Alexander Chatsky, the main protagonist of the play "Woe from Wit", becomes the herald of the ideas of its author - A. S. Griboyedov. Ideas are usually most clearly articulated in the protagonist's monologues, becoming a key moment in determining the meaning of the play.
In total, there are six monologues of the main character. All of them play an important role in the development of the storyline.
The role of the protagonist's monologues in the work
The first monologue "Well, what about your father? .."
It is considered to be an exposition, as it contains a satire of the moral foundations of contemporary society. But this satire is very brief, it contains only outlines of the subsequent development of the ideological content and essence of the following monologues.
Monologue "And sure enough, the world began to grow stupid..."
This monologue is often seen as the beginning of the conflict in the play Woe from Wit. When comparing the past and present century, the protagonist gives a sharp critical assessment of the servility and court circles, their desire to grovel before their superiors. Getting new ranks is worth the humiliation.
Chatsky about feelings in a monologue
“Let us leave this debate ...” - another detailed speech by Alexander Andreyevich Chatsky, a love conflict develops in it.
The protagonist expresses his understanding of feelings, relationships between a man and a woman. In his opinion, if there is no beloved in the world, then this world is only "dust and vanity."
Hero's penultimate monologue
In the penultimate monologue, the culmination of social conflict is observed. Alexander Chatsky vehemently condemns worship of everything foreign. Unknown to any of the guests at the Famusov ball, the Frenchman becomes the highest authority in all matters. His opinion is listened to not only when he talks about fashion, but also when he talks about something Russian.
The protagonist reflects on the gulf between the nobility and the people. At first he addresses only his beloved, but then he addresses his reasoning to everyone around him. But they do not want to listen to him, so he is forced to interrupt his passionate speech.
Final monologue
In the closing speech, we can observe the denouement of the plot. Chatsky becomes an accuser of the Famus society, since he not only does not accept its foundations, but also blames him for his love drama.
The hero does not find a place for himself in Moscow, in the circle from which he left himself, therefore he leaves the ancient capital, ending the monologue with the famous phrase “Carriage for me, carriage”
The role of the key monologue "And who are the judges?"
The third fiery speech of the protagonist is considered the most significant in the development of social confrontation and determining the ideological content of the comedy.
The main antithesis is the opposition of the aspirations of a part of the younger generation to the foundations of the Famus society. People who sincerely strive to serve the people and the Motherland do not find a place for themselves in this world.
They are like a foreign body, the Famus society fears these people, seeing them as a threat to their own well-being.
The third monologue, like the whole play, is an example of the highest artistic merit. Its stylistic features include a close interweaving of archaic and common folk expressions, which are characterized by special poetics and intonational flexibility.
No less important is the capacity and aphorism of the language. Many lines of comedy have firmly entered the everyday speech of many generations, and today every now and then you can hear aphorisms created almost two centuries ago. Even Alexander Sergeevich Pushkin prophetically noted that half of the verses of this play would become proverbs.
Chatsky's monologue "And who are the judges?" its content goes beyond the situation in which it is pronounced. The speech situation determines the psychological motivation of the monologue as a "counterattack". But Chatsky could fight off his opponents with caustic remarks like “Houses are new, but prejudices are old.” Monologue "Who are the judges?" in terms of its ideological and artistic role, it is “wider” than a detailed response to the interlocutors: this is a diatribe directed not so much against Famusov and Skalozub, but against the entire Famusov society, and this monologue is necessary for the author in order to show Chatsky’s complete incompatibility not with individual faces of this world, but with the entire conservative society.
The fact that Chatsky is not understood does not make him funny: they should not understand him, since he is one sane person in 25 fools. This is the essence of comedy. And the monologue "Who are the judges?" designed for the reader, for the audience. The comical situation (Skalozub's reaction to Chatsky's monologue) makes not Chatsky funny, but Skalozub. We sympathize with Chatsky, together with him we experience “woe from wit”, which means that comedy in this situation turns into drama.
The comic situation has an independent meaning. The author warns the reader in such an original way about the changes that have taken place within the Decembrist movement in the last three years while Chatsky was traveling. The time has passed when the eloquent freethinker was the soul of the secular salon. The reaction has intensified, the conservative circles of society are attacking the "Jacobins", the Decembrists now do not speak at balls and receptions with their freedom-loving speeches - they restructure the activities of their societies according to the laws of conspiracy and such speeches as the monologue "Who are the judges?" Are pronounced only at meetings secret societies.
And Chatsky, who has just returned from a trip, does not know about the changes that have taken place in the Decembrist movement, and therefore there is nothing surprising and absurd in the fact that he delivers a diatribe in the living room of a Moscow master. Thus, this scene, as if not connected with the cross-cutting action, which consists in Chatsky's desire to find out why Sophia is cold towards him, in fact, is directly related to him. She points to general changes in the life of Russian society, and in subsequent scenes Chatsky will see this general in private, concrete manifestations, and in the last scene he will also see the “transformation” that is about; happened to Sophia, and will take the only possible decision in his position.
“In the seventh scene, Chatsky again tries to unravel the reasons for Sophia's coldness towards him. He sees Sophia's reaction to the fall from the horse-. Silent. However, both her swoon and her barbs, uttered in response to his attention to her, not only did not explain anything to Chatsky, but completely confused him. To the rude trick of Sophia, who redirected him Skalozub's stupid anecdote about Princess Lasova, Chatsky answers calmly, but barely restraining himself from ... indignation:
* Yes, sir, I just showed this by My most diligent efforts,
* And squirting, and rubbing;
* I do not know for whom, but I resurrected you.
The eighth scene for the first time clarifies the line of behavior of Molchalin. It brings us back to the scene when Lisa was laughing while listening to Sophia's story about her nightly meetings with Silent. Molchalin declares his love to Lisa and leaves. Sophia enters and, through Liza, makes an appointment with Molchalin. The comedic situation ends with the words of Lisa, full of mockery:
* Well, people in this side!
* She to him, and he to me,
* And I ... only I crush love to death.
* And how to fall in love with the barmaid Petrusha!
This comic situation also clarifies the author's position: he does not want us to sympathize with Sophia. The scene of Molchalin's explanation of love to Liza is not accidentally staged after the scene of Sophia's fainting; we remember very well the heartache that we experienced together with Chatsky, when Sophia, in response to his efforts to bring her to her senses, allowed herself a rude trick against him, and therefore we cannot sympathize with her when we learn that Molchalin loves her “out of office”.
If before that we recognized Sophia Pavlovna's right to love or not love Chatsky and sympathized with both her and him to the same extent, now a turning point is coming in our attitude towards her: we do not recognize her right to be rude to a person who loves her. In our eyes, she becomes ridiculous in her lordly arrogance - Sophia does not allow the thought that Molchalin may not love her, because with her love she “made happy” the rootless Molchalin.
Thus ended the first stage of Chatsky's struggle. What did he achieve? He realized that Sophia did not love him. But who? Couldn't figure this out. Therefore, he will come to Famusov's house again.
The wonderful comedy "Woe from Wit" was written in the early 19th century by the great Russian writer Griboyedov. In this work, Griboyedov touches on the most important problems of our time: political, social and domestic. But the main conflict of comedy is relationships...
“Griboedov is “a man of one book,” V.F. Khodasevich remarked. “If it weren’t for Woe from Wit, Griboyedov would have no place at all in Russian literature.” The creative history of comedy, on which the playwright worked for several years, is extremely complex....
The play by A. S. Griboedov “Woe from Wit” marks a victory in the work of the writer of realism, more precisely, critical realism. The play raises the most burning questions of the time: the position of the Russian people, serfdom, relationships...
In fact, what would happen to us if, instead of the generally convenient rule: honor the rank of the rank, another was introduced, for example: respect the mind of the mind? A. S. Pushkin Griboyedov called his play "Woe from Wit." This title can be taken seriously and...
The comedy "Woe from Wit" is the most famous work of Alexander Griboyedov. In it, he revealed many interesting and important topics, gave an assessment to his contemporaries. The author associates himself with the main character - Alexander Chatsky, it is in his remarks that the thoughts of the writer sound. The main ideas are most often heard in the monologues of the character. They play a very important role in the ideological sense of comedy. There are six monologues in the whole work, and each of them characterizes the hero from a new side and develops the plot.
One sane person for 25 fools
Analysis of Chatsky's monologue "And who are the judges?" shows how this passage differs from the usual speeches of the characters. The statement of the main character goes far beyond the scope of the situation in which he found himself, and it is intended not for the "famus" society, but for the reader. This monologue is almost the most important in the whole work, because it expresses the development of a social conflict, and the ideological meaning of the whole comedy appears.
The writer created a certain in which this passage is explained from a psychological point of view as a "counterstrike". But the analysis of Chatsky's monologue "Who are the judges?" says that he is much "wider" in his ideological and artistic role. Alexander Andreevich could confine himself to caustic remarks and fight off his opponents with them. Chatsky, on the other hand, wished to make a detailed, diatribe speech. "Who are the judges?" - the main character asks Skalozub and Famusov, but his remark mainly concerns not them, but the entire “Famus society”.
"Laughter through tears"
The only reasonable person in the whole work is Alexander Andreevich alone, he is surrounded on all sides by fools, and this is the misfortune of the protagonist. Analysis of Chatsky's monologue "And who are the judges?" shows that Alexander Andreevich cannot find a common language not with individuals, but with the entire conservative society. The replicas of the protagonist do not make him funny, rather, Skalozub creates a comical situation with his reaction to Chatsky's answer. The reader sympathizes with Alexander Andreevich, in this case the comedy is already turning into drama.
Opposition to society
An analysis of Chatsky's monologue shows how difficult it is for a person to take root in a society in which other moods and ideas reign. Griboyedov in his comedy warned readers about the changes that had taken place in the circles of the Decembrists. If earlier freethinkers could safely make their speeches at balls, now the reaction of conservative society has intensified. The Decembrists are conspiring, restructuring the activities of societies in accordance with the new rules.
Analysis of Chatsky's monologue "And who are the judges?" shows that such a speech could only be delivered at closed meetings of secret societies in a circle of like-minded people, and not in the master's living room. Unfortunately, Alexander Andreevich does not know about this, since in recent years he has been wandering and staying far from his homeland. He does not know the mood prevailing in society, he does not know about the reaction of the authorities and the environment to such bold speeches, so he pronounces his monologue in front of fools who do not want, and cannot understand him.
Attention, only TODAY!
- Winged expressions from "Woe from Wit". Aphoristic comedy by A. S. Griboyedov
- Composition on the topic "Chatsky - a winner or a loser?". Analysis and conclusions
- Chatsky's attitude to serfdom. The play "Woe from Wit". Griboyedov
- Chatsky's attitude to service, to ranks and wealth. The character of the protagonist of the play "Woe from Wit" A.S. Griboyedov
All interesting
As a critical response to the comedy "Woe from Wit" by Alexander Sergeevich Griboedov, Ivan Alexandrovich Goncharov creates "A Million Torments". The summary of the article is a deep social and ideological analysis of this work. ...
The comedy "Woe from Wit" is the famous work of A. S. Griboyedov. Having composed it, the author instantly stood on a par with the leading poets of his time. The appearance of this play caused a lively response in literary circles. Many were quick to express their opinion...
The play "Woe from Wit" is a well-known work by A. S. Griboyedov. In the process of its creation, the author departed from the classical canons of writing a "high" comedy. The characters in "Woe from Wit" are ambiguous and multifaceted images, not caricatured characters…
The events depicted in the play take place in the post-war years (after the war of 1812), when the Decembrist movement begins to unfold. Two opposing camps appear. These are advanced nobles and conservatives. In the play of the advanced nobles ...
The problems of the mind in "Woe from Wit" are touched upon in the first place, as the title itself tells us. When writing this comedy, Griboyedov set out to show the position of a sane, intelligent, indifferent to his native country and the fate of young people ...
It would be tempting to express the meaning of the comedy's title "Woe from Wit" in one short, concise, biting phrase. But it is hardly possible to do it in this way. Let us explain what has been said. The search for the idea of "Woe from Wit" Dramaturgy ...
The comedy "Woe from Wit" has been an adornment of the repertoires of many theaters for almost 200 years. Everyone remembers Chatsky's quotes. And everyone knows who wrote it. Diplomat and poet Griboyedov, State Councilor. For a more complete description of this…
"Woe from Wit" is one of the most famous and quoted works of Russian literature. Dozens of articles and monographs have been written about him, a huge number of productions have been staged. "Immortal" aphorismsHowever, the prediction came true ...
In the title of the comedy by A. S. Griboedov, there is such a word as "woe", warning readers about the difficult events that may occur. However, remembering that this is a comedy, those who hold the book in their hands calm down. This kind of…
Chatsky's attitude to serfdom. The play "Woe from Wit". Griboyedov
In the autumn of 1824, the satirical play "Woe from Wit" was finally edited, which made A. S. Griboedov a Russian classic. Many acute and painful questions are considered by this work. It talks about…
In the comedy Woe from Wit, Alexander Sergeevich Griboedov puts his cherished thoughts into the mouth of the protagonist Alexander Andreevich Chatsky, who expresses them most often in the form of monologues. They play an important role in revealing the ideological meaning of the work.
In total, Chatsky delivers six monologues. Each of them characterizes a step in the development of the comedy plot.
The first of them (“Well, what about your father? All of the English club ...”) can be called expositional. In it, Chatsky gives a caustic satirical description of the mores of the Famus society. But it is not yet detailed, but brief, as if outlining the themes and images of subsequent monologues.
The second monologue (“And sure enough, the world began to grow stupid ...”) is the beginning of the conflict of the comedy. Comparing "the current century and the past century", Chatsky denounces the servility and servility of the representatives of the court nobility, who are ready to "valiantly sacrifice the back of their heads" to receive ranks and awards.
In the fourth monologue of Chatsky (“Let us leave this debate ...”), the love conflict of the work develops. Trying to understand Sophia's attitude towards Molchalin, Chatsky passionately expresses his understanding of love. This is a feeling in which for the lover "the whole world seemed to be dust and vanity", if she is absent in it - the one to whom this deep feeling is dedicated.
In the fifth monologue of Chatsky (“In that room, an insignificant meeting ...”), the conflict culminates. The hero of the comedy angrily condemns the reverence of high society for foreigners. "The Frenchman from Bordeaux" turns out to be the highest authority for Famusov's guests not only in matters of fashion, but also in relation to everything Russian, national. Chatsky thinks with horror about the abyss that separates the elite of the nobility and the common people, and does not know how to ensure that “our smart, peppy people, although they did not consider us Germans by language.” Addressing in his monologue initially to Sophia, Chatsky, carried away, addresses everyone around him. But he has to break off in the middle of a sentence, because no one wants to listen to him: "everyone is waltzing with the greatest zeal."
And, finally, the final monologue (“I won’t come to my senses ... I’m guilty ...”) becomes the denouement of the plot. Insulted by Sophia in the best feelings, Chatsky denounces the entire Famus society in him. Now it is for him "a crowd of tormentors, traitors in love, indefatigable enmity." And the hero sees the only way out for himself in leaving the circle alien to him.
Get out of Moscow! I don't come here anymore.
I'm running, I won't look back, I'll go looking around the world,
Where there is a corner for the offended feeling! ..
Carriage for me, carriage!
The most important thing in the development of social conflict and the identification of the ideological meaning of the whole work is the third monologue of Chatsky (“And who are the judges? - For antiquity of years ...”). Its main antithesis is the opposition to the “ideals” of the Famus society, the main exponent of which is “Nestor of noble scoundrels”, the noble aspirations of the younger generation. But those who wish to devote themselves to public service look like a foreign body in the Famus society, which considers them dreamers, and dangerous ones at that.
Chatsky's monologue "And who are the judges? ..", like all comedy as a whole, has high artistic merit. In his style, archaisms and folk expressions are intertwined, they are characterized by intonational flexibility. Distinctive features of Chatsky's monologue are also capacity and apt aphorism. These qualities delighted Pushkin in his time, who predicted that half of Griboyedov's poems should become proverbs.
The role of Chatsky's monologues in A. S. Griboedov's comedy "Woe from Wit".
“Chatsky is not only smarter than all other people, but also positively smart. His speech boils with intelligence, wit. He also has a heart, and, moreover, he is impeccably honest ”(I. A. Goncharov).
“Chatsky is not a smart person at all - but Griboyedov is very smart ... The first sign of a smart person is to know at a glance who you are dealing with and not throw pearls in front of Repetilov and the like ... "(A. S. Pushkin).
“Young Chatsky looks like Starodum ... This is the main vice of the author, that among fools of various kinds he brought out one smart person, and even then a mad and boring one ...” (77. A. Vyazemsky).
“... In Chatsky, the comedian did not think of presenting the ideal of perfection, but a young, fiery man, in whom the stupidities of others arouse mockery, and finally, a man to whom the poet’s verse can be attributed: The heart does not tolerate dumbness” (V. F. Odoevsky).
“Woe from Wit” is a “public” comedy with a social conflict between the “current century” and the “past century”. Chatsky is the ideologist of the "current century". Like all ideologues in comedy, he speaks monologue.
It is in the monologues that Chatsky’s attitude to the main aspects of his contemporary life is revealed: to education (“They are busy recruiting teachers for the regiment ...”); to education (“... So that no one knows and learns to read and write”); to the service (“As he was famous, whose neck often bent ...”); to the ranks (“And for those who are higher, flattery was woven like lace ...”); to foreigners (“Not a sound of a Russian, not a Russian face...”); to serfdom (“That Nestor of noble villains ...”).
Many of Chatsky's statements express the opinion of Griboedov himself, that is, one can say that Chatsky acts as a reasoner.
Chatsky's monologues appear in the comedy at turning points in the development of the plot and conflict.
The first monologue is an exposition (“Well, what about your father? ..”). The conflict is just beginning. Chatsky gives a vivid description of Moscow morals.
The second monologue (“And for sure, the world began to grow stupid ...”) is the beginning of the conflict. It gives a sharp contrast between the "current century" and the "past century".
The third monologue (“Who are the judges?”) is the development of the conflict. This is a software monologue. It most fully and comprehensively outlines the views of Chatsky.
The fourth monologue is important for the development of a love affair. It embodies Chatsky's attitude to love.
The fifth monologue (“There is an insignificant meeting in that room ...”) is the climax and denouement of the conflict. No one hears Chatsky, everyone is dancing or enthusiastically playing cards.
The sixth monologue (“You will make peace with him, after thinking maturely ...”) is the denouement of the plot.
The monologues reveal not only the thoughts and feelings of Chatsky, but also his character: ardor, enthusiasm, some comedy (a discrepancy between what and to whom he says).
Chatsky's monologues have features of a journalistic style. “He speaks as he writes,” Famusov characterizes him. Chatsky uses rhetorical questions, exclamations, imperative forms.
In his speech there are many words and expressions related to the high style, archaisms (“mind hungry for knowledge”).
It is impossible not to note the aphorism of Chatsky’s statements (“The legend is fresh, but hard to believe ...”)
