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Description of Sophia Pavlovna Famusova from Griboedov's comedy "Woe from Wit". The image and character of Sophia's characterization based on the comedy Woe from Wit (Griboedov A. S.) Sophia's mother Woe from Wit

THE IMAGE OF SOPHIA IN A. S. GRIBOYEDOV'S COMEDY "Woe From Wit".

“Griboyedov belongs to the most powerful manifestations of the Russian spirit,” Belinsky once said. Tragically dead thirty-four years old, Griboedov did not create, undoubtedly, everything that he could accomplish according to his creative powers. He was not destined to realize numerous creative ideas, 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 has done his part: he has already written Woe from Wit." These words contain recognition of Griboedov's great historical service to Russian literature.

In "Woe from Wit" Griboyedov put forward the main social and ideological theme of his turning point - the theme of irreconcilable hostility between the defenders of the old, bone life and supporters of a new worldview, a new free life.

There are many actors in the comedy - positive and negative, but I want to dwell on the main character - Sofya Famusova. This girl does not belong to the good, mi to the bad. Griboedov unequivocally wrote: "The girl herself is not stupid." Still not such that the author could unconditionally call her smart, but it is also impossible to classify her as a fool. Otherwise, we will begin to contradict the author's will, which is primarily expressed in the very text of the play. Although it is the text that can put the reader in some difficulty. So, for example, when Pushkin first got acquainted with Griboyedov's play, the image of Sophia seemed to him inscribed "not clearly."

I want to try to understand her character. It is very complex in itself. In Sophia, “good instincts with lies” are complexly intertwined. She has to dodge and lie in order not to give out her love to her close-minded father. She is forced to hide her feelings not only because of her 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 is in some important way to match the main positive character of the whole comedy. At seventeen, 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”, Molhollin’s “after all, you must depend on others” and Sophia’s remark: “What is rumor to me? Whoever wants, so judges. 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 she

in the eyes of Skalozub and Chatsky, he runs with a cry to Osip: “Ah! My God! fell, killed! - and she herself falls unconscious, not thinking about the impression of others.

Sophia is absolutely confident in herself, in her actions, in her feelings. Although in all this, perhaps, that immediacy, the unspoiled nature of her nature, which allows us to compare her with Pushkin's Tatyana Larina, plays a significant role. But there is also a significant difference between them. Tetyana embodies the ideal character of the Russian woman, as Pushkin imagines her. Possessing the highest positive qualities of the soul, she loves an outstanding person, worthy of her in a number of qualities; Sophia's chosen one, unfortunately, is different, but this is only visible to us and Chatsky. Sophia, blinded by Molchalin's courtship, sees only the good in him. .

At the first meeting of Sophia with Chatsky, she does not show the same interest in him, she is cold and not affectionate. This puzzled and even upset Chatsky a little. In vain did he try to insert into the conversation the witticisms that had previously amused Sophia so much. They only led to an even more indifferent and slightly spiteful answer from Sophia: “Did it happen by mistake, in sadness, that you said good things about someone?” Until the end of the play, Sophia keeps her proud opinion about Chatsky: “Not a man is a snake.” The next meetings of Sophia and Chatsky differ little from each other. But in act 3, Chatsky decides to "pretend once in a lifetime" 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 withdraws into her feelings, again completely without thinking about the consequences, which once again proves to us the firmness of her character. To Chatsky’s question: “Why did you recognize 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 draws a full-length portrait of Molchalin, giving it the most iridescent color, 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 who is not worthy of respect, and even more so the love of a girl like Sophia. We involuntarily think: what attracted Sophia to Molchalin? Perhaps his appearance or a deep way of thinking? Of course not. The boredom that reigns in the Famusovs' house is primarily reflected in the girl's young quivering heart. The soul of a young and beautiful Sophia is filled with a 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 is nearby, he lives in the house. A young man of not bad appearance, moderately educated, vividly enters into the role of a lover and enchanted. Compliments, courtship, the constant presence of Molchalin nearby do their job. A girl falls in love without being able to choose or compare.

The heroine, of course, is the hardest at the end. She realizes that she has been playing the game all this time. A game, but with real feelings. Sophia begins to see clearly and understands that her own house is full of deceptions and intrigues. It is at this moment that all Chatsky's previous words begin to seem fair to her. Perhaps in the future our heroine will marry and live happily without needing anything. But this emotional drama is forever a heavy imprint of youth in her heart.

One of the central characters of Griboedov's comedy "Woe from Wit" is the image of Sophia. The author himself characterized his heroine as follows: "the girl herself is not stupid." And the author gave the corresponding name to his heroine - Sofia, which means "wisdom". But the reader still feels the ambiguous attitude of the author to the heroine. And so our perception of Sophia is also ambiguous. "Who will guess you?" - to this question, asked by Chatsky, we must find the answer.

Chatsky loves Sophia, she is not like other Moscow young ladies. And the heroine of Chatsky loved, the young man left a significant mark on her soul, until now he is not indifferent to her.

But Sophia also has a “special imprint”, like all Moscow ones. She received the upbringing and education that society demanded. She developed a certain ideal of family life - Moscow. True, the formation of this ideal was also influenced by French novels about extraordinary love. For a long time, Chatsky was not near Sophia (he "did not write two words for three years"). But there was Molchalin, quite, from the point of view of the heroine, suitable for the role of a sweet, timid, timid lover.
The girl came up with a similar image for herself and "imposed it" on Molchalin. She did not like Molchalin as he really was, but Molchalin as she imagined him. I.A. Goncharov noted that this heroine "is not immoral: she sins with the sin of ignorance, blindness." Sophia is resolute, she is ready to fight for her happiness, which is why she invents her dream. The heroine is waiting for an opportunity to prepare her father for the thought of her marriage to Molchalin. What does her dream story remind us of? It feels the features of a ballad, so popular in the era of Griboedov: separation from a loved one, confrontation of the world, fantastic monsters ... “Everything is there, if there is no deception,” Famusov reacts to this dream.

Sophia is smart enough not to anger her father, she is cunning, deceiving, without feeling any remorse. She is sharp on the tongue, caustic.

I.A. Goncharov gave Sofya the following description: “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 is, as common features of her circle. In her own, personal physiognomy, something of her own is hiding in the shadows, hot, tender, even dreamy. The rest belongs to education.

The image of Sophia plays a very significant role in the comedy. It is connected with the beginning of the conflict of love, as well as the beginning of the conflict between the individual and society, which occurs in the episode of the conversation between Chatsky and Famusov about matchmaking, which turned into a conversation about the service.
The climaxes of these two conflicts coincide, and the point of coincidence is Sophia, who said in anger for Molchalin - "He's out of his mind." The heroine deliberately confirms Chatsky's madness:

Ah, Chatsky! You love to dress up everyone in jesters,
Would you like to try on yourself?

And the denouement is connected with Sophia. The girl sends Liza for Molchalin, hears, like Chatsky, their conversation. The appearance of Famusov brings both conflicts to their logical conclusion.

Sophia is the only one of the leading characters in the play whose actions are absolutely independent and do not depend on anyone else. Molchalin takes on the role of a lover and resignedly plays it. Famusov is in a state of some not yet quite definite suspicions in relation to Molchalin, and then to Chatsky, since Sophia put him in these conditions. Chatsky is stunned by the cold meeting and, due to his deepening love drama, reacts inadequately to any appeals to him from the characters of the play. Gossip about Chatsky's madness is also spreading among Famusov's guests at the suggestion of Sophia. Sophia here acts as a puppeteer, in whose hands the strings that actuate the puppets.

Speaking of Sophia, Goncharov wrote: “She, of course, is harder than everyone else, even harder than Chatsky, and she gets her “million torments”.”

The drama of Sophia is that she fell in love with the unworthy. The appearance of Chatsky confuses all the cards for her, but becomes a catalyst for the development of her relationship with Molchalin. Sofya is angry with Chatsky, because in her soul there is a vague feeling of Molchalin's incomplete correspondence to her ideal. But feminine pride spoke in her: they dared to condemn the object of her love. In addition, Sophia internally understands that Chatsky is right. This makes her especially sad. Why did her relationship with Chatsky worsen? Because of love. For everyone else, this is a social conflict, and for her it is a love conflict.

Why does Griboyedov say that Sophia had the hardest time of all? Yes, because her idyll of Molchalin's romantic love collapsed. But something else is also significant: the heroine is humiliated not only by the realization that she does not attract Molchalin at all. It is terrible that this happened in front of Chatsky.

Meanwhile, Sophia behaves very dignified and courageous. She finds the strength to admit that Molchalin is a scoundrel, and admits she was wrong:

Don't go on, I blame myself all around.
But who would have thought that he could be so insidious!

Sophia attracts us with her naturalness and simplicity, free from prejudice. She is endowed with a mind and a strong character, dreaminess and ardor. At the same time, she is a child of the Famus society, and therefore unconsciously acts and lives according to the same laws. That is why the girl was able to slander Chatsky.
Unfortunately, Sophia cannot marry a hero other than Molchalin. She needs a husband-boy, because she subconsciously strives for power. In a blind feeling of love, Sophia did not see that Molchalin needed her in order to use her influence.

Sophia is a magnificent female image in Russian literature. In the gallery of Russian female characters, she occupies a worthy place as an image of a strong person and a courageous, albeit naive girl.

Sofia Famusova- this is a real example of a good and decent girl. And the point is not at all in education, but in Famusova's personal convictions. Her character is firm and confident, but by no means can you call a girl callous. The heroine is smart, her intelligence manifests itself in many aspects. Sofia loves to dream. Often she dreams of things that will never happen. Famusova's solid character doesn't come out as much 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 do not watch." This is an incredibly clever statement that 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. Sophia received a good upbringing thanks to French governesses, who gave the girl the right upbringing. The fact that the heroine was quite close to the governesses is confirmed by her phrases, peculiar exclusively to French women. Let's say "tell you a dream" - such phrases are not characteristic of the Russian people. However, there were many vernaculars in Famusova's speech. For example, "to laugh." Such phrases, of course, did not emphasize the intelligence of the lady, but there were not so many of them in Sophia's speech.

Sophia, as a positive personality, was quite difficult to develop in the Famus society. The upbringing in this society was far from ideal. Lies, hypocrisy - for the surrounding people of 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 inherent in the circle of people in which the girl had to "spin" were abnormal. In part, the heroine was aware of this, in part - no. Still, society had a negative effect on the heroin. And as much as she did not want to deny all the qualities inherent in her society, some features went to the girl against her will.

When Chatsky stays in Moscow, he does not see his beloved in the girl. For three years, Sophia has not changed for the better. And the reason for this is the environment of the girl. 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 show her passion, but she was. Sophia is a real “living mind”, which is not characteristic of all the heroines of the work. Sophia also has a hard time, because she was touched by tragedy at the moment when she found out who her lover really is. Disappointment in a loved one was a serious blow for the girl, and all because of the conversation between Lisa and Molchanin, which Famusova decides to overhear, and, as it turned out, not in vain.

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.

One of the main characters of A. Griboedov's comedy, around whom all the main events develop, is a 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.

The inconsistency of nature

Sophia is the only person who is close to the intelligent and educated Chatsky, a character who opposes the society of conservatives and saints. Sophia became the cause of the suffering of the young nobleman, the source of gossip, the creator of intrigue. Such a combination in one image of two contrasts confirms its reality, which the author aspired to. A soulless, stupid secular beauty or, conversely, an educated, fascinated master's daughter would not have aroused so much interest. It is this inconsistency that can explain the strength of feelings that Chatsky, an ardent and eloquent young man, has for her. A rich bride, the real daughter of her father, she grew up in an environment of care and care, learned to find benefits for herself.

Sophia's appearance and hobbies

The girl is beautiful and young:

“At seventeen, you blossomed charmingly…”.

It is clear why no one is surprised by the number of gentlemen. Beauty attracts stiff (Skalozub), stupid (Molchalin), educated (Chatsky) suitors. The windy young lady does not value her 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 a taste and helped develop her individuality. Home education allowed Sophia to become versatile and interesting:

  • can sing;
  • gracefully dances;
  • loves and understands music;
  • plays several musical instruments (piano, flute);
  • knows French;
  • reads books in a foreign language.

The girl is trained in women's "tricks": sighs, tenderness, cunning tricks.

Qualities that bring Sophia closer to her father's society

Desire to rule. 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 her husband and servants by the hair. Power in the family is the desire of the girl, perhaps still hidden even for her. But it will take a very short period of time, she will understand what she is striving for. In comedy, there is an analogy with the Gorich couple, where the wife disposes of her husband like a thing, turns the other half into a weak-willed creature:

"husband-boy, husband-servant, from the wife's pages ...".

Immorality. Some literary critics (P.A. Vyazemsky) consider the girl immoral. One can argue with such a position, but there is also an element of truth in it. If it is logical to build Sophia's day, which passed before the readers, then the picture will not be very beautiful: a night in the bedroom with a man, pretends to be sick during the day, but asks the maid to bring Molchalin to her, secretly sneaks to his room at night. Such behavior is shameless. He cannot be compared to modest, secretly suffering for his beloved characters of classical literature. No secular decency does not hold back the master's daughter.

Qualities that distinguish her from her father's environment

The girl loves to read, 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 can change their attitude to life. Sophia is passionate about novels. She is looking for prototypes of heroes in reality and is mistaken. The girl becomes a victim of deceit and lies, having considered the features of a romantic handsome man in Molchalin. Other qualities that distinguish her among secular ladies:

Courage. Sophia is not afraid to confess her feelings to her father. She is ready for the sake of her beloved to unite herself with a poor servant. The girl is not even afraid of possible rumors and gossip.

Determination. The girl stands up to protect her feelings, feeling a threat from Chatsky. She takes revenge for ridiculing Molchalin. And does not choose ways softer. Sophia resolutely spreads the idea of ​​the madness of a childhood friend, without even considering his feelings for her.

Credulity. Having fallen under the spell of Molchalin, 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, becomes ridiculous.

Frankness. Sophia talks openly, builds a speech, not afraid to talk and dream. The owner's daughter is not characterized by secrecy, deceit, ornate thoughts.

Pride. All the behavior of the girl shows her respect for herself. She carries herself with dignity, knows how to get away from the conversation in time, 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 impregnability. Molchalin's phrases were correctly perceived by Sophia. She is embittered and harsh.