The image of Sophia's grief from the mind is short. The image and character of Sophia in the comedy Woe from Wit - an artistic analysis. Griboyedov Alexander Sergeevich. Sentimental novels and women's education

WORSE FROM WITNESS

(Comedy, 1824; published with omissions - 1833; in full - 1862)

Sofia (Sofya) Pavlovna Famusova - the central female character of the comedy; 17-year-old daughter of the owner of the Moscow house in which the action takes place; after the death of her mother, she was brought up by "madama", the old Rosier, who, for the "extra" 500 rubles. moved as a teacher to another house. S.'s childhood friend was Chatsky; he also became the hero of her first adolescent "novel". But in the three years that Chatsky was absent, both S herself and her heartfelt affection changed. On the one hand, S. became a “victim” of Moscow habits and mores, on the other hand, a “victim” of the latest Russian (and Russoist) literature, the Karamzin literary school, on the other hand.

She imagines herself to be the sentimental heroine of a “sensitive” novel and therefore rejects both the overly sarcastic, not Moscow-like courageous Chatsky, and the traditionally Moscow fiance Colonel Skalozub, narrow-minded but rich (her father dreams of this party). Having “calculated” S. and skillfully playing the role of a Platonic admirer who is ready to sublimely be silent alone with his beloved until dawn, Molchalin, the obsequious secretary of his father, finds a corner in her heart and, in fact, took root in the Famusovs’ house.

In the end, everyone is dissatisfied with her. And Chatsky, who cannot believe that his S. is fascinated by such insignificance, and his father. One blames Moscow for everything with its retrograde influence, the other, on the contrary, explains everything by French influence, fashions of the Kuznetsk bridge and reading books. Both are right to some extent. Having no opportunity to develop mentally in the absence of Chatsky, S. imperceptibly becomes infected with the "Moscow" spirit - and at the same time replaces his personality with a conditional image of a fashionable heroine. She behaves either like Julia from Rousseau's novel, or like a Moscow gossip; and over that, and over the other "mask" the author of the comedy is ironic.

In the 1st village, Famusov finds Molchalin (who has just left the girls' room) in the living room with Sophia; to avert her eyes, S. invents a dream, as if she had dreamed it. Naturally, this dream is “built” according to the laws of a ballad in the spirit of Zhukovsky, whom Griboyedov condemned in print, and in place of the “creepy” ballad characters, completely inappropriate Famusov was substituted (“The floor has opened - and you are from there, / Pale as death , and a hair on end!") and Molchalin ("Here the doors were thrown open with a thunder / Some not people and not animals, / We were apart - and they tortured the one who was sitting with me"). Repeating the usual comedy "movement", Griboyedov makes S. clothe the ballad plot in an inappropriate size and style, in this case - a fable; and Famusova - to "quote" the finale of Zhukovsky's ballad "Svetlana": "Where there are miracles, there is little warehouse."

In the 2nd d., having learned about the fall of Molchalin from a horse, S. again behaves not like a well-bred young lady, but like a heroine in love with a novel - she faints: “I fell! Killed!" The more contrasting is her typically “Moscow” behavior in the 3rd day, during the ball, when S. viciously turns Chatsky’s rhetoric (“I can beware of madness”) against him and spreads the rumor about the insanity of the former lover. The romantic mask has been torn off, beneath it is the face of an irritated Moscow young lady.

And therefore, retribution awaits her, too, "double", literary and everyday. At the end of the comedy, love dope S will dissipate, the novel plot invented by her will collapse, and she herself will find out about her removal from Moscow. This happens on the 11th appearance, when S. accidentally becomes a witness to how Molchalin flirts with Lisa and speaks insultingly about herself. Immediately the father appears (“... and on end of a hair”), surrounded by servants with candles; a ballad dream comes true; Famusov promises his daughter to send her out of Moscow “to the village, to her aunt, to the wilderness, to Saratov”, and to remove Molchalin (“We are apart - and they tortured the one who was sitting with me”).

The image of Sophia and his role in the comedy by A.S. Griboyedov "Woe from Wit"

I. Introduction

The image of Sophia is one of the most complex in Griboedov’s comedy, it cannot be unambiguously assessed, as Pushkin pointed out (“Sophia is not clearly outlined ...”).

II. main part

1. The character of Sophia. Sophia is a rather mature, intelligent and independent girl. It is important that in the comedy she appears not at all the same as Chatsky remembers her. Sophia calls her relationship with him three years ago "children's friendship." Now Sophia has come out of this age, she has her own life and her own understanding of people.

2. Sophia's attitude towards Molchalin. From the first pages we learn that Sophia loves Molchalin. This love is incomprehensible to many: Liza compares Molchalin with Chatsky and prefers the latter, Famusov declares from the very beginning: “Whoever is poor is not a match for you.” The main thing is that Chatsky cannot believe this love: “With such feelings, with such a soul // We love! .. The deceiver laughed at me!”. Why does Sophia love Molchalin?:

a) about Sophia, one can say with the words of Pushkin: “The time has come, she fell in love”;

b) Sophia's feelings were obviously influenced by sentimental novels: as in them, she falls in love with an inconspicuous person who is no match for her;

c) Sophia's strong and domineering character requires just such a person: modest, quiet, obedient (see Sophia's conversation with Liza in the first act and the conversation between Sophia and Chatsky in the third act). Sophia is already thinking about the family and feels that Molchalin will be an ideal husband.

3. Sophia's attitude towards Chatsky. Firstly, Sofya Chatsky does not love and probably never seriously loved. Therefore, she does not feel guilty before him: “I am very windy, perhaps I acted, / And I know, and I am guilty; but where did you change? (first act). Secondly, Sophia, knowing the sharp and caustic mind of Chatsky, foresees from the very beginning that he will begin to ridicule Molchalin, and is not mistaken. In the life of Sophia Chatsky brings anxiety. Thirdly, Sophia does not need Chatsky either as a lover or as a husband. His mind, in particular, is not the kind that can “make the family happy” (For more details, see the plan on the topic “Who is smart in A.S. Griboyedov’s comedy “Woe from Wit”?”). For all these reasons, Sophia’s attitude towards Chatsky becomes clearly negative (“Oh, this person is always // The reason for me a terrible disorder”, “Not a man is a snake!”, “I’m glad to humiliate, prick, // Envious, proud and angry”). By the end of the third act, Sofya is already psychologically ready to take revenge on Chatsky one way or another. When an opportunity presents itself, she uses it (although not without hesitation) and provokes gossip about Chatsky's madness: “Ah, Chatsky! Do you like to dress everyone up as jesters, / Would you like to try on yourself?

4. The role of Sophia in the comedy is very significant, primarily for the development of the conflict and plot action. It is for her sake that Chatsky comes to Famusov's house, seeing her coldness, trying to understand why she is; in the future, she tries to “find out” who is dear to her, etc. It is she who strikes Chatsky and the last blow (“So I still owe you this fiction?”).

The role of Sophia is also important for posing the problem of the mind in comedy (For more details, see the plan on the topic “Who is smart in A.S. Griboyedov’s comedy “Woe from Wit”?”).

III. Conclusion

Sophia is one of the first realistic female characters in Russian literature. Therefore, it cannot be assessed unequivocally: this is not a “positive” and not a “negative” heroine, but a living person.

Searched here:

• the image of Sophia and his role in the comedy Woe from Wit
• the image of Sophia and his role in the comedy Woe from Wit essay
• the image of Sophia in the comedy Woe from Wit

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. Griboyedov with his comedy "Woe from Wit". This work is immortal. It has long been dispersed into quotes, and its heroes have become household characters.

Sofia Famusova is the main female character in the play. This is a seventeen-year-old girl with whom Chatsky is madly in love. Yes, 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, there are qualities in her that sharply distinguish this heroine from the Famusov circle. First of all, it is independence of judgment and contempt for gossip and public opinion. She says: “What is the rumor to me? Whoever wants, so judges ... "

I.A. Goncharov, in his article "A Million of Torments", described Sophia as "a mixture of good instincts with lies." Indeed, in this heroine there are traits that make her capable of both good and bad deeds. Sophia is self-willed, stubborn, but also capricious, and not very well-behaved.

Sofia Famusova is undeniably smart and observant. She perfectly knows the laws of the "famus" society, knows how to predict the actions of people. Therefore, this heroine manages to take revenge on Chatsky so cruelly. Sophia spreads gossip about his madness, knowing that real persecution will begin on her former lover. 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 up everyone in jesters,

Would you like to try on yourself?

We can say that Sophia in comedy is one of the most intelligent and 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 "wretched creature" was serious. But did Sophia not see the true essence of this hero? Indeed, in a conversation with Chatsky, she exalts the spiritual qualities of Molchalin to the skies:

of the most wonderful property

He is finally: compliant, modest, quiet.

Not a shadow of worry on your face

And there are no misdeeds in my soul,

Strangers and at random does not cut, -

That's why I love him.

But the heroine does not notice, "how the portrait comes out gone." Molchalin for Sophia is a romantic hero, the height of perfection. Therefore, in the second act of the comedy, when Molchalin falls from a 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 Alexei Stepanych:

Molchalin! How intact my mind remained!

After all, 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 it is no coincidence. Recall that the girl was fond of French novels, dreamed of her knight on a white horse. I think that in the person of Molchalin she found such a knight. Rather, she came up with it for herself, because there were no worthy young people surrounded by Sophia. She didn’t have to pay attention to Skalozub! It was clearly "not the hero of her novel."

So, Sophia chose Molchalin as her hero. She thought to herself that this was an ideal, "a model of moderation and accuracy." The girl does not even try to find out what Alexei Stepanych really is. Sophia does not notice his "vulgarity" and pretense. “God brought us together,” says the heroine. She likes to think like that, imagine herself the heroine of her favorite novels. She and Molchalin make them behave like romantic heroes: sit out all nights until morning reading books together, sigh for Sophia:

He takes his hand, shakes his heart,

Breathe from the depths of your soul...

Sophia completely surrenders to her feelings. For the sake of Molchalin, she goes to the violation of all decorum: love for a person from the lower class, night dates, etc. But the girl neglects the opinion of society, and this makes her a person of the “new generation”. After all, for the "fathers" there is nothing more terrible than the "opinion of Princess Marya Aleksevna."

Sophia lives in the world of her illusions. This confirms 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!”), She tries to hurt and humiliate Alexander Andreevich more painfully. So, she says to him: “What are you doing to me?” In relations with Chatsky, Sophia is just as "blind" and "deaf" as in relations with Molchalin.

At the end of the comedy, life makes Sophia see clearly. She finally sees the real face of Molchalin. In this difficult situation for her, the girl behaves very dignified. With contempt, she says to Molchalin:

Reproaches, complaints, my tears

Do not dare to expect, you are not worth them ...

Sophia realizes her self-deception. It is very difficult for her, but she only blames herself for everything. “All in tears,” Sophia says: “I blame myself all around.” In the final scenes of the comedy, the image of Sophia acquires tragic features. No wonder I.A. Goncharov said about this heroine that she had "harder than anyone else, even harder than Chatsky, and she gets "a million torments." Clever, well-read, but far from real life, the heroine endures her "woe from wit."

Sofia Famusova makes me sympathetic and sorry. It has many positive features and great potential. The girl craves true love, strong feelings. But she is surrounded by insignificant and unworthy people. It is difficult for her to resist such an onslaught alone. The girl strives to be happy, but no one can help her, give her advice, guide her on the right path. Therefore, the girl is forced to make mistakes on her own and correct them. What's in store for Sophia in the future? It seems to me that she will move into the camp of "children", who, like Sophia, have a great mind and a sincere heart.

Sofia Pavlovna Famusova is the central female character of the comedy. Events unfold around her. Sophia is 17 years old, she was raised by her father and old 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 bit sentimental and romantic. She tries to live according to the laws of society: in the eyes of others, to seem exemplary and charming.

Her image changes over the course of the comedy. Sophia is very resourceful, she quickly finds a way out of 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, spreading the rumor about his madness.

Sophia is a little sorry, since she turned out to be a victim: Molchalin betrayed her, Chatsky left, and her father is disappointed in her and is waiting for the condemnation of society. She just wanted to be happy, but she fell in love with the wrong person and could not immediately recognize his pathetic nature.

Sophia - who is she? It is this image of comedy that is considered the most complex and ambiguous. Even for the great Russian classic A.S. Pushkin's character of this heroine was not fully understood. “Sophia is not clearly inscribed ...” - this is how the poet A.A. wrote. Bestuzhev in 1825. Another Russian writer I.A. Goncharov discovered a certain duality in the image of Famusov's daughter. So, in the critical article "A Million of Torments" we see the following thesis: "This is a mixture of good instincts with a lie." On the one hand, the girl’s inquisitive mind is noted, on the other, spiritual “blindness”.

Note that the play by A.S. Griboedov is a realistic work (not devoid, however, of remnants of classicism and some romantic features). This means that characters cannot be spelled out unambiguously, there is no clear division of heroes into positive and negative. Thus, it turns out that Sophia occupies an intermediate position in comedy between Chatsky and the so-called Famus society. For the convenience of getting acquainted with the advantages and disadvantages of the heroine, we note her main features and thereby prove the inconsistency of Sophia.

The "pluses" of the heroine include independence, independence, freedom from public opinion. Sophia rejects any possibility of connecting her fate with Skalozub, a colonel who spent the entire battle in a trench and received an award for nothing. Although Sophia's father, on the contrary, considers Sergei Sergeyevich the best match for his daughter. Also in her favor is the need for true love and the ability to love, defending her choice in front of the whole world. So, Sophia tells Chatsky about Molchalin:

He is finally: compliant, modest, quiet.
Not a shadow of worry on your face
And there are no misdeeds in my soul,
Strangers and at random does not cut, -
That's why I love him.

In addition, the heroine has the ability to rebel against the traditions of the Famus environment. For example, Sophia rebels against her father's unshakable conviction: "Who is poor is not a couple for you". However, the girl does not oppose the ideological foundations of her contemporary world, like Chatsky, but only against class prejudices.

It is impossible not to note the strength of character, the courage of Sophia. Having been deceived in Molchalin, she is able to admit her mistake, to be punished: "I'm ashamed of myself, I'm ashamed of the walls" And "... I blame myself all around". It also speaks of her intelligence. As we know, the girl is inherent in education. From the maid Lisa, we learn that Sophia reads books at night.

The disadvantages of Sophia include the imperiousness of character and the desire to command. It is precisely because of these character traits that Sophia chooses the silent Molchalin: he is convenient for her, because he is "compliant, modest, quiet." In addition, the ability to lie, pretense, hypocrisy often wakes up in her - qualities inherent in representatives of the Famus society. Suffice it to recall how deftly Sophia told her father a fictional dream, which later turned out to be prophetic, in order to hide from him a nightly meeting with Molchalin. And the strongest arguments in favor of her depravity are vindictiveness and deceit. Sophia's weapon is gossip, a kind of public means of struggle in the Famus world. It is Famusova who spreads the rumor about Chatsky's madness.