Essay on the topic: Chatsky’s monologue, its analysis and meaning in the play “Woe from Wit” by A.S. Griboedova. The role of Chatsky’s monologues in Griboyedov’s comedy “Woe from Wit”

27.04.2019

The role of monologue in drama. In a dramatic work, the hero's philosophy of life can be revealed through his monologues. IN dramatic work the monologue becomes the leading form of representing the character’s value system. How are the features of the worldview of the protagonist of A. S. Griboedov’s comedy “Woe from Wit” (1824) by Alexander Andreevich Chatsky revealed? Of course, through his speech declaring the main life principles hero. Let's see what this character's oratorical statements are about and what role they play.

Chatsky’s monologue “And exactly, the world began to grow stupid...” (D.2, Rev.2). This monologue becomes the beginning of the central conflict of the play, because here the disagreements of social order between the “present century” and the “past century” are indicated:

The legend is fresh, but hard to believe;

As he was famous for, whose neck bent more often;

As not in war, but in peace they took it head on,

They hit the floor without regret!

Who needs it: those are arrogant, they lie in the dust,

And for those who are higher, flattery was woven like lace.

Chatsky, a representative of the “present century,” does not accept Famusov’s “good advice” and ardently defends those progressive ideas of which he became a champion after visiting abroad. Free-thinking and self-esteem, nurtured by the European cultural tradition, become valuable in the worldview of A. A. Chatsky.

Monologue “Who are the judges?” (D. 2, Rev. 5). The conflict deepens with the appearance of Colonel Skalozub, whose location is significant for Pavel Afanasyevich Famusov. The passionate monologue of the protagonist “Who are the judges? “For the antiquity of years...” (d. 2, phenomenon 5), caused by Chatsky’s indignation (Famusov and “everyone also condemns”), becomes a real denunciation of serfdom and the “mind of poverty” reigning in Famusov’s society:

Or is it that priest who, for the sake of an undertaking, drove many wagons to the serf ballet from the mothers and fathers of rejected children?! <…>

These are the ones who lived to see their gray hairs!

This is who we should respect in the wilderness!

Here are our strict connoisseurs and judges!

The monologue “In that room there is an insignificant meeting...” exposes the lack of a sense of patriotism and groveling before everything foreign (d. 3, yavl. 22). Chatsky, who has just returned from abroad, is especially acutely aware of the discrepancy between the universal adoration of foreign traditions and foreign language And real life. Such imitation only causes laughter and deep regret:

And morals, and language, and holy antiquity,

And majestic clothes on another According to the jester's model:

The tail is in the back, there is some kind of wonderful notch in the front,

Despite reason, in spite of the elements;

Movements are connected, and not beautiful to the face;

Funny, shaved, gray chins!

Like dresses, hair, and minds are short!..

Against the backdrop of empty talk at the ball, Chatsky’s angry speech stands out for the depth and significance of the issue being discussed:

From afar I sent forth humble wishes, but out loud,

May the unclean Lord destroy this spirit of Empty, slavish, blind imitation;

So that he would plant a spark in someone with a soul,

Who could hold Us with word and example, like a strong rein,

From the pitiful nausea on the stranger's side.

The remark at the end of this monologue (“He looks around, everyone is waltzing with the greatest zeal. The old people have scattered to the card tables”) is indicative: the hero remains alone, no one wants to hear him. Here the resolution of the conflict between Chatsky and Famus society is predetermined.

The monologue “I won’t come to my senses... I’m guilty...” (d. 4, episode 14) is the final one in the comedy, and in it Chatsky sums up his stay in Famusov’s Moscow and pronounces a cruel verdict high society, in which veneration and servility, careerism and stupidity reign, and any dissent is perceived as madness:

Everyone is driving! Everyone curses! Crowd of tormentors

In a dramatic work, the hero's philosophy of life can be revealed through his monologues. In a dramatic work, the monologue becomes the leading form of representing the character’s value system. How are the features of the worldview of the protagonist of A. S. Griboedov’s comedy “Woe from Wit” (1824) by Alexander Andreevich Chatsky revealed? Of course, through his speech, which declares the main life principles of the hero. Let's see what this character's oratorical statements are about and what role they play.

Chatsky’s monologue “And exactly, the world began to grow stupid...” (d.2, episode 2) becomes the beginning of the central conflict of the play, because here the disagreements of social order between the “present century” and the “past century” are indicated:

The legend is fresh, but hard to believe; As he was famous for, whose neck bent more often; As not in war, but in peace, they took it with their foreheads, They knocked on the floor without regret! Those who need it are arrogant, they lie in the dust, And for those who are higher, flattery is woven like lace.

Monologue “Who are the judges?” (D. 2, Rev. 5). The conflict deepens with the appearance of Colonel Skalozub, whose position is significant for Pavel Afanasyevich Famusov. The passionate monologue of the protagonist “Who are the judges? “For the antiquity of years...” (d. 2, phenomenon 5), caused by Chatsky’s indignation (Famusov and “everyone also condemns”), becomes a real denunciation of serfdom and the “mind of poverty” reigning in Famusov’s society:

Or is it that priest who, for the sake of an undertaking, drove many wagons to the serf ballet from the mothers and fathers of rejected children?! <…>

These are the ones who lived to see their gray hairs! This is who we should respect in the wilderness! Here are our strict connoisseurs and judges!

The monologue “In that room there is an insignificant meeting...” exposes the lack of a sense of patriotism and sycophancy towards everything foreign (d. 3, yavl. 22). Chatsky, who has just returned from abroad, is especially acutely aware of the discrepancy between the general adoration of foreign traditions and foreign languages and real life. Such imitation only causes laughter and deep regret:

And morals, and language, and holy antiquity, And stately clothes for another According to the jester's model: A tail in the back, some wonderful neckline in front, Contrary to reason, in defiance of the elements; Movements are connected, and not beautiful to the face; Funny, shaved, gray chins! Like dresses, hair, and minds are short!..

Against the backdrop of empty talk at the ball, Chatsky’s angry speech stands out for the depth and significance of the issue being discussed:

From afar I sent forth humble wishes, but out loud, So that the unclean Lord would destroy this spirit of Empty, slavish, blind imitation; So that he would plant a spark in someone with a soul, Who could, with word and example, hold us back, like a strong rein, from the pitiful nausea on the other side.

The remark at the end of this monologue (“Looks around, everyone is waltzing with the greatest zeal. The old people have scattered to the card tables”) is indicative: the hero remains alone, no one wants to hear him. Here the resolution of the conflict between Chatsky and Famus society is predetermined. Material from the site

The monologue “I won’t come to my senses... I’m guilty...” (d. 4, episode 14) is the final one in the comedy, and in it Chatsky sums up his stay in Famusov’s Moscow and pronounces a cruel verdict on the high society, in which veneration and sycophancy, careerism and stupidity reign, and any dissent is perceived as madness:

Everyone is driving! Everyone curses! A crowd of tormentors, In the love of traitors, in tireless enmity, Indomitable storytellers, Clumsy wise men, crafty simpletons, Sinister old women, old men, Decrepit over inventions, nonsense...

In the same monologue, the love conflict of Chatsky, who was staying before last moment in the dark about Sophia's choice.

Didn't find what you were looking for? Use the search

On this page there is material on the following topics:

read all of Chatsky's monologues - grief from mind
guests in the house Famusov's characteristics
monologue and the light began to dim again
the role of Chatsky’s monologue “and sure enough, the world began to grow stupid”
Griboyedov: “and the world just started to go stupid”

The comedy "Woe from Wit" is the most famous work Alexandra Griboedova. 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, and it is in his remarks that the writer’s thoughts are heard. The main ideas are most often heard in the character's monologues. They play a very important role in the ideological sense of comedy. The entire work contains six monologues, and each of them characterizes the hero from a new perspective and develops the plot.

One in 25 fools

Analysis of Chatsky’s monologue “Who are the judges?” shows how different this passage is from the usual speeches of the heroes. The statement of the main character goes far beyond the scope of the situation in which he finds himself, and it is intended not for the “Famus” society, but for the reader. This monologue is almost the most important in the entire work, because it expresses the development of the social conflict, and the ideological meaning of the entire comedy appears.

The writer created a specific one 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?” suggests that it is much “broader” in its ideological and artistic role. Alexander Andreevich could limit himself to sarcastic remarks and use them to fight off his opponents. Chatsky wanted to make a detailed, accusatory speech. “Who are the judges?” - asks main character from Skalozub and Famusov, but his remark mainly concerns not them, but the entire “Famusov society”.

"Laughter Through Tears"

The only one reasonable person in the entire work, Alexander Andreevich remains alone, he is surrounded by fools on all sides, and this is the main character’s misfortune. Analysis of Chatsky’s monologue “Who are the judges?” shows that Alexander Andreevich cannot find common language not with individuals, but with the entire conservative society. The protagonist’s remarks 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 already turns into drama.

Confrontation with 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. Griboedov, in his comedy, warned readers about the changes that had occurred in the circles of the Decembrists. If previously freethinkers could calmly give their speeches at balls, now the reaction of conservative society has intensified. The Decembrists are conspiring and restructuring the activities of societies in accordance with the new rules.

Analysis of Chatsky’s monologue “Who are the judges?” shows that such a speech could only be made at closed meetings of secret societies in a circle of like-minded people, and not in the master’s living room. Unfortunately, Alexander Andreevich has no idea about this, because recent years wandered and stayed far from his homeland. He does not know the mood prevailing in society, he does not know about the reaction of the authorities and those around him to such bold speeches, so he pronounces his monologue in front of fools who do not want and cannot understand him.

The role of Chatsky’s monologues in A. S. Griboyedov’s comedy “Woe from Wit”.

“Chatsky is not only smarter than all other people, but also positively smart. His speech is full of intelligence and wit. He 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... First sign smart person- at first glance, know who you are dealing with, and not throw pearls in front of Repetilov and the like...” (A.S. Pushkin).
“Young Chatsky looks like Starodum... In this major vice author, that among fools of various types he brought out one smart person, and even then he was mad and boring...” (77. A. Vyazemsky).
“... In Chatsky, the comedian did not think to present the ideal of perfection, but a young, fiery man, in whom the stupidities of others arouse ridicule, and finally, a person to whom the poet’s verse can be attributed: The heart does not tolerate dumbness” (V.F. Odoevsky).
"Woe from Wit" - a "public" comedy with social conflict“present century” and “past century”. Chatsky is the ideologist of the “present century”. Like all ideologists in comedy, he speaks monologically.
It is in the monologues that Chatsky’s attitude to the main aspects of his contemporary life is revealed: to education (“The regiments are busy recruiting teachers...”); to education (“...So that no one knows or learns to read and write”); to the service (“As he was famous, whose neck bent more often...”); to ranks (“And to those who are higher, flattery is like lace weaved...”); to foreigners (“Not a Russian sound, not a Russian face...”); to serfdom (“That Nestor of noble scoundrels ...”).
Many of Chatsky’s statements express the opinion of Griboyedov himself, that is, we 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 sure enough, the world began to grow stupid...”) is the beginning of the conflict. It provides a sharp contrast between the “present century” and the “past century.”
The third monologue (“Who are the judges?”) is the development of the conflict. This is a program monologue. It presents the views of Chatsky most fully and comprehensively.
The fourth monologue is important for the development of a love affair. It embodies Chatsky’s attitude towards love.
The fifth monologue (“There is an insignificant meeting in that room...”) is the culmination and denouement of the conflict. Nobody hears Chatsky, everyone is dancing or enthusiastically playing cards.
The sixth monologue (“You will make peace with him, after mature reflection...”) is the denouement of the plot.
The monologues reveal not only Chatsky’s thoughts and feelings, but also his character: ardor, enthusiasm, some comedy (inconsistency between what he says and to whom).
Chatsky's monologues have features of a journalistic style. “He speaks as he writes,” Famusov characterizes him. Chatsky uses rhetorical questions, exclamations, forms imperative mood.
In his speech there are many words and expressions related to high style, archaisms (“a mind hungry for knowledge”).
One cannot help but note the aphoristic nature of Chatsky’s statements (“The legend is fresh, but hard to believe...”)

The role of Chatsky’s monologues in A. S. Griboyedov’s comedy “Woe from Wit”

The comedy "Woe from Wit" was written by A. S. Griboedov after Patriotic War 1812, that is, during the period when deep socio-political changes took place in the life of Russia.

With his work, Griboyedov responded to the most pressing issues of our time, such as serfdom, personal freedom and independence of thought, the state of enlightenment and education, careerism and veneration of rank, admiration for foreign culture. Ideological meaning“Woe from Wit” consists of contrasting two ways of life and worldviews: the old, serfdom (“past century”) and the new, progressive (“present century”).

“The present century” is presented in a comedy by Chatsky, who is an ideologist of new views. He expresses his attitude towards everything happening in society. That is why the monologues of the main character occupy such an important place in the play. They reveal Chatsky’s attitude to the main problems of his contemporary society. His monologues also carry a large plot load: they appear in the play at turning points in the development of the conflict.

We meet the first monologue already in the exhibition. It begins with the words “Well, what about your father?..”, and in it Chatsky gives a description of Moscow morals. He notes with bitterness that during his absence in Moscow, nothing has changed significantly. And here for the first time he starts talking about the system of education accepted in society. The children of Russian nobles are raised by foreign tutors “in more numbers, at a cheaper price.” The younger generation is growing up in the belief “that without the Germans we have no salvation.” Chatsky mockingly and at the same time bitterly notes that in order to be considered educated in Moscow, you need to speak “a mixture of French and Nizhny Novgorod languages.”

The second monologue (“And sure enough, the world began to grow stupid...”) is associated with the outbreak of the conflict, and it is dedicated to the contrast between the “present century” and the “past century.” This monologue is maintained in a calm, slightly ironic tone, which is psychologically justified. Chatsky loves Famusov's daughter and does not want to irritate her father. But Chatsky does not want to agree with Famusov, who insults his pride, his views as a free-thinking person. Moreover, this monologue is caused by the moral teachings of Sophia’s father, his advice on how to make a career, using the experience of the unforgettable uncle Maxim Petrovich.

Chatsky categorically disagrees with this. The entire accusatory meaning of the protagonist’s words lies in the fact that he is trying to explain to Famusov the difference between the two historical periods past and present. The Catherine era, which evokes such tenderness in Famusov, is defined by Chatsky as “the age of humility and fear.” Chatsky believes that now different times have come, when there are no people who want to “make people laugh, bravely sacrifice the back of their heads.” He sincerely hopes that the techniques and methods of the nobles of Catherine’s time are a thing of the past, and new century values people who are truly honest and dedicated to the cause, not to individuals:

Although there are hunters everywhere to be mean,
Yes, nowadays laughter frightens and keeps shame in check,
It’s not for nothing that the sovereigns favor them so little.

Third monologue “Who are the judges?” - the most famous and striking monologue of the main character. It occurs at the moment of development of the conflict in the play. It is in this monologue that Chatsky’s views receive the most complete coverage. Here the hero clearly expresses his anti-serfdom views, which later gave critics the opportunity to bring Chatsky closer to the Decembrists. How different the tone of this passionate monologue is from the peace-loving lines of the previous one! Leading specific examples manifestations of the monstrous attitude of the nobles towards the serfs, Chatsky is horrified by the lawlessness that reigns in Russia:

That Nestor of noble scoundrels,
Surrounded by a crowd of servants;

Zealous, they are in the hours of wine and fights
And his honor and life saved him more than once: suddenly
He traded three greyhounds for them!!!

Another master sells his serf actors:

But the debtors did not agree to a deferment:
Cupids and Zephyrs all
Sold out individually!

“Where, show us, are the fathers of the fatherland, // Which we should take as models?” - the main character asks bitterly. In this monologue one can hear the genuine pain of a man who knows the value of the “fathers of the fatherland,” who are “rich in robbery” and protected from trial by the entire existing system: connections, bribes, acquaintances, position. New man cannot, in the opinion of the hero, come to terms with the existing slave position of the “smart, vigorous people.” And how can one come to terms with the fact that the defenders of the country, the heroes of the War of 1812, the gentlemen have the right to exchange or sell. Chatsky raises the question of whether serfdom should exist in Russia.

Griboyedov’s hero is also outraged by the fact that such “strict connoisseurs and judges” persecute everything freedom-loving, free and defend only the ugly and unprincipled. In this monologue of the hero, the voice of the author himself is heard, expressing his innermost thoughts. And, after listening to Chatsky’s passionate monologue, any sane person should inevitably come to the conclusion that such a state of affairs cannot exist in a civilized country.

With the words “There is an insignificant meeting in that room...” begins another monologue of Chatsky. It marks the climax and resolution of the conflict. Answering Sophia’s question “Tell me, what makes you so angry?”, Chatsky, as usual, gets carried away and does not notice that no one is listening to him: everyone is dancing or playing cards. Chatsky speaks into emptiness, but in this monologue he also touches on an important issue. He is outraged by the “Frenchman from Bordeaux” as an example of the admiration of Russian nobles for everything foreign. With fear and tears he went to Russia, and then he was delighted and felt important person, without meeting there “neither a Russian sound nor a Russian face.” Chatsky is offended by the fact that the Russian language national customs and culture should be placed much lower than foreign things. He ironically proposes to borrow from the Chinese the “wise... ignorance of foreigners.” And he continues:

Will we ever be resurrected from the alien power of fashion?
So that our smart, cheerful people
Although he didn’t consider us Germans based on our language,

The last monologue comes at the denouement of the plot. Chatsky says here that he will never be able to come to terms with the morals and orders of Famusov’s Moscow. He is not surprised that this society of people, terrified of everything new and advanced, declares him insane:

You are right: he will come out of the fire unharmed,
Who will have time to spend a day with you,
Will breathe air alone,
And his sanity will survive.

So, Chatsky left the Famusovs’ house offended and disappointed, and yet he is not perceived as a defeated person, a loser, because he managed to remain faithful to his ideals, to remain himself.

Monologues help us understand not only the character of the main character. They tell us about the order that existed in Russia at that time, about the hopes and aspirations of progressive people of that time. They are important both in the semantic and structural construction of the play. Thinking readers and viewers should definitely think about the main problems of Russian society during the time of Griboyedov, many of which are still relevant today.