Conflict and plot grief from the mind. Conflict in comedy A.S.

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The innovation of the comedy "Woe from Wit"

Comedy A.S. Griboyedov "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 refer 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 the traditional classic play, the comedy Woe from Wit is based on a love affair. However, the genre of this dramatic work is a public comedy. Therefore, social conflict predominates over love.

Nevertheless, the play opens with a love conflict. Already in the exposition of the comedy, a love triangle is drawn. Sophia's nightly meeting with Molchalin in the very first appearance of the first act shows the girl's sensual preferences. Also in the first appearance, the maid Lisa recalls Chatsky, who was once associated with Sophia by youthful love. Thus, a classic love triangle unfolds before the reader: Sofia - 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 originality 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 - the maid Lisa; Lisa - Molchalin - the barman Petrush). Sofya, who is in love with Molchalin, does not suspect that the maid Lisa is much dearer to him, which he explicitly hints to Lisa. The maid is in love with the barman Petrusha, but is afraid to confess her feelings to him.

Public conflict in the play and its interaction with the love line

The basis of the social conflict of the comedy was the confrontation between the "current century" and the "past century" - the progressive and conservative nobility. The only representative of the "current 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 the persons." The moral ideals of the Famus society are alien to him, namely the desire to adapt to circumstances, to “serve” if it helps to get another rank or other material benefits. He appreciates the ideas of the Enlightenment, in conversations with Famusov and other characters he defends science and art. This is a man free from prejudice.

The main representative of the "past century" is Famusov. It concentrated all the vices of the aristocratic society of that time. Most of all, he is concerned about the opinion of the world about himself. After Chatsky's departure from the ball, he is only concerned about "what Princess Marya Aleksevna will say." He admires Colonel Skalozub, a stupid and shallow man who only dreams of "getting" himself a general's rank. This is what Famusov would like to see 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, during an awkward fall at the reception of the Empress, was "granted with the highest smile." Admiration, according to Famusov, is worthy of the uncle's ability to "serve": in order to amuse those present and the monarch, he fell two more times, but this time on purpose. Famusov is sincerely afraid of the progressive views of Chatsky, because they threaten the usual way of life of the conservative nobility.

It should be noted that the clash between the "current century" and the "past century" is not at all a conflict between fathers and children of "Woe from Wit". For example, Molchalin, being a representative of the generation of "children", 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 only associates with Sophia and supports her infatuation with him out of a desire to please her influential father.

Sophia, Famusov's daughter, cannot be attributed either to the "current 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, frankly flirting 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, not concerned about the opinion of society. All this is the cause of disagreement between father and daughter. “What a commission, creator, to be a father to an adult daughter!” Famusov laments. However, she is not on the side of Chatsky. With her hands, or rather with a word spoken out of revenge, Chatsky was expelled from the society he hated. Sophia is the author of 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 madness of the protagonist in the world, a love conflict played a decisive role. Chatsky and Sophia collide not on ideological grounds. It's just that Sophia is worried that her former lover can 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. The love affair opens the play and serves as a pretext for Chatsky's clash with the "gone century". The love line also helps the Famus society to declare their enemy insane and disarm him. However, the social conflict is the main one, because Woe from Wit is a public comedy, the purpose of which is to expose the mores of the noble society of the early 19th century.

Artwork test

Pushing around Paskevich,
The disgraced Yermolov is slandering...
What is left for him?
Ambition, coldness and anger...
From official old women,
From caustic secular injections
He rolls in a wagon,
Rest 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.
Classical comedy was characterized by the division of heroes into positive and negative. The victory was always for the good guys, while the bad ones were ridiculed and defeated. In Griboedov's comedy, the characters are distributed in a completely different way. The main conflict of the play is connected with the division of the characters into representatives of the “current century” and “past century”, and the former actually includes one Alexander Andreyevich Chatsky, moreover, he often finds himself in a ridiculous position, although he is a positive hero. At the same time, his main “opponent” Famusov is by no means some notorious bastard, on the contrary, he is a caring father and a good-natured person.
It is interesting that Chatsky's childhood passed in the house of Pavel Afanasyevich Famusov. Moscow lordly life was measured and calm. Every day was like another. Balls, dinners, dinners, christenings...

He got married - he managed, but he gave a miss.
All the same sense, and the same verses in the albums.

Women were mainly occupied with outfits. They love everything foreign, French. The ladies of the Famus society have one goal - to marry or marry off their daughters to an influential and wealthy person. With all this, in the words of Famusov himself, women "are judges of everything, everywhere, there are no judges over them." For patronage, everyone goes to a certain Tatyana Yuryevna, 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!
But what about men? They are all busy trying to move as high as possible on the social ladder. Here is the thoughtless martinet Skalozub, who measures everything by military standards, jokes in a military way, being a model of stupidity and narrow-mindedness. But this just means a good growth prospect. He has one goal - "to get to the generals." Here is a 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 known degrees.”
The Moscow “ace” Famusov himself tells young people about the nobleman Maxim Petrovich, who served under Catherine and, seeking a place at court, did not show any business qualities or talents, but became famous only for the fact that he often “bent neck” in bows. But “had a hundred people at his service”, “all in orders”. This is the ideal of the Famus society.
Moscow nobles are arrogant and arrogant. They treat people poorer than themselves with contempt. But a special arrogance is heard in the remarks addressed to the serfs. They are “parsleys”, “fomkas”, “chumps”, “lazy black grouse”. One conversation with them: “Get you to work! Settle you!”. In close formation, the Famusites oppose everything new, advanced. They can be liberal, but they are afraid of fundamental changes like fire. How much hatred in Famusov's words:

Learning is the plague, learning is the cause
What is now more than ever,
Crazy divorced people, and deeds, and opinions.

Thus, Chatsky is well aware of the spirit of the "past century", marked by cringing, hatred for enlightenment, 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 travel attacked him...” His soul longed for the novelty of modern ideas, communication with the advanced people of the time. He leaves Moscow and travels to Petersburg. "High thoughts" for him above all. It was in St. Petersburg that Chatsky's views and aspirations were formed. He appears to have taken an interest in literature. Even Famusov heard rumors that Chatsky “writes and translates nicely.” At the same time, Chatsky is fascinated by social activities. He has 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 that, Chatsky probably visited the village, where, according to Famusov, he “blissed out”, blunderingly managing the estate. Then our hero goes abroad. At that time, “travelling” was viewed askance as a manifestation of the liberal spirit. But just the acquaintance of representatives of Russian noble youth with the life, philosophy, history of Western Europe was of great importance for their development.
And here we are already meeting with a mature Chatsky, a man with established ideas. Chatsky contrasts the slave morality of the Famus society with a high understanding of honor and duty. He passionately denounces the hated feudal system. He cannot calmly talk about “Nestor noble scoundrels”, who changes servants for dogs, or about the one who “drew to the fortress ballet ... from mothers, fathers of rejected children” and went bankrupt, sold everyone one by one.

Here are those who lived to gray hair!
That's who we should respect in the wilderness!
Here are our strict connoisseurs and judges!

Chatsky hates “the meanest traits of the past life”, people who “draw their judgments from the forgotten newspapers of the times of the Ochakovskys and the conquest of the Crimea.” A sharp protest is caused in him by the noble servility to everything foreign, the French upbringing, usual in the lordly environment. In his famous monologue about the “Frenchman from Bordeaux,” he speaks of the ardent attachment of the common people to their homeland, national customs and language.
As a true enlightener, 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 reshaping society, changing life. He defends the right to serve enlightenment and science:

Now let one of us
Of the young people, there is an enemy of quest, -
Not demanding either places or promotions,
In the sciences, he will stick the mind, hungry for knowledge;
Or in his soul God himself will excite the heat
To creative arts, lofty and beautiful, -
They immediately: robbery! Fire!
And they will be known as a dreamer! Dangerous!!!

Among such young people in the play, in addition to Chatsky, one can perhaps also include Skalozub's cousin, the nephew of Princess Tugoukhovskaya - "a chemist and botanist". But they are mentioned in passing in the play. Among the guests of Famusov, our hero is a loner.
- Of course, Chatsky makes enemies. Well, will Skalozub forgive him if he hears about himself: “Wheezy, strangled, bassoon, a constellation of maneuvers and mazurkas!” Or Natalya Dmitrievna, whom he advised to live in the countryside? Or Khlestov, whom Chatsky openly laughs at? But most of all goes, of course, to Molchalin. Chatsky considers him “the most miserable creature”, similar to all fools. Sophia, out of revenge for such words, declares Chatsky crazy. Everyone happily picks up this news, they sincerely believe in gossip, because, indeed, in this society he seems crazy.
A. S. Pushkin, after reading “Woe from Wit”, noticed that Chatsky throws pearls in front of pigs, that he will never convince those to whom he addresses with his angry, passionate monologues. And one cannot but agree with this. But Chatsky is young. Yes, he did not have the goal of starting disputes with the older generation. First of all, he wanted to see Sophia, to whom from childhood he had a cordial attachment. 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 struggles to understand how it could be that she no longer needs him. Maybe it was this mental trauma that triggered the conflict mechanism.
As a result, there is a complete break of Chatsky with the world in which he spent his childhood and with which he is connected by blood ties. But the conflict that led to this gap is not personal, not accidental. This conflict is social. Not just different people clashed, but different worldviews, different social positions. The external tie-in of the conflict was the arrival of Chatsky to Famusov's house, he received development in disputes and monologues of the main characters (“Who are the judges?”, “That's it, you are all proud!”). The growing misunderstanding and alienation lead to a climax: at the ball, Chatsky is recognized as insane. And then he realizes for himself that all his words and spiritual movements were in vain:

Mad you glorified me all in unison.
You are right: he will come out of the fire unharmed,
Who will have time to spend the day with you,
Breathe the air alone
And his mind will survive.

The outcome of the conflict is the departure of Chatsky from Moscow. The relationship between the Famus society and the protagonist 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's winning. After all, the conflict between the old and the new is eternal, like the world. And the theme of the suffering of an intelligent, educated person in Russia is topical even today. And to this day, they suffer more from the mind than from its absence. In this sense, A.S. Griboedov created a comedy for all time.

The comedy "Woe from Wit" occupies an exceptional place in the history of Russian literature, because it reflected the protest of the advanced part of the Russian nobility against the inertia, backwardness of the reactionary serfs, against class privileges. Therefore, the main theme, the main conflict of the comedy is in the struggle of the “current century”, everything new, progressive, enlightened, against the “past century”, reactionary, striving to preserve the autocratic-feudal system.

How many defenders of serf antiquity are in the comedy: these are Famusov, and Molchalin, and Skalozub, and almost all of Moscow of the “Famus circle”! And there is only one active representative of the advanced noble youth - Chatsky, but he can disturb the calm, disturb, awaken the enemies of free thought and enlightenment from their serene hibernation.

Two worldviews that developed in Russian society in the first half of the 19th century clashed in comedy, each with its own ideals, values, and norms of life.

Chatsky is an enthusiastic, open, sincere, emotional young man. Even Famusov appreciates many of his qualities:

He is small with a head, And he writes gloriously, translates ...

At one time, Chatsky felt cramped in Moscow, and he leaves to travel, to “seek the mind”, to look for the positive foundations of life. Love makes him return, but he is sure that Moscow has not changed: “What new will Moscow show me?” And in this he is right:

Houses are new, but prejudices are old. Rejoice, they will not exterminate Neither their years, nor fashion, nor fires.

Revealing to Sophia the bright world of his feelings and experiences, entering into an argument with Famusov, Skalozub and the like, Chatsky comes across not only misunderstanding, but also open opposition, hatred for this stream of fresh air. And how else, if he is a stranger in this world. The ability to think rationally, express one's opinion frankly, the desire for new knowledge turns Chatsky in the eyes of others into a "dangerous" and "strange" person, a "carbonaria", a madman.

Chatsky "does not serve, that is, he does not find any benefit in that," but only because he is deeply outraged by the hypocrisy, meanness, servility accepted in modern "high society". “I would be glad to serve, to serve sickly” to Chatsky. He does not accept the "passion for the uniform", which, for the majority, serves only as a cover for weak-heartedness, poverty of reason. Famusov and his supporters have an opposite opinion, their ideal is “to take awards and have fun”. Ranks, positions in society, wealth for these people are much more important than the personal merits of a person.

Chatsky traveled abroad and saw the light, but he remained a true patriot of his homeland, a sincere connoisseur of its originality. He is offended that among the nobility "a mixture of languages still prevails: French with Nizhny Novgorod", offends the dominance of foreigners.

Chatsky is well aware of his rejection from the world of the Famusovs and the pufferfish, he is aware of his exclusivity, because the one who, “without demanding either places or promotions ...”, “will put a mind into science, hungry for knowledge”, “will be known as a dreamer , dangerous!" And indeed, Famusov's Moscow agreed that "learning is the plague," and the best way out for the opponents of enlightenment was to "take away all the books and burn them."

A person of the “age of the past” “should not dare to have his own judgment”, therefore, in all their actions they are guided by public opinion. Chatsky angrily speaks out against such “judges” who are “rich in robbery”, “have found protection from court in friends, in kinship”, exposes the morals, cruelty and arbitrariness of the feudal lords. An independent, free, educated person is his ideal. material from the site

From the very beginning, Chatsky understands how much he does not fit into the life familiar to the Famusovs, but still he is waiting for a tragic denouement. What keeps him among strangers? Love for Sophia - a girl, although she has her own opinion, capable of strong and lively feelings, ready for self-sacrifice, but who grew up among stupid, hypocritical people, on French novels, having before her eyes a living example of her father. She cannot love Chatsky, but he still does not want to understand this, because "if so: the mind and heart are out of tune." Only at the end of the comedy is he freed from this love, from illusions, no matter how painful it is for him to tear the delicate threads of feelings and memories.

Having experienced "a million torments", Chatsky did not change and did not convince the Famus society, but he managed to excite, disturb their serene, carefree existence. Chatsky leaves, but the action is not over, since his shadow has forever settled between the silent, rock-teeth, Famusovs, it worries them, shakes the familiar foundations of the autocratic-serf-owning world. Chatsky is a man of the new century, a debunker of the lies of the "past century" and one of the first heralds of great changes in the new free life.

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The nature of the main conflict in 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, was a subtle politician and diplomat. Griboedov died at the age of 34, a painful death, torn to pieces by fanatics, leaving to his descendants two wonderful waltzes and the comedy Woe from Wit.

"Woe from Wit" socio-political comedy. Griboedov gave in it a true picture of Russian life after the Patriotic War of 1812. The comedy shows the process of the withdrawal of the advanced part of the nobility from the inert environment and the struggle with their class. The reader can trace the development of the conflict between the two socio-political camps: serf-owners (Famus society) and anti-serf-owners (Chatsky).

Famus society is traditional. His life foundations are such that "you need to learn by looking at your elders", destroy free-thinking thoughts, serve with humility to persons who are a step higher, and most importantly, be rich. A peculiar ideal of this society is in the monologues of Maxim Petrovich Famusov and Uncle Kuzma Petrovich: ... Here is an example: The deceased was a respectable chamberlain, He knew how to deliver the key to his son; Rich, and was married to a rich woman; Married children, grandchildren; He died, everyone sadly remembers him: Kuzma Petrovich! Peace be upon him! What 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, a spokesman for the advanced 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 offspring: inhumanity, hypocrisy, stupid militaryism, ignorance, false patriotism. He gives a merciless characterization of the Famus society.

The dialogues between Famusov and Chatsky are a struggle. At the beginning of the comedy, it does not yet appear in an 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 in to Sophia’s hand, but at the same time he sets his own conditions: I would say, firstly: don’t be blissful, Brother, don’t govern by mistake, And, most importantly, go and serve.

To which Chatsky throws: I would be glad to serve, it’s sickening to serve.

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

Would have looked like the fathers did, Would have studied, looking at the elders! Famusov's war cry rang out. And in response, Chatsky's monologue "And who are the judges?" In this monologue, Chatsky stigmatizes "the meanest traits of the past life."

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

Gossip grows like a "snowball". In a collision with this world, the social intrigue of the play is shown.

But in comedy there is another conflict, another love affair. I.A. Goncharov wrote: "Every step of Chatsky, almost every word of his in the play is closely connected with the game of his feelings for Sophia." It was Sophia's behavior, incomprehensible to Chatsky, that served as a motive, a reason for irritation, for that "million 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, caustic in relation to Famusov's guests. Sofya, irritated by Chatsky's remarks, insulting 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 rushes through the halls, spreads among the guests, acquiring fantastic, grotesque forms. And he himself, still not knowing anything, confirms this rumor with a heated monologue "The Frenchman from Bordeaux", which he utters in an empty hall. In the fourth act of the comedy, the outcome of both conflicts comes: Chatsky finds out who Sophia's chosen one is. This is Molchalin. The secret is revealed, the heart is empty, there is no end to the torment.

Oh! How to comprehend the game of fate? A persecutor of people with a soul, a scourge! Silencers are blissful in the world! says heartbroken Chatsky. His hurt pride, escaping resentment burns. He breaks with Sophia: Enough! With you I am proud of my break.

And before leaving forever, Chatsky in anger throws to the whole Famus society: He will come out of the fire unharmed, Who will have time to stay with you for a day, Breathe in the air alone, And his mind will survive ...

Chatsky leaves. But who is he the winner or the loser? Goncharov most accurately answered this question in the article “A Million of Torments”: “Chatsky is broken by the amount of old strength, inflicting a mortal blow on it with the quality of fresh strength. a warrior, if he is Chatsky, and, moreover, a winner, but an advanced warrior, skirmisher and always a victim.

Using artistic means, Griboyedov expressed the protest of the advanced 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 caught the main social conflict that emerged after the Patriotic War of 1812, this is the realism of Griboyedov the writer. The comedy reflected the explosive, heated atmosphere of the noble society on the eve of 1825. The ideological disagreement between 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, is brought to the fore in the comedy. On the one hand, representatives of the feudal reaction, serf antiquity Famusov, Skalozub, Countess Khryumina, on the other hand, 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 rises. It was the age of Catherine with her nobles and court flatterers, the age of humility 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 the dogs they liked. This century has become the ideal of the lordly, Famus society, which lives on the principle of taking awards and having fun.

Famusov himself, of course, is the spokesman for the obsolete feudal institutions. He is a convinced serf-owner, ready to exile his serf servants to Siberia in anger, a fierce opponent of education, enlightenment (If evil is to be stopped, collect all the books and burn them). This, finally, is a person deprived of true dignity and honor, who grovels before the highest ranks for the sake of promotion, for the sake of his own enrichment.

The defenders of feudal antiquity, the enemies of free thought and enlightenment, are opposed in the comedy by Chatsky. This is a Decembrist, this is a man who completes the era of Peter I and tries to see the promised land at least on the horizon, A. I. Herzen wrote about Chatsky. Between like-minded people Famusov and Chatsky is one of the main figures of the comedy Sophia, who also experienced her grief from her mind. It is she who is assigned a difficult, but very important role to repel Chatsky's attacks. However, the image of Sophia in comedy is controversial. Sophia is not clearly inscribed, A. S. Pushkin noted at one time. Indeed, she is endowed with both positive features that attracted such an outstanding person as Chatsky, aroused his love, and negative ones, which constantly increase his bewilderment and disappointment. In Sophia's behavior, her moods, there is always a contradiction between a subtle sober mind and sentimental empty experiences.

What attracted Chatsky to Sofia? What made her stand out in the world of the Famusovs, the Tugoukhovsky princesses and Countess Hryumina the granddaughter? First of all, independence of views, independence in decision-making, in relations with people. She fell in love with an unequal person and by this, as it were, she challenged the house-building 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, participation in her fate. Apparently, Chatsky always admired this independence, Sophia's determination, always hoped for her understanding, support, especially when he fell in love with no memory. His youthful feelings were not cooled by distance, entertainment, or a change of place. It is no coincidence that, having returned to his homeland and met with Sophia, he constantly appeals to the mind of his beloved, does not believe in her spiritual blindness.

Sophia is smart in her own way, she reads a lot. But the subject of her reading are sentimental novels, very far from reality. Under the influence of these books, Sophia develops an idea of a certain ideal hero whom she would like to fall in love with. That is why, according to Chatsky, she idealizes Molchalin, a flatterer and low worshipper. But this is not the only reason for her inclination towards Molchalin.

Watching Sophia in various situations, Chatsky finally understands that during the years of their separation, Sophia did not grow spiritually, did not learn to critically comprehend what was happening. She succumbed to the influence of Famusism, which destroys all life, so much that she imperceptibly becomes an active defender of her interests.

Why wasn't Chatsky convinced by Sophia's confession of love for Molchalin? Yes, because Chatsky has a certain grading system, which he considers obligatory. In his assessment, Molcha-lin is the most miserable creature. He is not worthy of anyone's love, and even more so of Sophia. According to Chatsky, she, a smart, outstanding girl, simply cannot love such a person. Chatsky still hopes that Sophia is the same as she was in childhood, when they laughed together at people like Molchalin. However, he was wrong. Sophia takes Molchalin (the most miserable creature!) Quite seriously. As a result, Chatsky's fight for Sophia turns into a fight with Sophia for Molchalin.

Sophia rejects Chatsky not only out of female vanity (he hasn’t written for three years ...), but also for the same reasons that Famusov and the princess reject him: he is not his own, he is from a different circle. The independent and mocking mind of Chatsky scares Sophia, and this finally throws him into the camp of opponents. Will such a mind make a family happy? she says directly to Chatsky.

Sophia uses traditional methods that are very common in secular society: fiction about madness, slander, gossip could hurt a person very painfully, compromise the objectionable. Sophia forgets the feelings that connected her with Chatsky in the past, and, offended by Molchalin, inflicts an unexpected blow on Chatsky: she declares him crazy! Chatsky is avenged, avenged in the way that was the most effective in the world. Thus, the line of intimate relationships acquires a social character in the comedy.

The image of Sophia is one of the central ones, since it unites many storylines and affects the integrity of the composition of the entire work. The peculiarity of the comedy is also determined by the presence of a through action in it, the desire of Chatsky to find out whom Sophia preferred to him. Cross-cutting action develops in comedy as a conflict, based on the confrontation between representatives of two time systems of the present century and the past century. In the image of Sophia, A.S. Griboyedov showed how an outstanding girl was enslaved by the Famusism, how she gradually becomes an expression of the interests of the environment in which she is brought up.

The main conflict of the comedy "Woe from Wit" is the conflict of education and serfdom

Conflict and plot grief from the mind. Conflict in comedy A.S.

The innovation of the comedy "Woe from Wit"

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

Public conflict in the play and its interaction with the love line

conclusions

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