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 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 in the comedy “Woe from Wit” is the most dramatic. Griboyedov, portraying the heroine, completely departs from satirical techniques. For him, the girl is a living person, and not a stereotyped image, like her father and other representatives of the world. Let's try to figure out why the writer, while elevating Sophia above others, still made her unhappy.
Characteristics of Sophia (“Woe from Wit”). Critics' opinions
Sophia is very close to Chatsky in her character and spiritual strength. Griboyedov put a lot of effort into creating this female image, however, critics of the time had a different opinion. So, P. Vyazemsky called her “a chald who has no feminine charm,” in addition, the publicist was confused by the morality of a girl who secretly meets with a young man and even receives him in her bedroom. N. Nadezhdin agreed with the last statement: “Sofya is the ideal of a Moscow young lady... with low feelings, but strong desires", which were "barely restrained by secular decency." Even Pushkin called Sophia Griboedov’s failure; the poet believed that she was “not clearly outlined.”
The role of Sophia in the comedy “Woe from Wit” has been underestimated for a long time. Only in 1871, Goncharov, in his article “A Million Torments,” wrote about the merits of the heroine and her huge role in the play. The critic even compared her to Tatiana Larina Pushkin. But the most valuable thing is that he was able to notice and appreciate the realism of Sophia’s character. Even her negative traits became in some way an advantage, as they made the girl more lively.
Drama heroine
Not a character in a social comedy, but a heroine domestic drama is Sophia. Griboyedov (“Woe from Wit”) was called an innovative playwright for his play for a reason. He was one of the first to manage to cross comedy and drama, and Sophia is direct proof of this. She is very passionate nature who lives only by strong feelings. This is her similarity with Chatsky, who is also unable to restrain his passion.
Molchalin’s wretchedness does not make the girl’s love funny; on the contrary, this situation only adds drama to her appearance. The characterization of Sophia (“Woe from Wit”) is based precisely on her affection. Only the viewer sees true face Molchalin, for the heroine he is an ideal. She appears as a girl capable of real feelings, who cannot pretend and does not want to.
Sofia and Molchalin - grief from love
We have decided that the image of Sophia in the comedy “Woe from Wit” is inextricably linked with Molchalin. Love for him determines all the heroine’s actions. She divides the world into two parts: Molchalin and others. Sophia constantly thinks about her lover, apparently that’s why she doesn’t notice what kind of people surround her.
The girl is in the grip of an incredibly strong first love. However, her feelings are not free and joyless. She understands well that her chosen one will never please her father. These thoughts seriously darken the girl’s life, but internally she is ready to fight for her love to the last.
Sophia's monologue (“Woe from Wit”), in which she confesses her feelings to Lisa, suggests that she is overwhelmed with them. What else could have pushed her to do this? a rash step? Even frankness with Chatsky is due precisely to the fact that Sophia’s mind is clouded by love. She loses all her common sense and loses her ability to reason. However, she herself believes that she treats Molchalin very critically and sensibly: “He doesn’t have this mind…”, but she immediately says that having a special mind is not necessary for family happiness. In her mind, her lover is quiet, gentle and uncomplaining. Sophia does not see that he is a scoundrel; this truth will only be revealed to her in the finale. The girl will witness how her beloved takes care of Lisa. This discovery literally destroys her. The episode is rightfully considered the most dramatic moment of the play.
Sentimental Novels and Women's Education
The image of Sophia in the comedy “Woe from Wit” is not only dramatic, but also in some way collective. Using her example, Griboedov shows the tragedy of girls from secular society. After all, what is the reason that she not only fell in love with a scoundrel, but also slandered Chatsky, who loves her? The author gives a direct answer to this question: “teach our daughters everything... and dancing, and sighing, and singing! It’s as if we are preparing them as wives for buffoons.”
That is, it says here that the girls, although they knew a lot and were trained, were preparing for only one thing - a successful marriage. And Sophia, like many, builds her life according to the generally accepted model.
On the other hand, she was also raised by books - French novels that keep her awake. The characterization of Sophia (“Woe from Wit”) gives us the opportunity to assume that Griboedov was trying to raise the problem of enlightenment and women’s education in Russia of his time.
Even the choice of Molchalin as a subject of admiration was largely due to sentimental novels that described the love of a noble girl and a poor young man (or vice versa). Sophia admired the courage and devotion of the novel's heroes. And she believed Molchalin to be the same book character.
The girl cannot separate reality from fiction, which is why her love ends so sadly.
Sophia and other female images
You can also consider the image of Sophia in the comedy “Woe from Wit” in the context of other secular girls and ladies. Using the example of other heroines, Griboyedov shows the path of a society lady, which Sophia strives to follow. It begins with young ladies of marriageable age - the Tugoukhovsky princesses. Then we see Natalya Dmitrievna Gorich, a recently married young lady. She learns to push her husband around, direct his actions and guide him. Here are the ladies who shape secular opinion - Khlestakova, Marya Aleksevna, Princess Tugoukhovskaya, Tatyana Yuryevna. At the end of their lives, a slightly comic image of the countess grandmother awaits them all.
Sophia's monologue (“Woe from Wit”), in which she extols the virtues of her lover and says that he is perfect for the role of a spouse, is indicative in this regard. Molchalin is truly the ideal candidate to make it a reality life path ladies of the world. While Chatsky is not at all suitable for this role.
Quotes from Sophia from the comedy “Woe from Wit”
The most famous sayings of the heroine:
- “Happy hours don’t watch”;
- “What is the rumor to me? Whoever wants, judges as he wants”;
- “You can share laughter with everyone”;
- “Not a man, a snake!”;
- “The hero... not of my novel.”
Let's sum it up
The characterization of Sophia shows us the drama of the heroine. “Woe from Wit” exposes and reveals the essence of many social phenomena, including the position of women in the author’s contemporary world. Sophia is an intelligent, extraordinary and passionate person who could make a worthy match for Chatsky. But upbringing and environment distorted these noble traits, in a sense disfigured the heroine and led to a dramatic ending. The role of Sophia in the comedy “Woe from Wit” is thus key and plot-forming.
THE IMAGE OF SOFIA IN A. S. GRIBOEDOV’S COMEDY “WOE FROM MIND”.
“Griboedov belongs to the most powerful manifestations of the Russian spirit,” Belinsky once said. Having died tragically at the age of thirty-four, Griboyedov undoubtedly did not create everything that he could have accomplished using his creative powers. He was not destined to realize numerous creative plans, 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 did his thing: he already wrote “Woe from Wit.” These words contain recognition of Griboyedov’s great historical service to Russian literature.
In “Woe from Wit,” Griboedov put forward the main social and ideological theme of his turning point - the theme of irreconcilable hostility between the defenders of the old, skeletal way of life and supporters of the new worldview, the new free life.
There's a lot in comedy characters- positive and negative, but I want to focus on the main character - Sofya Famusova. This girl belongs neither to the good nor to the bad. Griboyedov wrote unequivocally: “The girl herself is not stupid.” She is not yet such that the author could unconditionally call her smart, but she also cannot be classified as a fool. Otherwise, we will begin to contradict the author’s will, which is primarily expressed in the text of the play itself. Although it is the text that can put the reader in some difficulty. So, for example, when Pushkin first became acquainted with Griboedov’s play, the image of Sophia seemed to him to be drawn “not clearly.”
I want to try to understand her character. It itself is very complex. In Sophia, “good instincts and lies” are intricately intertwined. She has to dodge and lie so as not to betray her love to her stupid father. She is forced to hide her feelings not only because of 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 in some important way matches the main thing positive hero all comedy. At seventeen years old, she not only “bloomed charmingly,” as Chatsky says about her, but also shows an enviable independence of opinion, unthinkable for people like Molchalin, Skalozub, or even her father. It is enough to compare Famusov’s “what will Princess Marya Aleksevna say”, Molchalin’s “after all, you have to depend on others” and Sophia’s remark: “What do I hear? Whoever wants to, judges that way.” 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 at
In front of Skalozub and Chatsky, he runs screaming to Osip: “Ah! My God! fell, killed himself! - and she herself falls unconscious, without thinking about the impression of others.
Sophia is absolutely confident in herself, in her actions, in her feelings. Although in all this, perhaps, a significant role is played by the spontaneity and unspoiled nature of her nature, which allows us to compare her with Pushkin’s Tatyana Larina. But there is also a significant difference between them. Tetyana embodies ideal character Russian woman as Pushkin imagines her. Possessing highest degree positive qualities of the soul, she loves an extraordinary person, worthy of her in a number of qualities; Sophia’s chosen one, unfortunately, is different, but this is visible only to us and Chatsky. Sophia, blinded by Molchalin’s advances, sees only good things. .
At Sophia’s first meeting with Chatsky, she does not show the same interest in him, she is cold and not affectionate. This puzzled Chatsky a little and even upset him. In vain he tried to insert into the conversation the witticisms that had previously amused Sophia so much. They only led to Sophia’s even more indifferent and slightly angry answer: “Has it ever happened, through a mistake, in sadness, that you said something good about someone?” Until the end of the play, Sophia retains her proud opinion of Chatsky: “Not a man - a snake.” The next meetings between Sophia and Chatsky differ little from each other. But in Act 3, Chatsky decides to “pretend once in his life” 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 loses herself in her feelings, again without thinking at all about the consequences, which once again proves to us the strength of her character. To Chatsky’s question: “Why did you get to know 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 paints a full-length portrait of Molchalin, giving it the most rosy coloring, perhaps hoping in her soul to reconcile not only herself, but also others, with this love. But Chatsky naturally does not want to listen to Sophia. For him, Molchalin is a person not worthy of respect, much less the love of a girl like Sophia. We involuntarily think: what attracted Sophia to Molchalin? Perhaps his appearance or deep way of thinking? Of course not. The boredom that reigns in the Famusovs' house primarily affects the girl's young, trembling heart. The soul of the young and beautiful Sophia is filled with the 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 turns out to be nearby, he lives in the house. A young man of good appearance, moderately educated, quickly takes on the role of a lover and enchanted. Compliments, courtship, and Molchalin’s constant presence nearby do their job. A girl falls in love without being able to choose or compare.
The heroine, of course, has the hardest time at the end. She realizes that she was playing a game all this time. A game, but with real feelings. Sophia begins to see clearly and understands that own house full of deceit and intrigue. It was at this moment that all of Chatsky’s previous words begin to seem fair to her. Perhaps in the future our heroine will get married and live happily, not needing anything. But this one emotional drama forever a heavy imprint of youth on her heart.
It’s difficult to say for sure what kind of Sofya Pavlovna she is. Her image is complex and multifaceted. Nature did not deprive her of positive qualities. Sophia is quite smart, her character is strong and independent. Her warm heart doesn't let her stop dreaming. Sophia has long been accustomed to the fact that she is the mistress of the house, and everyone should feel this, which means obey. Perhaps this is because she has been raised without maternal love for a long time.
Sophia has independence and an authoritative tone, despite her young, seventeen-year-old age. Her speech even has a certain imprint of serfs, because she often communicates with them, but French books also left their mark. Sophia is concerned about people's emotional experiences. The girl was raised by French governesses.
Despite its positive features, in the Famusovs’ society, all this does not find development. Thanks to her upbringing, she has generally accepted views, thinks the same way as other representatives of this society, which instilled in her lies and hypocrisy. Sophia imagines people only from her observations of people from books, French novels. Probably, it was this literature that influenced the development of sentimentality and sensuality in her. From books, she emphasized all the traits that the hero of her novel should have. Thanks to all this, she turned her attention to Molchalin, who vaguely resembled the heroes from her favorite works. No other ideal could be found in this environment. Sophia lives with real feelings. Even if the object of her love is in fact pitiful and wretched, all this does not give the situation a comedic overtone. Rather, on the contrary, it gives more drama and sadness.
Sophia divided her world into two parts: the object of her adoration, Molchalin, and everything else. All her thoughts are occupied only with him, especially when he is not around. Despite everything, this love does not bring joy. Because the girl understands perfectly well that her father will never accept such a person. This thought makes her life unbearable. It is so difficult for Sophia to live with these feelings that she is ready to talk about her love completely to strangers. For example, Liza, the servant of their house, and then Chatsky. For her love, she chose a resigned man. This is exactly how she imagines Molchalin. But final scene, where Sofya Pavlovna witnesses Molchalin’s attention to Elizabeth. It breaks her heart, it hurts all her feelings. It becomes clear that although Sophia is breaking up with the unworthy Molchalin, the type of this man remains a priority for her.
Briefly for 9th grade
Essay Characteristics of Sophia in the comedy Woe from Wit
After Patriotic War 1812, when Russian troops reached Paris and “swallowed” freedom, Russian society split into two camps. Some wanted to continue living as before. This is Famusov, Skalozub. Others, in particular the younger generation represented by Chatsky, wanted to live in a new way.
Sophia found herself like a knight at a crossroads, not knowing who to choose. She was raised by Papa Famusov himself and a French madam in the best traditions of Moscow society. Dancing, singing, reading French sentimental novels - these are all the joys of her life. Having read books, she confused her girlish fantasies and the harsh reality of life. Sophia has her head in pink clouds and doesn’t understand people at all. She doesn’t like the stupid, albeit rich Skalozub, but she also likes the sarcastic Chatsky. She herself is sharp-tongued. Sophia wants a husband-boy, a husband-servant. Here Molchalin is the very hero of her fantasies. He is constantly silent, like a girl, shy, without conflict. The fact that Molchalin is not really like that eludes Sophia. Love, as usual, is blind and deaf.
But you can’t say about her that she’s stupid. She accurately notices the characteristics of the people around her. So Skalozub is a stupid soldier who knows nothing except the army. She doesn't want such a husband. The father is a grumpy old bore who tyrannizes his subordinates and servants. To take revenge on Chatsky for his caustic remarks towards Molchalin, she tells everyone that he is crazy.
This comedy is still relevant today. Many girls and women, having read smart books, horoscopes, and fortune telling, live in anticipation of their imaginary prince. They endow it with different qualities. A real people those that do not fit these patterns are simply ignored or rejected. But the trouble is, the desired prince does not want to be what the woman imagined him to be. He is a living person with his own shortcomings, sometimes very dubious - a womanizer, a drunkard, a gambler, a gigolo.
The moral of the comedy is this - you need to be more attentive to the people around you, accept them as they are, and not “drive” them into your framework and standards. Then there will be no grief from excess of mind.
The image of Sophia in the comedy Woe from Wit
Sophia is the heroine of Griboyedov’s story “Woe from Wit.” This girl is a very unusual character in Griboedov's story. She is both the product of lies and benevolence and strength, albeit only external.
Sophia is a girl who is the one from whom all the threads came, both the mood and the grief of many people. She, like a puppeteer, skillfully took advantage of their weaknesses, and strengths. She's a manipulator, to say the least. modern language. But at the same time, with these qualities and such character, Sophia - beautiful girl, who also knows how to use her appearance. She has many fans, and for good reason, because she is strong in this.
This girl is a strong personality who will not miss her goal. In addition, by nature, she is also very mocking, her sarcasm reaches many ears, she loves to make fun of her and tell some jokes. But she is not very cheerful, one can more accurately say that she knows how to speak sarcastically, her irony can both offend someone and make her an enemy.
Sophia grew up in a good family, rich, well-off, which did not know the costs of the strong in anything. That is why this girl is young and grew up to be a wealthy, bright and courageous person. She was not afraid of anything, and knew how to skillfully be a hypocrite and lie when necessary. And, to justify her, we can say that she is not entirely to blame for this, since such actions and character traits were not new at that time. That is precisely why she was like that, because she was brought up that way, raised in such an environment where it was impossible to be and act differently. Otherwise, it caused gossip and rumors, as well as contempt and ill will.
The comedy “Woe from Wit” gives examples of a person who is also the main character.
Option 4
A.S. Griboedov was a multifaceted personality. He had a unique talent as a diplomat and theatergoer. Alexander Sergeevich wrote poetry, poems, and played several instruments. He even composed music. Two waltzes by him have survived to this day. But Griboyedov entered the history of world literature as the author of one work. It was the comedy “Woe from Wit,” recognized by critics as immortal.
The play included three artistic directions: realism, classicism, romanticism. The traditions of the genre are combined with more modern trends. Social comedy, in its classical interpretation, assumes one-sided images of characters. Each of which exposes one particular vice. But “Woe from Wit” reveals to the reader the multifaceted personalities of the characters. Stupidity, absurd imitation of foreigners, martineting, servility, sycophancy, commercialism, lack of one’s own opinion, persecution of culture and education - the author reflected everything in his “living” characters.
The main conflict of the play is the confrontation between the “present century” and the “past century.” Only Alexander Andreevich Chatsky ends up in the first camp. Then, as in the second headquarters - almost everyone else.
Against the backdrop of public conflict unfolds love triangle. It doesn't look like the plot love story. There are two men, but neither one claims to be ideal. Chatsky, despite his intelligence and education, is harsh, not restrained in his speeches, and is not always tactful. Molchalin is low, mean, and unpleasant. But the heroine’s sympathies are on his side.
The young lady herself also doesn’t look like classic look. Sophia is the daughter of a major official. Pavel Afanasyevich is a manager in a state house, rich. She wants a bright future for her only child. The groom is necessary “in rank, and in the stars.” Neither Chatsky nor Molchalin meet these criteria. The father exclaims: “Whoever is poor is not a match for you!”
A.S. Pushkin wrote about Sophia that this is an unclear image, a poorly written character. But this is only at first glance. The young lady, throughout the text, plays the role of a buffer between the two worlds. She does not belong to the “Famus society”, although she was raised in it. But it cannot be counted among the “present century.” This is her key role. After all, in the end education wins.
Most guests of the Famusov ball wear speaking names. But Sophia has an expressive name, meaning “wise.” This is the author's irony.
The girl is not stupid. She has good upbringing. My father hired a “regiment of teachers.” But she lost her mother early, so no one was involved in the formation of her soul. Now the young lady is seventeen, she has “bloomed” and has become an enviable bride.
Sonya is brave and decisive. She finds it difficult to keep her love a secret. Not afraid of parental anger and public opinion. The young lady exclaims: “What do I care about rumors!”
She allows herself caustic, caustic, witty statements with Chatsky. But he tenderly worries about Molchalin. He faints when he falls from his horse.
The young lady grew up reading French novels. Therefore, he attributes all the virtues to his chosen one, drawing an ideal. Perhaps that is why the choice fell on the poor young man. After all, in sentimental books the lover is always no match.
The girl does not have any special spiritual beauty or virtues. But something about her attracts Chatsky, arousing love. Perhaps a strong character.
At the end of the story, Sophia realizes that her chosen one is a scoundrel. Blames himself for everything. But Chatsky is probably right. Another “sycophant and businessman” will appear, whom Sonya will marry.
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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, as a fan of 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, because “ evil tongues more terrible 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, 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”
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