired "in more numbers, at a cheaper price."
Foreigners and everything foreign - this is the ideal that the representatives of the Famus society are equal to. Famusov himself - “the English club is a venerable member to the grave” - declares that “the door is open for the invited and uninvited, especially from foreign ones”, and it is natural that the people of the “past century”, in the words of Chatsky, speak a language that is a mixture of languages "French with Nizhny Novgorod".
But not only foreigners are welcome guests in Famusov's house. It is clear that he considers every man who visits his house as a potential groom for Sophia, but certain requirements are imposed on the “candidate for groom”, and not to mental qualities, not to character traits, before that the representatives of the Famus society do not care, but to material well-being:
Be inferior, but if you have enough
There are two thousand generic souls,
He and the groom.
Of course, Sofia's beloved Molchalin, a penniless, rootless and wordless secretary of Famusov, who “needs to depend on others,” remains without a chance: “who is poor,” Sophia is “not a couple,” but Colonel Skalozub - “and a golden bag, and marks the generals ”.
And Chatsky has a different attitude to “stars and ranks”. He "would be glad to serve," but it is sickening to serve him, he believes that it is necessary to serve "the cause, not the persons."
But in the society of the "past century" servility and servility are considered honorable. For example, Famusov talks about his uncle Maksim Petrovich, who “ate not that on silver, on gold” and had “a hundred people at his service,” but
When do you need to curry favor,
And he bent over.
And Chatsky is not ready to put up with such sycophancy, I opposes "the present century" and "the past century":
As he was famous, whose neck bent more often,
As if not in war, but in peace, they took it with their foreheads.
They knocked on the floor without regretting! ..
But between those whom the hunt will take,
Though in servility the most ardent
Now, to make people laugh.
It is courageous to sacrifice the back of the head.
But ranks, uniforms, money - these are the ideals worshiped by the “past century”. Women “cling to their uniforms,” “but because they are patriots,” Griboyedov notes with irony through Chatsky's lips.
But the "embroidered and beautiful" uniform concealed the "weakness and misery" of the military. A striking example Colonel Skalozub serves this, eloquently speaking only about "frunt and ranks", judging everything "like a true philosopher", and casually speaks about a woman: "We did not serve together with her." In female society, the same laws reign as in male. Topics for discussion in it are outfits, the last "ball and masquerade" and fresh gossip, "a word in simplicity will not say, all with a grimace." Having read sentimental French novels, they create in their imagination the ideal of “husband-boy, husband-servant”.
And in this, oddly enough, Famusov himself becomes Chatsky's “comrade-in-arms”, exclaiming:
When will the creator deliver us
From their hats! Cheptsov! And studs! And pins!
He calls the French "pockets and hearts destroyers." The origins of the vices of society surrounding Chatsky lie in society itself. Thus, representatives of the “past century” are in awe of “what Princess Marya Aleksevna will say” and what “ strongest of the world this ”will not“ please the dear little man ”. "After all, nowadays they love the dumb," Chatsky exclaims in despair, referring to Molchalin, who does not "dare to utter his judgment."
The dependence of everything and everyone on the opinion of more than not always worthy people is a consequence of the prosperity of the Famus society, where serfs are the subject of talk and bragging, who can be exchanged for “three greyhounds”, where a low and mean man is “scolded everywhere, but everywhere accepted” where there is no place for nobility, dedication and love.
But, fortunately, Chatsky is not alone. His fresh strength was just “born”. Except for Chatsky, no one from the comedy represents her in the comedy. stage characters but in cues actors there is a mention of Prince Fyodor, Skalozub's cousin, “chemist and botanist”, about professors of the Pedagogical Institute, “practicing schisms and lack of faith”.
Contrary to the author's sympathies, the victory is on the side of the Famus society, although moral victory is won by Chatsky. This showed the realism of comedy.
Nobody knows what will happen to Chatsky and people like him, the author leaves it to the reader to speculate.

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 noble society 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"Woe from Wit" Alexander Andreevich Chatsky aptly called the disputing parties "the present century" and "the past century." Also presented in the comedy "Woe from Wit" generational dispute. What is each of the parties, what are their views and ideals, will make it possible to understand the analysis of "Woe from Wit".

The "bygone age" in the 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 comedy phenomena take place. He is the manager of the government house. His daughter Sophia was brought up by him since childhood, because her mother died. Their relationship reflects the conflict between fathers and children in Woe From Wit.
In the first act, Famusov finds Sophia in a room with Molchalin, his secretary, who lives in their house. He does not like the behavior of his daughter, and Famusov begins to read her morality. His views on education reflect the position of the entire nobility: “These languages ​​were given to us! We take vagrants, both into the house, and on tickets, so that our daughters can learn everything. " A minimum of requirements are imposed on foreign teachers, the main thing is that they should be "more in number, at a cheaper price."

However, Famusov believes that the example of her own father should have the best educational impact on a daughter. 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 good example for imitation, if a second before he began to lecture Sophia, the reader watched him openly flirt with the servant Lisa? For Famusov, only what is said about him in the world matters. And if the noble society does not judge about his love affairs, then his conscience is clear. Even Liza, imbued with the morals prevailing in Famusov's house, warns her young mistress not from night meetings with Molchalin, but from public gossip: "Sin is not a problem, rumor is not good." This position characterizes Famusov as a morally corrupted 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 and for the entire old Moscow noble society) it is more important to seem a worthy person, and not to be such. Moreover, the desire of representatives of the "past century" to make a good impression applies only to rich and noble people, because communication with them contributes to the acquisition of personal gain. But people who do not have high ranks, awards and wealth, are rewarded only with contempt on the part of the noble society: "For those in need: for those arrogance, 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 the attitude to family life... “The poor man is not your match,” he says to his daughter. The feeling of love has no power, it is despised by this society. Calculation and profit dominate in the life of Famusov and his supporters: "Be inferior, but if there are two thousand family souls, he is the groom." This position gives rise to the lack of freedom of these people. They are hostages and slaves of their own comfort: "And who in Moscow has not been gagged with lunches, dinners and dances?"

What is humiliation for the progressive people of the new generation is the norm for the representatives of the conservative nobility. And this is no longer just a generational dispute in Woe from Wit, but a much deeper divergence in the views of the two opposing sides. Famusov recalls with great admiration his uncle Maksim Petrovich, who "knew honor before everyone", had "a hundred people at his service" and was "all in orders." How did he deserve his high position in society? Once, at a reception with the Empress, he stumbled and fell, hitting the back of his head painfully. Seeing the smile on the autocrat's face, Maxim Petrovich decided to repeat his fall several more times in order to amuse the empress and the court. Such an ability to "serve as a favor", according to Famusov, is worthy of respect, and young generation one should take an example from him.

Famusov reads his daughter Colonel Skalozub as the groom, who "will not utter the words of a clever one ever." He is good only because he "picked up the signs of darkness," and after all, Famusov, "like everyone in Moscow," "would like a son-in-law ... with stars and ranks."

The younger generation in the society of the conservative nobility. The 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 humble lover. But he, like Famusov, is very afraid that a bad opinion might develop in society: “ Gossips worse than a gun". As the play develops, the true face of Molchalin is revealed. It turns out that he is with Sophia "according to his position", that is, in order to please her father. In fact, he is more attracted by the servant Liza, with whom he behaves much more relaxed than with the daughter of Famusov. Molchalin's laconicism hides his duplicity. He does not miss the opportunity to show his helpfulness to influential guests at the party, because "you have to depend on others." This young man lives according to the rules of the "past century", and therefore "The Molchalins are blissful in the world."

"The present century" in the play "Woe from Wit". The image of Chatsky.

The only defender of different views on the problems touched upon in the work, a representative of the "present century", is Chatsky. He was brought up together with Sophia, between them there was youthful love, which the hero keeps in his heart at the time of the events of the play. Chatsky was not in Famusov's house for three years, because wandered around the world. Now he is back with hopes for Sophia's mutual love. But here everything has changed. The beloved meets him coldly, and his views are fundamentally at odds with the views of Famus society.

To Famusov's call, "Come and serve!" Chatsky replies that he is ready to serve, but only "to the cause, and not to the persons," but "to serve" he is generally "sickening." In the "past century" Chatsky sees no freedom for human personality... He does not want to be a jester for a society where “he was famous, whose neck was more often bent,” where a person is judged not by personal qualities, but by those material goods that he possesses. Indeed, how can one judge a person only by his ranks, if “ranks are given by people, and people can be deceived”? Chatsky sees in Famus society enemies free life and finds no role models in him. The main character in his accusatory monologues addressed to Famusov and his supporters opposes serfdom, against the slavish love of Russian people for everything foreign, against rank-worship and careerism. Chatsky is a supporter of enlightenment, a creative and seeking mind capable of acting in harmony with conscience.

"The present century" is inferior in the play to the "past century" in number. This is the only reason Chatsky is doomed to defeat in this battle. It's just that the time of the chatskys hasn't come yet. A split in the noble milieu has only been outlined, but in the future the progressive views of the protagonist of the comedy "Woe from Wit" will give lush shoots. Now Chatsky is declared insane, because the accusations of the insane are not terrible. The conservative nobility, having supported the rumor about 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 by no means reveals the full depth of the conflict between the "present century" and the "past century." The contradictions between the two camps lie in the difference in their perception of life and the structure of society, in different ways interaction with this society. This conflict cannot be resolved by verbal battles. Only time and sequence historical events will naturally replace the old with the new.

Carried out comparative analysis two generations will help pupils of the 9th grade describe the conflict between the “present century” and the “past century” in their essay on the theme “The present century” and “the past century” in the comedy “Woe from Wit” by Griboyedov

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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." Also presented in the comedy "Woe from Wit" generational dispute. What is each of the parties, what are their views and ideals, will make it possible to understand the analysis of "Woe from Wit".

The "bygone age" in the 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 comedy phenomena take place. He is the manager of the government house. His daughter Sophia was brought up by him since childhood, because her mother died. Their relationship reflects the conflict between fathers and children in Woe From Wit.
In the first act, Famusov finds Sophia in a room with Molchalin, his secretary, who lives in their house. He does not like the behavior of his daughter, and Famusov begins to read her morality. His views on education reflect the position of the entire nobility: “These languages ​​were given to us! We take vagrants, both into the house, and on tickets, so that our daughters can learn everything. " A minimum of requirements are imposed on foreign teachers, the main thing is that they should be "more in number, at a cheaper price."

However, Famusov believes that the example of her own father should have the best educational impact on a daughter. In this regard, in the play "Woe from Wit" the problem of fathers and children becomes even more acute. Famusov says about himself that he is known for his monastic behavior. But is he such a good example to follow, if a second before he began to lecture Sophia, the reader watched him openly flirt with the servant Lisa? For Famusov, only what is said about him in the world matters. And if the noble society does not judge about his love affairs, then his conscience is clear. Even Liza, imbued with the morals prevailing in Famusov's house, warns her young mistress not from night meetings with Molchalin, but from public gossip: "Sin is not a problem, rumor is not good." This position characterizes Famusov as a morally corrupted 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 and for the entire old Moscow noble society) it is more important to seem a worthy person, and not to be such. Moreover, the desire of representatives of the "past century" to make a good impression applies only to rich and noble people, because communication with them contributes to the acquisition of personal gain. People who do not have high ranks, awards and wealth, are rewarded only with contempt from the noble society: "For those in need: for those arrogance, 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 to family life. “The poor man is not your match,” he says to his daughter. The feeling of love has no power, it is despised by this society. Calculation and profit dominate in the life of Famusov and his supporters: "Be inferior, but if there are two thousand family souls, he is the groom." This position gives rise to the lack of freedom of these people. They are hostages and slaves of their own comfort: "And who in Moscow has not been gagged with lunches, dinners and dances?"

What is humiliation for the progressive people of the new generation is the norm for the representatives of the conservative nobility. And this is no longer just a generational dispute in Woe from Wit, but a much deeper divergence in the views of the two opposing sides. Famusov recalls with great admiration his uncle Maksim Petrovich, who "knew honor before everyone", had "a hundred people at his service" and was "all in orders." How did he deserve his high position in society? Once, at a reception with the Empress, he stumbled and fell, hitting the back of his head painfully. Seeing the smile on the autocrat's face, Maxim Petrovich decided to repeat his fall several more times in order to amuse the empress and the court. Such an ability to "serve as a favor", according to Famusov, is worthy of respect, and the younger generation should take an example from him.

Famusov reads his daughter Colonel Skalozub as the groom, who "will not utter the words of a clever one ever." He is good only because he "picked up the signs of darkness," and after all, Famusov, "like everyone in Moscow," "would like a son-in-law ... with stars and ranks."

The younger generation in the society of the conservative nobility. The 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 humble lover. But he, like Famusov, is very afraid that a bad opinion might develop in society: "Evil tongues are worse than a pistol." As the play develops, the true face of Molchalin is revealed. It turns out that he is with Sophia "according to his position", that is, in order to please her father. In fact, he is more attracted by the servant Liza, with whom he behaves much more relaxed than with the daughter of Famusov. Molchalin's laconicism hides his duplicity. He does not miss the opportunity to show his helpfulness to influential guests at the party, because "you have to depend on others." This young man lives according to the rules of the "past century", and therefore "The Molchalins are blissful in the world."

"The present century" in the play "Woe from Wit". The image of Chatsky.

The only defender of different views on the problems touched upon in the work, a representative of the "present century", is Chatsky. He was brought up together with Sophia, between them there was youthful love, which the hero keeps in his heart at the time of the events of the play. Chatsky was not in Famusov's house for three years, because wandered around the world. Now he is back with hopes for Sophia's mutual love. But here everything has changed. The beloved meets him coldly, and his views are fundamentally at odds with the views of Famus society.

To Famusov's call, "Come and serve!" Chatsky replies that he is ready to serve, but only "to the cause, and not to the persons," but "to serve" he is generally "sickening." In the "past century" Chatsky does not see freedom for the human person. He does not want to be a jester for a society where “he was famous, whose neck was more often bent,” where a person is judged not by personal qualities, but by those material benefits that he possesses. Indeed, how can one judge a person only by his ranks, if “ranks are given by people, and 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 opposes serfdom, against the slavish love of Russian people for everything foreign, against rank-worship and careerism. Chatsky is a supporter of enlightenment, a creative and seeking mind capable of acting in harmony with conscience.

"The present century" is inferior in the play to the "past century" in number. This is the only reason Chatsky is doomed to defeat in this battle. It's just that the time of the chatskys hasn't come yet. A split in the noble milieu has only been outlined, but in the future the progressive views of the protagonist of the comedy "Woe from Wit" will give lush shoots. Now Chatsky is declared insane, because the accusations of the insane are not terrible. The conservative nobility, having supported the rumor about 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 by no means reveals the full depth of the conflict between the "present century" and the "past century." The contradictions between the two camps lie in the difference in their perception of life and the structure of society, in different ways of interacting with this society. This conflict cannot be resolved by verbal battles. Only time and a series of historical events will naturally replace the old with the new.

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

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