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 is enough to take one of her statements: “ Happy Hours They’re not watching.” 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 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 Famusov 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.
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 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 with 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, because “ evil tongues 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 qualities. 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, and 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 takes place 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
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 intelligence is manifested in statements of a general nature: “Happy people don’t watch the clock,” “Just think how happiness is capricious, and grief awaits 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, in her language there are also colloquialisms, 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 developed in Famus society. 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.”
The image of Sophia (A.S. Griboedov “Woe from Wit”)
The only character somewhat close to Chatsky 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.
Sophia's face is dramatic, 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. Sophia is driven by 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?” The heroine, as it seems to her, treats her chosen one sensibly and critically: “Of course, he doesn’t have this mind, // What a genius is for others, but for others a plague, // Which is quick, brilliant and will soon become disgusting... // Yes, such will the mind make the family happy? Sophia’s “woe from wit”, “woe from love” lies in the fact that she chose and fell in love with a wonderful man in her mind: soft, quiet and resigned (this is how Molchalin appears in her characterization stories), without seeing his true appearance . He's a scoundrel. This quality of Sofia Molchalin will be revealed in the finale of the comedy. In the finale, when she becomes an involuntary witness of Molchalin’s “courtship” of Liza, when the “veil has fallen,” she is struck to the very heart, she is destroyed - this is one of the most dramatic moments of the entire play.
How did it happen that an intelligent and deep girl not only preferred the scoundrel, the soulless careerist Molchalin, to Chatsky, but also committed betrayal by spreading a rumor about the madness of the man who loved her? In "Woe from Wit" there is an exhaustive definition of female education of that time, given by Famusov:
We take tramps into the house and with tickets,
To teach our daughters everything, everything -
And dancing! and foam! and tenderness! and sigh!
It’s as if we are preparing them as wives for buffoons.
This angry remark clearly articulates the answers to the basic questions of education: who teaches, what and why. And it’s not that Sophia and her contemporaries were uneducated: they knew quite a bit. The point is different: the entire system of women's education had the ultimate goal of giving the girl the necessary knowledge and skills for a successful secular career, that is, for a successful marriage. Sophia builds her life according to generally accepted models. On the one hand, she is brought up by books - those same French novels from which “she cannot sleep.” She reads sentimental stories of unequal love between a poor and rootless young man and a rich, noble girl (or vice versa). He admires their loyalty, devotion, and willingness to sacrifice everything in the name of feeling. In her eyes, Molchalin looks like a romantic hero:
He will take your hand and press it to your heart,
He will sigh from the depths of his soul,
Not a free word, and so the whole night passes,
Hand in hand, and doesn’t take his eyes off me.
This is exactly how lovers behave on the pages of French novels. Let us remember that Pushkin’s Tatyana Larina was “imagined as the heroine of her beloved creators” and at the dawn of her tragic love to Onegin I saw in the chosen one either Grandison or Lovelace! But Sophia does not see the difference between romantic fiction and life, she does not know how to distinguish a true feeling from a fake. She loves it. But her chosen one is only “serving his duty”: “And so I take the form of a lover // To please the daughter of such a man...”. And if Sophia had not accidentally overheard Molchalin’s conversation with Liza, she would have remained confident in his virtues.
On the other hand, Sophia unconsciously builds her life in accordance with generally accepted morality. In comedy the system female images presented in such a way that we see, as it were, the whole life path society lady: from girlhood to old age. Here is Sophia surrounded by six Tugoukhovsky princesses: young ladies of marriageable age, “on the threshold” of a secular career. Here is Natalya Dmitrievna Gorich - a young lady who recently got married. She takes her first steps, overcomes the initial stages of a secular career: she pushes her husband around, guides his opinions and “adapts” to the judgments of the world. And here are those ladies who form the “opinion of the world”: Princess Tugoukhovskaya, Khlestova, Tatyana Yuryevna and Marya Aleksevna. And, finally, the result of the life of a society lady is the comic mask of the countess grandmother: “One day I fell into the grave.” This unfortunate creature, almost crumbling as she walks, is an indispensable attribute of the ballroom... This is the successful, prosperous path of a society lady, which any young lady strives to accomplish - and Sophia too: marriage, the role of a judge in society drawing rooms, the respect of others - and so on until that moment when “from the ball to the grave.” And Chatsky is not suitable for this path, but Molchalin is simply ideal!
“You will make peace with him, after mature reflection,” Chatsky contemptuously throws at Sofya. And he is not so far from the truth: one way or another, next to Sophia most likely will be “a husband-boy, a husband-servant from his wife’s pages.” Sophia is, of course, an extraordinary person: passionate, deep, selfless. But all her best qualities received a terrible, ugly development - that’s why the image is truly dramatic main character"Fire from mind."
Best analysis The image of Sophia belongs to I. Goncharov. In the article “A Million Torments,” he compared her with Pushkin’s Tatyana Larina and showed her strength and weakness. And most importantly, I appreciated all the advantages of a realistic character in her. One characteristic deserves special attention: “This is a mixture of good instincts with lies, a lively mind with the absence of any hint of ideas and beliefs, confusion of concepts, mental and moral blindness - all this does not have the character of personal vices in her, but appears as general features of her circle.”
References
Monakhova O.P., Malkhazova M.V. Russian literature XIX century. Part 1. - M.-1994
Sofya Pavlovna Famusova - central female character comedies. Events unfold around her. Sophia is 17 years old, she was raised by her father and old lady Rosier. She lost her mother when she was very young. Sophia is very beautiful, smart, witty and quick-witted, but due to reading French novels, she is a little sentimental and romantic. She tries to live according to the laws of society: to appear exemplary and charming in the eyes of others.
Her image changes as the comedy progresses. Sophia is very resourceful, she quickly finds a way out difficult situations. She has a vulnerable nature, but a strong character. When Molchalin fell off his horse, she fainted, but when she woke up, she quickly came up with an excuse so that no one would guess about her feelings for the secretary. As soon as Chatsky spoke badly about her lover, she immediately took revenge on him by spreading a rumor about his madness.
I feel a little sorry for Sophia, since she turned out to be a victim: Molchalin betrayed her, Chatsky left, and her father is disappointed in her and is waiting for society’s condemnation. She just wanted to be happy, but she fell in love with the wrong person and could not immediately recognize his pitiful nature.