The life principles of Sophia are grief from the mind. Characteristics of the hero Sophia, Woe from Wit, Griboyedov. The image of the character Sophia. Sophia's opposition to the Famus society

/V.A. Ushakov. Moscow ball. The third act from the comedy "Woe from Wit" (Benefit performance of Mrs. N. Repina). "Moscow Telegraph", 1830, No. 11 and 12./

Beautiful in appearance, intelligent, educated Sophia, during the absence of her childhood friend, her beloved Chatsky, has reached the age when the need for love turns out to be in the full sense, when it is no longer friendship, but the need to be loved and become attached to her admirer disturbs the heart of a young girl . Sophia, who lost her mother in her infancy, is 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 lowly origin. This is Molchalin, an official living in the house of Famusov, his benefactor, but unable to feel the value of the beneficence. This despicable Alexei Stepanovich, who, according to his father's will, is obliged to please all people without exception, and even the janitor's dog, so that it is affectionate, this face is so natural, so often encountered in our everyday life and so well signifies the gift of observing the immortal Griboedov, - completely justifies unfortunate Sophia in that crazy love that she had for him.

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!<...>

But what is Chatsky doing in the meantime, this seeker of perfection, this moral Don Quixote, who, like the Knight of the lamentable image, must be deceived in all his hopes? Tired of the vain pursuit of dreamy perfection, having overthrown the yoke of decency, he came to his homeland with a renewed love for Sophia and with the confidence that he would please her with his return, that all the pleasures of her former love would also revive for her, and ... alas! .. poor Chatsky must confess with a sigh that:

He say: love is the end, Who will leave for three years!

Sophia accepts him with coldness, no longer amuses himself with his satirical antics, does not reveal to him the secrets of her heart and torments him with bewilderment. A sad meeting in this homeland, where the restless Chatsky hoped to find at least the bliss of family life, and where, apart from Sophia, there is and cannot be anything attractive for a dear dreamer!

Read also other critics' articles about the comedy "Woe from Wit":

• Aphorisms, winged words and expressions in Griboyedov's comedy "Woe from Wit"

V.A. Ushakov. Moscow ball. The third act from the comedy "Woe from Wit"

• Characteristics of Sophia
• Society in the comedy "Woe from Wit". The current age and the past

V. Belinsky. "Woe from Wit". Comedy in 4 acts, in verse. The composition of A.S. Griboyedov

The image of Sophia (A.S. Griboyedov "Woe from Wit")

The only character, to some extent close to Chatsky, 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 left 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 a failure of the author: "Sophia is inscribed indistinctly ...". And only Goncharov in "A Million of Torments" in 1871 for the first time understood and appreciated this character and his role in the play.

Sophia has a dramatic face, she is a character in a domestic 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 about this, but the audience knows) - this does not make the situation funny, on the contrary, it deepens its drama. Sophia is driven by 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 to the maid Lisa, and then to 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 makes it impossible for her to reason: "But what do I care about whom? before them? before the whole universe?" The heroine, as it seems to her, treats the chosen one sensibly and critically: "Of course, he does not have this mind, // What a genius for others, but for others a plague, // Which is quick, brilliant and soon opposes ... // Yes, such Will the mind make the family happy?" Sophia's "woe from wit", "woe from love" of Sophia lies in the fact that she chose and fell in love with a person in her view of the wonderful: soft, quiet and resigned (this is how Molchalin appears in her stories-characteristics), without seeing his true appearance . He's a scoundrel. Sofya Molchalina will open this quality in the finale of the comedy. In the finale, when she becomes an unwitting witness to Molchalin's "courtship" of Lisa, when the "veil fell off", she is struck to the very heart, she is destroyed - this is one of the most dramatic moments of the whole play.

How did it happen that a smart and deep girl not only preferred Chatsky a scoundrel, a soulless careerist Molchalin, but also committed a betrayal by spreading a rumor about the madness of a person who loves her? In "Woe from Wit" there is an exhaustive definition of women's education of that time, given by Famusov:

We take vagabonds both to the house and by tickets,

To teach our daughters everything, everything -

And dancing! and foam! and tenderness! and sigh!

As if we are preparing buffoons for their wives.

In this angry remark, the answers to the main questions of education are clearly formulated: who teaches, what and why. And it's not that Sophia and her contemporaries were uneducated: they knew not so little. The point is different: the entire system of women's education had the ultimate goal of giving the girl the necessary knowledge and skills for a successful secular career, that is, for a successful marriage. Sophia builds her life according to generally accepted patterns. On the one hand, books bring her up - those same French novels from which "she can't sleep." It reads sentimental stories of unequal love between a poor and rootless youth and a rich, noble girl (or vice versa). He admires their loyalty, devotion, readiness to sacrifice everything in the name of feeling. Molchalin in her eyes looks like a romantic hero:

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 in hand, and the eye does not take my eyes off me.

This is how lovers behave in the pages of French novels. Let's remember that even Pushkin's Tatiana Larina "imagined the heroine of her beloved creators" and at the dawn of her tragic love for Onegin saw either Grandison or Lovlas in her chosen one! But Sophia does not see the difference between romantic fiction and life, does not know how to distinguish a true feeling from a fake. She loves. But her chosen one is only "serving his duty": "And now I take the form of a lover // To please the daughter of such a person ...". And if Sophia had not accidentally overheard Molchalin's conversation with Lisa, she would have remained confident in his virtues.

On the other hand, Sophia unconsciously builds her life in accordance with generally accepted morality. In comedy, the system of female images is presented in such a way that we see, as it were, the entire life path of a secular lady: from girlhood to old age. Here is Sophia, surrounded by six Tugoukhovsky princesses: young ladies of marriageable age, "at the threshold" of a secular career. Here is Natalya Dmitrievna Gorich - a young lady who has recently married. She takes the first steps, overcomes the initial stages of a secular career: pushes her husband around, guides his opinions and "adjusts" to the judgments of the world. And here are the ladies who form the "opinion of the world": Princess Tugoukhovskaya, Khlestova, Tatyana Yurievna and Marya Aleksevna. And, finally, the result of the life of a secular lady is the comic mask of the countess grandmother: "Once upon a time, I fell into the grave." This unfortunate creature, almost crumbling on the move, is an indispensable attribute of the ballroom ... Such is the successful, prosperous path of a secular lady, which any young lady strives to accomplish - and Sophia too: marriage, the role of a judge in secular living rooms, respect for others - and so on until the moment when "from the ball to the grave." And Chatsky is not suitable for this path, but Molchalin is just an ideal!

"You will make peace with him, mature in thought," Sofya Chatsky contemptuously throws. And he is not so far from the truth: one way or another, but next to Sophia, most likely it will be precisely "a husband-boy, a husband-servant from the wife's pages." Sophia, of course, is an extraordinary nature: passionate, deep, selfless. But all her best qualities have received a terrible, ugly development - that is why the image of the main character of "Woe from Wit" is truly dramatic.

The best analysis of the image of Sophia belongs to I. Goncharov. In the article "A Million of Torments" he compared her with Pushkin's Tatyana Larina, showed her strength and weakness. And most importantly, he appreciated in it all the advantages of a realistic character. One characteristic deserves special attention: "This is a mixture of good instincts with lies, a lively mind with the absence of any hint of ideas and convictions, confusion of concepts, mental and moral blindness - all this does not have the character of personal vices in her, but appears as common features of her circle".

Bibliography

Monakhova O.P., Malkhazova M.V. Russian literature of the 19th century. Part 1. - M.-1994

One of the main characters of A. Griboedov's comedy, around whom all the main events develop, is a young girl Sofya Pavlovna Famusova.

The image and characterization of Sophia in the comedy "Woe from Wit" is difficult to perceive. To understand it, to form your opinion about the girl, you need to understand the features of the controversial era.

The inconsistency of nature

Sophia is the only person who is close to the intelligent and educated Chatsky, a character who opposes the society of conservatives and saints. Sophia became the cause of the suffering of the young nobleman, the source of gossip, the creator of intrigue. Such a combination in one image of two contrasts confirms its reality, which the author aspired to. A soulless, stupid secular beauty or, conversely, an educated, fascinated master's daughter would not have aroused so much interest. It is this inconsistency that can explain the strength of feelings that Chatsky, an ardent and eloquent young man, has for her. A rich bride, the real daughter of her father, she grew up in an environment of care and care, learned to find benefits for herself.

Sophia's appearance and hobbies

The girl is beautiful and young:

“At seventeen, you blossomed charmingly…”.

It is clear why no one is surprised by the number of gentlemen. Beauty attracts stiff (Skalozub), stupid (Molchalin), educated (Chatsky) suitors. The windy young lady does not value her attitude towards herself, realizing that her beauty will not go unnoticed.

The lovely little girl grew up without maternal affection: her mother died early. Her father assigned her a governess from France, who instilled a taste and helped develop her individuality. Home education allowed Sophia to become versatile and interesting:

• can sing;
• gracefully dances;
• loves and understands music;
• plays several musical instruments (piano, flute);
• knows French;
• reads books in a foreign language.

The girl is trained in women's "tricks": sighs, tenderness, cunning tricks.

Qualities that bring Sophia closer to her father's society

Desire to rule. Love for Molchalin is not just a youthful feeling. Sophia is looking for a man from those whom she can push around. In it, you can see the features of female characters dragging her husband and servants by the hair. Power in the family is the desire of the girl, perhaps still hidden even for her. But it will take a very short period of time, she will understand what she is striving for. In comedy, there is an analogy with the Gorich couple, where the wife disposes of her husband like a thing, turns the other half into a weak-willed creature:

"husband-boy, husband-servant, from the wife's pages ...".

Immorality. Some literary critics (P.A. Vyazemsky) consider the girl immoral. One can argue with such a position, but there is also an element of truth in it. If it is logical to build Sophia's day, which passed before the readers, then the picture will not be very beautiful: a night in the bedroom with a man, pretends to be sick during the day, but asks the maid to bring Molchalin to her, secretly sneaks to his room at night. Such behavior is shameless. He cannot be compared to modest, secretly suffering for his beloved characters of classical literature. No secular decency does not hold back the master's daughter.

Qualities that distinguish her from her father's environment

The girl loves to read, tends to spend a lot of time reading books. For the Famus society, books are the cause of all troubles. They stay away from them, afraid to gain knowledge that can change their attitude to life. Sophia is passionate about novels. She is looking for prototypes of heroes in reality and is mistaken. The girl becomes a victim of deceit and lies, having considered the features of a romantic handsome man in Molchalin. Other qualities that distinguish her among secular ladies:

Courage. Sophia is not afraid to confess her feelings to her father. She is ready for the sake of her beloved to unite herself with a poor servant. The girl is not even afraid of possible rumors and gossip.

Determination. The girl stands up to protect her feelings, feeling a threat from Chatsky. She takes revenge for ridiculing Molchalin. And does not choose ways softer. Sophia resolutely spreads the idea of ​​the madness of a childhood friend, without even considering his feelings for her.

Credulity. Having fallen under the spell of Molchalin, the girl does not notice the truth of his feelings. Her eyes are covered with a veil. Like a real lover, she falls into the bonds of deceit, becomes ridiculous.

Frankness. Sophia talks openly, builds a speech, not afraid to talk and dream. The owner's daughter is not characterized by secrecy, deceit, ornate thoughts.

Pride. All the behavior of the girl shows her respect for herself. She carries herself with dignity, knows how to get away from the conversation in time, does not give the opportunity to reveal her secrets. Even in the last scene, she does not lose her pride, which is visible in her indignation and impregnability. Molchalin's phrases were correctly perceived by Sophia. She is embittered and harsh.

In comedy A.S. Griboyedov "Woe from Wit" presents the customs of the Moscow nobles of the early 19th century. The author shows the clash between the conservative views of the feudal landlords and the progressive views of the younger generation of nobles who began to appear in society. This clash is presented in the form of a struggle between two camps: the “past century”, which protects its mercantile interests and personal comfort, and the “present century”, striving to improve the structure of society through the manifestation of true citizenship. However, there are characters in the play who cannot be unambiguously attributed to any of the opposing sides. This is the image of Sophia in the comedy "Woe from Wit".

Sophia's opposition to the Famus society

Sofya Famusova is one of the most complex characters in the work of A.S. Griboyedov. The characterization of Sophia in the comedy "Woe from Wit" is contradictory, because on the one hand, she is the only person close in spirit to Chatsky, the main character of the comedy. On the other hand, it is Sophia who turns out to be the cause of Chatsky's suffering and his expulsion from Famus society.

The protagonist of the comedy is not without reason in love with this girl. Now let Sophia call their youthful love childish, nevertheless, she once attracted Chatsky with her natural mind, strong character, and independence from other people's opinions. And he was nice to her for the same reasons.

From the first pages of the comedy, we learn that Sophia received a good education, loves to spend time reading books, which causes the anger of her father. After all, he believes that “in reading, the use is not great,” and “learning is the plague.” And this is the first discrepancy in the comedy "Woe from Wit" of the image of Sophia with the images of the nobles of the "past century".
Sophia's passion for Molchalin is also natural. She, as a fan of French novels, saw in the modesty and laconicism of this man the features of a romantic hero. Sophia does not suspect that she has become a victim of deceit by a two-faced person who is next to her only for personal gain.

In her relationship with Molchalin, Sofya Famusova shows such character traits that none of the representatives of the "past century", including her father, would ever dare to show. If Molchalin is mortally afraid to make public this connection to society, since “evil tongues are worse than a gun,” then Sophia is not afraid of the opinion of the world. She follows the dictates of her heart: “What is the rumor to me? Whoever wants, so judges. This position makes her related to Chatsky.

Features that bring Sophia closer to the Famus society

However, Sophia is the daughter of her father. She was brought up in a society where only rank and money are valued. The atmosphere in which she grew up certainly had an impact on her.
Sophia in the comedy "Woe from Wit" chose Molchalin not only because she saw positive qualities in him. The fact is that in the Famus society, women rule not only in society, but also in the family. It is worth remembering a couple of Goriches at a ball in Famusov's house. Platon Mikhailovich, whom Chatsky knew as an active, active military man, under the influence of his wife, turned into a weak-willed creature. Natalya Dmitrievna decides everything for him, gives answers for him, disposing of him like a thing.

It is obvious that Sophia, wanting to dominate her husband, chose Molchalin as her future husband. This hero corresponds to the ideal of a husband in the society of the Moscow nobles: "A husband-boy, a husband-servant, from the wife's pages - the high ideal of all Moscow men."

The tragedy of Sofia Famusova

In the comedy Woe from Wit, Sophia is the most tragic character. More suffering falls to her lot than even Chatsky's.

Firstly, Sophia, possessing by nature determination, courage, intelligence, is forced to be a hostage to the society in which she was born. The heroine cannot afford to surrender to feelings, regardless of the opinions of others. She was brought up among the conservative nobility and will live according to the laws dictated by them.

Secondly, the appearance of Chatsky threatens her personal happiness with Molchalin. After the arrival of Chatsky, the heroine is in constant tension and is forced to defend her lover from the caustic attacks of the protagonist. It is the desire to save your love, to protect Molchalin from ridicule, that pushes Sophia to spread gossip about Chatsky's madness: “Ah, Chatsky! Do you like to dress everyone up as jesters, would you like to try on yourself? However, Sophia turned out to be capable of such an act only because of the strong influence of the society in which she lives and with which she gradually merges.

Thirdly, in the comedy there is a cruel destruction of the image of Molchalin that has developed in Sophia's head when she hears his conversation with the maid Liza. Her main tragedy lies in the fact that she fell in love with a scoundrel who played the role of her lover only because it could be beneficial for him to receive the next rank or award. In addition, the exposure of Molchalin takes place in the presence of Chatsky, which hurts Sophia as a woman even more.

findings

Thus, the characterization of Sophia in the comedy "Woe from Wit" shows that this girl is in many ways opposed to her father and the entire noble society. She is not afraid to stand against the light, protecting her love.

However, this same love makes Sophia defend herself from Chatsky, with whom she is so close in spirit. It is with the words of Sophia that Chatsky is blackened in society and expelled from it.

If all the other heroes of the play, with the exception of Chatsky, participate only in social conflict, protect their comfort and their usual way of life, then Sophia is forced to fight for her feelings. “She, of course, is harder than everyone else, even harder than Chatsky, and she gets her “million torments”,” wrote I.A. Goncharov about Sophia. Unfortunately, in the finale it turns out that the heroine's struggle for the right to love was in vain, because Molchalin turns out to be an unworthy person.

But even with someone like Chatsky, Sophia would not have found happiness. Most likely, she will choose as her husband a man who corresponds to the ideals of the Moscow nobility. The strong character of Sophia needs realization, which will become possible with her husband, who allows him to command and lead himself.

Sofya Famusova is the most complex and controversial character in Griboyedov's comedy Woe from Wit. The characteristics of Sophia, the disclosure of her image and the description of the role in the comedy will be useful to grade 9 when preparing materials for an essay on the theme of the image of Sophia in the comedy "Woe from Wit"

Artwork test

WORSE FROM WITNESS

(Comedy, 1824; published with omissions - 1833; in full - 1862)

Sofia (Sofya) Pavlovna Famusova - the central female character of the comedy; 17-year-old daughter of the owner of the Moscow house in which the action takes place; after the death of her mother, she was brought up by "madama", the old Rosier, who, for the "extra" 500 rubles. moved as a teacher to another house. S.'s childhood friend was Chatsky; he also became the hero of her first adolescent "novel". But in the three years that Chatsky was absent, both S herself and her heartfelt affection changed. On the one hand, S. became a “victim” of Moscow habits and mores, on the other hand, a “victim” of the latest Russian (and Russoist) literature, the Karamzin literary school, on the other hand.

She imagines herself to be the sentimental heroine of a “sensitive” novel and therefore rejects both the overly sarcastic, not Moscow-like courageous Chatsky, and the traditionally Moscow fiance Colonel Skalozub, narrow-minded but rich (her father dreams of this party). Having “calculated” S. and skillfully playing the role of a Platonic admirer who is ready to sublimely be silent alone with his beloved until dawn, Molchalin, the obsequious secretary of his father, finds a corner in her heart and, in fact, took root in the Famusovs’ house.

In the end, everyone is dissatisfied with her. And Chatsky, who cannot believe that his S. is fascinated by such insignificance, and his father. One blames Moscow for everything with its retrograde influence, the other, on the contrary, explains everything by French influence, fashions of the Kuznetsk bridge and reading books. Both are right to some extent. Having no opportunity to develop mentally in the absence of Chatsky, S. imperceptibly becomes infected with the "Moscow" spirit - and at the same time replaces his personality with a conditional image of a fashionable heroine. She behaves either like Julia from Rousseau's novel, or like a Moscow gossip; and over that, and over the other "mask" the author of the comedy is ironic.

In the 1st village, Famusov finds Molchalin (who has just left the girls' room) in the living room with Sophia; to avert her eyes, S. invents a dream, as if she had dreamed it. Naturally, this dream is “built” according to the laws of a ballad in the spirit of Zhukovsky, whom Griboyedov condemned in print, and in place of the “creepy” ballad characters, completely inappropriate Famusov was substituted (“The floor has opened - and you are from there, / Pale as death , and a hair on end!") and Molchalin ("Here the doors were thrown open with a thunder / Some not people and not animals, / We were apart - and they tortured the one who was sitting with me"). Repeating the usual comedy "movement", Griboyedov makes S. clothe the ballad plot in an inappropriate size and style, in this case - a fable; and Famusova - to "quote" the finale of Zhukovsky's ballad "Svetlana": "Where there are miracles, there is little warehouse."

In the 2nd d., having learned about the fall of Molchalin from a horse, S. again behaves not like a well-bred young lady, but like a heroine in love with a novel - she faints: “I fell! Killed!" The more contrasting is her typically “Moscow” behavior in the 3rd day, during the ball, when S. viciously turns Chatsky’s rhetoric (“I can beware of madness”) against him and spreads the rumor about the insanity of the former lover. The romantic mask has been torn off, beneath it is the face of an irritated Moscow young lady.

And therefore, retribution awaits her, too, "double", literary and everyday. At the end of the comedy, love dope S will dissipate, the novel plot invented by her will collapse, and she herself will find out about her removal from Moscow. This happens on the 11th appearance, when S. accidentally becomes a witness to how Molchalin flirts with Lisa and speaks insultingly about herself. Immediately the father appears (“... and on end of a hair”), surrounded by servants with candles; a ballad dream comes true; Famusov promises his daughter to send her out of Moscow “to the village, to her aunt, to the wilderness, to Saratov”, and to remove Molchalin (“We are apart - and they tortured the one who was sitting with me”).