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Sophia is the main character of the comedy "Woe from Wit" by A. Griboyedov. This is the image that, from the moment the comedy was born, until today, has caused the greatest number of controversies, interpretations, and discrepancies. It is known that A. Pushkin believed: "Sophia is not clearly drawn ..." Nemirovich-Danchenko, on the contrary, spoke of the extreme accuracy and completeness of the image. But, perhaps, most of all the contradictions of Sophia's character were revealed by IA Goncharov in his famous article "Million of Torments". Goncharov says that "it is difficult to treat Sofya Pavlovna without being likable." This is an extraordinary nature. She has a lively mind, and passion, and firmness of character. It was not for nothing that Chatsky loved her and strove for her to Moscow. This man could only love an extraordinary nature. But Sophia grew up and was brought up in Famus society, this left its mark on her character: being a lively, active, dreamy nature, she, at the same time, is willful, stubborn, sometimes blind and full of prejudices. Maybe this made her get carried away with Molchalin. Although, it would seem, Chatsky is much more suitable for her. The question why Sophia fell in love with the insignificant Molchalin is asked by anyone who has read "Torah from Wit". Just want to blame the "French books", sentimental novels and wrong upbringing. But it's not only that.
Despite all her sentimentality, Sophia has a domineering, cool fatherly character. She can push around Molchalin, and this is flattering for her pride. It is no accident that Chatsky will later say about Molchalin:
Husband-boy, husband-servant, from wife's pages,The high ideal of all Moscow husbands.
Sophia attributes a lot of virtues to Molchalin: timidity, intelligence, humility, even the fact that he was "born in poverty." She is blind for some reason precisely in relation to Molchalin, in all other respects she is smart, calculating.
Sophia's sentimentality, cunning, hypocrisy and hypocrisy, instilled in her by upbringing, will then turn into cruelty and vindictiveness. It was these features repulsive from the heroine that made her spread the rumor about Chatsky's madness, and then take part in his persecution. And, meanwhile, this was the only person who was ready to honestly and unselfishly give her his heart and soul. Sophia didn't appreciate it. Until the last moment she clung to Molchalin and was severely punished, realizing that his feelings, his timidity and deference were feigned. Sophia accidentally witnesses how Molchalin pours out his feelings in front of Lisa. We must pay tribute to the honest servant: she does not give in to the courtesies of Molchalin.
Lisa is a classic type of Russian servant, a serf girl assigned to a young lady and selflessly devoted to her. This heroine is generally very attractive. She is quick-witted, active, always cheerful. She is also smart and observant. She gives correct and accurate assessments to many heroes of the comedy. So, about Famusov, she says: "He would like a son-in-law with stars, but with ranks." About Molchalin: "Bride Seeker". About Skalozub: "And the golden bag marks the generals." About Chatsky:
Who is so sensitive and cheerful and sharp,Like Alexander Andreevich Chatsky!
Life in Famusov's house did not corrupt Liza: she rejects the harassment of both Famusov and Molchalin. The limit of her dreams is the barman Petrusha. But, unlike her young lady, Lisa does not go blind with love and continues to think soberly. By the way, from the very beginning she foresees the denouement of the relationship between Sophia and Molchalin: "There will be no such good in love for ever and ever." Liza is on the side of Chatsky with her heart, although she continues to facilitate Sophia's meetings with Molchalin. No matter how much she wanted to bring Chatsky and Sophia closer together, she would still always stand on the side of her young lady and shelter her, no matter what she thought of. Liza constantly has to maneuver between "lordly anger" and "lordly love", which she wants to avoid "more than all sorrows." However, she will still pay for her loyalty. In the finale, the enraged Famusov knows neither leniency nor mercy, and declares Lisa to be the main culprit of the "conspiracy":
... you learned how to bring lovers together,Wait, I'll fix you:
Please go to the hut, march, go for birds.
As for Sophia, she was also punished. She learns about Molchalin's deception. And, we must give her due, she receives this news with dignity.
Sophia and Liza are two heroines strikingly different from each other. One is a young lady, the other is a servant; one is sentimental, the other is practical. In many situations, Lisa appears in a more favorable light than Sophia. Both heroines are equally interesting, but if Lisa is a characteristic image of a servant, then Sophia is not at all a characteristic young lady. It is not surprising, therefore, that critics evaluated it so differently. And only one similarity exists between Sophia and Lisa - these are two memorable and vivid portraits. In this, Lisa is in no way inferior to her young lady.
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, expresses dissatisfaction with the groom to her father. 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/
Continuing to look at the site, I often wonder who, in fact, are the positive characters here, and who are the negative ones? And I cannot give a clear answer to this question. It would seem that the most negative heroes, subsequently, do very good deeds, and the heroes, it would seem, are positive - quite the opposite.
Books Liza is a minor character in Griboyedov's comedy "Woe from Wit"
Liza is a servant and chargé d'affaires of the daughter of the owner of the house, Sofia Pavlovna Famusova. Liza is looked after: the owner's secretary Molchalin, the owner himself is Pavel Afanasyevich Famusov, but she is dearer to the servant, the barman Petrushka. The role played by Lisa is usually called subrettes - they are funny, roguish maids who keep the secrets of their mistress.
Source: Comedy "Woe from Wit"
Style: Characters from the comedy "Woe from Wit"
However, Lisa does not fit into the traditional scheme of such a role, her significance is greater. Of course, she is quick-witted and smart, these qualities help her mistress more than once. The role of Liza is more significant, since there is reasoning in her character: the ability to give characteristics to other characters: Famusov, Skalozub, Chatsky. She is not a wordless servant, but an active and thinking character. Moreover, against the background of characters suffering from an excess of intelligence, she looks like the only smart person.
Emphasizes the individuality of the character, which does not fit into the traditional framework, courage and readiness to object to the owner. Lisa skillfully ridicules and dodges the annoying courtship. She even reproaches Molchalin for baseness and tries to convince her. Showing the character of a rationalist, he asks Molchalin why he is showing ingratitude to the owner, "who feeds and gives water, and sometimes gives him a rank." It is the conversation between Molchalin and Liza that becomes the denouement of the whole comedy: as soon as seditious words from the secretary's mouth are heard, everything will collapse - the hopes of Sophia, the hopes of Chatsky, the veil from the eyes of Pavel Afanasyevich Famusov will fall.
Gone - Ah! give from the gentlemen;
They have troubles for themselves for every hour,
Pass us more than all sorrows
And lordly anger, and lordly love.
Your father came here, I froze;
Spun in front of him, I do not remember that I was lying.
You know that I am not flattering with interests;
Better tell me why
You and the young lady are modest, but from the rake in charge?
Well, people are on the side here!
She to him, and he to me,
And I ... I'm the only one who crushes love to death. -
And how not to fall in love with the barman Petrusha!
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/ / / The image of Lisa in Griboyedov's comedy "Woe from Wit"
Alexander Sergeevich Griboyedov wrote a comedy in the first half of the 19th century, which in many ways deviated from the classical canons. Her innovation was, first of all, in the way the author portrayed the heroes. They began to look more realistic, in the tradition of classicism this was not accepted. In addition, a significant difference was that Griboyedov endowed his characters with both negative and positive features. This simultaneous combination was also not typical of classic comedies.
Alexander Sergeevich invites readers to get acquainted on the pages of his famous play with the confrontation that was outlined at the beginning of the century 19. Two sides entered the conflict: the “past century”, the conservative-minded nobility with a familiar and understandable way of life, and the “current century”, young noblemen with progressive views. With such an image, the author needed to significantly increase the number of characters. Thus, the system of images became brighter and richer. Moscow society, depicted in the play Woe from Wit, is replete with a wide variety of characters.
It should also be noted that Griboyedov assigns a significant place to secondary heroes. Let's try to characterize one of them - the servant Lisa.
Despite the fact that her role is not the main one, Lisa is not in the last place in the gallery of female comedy images.
Her character is very interesting. The girl is distinguished not only by cunning, which so captivates the reader, but also by a deep, sharp mind. And how brightly and accurately she gives characteristics to the people around her. At this point it is impossible not to pay attention to Liza!
What is her main role in comedy? Firstly, the girl participates in the development of a love story between Sophia and Molchalin. It is she who becomes the debunker of the hero-lover. After all, he laments that the young lady attracts him less than the servant and admits that she loves Sophia only for the sake of profit, there is no talk of any true feelings.
It is also interesting that this hero is revealed from a completely different side in communicating with Lisa, because he behaves differently with Sophia, he seems to be wearing a mask, but here we already see his true face. And the real characterization is given to Molchalin by the servant: he is a rake, although he is modest in his treatment of the young lady.
The image of Lisa is not discredited in the pages of the play, although she is drawn into a love game. The girl has no will of her own, she is a servant, but she easily avoids all delicate situations. Liza is in love with the barman Petrusha and is true to her first timid feelings; she does not pay any attention to Molchalin's courtship.
The girl easily understands people, she seems to feel their nature and unmistakably determines what a person is in his true guise. The girl is sincere, knows how to listen and give useful advice, knows how to support any, even high society conversation.
The maid Liza is a minor character, but without her it is simply impossible to imagine the play "Woe from Wit".
Sophia and Liza in the comedy by A.S. Griboyedov's "Woe from Wit": two characters and two destinies.
Plan:
1.Introduction
2.Woman in society
a) gentlemen
b) maid
3. Sophia's personal drama
a) Sophia's views on others
b) fight for a loved one
c) blows of fate
d) the attitude of the servant to the masters
e) disapproval of the choice of a loved one by a mistress
4) Each has its own "million torments"
The comedy "Woe from Wit" is a great work of Russian realism. The plot of the play is simple. The collapse of the main love
heroes against the background of public life in Moscow. Social intrigue, as it were, frames love. A combination of two intrigues at all
stages of development of the plot gives significance and life credibility by the clash of characters. The comedy starts with
deception. Everything in Famusov's house is built on lies. But for Lisa, it looks like a cute cheat, which reflects her from the master
anger, and Sophia's lie guards the secrets of her heart. Sophia is forced to hide her love for Molchalin, not only out of fear
in front of her father: it hurts her when they see only prose in things for her poetic. The image of Sophia is very contradictory. In it
superficial sentimentality is combined with deep nature. Smart and independent, she prefers not Chatsky, but Molchalin,
despite the fact that Chatsky was her first love. Sophia's merits are admired by Chatsky. She is pretty
spiritually pure, ardent in heart and mind, different!
i am independent of judgment. Her speech reflects her well-mannered and well-read, the boldness of the judgments of a young lady, accustomed to
dominate. Sophia stands out for her proud, independent character. She is headstrong and capricious, even to some extent
crazy. She can be trusted when she says to Lisa: "What is the rumor to me?" or Molchalin "You know that I do not value myself."
However, differing in her independence of behavior and judgment, Sophia does not give a direct answer to Chatsky's questions. She answers him
coldly and ironically, trying to get away from frank confessions. Chatsky's persistence forces her to be more sincere. But
he doesn't want to take her hints. Chatsky's attempts to open Sophia's eyes to the insignificance of Molchalin lead to the fact that
being cruel by nature, Sophia evilly slanders him. Resenting Molchalin, she decided on a dishonorable act, on
chatsky's declaration of madness. Her involuntary betrayal becomes a deliberate revenge:
Ah, Chatsky! You love to play around as jesters,
Is it good to try on yourself?
But in fairness, it should be noted that Sophia, when she found out what Molchalin really was, did not hide
from the truth and did not break under its weight: she regained her sight in one minute. "Terrible person! I am ashamed of myself, of the walls. " In one
minute, proudly threw the despicable scoundrel away from herself, did not show "pity" when he was lying at her feet and kicked out.
Its position is dire in its hopelessness. Sophia rejected Molchalin, lost Chatsky, remained a toy in her hands
angry and did not understand anything father. Who knows if Sophia will be able to survive the resentment and come to terms with the Moscow circle,
choosing as their husbands a "low-worshiper and a businessman." Perhaps she will lock herself in offended pride, in distrust of everything
the world. Her fate is tragic, because she is not mediocre, she has a sharp mind, human dignity,
sincerity.
Lisa is a classic type of servant who arranges her love affairs for the mistress. She is a serf of the Famusovs, but in her own house
owners Liza is in the position of a servant-friend of Sophia. Lisa even took part in Sophia's adolescent fun and
Chatsky. Therefore, she is sharp on the tongue, she has free manners and freedom in dealing with Chatsky and Sophia. Since Lisa grew up
with her educated young lady, her speech is a mixture of common people and cutesy, so natural in the lips of a maid. This
half a young lady, half a servant plays the role of Sophia's companion. Liza is an active participant in comedy, she also cheats,
shielding the young lady, and laughs at her, avoiding the lordly courting Famusova says: “Let go, you windsweet
yourself, come to your senses, you are old people. " She recalls Chatsky, with whom Sophia was brought up together, regretting that the young lady
he cooled off. Molchalin is on an equal footing with Liza, trying to look after her until the young lady sees it.
She to him, and he to me,
And I ... I'm the only one in love that crushes to death.
And how not to fall in love with the barman Petrusha!
Fulfilling the instructions of her young lady, Lisa almost sympathizes with the love intrigue and even tries to reason with Sophia,
saying that "this good will not be in love." Sophia tells Lisa about her attitude towards Molchalin, but
the handmaid-thimblefucked her mistress out. Lisa, unlike Sophia, understands perfectly well that Molchalin is not her match
mistress, and that Famusov would never give Sophia as wife to Molchalin. He needs a son-in-law who has a position in society and
state. Fearing a scandal, Famusov will send Sophia to her aunt in the wilderness of Saratov, but after a while he will try
to marry a man of his circle. More brutal reprisals await the serfs. Famusov, first of all, plucks evil on
servants. He orders Lisa: "Please go to the hut, march, go for birds." And the doorman Filka threatens to be sent to Siberia:
"To work you, to settle you." From the mouth of the servant-master, the servants hear their own sentence.
Problems and tests on the topic "Sophia and Liza in the comedy by A. Griboyedov" Woe from Wit ": two characters and two destinies."
- Handling (general idea) - Text. Sentence. Collocation grade 3
Sophia and Liza in the comedy by A. Griboyedov "Woe from Wit": two characters and two destinies
The heroines of "Woe from Wit" - Sophia and Liza - seem to be involved only in the development of love intrigue and are not involved in the conflict between the "present century" and the "past century". Girls, on the one hand, are connected by the relations of a lady and a servant, which are quite typical for world drama. In the plays of Shakespeare, Beaumarchais, Moliere, we often come across a situation where an intelligent and resourceful servant helps her mistress to arrange her fate or find a way out of a difficult life situation. On the other hand, both girls are involved in complex love affairs. Sophia is crazy about Molchalin, her father's secretary, although she understands that it will be very difficult or almost impossible to arrange fate with him. Molchalin is a man without means and of noble birth, almost a servant. Sophia is in love with Chatsky, who returned to Moscow after a three-year absence, and Famusov wants his daughter to marry Colonel Skalozub. Molchalin, although he depicts love for Sophia, prefers Lisa, who, moreover, is the subject of encroachments by the owner of the house, Famusov. Liza loves the person of her circle - the barman Petrusha. Thus, the mistress and mistress are the heroines on whom the love affair rests.
Although Liza is only a servant in the Famusovs' house, she is an important character in the play; it is no accident that the author places it not at the end of the list of characters, as was customary to do, but immediately after Famusov and Sophia. In addition, Lisa is practically the main character of the first action. It is she who appears first on the stage, saves Soyu from her father's wrath and even sets the clock, thereby changing the action time:
I will translate the clock, even though I know: there will be a race,
I will make them play.
Both Lisa and Sophia are young beautiful girls. The author does not give specific descriptions; we can judge their external data only by the impression they make on others. So, Famusov, flirting with Liza, says about her: “Oh! potion, darling ", Molchalin also does not get tired of repeating about the beauty of the servant:" What your face! " But the main thing that catches the eye in the alleged image of Lisa is her liveliness and cheerful disposition. “You are a merry creature! Alive! " - the same Molchalin says to her.
Only the enamored Chatsky does not notice anyone except Sophia:
Yes, and now,
At seventeen you bloomed beautifully
Inimitable ...
He says absentmindedly to Famusov: "How Sofia Pavlovna has become prettier with you!" - and more than once then throughout the play repeats: "How good!" Molchalin is not at all seduced by Sophia's appearance: “I don't see anything enviable in Sophia Pavlovna,” he admits to Liza.
As for Sophia, her image is rightfully considered one of the most complex in the series of characters in Woe from Wit. One cannot but agree with Pushkin that it is "not clearly drawn." Sophia is not devoid of intelligence, but prefers Molchalin to Chatsky. Not being cruel, she goes to meanness, spread rumors about Chatsky's madness.
Of course, Sophia idealizes Molchalin. It seems to her that he is a man of a kind soul and positive qualities, only he "will make the family happy." Chatsky is right when he says to Sophia: "Admiring your qualities, you gave darkness to it." But her love, apparently, is quite sincere, and the girl herself has a warm heart and ardent nature. “What do I care about whom? before them? to the whole universe? " she says. Sophia lives with thoughts about the object of her passion, She understands that her father will not give her up for Molchalin, and is always preparing for the fight. Chatsky has known her for a very long time, and, believing in her mind, for a long time he cannot recognize the obvious fact that Sophia is falling in love with an insignificant person.
Skalozub's stupidity is obvious to her: “He hasn’t uttered a clever word ever.” And in Molchalin itself, she does not see the mind. Defending her lover, she says:
Of course, this mind is not in him,
What a genius for some, but for others a plague ...
Sophia is well-read, educated. Many of her remarks have become proverbs and sayings ("Happy hours are not observed", "I went into a room, ended up in another", "The hero is not my novel").
Sophia's problem, apparently, is not that she lacks intelligence, but that she does not know how and is not accustomed to think. She leads her life according to generally accepted standards. She is brought up by French novels. Reading stories about the love of a noble girl and a poor young man, or vice versa, she builds her relationship with Molchalin in accordance with them. Sofia takes humility, modesty and resignation for Molchalina for love. She does not even think that Molchalin is pretending. If Sophia had not happened to overhear the conversation of her chosen one with the servant, she would have remained confident in his love.
Sophia grew up in an atmosphere of immoral zaons of Famus society. That is why she so easily goes to meanness in relation to Chatsky, slandering him. This is a fairly typical way for light to solve its problems. Maybe Molchalin is good for Sophia: she appreciates his shyness and lack of individuality, because she needs a “husband-boy”, a “husband-servant” who indulges the whims of his wife, Moreover, it is through Sophia's mouth that Griboyedov expresses the attitude of society towards ordinary people, When Chatsky asks her if the Frenchman Guillaume is still married to some princess, then Sophia, as befits a young lady of her croix, throws with contempt: “Dancemaster! Is it possible! "
Lisa is completely different. Although she is a servant, she is sometimes, if not smarter than her mistress, then, at least, more reasonable. She has a sober look at everything. She repeats to the young lady that “there will not be this proa in love”, realizing that Famusov wants a rich husband for her daughter and “with the stars”. “And the golden bag, and marks the generals,” - this is how the witty Liza characterizes both Skalozub and the ideal of Famusov's son-in-law. She is also able to appreciate the merits of Chatsky:
Who is so sensitive and cheerful and sharp,
Like Alexander Andreevich Chatsky!
Lisa is well aware of her position in the house. Although she often acts as Sophia's friend, she nevertheless repeats more than once that she knows her place. She sees the difference in the position of her and her mistress when she notices that Molchalin is modest with the young lady, but with the maid as a playboy.
Who is Lisa - a semblance of a French sabrette or a Russian serf? Apparently, both.
She is a serf, but she grew up in the Famusovs' house in the position of Sophia's friend. That's where her free manners and liberty of dealing with Mrs. and Chatsky come from. She is a half-lady, half-servant and plays the role of the companion of the daughter of the owner of the house. The speech of her, a serf servant who for a long time grew up with her educated young lady, is a mixture of colloquial vernacular style with literary and bookish. Along with the peasant words ("passed", "an", "pokudova", "push"), with expressions inherent in the lackey environment ("from the young lady", "I dare"), she also uses explicit literary expressions, such as as "I ask to serve with a young lady in love", "what do you need a better prophet for?"
Lisa well understands the true state of affairs, while Sophia in love remains blind for a long time:
Well, people are on the side here!
She to him, and he to me,
And I ... I'm the only one who crushes love to death, -
And how not to fall in love with the barman Petrusha!
Lisa is constantly trying to reason with Sophia. She has repeatedly protected her from her father's wrath. However, Sophia shows her real attitude towards Lisa. “Listen, don't take too much liberty,” she says to her, indicating the abyss that lies between her and a simple servant. In the scene of Molchalin's fall from the horse, when Liza tries to reason with Sophia again, she in response hears a sharp rebuke from the young lady: “Which one of them do I value? // I want - I love, I want - I will tell. "
A sharp discrepancy in the position of the heroines is also manifested in how their future is shaped. At the end of the play, both Sophia and Liza await the verdict of the owner of the house, but their fate is too different. The innocent Liza, who grew up in the position of almost a friend of Sophia, is expelled to the poultry yard, that is, transferred to the category of servants, and even the lowest. “Please go to the hut, march, go for birds,” Fasmusov tells her. Sophia also faces exile. An angry father states:
You won't be in Moscow, you won't live with people:
Further away from these grips
To the village, to my aunt, to the wilderness, to Saratov.
However, the reader and the viewer understand that if for Lisa life is broken forever, then for Sophia everything will soon go on as before. The story of her love for Molchalin will be forgotten, and, most likely, Sophia will repeat the usual fate of all Moscow young ladies. “You will make peace with him, on reflection mature,” - Sophia Chatsky contemptuously throws. Apparently, he is not so far from the truth. Sophia will marry another taciturn and will live as is customary in a crooked and stupid world.
Sophia and Lisa, of course, are not ordinary natures. But the best qualities of Famusov's daughter are crushed, twisted by the whole way of her life in the world. And Liza is not at all the mistress of her own destiny. Here, Chatsky's monologue “Who are the judges?” Involuntarily comes to mind. Lisa is the same thing as those serfs, about whom the main character speaks with pain. Her life is an illustration of Chatsky's words about the powerlessness of serfs, and her fate will turn out as the owner decides. As for Sophia, she is unlikely to help her maidservant. Why would a successful Moscow lady (and she most likely will be such) keep before her eyes the witness of the sins of her youth?
Thus, both in the character and in the fate of the two heroines, the love and social lines are constantly intertwined. Sophia and Liza are not only the heroines of a love affair, their images are successfully woven into the “harsh picture of manners” that, according to Pushkin, was painted by Griboyedov.
Sophia and Liza in the comedy by A.S. Griboyedov's "Woe from Wit": two characters and two destinies.
One of the greatest works of the first half of the nineteenth century. The comedy of A.S. Griboyedov "Woe from Wit" appears in a comedy, the author has posed a number of the most important problems of his time, which to this day continue to worry mankind.
In this comedy there are a large number of characters, among whom there are also female characters. This is Sophia - the daughter of Famusov and Liza - their servant. The image of Sofia Pavlovna is complex. She is naturally endowed with good qualities: intelligence and independent character. She is capable of deeply experiencing and sincerely loving. For a girl of the noble circle, she received a good education and upbringing. The heroine is fond of reading French literature. Famusov, her father, says: "She has no sleep from the French books, but I have a painful sleep from the Russians."
But, unfortunately, all these positive character traits of Sophia could not be developed in the Famus society. This is how IAGoncharov wrote about it in his critical study “A Million of Torments” “it is difficult to treat Sophia not nicely. She has strong inclinations of a non-living nature, a lively mind, passion and feminine softness. She is ruined in the stuffiness, where not a single ray of light, not a single stream of fresh air penetrates. " At the same time, Sophia is a child of her society. She drew the idea of \u200b\u200bpeople and life from France of sentimental novels, and it was this sentimental literature that developed dreaminess and sensitivity in Sophia, she says about Molchalin: “He takes his hand, presses to his heart, sighs from the depths of his soul, not a free syllable, and so the whole night passes, hand in hand, and he does not take his eyes off me. " Therefore, it was not by chance that she drew attention to Molchalin, and with her features and her behavior reminded her of her favorite heroes. However, we can not say that the heroine blinded: it is able to evaluate the chosen sensibly and critically "of course, is not in him this mad, that the shadow of other, and for other plague, which is quick, brilliant and soon oprotivit ...
Sophia loves Molchalin, but hides this from her father, he, of course, would not recognize him as a son-in-law, knowing that he is poor. The heroine sees a lot of good in her father's secretary: "... compliant, modest, quiet, not a shadow of anxiety in her face, and no misconduct in her soul, strangers and at random, that's what I love him for."
Sophia also fell in love with Molchalin because she, a girl with character, needed a person in her life whom she could control. "The desire to patronize a loved one, poor, modest, who does not dare to raise his eyes to her, to raise him up to himself, to his circle, to give him family rights" - this is her goal, according to Goncharov.
Therefore, Chatsky, returning to Moscow and saw how Sophia changed under the influence of the environment, is very worried. It hurt him to see her like this after three years of absence, it was hard to realize that his beloved had chosen Molchalin. Sophia is also worried, but because of another. She involuntarily hears the conversation between Molchalin and Liza and suddenly sees her chosen one in a different light. She realized that in fact, Molchalin assumed the appearance of a lover only "to please the daughter of such a person." He needed Sophia only in order to take advantage of her influence at the right time. His goal was also to get a higher rank, therefore, according to the precepts of his father, he pleased: "all people without exception." Perhaps someday Sophia found out about the true intentions of Molchalin, and she would not have been so painful. But now she lost a man who was very suitable for the role of husband - a boy, husband - a servant. It seems that she will be able to find such a person and repeat the fate of Natalya Dmitrievna Gorech and Princess Tugouhovskaya. She did not need a man like Chatsky, but it was he who opened her eyes to everything that was happening. If Sophia had grown up in a different environment, she might have chosen Chatsky. But she chooses such a person who suits her best, because she does not think of another hero for herself, and in the end, according to Goncharov's remarks, “The hardest of all, harder even than Chatsky” is Sophia.
Griboyedov introduced the comedy heroine to us as a dramatic person. This is the only character who conceived and executed as a close Chatsky, but in the end, when Sophia becomes an unwitting witness to "courtship" Molchalin for Lisa, she was struck to the heart, it is destroyed. And this is one of the most dramatic moments of the play.
The role of Lisa in the comedy "Woe from Wit" is no less interesting. From the very beginning of the play, we see that Liza is not an ordinary person, she has a lively mind, cunning, insight that help her understand people well. She knows apt characteristics to other persons: Skalozub ("he is a spoken man, but it hurts not to be cunning"), to Chatsky ("who is so sensitive, and cheerful, and sharp"). Touching Lisa, each hero appears before us in his true face. Famusov, who is known for his "monastic behavior" in quietly dragging behind the servant, Molchalin, who loves the young lady "according to his position," also does not mind to chase Liza. It seems to me that the image of Liza is, as it were, the engine of the whole play, and if it were not there, then the denouement would be completely different. So, Lisa plays a crucial role in the development of the comedy plot.
In his comedy, Griboyedov managed to show not only the time in which he lives (1795-1829), but also created unforgettable female images that are interesting to both the modern reader and the viewer.
The play by AS Griboyedov “Woe from Wit” marks a victory in the work of the writer of realism, more precisely, critical realism. The play raises the most burning questions of the time: the position of the Russian people, serfdom, relations between landowners and peasants, autocratic power, insane waste of nobles, the state of enlightenment, the principles of upbringing and education, independence and freedom of the individual, national identity and the like. But the power of A.S. Griboyedov's talent was also reflected in the fact that almost any character in his brilliant play is a type
wide scale and portrait at the same time. In other words, each hero of the play, being a typical image, is at the same time a unique person. The drama that preceded Griboyedov had already created individual images, but their
individuality was revealed mainly one-sided, one-line, schematically, they most often expressed any one leading character trait. Developing your best achievements!
x predecessors, A.S. Griboyedov strove to portray his characters as complex as real people are.
The playwright breaks the laws of classicism comedies and introduces characters into the play, which are important not for the development of a love intrigue, but for the depiction of the social environment chosen by the playwright, its mores (images of Repetilov, Zagoretsky,
Tugoukhovsky). P. A. Katenin reproached A. S. Griboyedov for the fact that in his play “the scenes are connected arbitrarily,” but he answered him rightly: “Just like in the nature of any events, small and important.”
One of the most complex and contradictory characters in the play "Woe from Wit" is Sophia. In our opinion, IA Goncharov understood this image most subtly. In the article "Million of Torments", he first of all draws attention to the complexity of its
character. He speaks of the mixture in Sophia of "good instincts with lies", "a lively mind with the absence of any hint of conviction." "In her own, her personal physiognomy," wrote Goncharov, "something of her own is hiding in the shadows, hot, tender, even dreamy." Goncharov saw in her “the makings of a remarkable nature”. His conclusion is quite eloquent: "It was not for nothing that Chatsky loved her." Chatsky in the play addresses his speeches primarily to Sophia. It is Sophia that he considers his like-minded person. He is used to
to believe that she shares his views. This faith, at least in the first act, was not shaken in him by "no distance," "no entertainment, no change of places."
Chatsky's love for Sophia helps us understand one truth: the character of the heroine is in something important to match the hero. At seventeen years old, she not only "blossomed beautifully", as the admirable Chatsky says about her with love, but also shows
an enviable independence of opinion, unthinkable for people like Silent ling or even her father. It is enough to compare the Famusian "what will Princess Marya Aleksevna say!", The taciturn "after all, one must depend on others" and the remark
Sophia - “What is the rumor to me? Whoever wants to judge so. ”
Although in all this, perhaps, a significant role is played simply by that spontaneity, integrity of her nature, which allowed I. A. Goncharov to bring Griboyedov's heroine closer to Pushkin's Tatyana Larina: “... : both, as in sleepwalking, wander in infatuation with childish simplicity. "
For Sophia's father, the books are all evil. And Sophia was brought up on them. Most likely, it was precisely those that were available to the “district young lady”, Pushkin's Tatyana - Richardson, Rousseau, de Stael. According to them, most likely, Sophia constructed the ideal image that she sees in Molchalin.
The heroine of Griboyedov's play, in fact, receives only a hard lesson. She is depicted at the beginning of those trials that fall to her lot. Therefore, Sophia is a character that can still be developed and revealed “to the end” only in the future.
Already the first phenomena of the play depict a living, carried away, self-willed nature, promising by its behavior a drill, a different development of events. Let us recall Goncharov's words that in her “face hides in the shadows something of her own, hot, tender, even
dreamy ”. Griboyedov needed to outline these qualities of the heroine already in the first appearances of the play, before the main character was involved in the action. This was important precisely because, in contacts with him, Sophia nevertheless closes in herself, slips away, and the internal motivation of her actions may not be completely clear for the audience.
Her dream is extremely important for understanding the image of the heroine of the play. The dream told by Sophia contains, as it were, the formula of her soul and a kind of program of action. Here, for the first time, Sophia herself named those features of her personality that were so highly appreciated
I. A. Goncharov. Sophia's dream is as important for comprehending her character as Tatyana Larina's dream is for comprehending the character of Pushkin's heroine, although Tatyana actually dreams of her dream, and Sophia composes her dream. But she composes it in such a way that
both her character and her “secret” intentions are clearly visible in it.
“It is historically indisputable,” N.K.Piksanov rightly stated, “that the drama experienced by Sofya Famusova in the finale of the fourth act is in Russian literature ... the first and brilliant experience of artistic depiction of a woman’s mental life. Tatiana Larina's drama was created later. ”
Comparing Tatyana and Sophia, I. A. Goncharov wrote that “the huge difference is not between her and Tatyana, but between Onegin and Molchalin. Sophia's choice, of course, does not recommend her ... ”.
In Molchalin, she is fatally mistaken. That is what strikes her cruelly. Just like the main character, she also falls to the lot of her heart's grief, her “million torments.” Gradually getting involved in a kind of struggle with Chatsky, she
at some point, he loses the ability to feel the line that separates the sharp, irritated actions from the obviously dishonorable act. But maybe that is why she can be considered one of the most lively characters in comedy. Sophia is not
only a certain social type. not only a certain moral model, but also a bright personality
1.Introduction
2.Woman in society
a) gentlemen
b) maid
3. Sophia's personal drama
a) Sophia's views on others
b) fight for a loved one
c) blows of fate
d) the attitude of the servant to the masters
e) disapproval of the choice of a loved one by a mistress
4) Each has its own "million torments"
The comedy "Woe from Wit" is a great work of Russian realism. The plot of the play is simple. The collapse of the love of the main characters against the backdrop of the public life of Moscow. Social intrigue, as it were, frames love. A combination of two intrigues at all
stages of development of the plot gives significance and life credibility by the clash of characters. The comedy begins with deception. Everything in Famusov's house is built on lies. But for Lisa, it looks like a sweet cheat, which reflects her from the master
anger, and Sophia's lie guards the secrets of her heart. Sophia is forced to hide her love for Molchalin, not only out of fear of her father: it hurts when they see only prose in things for her poetic. The image of Sophia is very contradictory. It combines superficial sentimentality with deep nature. Smart and independent, she prefers not Chatsky, but Molchalin, despite the fact that Chatsky was her first love. Sophia's merits are admired by Chatsky. She is pretty
spiritually pure, ardent in heart and mind, different!
i am independent of judgment. Her speech reflects her well-mannered and well-read, the courage of the judgments of a young lady, accustomed to rule. Sophia stands out for her proud, independent character. She is headstrong and capricious, even to some extent
crazy. She can be trusted when she says to Lisa: "What is the rumor to me?" or Molchalin "You know that I do not value myself."
However, differing in her independence of behavior and judgment, Sophia does not give a direct answer to Chatsky's questions. She answers him coldly and ironically, trying to get away from frank confessions. Chatsky's insistence forces her to be more sincere. But
he doesn't want to take her hints. Chatsky's attempts to open Sophia's eyes to the insignificance of Molchalin lead to the fact that, not being cruel by nature, Sophia evilly slanders him. Resenting Molchalin, she decided on a dishonorable act, to declare Chatsky insane. Her involuntary betrayal becomes a deliberate revenge:
Oh, Chatsky! You like to dress everyone up as jesters, Is it pleasing to try on yourself?
But in fairness, it should be noted that Sophia, when she found out what Molchalin really was, did not hide from the truth and did not break under its weight: she saw her sight in one minute. "Terrible person! I am ashamed of myself, of the walls. " In one
minute, proudly threw the despicable scoundrel away from herself, did not show "pity" when he lay at her feet and drove out.
Its position is dire in its hopelessness. Sophia rejected Molchalin, lost Chatsky, remained a toy in the hands of an angry and did not understand anything father. Who knows if Sophia will be able to survive the resentment and come to terms with the Moscow circle,
having chosen as their husbands a "low-worshiper and a businessman." Perhaps she will lock herself in offended pride, in distrust of the whole world. Her fate is tragic, because she is not mediocre, she has a sharp mind, human dignity, sincerity.
Lisa is a classic type of maid who arranges her love affairs for the mistress. She is a serf of the Famusovs, but in the house of her masters Liza is in the position of a servant-friend of Sophia. Lisa even took part in the adolescent fun of Sophia and Chatsky. Therefore, she is sharp on the tongue, she has free manners and liberty in dealing with Chatsky and Sophia. Since Lisa grew up with her educated young lady, her speech is a mixture of common people and cutesy, so natural in the lips of a maid. This half-young lady, half-servant plays the role of Sophia's companion. Liza is an active participant in comedy, she is cunning, shielding the young lady, and laughs at her, avoiding the lordly courting Famusova says: “Let go, you windy
yourself, come to your senses, you are old people. " She remembers Chatsky, with whom Sophia was brought up together, regretting that the young lady had grown cold towards him. Molchalin is on an equal footing with Liza, trying to look after her until the young lady sees it.
She to him, and he to me, And I ... I alone am in love to death.
And how not to fall in love with the barman Petrusha!
Fulfilling the instructions of her young lady, Lisa almost sympathizes with the love intrigue and even tries to reason with Sophia, saying that "there will be no such good in love." Sophia tells Lisa about her attitude towards Molchalin, but the thimble-making maid is trying to frighten her mistress. Liza, unlike Sophia, understands perfectly well that Molchalin is not a match for her mistress, and that Famusov will never give Sophia to Molchalin as a wife. He needs a son-in-law with a position in society and a fortune. Fearing a scandal, Famusov will send Sophia to her aunt in the wilderness of Saratov, but after a while he will try
to marry a man of his circle. More severe reprisals await the serfs. Famusov first of all rips off evil on the servants. He orders Lisa: "Please go to the hut, march, go for birds." And the doorman Filka threatens to be sent to Siberia:
"To work you, to settle you." From the mouth of the serf-owner, the servants hear their own sentence.
The era of classicism lasted more than two thousand years in Europe - from antiquity to the early 19th century. During this not a short period, theorists and writers of classicism created the strictest and most detailed system of rules, which was considered mandatory
for every creator. The most rigid and well-known rules were related to tragedy and comedy. The public reacted quite strongly to the violation of these established canons, so few of Griboyedov's contemporaries understood his comedy "Woe
from the mind. " The work was so inconsistent with the usual ideas about comedy that even Pushkin saw in this a flaw, and not innovation. First of all, readers are accustomed to the "three oneness" rule. Undoubtedly, in "Woe from Wit"
the unity of place and time is observed, but the main thing - the unity of time - is not visible in any way. At least two storylines are visible in the comedy. First, the love triangle: the main character is Chatsky-Molchalin-Sofya Pavlovna. Secondly,
the story of the confrontation between the hero and the whole society, which ends with gossip about madness. These lines are connected, but still the plot is clearly “bifurcated”. Dubious
it seemed that the work had the right to be called a comedy. The plot itself should be comical, which is definitely not in the comedy, although it is full of funny remarks and many of the characters are described rather funny. In addition, according to the literary actions of Griboyedov's time, the positive heroes win, and the negative ones remain in the fools. As a result, there are no winners, and no one strives to win, and even more so there is no one to laugh at either. Nevertheless, the author of "Woe from Wit" did not set himself the task of destroying the poetics of classicism. His credo is creative freedom. Therefore in
in cases where the requirements of classicism limited its possibilities, not allowing to achieve the desired artistic effect, he resolutely rejected them. But not infrequently, it was the principles of classical poetics that made it possible to effectively solve an artistic problem. For example, Griboyedov skillfully used some of the private techniques of stage roles: the unlucky hero-lover, his sneaky rival,
a capricious and somewhat eccentric heroine, a servant - a confidant of her mistress, a deceived father, a comic old woman, a gossip. But even here Griboyedov makes his own adjustments.
These changes can be traced in the depiction of two female characters in the comedy "Woe from Wit". In general, the system of images in classicism was built hierarchically - like a ladder. So the servant could never become the object of description, she could not have her own opinion, but had to support the opinion of the mistress. In Jean Baptiste Moliere's comedy "The Bourgeois in the Nobility", which obeys all the canons of classicism, the servant Nicole is a kind of resemblance to Madame Lucille, only less educated and with a different circle of friends. Both girls are in love, only Lucille is in love with Cleonte, and Nicole is
his servant Koviel. They express the same thoughts, only in different ways. For example, in the scene of a quarrel between lovers, the acting, like an echo, repeats the words of the mistress, changing them. Lucille says, "Are you speechless, Cleont?" And Nicole repeats: "Have you lost your tongue, Koviel?" We can't even figure out if the servant is smart.
The female characters are depicted in a different way in the comedy "Woe from Wit" departing from classicism. In it, we can understand the life positions of both heroines. As in the above-mentioned work, Lisa is Sophia's faithful companion and friend. Maid
covers secret, but very chaste dates of his mistress from her father. She very quickly makes Famusov leave so that he does not suspect that there is a man in his daughter's room:
It's time, sir, you know you are not a child,
The girls have such a thin morning sleep,
You hide a little by the door, whisper a little:
Everyone hears ...
And the hostess herself was confused at the sight of Pavel Afanasyevich:
Allow me, father, my head is spinning
I can hardly catch my breath from fright;
You deigned to run in so quickly,
I was confused.
Suspecting his daughter's immoral behavior, he sets himself up as an example of "monastic" behavior, praising himself as the respectable father of the family, although we have just seen his flirtation with Lizonka. To which the servant uttered a phrase that in
later it will become a catch phrase:
Pass us more than any sorrow
And lordly anger, and lordly love.
The girl is smart, but with a practical mind, characteristic of everyday life, that is, cunning.
The second heroine drew worldly wisdom from novels and stories, because French books, to which Famusov murmured, French, dances - that's what became the education of the young lady. But for all its bookishness and its obvious comic
love is a feeling not characteristic of Famus society, the heroine gave herself to a man, not being seduced by either wealth or his nobility. She is so happy with her love that she is not afraid of exposure and possible punishment: "Happy hours are not observed." Also, Sophia, sincere and frank, cannot hide her love for Molchalin from those around her, and her story about the dream is transparent, especially since the situation when her father entered the young lady's room was very frank.
Molchalin is almost clearly the hero of the dream she told, she simply cannot immediately abandon her forgetfulness of music and love.
So, the heroine is completely immersed in her love, she is blinded by it. And Liza thinks sensibly, guided by the mind. She believes that there will be no good in Sophia's love!
forever and ever ", as the father would have wanted a son-in-law" with stars and ranks. " She likes Chatsky better: “Who is so
sensitive and cheerful and sharp. " But Sophia seems to be annoyed by the fact: "Listen, you don't take too much liberty." The young lady feels her power over the serf, there is some kind of lordly waywardness in her, despite the fact that she saved her from
father a few minutes ago. That is why we cannot attribute the heroine to the “present century”. Lisa, feeling her position, does not allow herself much. She admires Chatsky, but does not allow herself to fall in love with him - this is her life
wisdom, she does not give in to Molchalin as well, because she cannot help but "love the barman Petrusha." She knows her place in society, so she will be happy.
Sophia, as an inhabitant of the Famus society, had the same ideals as all its representatives. And one of the ladies' aspirations is "husband is a boy, husband is a servant, the ideal of Moscow husbands." She also likes to patronize a poor, humble person.
But in the finale, her love is replaced by contempt for Molchalin, she is tormented by a sense of conscience: "I myself am ashamed of the walls." She understands her self-deception, and sincerely repents. Sophia suffered a complete fiasco in her love, it is possible that the heroine will withdraw into
of offended pride, in distrust of the whole world. One way or another, her fate is tragic.
So, Griboyedov departs far from the established rules of classicism. Alexander Sergeevich used the techniques of classicism only as a "highlight", emphasizing the main thing - the individuality of the characters, the originality of their characters and positions.
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