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A brief description of Sophia's grief from the mind. Brief description of Sophia Famusova based on the comedy Woe from Wit (Griboyedov A.S.). Sophia and other female images
Characteristics of Sophia with aphorisms from the work
Sofya Pavlovna - Famusov's daughter.
He is in a state of happiness and love for the secretary Molchalin, who lives in their house ("Happy hours do not watch").
She carefully hides her love from her father, because he would not approve of her choice (Famusov's daughter: "Ah! Mother, don't finish the blow! Whoever is poor is not a match for you").
Romantic, reasonable (“Just think how capricious happiness is! It happens worse, it gets away with it; when sad nothing comes to mind, it was forgotten by music, and time passed so smoothly; fate seemed to take care of us; no anxiety, no doubt ... And grief awaits from around the corner").
She is choosy in gentlemen, wants to marry for love, and not for convenience (about Skalozub: “Where, how sweet! in water") .
Now she is in love with Molchalin, but before that she expressed strong sympathy for Chatsky, a close friend of the family, with whom they were practically brought up together, and who, before leaving the country for three years to travel, confessed his love to her (Sofya about Chatsky: “What do you remember? He is gloriously able to make everyone laugh; he talks, jokes, it’s funny to me; you can share laughter with everyone.
In front of Chatsky, Sophia does not feel remorse, she now considers him like a brother (“I acted very windy, perhaps, I acted, and I know, and I’m sorry, where did I cheat? To whom? So that they could reproach with infidelity. brought up, grew up; the habit of being together every day inseparably, bound our childhood friendship ... "
She speaks of Chatsky, until he began to pursue her, and thereby annoy her, not bad at all: "A sharp, smart, eloquent, especially happy in friends, he thought highly of himself ... The desire to wander attacked him."
Sophia is a little offended by Chatsky because he rarely visited them, but each time he tried to convince her of his feelings for her (“He moved out, he seemed bored with us, and rarely visited our house; then he again pretended to be in love, exacting and distressed"; "Ah! If someone loves whom, why look for the mind and travel so far?")
Molchalin, in comparison with Chatsky, seems to her completely different: ready to sacrifice for others, modest, shy (“Whom I love is not like that: Molchalin is ready to forget himself for others, the enemy of insolence, - always shy, timidly, kiss the night with someone you can do it!"
When meeting with Chatsky after a long separation, he behaves with him with restraint, very cool. After mentioning Molchalin's stupidity in a conversation, he gets very annoyed with Chatsky ("Not a man, a snake!"
After falling from Molchalin’s horse, Sophia could not restrain her feelings and fainted, which practically “opened up” in front of everyone, Lisa defends her, indicating that the young lady is sensitive to such incidents (“Yes, sir, the young lady has an unhappy disposition. maybe how people fall headlong").
Chatsky really felt the opponent and began to speak unflatteringly about him (“Let him break his neck, he almost killed you”). Sophia became very angry (to Chatsky: "They are murderous with their coldness! To look at you, I have no strength to listen to you")
Chatsky continues unbearably to pursue Sophia, to ask her who she loves, he irritates her very much, she tirelessly defends Molchalin in the eyes of Chatsky and reveals his dignity (Sofya about Molchalin: there is not a shadow of anxiety on his face and in his soul there are no misconducts, strangers and at random and at random does not cut - that's why I love him.
Chatsky constantly attacks Molchalin. Finally, Sophia decides to annoy Chatsky and spreads among the guests the opinion that Chatsky is crazy, gossip spreads among society at the speed of light (“Ah, Chatsky, do you like to dress everyone up as jesters, do you want to try on yourself?”). This trait of her character speaks of her female vindictiveness, vindictiveness. You can understand her, she defended her love. The only pity is that in the end it was a bitter disappointment. Molchalin deceived her, he met with her by calculation, did not love her at all. She managed to get out of an unpleasant situation with dignity by rejecting Molchalin after what she heard, although it was not easy for her (Sofya Molchalin: "Next, I've heard a lot, a terrible person! I'm ashamed of myself. Not a word, for God's sake, be silent, I will decide on everything ") . She did not forgive Molchalin and did the right thing. But with Chatsky, she still acted, in my opinion, cruelly. After all, knowing the manners modern society, she went to extremes: formed public opinion thus destroying the human.
The comedy "Woe from Wit" depicts the customs of the nobles of Moscow at the beginning of the 19th century. Griboedov shows the clash of the views of the feudal landlords (the conservative stratum of the population) with the progressive ideas of the younger generation of nobles. This conflict is shown as a struggle between two camps. The "current age" seeks to transform society through true citizenship, while the "past century" seeks to protect its personal comfort and mercantile interests.
However, there are also characters who cannot be unambiguously attributed to one or another opposing side. This, for example, is the image of Sophia in the comedy "Woe from Wit". We will talk about it today.
Contradictory image of the heroine
The image of Sophia in the comedy "Woe from Wit" is one of the most complex in the characterization of this heroine is contradictory. On the one hand, she is the only person, which is close in spirit to Alexander Chatsky. On the other hand, Sophia is the cause of the protagonist's suffering. It is because of her that he is expelled from
No wonder Chatsky fell in love with this girl. Even though she now calls their youthful love childish, once Sofya Pavlovna attracted the main character with her strong character, natural mind, and independence from the opinions of others. For the same reasons, Chatsky was nice to her.
Sophia's education
From the first pages of the work, we learn that the heroine is well educated, she loves to read books. This is evidenced by many of Sophia's quotes from Woe from Wit. Passion for books displeases her father. After all, this person believes that "learning is the plague," that "there is no great use in it." This is the first discrepancy in the views of the heroine with the views of the nobles of the "past century".
Why did Sophia get carried away by Molchalin?
Naturally, this girl's passion for Molchalin. The image of Sophia in the comedy "Woe from Wit" should be supplemented by the fact that the girl is a fan of French novels. That is why the heroine saw her lover in the laconicism and modesty of her lover. The girl does not realize that she has become a victim of Molchalin's deceit. This one was with her only for his own personal gain.
The influence of the Famus society
Sofya Famusova, in relations with Molchalin, shows those character traits that representatives of the "past century", including her father, would never have dared to show. If Molchalin is afraid to open his connection to society, because, as he believes, "evil tongues are worse than a gun," then the heroine we are interested in is not afraid of the opinion of the world. The girl in her actions follows the dictates of her own heart. This position, of course, makes the heroine related to Chatsky.
However, the image of Sophia in the comedy "Woe from Wit" should be supplemented by the fact that this girl is the daughter of her father. She was brought up in a society that values only money and ranks. The atmosphere in which the heroine grew up could not help but influence her.
The girl decided to choose Molchalin not only because of the positive qualities that she saw in him. The fact is that in the society to which the heroine belongs, women dominate - both in the family and in society. Suffice it to recall the Gorich couple (pictured above), whom we meet at the Famusovs' ball. Chatsky knew Platon Mikhailovich as an active, active military man. However, under the influence of his wife, he turned into some kind of weak-willed creature. Now Natalya Dmitrievna makes all decisions for him. She manages her husband like a thing, gives answers for him.
Obviously, Sofya Famusova, wanting to rule over her husband, decided to elect Molchalin for the role of her future husband. This character corresponds to the ideal of a spouse in the world of the Moscow nobles of that time.
The tragic image of the heroine
Sophia in the work "Woe from Wit" is the most tragic character. The share of this heroine had more suffering than the share of Chatsky himself. First of all, this girl, naturally possessing intelligence, courage, determination, is forced to become a hostage of the society to which she belongs. She cannot afford to give free rein to feelings, to free herself from the influence of the opinions of others. Sofya Pavlovna ("Woe from Wit") was brought up as a representative of the conservative nobility and forced to live by the laws that it dictates.
In addition, the unexpected appearance of Chatsky threatens to destroy her personal happiness, which she is trying to build with Molchalin. The heroine, after the arrival of Alexander Andreevich, is in suspense all the time. She has to protect her lover from the attacks of Chatsky. The desire to save love, to protect Molchalin from ridicule, forces her to gossip about the madness of Alexander Andreevich. However, the girl turns out to be capable of this act only because of the great pressure of the society of which she is a member. And Sophia gradually merges with her circle.
This heroine is also unhappy because she has to endure the destruction of the ideal image of Molchalin, which has developed in her head. The girl becomes a witness to the conversation of her lover with the maid Lisa. The main tragedy of Sophia is that this heroine fell in love with a scoundrel. Molchalin played the role of Sofia Famusova's lover only because, thanks to this, he could receive another award or rank. In addition, the exposure of her lover takes place in the presence of Alexander Chatsky. This hurts the girl even more.
"Million torment" Sophia
Of course, the role of Sophia ("Woe from Wit") is great. It is no coincidence that the author introduced it into his work. Sophia is in many ways opposed to her father and to noble society as a whole. The girl is not afraid to go against the opinion of the world, protecting love. However, feelings for Molchalin make her defend herself from Chatsky as well. But with this hero, she is very close in spirit. Chatsky is blackened in society precisely by the words of Sophia. He has to leave the Famus society.
If all other heroes, except for Chatsky, take part only in social conflict, trying to protect the usual way of life and comfort, then this girl has to fight for her love. Goncharov wrote about Sofya that she was the hardest of all, that she got "a million torments." Unfortunately, it turns out that this girl's struggle for her feelings was in vain. Molchalin is an unworthy person, as it turns out at the end of the work "Woe from Wit".
Chatsky and Sophia: is their happiness possible?
Sophia would not be happy with someone like Chatsky. Most likely, she will choose a person as her wife who corresponds to the ideals of the Famus society. Sophia's character is strong, and it requires realization, and it will be possible only with a husband who will allow her to lead and command herself.
(356 words) The comedy "Woe from Wit" is one of the first plays in Russian literature in the genre of realism, which is expressed primarily in the typification of the characters' characters. However, there is a heroine in the work that raised many questions from critics and readers - and this is Sophia.
Perhaps Sofya Pavlovna Famusova is the only character who is close to Chatsky in terms of intelligence. She knows how to sincerely feel, but her love takes on an ugly development - Molchalin, a quiet, calm worker of her father, who skillfully plays passion, becomes the chosen one of the girl. He sucks up to everyone: to Famusov - to get a promotion; to Sophia - in the hope of strengthening his position in the house; to the maid Lisa - so that in case of emergency she could help, etc. It would seem that the girl should have seen insincerity in him, but love interferes with her. Perhaps she imagined herself the heroine of French novels, hiding from her father and secretly meeting with Molchalin.
Seventeen-year-old Sophia knows that she is pretty. She is an enviable bride - beautiful and not poor, so she understands that Famusov will never accept her choice. As a child, the girl had feelings for Chatsky, but he left her, causing her pain. Arriving at her house, Chatsky first of all humiliated the person whom Sophia fell in love with, and the society in which the heroine grew up. For this, she takes revenge on him and hints at his madness, which later becomes a rumor.
Sophia has a strong and independent character, she is a domineering and determined girl. And he chooses a comfortable person - soft and uncomplaining. She does not like Chatsky's insolence at all, and she appreciated the lack of this quality in Molchalin. “There is less impudence in you than the curvature of the soul,” she says when she witnessed her chosen one flirting with a maid. Sofya was disappointed in Molchalin, but, most likely, she will continue to choose men of this type: timid, insincere, two-faced, but accepted by the world. The heroine, no matter how smart and educated, still remains part of the Famus society. It was painful for Chatsky to realize how, with her lively nature and intellect, Sophia accepts the rules of the world and becomes a typical young lady.
Sophia is the heroine of an everyday drama, not a social comedy. She cannot distinguish real feelings from fake ones, because. I grew up with lies and hypocrisy. I. A. Goncharov noted that her "moral blindness" is a common feature of her circle, and not a personal vice. The girl is not able to distinguish reality from her dreams, so her love ends so sadly.
Interesting? Save it on your wall!The image of Sophia in the comedy "Woe from Wit" is the most dramatic. Griboyedov, portraying the heroine, completely departs from satirical techniques. For him, a girl is a living person, and not a stereotyped image, like her father and other representatives of the world. Let's try to figure out why the writer, raising Sophia above the others, nevertheless made her unhappy.
Characteristics of Sophia ("Woe from Wit"). Opinions of critics
Sophia in her character and spiritual strength is very close to Chatsky. Griboyedov put a lot of effort into creating this female image, but the critics of that time had a different opinion. Yes, P.
Vyazemsky called her "a khalda who has no feminine charm", in addition, the publicist was also embarrassed by the morality of a girl who secretly meets with a young man and even receives him in her bedroom. N.
Nadezhdin agreed with the last statement: “Sofya is the ideal of a Moscow young lady ... with low feelings, but strong desires,” which “were barely restrained by secular decency.” Even Pushkin called Sophia Griboyedov's failure, the poet believed that she was "indistinctly drawn."
The role of Sophia in the comedy "Woe from Wit" has long been underestimated. Only in 1871, Goncharov, in his article "A Million of Torments", wrote about the virtues of the heroine and her huge role in the play.
The critic even compared her with Pushkin's Tatyana Larina. But the most valuable thing is that he was able to notice and appreciate the realism of Sophia's character.
Even her negative traits became in some way virtues, as they made the girl more alive.
Drama heroine
Sophia is not a character in a social comedy, but the heroine of an everyday drama. Griboedov ("Woe from Wit") for his play was not just called an innovative playwright.
He was one of the first to cross comedy and drama, and Sophia is a direct proof of this. She is a very passionate person who lives only with strong feelings.
This is her similarity with Chatsky, who is also unable to restrain passion.
The wretchedness of Molchalin does not make the girl's love funny, on the contrary, this situation only adds drama to her appearance. Sophia's characterization ("Woe from Wit") is based precisely on her affection. Only the viewer sees the true face of Molchalin, for the heroine he is the ideal. She appears as a girl capable of real feelings, who cannot pretend and does not want to.
Sophia and Molchalin - grief from love
We decided that the image of Sophia in the comedy "Woe from Wit" is inextricably linked with Molchalin. Love for him determines all the actions of the heroine. It divides the world into two parts: Molchalin and others. Sophia constantly thinks about her lover, apparently, therefore, she does not notice what kind of people surround her.
The girl is in the grip of an incredibly strong first love. However, her feelings are not free and joyless. She is well aware that her chosen one will never please her father. These thoughts seriously overshadow the girl's life, but inwardly she is ready to fight for her love to the last.
Sophia's monologue ("Woe from Wit"), in which she confesses her feelings to Lisa, says that she is overwhelmed with them. What else could have pushed her to this rash step? Even frankness with Chatsky is due precisely to the fact that Sophia's mind was clouded with love.
She loses all her common sense and loses her ability to reason. However, she herself believes that she is very critical and sensible about Molchalin: “He doesn’t have this mind ...”, but she immediately says that it is not necessary to have a special mind for family happiness.
In her mind, her lover is quiet, gentle, and uncomplaining. Sophia does not see that he is a scoundrel, this truth will be revealed to her only in the final. The girl will witness how her beloved takes care of Lisa. This discovery literally destroys her.
The episode is rightfully considered the most dramatic moment of the play.
Sentimental novels and women's education
The image of Sophia in the comedy "Woe from Wit" is not only dramatic, but also somewhat collective. Using her example, Griboedov shows the tragedy of girls from secular society.
After all, what is the reason that she not only fell in love with a scoundrel, but also slandered Chatsky, who loves her? The author gives a direct answer to this question: “to teach our daughters everything… and dances, and sighs, and singing! As if we are preparing them for wives for buffoons.
That is, it says here that the girls, although they knew a lot, and studied, prepared for only one thing - a successful marriage. And Sophia, like many, builds her life according to the generally accepted pattern.
And on the other hand, she was also brought up by books - French novels that do not give her sleep. The characterization of Sophia ("Woe from Wit") gives us the opportunity to assume that Griboyedov tried to raise the problem of enlightenment and women's education in Russia of his time.
Even the choice of Molchalin as an object of sigh is largely due to sentimental novels that describe the love of a noble girl and a poor young man (or vice versa). Sophia admired the masculinity and devotion of the novel characters. And she considered Molchalin the same book character.
The girl cannot separate reality from fiction, which is why her love ends so sadly.
Sophia and other female images
It is possible to consider the image of Sophia in the comedy "Woe from Wit" in the context of other secular girls and ladies. Using the example of other heroines, Griboyedov shows the path of a secular lady, which Sophia seeks to go through. It begins with young ladies of marriageable age - the Tugoukhovsky princesses.
Then we see Natalya Dmitrievna Gorich, a newly married young lady. She learns to push her husband around, direct his actions and direct. Here are the ladies who form secular opinion - Khlestakova, Marya Aleksevna, Princess Tugoukhovskaya, Tatiana Yurievna.
At the end of their lives, a slightly comical image of the countess grandmother awaits them all.
Sophia's monologue ("Woe from Wit"), in which she extols the virtues of her lover and says that he is perfect for the role of a spouse, is indicative in this respect. Molchalin is indeed an ideal candidate to translate the life path of the lady of light into reality. While Chatsky is not at all suitable for this role.
Sophia's quotes from the comedy "Woe from Wit"
The most famous statements of the heroine:
- "Happy hours do not watch";
- “What is the rumor to me? Whoever wants, so judges”;
- “You can share laughter with everyone”;
- "Not a man, a snake!";
- "The hero ... not of my novel."
Summing up
The characterization of Sophia shows us the drama of the heroine. "Woe from Wit" denounces and reveals the essence of many social phenomena, including the position of women in the contemporary world of the author.
Sophia is a smart, outstanding and passionate person who could make a worthy couple for Chatsky. But the upbringing and environment distorted these noble features, in a sense disfigured the heroine and led to a dramatic finale.
The role of Sophia in the comedy "Woe from Wit", thus, is a key and plot-forming one.
Composition plan: The image of Sophia and her role in Griboedov's comedy "Woe from Wit"
The image of Sophia and his role in the comedy by A.S. Griboyedov "Woe from Wit"
I. Introduction
The image of Sophia is one of the most complex in Griboyedov's comedy, it cannot be unambiguously assessed, as Pushkin pointed out (“Sophia is not clearly outlined ...”).
II. main part
1. The character of Sophia. Sophia is a rather mature, intelligent and independent girl. It is important that in the comedy she appears not at all the same as Chatsky remembers her. Sophia calls her relationship with him three years ago "children's friendship." Now Sophia has come out of this age, she has her own life and her own understanding of people.
2. Sophia's attitude towards Molchalin. From the first pages we learn that Sophia loves Molchalin.
This love is incomprehensible to many: Liza compares Molchalin with Chatsky and prefers the latter, Famusov declares from the very beginning: "Who is poor, that is not your match."
The main thing is that Chatsky cannot believe this love: “With such feelings, with such a soul // We love! .. The deceiver laughed at me!”. Why does Sophia love Molchalin?:
a) about Sophia, one can say with the words of Pushkin: “The time has come, she fell in love”;
b) Sophia's feelings were obviously influenced by sentimental novels: as in them, she falls in love with an inconspicuous person who is no match for her;
c) Sophia's strong and domineering character requires just such a person: modest, quiet, obedient (see Sophia's conversation with Liza in the first act and the conversation between Sophia and Chatsky in the third act). Sophia is already thinking about the family and feels that Molchalin will be an ideal husband.
3. Sophia's attitude towards Chatsky. Firstly, Sofya Chatsky does not love and probably never seriously loved. Therefore, she does not feel guilty before him: “I am very windy, perhaps I acted, / And I know, and I am guilty; but where did you change? (first act).
Secondly, Sophia, knowing the sharp and caustic mind of Chatsky, foresees from the very beginning that he will begin to ridicule Molchalin, and is not mistaken. In the life of Sophia Chatsky brings anxiety. Thirdly, Sophia does not need Chatsky either as a lover or as a husband.
His mind, in particular, is not the kind that can “make the family happy” (For more details, see the plan on the topic “Who is smart in A.S. Griboyedov’s comedy “Woe from Wit”?”).
For all these reasons, Sophia’s attitude towards Chatsky becomes clearly negative (“Oh, this person is always // The reason for me a terrible disorder”, “Not a man is a snake!”, “I’m glad to humiliate, prick, // Envious, proud and angry”).
By the end of the third act, Sofya is already psychologically ready to take revenge on Chatsky one way or another. When an opportunity presents itself, she takes advantage of it (though not without hesitation) and provokes gossip about Chatsky's madness: “Ah, Chatsky! Do you like to dress everyone up as jesters, / Would you like to try on yourself?
4. The role of Sophia in the comedy is very significant, primarily for the development of the conflict and plot action. It is for her sake that Chatsky comes to Famusov's house, seeing her coldness, trying to understand why she is; in the future, she tries to “find out” who is dear to her, etc. It is she who strikes Chatsky and the last blow (“So I still owe you this fiction?”).
The role of Sophia is also important for posing the problem of the mind in comedy (For more details, see the plan on the topic “Who is smart in A.S. Griboyedov’s comedy “Woe from Wit”?”).
III. Conclusion
Sophia is one of the first realistic female characters in Russian literature. Therefore, it cannot be assessed unequivocally: this is not a “positive” and not a “negative” heroine, but a living person.
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Description of Sofia Pavlovna Famusova from Griboedov's comedy "Woe from Wit" - Hellper.RU - your school assistant!
Sofia Famusova- this is a real example of a good and decent girl. And the point is not at all in education, but in Famusova's personal convictions. Her character is firm and confident, but by no means can you call a girl callous.
The heroine is smart, her intelligence manifests itself in many aspects. Sofia loves to dream. Often she dreams of things that will never happen.
Famusova's hard character doesn't come out as much because of her warm heart, which makes it clear how good-natured the heroine can be.
Emotional experiences are an integral part of Sophia's life. At first, it may seem that Famusova is a happy girl. In part, this is true, but still, sometimes Sofia has to be sad.
The girl herself is open, but still she keeps some secrets and is not ready to share them with anyone.
The girl is very smart. It is enough to take one of her statements: "Happy hours do not watch." This is an incredibly clever statement that gives another characteristic about Sophia - if she is happy, then time will not matter to her. But the heroine was not talking about herself at all.
It’s impossible to say what the girl’s happiness was, but sometimes she really didn’t have enough happy moments. Sophia received a good upbringing thanks to French governesses, who gave the girl the right upbringing. The fact that the heroine was quite close to the governesses is confirmed by her phrases, peculiar exclusively to French women.
Let's say "tell you a dream" - such phrases are not characteristic of the Russian people. However, there were many vernaculars in Famusova's speech. For example, "to laugh." Such phrases, of course, did not emphasize the lady's intellect, but there were not so many of them in Sofia's speech. As a positive person, it was quite difficult for Sofia to develop in the Famus society.
The upbringing in this society was far from ideal. Lies, hypocrisy - for the surrounding people of the heroine, these qualities were quite acceptable. Moreover, the qualities were imposed on Famusova, although she was well aware that such a society was not suitable for her. The generally accepted norms inherent in the circle of people in which the girl had to "spin" were abnormal.
In part, the heroine was aware of this, in part - no. Still, society had a negative effect on the heroin. And no matter how much she wanted to deny all the qualities inherent in her society, some features went to the girl against her will. When Chatsky stays in Moscow, he does not see his beloved in the girl. For three years, Sophia has not changed for the better. And the reason for this is the environment of the girl.
In a word, Famusova became a representative of a society that had previously been completely unacceptable to her. Chatsky immediately noticed this, so it was painful for him to observe how much a person’s environment can change.
Despite her strong character, Sophia, as a female representative, was quite soft and open. The heroine did not fully show her passion, but she was. Sophia is a real “living mind”, which is not characteristic of all the heroines of the work.
Sophia also has a hard time, because she was touched by tragedy at the moment when she found out who her lover really is.
Disappointment in a loved one was a serious blow for the girl, and all because of the conversation between Lisa and Molchanin, which Famusova decides to overhear, and, as it turned out, not in vain.
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One of the outstanding works of the first half of the 19th century is the comedy by A. S. Griboyedov “Woe from Wit”. Each hero of the play, being a typical image, has at the same time unique individual features. The author portrays his characters as complex as real people are.
Sophia is endowed with one of the most controversial characters in the play “Woe from Wit”. This is very well said in the article by I. A. Goncharov “A Million of Torments”.
He speaks of a mixture in Sophia of "good instincts with lies", "a lively mind with the absence of any hint of conviction." But it is "ruined in stuffiness, where not a single ray of light, not a single stream of fresh air penetrates."
Goncharov saw in her "the makings of a remarkable nature," and therefore "it was not without reason that Chatsky also loved her."
By nature, Sophia is endowed with good qualities: a strong mind, an independent character. She is able to deeply experience and sincerely love. This girl received a good education and upbringing. The heroine is fond of reading French literature.
But, unfortunately, all these positive features Sophia's character could not be developed in Famus society. She drew ideas about people from sentimental French novels, this literature developed dreaminess and sensitivity in Sophia.
Therefore, it was not by chance that she drew attention to Molchalin, who, with his features and his behavior, reminded her of her favorite heroes.
However, it cannot be said that Sophia is blinded: she is able to evaluate the chosen one sensibly and critically: of course, he does not have this mind in him, What a genius for others, and for others a plague, Which is quick, brilliant and soon opposes. Sophia also fell in love with Molchalin because she, a girl with character, needed a person in her life whom she could manage.
Chatsky's love for the heroine helps us understand one truth: the character of Sophia is in some way the main match for Chatsky himself. At seventeen, she not only “bloomed charmingly,” but also shows an enviable independence of opinion, unthinkable for people like Molchalin or even her father.
This is evidenced by such a remark by Sophia: “What is rumor to me? Whoever wants, judges."
Chatsky understands this and addresses his speeches primarily to Sophia. It is Sophia that he considers his like-minded person. He was used to believing that she shared his views. This faith was not shaken in him by “neither distance,” “neither entertainment, nor a change of place.”
Therefore, Chatsky, having returned to Moscow and seeing how Sophia has changed under the influence of the environment, is very worried. Sophia is also very worried, but because of something else. She involuntarily hears Molchalin's conversation with Lisa and suddenly sees her chosen one from a completely different side.
She understands that he needed him only in order to seize the moment, take advantage of her influence and get a higher rank. Sophia gets her first cruel lesson.
Perhaps someday Sophia would have known about the true intentions of Molchalin and she would not have been so hurt, but now she has lost a man who was very suitable for the role of a husband-boy, a husband-servant. She did not need a person like Chatsky, but it was he who opened her eyes to everything that was happening. If Sophia had grown up in a different environment, she might have chosen Chatsky.
However, she chooses a person who suits her better, since she does not think of another hero. But, according to the remark of the same Goncharov, “heaviest of all, even harder than Chatsky” is Sofya. Griboedov introduced us to the heroine of the comedy as a dramatic person. This is the only character that is conceived and executed as close to Chatsky. Critics N. K. Piksanov and I. A.
Goncharov compare Sofia Famusova with Tatyana Larina.
Her dream is extremely important for understanding the image of the heroine. The dream told by Sophia contains, as it were, the formula of her soul and a kind of program of action. Here, for the first time, Sophia herself names those traits of her personality that Goncharov appreciated so highly.
Sophia's dream is significant for comprehending her character, as is Tatyana Larina's dream for comprehending the character of Pushkin's heroine. Comparing Tatyana and Sophia, I. A. Goncharov wrote that “the huge difference is not between her and Tatyana, but between Onegin and Molchalin.
N.K. Piksanov quite rightly noted that “the drama experienced by Sofya Famusova in the finale of the fourth act is in Russian literature ... the first and brilliant experience in the artistic depiction of the spiritual life of a woman. Drama by Tatyana Larina was created later.” So, in his comedy, A.S.
Griboyedov managed to show not only the time in which he lived, but also created unforgettable images that are interesting to the modern reader and viewer. Therefore, as Goncharov said, "Woe from Wit" is kept apart in literature and differs from other works of the word in its youthfulness and stronger vitality.
Bibliography
For the preparation of this work, materials from the site http://ilib.ru/
The image of Sofia Famusova in the comedy by A. S. Griboyedov "Woe from Wit"
Sophia is not clearly inscribed ...
A. S. Pushkin
The image of Sofia Famusova. A. S. Griboyedov's comedy "Woe from Wit" contains two conflicts - a social conflict and a love conflict. The relationship between Chatsky and Sophia is at the heart of the comedy's love conflict.
Sofia Famusova is the only character conceived and performed as close to Chatsky. Griboyedov wrote about her: “The girl herself is not stupid, she prefers a fool to a smart person ...”
This character embodies a complex character, the author has gone here from satire and farce. He presented the female character of great strength and depth. Sophia was “unlucky” in criticism for quite a long time.
Sophia is a dramatic person, she is a character in everyday drama, not a social comedy. She - just like her antagonist Chatsky - is a passionate nature, living with a strong and real feeling. And even if the object of her passion is miserable and pathetic (the heroine does not know about this, but the audience knows), this does not make the situation funny, on the contrary, it deepens its drama.
In the best performances, actresses in the role of Sophia play love. This is the most important thing in her, it forms the line of her behavior. The world for her is divided in two: Molchalin and everyone else. When there is no chosen one, all thoughts are only about a quick meeting; she may be present on stage, but in fact her whole soul is directed towards Molchalin.
Sophia embodied the power of the first feeling. But at the same time, her love is joyless and not free. She is well aware that the chosen one will never be accepted by her father. The thought of this overshadows life, Sophia is already internally ready for the fight.
The feeling so overwhelms the soul that she confesses her love to seemingly completely random people: first, the maid Lisa, and then the most inappropriate person in this situation - Chatsky.
Sophia is so in love and at the same time depressed by the need to constantly hide from her father that her common sense simply changes. The situation itself deprives her of the opportunity to reason: “Yes, what am I to whom? before them? to the whole universe?
You can already sympathize with Sophia from the very beginning. But in choosing it there is as much freedom as predestination. She chose and fell in love with a comfortable person: soft, quiet and uncomplaining (this is how Molchalin appears in her stories-characteristics).
Sophia, as it seems to her, treats him sensibly and critically: “Of course, he doesn’t have this mind in him, / What a genius for others, and for others a plague, / Which is quick, brilliant and soon disgusted ... Will such a mind make the family happy?” It probably seems to her that she acted very practical, on top of everything else.
But in the finale, when she becomes an unwitting witness to Molchalin's "courtship" of Lisa, she is struck to the very heart, she is destroyed - this is one of the most dramatic moments of the entire play.
“Sophia is not clearly inscribed ...” (The image of Sophia in the comedy “Woe from Wit” Griboedov A.S.)
The image of Sophia is considered the most difficult in Griboedov's comedy. The interpretation of her character, the identification of the motivations for her behavior - all this caused numerous disputes among critics. The image of Sophia, as Belinsky noted, is extremely contradictory. She is endowed with many virtues: a lively mind, will, independence and independence of judgment, "energy of character."
Sophia does not value the opinion of the Famus society: “What is rumor to me? Whoever wants to, judges ... ”Neglecting secular etiquette, she decides to have a nightly date with Molchalin. In this episode, B. Goller saw a "challenge", a rebellion against the hypocritical moral concepts of the Famus society. “The young lady who violated the prohibitions was expected to break with society.
Or removal from society, ”the critic wrote. Sophia’s behavior is natural: she cannot hide her feelings when she sees Molchalin fall from a horse. “I'm afraid that I won't be able to withstand the pretense,” she remarks to Alexei Stepanovich. To some extent, the heroine is “natural” with Chatsky: she is sincerely angry in response to his witticisms.
At the same time, Sophia skillfully lies to her father, hiding her relationship with Molchalin from him. Sophia is disinterested, she evaluates people not by their rank and wealth, but by their inner qualities. Famusov is busy with a profitable party for his daughter: "I wish he had a son-in-law with stars, but with ranks." Sophia does not accept such morality: she wants to marry for love.
In her nature, “something of its own is hiding in the shadows, hot, tender, even dreamy.” Famusov will read Colonel Skalozub as her suitor - Sophia doesn’t even want to hear “about such happiness”: “He didn’t utter a smart word from his life, - I don’t care what for him, what’s in the water.”
Sophia is quite perceptive: she correctly assesses Skalozub, perfectly sees the vulgarity and emptiness of people entering Famusov's house. However, she cannot "see" the "true face" of Molchalin.
What are the motives of Sophia's actions? This image caused the most controversy in criticism. Pushkin also wrote that Sophia "is not clearly drawn." Goncharov believed that Sophia was strongly influenced by her environment:
“It is difficult to treat Sofya Pavlovna not sympathetically: she has the strong makings of a remarkable nature, a lively mind, passion and feminine gentleness. It is ruined in stuffiness, where not a single ray of light, not a single stream of fresh air penetrates. Belinsky, considering the contradictory nature of the heroine unrealistic, wrote that Sophia is "not a real person, but a ghost."
Let's try to figure out what Griboedov's heroine really is by analyzing her upbringing and life circumstances. Famusov is a widower; Sophia, who grew up under the care of Madame Rosier, obviously enjoyed a certain freedom in the house.
Like Pushkin's Tatyana, she is dreamy, loves sentimental novels with a happy ending, where one of the characters is poor, but has a number of virtues. It is precisely such a hero, according to Sophia, that Molchalin is: “yielding, modest, quiet, In the face there is not a shadow of anxiety, And there are no misconduct in the soul ...”.
Sophia, like Tatyana Larina, loves not a specific person in her chosen one, but her high ideal, gleaned from books. As S. A. Fomichev notes, “Sofya is trying to arrange her fate according to the models of sensitive, sentimental novels.” And already this one “ external factor» in the choice of the heroine is alarming. Sophia's behavior is also alarming.
It is very difficult for a loved one to characterize, and Sofya easily describes the character of Molchalin, not forgetting to add that "he does not have this mind in him ... which is quick, brilliant and will soon oppose." As N.K. Piksanov notes, the heroine is too rational, rational, prudent in her love, capable of subtle calculation, cunning. However, by nature. Sophia is temperamental, wayward.
The nightly date of the heroes itself looks unnatural. And unnatural here, first of all, Sophia. Molchalin plays the role of "Romeo" here, in accordance with his own ideas about the behavior of a lover. Unlike Sophia, Alexei Stepanovich was hardly ever fond of reading sentimental novels. Therefore, he behaves as his intuition tells him:
He takes his hand, shakes his heart,
Breathe from the depths of your soul
Not a free word, and so the whole night passes,
Hand with hand, and his eyes do not take his eyes off me ...
However, the behavior of Molchalin in this scene is consistent with his image and character. Sophia, with her ironic mind, causticity, strong character, is hard to imagine here. This sensitive scene is nothing more than a romantic cliché where both “lovers” pose, with the only difference that Sophia is not aware of the unnaturalness of her behavior, while Molchalin understands perfectly.
The story of the heroine about a nightly date causes the laughter of Lisa, who in this scene seems to be the embodiment common sense. She remembers Aunt Sophia, from whom the young Frenchman ran away. And this story seems to precede further development comedy events.
Chatsky puts forward his own version of the choice of Sofia Molchalin. He believes that the ideal of the heroine is "a husband-boy, a husband-servant, from the wife's pages."
At the end of the comedy, having learned the truth about Sophia's choice, he becomes caustic and caustic:
You will make peace with him on mature reflection.
To destroy yourself, and for what!
Think you can always
Protect, and swaddle, and send for business.
Husband-boy, husband-servant, from the wife's pages -
The lofty ideal of all Moscow men.
This accusation of Chatsky is highly unfair. Sophia is an extraordinary, deep nature, in many respects different from the people of the Famus circle. She cannot be equated with Natalya Dmitrievna Gorich. Finding Molchalin with Lisa, Sophia is offended in her feelings, and reconciliation with Molchalin is impossible for her. And she doesn’t need “the high ideal of all Moscow men”, she needs true love.
The main motive for Sophia's behavior is an insult to Chatsky, who once left her. This is how Isabella Grinevskaya considers the situation in Griboyedov's comedy in her work "Slandered Girl".
No wonder Molchalin is endowed with qualities that are directly opposite to Chatsky’s character: Alexei Stepanovich is moderate in everything, neat, quiet, silent, “not rich in words”, he does not have “this mind that a genius for others, but for others a plague ...”, “strangers and does not cut at random."
Frank resentment is heard in the words of Sophia: “Ah! If someone loves whom, Why look for the mind, and travel so far? Hence the slander of the heroine: "... not a man, a snake", her gossip about Chatsky's madness. We wonder why Sophia does not want to tell Chatsky the truth about her feelings for Molchalin, but the reasons for this are simple: she keeps the fan in the dark, subconsciously wanting to take revenge on him .
Sophia cannot forgive Chatsky for his departure, his "three-year silence." In addition, the heroine herself, apparently, does not believe in the “strength of her feelings”: that is why she does not call her “sentimental ideal” (“yielding, modest, quiet”) by the name of Molchalin in a conversation with Chatsky. Is her affection for Chatsky alive in Sophia's soul? It seems that we cannot find the answer to this question in the text of the comedy.
But the resentment and, as a result, the hostility of Sophia - this can be traced clearly and definitely. Thus, the motives for the heroine's behavior are very complex. A lot is guessed in them: resentment, pity (Sofya sympathizes with Molchalin, knowing her father's "angry disposition"), "patronage, the curiosity of a young feeling for the first intimate rapprochement with a man, romanticism, the piquancy of domestic intrigue ...".
Molchalin, as such, is not really interested in the heroine. She only thinks she loves him. As Vasiliev notes, "under the influence of books, Molchalin aroused in Sophia's heart a completely independent, original novel, which was too complicated to lead to passion." Therefore, Chatsky is not far from the truth when he does not believe in Sophia's feelings for Molchalin.
This is not the psychological blindness of the hero, but rather his intuitive insight. Precisely because Sophia does not truly love, she was able not to reveal her presence in the scene with Molchalin and Lisa for so long. Therefore, she is so proud and restrained: “Since then, I didn’t seem to know you.”
Of course, the heroine's self-control and the strength of her character are manifested here, but the absence of true, deep love is also felt. Sophia is able to analyze her situation, in a certain sense she is pleased with this outcome: ... Wait, be glad That when meeting with me in the stillness of the night, You were more shy in your disposition than even during the day, and in public, and in Java; You have less insolence than curvature of the soul. She herself is pleased that she found out everything at night, There are no reproachful witnesses in her eyes ...
Thus, Sophia is a complex three-dimensional character, contradictory and ambiguous, in the depiction of which the playwright follows the principles of realism.
Characteristics of Sophia from Griboyedov's comedy "Woe from Wit"
Sophia's characterization from Griboedov's comedy "Woe from Wit".
How to compare and see
The current age and the past
Fresh legend, but hard to believe.
A. S. Griboyedov
“Woe from Wit” is one of the most topical works of Russian dramaturgy. The problems posed in comedy continued to excite Russian social thought and literature many years after its birth.
"Woe from Wit" is the fruit of Griboyedov's patriotic thoughts about the fate of Russia, about the ways of renewal, the reorganization of her life. From this point of view, the most important political, moral and cultural problems of the era are covered in the comedy.
After Patriotic War Russian society has developed two social camps. This is the camp of feudal reaction in the person of Famusov, Skalozub and others, and the camp of advanced noble youth in the person of Chatsky.
The comedy clearly shows that the clash of the ages was an expression of the struggle between these two camps.
The emperor was terribly afraid of the penetration of revolutionary ideas into Russia - the “French infection”. He could make promises at the European Diet, but in his homeland, things did not come to real steps. Furthermore, domestic politics took on repressive forms.
And the dissatisfaction of the advanced Russian public gradually matured, for the firm hand of Arakcheev brought external order to the country.
And this order, this pre-war prosperity, of course, was joyfully welcomed by people like Famusov, Skalozub, Gorichi and Tugoukhovsky.
In the very title of his comedy “Woe from Wit” Griboyedov lays the main idea of the work, we can already understand that everything in it will refer to the concept of “mind”.
Griboyedov himself said that in his works there are 15 fools for every 1 smart man. We understand that there will be one single hero endowed with intelligence, and all the people around him will be those 15 fools that Griboyedov spoke about.
I.A. Goncharov wrote about the comedy “Woe from Wit” that it is “a picture of morals, a gallery of living types, and an eternally burning, sharp satire,” which presents noble Moscow in the 10-20s of the 19th century. According to Goncharov, each of the main characters of the comedy is going through "its own million torments." Sophia is also experiencing him.
The only character conceived and executed as close to Chatsky,
- This is Sofia Pavlovna Famusova. Griboyedov wrote about her: The girl herself is not stupid, she prefers a fool to a smart person ... ”This character embodies a complex character, the author has gone away from satire and farce here.
He presented the female character of great strength and depth. Sophia was “unlucky” in criticism for quite a long time. Even Pushkin considered this image to be a failure of the author: "Sophia is not clearly inscribed."
And only Goncharov in "A Million Torments" in 1871 for the first time understood and appreciated this character and his role in the play.
Brought up by Famusov and Madame Rosier in accordance with the rules of upbringing of Moscow young ladies, Sophia was taught “and dances, and singing, and tenderness, and sighs.” Her tastes and ideas about the world around her were formed under the influence of French sentimental novels.
She imagines herself to be the heroine of the novel, so she has a poor understanding of people. Sophia. rejects the love of the overly caustic Chatsky. She does not want to become the wife of the stupid, rude, but rich Skalozub and elects Molchalin.
Molchalin plays the role of a platonic lover in front of her and can sublimely remain silent until dawn alone with her beloved. Sophia prefers Molchalin, because she finds in him a lot of virtues necessary for a "husband-boy, husband-servant, from the wife's pages."
She likes that Molchalin is shy, compliant, respectful.
Meanwhile, the girl is smart and resourceful. She gives the right characteristics to others. In Skalozub, she sees a dull, narrow-minded martinet who “will not utter a word of wisdom”, who can only talk about “fronts and rows”, “about buttonholes and piping”.
She can't even imagine being the wife of such a man: "I don't care what's for him, what's in the water." In her father, Sophia sees a grumpy old man who does not stand on ceremony with his subordinates and servants.
Yes, and Sophia evaluates the qualities of Molchalin correctly, but, blinded by love for him, does not want to notice his pretense ..
Sophia is resourceful as a woman. She skillfully diverts her father's attention from the presence of Molchalin in the living room, at the early hour of the morning.
To disguise her fainting and fright after Molchalin's fall from his horse, she finds truthful explanations, declaring that she is very sensitive to the misfortunes of others.
Wanting to punish Chatsky for his caustic attitude towards Molchalin, it is Sophia who spreads the rumor about Chatsky's madness. The romantic, sentimental mask has now been torn off Sophia and the face of an irritated, vindictive Moscow young lady is revealed.
Sophia is a dramatic person, she is a character in an everyday drama, not a social comedy. She - like her antagonist Chatsky - is a passionate person, living with a strong and real feeling. And even if the object of her passion is miserable and pitiful (the heroine does not know this, but the audience knows) - this does not make the situation funny, on the contrary, it deepens its drama.
In the best performances, actresses in the role of Sophia play love. This is the most important thing in her, it forms the line of her behavior. The world for her is divided in two: Molchalin and everyone else. When there is no chosen one, all thoughts are only about a quick meeting; she may be present on stage, but in fact - her whole soul is directed towards Molchalin.
Sophia embodied the power of the first feeling. But at the same time, her love is joyless and not free. She is well aware that the chosen one will never be accepted by her father. The thought of this overshadows life, Sophia is already internally ready for the fight.
The feeling so overwhelms the soul that she confesses her love to seemingly completely random people: first, the maid Liza, and then the most inappropriate person in this situation - Chatsky. Sophia is so in love and at the same time depressed by the need to constantly hide from her father that her common sense simply changes.
The situation itself deprives her of the opportunity to reason: “Yes, what am I to whom? before them? to the whole universe? You can already sympathize with Sophia from the very beginning. But in choosing it there is as much freedom as predestination. She chose and fell in love with a comfortable person: soft, quiet and uncomplaining (this is how Molchalin appears in her stories-characteristics).
Sophia, as it seems to her, treats him sensibly and critically: “Of course, he doesn’t have this mind, What a genius for others, and for others a plague, Which is quick, brilliant and soon opposes ... Yes, such a mind will make the family happy?” It probably seems to her that she acted very practical, on top of everything else.
But in the finale, when she becomes an unwitting witness to Molchalin's "courtship" of Liza, she is struck to the very heart, she is destroyed - this is one of the most dramatic moments of the entire play.
This strikes at Sophia's self-esteem, and her vengeful nature is again revealed. “I’ll tell the whole truth to the father,” she decides with annoyance. This proves once again that her love for Molchalin was not real, but bookish, invented, but this love makes her go through her “million torments”.
I confess, I feel sorry for Sophia, because she does not bad girl not immoral, but, unfortunately, turned out to be a victim of the lies that are characteristic of the Famus society that ruined her.
Every person who reads this "comedy" should learn something of their own. One may simply laugh at jokes and witticisms in the direction of our nobility, while another more intelligent one may think about the meaning of this work and can understand what Chatsky's true grief is.
Each person must make a choice Molchalin or Chatsky. You can be Molchalin and silently climb the stairs up. Or become Chatsky and argue all his life, fight, achieve his own, fight with the hopeless stupidity of others
The comedy "Woe from Wit" entered the treasury of our national culture. Even now it has not lost its moral and artistic power. We, the people of the new generation, understand and are close to Griboyedov's angry, implacable attitude towards injustice, meanness, hypocrisy, which are so often encountered in our lives.
The image of Sophia in the comedy Woe from Wit
Sophia image.
Woe from Wit” is one of the most outstanding works of Russian literature of the 19th century. Some appreciate in comedy a picture of the Moscow customs of that era, the creation of living images.
Others cherish the variety of speech, the morality that the play still supplies to everyone.
Among the many images, Famusov's daughter occupies a very important place, she is one of the most controversial heroines in comedy, the central female character.
Sophia is a young lady, the daughter of a wealthy Moscow gentleman. As a child, she lost her mother and was brought up by Madame Rosier, but later lost her because of her father's greed. Sophia has a difficult relationship with her father: there is a lie, understatement and distrust between them.
On the part of the daughter, this is a lie for the good (does not reveal his connection with Molchalin, so as not to upset his father). The father, without asking Sophia's opinion, dreams of marrying her off as Skalozub (because of his position in society, for "aiming for generals").
Famusov's daughter's relationship with the future groom is negative, neutral - on the part of Skalozub (he needs a "general", and spiritual qualities, the presence of love between them does not interest him). Sophia speaks contemptuously about a possible husband (“He didn’t utter a clever word from birth”). But Skalozub is not the only contender for Sophia's hand.
The second admirer is Chatsky Alexander Andreevich. In her youth, Sophia actively communicated with him and experienced tender feelings. But after the departure of Alexander Andreevich, she was left to the Famus society (this was the reason for her joining this society).
Upon Chatsky's return to Moscow, he comes across Sophia's coldness, trying to fix her old feelings with her. But his jokes about mutual acquaintances (at which they laughed together) only irritate Famusov's daughter ("Not a man is a snake").
Sophia is proud, proud, knows how to inspire respect, her opinion is considered in society. In Greek, her name means wisdom. Sophia is very pretty. This is immediately noted by Chatsky upon his return to Moscow: Yes, sir, and now, Inimitable, and you know this, And therefore modest, do not look at the world, Are you in love? please give me an answer.
Sofya Pavlovna is smart. She, like Chatsky, is a thirsty nature, living with a strong feeling. And even if the object of her passion is miserable and pitiful (although Molchalin herself does not appear to be Sophia), this does not make the situation ridiculous, on the contrary, it deepens its drama.
From this feeling, many conclusions can be drawn about the environment in which Sophia was brought up, about the people around her. The boredom that reigns in the Famusovs' house, first of all, is reflected in the girl's young heart.
The soul of the young and beautiful Sophia is filled with the expectation of love, which she read about in French novels, she, like all girls at her age, wants to be loved and love herself. Having unraveled Sophia's secret aspirations, Molchalin is nearby. A young man of not bad appearance, quite educated, vividly enters into the role of an enchanted hero.
The heroine falls in love under the influence of French novels, unable to choose or compare. However, she falls in love with a fictional image. She presents Molchalin as a hero with a mind, but materially poor. Against him, according to Sophia, the environment took up arms.
But her feelings were influenced not only by French novels. In the Famus society, ladies are looking for a “servant husband”. Molchalin is ideal for this role: “Of course, he doesn’t have this mind, What a genius for others, but for others a plague, Which is quick, brilliant and soon opposes ... But will such a mind make a family happy?” (Sophia).
In love for him, another trait of Sophia's character is manifested. She challenges Famus society by falling in love with a person below her in social status. But Sophia does not disclose this connection, which characterizes her as a loving and caring daughter.
Through her image, the upbringing of the female part of the nobility is shown. Blind imitation of fashion was typical of the ladies of that time.
Oh! France! There is no better place in the world! -
Two princesses decided, sisters, repeating
A lesson taught to them since childhood.
Among the Moscow princesses, Sophia stands out for her strong character: she is not so subject to foreign influence. Her judgments are often objective, and the characteristics are accurate (about Skalozub: “He didn’t utter a smart word”).
Another difference between Sophia and other representatives of the Famus society is friendly relations with Lisa. She replaces Sofya Pavlovna's friend. And if Famusov's daughter fell in love with Molchalin under the influence of novels, then relations with Lizonka are completely clean.
Sofya Pavlovna's speech is contrasted with the poor language of the female environment. In her monologues there is good breeding, erudition, independence of judgments. Some of Sophia's phrases became proverbs: "The hero is not my novel."
But the influence of the Famus society is too great. Sophia does not like Chatsky's barbs about their acquaintances. She spreads the rumor about his madness with the ease characteristic of Moscow ladies.
The image of Sofya Pavlovna is a contrast to the representatives of the Famus society and, at the same time, displays some of the details inherent in the ladies of that time. Her image is "not clearly outlined" (Pushkin).
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Between the Famus camp and Chatsky stands one of the main figures of comedy - Sophia, who also experienced her "woe from wit." “Sophia is not clearly inscribed ...” - Pushkin remarked. Indeed, in her behavior and moods, there is a contradiction between a sober mind and sentimental experiences. An excellent understanding of the characters of her father and Skalozub is combined with her complete blindness in relation to Molchalin. Sophia is much taller than her peers, so venomously portrayed by Griboyedov in the person of the six Tugoukhovsky princesses. For the latter, it is not love that is important, but a rich “husband-boy”, “husband-servant”. Sophia lives only in love. The low and dependent position of Molchalin seems to even increase her attraction to him. Her feeling is serious, it gives her the courage not to be afraid of the opinion of the "light". One cannot agree that “Famusov’s words about Moscow girls: “They won’t say a word in simplicity, howling with an antics” - have a direct bearing on his daughter.” She is always sincere. “What is my rumor? Whoever wants to, judges,” she says. Sophia is not alien to spiritual interests, she is not fond of secular fuss.
Famusov calls her reading books a "whim". Indeed, then it was news for a noble girl. Sophia is horrified that her father will read Skalozub to her as her suitor, who "will not utter a word of wisdom." She does not like the empty cleverness, wit and slander that distinguished the secular people of the 18th century.
However, Chatsky's mercilessly logical, sharp thought is alien and unpleasant to her. Sophia has not grown up to her, she is too full of "sensibility". She was brought up in the age of Karamzin and Zhukovsky. Her ideal is a timid, dreamy young man, whose image was painted by sentimental-romantic literature of the late 18th and early 19th centuries.
This is exactly what Sofya Molchalin seems to be. Without looking at him, she failed to appreciate Chatsky, did not see, as the maid Liza saw, that Chatsky was not only “cheerful and sharp”, but also “sensitive”, that is, not only smart, but also gentle.
Sofya, Goncharov rightly points out, “this is a mixture of good instincts with lies, a lively mind with the absence of any hint of ideas and beliefs, confusion of concepts, mental and moral blindness - all this does not have the character of personal vices in her, but is as common features of her circle.
In her own, personal physiognomy, something of her own is hiding in the shadows, hot, tender, even dreamy. The rest belongs to education.
Even in contemporary criticism of Griboedov in the Moscow Telegraph magazine, there has been a correct interpretation of Sophia's drama, her "woe from love":
“Beautiful in appearance, intelligent, educated Sophia, during the absence of her friend of her childhood, her beloved Chatsky, has reached the age when the need for love is in the full sense, when it is no longer friendship, but the need to be loved and become attached to your lover disturbs the heart of the young girls.
Sophia, who lost her mother in infancy, the only daughter of a man who breathes only ambitious calculations, Sophia, helpless in relation to her morality, having no mentors and prudent supervision of herself, in an inconspicuous way clings to a man who in all actions speaks of his low origin . Chatsky could please and be loved by a child, a fourteen-year-old girl, whom he entertained with his wit and caresses. Seventeen-year-old Sophia was involuntarily carried away by the tricks of her parent's obedient servant, ready to imagine himself in love and even passionate like Werther, in order to stay in his favorable position with a significant official. The poor girl has forgotten the wandering friend of her youth and has fallen in love with the scoundrel Molchalin, who responds to her inclination with touching words and meanwhile drags after her maid! Here is a true picture of what is often done in the big world! Here is a perfect knowledge of human passions and inclinations!” ‘
In our time, M.V. Nechkina put forward an original interpretation of the drama of Sophia’s love: “She invented her Molchalin in contrast to Chatsky, who left her for the sake of“ searching for the mind ”. Molchalin is Chatsky on the contrary. Wounded love for Chatsky underlies the image of Molchalin invented by her.
If the first feeling for Chatsky is the main engine in creating a new feeling and a new image of a loved one, then this first feeling is not dead, but alive.
If the artist needed advice on how to interpret this difficult and “obscurely outlined” role by the author, there can be only one advice, in my opinion: deeply subconsciously, without realizing it herself, Sophia loves Chatskog
about. This is the deep underlying basis of the image and behavior of the heroine.
Only from this position will all the verbal material of the role receive a true - and I must admit - a completely new sound. 2 However, such an interpretation of Sophia's drama was not supported in mushroom science.
Nevertheless, Y. A. Goncharov rightly found that “in general, it is difficult to treat Sofya Pavlovna unattractively: she has strong inclinations of a remarkable nature, a lively mind, passionate and feminine gentleness.
It is ruined in stuffiness, where not a single ray of light, not a single stream of fresh air penetrated. No wonder Chatsky also loved her.
After him, she alone of all this crowd suggests some kind of sad feeling, and in the soul of the reader against her there is not that indifferent laughter with which he parted with other faces.
She, of course, is harder than everyone else, even harder than Chatsky, and she gets her “million torments”.
Sophia experiences grief from a false "mind", that is, from purely bookish ideals and ideas inspired by reading sentimental novels that are very far from reality.
The image of Sophia Griboyedov to some extent continued his polemics with the sentimental-romantic trend in Russian literature.
At the same time, he showed the real truth of the relationship: an outstanding girl, deceived by Famusism, which destroys all life, endures a heartfelt drama in Chatsky's comedy.
Characteristics of the image of Sophia in Griboedov's comedy "Woe from Wit"
Sofia Pavlovna Famusova is a complex character, her image is complex and multifaceted. Nature endowed the girl with good qualities. She is smart, has a strong character, proud, independent and at the same time dreamy, with a hot, passionate heart. The author, describing the heroine, makes it possible to see all these features through her language and behavior. A. A. Yablochkina, People's Artist of the USSR, who is considered one of the best actresses who played the role of Sophia, said that it was speech that revealed this image.
Griboyedov shows the reader that this seventeen-year-old girl matured early, left without a mother. She behaves like a full-fledged mistress, mistress in the house, she is used to the fact that everyone obeys her. Therefore, in communicating with her, imperious notes are immediately heard in her voice, her independence is visible. Sophia is not so simple, the author endowed her with a special character: vengeful, mocking, tenacious. In her speech, one can notice something from the serfs with whom she often has to deal, as well as from French ladies, French books.
The heroine of "Woe from Wit" often mentions various emotional experiences, that someone pretends to be in love, and someone sighs from the depths of his soul. The extraordinary mind of the girl allows her to make accurate generalizing statements, for example, that happy hours are not observed.
Sophia was brought up under the supervision of French governesses, and therefore her speech is replete with gallicisms. But at the same time, her language is full of vernacular, characteristic of ordinary peasants.
However, all the positive natural inclinations of the girl could not be revealed in the Famus society. On the contrary, a false approach in education led to the fact that Sophia became a representative of the views accepted here, got used to hypocrisy and lies. In the critical article "A Million of Torments" I. A. Goncharov reveals this difficult image. He says that Sophia combines good natural inclinations and lies, a sharp mind and the absence of any convictions, moral blindness. And these are not just personal vices of the character, but common features of all the people of her circle. In fact, something tender, hot, dreamy is hidden in her soul, and everything else is nurtured by upbringing.
Sophia's life experience, judgments about people were made up of numerous observations of the life of those people who belong to her circle. She learned a lot of interesting things from sentimental French novels - they were incredibly popular among girls in a noble society. It was this literature, sentimental and romantic, that contributed to the development of the girl's daydreaming and sensitivity. Reading such novels, she drew in her imagination a hero who was supposed to be a humble and sensitive person. That's why the girl paid attention to Molchalin, because by his behavior, by some character traits, he reminded her of those very heroes from the French books she had read. Goncharov points to another important circumstance that influenced her passion for Molchalin. This is a craving for patronage, helping a loved one, so modest, not daring to utter a word and raise his eyes. This is a desire to elevate him, to make him equal to himself, to his circle, to give him all the rights. Of course, Sophia liked in this situation to feel like the main one, the ruler, the patroness, who makes her slave happy. And yet, she cannot be blamed for this, since at that time the husband-boy and the husband-servant were considered the ideal spouse of the capital, she could not find others in Famusov's house.
In the image of Sophia Goncharov, he saw the makings of a strong character, a lively mind, tenderness, feminine softness, passion, which was clamped, closed in her nature by a false upbringing, the social foundations of her circle. Chatsky loved in a girl precisely good qualities her nature, and therefore, after a three-year absence, it was especially unpleasant and painful for him to see that she had turned into a typical lady of the Famusov circle. However, Sophia also experiences a spiritual tragedy when she overhears the dialogue between Lisa and Molchalin - a loved one appears before her in a true light. As Goncharov notes, she is even worse off than Chatsky himself.
