Play by A.S. Griboyedov's "Woe from Wit" is a work that is in many ways innovative, unusual for its time, and original.
The main feature of the comedy is the interaction of two plot-forming conflicts: a love conflict, the main participants of which are Chatsky and Sofia, and a socio-ideological conflict, in which Chatsky faces conservatives gathered in Famusov’s house.
From the point of view of issues, in the foreground in the work is the conflict between Chatsky and Famusovsky society. But in the development of the plot, the traditional love conflict is no less important: after all, it was for the sake of meeting Sofia that Chatsky was in such a hurry to Moscow. Both collisions - love and socio-ideological - complement and strengthen each other. I believe they are equally necessary to understand worldviews, characters, psychology and relationships characters.
In the two storylines of “Woe from Wit” all the elements of the classic plot are easily revealed: exposition - all the scenes of the first act preceding Chatsky’s appearance in Famusov’s house; the beginning of a love conflict and, accordingly, the beginning of a love plot - the arrival of Chatsky and his first conversation with Sofia. The socio-ideological conflict (Chatsky - Famusov's society) is outlined a little later - during the first conversation between Chatsky and Famusov.
Both conflicts develop in parallel in the comedy. Stages of development of a love conflict - dialogues between Chatsky and Sofia. The hero is persistent in his attempts to call Sofia to openness and find out why she became so cold towards him and who her chosen one is. Chatsky’s conflict with Famusov’s society includes a number of private conflicts: Chatsky’s verbal “duels” with Famusov, Skalozub, Molchalin and other representatives of Moscow society.
Private conflicts in “Woe from Wit” allow many people to take to the stage minor characters, force them to reveal their life position in remarks or actions. Based on the above, we come to the conclusion that Griboyedov creates not only a broad “picture of morals”, but also shows the psychology and life principles people surrounding Chatsky from all sides in Famusov’s house and, more broadly, in life.
We can say that the two main conflicts of the comedy run side by side throughout the entire play, touching and diverging again. Information from the site Bigreferat.ru / bigreferat.ru But at the climax, the conflicts come together, depicting the general collapse of Chatsky and other heroes of the comedy

The climax of the socio-ideological plot is based on the rumor of Chatsky’s madness. The reason for its emergence was given by Sofia with her remark “to the side”: “He is out of his mind.” The annoyed girl threw these words out by accident, meaning that Chatsky “went crazy” with love and became simply unbearable for her.
Here the author uses a technique based on a play on words and meanings: the words of Sophia were heard by the social gossip Mr. N. and understood them literally. The heroine decided to take advantage of this misunderstanding to take revenge on Chatsky for his ridicule of Molchalin. It is important that, having become the source of gossip about Chatsky’s madness, the girl “burned all the bridges” between herself and her former lover.
Based on the above, we come to the conclusion that the culmination of the love plot predetermines the culmination of the socio-ideological plot. Thanks to this, both seemingly independent plot lines of the play intersect at a common climax - a scene, the result of which is Chatsky’s recognition as crazy:
Crazy! I humbly ask!
Yes, by chance! Yes, how quickly!
Based on the above, we come to the conclusion that the arrival of the lover Chatsky gave rise to fundamental disputes between him (“the present century”) and those who stubbornly cling to the life values ​​of the “past century”


At the end of the play, Sofia’s “slander” about the “crazy” lover led society to a complete ideological separation from Chatsky. In fact, any dissent, the reluctance of Alexander Andreevich and his like-minded people to live as “public opinion” prescribed, was declared “madness” in Famusov’s house.
After the climax, the storylines of "Woe from Wit" diverge again. The denouement of a love affair precedes the denouement of a socio-ideological conflict.

The night scene in Famusov's house, in which Molchalin and Lisa participate, and in addition Sofia and Chatsky, finally explains the position of the heroes, making the secret obvious. Sofia becomes convinced of Molchalin’s hypocrisy, and Chatsky finds out who his rival was:
Here is the solution to the riddle at last!
Here I am donated to!
Actual defeat, failure both in love and in Moscow society force the protagonist to flee from the city.
Formally, at the end of the comedy, Chatsky loses in both conflicts and finds himself completely defeated. Is it really? If you look more broadly, it seems to me that everything is not so simple. The future will show that Chatsky is a man of new times, and in the long term he will win. At least in a socio-political conflict. This is evidenced by many details scattered throughout the text of the play. The future belongs to Chatsky and his supporters - the author of the work is convinced of this, and we, the readers, are convinced of this once again.

Conflict (from Latin - “clash”) - a clash of opposing interests and views; serious disagreement; heated dispute. Undoubtedly, the key words in this explanation will be “clash”, “disagreement” and “dispute”. All three words are united by the common idea of ​​confrontation, some kind of confrontation, usually moral.
Conflict in literary work plays huge role, it constitutes the so-called “electricity” of action. This is both a way to defend some idea and the disclosure author's position, and the key to understanding the entire work. The composition depends on the conflict. The eternal opponents in Russian literature have always been good and evil, truth and untruth, will and captivity, life and death. And this struggle is shown in early work people - fairy tales. Living life always struggles with the unnatural, artificial, which is evident even in the names themselves (“Living and Dead Water”, “Truth and Falsehood”). Literary hero always faces a choice, and this is also a conflict, a clash of man within man. All Russian literature is very pedagogical. Therefore, the role of the conflict is also to correctly interpret both sides, to teach a person to choose between “good” and “evil.”
Griboedov, the creator of the first realistic play, found it quite difficult to cope with this task. Indeed, unlike his predecessors (Fonvizin, Sumarokov), who wrote plays according to the laws of classicism, where good and evil were clearly separated from each other, Griboyedov made each hero an individual, a living person who tends to make mistakes.
The title “Woe from Wit” is the thesis of the entire work, and every word is important. “Grief,” according to Ozhegov’s dictionary, is given in two meanings - grief, sadness and ironic ridicule of something unsuccessful. So what is it? Tragedy? And then whose? Or mockery? Then over whom? “Mind” in Griboyedov’s time had the meaning of progressiveness and activity. The question arises: who is smart at comedy? But the main semantic emphasis falls on the preposition “from”. This is the predestination of the entire conflict. It is also indicated on the poster. “Talking names,” as noted by R. O. Vinokur, characterizing the characters, are associated with the “idea of ​​speech” (Tugoukhovsky, Molchalin, Repetilov), that is, they indicate the ability of the characters to “hear” and “speak” with each other, and therefore, understand others, yourself and the general environment. The conflict in the play is of an onion-like nature - behind the external there is an internal one. All action is subordinated to this revelation, and small conflicts, merging together and interacting, “give” an apotheosis to the main thing.
The first act (appearances 1-6) shows the relationship between Sophia and Molchalin before Chatsky’s arrival. This is an exposition of a love conflict, but even now the author points out the insincerity of Molchalin’s relationship with Sophia, shows this love ironically. This is evident from the first remark (“Lisanka is sleeping, hanging from a chair,” while from the young lady’s room “you can hear a piano with a flute”), from Lisa’s words about Aunt Sophia, and her caustic remarks (“Ah! Damn Cupid!”). This also shows Sophia’s attitude towards Chatsky:
He chats, jokes, it’s funny to me;
You can share laughter with everyone -
she says, not believing in his love. “Pretended to be in love” - this is how Sophia defines his feelings.
And then... he appears! “Oster, smart, eloquent,” he “attacks” Sophia, and then not very flatteringly “lists” her relatives. A social conflict is emerging, which Griboedov himself defined as follows: Chatsky “in contradiction with the society surrounding him.” But it’s not for nothing that the author uses the popular form of “contradiction”, because Chatsky is in conflict not only with the “light”, but also with the people, and with the past, and with himself.
He is lonely and with such a character is doomed to loneliness. Chatsky is pleased with himself, with his speeches, and moves with pleasure from one subject of ridicule to another: “Ah! Let’s move on to education!” He constantly exclaims:
“Well, what do you want, father?”
“And this one, what’s his name?..”,
“And three of the tabloid personalities?”
“And that one is consumptive?..” -
as if it were terribly important after three years. In general, throughout the entire play, Chatsky falls silent, takes a “minute” break, thinking about the words of his interlocutor, only twice - upon his first appearance in the house and in the last monologue. And then he explains his own internal conflict: “The mind is not in harmony with the heart,” that is, the progressive ideas that he speaks so beautifully about do not form the basis of his actions, which means that everything he says is a rational impulse that does not come from the heart, therefore, far-fetched.
The beginning of the social conflict occurs in the second act. The conversation between Famusov and Chatsky about Sophia turns into a kind of duel between “fathers” and “children” arguing about Russia. Moreover, Griboedov constantly points out the contradictions between Chatsky - the master of words and Chatsky - the master of deeds. So, in the second act, he talks about the cruel attitude towards peasants and servants, while in the first he himself did not notice Lisa, just as one does not notice a wardrobe or a chair, and he manages his property by mistake. A person's speech always reflects him spiritual world. Chatsky's speech is full of both vernacular and gallicisms. This again indicates disharmony inner world Chatsky in Chatsky.
“Everything he says is very smart! But who is he telling this to? - wrote Pushkin. Indeed, the key remark in the third act reads: “He looks around, everyone is spinning in the waltz with the greatest zeal. The old men scattered to the card tables.” He remains alone - the culmination of social conflict. Who is he talking to? Maybe for yourself? Without knowing it, he talks to himself, trying to settle the battle between “heart” and “mind”. Having drawn up a life scheme in his mind, he tries to “fit” life to it, to break its laws, which is why she turns away from him, and the love conflict is not forgotten. Sophia also does not accept his rationalism. In general, both of these conflicts are interconnected, and if we agree with Blok that “Woe from Wit” is a work “...symbolic, in the true sense of the word,” then Sophia is the symbol of Russia, where Chatsky is a stranger, because “he is smart in his own way.” otherwise... not smart in Russian. In a different way. In a foreign way" (Weill, Geinis. "Native Speech").
So, both conflicts develop into the main one - the collision of living life and the scheme.
But all the heroes of the play drew up a life plan for themselves: Molchalin, Famusov, Skalozub, Sophia... So, Sophia, who “cannot sleep from French books,” is trying to live her life like a novel. However, Sophia's novel is in the Russian style. As Bazhenov noted, the story of her love for Molchalin is not frivolous, like that of her “French compatriots”, it is pure and spiritual, but still it is just a book fiction. There is no agreement in Sophia’s soul either. Maybe that’s why in the poster she is listed as Sophia, that is, “wise,” but Pavlovna is Famusov’s daughter, which means she is somewhat similar to him. However, at the end of the comedy, she still sees the light; it is her dream that “breaks,” and not she herself. Chatsky is also shown in evolution. But we can only judge his internal change from words about the past. So, when leaving, he spoke confidentially with Lisa: “It’s not for nothing, Lisa, that I’m crying...”, while throughout the entire action he does not say a word to her.
“Great, friend, great, brother!..” - Famusov greets him out of old habit. Chatsky does not say a single kind word to him.
“What do you want?”, “Nobody invites you!” - he only arrogantly remarks to him, immediately entering into an argument.
Chatsky's monologues are close in their ideological orientation to the slogans of the Decembrists. He denounces the servility, cruelty of the serf owners, meanness - this is what Griboyedov agrees with him and the Decembrists. But he cannot approve of their methods, the same patterns of life, only not just one, but the whole society. Therefore, the culmination of all conflicts is Chatsky’s accusation of madness. Thus, he is denied the right to be a citizen, the highest good, according to the Decembrist theory, because one of the definitions of a human citizen is a “sound mind” (Muravyov); the right to be respected and loved. It is precisely for his rationalistic approach to life, the pursuit of his goal by “low” methods that Griboyedov calls all the heroes of the comedy “fools.”
The clash between nature and unnaturalness is shown not only on stage. Off-stage characters also struggle with themselves. Skalozub’s brother, for example, suddenly leaving his service, and therefore his intention to become a general, began reading books in the village, but his youth passed and “grab ...”, and he “behaved properly, he’s been a colonel for a long time,” even though he’s been serving “ recently".
Griboedov attributes all of Chatsky’s ardor only to the romantic impulses of youth, and perhaps Saltykov-Shchedrin is right when he described his subsequent fate as the director of the department of insanity, who became friends with Molchalin.
So, main conflict works, revealed through public (Chatsky and society), intimate (Chatsky and Sophia, Molchalin and Sophia, Molchalin and Liza), personal (Chatsky and Chatsky, Sophia and Sophia...) conflicts - there is a confrontation between rationalism and reality that Griboyedov skillfully portrays with the help of stage directions, off-stage characters, dialogues and monologues. Even in the very rejection of the norms of classicism lies the denial of a subjective approach to life. “I write freely and freely,” says Griboyedov himself, that is, realistically. Using free iambic, different types of rhyme, distributing the lines of one verse to several characters, the author abandons the canons, calling not only to write, but also to live “freely.” "Free" from prejudice.

The uniqueness of the conflict in the comedy “Woe from Wit” lies in the fact that in the work there is an interaction between social and love plans. The conflict seems to acquire duality. I. A. Goncharov in the article “A Million Torments” wrote: “Two comedies seem to be embedded in one another: one, so to speak, private, home, between Chatsky, Sophia, Molchalin and Liza - this is the intrigue of love, the everyday motive of all comedies. When the first one is interrupted, another unexpectedly appears in the interval, and the action begins again, a private comedy plays out into a general battle and is tied into one knot.”
In the play “Woe from Wit” A. S. Griboyedov rethinks the traditions associated with the eras of classicism and romanticism, which is expressed both at the level of creating images, characters, language, special issues, and at the level of the conflict itself.
Traditional for the comedy of classicism is the plot scheme, where two young men are competing for the hand of a noble maiden, whose images are contrasted, and one of them is confident in his superiority, talkative and mocking, and the second is modest and respectful; he is loved by a bride who has the same qualities, and at the end of the play he wins her hand. Having retained this scheme, Griboyedov changed the interpretation of the characters, leaving their characteristics. In his comedy, Chatsky and Molchalin are respectively contrasted, who enjoys success, and his main qualities remain “moderation and accuracy.”
In the era of romanticism, there was a traditional conflict, which was certainly present in any romantic poem or drama. It consisted in the opposition of high and low; an exceptional hero and the world, society, the world as a whole. This conflict was insoluble. Chatsky, with his behavior and tragedy, is similar to romantic hero, fighting with " cruel morals" But A. S. Griboedov’s conflict becomes historically specific. Thus, one can understand that the era depicted in “Woe from Wit” is the era of secret alliances, on the one hand, and Arakcheevism, on the other.
Chatsky has much in common with the Decembrists (love for the Russian people, the desire to “serve the cause, not individuals,” hatred of serfdom, true culture and enlightenment, “he is very positive in his demands and states them in a ready-made program, developed not by him, but already by the century itself"), but behind him there is no power, the entire Decembrist society. He is alone against everyone.
This unusual conflict in “Woe from Wit” is embedded in the plot of the comedy. The first act is an exposition of conflict development. The first 5 phenomena of this action paint a fairly detailed picture of the life of Famusov and Sophia before Chatsky’s arrival, thereby preparing the background against which the future conflict will then develop with increasing force. We learn about Sophia's love for Molchalin, which is hiding from Famusov, and about Molchalin's feigned attitude towards Sophia (Lisa's story about her aunt and the young Frenchman). 7-9th apparitions - the beginning of a love affair associated with the arrival of Chatsky, who is in love with Sofia. Personal conflict simultaneously serves as a manifestation of social conflict, which is discernible in Chatsky’s satirical remarks about Moscow morals (already in the 7th episode, Sophia remarks: “Persecution of Moscow. What does it mean to see the light!”). The outbreak of a social conflict and the complication of a personal line relates to the 2nd phenomenon of the second act, in which Chatsky woo, is refused due to his lifestyle incompatible with the foundations of Famusov’s society, and there is a direct clash with Famusov on the issue of morals (Famusov’s monologue “That’s it”) - then, you are all proud!..” and Chatsky’s response with the monologue “And exactly, the world began to grow stupid...”). This is how a natural transition occurs from a personal conflict to a social conflict. The confrontation between Chatsky and Famusov reaches its height in Famusov’s monologue “Taste, father, excellent manners...” and in Chatsky’s answer: “Who are the judges?..” This monologue of Chatsky confirms the impossibility of reconciliation between the hero and society. In the third act, Chatsky's alienation intensifies, his relationship with Sophia does not improve. The personal conflict is complicated by Sophia’s gossip about Chatsky’s madness, and only in the 13th and 14th scenes of the fourth act does the personal intrigue come to a denouement. The social line of Chatsky’s struggle with Moscow society does not end with anything in the play. The ending of “Woe from Wit” remains open. “The comedy gives Chatsky “a million torments” and leaves, apparently, Famusov and his brothers in the same position in which they were before, without saying anything about the consequences of the struggle.”
A. S. Griboedov creates a work that declares “an energetic protest against the vile racial reality.” The conflict in A. S. Griboyedov’s comedy is not just unusual, it is unique, since it reflects the internal contradictions that existed in Russian society in the first quarter of the 19th century. Along with him, there is a love line in the comedy, which plays an important role: Chatsky’s love drama becomes an expression of the hero’s ideological loneliness. Thus, the originality of this conflict, in the words of A. A. Blok, “unsolved to the end” in the work of A. S. Griboyedov, lies in the close interaction of social and personal lines, each of which looks unconventional in the play. A. S. Griboedov rethinks previous models and creates an innovative comedy, interest in which has not disappeared since the middle of the 19th century, when Chatsky began to be perceived as the only positive hero in Russian drama.

Innovation of the comedy "Woe from Wit"

Comedy A.S. Griboedov'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. That's why social conflict dominates love.

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 comic effect play, the author introduces two more love triangle(Sofya - Molchalin - maid Liza; Lisa - 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 is based on the confrontation between the “present century” and the “past century” - 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 about 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 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 just worried that ex-lover could destroy her personal happiness.

conclusions

Thus, main feature conflict of the play “Woe from Wit” – 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.” Love line It 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

In the play “Woe from Wit” there are several conflicts, whereas a necessary condition for a classic play was the presence of only one conflict.

“Woe from Wit” - a comedy with two storylines, and at first glance it seems that there are two conflicts in the play: love (between Chatsky and Sophia) and social (between Chatsky and Famus’s society).

The play begins with the beginning of a love conflict - Chatsky comes to Moscow to see his beloved girl. Gradually, the love conflict develops into a social one. Finding out whether Sophia loves him, Chatsky encounters Famus society. In the comedy, the image of Chatsky represents a new type of personality early XIX century. Chatsky is opposed to the entire conservative, ossified world of the Famusovs. In his monologues, ridiculing the life, customs, and ideology of the old Moscow society, Chatsky tries to open the eyes of Famusov and everyone else to how they live and what they live with. Social conflict“Woe from mind” is insoluble. The old lordly society does not listen to the freedom-loving, intelligent Chatsky, it does not understand him and declares him crazy.

The social conflict in A. S. Griboedov’s play is connected with another conflict - between the “present century” and the “past century.” Chatsky is a type of new person, he is an exponent of the new ideology of the new time, the “present century.” And the old conservative society of the Famusovs belongs to the “past century.” The old does not want to give up its position and go into the historical past, while the new actively invades life, trying to establish its own laws. The conflict between old and new is one of the main ones in Russian life at that time. This eternal conflict occupies a large place in the literature of the 19th century, for example, in such works as “Fathers and Sons”, “The Thunderstorm”. But this conflict does not exhaust all the conflicts of comedy.

Among the heroes of Griboyedov’s play, perhaps, there are no stupid people; each of them has his own worldly mind, that is, an idea of ​​\u200b\u200blife. Each of the characters in “Woe from Wit” knows what he needs from life and what he should strive for. For example, Famusov wants to live his life without going beyond secular laws, so as not to give reason to be condemned by powerful socialites, such as Marya Aleksevna and Tatyana Yuryevna. That is why Famusov is so concerned about finding a worthy husband for his daughter. Molchalin’s goal in life is to quietly, even if slowly, but surely move up the career ladder. He is not even ashamed of the fact that he will humiliate himself a lot in the struggle to achieve his goals: wealth and power (“and win awards and have fun”). He does not love Sophia, but looks at her as a means to achieve his goals.