The struggle of feelings and reason is grief from the mind. An essay on the topic of the struggle between feelings and reason in the work Woe from Wit

An example of a final essay in the direction of “Mind and Feelings”.

“The mind is not in harmony with the heart”... These words spoken by the hero of A.S. Griboyedov’s comedy “Woe from Wit” Chatsky make you think. For a full life, a person needs harmony between the mind and feelings. But is it always possible?

When we fall in love, feelings come to the fore, or even completely displace the rational principle. Those who consider love to be insanity, in my opinion, are not far from the truth: a person, fixated on the object of adoration, commits rash acts that contradict common sense, and at the same time may not notice obvious things.

An excellent example confirming this idea is Griboyedov’s Chatsky. He is passionately in love with Sophia and is sure that she should reciprocate his feelings, if only because others worthy people There are simply no girls around. But Famusov’s daughter is alien to the words and thoughts of Chatsky, who condemns everything that is close to her. Much more attractive to her wordless Molchalin, whom she in her imagination endowed with the qualities of the heroes of her favorite French novels. Chatsky is smart enough and could well understand all this, but his mind was overshadowed by love. The result is a bitter epiphany and despair of the hero at the end of the comedy.

“The mind is not in harmony with the heart” and Bazarov, the hero of I. S. Turgenev’s novel “Fathers and Sons.” Evgeny is a nihilist; he completely denies everything that cannot be explored experimentally, including love. Tender feelings between a man and a woman, in his words, “romanticism, nonsense, rot, art.” Life has made adjustments to Bazarov’s views: he falls in love with Anna Odintsova. The feeling turned out to be stronger than the arguments of reason.

Love is the most beautiful feeling. She ennobles a person, reveals him best qualities. However, love, by definition, cannot obey reason, no matter how much we might like it. Therefore, lovers often have “minds and hearts that are not in harmony,” and this situation is quite natural.

The one who loves, as a rule, does not think about spiritual harmony, does not analyze what is happening. As a result, feelings often get out of control of the mind. At the same time, a person must try to pull himself together in any case. This happened, by the way, for both Chatsky and Bazarov. Griboedov's hero, having learned the ugly truth about his beloved, leaves Moscow, but does not lose his dignity. Turgenev’s nihilist does not allow his feelings to get the better of him. Having suffered a fiasco in love, both heroes demonstrate a strength of character that cannot but attract readers.

So, “the mind and the heart are not in harmony” among those who are in love. If a person is overtaken by love, finding harmony between reason and feeling is not easy, even almost impossible. But everyone can endure this test with honor, without losing heart, without losing dignity.

Option 1:

This is what they say if a person cannot cope with his feelings, he strives for what is impossible, realizing that this can harm himself and others. For example, it could be non-reciprocal love or love for an unfree person. The mind says that this will not lead to anything good, it may even end in disaster, but the heart desperately strives for the object of passion, regardless of any reasonable arguments.

This state most often brings a lot of suffering to a person, because he cannot get what he wants. Then he decides to take desperate actions. Good example Pushkin showed such dissonance between feelings and mind in his work “Eugene Onegin”. A young provincial girl falls in love with the capital's rake and, realizing that this is humiliating, still writes him a letter declaring her love. In those days, such an act could disgrace a girl and leave an imprint on her reputation. Onegin laughed at her feelings and answered her in a rather rude manner, which caused great trauma.

We will find another example of the discord between the mind and feelings in Ostrovsky’s work “The Thunderstorm”. Katerina gets married and ends up in new family. There her mother-in-law insults her, and her husband drinks. The family life of a young woman is not going well. Her soul longs for love and a storm of emotions. This pushes her to cheat on her husband, although her mind stubbornly insists that this is wrong. The story ends sadly: Katerina’s emotional nature cannot withstand the pressure and she decides to commit suicide.

Of course, it can be very difficult to subordinate feelings to reason, and sometimes it seems completely impossible. But from literary examples we can conclude that feelings must still be under the control of the mind. You always need to weigh your desires and what consequences they will entail. A person should not ruin his life and the lives of other people to please his own desires.

Option 2:

This happens when a person passionately desires something, but common sense contradicts this. For example, if a person is in love. At such moments it can be difficult to soberly assess the situation. If the heart comes into conflict with the mind, it causes suffering to a person, because for happy life Harmony in feelings and sensations is necessary.

Writers have raised this topic more than once in their works. Sometimes it shaded the main storyline, adding drama, and sometimes itself became the theme of the work. I think this is a win-win option, because similar experiences have happened to each of us at least once, so it will always be of interest.

The hero of the novel “Fathers and Sons” E. Bazarov is a nihilist and completely denies any manifestations of love and tenderness, considering them fiction and stupidity. The more unexpected and difficult it is for him to love Odintsova. Whatever one may say, it is always difficult for a person to review and change his views and habits. Unfortunately, this love did not result in happy family and ended in failure. But Bazarov managed to maintain his dignity and learn a lesson from this situation.

Another example is Chatsky from Woe from Wit. He loves Sophia, who is part of the society despised by Chatsky. He is sure that the girl should love him back, but she cannot accept his views and criticism of her environment. Sophia chooses Molchalin and attributes non-existent traits to him. Realizing what was happening, Chatsky leaves Moscow. But his feelings eventually submit to his mind and he saves face.

I think it is impossible to let feelings get out of control. After all, man differs from animals in that he is able to think and control his manifestations. Sometimes it is better to let go and forget than to succumb to a storm of emotions and ruin the life of yourself and those around you.

"Go" G-dova - socio-political realistic comedy, one of the most topical works of Russian literature. The comedy "Go" was written in the 20s of the 19th century, when after Patriotic War In 1812, changes took place in Russian society. The title of the play sounds intriguing. At first glance, it seems that there is some kind of paradox in it. But G-dov is right - life is always more difficult for an intelligent person. Even the ancients said that in much knowledge there is not much happiness, but he who increases knowledge increases sorrow. In addition, intelligence is an extraordinary ability that makes a person stand out from the crowd. Clever man often arouses in others not so much love and admiration as hatred and irritation. Especially if he behaves like Chatsky. Chatsky is a young man who was brought up in Famusov's house after the death of his parents. When the years of maturity arrived, the young man became bored with his benefactor and he went abroad. From there he returns three years later full of new innovative ideas. Even before his appearance, we understand that Chatsky is an extraordinary person, endowed with extraordinary abilities. From Sophia's conversation with Lisa, we learn that he is "sharp, smart, eloquent, and especially happy with his friends." Famusov, introducing Chatsky to Skalozub, says: “He’s a smart guy, and he writes and translates nicely.” And indeed it is. He is really witty, his speech is bright and figurative, he is eloquent. Chatsky has a great understanding of people, his comments about them are apt and correct. Chatsky is a representative of progressive views, expresses the ideas of the Decembrist nobles, and opposes serfdom, which hinders the development of Russia. He a true patriot, he is offended that in Russia there is such great respect for foreigners, that Russians so easily forgot their culture, their customs, their language. He says that young nobles often hire foreigners as teachers “in larger numbers, at a cheaper price.” These people in their country often occupied menial positions and therefore could not fulfill the tasks assigned to them in instilling citizenship and patriotism in young nobles. Despite his abilities, Chatsky does not find a place in this society, because it does not need thinking, freedom-loving, independent people. And Chatsky himself does not want to serve. He says: “I would be glad to serve, but being served is sickening.” For representatives of the Famus society, service is a way to obtain certain material benefits: awards, fortunes, ranks. Chatsky wants to serve “the cause, not the persons,” and this is Famusov society impossible. Sofya Pavlovna Famusova is close to Chatsky in many ways. She, like main character, a passionate nature, living with a strong and great feeling, which is quite natural for a seventeen-year-old girl. She is smart, determined, independent. Her speech is bright, figurative, aphoristic. IN critical situations She shows determination and resourcefulness. The dream, invented on the fly, in order to distract Famusov from the presence of Molchalin in her room, testifies to Sophia’s subtle mind and her extraordinary literary abilities. Sophia is smart in her own way, she reads a lot, but the subject of her reading is sentimental novels, which describe stories of unequal love. Under the influence of these novels, her idea of ideal hero, whom she imagined Molchalin to be. She want family life, wants to be happy. Perhaps that is why she chose Molchalin,

It is impossible to dispute the truth that a person experiences the world in two ways: through reason and feelings. Human mind is responsible for that knowledge of the world, which is characterized by stable goals, motives of activity, inclinations and interests. However, when cognizing reality, a person has a sensual attitude towards objects and phenomena surrounding him: things, events, other people, his personality. Some phenomena of reality make him happy, others sadden him, some cause admiration, others outrage him... Joy, sadness, admiration, indignation, anger - all these are different types of a person’s subjective attitude to reality, his experience of what affects him... But you cannot live only by feelings, “the head must educate the heart,” because sensations and perceptions reflect mainly individual aspects of phenomena, and the mind makes it possible to establish connections and relationships between objects in order to carry out rational activity.

And yet, in our lives it happens that we act either at the behest of our hearts or at the prompting of our minds, reaching a compromise only when we “get into trouble.” In this regard, an example from the comedy by A.S. Griboedov's "Woe from Wit", in particular, the image of Alexander Andreevich Chatsky. Note that it was after the conversation about intelligence and stupidity that took place between the maid Liza and Sophia, and a reminder that Sophia and Chatsky once had a warm relationship, that Chatsky appears on the stage. The characterization of the hero has already been given, and Chatsky corresponds to it throughout the entire action of the comedy. A man of extraordinary intelligence (he prefers to serve “the cause, not people”: “I would be glad to serve, it’s sickening to serve”), strong convictions (you cannot say about him under any circumstances: “And a golden bag, and aspires to be a general”), he I succumbed to my feelings so much that I lost the ability to objectively perceive the environment. Neither Sophia's cold reception, nor her reaction to Molchalin's fall from his horse could open the hero's eyes to the obvious: Sophia's heart is occupied by someone else. In his mind, he understood that it was all over, there was no more former affection, Sophia had changed, now she was not the pure innocent girl she was before, but a worthy daughter of her unworthy father. But the heart... the heart does not want to believe it and clings to the last hope, like a drowning man clings to a straw.

And only the scene of the secret meeting between Molchalin and Sophia made it possible to be convinced that Sophia no longer had the same feelings. Chatsky finally comprehends what he should have understood from the first minutes of his stay in Famusov’s house: he is superfluous here. In his last monologue, he bitterly admits that his hopes were not justified: he hurried to Sophia, dreamed of finding his happiness with her, but, “Alas! Now those dreams have died in complete beauty...” (M. Lermontov) He blames Sophia for giving him false hope and not saying directly that their childhood love means nothing to her now. But he lived only with these feelings during all these three years of separation! His disappointment in Sophia is bitter; in Famusov, who chose a man as a groom for his daughter not according to his mind, but according to his wallet; in Moscow society, far from smart, insincere, cynical. But now he does not regret the break, because he realizes that there is no place for him in Famus society. He leaves Moscow.

The fate of Nastena, the heroine of V. Rasputin’s story “Live and Remember,” was even more tragic. It so happened that in the last war year he secretly returned from the war to a distant village on the Angara. local Andrey Guskov. The deserter does not think that he will be greeted with open arms in his father’s house, but he believes in his wife’s understanding and is not deceived. Nastena did not marry for love, she was not happy in her marriage, but she was devoted to her husband and grateful for the fact that he freed her from her hard life as a worker with her aunt. The story says so: “Nastena threw herself into marriage like water - without too much thought, she will have to get out anyway, few people can do without it - why delay?” And now she is ready to steal food for Andrei, lie to her family, hide him from prying eyes in winter huts, because her heart dictates so. Intellectually, she understands that through complicity with her deserter husband she herself becomes a criminal, but it is not easy for her to cope with her feelings, and she gives herself over to them completely. Secret relationship with her husband make her happy. And only at a village festival about Great Victory she is suddenly overtaken by unexpected anger: “Because of him, because of him, she does not have the right, like everyone else, to rejoice in victory.” Forced to hide her feelings, to restrain them, Nastena is increasingly exhausted, her fearlessness turns into risk, into feelings wasted in vain. This state pushes her towards suicide, here “her mind and heart are certainly not in harmony,” and in a fit of despair she rushes into the Angara. Andrei is not a murderer, not a traitor, he is just a deserter, but as an intelligent person, he should have realized what the ending of this story would be. He had to not only feel sorry for himself, but also worry about his parents, wife, and unborn child. However, even in this situation, “the mind and the heart were not in harmony.”

1. “The Tale of Igor’s Campaign”:

Reason has given way to feeling, and Igor, instead of making a reasonable decision to save the army and his life, after all the omens, decides to die, but not to disgrace his honor.

2. Denis Ivanovich Fonvizin “Minor”:

Reason is completely absent in the actions of Prostakova and Skotinin; they do not even understand the need to take care of their serfs, since all the well-being of these “masters of life” lies in them. Mitrofan demonstrates complete control over his feelings: when his mother is needed, he sucks up, says that he loves her, and as soon as his mother has lost all power, he announces:

Get off it, mother!

He has no sense of responsibility, love, devotion.

3. Alexander Sergeevich Griboedov “Woe from Wit”:

The main character, Chatsky, at first glance, is a model of reason. He is educated, understands his place well, determines the political situation, and is literate in matters of law in general and serfdom in particular. However, his mind refuses him in everyday situations; he does not know how to behave in a relationship with Sophia when she says that he is not the hero of her novel. In relation to Molchalin, Famusov and everyone secular society he is brave and daring and, in the end, ends up with nothing. A feeling of frustration and loneliness squeezes his chest:

My soul here is somehow compressed by grief.

But he is not used to obeying feelings and does not take the discord with society seriously, but in vain.

4. Alexander Sergeevich Pushkin “Eugene Onegin”:

Onegin with teenage years accustomed to subordinating feelings to reason: “the science of tender passion” is already proof of this. Having met Tatyana, he “didn’t give in to his sweet habit,” he didn’t take this feeling seriously, deciding that he could cope with the feeling, as always, when he knew how to “sparkle with an obedient tear.” back side Tatiana. In her youth, she obeyed only her feelings. Onegin read her a sermon in which he recommended: “learn to control yourself.” The girl took these words into account and began self-development. By the time of the next meeting with Onegin, she already masterfully controls her feelings, and Evgeny could not see a single gram of emotion on her face. But happiness is no longer possible...

5. Mikhail Yurievich Lermontov “Hero of Our Time”:

The main character, Pechorin, is a man consisting of reason and feelings. When he is alone with nature, with a diary or with a person with whom he does not have to pretend, it is a naked nerve, an emotion. A striking example in the episode when he drove the horse along the road in pursuit of Vera. He cries with grief. This state lasts for a moment. But the moment passes, and another Pechorin rises above the one sobbing on the grass. a crying child” and soberly and sternly evaluates his behavior. The triumph of reason does not give happiness to this person.