Sophia image.
Woe from Wit” is one of the most outstanding works of Russian literature of the 19th century. Some appreciate in comedy a picture of the Moscow customs of that
era, the creation of living images. Others cherish the variety of speech,
morality, which the play still supplies to everyone.
Among the many images, Famusov's daughter occupies a very important place, she is one of the most controversial heroines in comedy, the central female character.
Sophia is a young lady, the daughter of a wealthy Moscow gentleman. As a child, she lost her mother and was brought up by Madame Rosier, but later lost her because of her father's greed. Sophia has a difficult relationship with her father: there is a lie, understatement and distrust between them. On the part of the daughter, this is a lie for the good (does not reveal his connection with Molchalin, so as not to upset his father). The father, without asking Sophia's opinion, dreams of marrying her off as Skalozub (because of his position in society, for "aiming for generals"). Famusov's daughter's relationship with the future groom is negative, neutral - on the part of Skalozub (he needs a "general", but spiritual qualities, the presence of love between them does not interest him). Sophia speaks contemptuously about a possible husband (“He didn’t utter a clever word from birth”). But Skalozub is not the only contender for Sophia's hand. The second admirer is Chatsky Alexander Andreevich. In her youth, Sophia actively communicated with him and experienced tender feelings. But after the departure of Alexander Andreevich, she was left to the Famus society (this was the reason for her joining this society). Upon Chatsky's return to Moscow, he comes across Sophia's coldness, trying to fix her old feelings with her. But his jokes about mutual acquaintances (at which they laughed together) only irritate Famusov's daughter ("Not a man is a snake").
Sophia is proud, proud, knows how to inspire respect, her opinion is considered in society. In Greek, her name means wisdom. Sophia is very pretty. This is immediately noted by Chatsky upon his return to Moscow:
Yes, and now
Inimitable and you know it
And therefore modest, do not look at the light,
Are you in love? please give me an answer.
Sofya Pavlovna is smart. She, like Chatsky, is a thirsty nature, living with a strong feeling. And even if the object of her passion is miserable and pathetic (although Molchalin herself does not appear to be Sophia), this does not make the situation funny, on the contrary, it deepens its drama. From this feeling, many conclusions can be drawn about the environment in which Sophia was brought up, about the people around her. The boredom that reigns in the Famusovs' house, first of all, is reflected in the girl's young heart. The soul of the young and beautiful Sophia is filled with the expectation of love, which she read about in French novels, she, like all girls at her age, wants to be loved and love herself. Having unraveled Sophia's secret aspirations, Molchalin is nearby. A young man of not bad appearance, quite educated, vividly enters into the role of an enchanted hero. The heroine falls in love under the influence of French novels, unable to choose or compare. However, she falls in love with a fictional image. She presents Molchalin as a hero with a mind, but materially poor. Against him, according to Sophia, the environment took up arms. But her feelings were influenced not only by French novels. In the Famus society, ladies are looking for a “servant husband”. Molchalin is ideally suited for this role: “Of course, he doesn’t have this mind, What a genius for others, but for others a plague, Which is quick, brilliant and soon opposes ... Will such a mind make a family happy?” (Sofya). In love for him, another trait of Sophia's character is manifested. She challenges Famus society by falling in love with a person below her in social status. But Sophia does not disclose this connection, which characterizes her as a loving and caring daughter.
Through her image, the upbringing of the female part of the nobility is shown. Blind imitation of fashion was typical of the ladies of that time.
Oh! France! There is no better place in the world! -
Two princesses decided, sisters, repeating
A lesson taught to them since childhood.
Among the Moscow princesses, Sophia stands out for her strong character: she is not so subject to foreign influence. Her judgments are often objective, and the characteristics are accurate (about Skalozub: “He didn’t utter a smart word”).
Another difference between Sophia and other representatives of the Famus society is friendly relations with Lisa. She replaces Sofya Pavlovna's friend. And if Famusov's daughter fell in love with Molchalin under the influence of novels, then relations with Lizonka are completely clean.
Sofya Pavlovna's speech is contrasted with the poor language of the female environment. In her monologues there is good breeding, erudition, independence of judgments. Some of Sophia's phrases became proverbs: "The hero is not my novel."
But the influence of the Famus society is too great. Sophia does not like Chatsky's barbs about their acquaintances. She spreads the rumor about his madness with the ease characteristic of Moscow ladies.
The image of Sofya Pavlovna is a contrast to the representatives of the Famus society and, at the same time, displays some of the details inherent in the ladies of that time. Her image is "not clearly outlined" (Pushkin).
It is difficult to say unequivocally what Sofia Pavlovna is. Her image is complex and multifaceted. Nature did not deprive her of positive qualities. Sophia is smart enough, her character is strong and independent. Her warm heart won't let her stop dreaming. Sophia has long been accustomed to the fact that she is the mistress of the house, and everyone should feel it, and therefore obey. Perhaps this is due to the fact that she has long been brought up without maternal love.
Sophia has independence and an authoritative tone, despite her young, seventeen-year-old age. Her speech even has a certain imprint of serfs, because she often communicates with them, but also French books have left their mark. Sophia is concerned about the emotional experiences of people. The girl was brought up by French governesses.
Despite its positive features, in the Famusov society, all this does not find development. Due to her upbringing, she has generally accepted views, thinks the same way as other representatives of this society, which instilled in her lies and hypocrisy. Sophia imagines people only from her observations of people from books, French novels. Probably, it was this literature that influenced the development of sentimentality and sensuality in it. From books, she emphasized all the features that the hero of her novel should have. Thanks to all this, she turned her attention to Molchalin, who vaguely resembled the characters from her favorite works. No other ideal could be found in this environment. Sophia lives with real feelings. Even if the object of her love is actually pathetic and miserable - all this does not give the situation a comedic color. Rather, on the contrary, it gives more drama and sadness.
Sophia divided her world into two parts: the object of her adoration - Molchalin and everything else. All her thoughts are occupied only by him, especially when he is not around. Despite everything, this love does not bring joy. Because the girl understands perfectly well that her father will never accept such a person. This thought makes her life unbearable. Sophia is so hard to live with these feelings that she is ready to tell about her love to complete strangers. For example, Liza, the maid of their house, and then Chatsky. For her love, she chose a resigned man. That is how she imagines Molchalin. But the final scene, where Sofya Pavlovna witnesses the manifestation of Molchalin's attention to Elizabeth. It breaks her heart, humiliates all her feelings. It becomes clear that although Sophia breaks with the unworthy Molchalin, the type of this man remains a priority for her.
Briefly for grade 9
Composition Description of Sophia in the comedy Woe from Wit
After the Patriotic War of 1812, when Russian troops reached Paris and took a sip of freedom, Russian society split into two camps. Some wanted to continue to live in the old way. This is Famusov, Skalozub. Others, in particular the younger generation represented by Chatsky, wanted to live in a new way.
Sophia found herself like a knight at a crossroads, not knowing whom to choose for her. She was brought up by Papa Famusov himself and Madame French in the best traditions of Moscow society. Dancing, singing, reading French sentimental novels - these are all the joys of her life. After reading books, she confused her girlish fantasies and the harsh reality of life. Sophia is hovering in pink clouds and does not understand people at all. She does not like the stupid, albeit rich Skalozub, but the caustic Chatsky is also to her liking. She is sharp on the tongue. Sophia wants a husband-boy, a husband-servant. Here Molchalin is the very hero of her fantasies. He is constantly silent, like a girl, shy, not conflicted. The fact that Molchalin is not really like that eludes Sophia. Love, as usual, is blind and deaf.
But you can't say that she's stupid. She accurately notices the features of the people around her. So Skalozub is a stupid martinet who, apart from the army, knows nothing. She does not want such a husband. The father is a grumpy old bore who tyrannizes underlings and servants. To take revenge on Chatsky for his sharp remarks about Molchalin, she tells everyone that he is crazy.
This comedy is still relevant today. Many girls and women, having read smart books, horoscopes, fortune-telling, live in anticipation of their invented prince. Give it different qualities. And real people who do not fall under these patterns are simply ignored or rejected. But the trouble is, the desired prince does not want to be the way the woman thought of him. He is a living person with his shortcomings, sometimes very dubious - a womanizer, a drunkard, a player, a gigolo.
The moral of the comedy is this - you need to be more attentive to the people around you, accept them as they are, not “drive” them into your own framework and standards. Then there will be no grief from an excess of the mind.
The image of Sophia in the comedy Woe from Wit
Sophia is the heroine of Griboyedov's story "Woe from Wit". This girl is a very unusual character in Griboyedov's story. She is both a product of lies and benevolence and strength, albeit only external.
Sophia is a girl who is the one from whom all the threads came, both the mood and the grief of many people. She, as a puppeteer, skillfully used their weaknesses as well as their strengths. She is a manipulator, in modern terms. But at the same time, with these qualities and such a character, Sophia is a beautiful girl who also knows how to use her appearance. She has a lot of fans, and for good reason, because she is strong in this.
This girl is a strong personality who will not miss her. In addition, by nature, she is also very mocking, her sarcasm reaches many ears, she loves to mock, tell some jokes. But she is not too cheerful, it can be more accurately said that she knows how to speak sarcastically, her irony can both offend someone and make her an enemy.
Sophia grew up in a good family, rich, well-to-do, who did not know the costs of the strong in anything. That is why this girl is young, she grew up as a wealthy, bright and courageous person. She was not afraid of anything, and knew how to skillfully hypocrite and lie when necessary. And, in her defense, we can say that she is not entirely to blame for this, since such actions and character traits were not new at that time. That is why she was also such, because she was brought up that way, brought up in such an environment where it was impossible to be and act differently. Otherwise, it caused talk and rumors, as well as contempt and ill will.
The comedy "Woe from Wit" gives examples of a person who is also the main character.
Option 4
A.S. Griboedov was a multifaceted personality. He had a unique talent as a diplomat and theatergoer. Alexander Sergeevich wrote poetry, poems, played several instruments. Even composed music. Two waltzes of his authorship have survived to this day. But Griboyedov entered the history of world literature as the author of one work. They became the comedy "Woe from Wit", recognized by critics as immortal.
The play included three artistic directions: realism, classicism, romanticism. The traditions of the genre are combined with more modern trends. Social comedy, in its classical interpretation, involves one-sided images of characters. Each of which denounces one kind of vice. But "Woe from Wit" reveals to the reader the multifaceted personalities of the characters. Stupidity, absurd imitation of foreigners, martyrdom, servility, sycophancy, commercialism, lack of one's own opinion, persecution of culture and education - everything was reflected by the author in his "live" characters.
The main conflict of the play is the confrontation between the "current century" and the "past century". Only Alexander Andreyevich Chatsky ends up in the first camp. Then, as in the second headquarters - almost all the rest.
Against the backdrop of a social conflict, a love triangle unfolds. It doesn't look like the plot of a love story. There are two men, but neither claims to be ideal. Chatsky, with his mind, education, is sharp, not restrained in speeches, and not always tactful. Molchalin is low, vile, unpleasant. But on his side the sympathy of the heroine.
The young lady herself also does not look like a classic image. Sophia is the daughter of a major official. Pavel Afanasyevich - manager in the government house, rich. He wants a bright future for his only child. The groom is needed "with ranks, but with the stars." Neither Chatsky nor Molchalin meet these criteria. The father exclaims: "He who is poor is not a match for you!"
A.S. Pushkin wrote about Sophia that this is an obscure image, a poorly written character. But this is only at first glance. The young lady, throughout the text, plays the role of a buffer between two worlds. She does not belong to the "famus society", although she was brought up in it. But it cannot be reckoned with the "present age" either. This is her key role. In the end, education wins.
Most of the guests of the "famusovsky" ball have speaking surnames. But Sophia has an expressive name, with the meaning "wise." This is the author's irony.
The girl is not stupid. She has a good upbringing. My father hired a "regiment of teachers." But she lost her mother early, so no one was involved in the formation of the soul. Now the young lady is seventeen, she "blossomed", became an enviable bride.
Sonya is brave and determined. It is difficult for her to keep her love a secret. Not afraid of parental anger and public opinion. The young lady exclaims: “What is the rumor to me!”
She allows herself sharp, caustic, witty remarks with Chatsky. But tenderly worries about Molchalin. Passes out when he falls off the horse.
The young lady grew up on French novels. Therefore, he attributes all the virtues to his chosen one, drawing an ideal. Perhaps that is why the choice fell on a poor young man. After all, in sentimental books, the beloved is always no match.
The girl does not have a special spiritual beauty, virtues. But something in her attracts Chatsky, causing love. Perhaps a strong character.
At the end of the story, Sophia realizes that her chosen one is a scoundrel. Blames himself for everything. But Chatsky is certainly right. Another "fan worshiper and businessman" will appear, whom Sonya will marry.
Summer is the most wonderful time of the year. What do I expect from summer? From the summer, first of all, I expect, like all those who study at school, at the institute, at the university, I am looking forward to the long-awaited summer holidays.
The postilion Antipka is one of the characters in Turgenev's wonderful work, in which he revealed many burning topics that, in one way or another, worried the society of that time.
The image of Sophia (A.S. Griboyedov "Woe from Wit")
The only character, to some extent close to Chatsky, is Sofia Pavlovna Famusova. Griboedov wrote about her: "The girl herself is not stupid, she prefers a fool to a smart person ..." This character embodies a complex character, the author has gone away from satire and farce here. He presented the female character of great strength and depth. Sophia was "unlucky" in criticism for quite a long time. Even Pushkin considered this image a failure of the author: "Sophia is inscribed indistinctly ...". And only Goncharov in "A Million of Torments" in 1871 for the first time understood and appreciated this character and his role in the play.
Sophia has a dramatic face, she is a character in a domestic drama, not a social comedy. She - like her antagonist Chatsky - is a passionate person, living with a strong and real feeling. And even if the object of her passion is miserable and pitiful (the heroine does not know about this, but the audience knows) - this does not make the situation funny, on the contrary, it deepens its drama. Sophia is driven by love. This is the most important thing in her, it forms the line of her behavior. The world for her is divided in two: Molchalin and everyone else. When there is no chosen one, all thoughts are only about a quick meeting; she may be present on stage, but in fact - her whole soul is directed towards Molchalin. Sophia embodied the power of the first feeling. But at the same time, her love is joyless and not free. She is well aware that the chosen one will never be accepted by her father. The thought of this overshadows life, Sophia is already internally ready for the fight. The feeling so overwhelms the soul that she confesses her love to seemingly completely random people: first to the maid Lisa, and then to the most inappropriate person in this situation - Chatsky. Sophia is so in love and at the same time depressed by the need to constantly hide from her father that her common sense simply changes. The situation itself makes it impossible for her to reason: "But what do I care about whom? before them? before the whole universe?" The heroine, as it seems to her, treats her chosen one sensibly and critically: "Of course, he does not have this mind, // What a genius for others, but for others a plague, // Which is quick, brilliant and soon opposes ... // Yes, such Will the mind make the family happy?" Sophia's "woe from wit", "woe from love" of Sophia lies in the fact that she chose and fell in love with a person in her view of the wonderful: soft, quiet and resigned (this is how Molchalin appears in her stories-characteristics), without seeing his true appearance . He's a scoundrel. Sofya Molchalina will open this quality in the finale of the comedy. In the finale, when she becomes an unwitting witness to Molchalin's "courtship" of Lisa, when the "veil fell off", she is struck to the very heart, she is destroyed - this is one of the most dramatic moments of the whole play.
How did it happen that a smart and deep girl not only preferred a scoundrel, a soulless careerist Molchalin, to Chatsky, but also committed a betrayal by spreading a rumor about the madness of a person who loves her? In "Woe from Wit" there is an exhaustive definition of women's education of that time, given by Famusov:
We take vagabonds both to the house and by tickets,
To teach our daughters everything, everything -
And dancing! and foam! and tenderness! and sigh!
As if we are preparing buffoons for their wives.
In this angry remark, the answers to the main questions of education are clearly formulated: who teaches, what and why. And it's not that Sophia and her contemporaries were uneducated: they knew not so little. The point is different: the entire system of women's education had the ultimate goal of giving the girl the necessary knowledge and skills for a successful secular career, that is, for a successful marriage. Sophia builds her life according to generally accepted patterns. On the one hand, books bring her up - those same French novels from which "she can't sleep." It reads sentimental stories of unequal love between a poor and rootless youth and a rich, noble girl (or vice versa). He admires their loyalty, devotion, readiness to sacrifice everything in the name of feeling. Molchalin in her eyes looks like a romantic hero:
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.
This is how lovers behave in the pages of French novels. Let's remember that even Pushkin's Tatiana Larina "imagined the heroine of her beloved creators" and at the dawn of her tragic love for Onegin saw either Grandison or Lovlas in her chosen one! But Sophia does not see the difference between romantic fiction and life, does not know how to distinguish a true feeling from a fake. She loves. But her chosen one is only "serving his duty": "And now I take the form of a lover // To please the daughter of such a person ...". And if Sophia had not accidentally overheard Molchalin's conversation with Lisa, she would have remained confident in his virtues.
On the other hand, Sophia unconsciously builds her life in accordance with generally accepted morality. In comedy, the system of female images is presented in such a way that we see, as it were, the entire life path of a secular lady: from girlhood to old age. Here is Sophia, surrounded by six Tugoukhovsky princesses: young ladies of marriageable age, "at the threshold" of a secular career. Here is Natalya Dmitrievna Gorich - a young lady who recently got married. She takes the first steps, overcomes the initial stages of a secular career: pushes her husband around, guides his opinions and "adjusts" to the judgments of the world. And here are the ladies who form the "opinion of the world": Princess Tugoukhovskaya, Khlestova, Tatyana Yurievna and Marya Aleksevna. And, finally, the result of the life of a secular lady is the comic mask of the countess grandmother: "Once upon a time, I fell into the grave." This unfortunate creature, almost crumbling on the move, is an indispensable attribute of the ballroom ... Such is the successful, prosperous path of a secular lady, which any young lady strives to accomplish - and Sophia too: marriage, the role of a judge in secular living rooms, respect for others - and so on until the moment when "from the ball to the grave." And Chatsky is not suitable for this path, but Molchalin is just an ideal!
"You will make peace with him, mature in thought," Sofya Chatsky contemptuously throws. And he is not so far from the truth: one way or another, but next to Sophia, most likely it will be precisely "a husband-boy, a husband-servant from the wife's pages." Sophia, of course, is an extraordinary nature: passionate, deep, selfless. But all her best qualities have received a terrible, ugly development - that is why the image of the main character of "Woe from Wit" is truly dramatic.
The best analysis of the image of Sophia belongs to I. Goncharov. In the article "A Million of Torments" he compared her with Pushkin's Tatyana Larina, showed her strength and weakness. And most importantly, he appreciated in it all the advantages of a realistic character. One characteristic deserves special attention: "This is a mixture of good instincts with lies, a lively mind with the absence of any hint of ideas and convictions, confusion of concepts, mental and moral blindness - all this does not have the character of personal vices in her, but appears as common features of her circle".
Bibliography
Monakhova O.P., Malkhazova M.V. Russian literature of the 19th century. Part 1. - M.-1994
The image of Sofia Pavlovna Famusova is complex. By nature, she is endowed with good qualities. This girl is smart, proud, with a strong and independent character, with a warm heart, dreamy. These features are clearly manifested both in her behavior and in her language. ( This material will help to correctly write on the topic The image and character of Sophia in the comedy Woe from Wit. The summary does not make it possible to understand the whole meaning of the work, therefore this material will be useful for a deep understanding of the work of writers and poets, as well as their novels, short stories, stories, plays, poems.) People's Artist of the USSR A. A. Yablochkina, one of the best performers of the role of Sophia, says this about her: “Doesn’t the special language of Sophia’s mushroom-eaters, so different from the language of other characters in Woe from Wit, reveal her image? Her speech clearly shows that, despite the fact that she is seventeen years old, this is ... not the speech of a girl, but the mistress of the house, accustomed to general submission. She has been without a mother for a long time, she feels like a lady. Hence her imperious tone, her independence. At the same time, she is smart, mocking, vengeful: no doubt she is a girl with a great character. In her speech there is something from the serfs, she constantly has to deal with them, and, on the other hand, from French madams and French books.
Sophia constantly talks about various emotional experiences: “pretending to be in love, demanding and distressed”, “deadly coldness”, “he will sigh from the depths of his soul”, etc.
Her "mind is manifested in statements of a generalizing nature: "Happy hours do not watch", "Just think how capricious happiness is, but grief awaits from around the corner," etc.
Sophia was brought up under the guidance of French governesses. Hence the abundance of gallicisms1 in her speech: “to tell you a dream”, “to share laughter”. On the other hand, there are also vernaculars in her language, for example: “you deigned to run in”, “to laugh”, “to the prikmaher, the tongs will catch a cold”.
The good features and natural inclinations of Sophia could not be developed in the Famus society. On the contrary, a false upbringing instilled in Sophia a lot of negative things, made her a "representative of generally accepted views in this circle, accustomed her to lies and hypocrisy. I. A. Goncharov in his article" Million Torments "correctly says about Sophia:" This is a mixture of good instincts with lies, a living mind with the absence of any hint of ideas and convictions, confusion of concepts, mental and moral blindness - all this does not have the character of personal vices in her, but appears as common features of her circle.In her own, personal physiognomy, something is hiding in the shadows then his own, hot, tender, even dreamy. The rest belongs to education.
Sophia drew ideas about people, about life from observations of the life of people of her circle and from French sentimental novels, which were then very popular among the nobility, especially among girls.
It was this sentimental literature that developed dreaminess and sensitivity in Sophia, according to which she painted the hero of her novel - a humble, sensitive person. It was these novels that could make her pay attention to Molchalin, who in some of his features and behavior resembled her "favorite heroes." Played a well-known role in her passion for Molchalin and another circumstance that Goncharov points out: "The desire to patronize a loved one, poor, modest, not daring to raise her eyes to her, to elevate him to herself, to her circle, to give him family rights. No doubt, in this she smiled at the role of ruling over a submissive creature, making him happy and having an eternal slave in him. this was the future "husband-boy, husband-servant - the ideal of Moscow husbands!" There was nowhere to stumble upon other ideals in Famusov's house.
In Sofya Goncharov sees "the strong inclinations of a remarkable nature, a lively mind, passion and feminine gentleness", but "she is ruined in stuffiness, where not a single ray of light, not a single stream of fresh air penetrated." For these good qualities of Sophia, Chatsky loved her, and it was all the more painful for him to see in her, after a three-year absence from Moscow, a typical representative of the Famus circle. But Sophia also experiences a tragedy when, having overheard Molchalin's conversation with Lisa, she sees the person she loves in a real light. According to Goncharov, "it is, of course, harder for her than everyone else, even harder than Chatsky."
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Sophia - who is she? It is this image of comedy that is considered the most complex and ambiguous. Even for the great Russian classic A.S. Pushkin's character of this heroine was not fully understood. “Sophia is not clearly inscribed ...” - this is how the poet A.A. wrote. Bestuzhev in 1825. Another Russian writer I.A. Goncharov discovered a certain duality in the image of Famusov's daughter. So, in the critical article "A Million of Torments" we see the following thesis: "This is a mixture of good instincts with a lie." On the one hand, the girl’s inquisitive mind is noted, on the other, spiritual “blindness”.
Note that the play by A.S. Griboedov is a realistic work (not devoid, however, of remnants of classicism and some romantic features). This means that characters cannot be spelled out unambiguously, there is no clear division of heroes into positive and negative. Thus, it turns out that Sophia occupies an intermediate position in comedy between Chatsky and the so-called Famus society. For the convenience of getting acquainted with the advantages and disadvantages of the heroine, we note her main features and thereby prove the inconsistency of Sophia.
The "pluses" of the heroine include independence, independence, freedom from public opinion. Sophia rejects any possibility of connecting her fate with Skalozub, a colonel who spent the entire battle in a trench and received an award for nothing. Although Sophia's father, on the contrary, considers Sergei Sergeyevich the best match for his daughter. Also in her favor is the need for true love and the ability to love, defending her choice in front of the whole world. So, Sophia tells Chatsky about Molchalin:
He is finally: compliant, modest, quiet.
Not a shadow of worry on your face
And there are no misdeeds in my soul,
Strangers and at random does not cut, -
That's why I love him.
In addition, the heroine has the ability to rebel against the traditions of the Famus environment. For example, Sophia rebels against her father's unshakable conviction: "Who is poor is not a couple for you". However, the girl does not oppose the ideological foundations of her contemporary world, like Chatsky, but only against class prejudices.
It is impossible not to note the strength of character, the courage of Sophia. Having been deceived in Molchalin, she is able to admit her mistake, to be punished: "I'm ashamed of myself, I'm ashamed of the walls" And "... I blame myself all around". It also speaks of her intelligence. As we know, the girl is inherent in education. From the maid Lisa, we learn that Sophia reads books at night.
The disadvantages of Sophia include the imperiousness of character and the desire to command. It is precisely because of these character traits that Sophia chooses the silent Molchalin: he is convenient for her, because he is "compliant, modest, quiet." In addition, the ability to lie, pretense, hypocrisy often wakes up in her - qualities inherent in representatives of the Famus society. Suffice it to recall how deftly Sophia told her father a fictional dream, which later turned out to be prophetic, in order to hide from him a nightly meeting with Molchalin. And the strongest arguments in favor of her depravity are vindictiveness and deceit. Sophia's weapon is gossip, a kind of public means of struggle in the Famus world. It is Famusova who spreads the rumor about Chatsky's madness.
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