The positive qualities of Sophia are grief from the mind. Woe from Wit characterization of the image of Sofia (Sofya) Pavlovna Famusova

The image of Sofia Pavlovna Famusova is complex. By nature, she is endowed with good qualities. This girl is smart, proud, with a strong and independent character, with a warm heart, dreamy. These features are clearly manifested both in her behavior and in her language. ( This material will help to correctly write on the topic The image and character of Sophia in the comedy Woe from Wit. Summary does not make it clear the whole meaning of the work, so this material will be useful for a deep understanding of the work of writers and poets, as well as their novels, short stories, stories, plays, poems.) He says so about her People's Artist USSR A. A. Yablochkin, one of the best performers the role of Sophia: “Doesn’t Sophia’s special mushroom-eater language, so different from the language of other characters in Woe from Wit, reveal her image? Her speech clearly shows that, despite the fact that she is seventeen years old, this is ... not the speech of a girl, but the mistress of the house, accustomed to general submission. She has been without a mother for a long time, she feels like a lady. Hence her imperious tone, her independence. At the same time, she is smart, mocking, vengeful: no doubt she is a girl with a great character. In her speech there is something from the serfs, she constantly has to deal with them, and, on the other hand, from French madams and French books.

Sophia constantly talks about various emotional experiences: “pretending to be in love, demanding and distressed”, “deadly coldness”, “he will sigh from the depths of his soul”, etc.

Her "mind is manifested in statements of a generalizing nature:" happy hours they don’t watch”, “Just think how capricious happiness is, but grief is waiting around the corner”, etc.

Sophia was brought up under the guidance of French governesses. Hence the abundance of gallicisms1 in her speech: “to tell you a dream”, “to share laughter”. On the other hand, there are also vernaculars in her language, for example: “you deigned to run in”, “to laugh”, “to the prikmaher, the tongs will catch a cold”.

Good features and natural inclinations of Sophia could not get into Famus society of its development. On the contrary, a false upbringing instilled in Sophia a lot of negative things, made her a "representative of generally accepted views in this circle, accustomed her to lies and hypocrisy. I. A. Goncharov in his article" Million Torments "correctly says about Sophia:" This is a mixture of good instincts with lies, a living 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 it, but appears as common features 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.

Sophia drew ideas about people, about life from observations of the life of people of her circle and from French sentimental novels, which were then very popular among the nobility, especially among girls.

Here is this one sentimental literature and developed dreaminess and sensitivity in Sophia, according to her she painted the hero of her novel - a humble, sensitive person. It was these novels that could make her pay attention to Molchalin, who, with some of his features and behavior, resembled her "favorite heroes." known role in her passion for Molchalin and another circumstance, which Goncharov points out: family law. Without a doubt, she was smiling in this role to rule over a submissive creature, make him happy and have an eternal slave in him. It's not her fault that the future "husband-boy, husband-servant - the ideal of Moscow husbands" came out of this! There was nowhere to stumble upon other ideals in Famusov's house.

In Sofya Goncharov sees "the strong inclinations of a remarkable nature, a lively mind, passion and feminine gentleness", but "she is ruined in stuffiness, where not a single ray of light, not a single stream penetrated fresh air". For these good qualities Chatsky loved her Sophia, and it was all the more painful for him to see in her, after a three-year absence in Moscow, a typical representative of the Famusov circle. But Sophia also experiences a tragedy when, having overheard Molchalin's conversation with Lisa, she sees the person she loves in a real light. According to Goncharov, "it is, of course, harder for her than everyone else, even harder than Chatsky."

If homework on the topic of: » The image and character of Sophia in the comedy Woe from Wit - artistic analysis. Griboedov Alexander Sergeevich turned out to be useful to you, we will be grateful if you place a link to this message on your page in your social network.

Latest News

Categories

News

Related essays

Essay rating

Molchalin Alexey Stepanych- Famusov's secretary, who lives in his house, as well as Sophia's admirer, who despises her in his soul. M. translated by Famusov from Tver. The hero's surname expresses his main feature - "wordlessness". It was for this that Famusov made M. his secretary. In general, the hero, despite his youth, is a full-fledged representative of the “past century”, since he has assimilated his views and lives by his principles. M. strictly follows the covenant of his father: "to please all people without exception - the owner, the boss, his servant, the janitor's dog." In a conversation with Chatsky, M. sets out his life principles- Moderation and prudence. They are that "at my age one should not dare to have one's own judgment." According to M., you need to think and act as is customary in the "famus" society. Otherwise, they will gossip about you, and, as you know, “ gossips scarier than pistols. M.'s romance with Sophia is also explained by his willingness to please everyone. He obediently plays the role of an admirer, ready to read love stories with Sophia all night long, listen to the silence and trills of nightingales. Sophia does not like M., but he cannot refuse to please the daughter of his boss.

Skalozub Sergey Sergeyevich- in his image, the “ideal” Moscow groom is bred - rude, uneducated, not too smart, but rich and pleased with himself. Famusov reads S. as her daughter's husband, but she considers him "not the hero of her novel." At the time of his first visit to Famusov's house, S. talks about himself. He participated in the war of 1812, but he received the order "on the neck" not for military exploits, but on the occasion of military celebrations. S. "aims at the generals." The hero despises bookish wisdom. He speaks derogatoryly of his cousin who reads books in the countryside. S. tries to embellish himself externally and internally. He dresses in army fashion, "tightening" with straps so that his chest is a wheel. Having understood nothing in Chatsky's accusatory monologues, he, nevertheless, joins his opinion, saying all sorts of nonsense and nonsense.

Sofia Pavlovna Famusova- Famusov's 17-year-old daughter. After the death of her mother, she was brought up by "Madame", an old Frenchwoman Rosier. S.'s childhood friend was Chatsky, who also became her first love. But over the 3 years of Chatsky's absence, S. has changed a lot, as her love has changed. The formation of S. was influenced, on the one hand, by Moscow habits and customs, on the other hand, by the books of Karamzin and other sentimentalist writers. The girl imagines herself the heroine of a "sensitive" novel. Therefore, she rejects the caustic and bold Chatsky, as well as Skalozub - stupid, but rich. S. chooses Molchalin for the role of a Platonic admirer. In his house, S. does not have the opportunity to develop mentally. The only thing she can do is to imagine herself as the heroine of the novel and act according to this role. Either she invents a dream in the spirit of Zhukovsky’s ballads, or she pretends to faint, etc. But the “Moscow” upbringing also makes itself felt. During the ball, it is she who spreads the rumor about Chatsky's madness. The romantic behavior of the heroine turned out to be just a mask, her true essence is this nature of a Moscow young lady. At the end of the comedy, S. is punished. She learns about the “treason” of Molchalin, who flirts with Liza and speaks impartially about S. In addition, Famusov, having learned about his daughter’s affair with his secretary, decides to remove S. from Moscow “to the village, to my aunt, to the wilderness, to Saratov” .

Famusov Pavel Afanasyevich- Moscow gentleman, "manager in a government house." Sophia's father, friend of Chatsky's father. The events of the play take place in his house. F. - one of the brightest representatives of the "past century." In one of his monologues, F. praises Moscow customs, unchanged from century to century. Here, according to the father, "and honor to the son"; here who has "two thousand family souls, He and the bridegroom." Moscow ladies can be sent to "command in the Senate", so they are "informed" about everything; Moscow daughters “simply cling to the military”, allegedly “because they are patriots”; Moscow old men, called to solve serious cases, "argue, make some noise ... and disperse." In the "famus" society, everything is based on connections: "well, how not to please your dear little man." This model of life seems ideal to F. and other members of Moscow society, they consider it the only correct one and do not want any changes. F. is two-faced. He claims that he is "known for his monastic behavior", but at the same time hits on the maid Lisa. F. is afraid of all new trends. During a conversation with Chatsky, he plugs his ears so as not to hear bold speeches. Main enemy F. - teaching, as it makes changes to the calm Moscow life. The hero's dream is "to take all the books and burn them." Like a typical Moscow gentleman, F. is deceived by everyone who is not lazy. And daughter Sophia, and secretary Molchalin, and maid Lisa. The last appearance of the hero on stage is timed to coincide with the final meeting of Sofia and Molchalin. Seeing young people together, F. is horrified. He accuses the “dissolute” of his daughter of the “new” Moscow, which is infected with free ideas and the “spirit of the Kuznetsk bridge” (that is, Paris). At first, F. threatens to publicize this shameful incident (“I will give it to the Senate, the Ministers, the Sovereign”), but then he recalls that his daughter will be gossiped in all the houses of Moscow. In tearful horror, F. exclaims: “What will Princess Marya Alekseevna say !!!” The opinion of this princess means more to F. than the opinion of the tsar himself, because in the "famus" society she occupies one of the main places.

Chatsky Alexander Andreevich- A young gentleman Representative of the present century. Progressive person, well educated, with broad free views; true patriot. After a 3-year absence, Ch. again comes to Moscow and immediately appears in Famusov's house. He wants to see Sophia, whom he loved before leaving and with whom he is still in love. But Sophia meets Chatsky very coldly. He is perplexed and wants to find the reason for her coldness. Staying in Famusov's house, the hero is forced to fight with many representatives of the "Famus" society (Famusov, Molchalin, guests at the ball). His passionate accusatory monologues are directed against the order of the age of "submission and fear", when "he was famous for whose neck bent more often." When Famusov offers Molchalin as an example of a worthy person, Ch. utters the famous monologue “Who are the judges?” In it, he denounces the moral patterns of the "past century", mired in hypocrisy, moral slavery, etc. Ch. considers many areas in the life of the country: public service, serfdom, education of a citizen, education, patriotism. Everywhere the hero sees the prosperity of the principles of the "past century". Realizing this, Ch. experiences moral suffering, experiences "woe from the mind." But to no lesser extent, the hero also experiences "woe from love." Ch. finds out the reason for Sophia's coldness towards him - she is in love with the insignificant Molchalin. The hero is offended by the fact that Sophia preferred him to this "pathetic creature." He exclaims: "Silents rule the world!" Very upset, Ch. goes to a ball in the Famusov's house, where the flower of Moscow society has gathered. All these people are a burden to Ch. Yes, and they can not stand the "stranger". Sophia, offended by Molchalin, spreads a rumor about the hero's insanity. The whole society gladly picks it up, putting forward the hero's free-thinking as the main charge against Ch. At the ball, Ch. utters a monologue about the "Frenchman from Bordeaux", in which he exposes the slavish admiration for everything foreign and the contempt of Russian traditions. In the finale of the comedy, Ch. opens true face Sophia. He is disappointed in her just like in the rest of the "famus" society. The hero has no choice but to leave Moscow.

The main idea of the work "Woe from Wit" is an illustration of meanness, ignorance and servility to the ranks and traditions, which were opposed by new ideas, genuine culture, freedom and reason. The protagonist Chatsky acted in the play as a representative of the same democratically minded society of young people who openly challenged the conservatives and serfs. All these subtleties that raged in social and political life, Griboyedov managed to reflect on the example of a classic comedy love triangle. It is noteworthy that the main part of the work described by the creator takes place within just one day, and the characters themselves are displayed very brightly by Griboyedov.

Many of the writer's contemporaries honored his manuscript with sincere praise and stood up to the king for permission to publish the comedy.

The history of writing the comedy "Woe from Wit"

The idea of writing the comedy "Woe from Wit" visited Griboedov during his stay in St. Petersburg. In 1816, he returned to the city from abroad and found himself at one of the secular receptions. Deep inner indignation caused in him the craving of Russian people for foreign things, after he noticed that the nobility of the city bowed to one of the foreign guests. The writer could not restrain himself and showed his negative attitude. Meanwhile, one of the guests, who did not share his convictions, retorted that Griboyedov was crazy.

The events of that evening formed the basis of the comedy, and Griboedov himself became the prototype of the main character Chatsky. The writer began work on the work in 1821. He worked on comedy in Tiflis, where he served under General Yermolov, and in Moscow.

In 1823, work on the play was completed, and the writer began to read it in Moscow literary circles, receiving rave reviews along the way. The comedy was successfully distributed in the form of lists among the reading population, but for the first time it was published only in 1833, after the request of Minister Uvarov to the tsar. The writer himself was no longer alive by that time.

Analysis of the work

Comedy main story

The events described in the comedy take place in early XIX century, in the house of the capital official Famusov. His young daughter Sofya is in love with Famusov's secretary, Molchalin. He is a prudent man, not rich, occupying a minor rank.

Knowing about Sophia's passions, he meets with her by calculation. One day, a young nobleman Chatsky arrives at the Famusovs' house - a family friend who has not been in Russia for three years. The purpose of his return is to marry Sophia, for whom he has feelings. Sophia herself hides her love for Molchalin from the main character of the comedy.

Sophia's father is a man of the old way of life and views. He grovels before the ranks and believes that the young should please the authorities in everything, not show their opinion and selflessly serve the superiors. Chatsky, in contrast to him, is a witty young man with a sense of pride and good education. He condemns such views, considers them stupid, hypocritical and empty. There are heated arguments between Famusov and Chatsky.

On the day of Chatsky's arrival, invited guests gather in Famusov's house. During the evening, Sophia spreads a rumor that Chatsky has gone crazy. The guests, who also do not share his views, actively pick up this idea and unanimously recognize the hero as crazy.

Turning out to be a black sheep at the evening, Chatsky is going to leave the Famusovs' house. While waiting for the carriage, he hears Famusov's secretary confessing his feelings to the servant of the masters. Sofya also hears this, who immediately drives Molchalin out of the house.

denouement love scene ends with Chatsky's disappointment in Sophia and secular society. The hero leaves Moscow forever.

Heroes of the comedy "Woe from Wit"

This main character Griboedov's comedies. He hereditary nobleman, in whose possession there are 300 - 400 souls. Chatsky was left an orphan early, and since his father was a close friend of Famusov, from childhood he was brought up with Sophia in the Famusovs' house. Later, he became bored with them, and at first he settled separately, and then completely left to wander the world.

From childhood, Chatsky and Sophia were friends, but he felt for her not only friendly feelings.

The main character in Griboedov's comedy is not stupid, witty, eloquent. A lover of mockery of the stupid, Chatsky was a liberal who did not want to bend before his superiors and serve the highest ranks. That is why he did not serve in the army and was not an official, which is rare for the era of that time and his pedigree.

Famusov is an aged man with gray hair at the temples, a nobleman. For his age, he is very cheerful and fresh. Pavel Afanasyevich is a widower, his only child is Sophia, 17 years old.

The official is public service, he is rich, but at the same time windy. Famusov does not hesitate to pester his own maids. His character is explosive, restless. Pavel Afanasyevich is obnoxious, but with the right people He knows how to be polite. An example of this is his communication with the colonel, to whom Famusov wants to marry his daughter. For the sake of his goal, he is ready for anything. Submission, servility to the ranks and servility are characteristic of him. He also values the opinion of society about himself and his family. The official does not like to read and does not consider education to be something very important.

Sophia is the daughter of a wealthy official. Pretty and educated best rules Moscow nobility. Left early without a mother, but being in the care of the governess Madame Rosier, she reads french books, dancing and playing the piano. Sophia is a fickle girl, windy and easily carried away by young men. At the same time, she is trusting and very naive.

In the course of the play, it is clear that she does not notice that Molchalin does not love her and is with her because of her own benefits. Her father calls her shameful and shameless, while Sophia herself considers herself a smart and not cowardly young lady.

Famusov's secretary, who lives in their house, is a single young man from a very poor family. Mine title of nobility Molchalin received only during the service, which in those days was considered acceptable. For this, Famusov periodically calls him rootless.

The surname of the hero, as well as possible, corresponds to his character and temperament. He doesn't like to talk. Molchalin limited and very foolish man. He behaves modestly and quietly, honors ranks and tries to please everyone who is in his environment. He does it purely for profit.

Aleksey Stepanovich never expresses his opinion, due to which others consider him to be quite a handsome young man. In fact, he is mean, unscrupulous and cowardly. At the end of the comedy, it becomes clear that Molchalin is in love with the maid Lisa. Having confessed this to her, he receives a portion of righteous anger from Sophia, but his characteristic sycophancy allows him to remain in the service of her father further.

Puffer - minor hero comedy, he is a non-initiative colonel who wants to become a general.

Pavel Afanasyevich refers Skalozub to the category of enviable Moscow suitors. According to Famusov, a wealthy officer who has weight and status in society is a good match for his daughter. Sophia herself did not like him. In the work, the image of Skalozub is collected in separate phrases. Sergey Sergeevich joins Chatsky's speech with absurd reasoning. They betray his ignorance and lack of education.

Maid Lisa

Lizanka is an ordinary maid in the Famus house, but at the same time she occupies a rather high place among others literary characters, and quite a lot of different episodes and descriptions are allotted to her. The author describes in detail what Lisa does and what and how she says. She makes other heroes of the play confess their feelings, provokes them to certain actions, pushes them to various solutions important to their lives.

Mr. Repetilov appears in the fourth act of the work. This is a minor, but bright comedy character, invited to Famusov's ball on the occasion of the name day of his daughter Sophia. His image - characterizes a person who chooses an easy path in life.

Zagoretsky

Anton Antonovich Zagoretsky is a secular reveler without ranks and honors, but he knows how and loves to be invited to all receptions. Due to his gift - to be pleasing "to the court."

Hurrying to visit the center of events, “as if” from the outside, the secondary hero A.S. Griboyedov, Anton Antonovich, himself, is invited to an evening at the Faustuvs' house. From the very first seconds of the action, it becomes clear with his person that Zagoretsky is another “shot”.

Madame Khlestova is also one of secondary characters comedy, but still her role is very colorful. This is an older woman. She is 65 years old. She has a Spitz dog and a dark-skinned maidservant - arapka. Khlestova is aware latest gossip court and willingly shares his own stories from life, in which he easily talks about other characters in the work.

Composition and storylines of the comedy "Woe from Wit"

When writing the comedy Woe from Wit, Griboyedov used a technique characteristic of this genre. Here we can see classic plot, where two men claim the hand of one girl at once. Their images are also classical: one is modest and respectful, the other is educated, proud and confident in his own superiority. True, in the play, Griboyedov placed the accents in the character of the characters a little differently, making Molchalin, and not Chatsky, attractive to that society.

For several chapters of the play, there is a background description of life in the Famusovs' house, and only in the seventh appearance does the plot begin love story. A sufficiently detailed long description in the course of the play tells of only one day. A long-term development of events is not described here. storylines comedy two. These are conflicts: love and social.

Each of the images described by Griboyedov is multifaceted. Even Molchalin is interesting, to whom, already in the reader, an unpleasant attitude arises, but he does not cause obvious disgust. It is interesting to watch him in various episodes.

In the play, despite taking the fundamental constructions, there are certain deviations to build the plot, and it is clearly seen that the comedy was written at the junction of three literary eras at once: flourishing romanticism, emerging realism and dying classicism.

Griboyedov's comedy "Woe from Wit" gained its popularity not only for the use of classical plotting techniques in non-standard frameworks for them, it reflected obvious changes in society, which were then just emerging and putting out their first sprouts.

The work is also interesting in that it is strikingly different from all other works written by Griboyedov.

WORSE FROM WITNESS

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

Sofia (Sofya) Pavlovna Famusova - central female character 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 the influence of the French, the 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- 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. angrily turns Chatsky’s rhetoric (“I can beware of madness”) against him and spreads the rumor about insanity 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”).

The image of Sophia in the comedy "Woe from Wit" is the most dramatic. Griboedov, portraying the heroine, completely departs from satirical devices. 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, however, critics of the time had a different opinion. So, P. Vyazemsky called her “a khalda who has no female charm”, in addition, the publicist was also embarrassed by the morality of a girl who secretly meets 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" for a long time 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

Not a character social comedy, and the heroine of everyday drama is Sophia. 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 very passionate nature who lives only 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.

Sofia 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 push 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 model.

On the other hand, she was also brought up by books - French novels that keep her awake. The characterization of Sophia ("Woe from Wit") gives us the opportunity to assume that Griboedov 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 sighing 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. On the example of other heroines, Griboyedov shows the way secular ladies, which seeks to pass Sophia. It begins with the young ladies of marriageable age - the Tugoukhovsky princesses. Then we see Natalia 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 little waits for them all. comic image grandmother countess.

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 for making reality life path ladies of the world. While Chatsky is not at all suitable for this role.

Sophia's quotes from the comedy "Woe from Wit"

Most famous sayings heroines:

"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 modern author the world. 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.