Famusova Sofya Pavlovna is the main character of the comedy “Woe from Wit” (1824) by A. S. Griboyedov. Sophia is a young girl of seventeen years old, the daughter of Famusov. This is a complex and sophisticated nature, endowed with a sharp mind and excellent intelligence. After the death of her mother, Sophia was raised by the old Frenchwoman Rosier, and her best friend childhood was Chatsky. In relation to him, Sophia also experienced a feeling of first love, but during Chatsky’s absence (3 years), the girl changed a lot, and her feelings also became different.
The formation of Sophia's character was influenced by Moscow morals and habits, as well as books by sentimentalist writers, in particular, the works of Karamzin.
As a result, the girl imagined herself the main character"sensitive" novel and began to act according to the chosen role. She rejects the brave and sarcastic Chatsky, the stupid and rich Skalozub, and assigns Molchalin to the role of her platonic admirer.
In her father's house, Sophia does not have the opportunity to develop spiritually. She started playing, imagining herself as the heroine of a novel. The girl began to invent dreams reminiscent of Zhukovsky’s ballads, imitate fainting spells, etc. She came up with the image of a romantic lover, a devoted, timid, but poor person, and endowed Molchalin with these traits, not noticing how cruelly she had been deceived. Chatsky is also interesting to Sophia in his own way; she is haunted by memories of the touching childhood feeling that she felt towards him, but now she has become different, and she is irritated by his sarcasm and bile. In addition, the girl is afraid of exposing her romantic “ideal” in the image of Molchalin, so Chatsky’s stay in the Famusovs’ house becomes extremely undesirable for her. At this moment, Sophia’s “Moscow” upbringing manifests itself and the true nature of the secular young lady is revealed. It is Sophia who spreads rumors about Chatsky’s madness during the ball. At the end of the comedy, the girl is severely punished for her slander: she learns about the betrayal of Molchalin, who brazenly flirts with Lisa and at the same time openly says that he is interested in Sophia only for selfish reasons. Having learned about Sophia’s affair with his secretary, Famusov sends his daughter “to the village,” “to the wilderness,” namely, to her aunt in Saratov.
The image of Sophia amazingly combines such different properties as femininity and power, stubbornness and emotionality, vulnerability and acumen for life. Her feelings for Molchalin were truly sincere, she defended and protected her ideal from exposure with all her might. Therefore, at the end of the work, she, like Chatsky, tragically experienced the drama of deception, betrayal and disappointment.
Let's look at the features of the comedy created by Fonvizin ("The Minor"). Analysis of this work is the topic of this article. This play is a masterpiece Russian literature 18th century. This work is now included in the Russian fund classical literature. It affects whole line "eternal problems". And the beauty of the high style still attracts many readers today. The name of this play is associated with the decree issued by Peter I, according to which “minors” (young nobles) are prohibited from entering the service and getting married without education.
History of the play
Back in 1778, the idea of this comedy arose from its author, who was Fonvizin. “The Minor,” the analysis of which interests us, was written in 1782 and presented to the public in the same year. We should briefly highlight the time of creation of the play that interests us.
During the reign of Catherine II, Fonvizin wrote "The Minor". The analysis of the heroes presented below proves that they were heroes of their time. The period in the development of our country is associated with the dominance of ideas. They were borrowed by the Russians from the French enlighteners. The dissemination of these ideas and their great popularity among the educated philistines and nobility was largely facilitated by the empress herself. She is known to have corresponded with Diderot, Voltaire, and d'Alembert. In addition, Catherine II opened libraries and schools, and supported the development of art and culture in Russia through various means.
Continuing to describe the comedy created by D.I. Fonvizin (“The Minor”), analyzing its features, it should be noted that, as a representative of his era, the author certainly shared the ideas that dominated the noble society at that time. He tried to reflect them in his work, exposing not only the positive aspects to readers and viewers, but also pointing out misconceptions and shortcomings.
"Minor" - an example of classicism
Analysis of the comedy "Minor" by Fonvizin requires considering this play as part of a cultural era and literary tradition. This work is considered one of the best examples of classicism. There is unity of action in the play (there are no secondary plot lines in it, only the struggle for Sophia’s hand and her property is described), place (the characters do not move long distances, all events take place either near the Prostakovs’ house or inside it), and time ( All events take no more than a day). In addition, he used “speaking” surnames, which are traditional for the classic play, Fonvizin (“Minor”). Analysis shows that, following tradition, he divided his characters into positive and negative. The positive ones are Pravdin, Starodum, Milon, Sophia. They are contrasted with Prostakov, Mitrofan, Skotinin by D.I. Fonvizin (play "The Minor"). An analysis of their names shows that they make it clear to the reader which features in the image of a particular character are prevalent. For example, Pravdin is the personification of morality and truth in the work.
A new genre of comedy, its features
"Minor" at the time of its creation became important step forward in the development of literature in our country, in particular drama. Denis Ivanovich Fonvizin created a new socio-political. It harmoniously combines a number of realistic scenes depicted with sarcasm, irony, and laughter from the lives of some ordinary representatives high society(nobility) with sermons about morality, virtue, the need for education human qualities, which were characteristic of the Enlightenment. Instructive monologues do not burden the perception of the play. They complement this work, as a result of which it becomes deeper.
First action
The play, the author of which is Fonvizin (“Minor”), is divided into 5 acts. Analysis of a work involves a description of the organization of the text. In the first act we meet the Prostakovs, Pravdin, Sophia, Mitrofan, Skotinin. The characters' personalities emerge immediately, and the reader understands that Skotinin and the Prostakovs - and Sophia and Pravdin - are positive. In the first act there is an exposition and plot of this work. In the exhibition we get to know the characters, we learn that Sophia lives in the care of the Prostakovs, who is going to be married off to Skotinin. Reading the letter from Starodum is the beginning of the play. Sophia now turns out to be a rich heiress. Any day now, her uncle is returning to take the girl to his place.
Development of events in the play created by Fonvizin (“Minor”)
We will continue the analysis of the work with a description of how events developed. The 2nd, 3rd and 4th acts are their development. We meet Starodum and Milon. Prostakova and Skotinin are trying to please Starodum, but their flattery, falsity, lack of education and enormous thirst for profit only repels them. They look stupid and funny. The funniest scene in this work is the questioning of Mitrofan, during which the stupidity of not only this young man, but also his mother is revealed.
Climax and denouement
Act 5 - climax and denouement. It should be noted that researchers have different opinions about what moment should be considered the climax. There are 3 most popular versions. According to the first, this is the kidnapping of Sophia Prostakova, according to the second, Pravdin’s reading of a letter, which says that Prostakova’s estate is coming under his care, and, finally, the third version is Prostakova’s rage after she realizes her own powerlessness and tries to “get back "on his servants. Each of these versions is valid, since it considers different points view of the work that interests us. The first, for example, highlights the storyline dedicated to Sophia’s marriage. An analysis of the episode of Fonvizin’s comedy “The Minor,” connected with marriage, indeed allows us to consider it key in the work. The second version examines the play from a socio-political point of view, highlighting the moment when justice prevails on the estate. The third focuses on the historical one, according to which Prostakova is the personification of the weakened principles and ideals of the old nobility that have become a thing of the past, who, however, still do not believe in their own defeat. This nobility, according to the author, is based on lack of enlightenment, lack of education, as well as low moral principles. During the denouement, everyone leaves Prostakova. She has nothing left. Pointing to it, Starodum says that this is " worthy fruits""evil."
Negative characters
As we have already noted, the main characters are clearly divided into negative and positive. Mitrofan, Skotinin and Prostakovs - negative heroes. Prostakova is a woman seeking profit, uneducated, rude, and domineering. She knows how to flatter to gain benefits. However, Prostakova loves her son. Prostakov appears as the “shadow” of his wife. This is a weak-willed character. His word means little. Skotinin is the brother of Mrs. Prostakova. This is an equally uneducated and stupid person, quite cruel, like his sister, greedy for money. For him, a walk to the pigs in the barnyard is best activity. Mitrofan is a typical son of his mother. This is a spoiled young man of 16 who inherited a love of pigs from his uncle.
Issues and heredity
In the play, it should be noted that Fonvizin (“The Minor”) devotes an important place to the issue of family ties and heredity. Analyzing this question, let's say, for example, that Prostakova is only married to her husband (a “simple” man who doesn’t want much). However, she is actually Skotinina, akin to her brother. Her son absorbed the qualities of both his parents - “animal” qualities and stupidity from his mother and weak-willedness from his father.
Similar family ties can be traced between Sophia and Starodum. Both of them are honest, virtuous, educated. The girl listens to her uncle attentively, respects him, and “absorbs” science. Pairs of opposites are created by negative and positive heroes. Children - spoiled stupid Mitrofan and meek, intelligent Sophia. Parents love children, but they approach their upbringing in different ways - Starodub talks about truth, honor, morality, and Prostakova only pampers Mitrofan and says that he will not need education. A pair of suitors - Milon, who sees an ideal and his friend in Sophia, who loves her, and Skotinin, who calculates the fortune that he will receive after marrying this girl. At the same time, he is not interested in Sophia as a person. Skotinin does not even try to provide his bride with comfortable housing. Prostakov and Pravdin are in fact the “voice of truth”, a kind of “auditors”. But in the person of the official we find active strength, help and real action, while Prostakov is a passive character. The only thing this hero could say was to reproach Mitrofan at the end of the play.
Issues raised by the author
Analyzing, it becomes clear that each of the above-described pairs of characters reflects a separate problem that is revealed in the work. This is a problem of education (which is complemented by the example of half-educated teachers like Kuteikin, as well as impostors such as Vralman), upbringing, fathers and children, family life, relationships between spouses, relations of nobles to servants. Each of these problems is examined through the prism of educational ideas. Fonvizin, sharpening his attention to the shortcomings of the era by using comic techniques, the emphasis is on the need to change outdated, traditional foundations that have become irrelevant. They drag people into the swamp of stupidity and evil, and liken people to animals.
As our analysis of Fonvizin’s play “The Minor” showed, main idea and the theme of the work is the need to educate the nobility in accordance with educational ideals, the foundations of which are still relevant today.
In the comedy A.S. Griboyedov's "Woe from Wit" presents the morals of Moscow nobles of the early 19th century. The author shows the clash between the conservative views of feudal landowners and progressive views younger generation nobles who began to appear in society. This clash is presented as a struggle between two camps: the “past century,” which defends its mercantile interests and personal comfort, and the “present century,” which seeks to improve the structure of society through the manifestation of true citizenship. However, there are characters in the play who cannot be clearly attributed to any of the warring parties. This is the image of Sophia in the comedy “Woe from Wit”.
Sophia's opposition to Famus society
Sofya Famusova is one of the most complex characters in the work of A.S. Griboedova. 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.
It is not without reason that the main character of the comedy is in love with this girl. Let Sophia now call their youthful love childish, nevertheless, she once attracted Chatsky with her natural intelligence, 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, likes to spend time reading books, which angers his father. After all, he believes that “reading is of little use,” and “learning is a plague.” And this is where the first discrepancy in the comedy “Woe from Wit” between the image of Sophia and the images of the nobles of the “past century” is manifested.
Sophia's passion for Molchalin is also natural. She's like a fan French novels, saw in the modesty and reticence of this man the features romantic hero. Sophia does not suspect that she has become a victim of deception by a two-faced man who is next to her only for personal gain.
In her relationship with Molchalin, Sofya Famusova displays character traits that none of the representatives of the “past century,” including her father, would ever dare to display. If Molchalin is mortally afraid of making this connection public to society, since “evil tongues are worse than a pistol,” then Sophia is not afraid of the opinion of the world. She follows the dictates of her heart: “What is rumor to me? Whoever wants to, judges that way.” This position makes her similar to Chatsky.
Traits that bring Sophia closer to Famus society
However, Sophia is her father's daughter. She was raised in a society where only rank and money are valued. The atmosphere in which she grew up certainly had an influence on her.
Sophia in the comedy “Woe from Wit” made a choice in favor of Molchalin not only because of what she saw in him positive traits. The fact is that in Famus society, women rule not only in society, but also in the family. It is worth remembering the Gorich couple at the 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 for the role of her future husband. This hero corresponds to the ideal of a husband in the society of Moscow nobles: “A husband-boy, a husband-servant, one of his wife’s pages - the high ideal of all Moscow husbands.”
The tragedy of Sofia Famusova
In the comedy "Woe from Wit" Sophia is the most tragic character. She suffers more than even Chatsky.
Firstly, Sophia, having by nature determination, courage, intelligence, is forced to be a hostage of the society in which she was born. The heroine cannot allow herself to give in to her feelings, regardless of the opinions of others. She was raised among the conservative nobility and will live according to the laws dictated by them.
Secondly, Chatsky’s appearance threatens her personal happiness with Molchalin. After Chatsky’s arrival, the heroine is in constant tension and is forced to protect her lover from the caustic attacks of the protagonist. It is the desire to save her love, to protect Molchalin from ridicule that pushes Sophia to spread gossip about Chatsky’s madness: “Ah, Chatsky! You like to dress everyone up as jesters, would you like to try it on yourself?” However, Sophia was 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 formed in Sophia’s head when she hears his conversation with the maid Liza. Her main tragedy is 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, Molchalin's exposure occurs in the presence of Chatsky, which further wounds Sophia as a woman.
conclusions
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 go against the light in defense of her love.
However, this same love forces Sophia to defend herself from Chatsky, with whom she is so close in spirit. It was Sophia’s words that Chatsky was denigrated in society and expelled from it.
If all the other heroes of the play, with the exception of Chatsky, participate only in social conflict, defend their comfort and their usual way of life, then Sophia is forced to fight for her feelings. “She, of course, has the hardest time of all, harder even than Chatsky, and she gets her “millions of 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. Strong character Sophia needs realization, which will become possible with a husband who allows him to command and guide himself.
Sofya Famusova is the most complex and contradictory character in Griboyedov’s comedy “Woe from Wit.” The characterization of Sophia, the disclosure of her image and the description of her role in the comedy will be useful for 9th graders when preparing materials for an essay on the topic of Sophia’s image in the comedy “Woe from Wit”
Work test
Municipal budgetary educational institution "MBOU Secondary School No. 34" Comedy A.S. Griboyedov “Woe from Wit” Development by Inna Leonidovna Ermolaeva, Teacher of Russian language and literature of the first qualification category Recommended: 9th grade 2016
History of creation The idea for the comedy arose in 1820 (according to some sources already in 1816), but active work on the text began in Tiflis after Griboedov’s return from Persia.
History of creation By the beginning of 1822, the first two acts were written, and in the spring and summer of 1823 the first version of the play was completed in Moscow. It was here that the writer could supplement his observations of the life and customs of the Moscow nobility, and “breathe the air” of secular drawing rooms. But even then the work does not stop: in 1824 a new option, called “Woe from Wit” (originally “Woe to Wit”).
Wide popularity of the work In 1825, excerpts from acts I and III of the comedy were published with large censorship cuts. “Woe from Wit” was on the lists. Pushkin's friend, Decembrist I.I. Pushchin brought Griboyedov’s comedy to the poet in Mikhailovskoye. She was received enthusiastically, especially by the Decembrists. For the first time, the comedy "Woe from Wit" with significant cuts was published after the death of the author in 1833, and it was published in full only in 1862. I.I. Pushchin
Genre In the comedy "Woe from Wit" there are two storylines: love and socio-political. The central character of both is Chatsky. Griboyedov created a comedy that touches not only topical social problems, but also moral issues. It was important for Griboedov that his heroes, first of all, evoke laughter - the audience’s laughter at the shortcomings and vices that are characteristic of them.
Composition 2 action development of action 3 action climax 1 action beginning 4 action denouement The play has 4 actions:
Plot The plot basis of the work is dramatic conflict, a stormy clash between an intelligent, noble and freedom-loving hero and the noble environment around him. As a result, the hero himself drank the full measure of “woe from his own mind.”
Act one Who, according to Lisa, is suitable for Sophia as a groom? How does Sophia characterize Skalozub? Who does Lisa speak of with a feeling of admiration? How many years was Chatsky absent? What connects Sophia with Chatsky? Re-read the scene of Sophia's meeting with Chatsky.
Act one How does Famusov feel about Chatsky’s unexpected arrival? What worries Famusov? How does Chatsky characterize Moscow society?
Act two Read Famusov’s monologue expressively. “Parsley...” What can be said about Famusov’s lifestyle based on this monologue? How did Famusov react to Chatsky’s words “Let me woo you, what would you tell me”? Which century does Famusov bow to? An expressive reading of Famusov’s monologue “That’s it, you are all proud!...” On what basis did Famusov conclude that Chatsky is a dangerous person?
Act two How does Famusov behave when Skalozub appears? Prove from the content of the text that Skalozub is a limited person? An expressive reading of Chatsky’s monologue “Who are the judges?” Whom is Chatsky denouncing in this monologue? What character trait of Molchalin is revealed in his behavior with Sophia after his fall from his horse?
Act two Expressive reading by role 12 phenomena 2 acts. How is Molchalin’s character revealed in this phenomenon?
Act three What qualities does Sophia value in Molchalin? Why does Chatsky conclude: “He’s being naughty, she doesn’t love him.” Expressive reading by role 3 phenomena 3 actions. How is the character of Molchalin and Chatsky revealed in this phenomenon?
Act Three Among Famusov's guests, Chatsky meets his old acquaintance Platon Mikhailovich. How does Platon Mikhailovich assess his lifestyle? For what purpose do Prince and Princess Tugoukhovsky come to the ball?
Act three Who does Khlestova come to Famusov’s house with? How does she treat her servants? How does he behave in Famus society? What can be said about Molchalin’s behavior towards Khlestova?
Act three What new feature Chatsky notes the character of Molchalin? (appearance 13) How did it happen that Chatsky was declared crazy? What does the Famus society see as the reason for this? Prove it with the content of the comedy text. An expressive reading of Chatsky’s monologue “There is an insignificant meeting in that room...” How does this monologue characterize Chatsky?
Act Four How does Chatsky perceive Repetilov? What role does Zagoretsky play in the comedy? Does Famus society believe in Chatsky’s madness? Prove with examples from the text. How does Chatsky himself react to the gossip of Famus society? How does Chatsky witness an unexpected scene?
Act four Expressive reading by role 12 phenomena 4 actions. Assess the behavior of each character in this phenomenon. Give a description of Famusov based on the content of phenomenon 13.
Act Four Expressive reading of Chatsky’s monologue “I won’t come to my senses...I’m guilty...” Why does Chatsky flee from Moscow?
A detailed answer to the question What do you think will happen in Famusov’s house after the revealing scene? (written response)
Independent work Assignment: Find in the comedy A.S. Griboyedov “Woe from Wit” aphorisms and write them down.
Independent work Assignment: continue the aphorism, remember from whose lips it sounds. 1. Happy Hours... 2. Sin is not a problem... 3. Just think. ... 4. And grief ... 5. I don’t care, ... 6. - Where is it better? ... 7. And suddenly it thundered ... 8. Dream... 9. I would be glad to serve,... 10. Fresh legend,...
Aphorisms 11. He who serves the cause... 12. Ah! That one tell love the end, ... 13. The houses are new, ... 14. , he is small ... 15. Ah! Gossips... 16. But in order to have children, ... 17. Who is poor, ... 18. However, he will reach the known degrees, ... 19. Is it possible for walks ... 20. And exactly, he began ...
Aphorisms 21. What kind of commission, creator, ... 22. And the golden bag, ... 23. Pass us away more than all sorrows ... 24 . Signed, ... 25. It’s barely light on my feet! ... 26. And the smoke of the Fatherland ... 27. That's it, you are all proud! … 28. What does he say? … 29. Who are the judges? ... 30. And who is in love - ...