Why did Sophia fall in love with Molchalin?
The heroine who violates the moral foundations.
Combining the features of classicism and realism in the comedy "Go", G-dov abandoned the one-sidedness in the depiction of heroes. Therefore, there are no ideal, positive characters in the play, but Chatsky, Sofya, Molchalin, Famusov and others appeared before us as living ones.
No wonder Goncharov noted and appreciated in Sophia "character traits of a lively and realistic." Sophia has her pros and cons, advantages and disadvantages. She is smart, determined, independent. It is no coincidence that even the very name of the heroine Sophia is "wise." Her speech, bright, figurative, emotional, aphoristic, corresponds to the character of a young girl ("Happy hours do not watch"). Sophia in the comedy is assigned the difficult role of repelling Chatsky's attack. In critical situations, she shows not only determination and resourcefulness.
Let us recall the episode when, in an effort to divert the attention of the priest from the presence of Molchalin in her room, she composes a dream that allegedly upset her. This dream, invented on the go, testifies to Sophia's subtle mind, her outstanding literary abilities.
Chatsky fell in love with Sophia, first of all, for her subtle mind, independence of views, independence in decision-making, in relations with people. The strong, proud character of the girl is sympathetic. Chatsky falls madly in love: "I love you without memory." It is no coincidence that, returning to Moscow from distant countries, he constantly appeals to her mind. Sophia is smart in her own way, she reads a lot (“She can’t sleep from French books”), but the subject of her reading is sentimental novels that describe love stories (their characters are poor and have no position in society).
Sophia admires their loyalty, devotion, readiness to sacrifice everything in the name of love. Under the influence of these novels, she develops an idea of \u200b\u200bthe ideal hero whom she would like to love. Sophia imagined Molchalin as such a romantic hero. Here is the external line of behavior of Molchalin alone with Sophia: "he takes his hand, presses it to his heart ...". This is how the heroes of French novels behave.
But Chatsky is not like that. Although he was in love with Sophia, he left her for three whole years and left to wander. During this time, Chatsky did not write a single line. And significant changes were taking place in Sophia, her attitude towards Chatsky was changing. The psychology of young girls is such that they need love, affection, attention, admiration. Separation, they can not endure.
The same thing happened with Sophia. But in Chatsky, love did not die out. Hence the love drama - misunderstanding of one hero by another. In the play "Go" each character draws up a life scheme for himself. Here is the main conflict according to G-dov (the conflict of life and schemes). There is nothing wrong with the fact that a young girl wants to feel like a heroine of a novel, something else is bad - she does not see the difference between romantic fiction and life, she does not know how to distinguish a true feeling from a fake. She loves, but her chosen one is serving his confession: And now I take the form of a lover In the pleasing of the daughter of such a person ...
Following literary cliches leads to a tragic denouement, bitter insight, and the collapse of ideals. Sophia has her own plan, in her family life she wants to be happy. Perhaps that is why she chose Molchalin, who can be commanded, who is so suitable for the role of "husband-boy, husband-servant." Sofya rejects Chatsky not only because of a feeling of offended female pride, but also because the independent, impudent, freedom-loving and rebellious Chatsky scares her: “Will such a mind make a family happy?” Therefore, G-dov wrote about his heroine in this way: "The girl herself is not stupid, she prefers a fool to a smart person."
At the end of the play, Chatsky accuses the heroine of forgetting "female fear and shame": And dear, for whom both the former friend and female fear and shame are forgotten - He hides behind the door, afraid to be answered. And Chatsky, and Katenin, and even Pushkin accused the heroine: "Sophia crossed the boundaries of behavior set for the young lady of her circle. She violated decency!" Sophia thus challenged the old views on love, marriage. If Chatsky shakes the social foundations, then Sophia shakes the moral ones. And the tsarist censorship forbade this play to be printed and staged not because of Chatsky's seditious speech, but because of Sophia's violation of moral standards of behavior.
Unlike Famusov, Molchalin, and other characters in the play, Sofya is not afraid of the judgment of others: "But what do I care about whom? before them? before the whole universe?" Sofya Pavlovna blames herself for her mistakes: "Don't go on, I blame myself all around." This means that this girl has a sense of responsibility for her own actions. It is worth paying attention to the fact that Chatsky, fighting for a free way of thinking, behavior, life, denies this right to Sophia. Sophia calmly keeps herself in the last scene of the comedy, when the meanness and baseness of Molchalin is revealed.
The heroine is very hard, because everything happens in the presence of Chatsky. She, a beautiful, intelligent, educated noblewoman, was preferred to a maid. But after all, Sophia is young, let's forgive the mistakes of youth, it's not for nothing that the wise Pushkin wrote in the novel "Eugene Onegin": Let's forgive the fever of youth And youthful fever and youthful delirium. In G-dov, all the heroes who set goals in life fail. A kind of "woe from the mind", if you understand the mind as a developed plan of action, the desire to mold life from someone. But life doesn't go according to plan.
The love line of the play means one simple truth, life is a secret burning, flight. G-dov, in my opinion, wrote a play about life, not about politics, and about the most important thing in life - about love. Goncharov wrote that in Sophia "there are strong inclinations of remarkable nature." And indeed it is. It is necessary to appreciate in this girl "features of a lively and realistic character." It is Sofia Pavlovna Famusova who begins the gallery of beautiful images of Russian women in our literature.
One of the greatest works of the first half of the 19th century is AS Griboyedov's comedy Woe from Wit. In the comedy, the author posed a number of the most important problems of his time, which continue to worry humanity to this day.The protagonist of the comedy, Chatsky, is considered both in his relationship with representatives of the Famus society, and with Sophia, whom he loves. That is why Sophia plays an important role in the comedy and her attitude not only to Chatsky, but also to Molchalin.
The image of Sophia Pavlovna is complex. By nature, she is endowed with good qualities: a strong mind and an independent character. She is able to deeply experience and sincerely love. For a girl of the noble circle, she received a good education and upbringing. The heroine is fond of reading French literature. Famusov, Sophia's father, says:
She has no sleep from French books, And it hurts me to sleep from Russians.
But, unfortunately, all these positive character traits of Sophia could not be developed in Famus society. Here is how I. A. Goncharov wrote about this in his critical study "A Million of Torments": not a single ray of light penetrates, not a single stream of fresh air. At the same time, Sophia is a child of her society. She drew ideas about people and about life from French sentimental novels, and it was this sentimental literature that developed dreaminess and sensitivity in Sophia. She says about Molchalin:
He takes his hand, shakes his heart,
Breathe from the depths of your soul
Not a free word, and so the whole night passes,
Hand in hand, and the eye does not take my eyes off me.
Therefore, it was not by chance that she paid attention to Molchalin, who, with his features and his behavior, 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,
What a genius for others, and for others a plague,
Which is fast, brilliant and soon opposes...
Sofya loves Molchalin, but hides this from her father, who, 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:
Submissive, modest, quiet,
Not a shadow of worry on your face
And there are no misdeeds in my soul,
Strangers and at random does not cut, -
That's why I love him.
Sophia also fell in love with Molchalin because she, a girl with character, needed a person in her life whom she could manage. "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 I. A. Goncharov.
Therefore, Chatsky, having returned to Moscow and seeing how Sophia has changed under the influence of the environment, is very worried. It was painful for him to see her like this after his three-year absence, it was hard to realize that her beloved had chosen Molchalin. Sophia is also very worried, but because of something else. She involuntarily hears Molchalin's conversation with Lisa and suddenly sees her chosen one in a different light. She realized that in fact Molchalin took the form 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, so he, according to the precepts of his father, catered to "all people without exception." Perhaps someday Sophia would have found out about the true intentions of Molchalin and she would not have been so hurt. But now she had lost a man who was very suitable for the role of a boy-husband, a servant-husband. It seems that she will be able to find such a person and repeat the fate of Natalya Dmitrievna Gorich and Princess Tugoukhovskaya. She did not need a person like Chatsky, but it was he who opened her eyes to everything that was happening. And if Sophia had grown up in a different environment, she might have chosen Chatsky. But she chooses a person who suits her better, because she does not think of another hero. And in the end, according to Goncharov, "heaviest of all, even harder than Chatsky" is Sofya.
Griboedov introduced us to the heroine of the comedy as a dramatic person. This is the only character that is conceived and executed as close to Chatsky. But in the finale, when Sophia becomes an unwitting witness to Molchalin's "courtship" of Lisa, she is struck to the very heart, she is destroyed. And this is one of the most dramatic moments of the whole play.
So, in his comedy, A. S. Griboedov managed to show not only the time in which he lived, but also created unforgettable images that are interesting to the modern reader and viewer. Therefore, as Goncharov says, "Woe from Wit" is kept apart in literature and differs from other works of the word in its youthfulness, freshness and stronger vitality.
Chatsky and Molchalin are rivals in the fight for Sophia's heart
One of the main features of the comedy "Woe from Wit" by A.S. Griboyedov is the presence of two conflicts in it: love and social. Both storylines are closely related, and they are also united by some heroes. Chatsky and Molchalin in the comedy "Woe from Wit" are both rivals in the fight for the heart of Sophia, Famusov's daughter, and opposing sides on many public issues.
The protagonist of the play, Alexander Andreevich Chatsky, returns to Famusov's house after a three-year stay abroad. He left his beloved Sophia here and now he is going to her with serious intentions, in love and full of hope. But during the absence of Chatsky, Sophia began to look differently at their youthful romance and now calls it childish. Her heart is occupied by Molchalin, her father's modest and taciturn secretary, who lives in their house.
The tragedy of Chatsky begins with the fact that he does not understand why Sophia has cooled off towards him, and is trying to find the reason for this. The second blow for the protagonist is that Molchalin was preferred to him, about whom Chatsky sarcastically said: "There is only little intelligence in him."
The characterization of Molchalin and Chatsky will help to understand why Sophia makes such a choice.
Why does Sophia prefer Molchalin, and not Chatsky?
Sofya Famusova, although she does not belong to the zealous defenders of the "past century", is still the daughter of her father. The ideals of a noble society were instilled in her from childhood. Although she does not look like the conservative nobles of her circle, she absorbed many of the principles of their life from her father's upbringing.
When in the first act of the comedy between Sophia and Lisa a conversation about Chatsky comes up. It becomes clear that for her their love has remained only a childhood memory. Of the merits of Chatsky, she singles out only his ability to make everyone laugh, but after all, “you can share laughter with everyone.” With these words, she, as it were, relieves herself of responsibility for the fact that she is now playing a love game with Molchalin.
How do Chatsky and Molchalin appear before the reader in the comedy "Woe from Wit"?
Sophia herself characterizes Chatsky as follows: “Sharp, smart, eloquent, especially happy in friends ...” But the girl cannot understand and believe how a man in love can leave his beloved for three years for incomprehensible purposes: “Ah! If someone loves whom, why look for the mind and travel so far?
Arriving in Moscow, Chatsky angers Sophia not only by jeopardizing her happiness with Molchalin. He also starts a conversation with Sophia with attacks on her relatives and friends: “Well, what about your father?
All the English club is an old, faithful member to the grave? Did your uncle jump back his eyelid?"
Chatsky himself does not understand why his words offend Sophia. He sees nothing wrong with them. The hero is justified by the fact that his "mind and heart are out of tune."
But most of all Sophia is stung by Chatsky's words about Molchalin. She sees in him a character from the novels that she reads. In her imagination, he is endowed with the features of a romantic hero. Chatsky immediately figured out Molchalin and his role in the Famus society. Molchalin is "helpful, modest," which means that "he will reach the known levels, because now they love the dumb."
Why won't any of the characters in the final of the comedy be with Sophia?
In one of the episodes of the comedy Woe from Wit, Chatsky and Molchalin collide in a verbal duel, and the reader gradually begins to reveal the true face of Molchalin, which turns out to be not as simple as it seems at first glance.
Molchalin, like all representatives of the “past century” hated by Chatsky, seeks to get a high rank and position in society at any cost. Since while he does not have all this, he "needs to depend on others." This is incomprehensible to Chatsky: “Why is it necessary?” But Molchalin seems to have a clear life plan. He tries in every possible way to serve the guests of Famusov, praises the fur of Khlestova's dog, which looks ridiculous and humiliating. He lives by the principle: "At my age, one should not dare to have one's own judgment."
Even with his small successes in the service, Molchalin is very proud and boasts of them in front of Chatsky: “As far as I work and strength, since I have been listed in the archives, I have received three awards.” Molchalin even dares to express sympathy for Chatsky because he does not serve. He recommends Chatsky to improve relations with Tatyana Yuryevna, who "gives balls cannot be richer." She can help in obtaining the next rank or award, because "officials and officials are all her friends and all her relatives." This is how people of the Famus circle are accustomed to earning a position in society. Such is Molchalin.
Supporters of the "past century" do not understand Chatsky's desire to serve "the cause, not the persons." If Molchalin uses the ball as an opportunity to find channels for career advancement, then Chatsky prefers to share time for fun and for business: “When I’m in business, I hide from fun, when I’m fooling around, I’m fooling around, and mixing these two crafts is the darkness of craftsmen, I am not one of them."
The images of Chatsky and Molchalin in the comedy "Woe from Wit" are completely different. Chatsky has a fresh, active mind. He was brave both in love and in defending his views. Molchalin is unhurried and cautious both in society and in feelings. In relations with Sophia, he constantly thinks about how the world will react to their connection if it suddenly opens, because "evil tongues are worse than a gun." It's amazing that such different characters could arouse the love of one and the same woman.
This mystery will be revealed at the end of the play. Molchalin seeks Sophia's favor by deceit. Under the mask of a silent and modest person hides a two-faced hero who takes the form of a lover only "for the sake of the daughter of such a person." There is no love for Sophia in him and no serious intentions towards her, unlike Chatsky.
However, Chatsky, having spent one day in the company of Moscow nobles, understands that his views have forever diverged from the views of the Famus society. And Sophia for him now is a part, the offspring of that world where he has no entrance. He recommends that she make peace with Molchalin, whom she exposed. After all, this hero fully corresponds to the ideal of a husband, accepted in the world: "Husband-boy, husband-servant, from the wife's pages - the high ideal of all Moscow husbands."
findings
Chatsky and Molchalin in Griboyedov's comedy "Woe from Wit" are characters that are completely different in nature and in value orientations. If society rejects Chatsky and accepts Molchalin, then it characterizes itself in accordance with this hero. Moscow nobles want to be bowed down before them, to curry favor, to win their favor. They respect ceremonialism and careerism. These ideals are perfectly matched by Molchalin. Chatsky, in this society of “passionate for ranks” people, is superfluous.
The characterization of the images of Molchalin and Chatsky, the opposition of these characters can be used by students of grade 9 in their essays on the topic "Famus society in the comedy" Woe from Wit ""
Artwork test
We meet with Alexei Stepanovich Molchalin at the very beginning of the comedy by A. S. Griboedov “ Woe from Wit". Chatsky speaks of him with irony and even contempt:
And yet, he will reach certain degrees,
After all, today they love the dumb.
And immediately we find out that Sophia loves him. The question arises: What kind of Sophia fell in love with Molchalin? She is a girl, no doubt, smart, educated, fell in love with such a nonentity as Molchalin? In order to correctly answer this question, you need to consider in detail the image of Molchalin.
Molchalin comes from a poor family. His father, obviously, was a petty official, and therefore, sending his son to the service, he gave him valuable advice, which he remembered all the time. Molchalin speaks about this advice to the maid Lisa:
My father bequeathed to me:
First, to please all people without exception -
The owner, where he happens to live,
The boss with whom I will serve,
To his servant who cleans dresses,
Doorman, janitor to avoid evil
The janitor's dog, so that it was affectionate.
And Alexey Stepanovich always followed this "testament" in the service. Thanks to his two qualities - "moderation and accuracy", which every official needed, and also thanks to his business qualities, Molchalin is successfully making a career. Famusov noticed him, transferred him to serve from provincial Tver to Moscow, “gave him the rank of assessor and took him as a secretary,” and even settled him in his house. Molchalin has already received three service awards, and we are sure that he will reach the very heights of power, because he knows how to find the right patron for himself. Molchalin pleases both Famusov, and Sofya, and Famusov's guests: he "pats the pug in time there, rubs the card just right."
Molchalin, to please Sophia, takes the form of a lover. He understands that Sophia, having read many French romance novels, imagines herself to be the heroine of the same novel. She wants a modest, noble young man to secretly sigh for her, and she would patronize him. Molchalin plays such a role perfectly:
He takes his hand, shakes his heart,
Breathe from the depths of your soul
Not a free word...
Sophia fell in love with Molchalin for his curiosity, modesty and some special "talent" to please. Indeed, aliya managed to please many, many people will gladly accept him.
But Sophia was cruelly mistaken in Molchalin: he does not love her at all and does not think about marrying her. The heroine invented a "romantic hero" for herself, and therefore this insight was so painful. However, Sophia did not have the courage to immediately reject Molchalin when she saw his true face. It can be assumed that Molchalin will be forced to look for another patron, and perhaps he "We'll manage to beg Sophia to forgive him. And Sophia will surely remember this cruel lesson for the rest of her life."
Composition What kind of Sophia fell in love with Molchalin? (Woe from Wit)
Why did Sophia choose Molchalin? One of the greatest works of the first half of the 19th century is A. S. Griboyedov's comedy "Woe from Wit". In the comedy, the author posed a number of the most important problems of his time, which continue to worry humanity to this day.
The protagonist of the comedy, Chatsky, is seen in relationships both with representatives of the Famus society and with Sophia, whom he loves. That is why Sophia and her attitude not only to Chatsky, but also to Molchalin play an important role in the comedy.
The image of Sophia Pavlovna is complex. By nature, she is endowed with good qualities: a strong mind and an independent character. She is able to deeply experience and sincerely love. For a girl of the noble circle, she received a good education and upbringing. The heroine is fond of reading French literature. Famusov, Sophia's father, says:
She has no sleep from French books,
And it hurts me to sleep from the Russians.
But, unfortunately, all these positive character traits could not be developed in Famus society. This is how I. A. Goncharov wrote about this in his critical study “A Million of Torment”: “It is difficult to treat Sofya Pavlovna in a non-miatic way: she has strong inclinations of remarkable nature, intelligence, passion and feminine gentleness. It is also ruined by stuffiness, where not a single ray of light, not a single stream of this air penetrates. At the same time, Sophia is a child of her society. She drew ideas about people and about life from French from sentimental novels, and it was this sentimental literature that developed dreaminess and sensitivity in Sophia. She says about Molchalin:
He takes his hand, shakes his heart,
Breathe from the depths of your soul
Not a free word, and so the whole night passes,
Hand in hand, and the eye does not take my eyes off me.
Therefore, it was not by chance that she paid attention to Molchalin, who, with his features and his behavior, 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,
What a genius for others, and for others a plague,
Which is fast, brilliant and soon opposes ...
Sofya loves Molchalin, but hides this from her father, who, 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 worry on your face
And there are no misdeeds in my soul,
Strangers and at random does not cut, -
That's why I love him.
Sophia also fell in love with Molchalin because she, a girl with character, needed a person in her life whom she could manage. “The desire to patronize a loved one, a poor, modest one 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 I. A. Goncharov.
Therefore, Chatsky, having returned to Moscow and seeing how Sophia has changed under the influence of the environment, is very worried. It was painful for him to see her like this after his three-year absence, it was hard to realize that her beloved had chosen Molchalin. Sophia is also very worried, but because of something else. She involuntarily hears Molchalin's conversation with Lisa and suddenly sees her chosen one in a different light. She realized that in fact Molchalin took the form 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, so he, according to the precepts of his father, catered to "all people without exception." Perhaps someday Sophia would have found out about the true intentions of Molchalin and she would not have been so hurt. But now she had lost a man who was very suitable for the role of a boy-husband, a servant-husband. It seems that she will be able to find such a person and repeat the fate of Natalya Dmitrievna Gorich and Princess Tugoukhovskaya. She did not need a person like Chatsky, but it was he who opened her eyes to everything that was happening. And if Sophia had grown up in a different environment, she might have chosen Chatsky. But she chooses a person who suits her better, because she does not think of another hero. And in the end, according to Goncharov, “heaviest of all, even harder than Chatsky” is Sofya.
Griboedov introduced us to the heroine of the comedy as a dramatic person. This is the only character that is conceived and executed as close to Chatsky. But in the finale, when Sophia becomes an unwitting witness to Molchalin's "courtship" of Lisa, she is struck to the very heart, she is destroyed. And this is one of the most dramatic moments of the whole play.
So, in his comedy, A. S. Griboyedov not only managed to show the time in which he lived, but also created unforgettable images that are interesting to both the modern reader and viewer. Therefore, as Goncharov says, "Woe from Wit" is kept apart in literature and differs from other works of the word in its youthfulness, freshness and stronger vitality.
