Woe from mind Lisa and Sophia. Describe Lisa from the work Woe from Wit? The image of Sophia in the comedy Woe from Wit

Sophia and Lisa in the comedy by A.S. Griboyedov “Woe from Wit”: two characters and two destinies.

One of the greatest works of the first half of the nineteenth century. The comedy “Woe from Wit” by A.S. Griboedov is a comedy in which the author posed a number of the most important problems of his time, which continue to concern humanity to this day.

This comedy has a large number of characters, including female characters. This is Sophia, Famusov’s daughter, and Lisa, their maid. The image of Sofia Pavlovna is complex. By nature, she is endowed with good qualities: intelligence and independent character. She is capable of deeply experiencing and sincere love. For a girl of the noble circle, she received a good education and upbringing. The heroine enjoys reading French literature. Famusov, her father, says: “French books make her sleepless, but Russian books make it painful for me to sleep.”

But, unfortunately, all these positive character traits of Sophia could not be developed in Famusov’s society. This is how I.A. Goncharov wrote about it in his critical sketch “A Million Torments”: “It’s hard to be unsympathetic to Sophia. She has strong inclinations of an unconventional nature, a lively mind, passion and feminine softness. It 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 her idea of ​​people and life from sentimental novels in France, and it was precisely this sentimental literature that developed Sophia’s dreaminess and sensitivity; she says about Molchalin: “He will take your hand, press it to your heart, sigh from the depths of your soul, not a free syllable, and so the whole night passes, hand in hand, and he doesn’t take his eyes off me.” Therefore, it was not by chance that she drew attention to Molchalin, but with his features and behavior he reminded her of her favorite heroes. However, it cannot be said that the heroine is blinded: she is able to evaluate the chosen one sensibly and critically “of course, he does not have this mind that is a shadow for others, and for others a plague, which is quick, brilliant and will soon become disgusting...

Sophia loves Molchalin, but hides it 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 things in her father’s secretary: “... compliant, modest, quiet, not a shadow of anxiety in his face, and no offenses in his soul, he doesn’t cut strangers at random - that’s why I love him.”

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 elevate him to himself, to his circle, to give him family rights” - this is her goal, according to Goncharov.

Therefore, Chatsky, having returned to Moscow and saw how Sophia had changed under the influence of her environment, was very worried. It hurt him to see her like this after a three-year absence; it was hard to realize that his beloved had chosen Molchalin. Sophia is also worried, but because of something else. She involuntarily hears Molchalin’s conversation with Liza and suddenly sees her chosen one in a different light. She realized that in fact Molchalin took on the appearance of a lover only “to please the daughter of such a man.” He needed Sophia only in order to take advantage of her influence at the right moment. His goal was also to get a higher rank, so he, according to the behests of his father, pleased: “all people without exception.” Perhaps someday Sophia would find out about Molchalin’s true intentions, and she wouldn’t be so hurt. But now she has lost a man who was very suitable for the role of a husband - a boy, a 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 Tugoukhovskaya. She didn’t need a person 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 the person who suits her best, since she cannot imagine another hero, and in the end, according to Goncharov’s remark, “Heardest of all, heavier even than Chatsky,” it is Sophia.

Griboyedov introduced us to the heroine of the comedy as a dramatic person. This is the only character who is conceived and executed as close to Chatsky, but in the finale, when Sophia becomes an involuntary witness of Molchalin’s “courtship” of Liza, she is struck to the very heart, she is destroyed. And this is one of the most dramatic moments of the play.

No less interesting is the role of Lisa in the comedy “Woe from Wit”. From the very beginning of the play we see that Lisa is not an ordinary person, she has a lively mind, cunning, and insight that help her understand people well. She knows the apt characteristics of other people: Skalozub (“speaking, but painfully not cunning”), Chatsky (“who is so sensitive, and cheerful, and sharp”). Coming into contact with Lisa, each hero appears before us in his true face. Famusov, who is “known for his monastic behavior,” quietly trails after the maid, Molchalin, who loves the young lady “by position,” is also not averse to hitting on Liza. It seems to me that the image of Lisa is, as it were, the engine of the entire play, and if it had not been there, the outcome would have been completely different. Thus, Lisa plays a vital role in the development of the plot of the comedy.

In his comedy, Griboedov managed to show not only the time in which he lives (1795-1829), but also created unforgettable female characters that are interesting to both the modern reader and viewer.

A. S. Griboyedov’s play “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 that time: the position of the Russian people, serfdom, the relationship between landowners and peasants, autocratic power, the insane wastefulness of the nobles, the state of enlightenment, the principles of upbringing and education, independence and personal freedom, national identity and the like. But the strength of A. S. Griboedov’s talent is also reflected in the fact that almost any character in his brilliant play is a type

wide scale and at the same time a portrait. In other words, each hero of the play, while representing a typical image, is at the same time a unique personality. The dramaturgy that preceded Griboedov had already created individual images, but they

individuality was revealed predominantly one-sidedly, unilinearly, schematically; they most often expressed one leading character trait. Developing your best achievements!

x predecessors, A. S. Griboyedov sought to portray his heroes as complex as real people are complex.

The playwright breaks the laws of classicism comedies and introduces characters into the play who are important not for the development of a love affair, but for depicting the social environment chosen by the playwright, its morals (the characters of Repetilov, Zagoretsky,

Tugoukhovskikh). P. A. Katenin reproached A. S. Griboedov for the fact that in his play “the scenes are connected arbitrarily,” but he rightly answered him: “The same as in the nature of all events, small and important.”

One of the most complex and contradictory characters in the play “Woe from Wit” is Sophia. In our opinion, I. A. Goncharov understood this image most subtly. In the article “A Million Torments,” he first of all draws attention to the complexity of its

character. He talks about Sophia’s mixture of “good instincts with lies,” “a lively mind with the absence of any hint of conviction.” “In her own, personal physiognomy,” wrote Goncharov, “hiding in the shadows is something of her own, 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.” In the play, Chatsky addresses his speeches primarily to Sophia. He considers Sophia his like-minded person. He is used to

trust that she shares his views. This faith, at least in the first act, was not shaken in him by “neither distance,” “neither entertainment nor change of place.”

Chatsky’s love for Sophia helps us understand one truth: the character of the heroine is in some important way comparable to the hero. At seventeen years old, she not only “bloomed charmingly,” as the lovingly admiring Chatsky says about her, but also shows

an enviable independence of opinion, unthinkable for people like Molchalin or even her father. It is enough to compare Famusov’s “what will Princess Marya Aleksevna say!”, Molchalin’s “after all, you have to depend on others” and the remark

Sophia - “What do I hear? Whoever wants to, judges that way.”

Although in all this, perhaps, a significant role is played simply by that spontaneity, the unspoiled nature of her nature, which allowed I. A. Goncharov to bring Griboyedov’s heroine closer to Pushkin’s Tatyana Larina: “...She in her love is just as ready to give herself away as Tatyana : both, as if sleepwalking, wander in fascination with childish simplicity.”

For Sophia's father, everything in the books is 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. Based on them, most likely, Sophia constructed the ideal image that she sees in Molchalin.

The heroine of Griboyedov's play, in fact, receives only a tough lesson. She is depicted at the beginning of the trials that befall her. 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, captivated, willful nature, promising with its behavior a storm, a different development of events. Let us remember Goncharov’s words that in her “face there is something of its own hiding in the shadows, hot, tender, even

dreamy.” Griboedov needed to outline these qualities of the heroine already in the first scenes of the play, before the main character gets involved in the action. This was important precisely because in contacts with him, Sophia still withdraws into herself, slips away, and the inner motivation of her actions may not be completely clear to 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 unique program of action. Here, for the first time, Sophia herself named those traits of her personality that she valued so highly

I. A. Goncharov. Sophia's dream is as important for understanding her character as Tatyana Larina's dream is important for understanding 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 very clearly visible in it.

“Historically, it is indisputable,” N.K. Piksanov rightly stated, “that the drama experienced by Sofia 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. Tatyana 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. This is what hits her hard. Just like the main character, she also has her share of heartbreak, her “millions of torments.” Gradually being drawn into a kind of struggle with Chatsky, she

at some point, he loses the ability to sense the line that separates prickly, irritated actions from an obviously dishonest act. But maybe that’s why she can be considered one of the liveliest comedy characters. 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 towards the masters

e) disapproval of the choice of the beloved by the mistress

4) Each has its own “millions of 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 background of the public life of Moscow. Social intrigue, as it were, frames love. A combination of two intrigues at all

The stages of plot development are given significance and life-like plausibility by the clash of characters. Comedy begins with deception. Everything in Famusov's house is built on lies. But for Lisa it looks like a sweet trickery, which reflects her from the lordly

anger, and for Sophia lies protect the secrets of her heart. Sophia is forced to hide her love for Molchalin, not only out of fear of her father: it hurts her when in things that are poetic for her they see only prose. 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 her first love was Chatsky. Sophia's virtues evoke Chatsky's admiration. She's pretty

mentally pure, ardent in heart and mind, different!

I have independent judgment. Her speech reflects her upbringing and erudition, the boldness of judgment of a young lady accustomed to power. Sophia stands out for her proud, independent character. She is willful and capricious, even to some extent

crazy. You can trust her when she says to Lisa: “What do I hear?” or Molchalin “You know that I don’t value myself.”

However, distinguished by 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 avoid frank confessions. Chatsky's persistence forces her to be more sincere. But

he does not want to understand her hints. Chatsky’s attempts to open Sophia’s eyes to Molchalin’s insignificance lead to the fact that, not being cruel by nature, Sophia evilly slanders him. Offended by Molchalin, she decided on a dishonorable act, declaring Chatsky crazy. Her involuntary betrayal becomes a deliberate revenge:

Ah, Chatsky! You like to dress everyone up as jesters, would you like to try it 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 the light in one minute. "Horrible man! I’m ashamed of myself and the walls.” In one

minute, proudly threw the despicable scoundrel away from her, did not show “pity” when he was lying at her feet and kicked him out.

Her situation is terrible in its hopelessness. Sophia rejected Molchalin, lost Chatsky, and remained a toy in the hands of an angry father who did not understand anything. Who knows if Sophia will be able to survive the insult and reconcile with the Moscow circle,

having chosen a “low-worshipper and a businessman” as his husband. Perhaps she will withdraw into offended pride, in distrust of the whole world. Her fate is tragic because she is not mediocre, she has a sharp mind, human dignity, and sincerity.

Lisa is a classic type of maid who arranges her mistress’s love affairs. She is a serf of the Famusovs, but in the house of her masters, Lisa is in the position of a servant-friend of Sophia. Lisa even took part in the adolescent fun of Sophia and Chatsky. Therefore, she has a sharp 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 affectation, so natural in the mouth of a maid. This half young lady, half servant plays the role of Sophia's companion. Lisa is an active participant in the comedy, she is cunning, shielding the young lady, and laughs at her, dodging Famusova’s lordly advances. She says: “Let me go, windy people.”

Come to your senses, you are old people.” He remembers Chatsky, with whom Sophia grew up together, regretting that the young lady has lost interest in him. Molchalin is on an equal footing with Lisa, trying to look after her until the young lady sees it.

She is to him, and he is to me, And I... I alone am afraid to death in love.-

How can you not love the bartender Petrusha!

Carrying out instructions for her young lady, Lisa almost sympathizes with the love affair and even tries to reason with Sophia, saying that “love will be of no use.” Sophia tells Lisa about her relationship with Molchalin, but the confidante maid tells her mistress out. Lisa, unlike Sophia, understands perfectly well that Molchalin is not a match for her mistress, and that Famusov will never give Sophia as his wife to Molchalin. He needs a son-in-law who has a position in society and a fortune. Fearing a scandal, Famusov will send Sophia to her aunt in the Saratov wilderness, but after a while he will try

marry someone in your circle. A more brutal reprisal awaits the serfs. Famusov first of all takes out his anger on the servants. He orders Liza: “Go to the hut, march, go after the birds.” And the doorman Filka threatens to be exiled to Siberia:

“To work you, to settle you.” From the lips of the serf-owner, the servants hear their own sentence.

The era of classicism lasted in Europe for more than two thousand years - from antiquity to the beginning of the 19th century. During this not short period, theorists and writers of classicism created the most strict and detailed system of rules, which was considered mandatory

for every creator. The most solid and well-known rules 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 “Grief.”

from the mind." The work was so inconsistent with the usual ideas about comedy that even Pushkin saw it as a flaw, not an innovation. First of all, readers are accustomed to the rule of “three unities.” 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 the comedy has two plot lines. Firstly, the love triangle: the main character is Chatsky-Molchalin-Sofya Pavlovna. Secondly,

a story of confrontation between the hero and an entire society, which ends with gossip about madness. These lines are connected, but still the plot is clearly “bifurcated”. Doubtful

it seemed how much the work had the right to be called a comedy. The plot itself should be comical, which is definitely not the case in a comedy, although it is full of funny lines and many of the characters are depicted quite funny. In addition, according to the literary actions of Griboyedov’s time, the positive heroes win, while the negative ones remain fools. In the end, there are no winners, and no one strives to win, and even more so, there is no one to laugh at. However, 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 those cases where the requirements of classicism limited his capabilities, preventing him from achieving 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 masterfully used some particular techniques of stage roles: an unlucky hero-lover, his crafty rival,

a capricious and somewhat eccentric heroine, a servant - her mistress's confidant, 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 maid could never become the object of description, she could not have her own opinion, but had to support the opinion of her mistress. In Jean Baptiste Moliere's comedy "The Bourgeois in the Nobility", which obeys all the canons of classicism, the maid Nicole is a kind of Madame Lucille, only less educated and with a different social circle. Both girls are in love, only Lucille is in love with Cleonte, and Nicole is in love with

his servant Koviel. They express the same thoughts, just in different ways. For example, in the scene of a quarrel between lovers, the performer, like an echo, repeats the words of the mistress, changing them. Lucille says: “Have you lost the power of speech, Cleonte?”, and Nicole repeats: “Have you lost your tongue, Koviel?” We can't even figure out if the maid is smart.

Female characters are depicted differently in the comedy “Woe from Wit,” which departs 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 the secret, but very chaste visits of his mistress from her father. She very quickly forces Famusov to leave so that he does not suspect that there is a man in his daughter’s room:

It's time, sir, for you to know that you are not a child,

Girls' morning sleep is so thin,

A little squeak of the door, a little whisper:

Everyone hears...

But the hostess herself was confused at the sight of Pavel Afanasyevich:

Allow me, father, my head is spinning,

I can barely 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 a respectable father of the family, although we just saw him flirting with Lizonka. To which the maid uttered a phrase that

will later become a catchphrase:

Pass us by more than all sorrows

And lordly anger, and lordly love.

The girl is smart, but with a practical mind, typical of everyday life, that is, with cunning.

The second heroine drew worldly wisdom from novels and stories, because the French books that Famusov grumbled about, the French language, and dancing were what became the young lady’s education. But for all its bookishness and obvious comedy

love is a feeling not characteristic of Famus society, the heroine gave herself to the man, without being seduced by either his wealth or his nobility. She is so happy with her love that she is not afraid of exposure and possible punishment: “Happy people don’t watch the clock.” 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 the father entered the young lady’s room was very frank.

Molchalin is almost clearly the hero of the dream told by her; she simply cannot so immediately abandon the oblivion of music and love.

So, the heroine is completely immersed in her love, she is blinded by it. And Lisa thinks sensibly, guided by her mind. She believes that Sophia’s love will be of no use!

forever and ever,” since the priest would like a son-in-law “with stars and with ranks.” She likes Chatsky better: “Who

sensitive, and cheerful, and sharp." But Sophia seems irritated by this: “Listen, don’t take unnecessary liberties.” The young lady feels her power over the serf, there is some kind of lordly willfulness 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 also does not succumb to Molchalin because she cannot help but “love the bartender Petrusha.” She knows her place in society, and therefore she will be happy.

Sophia, as an inhabitant of Famus society, had the same ideals as all its representatives. And one of the ladies’ aspirations is “a husband is a boy, a husband is a servant—the ideal of Moscow husbands.” She also likes to patronize a poor, humble person.

But in the finale, her love gives way to contempt for Molchalin, she is tormented by a feeling of conscience: “I’m ashamed of myself, 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

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.