The image and characterization of Sophia in the comedy "Woe from Wit" by Griboedov. The image of Sophia in the comedy "Woe from Wit" The social position of Sophia Woe from Wit
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 solid character doesn't come out as much because of her warm heart, which makes it clear how good-natured the heroine can be.
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 intelligence of the lady, but there were not so many of them in Sophia's speech.
Sophia, as a positive personality, was quite difficult 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 as much as she did not want 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.
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. The 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.) This is what People's Artist of the USSR A. A. Yablochkina, one of the best performers of the role of Sophia, says about her: “Doesn’t the special language of Sophia’s mushroom-eaters, 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 do not watch", "Just think how wayward happiness is, but grief awaits from 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”.
The good features and natural inclinations of Sophia could not be developed in the Famus society. 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 her, but appears as common features of her circle.In her own, personal physiognomy, something is hiding in the shadows then his own, 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.
It was this sentimental literature that developed dreaminess and sensitivity in Sophia, according to which she painted the hero of her novel - a humble, sensitive person. It was these novels that could make her pay attention to Molchalin, who in some of his features and behavior resembled her "favorite heroes. Played a well-known role in her passion for Molchalin and another circumstance that Goncharov points out:" The desire to patronize a loved one, poor, modest, not daring to raise her eyes to her, to elevate him to himself, to his circle, to give him family rights. No doubt, in this she smiled at the role of ruling over a submissive creature, making him happy and having an eternal slave in him. this was the future "husband-boy, husband-servant - the ideal of Moscow husbands!" 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 of fresh air penetrated." For these good qualities of Sophia, Chatsky loved her, and it was all the more painful for him to see in her, after a three-year absence from Moscow, a typical representative of the Famus 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."
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”, protecting their 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. Such 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: "Husband-boy, 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 another 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
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 gentleness, passion, which was clamped, closed in her nature by a false upbringing, the social foundations of her circle. Chatsky loved in the girl precisely the good qualities of 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 Famus 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.
Grade 9 students are often asked to write an essay on the topic “The image of Sophia in the comedy “Woe from Wit” by A.S Griboyedov.” Before you - a sample essay on the specified topic. However, before proceeding to write an essay, let's recall the main characteristics of Sophia's image.
The text of the composition.
“Griboyedov belongs to the most powerful manifestations of the Russian spirit,” Belinsky once said. Having tragically died at the age of thirty-four, Griboyedov did not create, undoubtedly, everything that he could accomplish according to his creative powers. He was not destined to realize numerous creative ideas, striking in their wide scope and depth. A brilliant poet and thinker, he remained in history as the author of one famous work. But Pushkin said: “Griboedov has done his own: he has already written “Woe from Wit” . These words contain recognition of Griboedov's great historical service to Russian literature.
In "Woe from Wit" Griboyedov put forward the main social and ideological theme of his turning point - the theme of irreconcilable enmity between the defenders of the old, inert way of life and the supporters of a new worldview, a new free life.
The protagonist of the comedy, Chatsky, is considered both in his relationship with representatives of the Famus society, and with Sophia, whom he loves. That's why Sophia plays an important role in the comedy and her attitude not only to Chatsky, but also to Molchalin. The image of Sophia Pavlovna is complex. By nature, she is endowed with good qualities: a strong mind and an independent character. She is able to deeply experience and sincerely love. For a girl of the noble circle, she received a good education and upbringing. The heroine is fond of reading French literature. Famusov, Sophia's father, says:
She has no sleep from French books,
And it hurts me to sleep from the Russians.
This girl is neither good nor bad. So, for example, when Pushkin first got acquainted with Griboedov's play, the image of Sophia seemed to him "It's not clearly written."
I want to try to understand her character. It is very complex in itself. In Sophia, “good instincts with lies” are complexly intertwined. She has to dodge and lie in order not to give out her love to her close-minded father. She is forced to hide her feelings not only because of her fear of her father; it hurts her when in things that are poetic and beautiful for her they see only harsh prose. Chatsky's love for Sophia will help us understand one truth: the character of the heroine is in some important way to match the main positive character of the whole comedy. At seventeen, she not only “bloomed charmingly,” as Chatsky says about her, but also shows an enviable will, unthinkable for people like Molchalin, Skalozub, or even her father. It is enough to compare Famusov’s “what will Princess Marya Aleksevna say”, Molhollin’s “independence, I need to depend on others” and Sophia’s remark: “What is rumor to me? Whoever wants, so judges. This statement is not just "words". The heroine is guided by them literally at every step: both when she receives Molchalin in her room, and when, in front of Skalozub and Chatsky, she runs shouting to Osip: “Ah! My God! fell, killed! - and she herself falls unconscious, not thinking about the impression of others.
But, unfortunately, all these positive character traits could not be developed in the Famus society. Here is how I. A. Goncharov wrote about this in his critical study “A Million of Torments”: “It is difficult to treat Sofya Pavlovna not sympathetically: she has strong inclinations 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. At the same time, Sophia is a child of her society. She drew ideas about people and about life from French sentimental novels, and it was this sentimental literature that developed dreaminess and sensitivity in Sophia. She says about Molchalin:
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.
Therefore, it was not by chance that she paid attention to Molchalin, who, in his words and his behavior, reminded her of her favorite heroes. However, it cannot be said that the heroine is blinded: she is able to evaluate the chosen one sensibly and critically:
Of course, he does not have this mind,
What a genius for others, about a plague for others,
Which is fast, brilliant and soon against it ...
Sophia is absolutely confident in herself, in her actions, in her feelings. Although in all this, perhaps, that immediacy, not the depravity of her nature, which allows us to compare her with Pushkin's Tatyana Larina, plays a significant role. But there is also a significant difference between them. Tatyana embodies the ideal character of a Russian woman, as Pushkin imagines her. Possessing the most positive qualities of her soul, she loves an outstanding person, worthy of her in a number of qualities. Sophia's chosen one, unfortunately, is different, but this is only visible to us and Chatsky. Sophia, blinded by Molchalin's courtship, sees only the good in him.
At the first meeting of Sophia with Chatsky, she does not show the same interest in him, she is cold and unkind. This puzzled and even upset Chatsky a little. In vain did he try to insert into the conversation the witticisms that had previously amused Sophia so much. They only led to an even more indifferent and slightly spiteful answer from Sophia: “Did it happen by mistake, in sadness, that you said good things about someone?”. Sophia keeps her proud opinion of Chatsky until the end of the play: "Not a man - a snake." The next meetings of Sophia and Chatsky differ little from each other. But in act 3, Chatsky decides to "pretend once in a lifetime" and begins to praise Molchalin in front of Sophia. Sophia managed to get rid of Chatsky's obsessive questions, but she herself gets carried away and completely withdraws into her feelings, again completely without thinking about the consequences, which once again proves to us the firmness of her character. To Chatsky’s question: “Why did you recognize him so briefly?”, She replies: “I didn’t try! God brought us together." This is enough for Chatsky to finally understand who Sophia is in love with.
The heroine draws a full-length portrait of Molchalin, giving it the most iridescent color, perhaps hoping in her soul to reconcile not only herself, but also others with this love. Sofya loves Molchalin, but hides this from her father, who, of course, would not recognize him as a son-in-law, knowing that he is poor. The heroine sees a lot of good things in her father's secretary:
... compliant, modest, quiet,
Not a shadow of worry on your face
And there are no misdeeds in my soul,
Strangers and at random does not cut, -
That's why I love him.
Sophia also fell in love with Molchalin because she, a girl with character, needed a person in her life whom she could manage.
“The attraction to patronize a loved one, poor, modest, who does not dare to raise his eyes to her, to elevate him to himself, to his circle, to give him family rights” -
this is its goal, according to I. A. Goncharov. Chatsky naturally does not want * to listen to Sophia. For him, Molchalin is a person who is not worthy of respect, and even more so the love of a girl like Sophia.
We involuntarily think: what attracted Sophia to Molchalin? Perhaps his appearance or a deep way of thinking? Of course not. The boredom that reigns in the Famusovs' house is primarily reflected in the girl's young quivering heart. The soul of a young and beautiful Sophia is filled with a romantic expectation of love, she, like all girls of her age, wants to be loved and love herself. Having unraveled Sophia's secret aspirations, Molchalin is nearby, he lives in the house. A young man of not bad appearance, moderately educated, vividly enters into the role of a lover and enchanted. Compliments, courtship, the constant presence of Molchalin gladly do their job. A girl falls in love without being able to choose or compare.
Sophia involuntarily hears Molchalin's conversation with Lisa and suddenly sees her chosen one in a different light. She realized that in fact Molchalin took the form of a lover only "to please the daughter of such a person." He needed Sophia only in order to take advantage of her influence at the right time. His goal was also to get a higher rank, so he, according to the precepts of his father, catered to "all people without exception." Perhaps someday Sophia would have found out about the true intentions of Molchalin and she would not have been so hurt. But now she had lost a man who was very suitable for the role of a boy-husband, a servant-husband. It seems that she will be able to find such a person and repeat the fate of Natalya Dmitrievna Gorich and Princess Tugoukhovskaya. And if Sophia had grown up in a different environment, she might have chosen Chatsky. But she chooses a person who suits her better, because she does not think of another hero. And in the end, according to 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.
So, in his comedy, A. S. Griboedov 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 says, "Woe from Wit" is kept apart in literature and differs from other works in its youthfulness, freshness and stronger vitality.
A few more ideas for an essay on the topic “The image of Sophia in the comedy “Woe from Wit”
