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 traits are clearly manifested in both her behavior and her language. ( This material will help you write competently on the topic The image and character of Sophia in the comedy Woe from Wit. Summary does not make it possible to understand the full 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, novellas, short stories, plays, and poems.) People's Artist of the USSR A. A. Yablochkina, one of the best performers of the role of Sophia, says about her: “Isn’t special language Sophia's Griboyedov-skop, so different from the language of other characters in "Woe from Wit", does not 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 of a housewife accustomed to general submission. She has been without a mother for a long time, she feels like a mistress. Hence her authoritative tone, her independence. At the same time, she is on her own, mocking, vindictive: undoubtedly, she is a girl with great character. In her speech there is something from the serfs, with whom she constantly has to deal, and, on the other hand, from French madams and French books.”
Sophia constantly talks about various emotional experiences: “he pretended to be in love, demanding and distressed”, “killed by his coldness”, “he will sigh from the depths of his soul”, etc.
Her “mind is manifested in statements of a general nature: “ Happy Hours they don’t observe”, “Just think how happiness is capricious, and grief waits around the corner”, etc.
Sophia received her upbringing 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 colloquialisms in her language, for example: “you deigned to run in”, “make you laugh”, “to the hairdresser, the tongs will catch a cold.”
Sophia’s good traits and natural inclinations could not be obtained in Famusov society of its development. On the contrary, false education instilled in Sophia a lot of negative things, made her a representative of the generally accepted views in this circle, accustomed her to lies and hypocrisy. I. A. Goncharov in his article “A 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 beliefs, confusion of concepts, mental and moral blindness - all this does not have the character of personal vices in her, but is like common features her circle. In her own, personal face, something of her own is hidden in the shadows, hot, tender, even dreamy. The rest belongs to education.”
Sophia gleaned her ideas about people and life from observations of the life of people in 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 Sophia's dreaminess and sensitivity, and from it she drew the hero of her novel - an ordinary, sensitive man. 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 famous role in her passion for Molchalin, there is another circumstance, which Goncharov points out: “The desire to patronize a loved one, poor, modest, who does not dare raise his eyes to her, to elevate him to himself, to his circle, to give him family rights. Without a doubt, she enjoyed the role of ruling over a submissive creature, making him happy and having an eternal slave in him. It’s not her fault that this turned out to be a future “husband-boy, husband-servant - the ideal of Moscow husbands!” There was nowhere to come across other ideals in Famusov’s house.”
In Sofya, Goncharov sees “strong inclinations of a remarkable nature, a lively mind, passion and feminine softness,” but “she was ruined in the stuffiness, where not a single ray of light, not a single stream penetrated.” fresh air" For these good qualities Chatsky loved 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 Famus’s circle. But Sophia also experiences a tragedy when, having overheard Molchalin’s conversation with Liza, she sees the person she loves in the real light. According to Goncharov, “of course, it’s harder for her than anyone else, harder even for Chatsky.”
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- The image of Sophia in the play by A. S. Griboyedov"Горе от ума"
Одним из выдающихся произведений первой !} half of the 19th century century is a comedy A. WHY DID SOFIA CHOOSE MOLCHALIN? One of greatest works The first half of the 19th century is the comedy “Woe from Wit” by A. S. Griboyedov. IN THE IMAGE OF SOPHIA IN A. S. GRIBOEDOV’S PLAY “WOE FROM WIT” A. S. Griboedov’s play “Woe from Wit” marks a victory in Griboyedov A. S. Essay on the work on the topic: “A Million Torments” by Sofia Famusova (Based on a comedy Griboyedov "Woe from Wit") The only character conceived and IMAGE OF CHATSKY Alexander Sergeevich Griboedov - genius artist Russian realism, creator immortal comedy"Woe from Wit." How truly great and brilliant
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Characteristics of Sophia from Griboedov's comedy "Woe from Wit".
How to compare and see
The present century and the past century
The legend is fresh, but hard to believe.
A. S. Griboyedov
"Woe from Wit" is one of the most topical works of Russian drama. The problems posed in the comedy continued to excite Russian social thought and literature many years after its birth.
“Woe from Wit” is the fruit of Griboedov’s patriotic thoughts about the fate of Russia, about ways of renewal and reconstruction of its life. From this point of view, the comedy illuminates the most important political, moral and cultural issues era.
The content of the comedy is revealed as a collision and change of two eras of Russian life - the “present” century and the “past” century. The border between them, in my opinion, is the war of 1812 - the fire of Moscow, the defeat of Napoleon, the return of the army from foreign trips. After Patriotic War Two public camps have developed in Russian society. This is the camp of feudal reaction in the person of Famusov, Skalozub and others, and the camp of advanced noble youth in the person of Chatsky. The comedy clearly shows that the clash of centuries was an expression of the struggle between these two camps.
The Emperor was terrified of the penetration of revolutionary ideas into Russia - the “French infection.” He could make promises at the European Diet, but at home things did not come to real steps. Moreover, domestic politics took repressive forms. And the discontent of the progressive Russian public was gradually ripening, for Arakcheev’s firm hand brought external order to the country. And this order, this pre-war prosperity, of course, was joyfully welcomed by people like Famusov, Skalozub, Gorichy and Tugoukhovsky.
In the very title of his comedy “Woe from Wit,” Griboyedov lays down the main idea of the work; we can already understand that everything in it will relate to the concept of “mind.”
Griboyedov himself said that in his works there are 15 fools for every one smart person. We understand that there will be one single hero endowed with intelligence, and all the people around him will be those 15 fools that Griboedov spoke about.
I.A. Goncharov wrote about the comedy “Woe from Wit” that it is “a picture of morals, a gallery of living types, and an ever-burning, sharp satire,” which presents noble Moscow in the 10-20s of the 19th century. According to Goncharov, each of the main characters of the comedy experiences “its own million torments.” Sophia also survives him.
The only character conceived and performed as close to Chatsky,
This is Sofya Pavlovna Famusova. Griboedov wrote about her: The girl herself is not stupid, prefers a fool smart person..." This character embodies a complex character; the author here abandoned satire and farce. He presented female character great strength and depth. Sophia has been “unlucky” in criticism for quite a long time. Even Pushkin considered this image a failure of the author: “Sophia is drawn unclearly.” And only Goncharov, in “a million torments” in 1871, first understood and appreciated this character and his role in the play.
Raised by Famusov and Madame Rosier in accordance with the rules of raising Moscow young ladies, Sophia was trained in “dancing, singing, tenderness, and sighs.” Her tastes and ideas about the world around her were formed under the influence of French sentimental novels. She imagines herself as the heroine of a novel, so she has a poor understanding of people. Sophia. rejects the love of the overly sarcastic Chatsky. She does not want to become the wife of the stupid, rude, but rich Skalozub and chooses Molchalin. Molchalin plays the role of a platonic lover in front of her and can remain sublimely silent alone with his beloved until dawn. Sophia gives preference to Molchalin because she finds in him many virtues necessary for “a boy-husband, a servant-husband, one of a wife’s pages.” She likes that Molchalin is shy, compliant, and respectful.
Meanwhile, the girl is smart and resourceful. She gives the right characteristics to those around her. In Skalozub she sees a stupid, narrow-minded martinet who “can never utter a smart word,” who can only talk about “fruits and rows,” “about buttonholes and edgings.” She can’t even imagine herself as the wife of such a man: “I don’t care whether he’s in the water or not.” In her father, Sophia sees a grumpy old man who does not stand on ceremony with his subordinates and servants. Yes, and Sophia correctly evaluates Molchalin’s qualities, but, blinded by love for him, she does not want to notice his pretense..
Sophia is resourceful like a woman. She skillfully distracts her father’s attention from Molchalin’s presence in the living room in the early hours of the morning. To disguise her fainting and fear after Molchalin's fall from his horse, she finds truthful explanations, declaring that she is very sensitive to the misfortunes of others. Wanting to punish Chatsky for his caustic attitude towards Molchalin, it is Sophia who spreads the rumor about Chatsky’s madness. The romantic, sentimental mask is now torn off from Sophia and the face of an irritated, vindictive Moscow young lady is revealed.
Sophia is a dramatic face, she is a character domestic drama, not social comedy. She, like her antagonist Chatsky, is a passionate nature, living with a strong and real feeling. And even if the object of her passion is wretched and pitiful (the heroine does not know this, but the audience knows) - this does not make the situation funny, on the contrary, it deepens its drama. IN best performances The actresses in the role of Sophia play love. This is the most important thing about her; it shapes 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. The power of the first feeling was embodied in Sophia. But at the same time, her love is joyless and unfree. She is well aware that the chosen one will never be accepted by her father. The thought of this darkens life; Sophia is already internally ready for a fight. The feeling overwhelms the soul so much that she confesses her love, seemingly completely random people: first to the maid Liza, and then to the most unsuitable 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 common sense simply fails her. The situation itself deprives her of the opportunity to reason: “What do I care about whom? About them? About the whole universe?” From the very beginning you can sympathize with Sophia. But there is as much freedom in choosing it as there is predetermination. She chose and fell in love with a comfortable man: soft, quiet and resigned (this is how Molchalin appears in her characterization stories). Sophia, it seems to her, treats him sensibly and critically: “Of course, he doesn’t have this mind, What a genius is for others, and for others a plague, Which is quick, brilliant and will soon become disgusting... But will such a mind make a family happy?” She probably thinks that what she did was very practical, on top of everything else. But in the finale, when she becomes an involuntary witness of Molchalin’s “courtship” of Liza, she is struck to the very heart, she is destroyed - this is one of the most dramatic moments of the entire play.
This deals a blow to Sophia's pride, and her vengeful nature is revealed again. “I’ll tell my father the whole truth,” she decides with annoyance. This once again proves that her love for Molchalin was not real, but bookish, invented, but this love makes her endure her “millions of torments.”
I admit, I feel sorry for Sophia, because she is not a bad girl, not immoral, but, unfortunately, she turned out to be a victim of the lies that are characteristic of Famus society, which destroyed her.
Every person who reads this “comedy” should learn something different. One may simply laugh at the jokes and witticisms directed at our nobility, while another, more intelligent one, may think about the meaning of this work and can understand what Chatsky’s true grief is.
Every person must make a choice: Molchalin or Chatsky. You can be Molchalin and silently climb the stairs to the top. Or become Chatsky and spend your whole life arguing, fighting, getting your way, fighting the hopeless stupidity of others
The comedy "Woe from Wit" entered the treasury of our national culture. Even now she has not lost her moral and artistic power. We, people of the new generation, understand and are close to Griboyedov’s angry, irreconcilable attitude towards injustice, meanness, and hypocrisy, which are so often encountered in our lives.
One of the main characters in A. Griboyedov’s comedy, around whom all the main events develop, is the 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.
Contradictory nature
Sophia is the only person who is close to the smart and educated Chatsky, a character opposed to the society of conservatives and people-pleasers. Sophia became the cause of the young nobleman's suffering, a source of gossip, and a creator of intrigue. Such a combination of two contrasts in one image confirms its reality, which the author strived for. A soulless, stupid socialite beauty or, conversely, an educated noblewoman who is passionate about science would not have aroused so much interest. It is this inconsistency that can explain the strength of the feelings that Chatsky, an ardent and eloquent young man, experiences for her. Rich bride real daughter her father, she grew up in an atmosphere of care and concern, and learned to find benefits for herself.Sophia's appearance and hobbies
The girl is beautiful and young:“At seventeen you blossomed beautifully...”
It is clear why no one is surprised by the number of gentlemen. Beauty attracts prim (Skalozub), stupid (Molchalin), educated (Chatsky) suitors. The flighty young lady does not value the 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 her taste and helped her develop her individuality. Home education allowed Sophia to become versatile and interesting:
- can sing;
- dances gracefully;
- loves and understands music;
- plays several musical instruments(piano, flute);
- knows French;
- reads books in a foreign language.
The girl is trained in feminine “tricks”: sighs, tenderness, cunning tricks.
Qualities that bring Sophia closer to her father’s company
The desire to dominate. 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 their husband and servants by the hair. Power in the family is a girl’s desire, perhaps still hidden even to her. But it will take a very short period of time, she will understand what she is striving for. In the comedy there is an analogy with the Gorich couple, where the wife disposes of her husband like a thing, turning the other half into a weak-willed creature:“husband-boy, husband-servant, one of the wife’s pages...”.
Immorality. Some literary scholars (P.A. Vyazemsky) consider the girl immoral. One can argue with this position, but there is some truth in it. If we logically construct Sophia’s day, which passed before the readers, then the picture will not be very beautiful: the night is in the bedroom with a man, during the day he pretends to be sick, but asks the maid to bring Molchalin to her, at night she secretly makes her way to his room. This behavior is shameless. He cannot be compared to the modest characters who secretly suffer for their beloved classical literature. No social decency restrains the owner's daughter.
Qualities that set her apart from her father's environment
The girl loves to read and 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 could change their attitude towards life. Sophia is passionate about novels. She looks for prototypes of heroes in reality and is mistaken. The girl becomes a victim of deception and lies, having examined the features of the romantic handsome man in Molchalin. Other qualities that distinguish her among society ladies:Courage. Sophia is not afraid to confess her feelings to her father. She is ready to unite herself with a poor serviceman for the sake of her beloved. The girl is not even afraid of possible rumors and gossip.
Determination. The girl stands up to defend her feelings, sensing a threat from Chatsky. She takes revenge for ridiculing Molchalin. Moreover, he does not choose softer methods. Sophia resolutely spreads the idea of the madness of her childhood friend, even without taking into account his feelings for her.
Gullibility. Having fallen under Molchalin's charm, 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 and becomes ridiculous.
Frankness. Sophia thinks openly, constructs her speech, not being afraid to reason and dream. The owner's daughter is not characterized by secrecy, deceit, or florid thinking.
Pride. All the girl’s behavior shows her respect for herself. She carries herself with dignity, knows how to get away from a conversation in time, and 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 inaccessibility. Molchalin’s phrases were perceived correctly by Sophia. She is bitter and harsh.
Sofya Pavlovna – complex female character, a true heroine of her time. It’s hard for her to live among secular young ladies and not become completely like them, to preserve her face and individuality. The reader can judge the girl, but first you need to put yourself in her place and try to determine whether you can become different if there is no such example nearby.
V.F. Khodasevich said: “Griboyedov is a man of one book.” It seems to me that this is not entirely fair, but, of course, A.S. became famous. Griboyedov with his comedy "Woe from Wit". This work is immortal. It has long been quoted, and its heroes have become household names.
Sofya Famusova is the main female character in the play. This is a seventeen-year-old girl with whom Chatsky is madly in love. And Sophia herself was in love with Alexander Andreevich, but over time everything changed. By the time Chatsky arrived in Moscow, Sophia was irrevocably in love with her father’s secretary, Molchalin.
In my opinion, Sophia occupies an intermediate position among the heroes of the work. On the one hand, she has qualities that sharply distinguish this heroine from the Famus circle. First of all, this is independence of judgment and contempt for gossip and public opinion. She says: “What do I need rumors for? Whoever wants to, judges it that way...”
I.A. Goncharov, in his article “A Million Torments,” described Sophia as “a mixture of good instincts and lies.” Indeed, this heroine has traits that make her capable of both good and bad deeds. Sophia is headstrong, stubborn, but also capricious and not very well-behaved.
Sofya Famusova is undoubtedly smart and observant. She knows the laws of “Famus” society very well and knows how to predict people’s actions. That is why this heroine manages to take revenge on Chatsky so cruelly. Sophia spreads gossip about his madness, knowing that she ex-lover the real persecution will begin. Although, in fact, this heroine was confident in Chatsky’s “clear mind and full health”:
He is ready to believe!
Ah, Chatsky! You love to dress everyone up as jesters,
Would you like to try it on yourself?
We can say that Sophia in the comedy is one of the smartest and most sensible characters. But she also finds herself in a comical and, at the same time, sad situation because of her love for Molchalin. I think that her love for this “most pitiful creature” was serious. But did Sophia really not see the true essence of this hero? After all, in a conversation with Chatsky, she extols to the skies spiritual qualities Molchalina:
Of the most wonderful quality
He is finally: compliant, modest, quiet.
Not a shadow of worry in his face,
And there are no wrongdoings in my soul,
He doesn’t cut strangers at random, -
That's why I love him.
But the heroine does not notice “how the portrait turns out vulgar.” Molchalin for Sophia is a romantic hero, the height of perfection. Therefore, in the second act of the comedy, when Molchalin falls from his horse, Sophia is so worried that she faints. An insignificant incident grows in her eyes to the size of a real tragedy. She says to Alexey Stepanych:
Molchalin! How my sanity remained intact!
You know how dear your life is to me!
Why should she play, and so carelessly?
It seems to me that these words of Sophia are very reminiscent of the words of the heroine of some love story. And this is no coincidence. Let us remember that the girl was fond of French novels, dreamed of her knight on a white horse. I think that in Molchalin she found such a knight. Or rather, she came up with it for herself, because there were no worthy young people around Sophia. She shouldn’t have been paying attention to Skalozub! This was clearly “not the hero of her novel.”
So, Sophia chose Molchalin as her hero. She came up with the idea that this was an ideal, “a model of moderation and accuracy.” The girl doesn’t even try to find out what Alexey Stepanych really is like. Sophia does not notice his “vulgarity” and pretense. “God brought us together,” says the heroine. She likes to think so, to imagine herself as the heroine of her favorite novels. She forces Molchalin to behave like romantic heroes: sitting all night until the morning reading books together, sighing for Sophia:
He will take your hand and press it to your heart,
He will sigh from the depths of his soul...
Sophia completely surrenders to her feelings. For the sake of Molchalin, she goes to the length of violating all decency: love for a person from the lower class, nightly dates, etc. But the girl neglects the opinion of society, and this makes her a person of the “new generation”. After all, for “fathers” there is nothing worse than “the opinion of Princess Marya Aleksevna.”
Sophia lives in a world of her illusions. This is confirmed by her attitude towards Chatsky. She does not seek to understand him, to see the real motives and goals of this hero. The girl considers Chatsky callous and heartless (“Not a man, a snake!”), and tries to hurt and humiliate Alexander Andreevich as much as possible. So, she says to him: “What do you need me for?” In her relationship with Chatsky, Sophia is just as “blind” and “deaf” as in her relationship with Molchalin.
At the end of the comedy, life makes Sophia see the light. She finally sees Molchalin's real face. In this difficult situation for her, the girl behaves very dignified. With contempt she says to Molchalin:
Reproaches, complaints, my tears
Don’t you dare wait, you’re not worth it...
Sophia realizes her self-deception. It’s very difficult for her, but she only blames herself for everything. “All in tears,” Sophia says: “I blame myself all around.” IN final scenes comedy, the image of Sophia takes on tragic features. No wonder I.A. Goncharov said about this heroine that she has it “harder than everyone else, harder even than Chatsky, and she gets “a million torments.” Smart, well-read, but far from real life the heroine suffers her “woe from the mind.”
Sofya Famusova evokes my sympathy and pity. She has many positive features and great potential. The girl is thirsty true love, strong feelings. But she is surrounded by insignificant and unworthy people. It’s hard for her to resist such an onslaught alone. The girl strives to be happy, but no one can help her, advise her, or set her on the right path. Therefore, the girl is forced to make mistakes and correct them on her own. What does the future hold for Sophia? It seems to me that she will go to the camp of “children” who, like Sophia, have great mind and sincere heart.
Sofia Famusova- This real example a good and decent girl. Moreover, it’s not a matter of upbringing, but of Famusova’s personal beliefs. Her character is firm and confident, but in no case can you call the girl callous. The heroine is smart, her intelligence is manifested in many aspects. Sophia loves to dream. She often dreams of things that will never happen. Famusova’s strong character does not manifest itself so strongly because of her warm heart, which makes it clear how good-natured the heroine can be.
The girl is very smart. It’s enough to take one of her statements: “Happy people don’t watch the clock.” This is incredible clever saying, which 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. Sofia received a good upbringing thanks to the French governesses, who gave the girl the right education. The fact that the heroine was quite close to the governesses is confirmed by her phrases, characteristic exclusively of French women. Let’s say, “tell you a dream” - such phrases are not characteristic of the Russian people. However, Famusova’s speech contained many colloquialisms. For example, “make me laugh.” Such phrases, of course, did not emphasize the lady’s intelligence, but there were not so many of them in Sofia’s speech.
It was quite difficult for Sofia, as a positive personality, to develop in Famus society. Upbringing in this society was far from ideal. Lies, hypocrisy - for the people around 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 characteristic of the circle of people in which the girl had to “move around” were abnormal. Partly, the heroine realized this, partly not. Still, society had a negative impact on heroin. And no matter how much she wanted to deny all the qualities inherent in her society, some traits were given to the girl against her will.
When Chatsky comes to Moscow, he does not see his beloved in the girl. In three years, Sophia has changed not in better side. And the reason for this is the girl’s environment. 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 demonstrate her passion, but she was there. Sofia is a real “living mind”, which is not typical of all heroines of the work. Sophia also has a hard time, because she was touched by tragedy the moment she found out who her lover really was. Disappointment in a loved one has become a serious blow for a girl, and all because of a conversation between Liza and Molchanin, which Famusova decides to overhear, and, as it turns out, not in vain.