The fate of sophia grief is from the mind. Sophia and Liza in the comedy A.S. Griboyedov's "Woe from Wit": two characters and two destinies. Sophia and other female images

Sophia and Liza in Griboyedov's comedy "Woe from Wit"

Female images in Griboyedov's comedy "Woe from Wit" play an important role in realizing the relevance and artistic originality of comedy. Sophia and Lisa are typical roles of classic comedy. But these images are ambiguous. They occupy an intermediate position in the character system. Liza is cunning, smart, quick-witted, i.e. her character meets the requirements of a classic comedy. She is a subret, participates in a love affair, and is a kind of reasoner, i.e. gives characteristics to some heroes. She also owns some catch phrases. Sophia, according to the laws of classicism, should have been an ideal character, but her image is ambiguous. On the one hand, she received the typical upbringing of 19th century girls. On the other hand, she is smart, has her own opinion.

Both Sophia and Liza have a lively mind. Sophia was brought up together with Chatsky, she is educated, has her own opinion. For example, he can appreciate the personality of the groom: “He hasn’t uttered a smart word for a while, I don’t care what is it, what is in the water”. Liza may not be as educated as Sophia, but she has a practical mind. She very accurately notes: "Pass us more than all sorrows and the lordly anger, and the lordly love."

Both are true. Sophia openly tells Chatsky that she does not love him, her father expresses dissatisfaction with the groom. Liza, openly, rejects the advances of Famusov.

Both are participants in a love story. Chatsky Sofya Molchalin Liza Petrusha.

Both have the same ideals of men - a silent man.

But, despite the fact that both of these heroines are young girls, their ideas about life are very different. Sophia is romantic. She grew up without a mother and was very fond of love affairs. Throughout the book, she imagines herself as the heroine of a French novel. When Molchalin falls from his horse, Sophia behaves like the heroine of a novel in love - she faints. “Fell! I was killed! " Sophia is naive, she believes that Molchalin really loves her. He appears to her to be timid, modest, gentle and intelligent. Lisa looks at life soberly. She is a simple servant and has seen a lot in her life. She understands people. Lisa understands perfectly well that Molchalin is only playing with Sophia for the sake of the position. She sees his prudence and cunning.

Their further fate will also be different. Sophia, most likely, will obey the rules of the Famus society and marry a rich groom pleasing to her father. Liza will marry a man of her circle, but for love.

Although Sophia and Liza are similar in some of their personal qualities, their different position in society and upbringing determine their different further fate.

List of references

For the preparation of this work were used materials from the site bobych.spb.ru/

Apr 05 2010

During the years of Chatsky's absence, it was with these qualities of her father that Sophia had to reckon: Yes, father will force you to think: Obese, restless, quick, This is always ...

Here it was necessary either to submit or to deceive: It happens worse, get away with it ...

Thus, in the years of her moral maturation, lies and fear gradually poisoned her soul. And Molchalin - here he is, every day by his side; he, too, suffers from the father ... On the other hand, the father protects Molchalin, brought him into his house. This is very transparent: Suddenly, dear, one of those whom we will see - as if we have known each other for a century, Appeared here with me; and insinuating, and smart, But timid ... you know, who is born in poverty ...

Molchalin ... And Chatsky? How did this "substitution" happen? Just because they lived under the same roof?

If you listen to the praises that Sophia lavishes on Molchalin, it is not difficult to notice that she is clearly opposing him to Chatsky. Molchalin

... compliant, modest, quiet ... He doesn't cut strangers at random ...

And she passes off Chatsky as a heartless and vain mocker who cannot even say good things about someone by mistake.

Which light scolds on the spot, So that the light at least says something about him ...

But this is a blatant lie! Therefore, during these three years she simply ceased to understand Chatsky. Why?

Here again it is necessary to remember the environment in which she lived without Chatsky. During these years, she began to go out into the world as an adult girl. And her, her mind could not fail to attract the attention of the Moscow gentlemen. They did not appear at the Famusovs' house: the evening was at home. But their messenger and involuntary denouncer came - true, as his own person, to the very journey. Probably, he didn’t belong to the number of secular red tape, if only because he was married. But the company to which he joined was mostly single. "The juice of smart youth" - this is how Repetilov certifies his friends. It is not difficult to imagine what kind of youth they were, since they tolerated such people as the same Repetilov in their midst.

The Chatskys appeared relatively recently, but they were more and more talked about in the world. Young Muscovites decided that the smart, bold conversations and speeches of the Chatskys were the latest fashion trend. According to ID Yakushkin, at that time "the free expression of thoughts was the property not only of every decent person, but also of everyone who wanted to seem like a decent person."

And now Sophia with her young, still not strong mind from the first steps in the world found herself among such windbags and self-righteous buffoons. She could not help but notice that the words and phrases sported by Repetilov's young friends - single and married - were similar to those that she had already heard from Chatsky's lips. And she began to think that secular scoffers are like-minded people of Chatsky, especially since they themselves hinted at this every now and then.

He and I ... we have ... the same tastes.

So, in Sophia's soul, the image of her noble friend began to gradually become clouded by impressions alien to his personality, and then completely, as it were, merged, merged with the masks of caricature imitations. And now, after the bitter experience of social life, she began reading with even greater fervor. And the most influential and widespread at that time was the sentimental one. It was in her that Sophia learned the ideal of a young man: modest, sensitive, intelligent, benevolent and selfless.

All this did not hide from the observation of Molchalin. Noticing her sentimental inclinations in Sophia, Molcha-lin, mocking the "deplorable krala" behind the eyes, as he knew how to adapt a mask of sensitivity to his vulgarly handsome figure, and achieved success!

He will take his hand, shake his heart ... Not a word of freedom ...

Chatskyall this was yet to be understood. The evasively mocking tone in which Sophia spoke to him somewhat puzzled him, but no more. He intended to determine his relationship with her, not coping with either the opinion of Moscow or the will of Famusov. That is why, to his question:

Sprayed the light: do you want to get married? -
Chatsky replied in the spirit of his optimistic convictions, apparently not even intending to offend his father's pride:
What do you need?
It was then that Famusov declared his rights:
It would not be bad for me to ask, After all, I am somewhat akin to her; At least from time immemorial it was not for nothing that they called him Father.

His victorious irony rests not only on the consciousness of his rights, but also on the confidence in the support of the entire Moscow society: "It was not for nothing that they called him father." That is why he immediately switches from an ironic intonation to an ultimatum. But maybe after the Famus hymn, it would be better for Maxim Petrovich Chatsky to end the argument - because of its complete uselessness? Maybe this is where the "throwing beads" started? Yes and no. For Chatsky, his views and beliefs were not only the property of his intellect, they were the basis of his personality and his sense of honor. After all, the dispute was about the choice of life, and Chatsky had to tell the father of his beloved that he would not deviate from his convictions in anything.

But what about matchmaking? Has Chatsky not forgotten in the heat of the dispute about the purpose of his visit? According to the logic of his reasoning, an argument with Famusov and even a quarrel with him could not drop him in the eyes of Sophia. On the contrary. It is even better if Sophia finds out about this from the lips of Pavel Afanasyevich: after all, Chatsky thinks, she never shared Father's views. Chatsky does not admit the thought that the clever Sophia could fall in love with Molchalin, who "was so stupid before," he took her fainting for an ordinary consequence of an unusually heightened sensitivity:

The idle thing worries her.
However, the most bitter tests were yet to come.

Need a cheat sheet? Then save - "The fate of Sophia in the comedy" Woe from Wit. " Literary works!

The main feature of the comedy lies in the interaction of two conflicts - love, the protagonists of which are Sophia and Chatsky, and socio-ideological, in which Chatsky faces conservatives.
Sophia is Chatsky's main plot partner; she occupies a special place in the comedy character system. The love conflict with Sophia involved the hero in a conflict with everyone in society, served, according to Goncharov, "as a motive, a reason for irritation, for that" million torments "under the influence of which he alone could play the role indicated to him by Griboyedov." Sofia does not take the side of Chatsky, but does not belong to Famusov's associates, although she lived and was brought up in his house. She is a closed, secretive person, it is difficult to approach her.
There are qualities in the character of Sophia that sharply distinguish her among the people of the Famus society. This is, first of all, the independence of judgments, which is expressed in her dismissive attitude to gossip and gossip: “What is rumor to me? Whoever wants to judge so. ”. Nevertheless, Sophia knows the "laws" of the Famus society

And don't mind taking advantage of them. For example, she deftly connects public opinion to take revenge on her former lover.
Sophia's character has not only positive, but also negative features. Goncharov saw “a mixture of good instincts with lies” in this image. Self-will, stubbornness, capriciousness, supplemented by vague ideas about morality, make her equally capable of good and bad deeds. After slandering Chatsky, Sophia acted immorally, although she remained, the only one among the guests gathered in the house of Famusov, convinced that Chatsky was a completely normal person.
Sophia is smart, observant, rational in her actions, but love for Molchalin, at the same time selfish and reckless, puts her in an absurd, comic position. In a conversation with Chatsky, Sofia exalts the spiritual qualities of Molchalin to heaven, she is so blinded by her feelings that she does not notice “how the portrait goes out of hand” (Goncharov).
Sofia, a lover of French novels, is very sentimental. She idealizes Molchalin, not even trying to find out what he really is, not noticing his "vulgarity" and pretense.
Sofia's attitude to Chatsky is completely different. She does not love him, therefore she does not want to listen, does not seek to understand him, avoids explanations. Sophia is unfair to Chatsky, considering him callous and heartless: "Not a man, a snake." Sophia ascribes to him an evil desire to “humiliate” and “prick” everyone, and does not even try to hide her indifference to him: “What do you want me for?”.
Sofia, the main culprit of Chatsky's mental anguish, herself evokes sympathy. In her own way, sincere and passionate, she completely surrenders to love, not noticing that Molchalin is a hypocrite. This love is a kind of challenge for the heroine and her father, who is anxious to find her a rich groom.
Sofia is proud, proud, knows how to inspire respect for herself. In the finale of the comedy, her love is replaced by contempt for Molchalin: “Do not dare to wait for reproaches, complaints, and my tears, you are not worth them.” Sophia is aware of self-deception, blames only herself and sincerely regrets. In the last scenes of Woe from Wit, not a trace of the former capricious and self-confident Sophia remains. The fate of Sophia, at first glance, is unexpected, but in full accordance with the logic of her character, it approaches the tragic fate of Chatsky, who was rejected by her. Indeed, as Goncharov subtly remarked, in the final of the comedy she finds herself “the hardest of all, even harder than Chatsky, and she gets it” a million of torments ”. The denouement of the love story of the comedy turned into grief for the clever Sophia, a life disaster.
The main character of the comedy, Chatsky, is viewed both in relations with representatives of the Famus society, and in relations in Sophia. That is why the image of Sophia plays an important role in the comedy.
Chatsky, who has been absent for three years, returns and notices that Sophia, his beloved girlfriend, has changed a lot - both internally and externally, and in relation to him, Chatsky. The scene of the meeting of former lovers is built by the author in contrast: Chatsky, lively, talkative, in a hurry to find out the news, and Sophia, answering numerous questions, at first reluctantly, then with irritation. Sophia's strange behavior does not hide from Chatsky:
Are you surprised? But only? Here's a trick!
As if not a week had passed;
As if yesterday together
We have no urine to each other.
Not a hair of love! Where are so good!
In this small dialogue, there is a tie-up of two main plots: Chatsky-Sophia and Chatsky - the Famus society. In a conversation with Famusov, in which he reveals his philosophy of life “and take awards and have fun living, Chatsky learns that Famusov does not marry Sophia because he has an enviable fiancé - Skalozub in mind. In this scene, you can see how Famusov pleases the guest in every possible way, and how dismissively refers to Chatsky, noting, however, that “he is a small head,” but he sees no point in the service.
This is where Chatsky's struggle for Sophia begins, the search for the person she loves. The desire to understand the girl's feelings leads to an exacerbation of the relationship between the hero and the environment. In conversations with the skalozub, Famusov, Molchalin, Chatsky does not hide his sharply negative attitude towards serfdom, rejects prejudices, passionately defends the ideals of justice, freedom, and enlightenment. The more he tries to understand. What happened to Sophia, the more the Famus society learns, and the more protests against it. Thus, the private line (Chatsky-Sophia) is complicated by a public collision, which becomes the leading one. The image of Sophia is a kind of spring driving the main conflict of the play.
However, the image is also valuable from the point of view of what happens to the person in Famus society. This girl is endowed with good qualities: she is smart, has a strong character. Sophia is inquisitive, reads a lot (her father notices that she has no sleep from French books), free from prejudices in love.
This girl is reluctantly cute. In Sophia, we are attracted by the ability to experience deeply and sincerely love. When the true face of Molchalin was revealed to her, she was able to admit her mistake and not lose her dignity, although she was unbearably painful.
Still, Sophia is a child of the Famus society. All the best qualities of her character cannot be developed in him. Therefore, Sophia was capable of meanness, having spoken about Chatsky, she did not see an unprincipled and immoral person in Molchalin.
In his work, Griboyedov managed to innovatively approach the genre of comedy.

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The main feature of the comedy lies in the interaction of two conflicts - love, the protagonists of which are Sophia and Chatsky, and socio-ideological, in which Chatsky faces conservatives.

Sophia is Chatsky's main plot partner; she occupies a special place in the comedy character system. The love conflict with Sofia dragged the hero into conflict with everyone in society, served, according to Goncharov, "as a motive, a reason for irritation, for that" million torments "under the influence of which he could only play the role indicated to him by Griboyedov." Sofia does not take the side of Chatsky, but does not belong to Famusov's associates, although she lived and was brought up in his house. She is a closed, secretive person, it is difficult to approach her.

There are qualities in the character of Sophia that sharply distinguish her among the people of the Famus society. This is, first of all, the independence of judgments, which is expressed in her dismissive attitude to gossip and gossip: “What is rumor to me? Whoever wants to judge so ... ”. Nevertheless, Sophia knows the “laws” of Famus society and is not averse to using them. For example, she deftly connects public opinion to take revenge on her former lover.

Sophia's character has not only positive but also negative traits. "A mixture of good instincts with lies" saw in this image Goncharov. Self-will, stubbornness, capriciousness, complemented by vague ideas about morality, make her equally capable of good and bad deeds. After slandering Chatsky, Sophia acted immorally, although she remained, the only one among the guests gathered in Famusov's house, convinced that Chatsky was a completely normal person.

Sophia is smart, observant, rational in her actions, but love for Molchalin, at the same time selfish and reckless, puts her in an absurd, comic position. In a conversation with Chatsky, Sofia exalts to the skies the spiritual qualities of Molchalin, she is so blinded by her feelings that she does not notice “how the portrait goes out of hand” (Goncharov).

Sofia, a lover of French novels, is very sentimental. She idealizes Molchalin, not even trying to find out what he really is, not noticing his "vulgarity" and pretense.

Sofia's attitude to Chatsky is completely different. She does not love him, therefore she does not want to listen, does not seek to understand him, avoids explanations. Sophia is unfair to Chatsky, considering him callous and heartless: "Not a man, a snake." Sophia ascribes to him an evil desire to "humiliate" and "prick" everyone, and does not even try to hide her indifference to him: "What do you want me for?"

Sofia, the main culprit of Chatsky's mental anguish, herself evokes sympathy. In her own way, sincere and passionate, she completely surrenders to love, not noticing that Molchalin is a hypocrite. This love is a kind of challenge for the heroine and her father, who is anxious to find her a rich groom.

Sofia is proud, proud, knows how to inspire respect for herself. In the finale of the comedy, her love is replaced by contempt for Molchalin: "Do not dare to expect my reproaches, complaints, tears, you are not worth them ...". Sophia is aware of self-deception, blames only herself and sincerely regrets. In the last scenes of Woe from Wit, not a trace of the former capricious and self-confident Sophia remains. The fate of Sophia, at first glance, is unexpected, but in full accordance with the logic of her character, it approaches the tragic fate of Chatsky, who was rejected by her. Indeed, as Goncharov subtly remarked, in the comedy finale she finds herself “harder than everyone, harder even than Chatsky, and she gets it” a million of torments. " The denouement of the love story of the comedy turned into grief for the clever Sophia, a life disaster.

The image of Sophia in the comedy "Woe from Wit" is the most dramatic. Griboyedov, portraying the heroine, completely departs from satirical devices. For him, a 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, lifting Sophia above others, still made her unhappy.

Characteristics of Sophia ("Woe from Wit"). Critics' opinions

Sophia is very close in character and spiritual strength to Chatsky. Griboyedov made a lot of efforts to create this female image, but critics of that time had a different opinion. So, P. Vyazemsky called her "a chalda that has no female charm", in addition, the publicist was embarrassed by the morality of a girl who secretly meets a young man and even takes him in her bedroom. N. Nadezhdin agreed with the last statement: "Sophia is the ideal of a Moscow young lady ... with low feelings, but strong desires," which "were hardly restrained by secular decency." Even Pushkin called Sophia Griboyedov's failure, the poet believed that she was "vaguely drawn."

The role of Sophia in the comedy "Woe from Wit" has long been underestimated. Only in 1871, Goncharov, in his article "Million of Torments", wrote about the heroine's merits and her enormous role in the play. The critic even compared her to Tatyana Larina Pushkina. 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 virtues, as they made the girl more alive.

Drama heroine

Sophia is not a character of a social comedy, but the heroine of a everyday drama. Griboyedov ("Woe from Wit") for his play was called an innovative playwright for a reason. He was one of the first who managed to cross comedy and drama, and Sophia is direct proof of this. She is a very passionate person who lives only with 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 characteristic of Sophia ("Woe from Wit") is based precisely on her affection. Only the viewer sees the true face of Molchalin, for the heroine he is the ideal. She appears as a girl capable of real feelings, who cannot pretend and does not want it.

Sophia and Molchalin - grief from love

We decided that the image of Sophia in the comedy "Woe from Wit" is inextricably linked with Molchalin. Love for him determines all the actions of the heroine. She divides the world into two parts: Molchalin and others. Sophia constantly thinks about her lover, apparently, that is why she does not notice what kind of people are around her.

The girl is at the mercy of an incredibly strong first love. However, her feelings are not free and joyless. She understands well that her chosen one will never like 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, says that she is overwhelmed with them. What else could have pushed her to this rash step? Even frankness with Chatsky is due precisely to the fact that Sophia's mind was clouded with love. She loses all her common sense and loses her ability to reason. However, she herself believes that she is very critical and sensible about Molchalin: “This mind is not in him ...”, but she immediately says that it is not necessary to have a special mind for family happiness. In her view, the beloved is quiet, soft and uncomplaining. Sophia does not see that he is a scoundrel, this truth will be revealed to her only in the final. The girl will witness how her beloved looks after Lisa. This discovery literally destroys her. The episode is rightfully considered the most dramatic moment of the play.

Sentimental romance and female education

The image of Sophia in the comedy "Woe from Wit" is not only dramatic, but also in some way collectible. Using her example, Griboyedov 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: “To teach our daughters everything ... and dances, and sighs, and singing! As if we are preparing buffoons to marry them. "

That is, it says here that the girls, although they knew a lot, and studied, prepared 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 brought up by books - French novels that do not give her sleep. The characterization of Sophia ("Woe from Wit") gives us the opportunity to assume that Griboyedov tried to raise the problem of enlightenment and women's education in Russia of his time.

Even the choice of Molchalin as an object of sighing was largely due to sentimental novels, which described the love of a noble girl and a poor young man (or vice versa). Sophia admired the masculinity and devotion of the novel's heroes. And she considered 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

It is possible to consider the image of Sophia in the comedy "Woe from Wit" in the context of other society girls and ladies. Using the example of other heroines, Griboyedov shows the path of a society lady, which Sophia seeks to go through. It begins with the young ladies of marriageable age - the princesses of the Tugoukhovsky. Then we see Natalya Dmitrievna Gorich, a newly married young lady. She learns to push her husband around, to direct and direct his actions. Here are the ladies who form secular opinion - Khlestakova, Marya Aleksevna, Princess Tugoukhovskaya, Tatyana Yurievna. At the end of their lives, a little comic image of the countess grandmother awaits them all.

Sophia's monologue ("Woe from Wit"), in which she extols the dignity of her lover and says that he is excellent for the role of a spouse, is indicative in this respect. Molchalin is indeed an ideal candidate to make the life of a lady of the world a reality. While Chatsky is not at all suitable for this role.

Sophia's quotes from the comedy "Woe from Wit"

The most famous statements of the heroine:

"Happy hours are not observed";
“What is rumor to me? Whoever wants to and judges ”;
“You can share laughter with everyone”;
"Not a man, a snake!";
"The hero ... not of my novel."

Let's sum up

The characterization of Sophia shows us the drama of the heroine. "Woe from Wit" denounces and reveals the essence of many social phenomena, including the position of women in the modern world for the author. Sophia is an intelligent, extraordinary and passionate person who could make a worthy couple for Chatsky. But the 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.