Love triangle in a play with public sound

("Woe from Wit")

The comedy of Alexander Sergeevich Griboedov "Woe from Wit" was completed in 1824, on the eve of the Decembrist uprising. Therefore, the pre-revolutionary atmosphere of those years simply could not but affect its author. However, there are two storylines in the comedy - social and love, and the second, according to many critics and readers, prevails. Our task is to try to understand how these two lines are connected and what is the meaning of such a comedy composition.

At the heart of the play, as already mentioned, lies love drama. Its main characters are Sofia Pavlovna Famusova, Alexander Andreevich Chatsky and Molchalin. It's hard to imagine two more different people than Chatsky and Molchalin. The only thing they have in common is their age. Chatsky is an active supporter of new educational ideas, a person striving for knowledge, eager to serve "the cause, not the people." In Molchalin, the opposite is true. He is good at "there is a pug in time to stroke, there at the time to rub the card." Molchalin is not interested in what is happening outside famus house, all his thoughts are only about his own well-being. Molchalin's resignation and helpfulness came in very handy even now, and soon he had already rubbed himself into the confidence of Famusov and other members of the household. Sophia liked him too. She - like Chatsky - is a passionate nature, living with a strong and real feeling. And let the object of her passion be miserable and pitiful - this does not make the situation funny, on the contrary, it deepens its drama. Sophia reads sentimental love stories of a poor young man and rich girl. Admire their loyalty, devotion. Molchalin is so similar to a romantic hero! There is nothing wrong with a young girl wanting to feel like the heroine of a novel. Another thing 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. Chatsky, who sincerely loves Sophia, suffers because she preferred the narrow-minded and helpful Molchalin to him, who has only two talents: "moderation" and "accuracy".

Sophia's choice hides social and ideological conflicts. In these conflicts, the whole tragedy of Chatsky is visible. How did it happen that a smart and deep girl not only fell in love with a scoundrel, a soulless careerist Molchalin, but also committed a betrayal by spreading a rumor about the madness of a person who loves her? The answer suggests itself. Whole system women's education had the ultimate goal of giving the girl the necessary knowledge for a successful secular career, that is, for a successful marriage. Sophia does not know how to think - that is her trouble. He does not know how to take responsibility for his every step. She builds her life according to generally accepted patterns, not trying to find her own way. With all her mental inclinations, she belongs entirely to the Famus society. She cannot fall in love with Chatsky, because he completely opposes this society with the turn of his mind and soul.

How does Chatsky himself behave in such a situation? He soon becomes disappointed in Sophia, and in everything Moscow " high society", realizing that during his journey everything here remained the same. Chatsky is a man of the new world. He does not accept the laws of the life of old Moscow. He has his own idea of ​​\u200b\u200bserving the fatherland. In his opinion, one must serve honestly," , no promotion to the rank. "Chatsky opposes people who value only wealth and rank, are afraid of truth and enlightenment. He associates the progress of society with the flourishing of the individual, the development of science and education, which is alien to Famus society. A person who has received a good upbringing, who has a brilliant mind, does not want to take as examples such as "Uncle Maxim Petrovich", because he does not see any moral virtues in them and can declare it publicly. Such views predetermine his fate as a lonely dreamer in the Famus world. According to Griboedov's plan, Chatsky only he will sow the seeds of future prosperity, without seeing the results of his labors himself.This thought turned out to be prophetic - that is exactly what happened to the Decembrists.

Did the fate of Sophia and Molchalin turn out well? No, and that's probably to be expected. Sophia caught Molchalin, becoming an unwitting witness to his "courtship" of Lisa, she is struck in the heart, she is destroyed, but tragically, having abandoned Molchalin, Sophia will not abandon the "Molchalin type": "Husband-boy, husband-servant of the wife's pages - the High ideal of all Moscow men" - this is how Chatsky says about it. Molchalin will not disappear after being exposed either. He will probably be kicked out of this house, but there are still hundreds of such houses in Moscow, and somewhere he will find a cozy place for himself. Yes, what can I say, as long as the "Famusian society" dominates, "silent ones are blissful in the world."

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"A million torments" Chatsky. He will come out of the fire unharmed, Who will have time to stay with you for a day, Breathe in the air alone, And in him the mind will survive. A.S. Griboyedov.

N. Shmeleva. After the war of 1812, the Russian nobility split into two camps: conservatives and reformers. Griboyedov, of course, could not help but worry about the confrontation between the reactionary and advanced nobility. Being progressive thinking person and sharing in many ways the beliefs of the future Decembrists ...

An essay about: "?" 9th grade student "G" Sergeev Grigory Konstantinovich Instructor: Romanova Lyudmila Anisimovna Grade: good "Woe from Wit" is one of the brightest works Russian literature. The comedy was written after Patriotic War 1812, during the rise of the spiritual life of Ro...

The comedy "Woe from Wit" became an event in Russian literature early XIX century, was the rarest example of accusatory, satirical direction.

The only character conceived and performed in the comedy "Woe from Wit", as close to Chatsky, is Sofia Pavlovna Famusova. Griboyedov wrote about her: "The girl herself is not stupid, she prefers a fool smart person."

The comedy "Woe from Wit" by Griboedov was written during the years of the creation of the secret revolutionary organizations of the Decembrists.

"Woe from Wit" Griboyedov - socio-political realistic comedy, one of the most topical works of Russian literature. The comedy "Woe from Wit" was written at 20 XIX years century, after the Patriotic War of 1812.

Women's images in Griboedov's comedy "Woe from Wit" play a lot of important role in realizing relevance and artistic originality comedy. Sophia and Lisa are typical roles of classic comedy.

­ Love triangle

The comedy "Woe from Wit" was completed in 1824, on the eve of the Decembrist uprising, and therefore it could not help touching on the topic of social discord that worries the author's contemporaries. But there is another one in the work story line worthy of attention. This is the love theme of the main characters. She cannot be called happy, because in the end, due to the difference in views and upbringing, no one built their personal happiness. The play's love triangle involves Chatsky, Sofia and Molchalin.

Chatsky was orphaned quite early and was brought up in the house of his father's friend Pavel Afanasyevich Famusov, a man famous in wide circles and wealthy. Thus, since childhood, the young man spent a lot of time in the company of Sophia, Famusov's daughter, and was deeply attached to her and even in love. After a three-year absence, he again appeared in the Famusovs' house to win Sophia's heart, but unpleasant news awaited him: the girl had already given preference to another young man. She secretly met with her father's secretary, Alexei Molchalin.

There were more people like Molchalin in society, which upset Chatsky. From their tacit consent there was a lot of meanness and injustice. Molchalin himself did not differ in special merits, he was only interested in one thing - secular career And high rank. In order to achieve his goals, he is ready to court anyone. In this case, he was lucky, because Sophia was young, smart, interesting and pleasant in appearance. Reading Griboedov's comedy, we understand that if there were an ugly and old widow in her place, he would gladly take care of her if it would bring him benefit.

However, Sophia does not know all this, who sees in her object of adoration only timid, laconic and sensitive person. Otherwise, Chatsky refers to him - a person interested and a little offended by Sophia's cold reception. He casually notices that nowadays people like Molchalin are loved in society. He knows that such flatterers and sycophants make a career in the Moscow nobility. At the reception at the Famusovs, when Chatsky sees how Molchalin flatters and tries in every possible way to please the power-hungry old woman Khlestova, he once again makes an attempt to open Sophia's eyes to her new boyfriend.

In retaliation for his undisguised irony, the girl decides to avenge Molchalin and starts a rumor among the guests that Chatsky is a "crazy fellow". Fortunately, at the end of the play, the true face of Molchalin is revealed and Sofya understands who he really is, but relations with Chatsky are already spoiled, so each hero of the love triangle is left alone. As noted, Griboyedov did not have a happy ending in this play. Chatsky is too free-thinking and straightforward for the Famusov society. He openly expresses his dissatisfaction with the false behavior of the guests at the ball.

Sophia could become a good friend and future colleague for him, but she succumbs to the opinions of others. Unlike other noblewomen, she does not dream of a rich husband. This can be seen in the way she sacrifices her interests for the sake of such small person like Molchalin. Her mind, courage, love of freedom, ability to love and feel impress Chatsky, but he understands that if tomorrow she is offered to choose between him and another weak-willed "silent", she will give preference to the latter. After all, it is much more convenient for her to have a silent and obedient person in her husbands than to keep up with Chatsky, develop and accept the “new”.

Thus, the love triangle that has developed in Griboedov's work collapses. Sophia's father decides to temporarily send her out of Moscow. The author does not report on the fate of Molchalin, and Chatsky decides to leave the Famusovs’ house forever and go to places where there is a corner for the “offended feeling”.

The main plot of Griboedov's comedy lies on a love triangle between Sofia, Chatsky and Molchalin. Perhaps, without this conflict, we, the readers, would not have been so interested in the work of Alexander Sergeevich.

Sofya is the daughter of Famusov, the manager in the government house. A smart, educated girl, brought up on French novels. Chatsky's caustic language annoys her. A beautiful girl in love with the hypocritical Molchalin.

Aleksey Stepanovich - Famusov's secretary, a silent person. With Sophia, he pretends to be in love, courting her not because she is attractive to him, but because she is the boss's daughter. He himself frankly confesses his love to the maid Lisa.

After a long journey, Chatsky returns to Moscow. It seems that he came for Sophia and only Sophia. He has long been in love with her, although he himself disgusts her.

If there was no Molchalin in Famusov's house, would relations between Sophia and Chatsky be able to develop? Don't think. Despite the fact that they have had friendly relations since childhood, the girl has changed a lot during the absence of Chatsky.

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Chatsky - Sophia - Molchalin - the main love triangle love conflict. Chatsky rightly considers Molchalin a dumb nonentity, equating him to an animal in human form (the word dumb in the then use was a negative sign of an animal that distinguishes him from people). Chatsky cannot believe that Molchalin has become Sophia's chosen one, but ironically admits that he will make a successful career. However, Chatsky's irony is not entirely appropriate: Alexei Stepanych, who has not yet entered into force, is already ousting Chatsky and others like him from everywhere. Griboyedov very accurately and subtly noticed where the Famus society draws replenishment from.

In the comedy, Molchalin is given two roles - a stupid lover and a cordial friend of Sophia, a platonic admirer. The second role is complicated by the fact that Molchalin does not love and despises Sophia. However, he is not so stupid as to hope for a marriage with Sophia and therefore, unlike Repetilov, according to the story he told about his marriage, he has no career considerations. Like one of central characters, Molchalin has a double - Zagoretsky. Molchalina combines servility with him, both are masters of obsequiousness.

By nature, Molchalin is dual - on the one hand, he has a vile, and on the other, an obsequious nature. This character is associated with the position of Molchalin. He seems to belong to the masters (an official, Famusov's secretary, accepted in the noble circle) and to the servants (it's not for nothing that Famusov sees him as a servant, Khlestakova points him to a place: “Molchalin, get out your closet, You don’t need seeing off; go, the Lord is with you ”, and Molchalin himself reaches out to the servants, in particular, he declares his love to Lisa). This duality of Molchalin is expressed in the fact that he is afraid of Famusov, but cannot refuse to please Sofya, and therefore “takes the form” of her lover. Not loving, he becomes a lover. He is a frequent guest in Sophia's bedroom, but not as an ardent lover, but as a servant, acting as a platonic admirer. By deceiving Sophia, he also deceives Famusov: trembling in front of him and knowing that he would never allow him to marry his daughter, he nevertheless visits her secretly from Famusov.

Human qualities Molchalin are directly consistent with his life rules which he clearly articulates: moderation and accuracy. He is wordless because at his age "one should not dare to have His own judgment." However, his silence disappears when Molchalin is alone with Lisa. Here, on the contrary, he is very eloquent, two speech streams are guessed in his language. One is a petty-bourgeois bureaucrat, testifying to his low, “vile” origin and associated with the rudeness of feelings, with meanness, primitive mental properties (“I don’t see anything enviable in Sofya Pavlovna”, “ Let's go love to share our deplorable theft”, “We’ll spend time without a wedding ...”, “I have three little things ...”, “cunning work”, “Outside a mirror, and a mirror inside”), as well as with servility, caress, flattery (“As I labor and strength…”, “No, sir, everyone has their own talent…”, “Two-sir: Moderation and accuracy”, “You weren’t given ranks, were you unsuccessful in your service?”, “I don’t dare to pronounce my judgment”). The other is book-sentimental. It was not for nothing that Molchalin diligently visited Sophia. From communication with her, he learned the sentimental bookish language of gestures and loving poses - silent sighs, timid and long glances, mutual gentle handshakes. And the same sentimental, bookish, refined sensual speech that Molchalin merges with a philistine-leaf, sugary-sweet language, replete with diminutive petting words (“You are a cheerful creature! Living!”, “What a face of yours!”, “Pillow, from beaded pattern…”, “The needle case and scissors, how cute!”, “With perfume bottles: mignonette and jasmine”, “Who would have guessed, What in these cheeks, in these veins of Love, the blush has not yet played!”, “My angel, I would like to feel the same for her that I feel for you; No, no matter how I keep telling myself, I’m getting ready to be gentle, but I’ll lay a sheet, Let me hug you from the heart of fullness, Why shouldn’t she be you! .

The rapprochement between Sofia and Molchalin is significant: negative attitude Griboyedov to sentimentalism, Karamzinism and the latest romanticism. The condemnation of sentimentalism appears especially clearly in the image of Sophia.

Sofya Pavlovna Famusova is called by Griboyedov a smart girl. The very name "Sophia" in Greek means wisdom. Such girls, endowed with intelligence and kindness, have always been the main characters in Russian comedy and in the literature of the Enlightenment. One of them, bred in Fonvizin's "Undergrowth", stands up to the end against the kingdom of stupidity, withstanding the pressure of the Prostakovs, and finds happiness with her beloved Milon.

Griboyedov, and here the question is: why is an intelligent girl who could be real girlfriend Chatsky, to make his happiness (not without reason in adolescence Chatsky was the hero of her novel) and together resist the inert Famus Moscow, betrays his early spiritual and spiritual needs and of his own free will, having chosen an insignificant creature as his beloved, falls into a stupid, comical position? Griboyedov seems to be ironic about the name of Sophia: what wisdom is there if at the end of the comedy the heroine finds out that she was cruelly deceived and deceived. She was even more deceived than she was deceived, because it is not Molchalin who plays an active role in Sophia's novel, but she herself.

If three years have not changed Chatsky (he still believes in reason, still loves Sophia, still looks mockingly at Moscow), then Sophia has changed in the same three years. The reason, Griboedov hints through the mouth of Famusov, is the female Moscow upbringing, cut off from national roots. Sophia was brought up by "madama", a Frenchwoman, greedy for money. She is surrounded by Moscow aunts. Moscow defeated her with her habits, morals, customs, musty, stagnant atmosphere. It is easy to become stupid even for a smart person. Famusov becomes a fool according to custom, holding on to ancient life rules, Sophia - for "blindness". Unlike Famusov, she is not opposed to novelty, but from all kinds of innovations she learns what contradicts the true national foundations and indigenous customs. French influence - fashion, shops of the Kuznetsk bridge, reading French books. Unprecedented courage (inviting Molchalin to his bedroom at night) was inspired precisely by novels, for the most part sentimental, romantic ballads, sensitive stories. It would seem that Sofia is not afraid, unlike Famusov, Molchalin and Lisa, of someone else's opinion: “What is rumor to me? Whoever wants, he judges ... "," And which of them do I value? I want to love, I want to say”, “What do I care about anyone? before them? to the whole universe? Funny? - let them joke; annoying? - let them scold. “Otherwise, I’ll tell the whole truth to the father, out of annoyance. You know that I don’t value myself” - such phrases are heard from the lips of Sophia. And this is visible hot, whole nature, ready to defend their right to love. But the whole point is that in this dissimilarity for Griboedov lies a quality alien to a Russian girl and woman. They are more to face, according to national customs, meekness, obedience, and not a challenge to the will of the parents. Capricious tyranny, self-praise and boldness of judgment are rather the lot of Moscow aunts, whose colorful image in the person of Khlestova, Princess Tugoukhovskaya, is also brought out in comedy. But in this case, contempt for rumor, from the point of view of Griboedov, is not only a manifestation of personal dignity, but also the result of reading French books, where the heroines, in the name of love, forget “both female fear and shame”, lose their chastity and publicly, without embarrassment, expose my feelings. In Sofya, Griboedov sees a terrible mixture of a Moscow lady, an evil gossip who spreads gossip about Chatsky's madness, and stuffed French books ladies from sentimental romance, ready to play nice with a young man in her bedroom all night long and faint over a trifle, demonstrating her special sensitivity. Chatsky blames Moscow for everything, Famusov blames the French and the Kuznetsk bridge. But, the question is, for whom are all the victims of Sophia? For the sake of an insignificant, vile creature. So, defending her opinion, her love, preparing to sacrifice herself, Sophia acts in “blindness”. She seems to be in a state of love insanity. In her head, everything shifts and everything takes on a different, abnormal look.

According to Griboyedov, French upbringing, influence and fashion are most of all to blame for this. It was because of them that Sophia imagined herself as the sentimental heroine of a "sensitive" novel. Her soul chose a Platonic lover, silent, quiet, timid, unlike the bold and independent Chatsky and the typically Moscow fiance Skalozub, limited, but rich and quickly moving up in the service. As a sentimental heroine, in whose role Sophia entered, she needs a dreamy and sensitive interlocutor who understands her without words, her tender and love-hungry soul would open before him. It is clear that Sophia takes Molchalin's obsequiousness for the kindness of the soul, for the simplicity of character, for pliability, modesty. Molchalin is not boring for Sophia, because she invented it and rewarded the object of her love with calmness, ideal morality, firm and high moral qualities. Sofia does not allow the thought that Molchalin is pretending and deceiving her.

What in Molchalin from his first words is open to Chatsky - baseness, meanness of the soul, is hidden behind seven seals for Sofia. Chatsky before last date Sofia with Molchalin cannot believe that Sofia has fallen in love with Molchalin. He calls her a pretender, a deceiver, and only when the guests leave will he find out the truth.

A kind of parody of Sofia's love for Molchalin and the plot invented by Sofia turns out to be the "dream" she told, which is very similar to Zhukovsky's ballads. Here is a flowery meadow, and a nice person, insinuating, quiet, timid. Finally, a dark room, a suddenly opened floor, Famusov appears from there, pale as death, hair on end, doors open with thunder, into which monsters break. Together with Famusov, they take away their lover and take him away, screaming heart-rendingly. Then Sophia woke up, just like Svetlana in Zhukovsky's ballad, and Griboedov, through Famusov, repeats the conclusion of the ballad ("There are great miracles in her, Very little stock"): "Where there are miracles, there is little storage." The meaning of this repetition is clear: Sofia invented herself, invented Molchalin, and all this together is the result of love dope and newfangled literary fads and trends. And therefore, in the finale of the comedy, she suffers a complete collapse: the sentimental plot invented by her collapses. Her lover turns out to be not a platonic admirer, as he pretended to be, but a prudent, mercenary and, most importantly, a low and vile person. Sophia herself is threatened by home disgrace and exile - Famusov intends to imprison her in the wilderness, in the village. Here, as if in mockery, a bad "ballad" dream comes true: the father separates Sophia from Molchalin and removes them to different parts of the empire. Sophia has no one to blame - she herself is to blame for falling into a deceit. The reason why her love for Molchalin became possible lies in her subordination to the mores of old Moscow and her addiction to French fashions, to sentimental literature. Thus, Sophia etched out of her soul the indigenous national beginnings, and this led her to disaster.

Many readers, when getting acquainted with the heroes of A.S. Griboedov's work "Woe from Wit", the question arises: "Why does Sophia," the girl is not stupid, "prefer a fool to a smart person?"

The image of Sophia plays an important role in comedy, since the main conflict and plot development occur as a result of love affair. Chatsky loves Sofia, for her sake he comes to Moscow, to Famusov's house. Why did Sophia prefer Molchalin?

The heroine of the work is very young, she is only seventeen years old. It is hardly possible to talk about some established beliefs, a conscious choice life path. Sophia was brought up, like many Moscow young ladies, at home: she was taught dancing, singing, playing the piano and French. She loves music, apparently quite well-read, prefers French novels, sentimental works. Her father talks about it important official Famusov:

All night reading fables,
And here are the fruits of these books.

Sophia once liked Chatsky, but she does not consider these feelings serious:

The habit of being together every day is inseparable
She connected us with childhood friendship ...
Oh! If someone loves someone
Why look for the mind and drive so far?

Young Sophia expressed a very characteristic Famus Society thought: "Why look for the mind ...". This phrase allows us to understand that the word "mind" meant education. And indeed, after all, Chatsky left to continue his education, and Sophia, like many others, considered it unnecessary. It becomes clear why main character received "woe from the mind", because because of his desire to "see the light", to get an education, he was away from his beloved for three years, and then completely lost her. Yes, and in relations with compatriots, sharing his enlightened views, the hero experienced humiliation, insults, was rejected by society, which also became a consequence of his critical eye to contemporary reality. And Sophia by that time had already chosen another, one who did not differ in a special mind:

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.
Will such a mind make a family happy?

You can trace the emergence of the heroine's feelings for Molchalin according to the statements of Sophia herself:

Dear man, one of those we are
We will see - as if we have known each other for a century ...

Indeed, nearby, in their house, lives a young man who knows how to be helpful: he will say a compliment in time, looks with loving eyes. And the girl just had the time for dreams, the desire to love and be loved:

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.

Sophia gets used to Molchalin, then it seems to her that he is “more precious than all treasures”, although she realizes with her mind how “not a couple” he is to her:
... and insinuating, and smart,
But timid... you know who was born in poverty...

The girl involuntarily compares Molchalin with Chatsky. In a conversation with the maid Liza, and then with Chatsky himself, he emphasizes the shortcomings of one and the dignity of the other:

Happy where people are funnier (about Chatsky).
Who I love is not like this:
Molchalin is ready to forget himself for others,
The enemy of insolence - always shyly, timidly ...

During the absence of Chatsky, Sophia has matured, she has some of her own principles and views on life, about which he has no idea. When returning to Moscow, the hero is not able to be objective in relation to the one he is in love with, and it is impossible to discern in a day or two inner world a person you haven't seen for a long time. He does not know that Sofya deliberately chose Molchalin from possible candidates for suitors, and Chatsky was not present in her plans. When they meet three years later, he seems to her caustic, bilious, intolerant: “Not a man, a snake!” Sophia is much easier with the kind and helpful Molchalin, who has become dear.

Like most lovers, Chatsky idealizes his beloved. He considers Sophia smart, kind, fair, admires her beauty. And when she suspects the presence of an opponent, she cannot believe that Sophia, with her heart and mind, preferred Molchalin: it is impossible to love insignificant person who, for the sake of a career or some other benefit, is ready to flatter, humiliate himself, please at least those that stroke someone's dog in time. But this is how Chatsky argues, who has rather strict concepts of morality. However, he cannot know if Sofya sees the same in Molchalin's behavior and what she thinks about his moral qualities.

And Sophia attributes to her friend those qualities that she liked in the heroes of the books, or, perhaps, she judges the necessary merits of a man, a future husband, according to aunts, familiar ladies. Defending Molchalin from Chatsky's ridicule, the girl tells how her friend bought a good relationship with everyone both in the house and in the service, because he is “the humblest” and kindest person, honors elders, 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.

Chatsky understood better than many how Sophia “created” the image of her beloved:

Perhaps your qualities are darkness,
By admiring it, you have given it.

When he guesses that Sophia may not have respect for Molchalin, he advises the girl to take a closer look at the person, but it is already impossible to convince her.

Thus, Sophia herself explained who she chose as the hero of her novel and why she did not need a smart, that is, educated husband. She is offended by Chatsky's statements about Molchalin, she believes that this is out of envy, and in retaliation she starts a rumor about Chatsky's oddities: "He is out of his mind." This act, like many other things in Sophia's behavior, characterizes her negatively, but in the environment where she grew up, she was the most ordinary young lady, although in some ways she may have surpassed some of her peers.

When the heroine accidentally heard Molchalin's confession to Lisa that he never loved Sophia, the girl was shocked by the meanness and meanness of her chosen one. She is outraged by how Molchalin explained his pretense: it turns out that the courtship was “to please his daughter” big man, that is, in order to make things better in the service. And Sophia angrily rejects Molchalin's pleas for forgiveness, pride, resentment, offended pride speak in her. Perhaps she didn't have true love to a man who, in an instant, had aroused such contempt. However, Chatsky suggests another option:

Think you can always
Protect, and swaddle, and send for business.
Husband-boy, husband-servant, from the wife's pages -
The lofty ideal of all Moscow men.

Whether Sophia Molchalin truly loved is hard to say, even smart Chatsky did not understand this. But she didn’t love Chatsky, that’s for sure, otherwise she wouldn’t have declared him crazy. And he always remembered her, missed her in separation, dreamed of a meeting. Sophia surprised him and caused him suffering. Resentment and pain make Chatsky leave the Famusovs' house, leave Moscow without any hope of happiness with his beloved.

unknown further fate Sophia, whom her father would like to temporarily expel from Moscow, but it can be assumed that she will have a marriage of convenience and a measured life typical of a Moscow lady. And the author does not report the fate of Molchalin. Only Chatsky himself decides what to do next, and leaves for "where there is a corner for the offended feeling."

Reviews

How would Sofya say at Griboedov's now?
She Mark
“In his work Marxism and Questions of Linguistics, Comrade Stalin
says that "language is one of the social phenomena operating
for the entire time of the society’s existence.” I specifically started with this
quotes to make YOU feel the breath of that time: even through
two years after Stalin's death, people were afraid of him. Until the 20th Congress
(on which Khrushchev condemned the cult of personality) there was still a whole year.
In short, what a society, such a language. It changes with the change
society.
If Griboyedov lived in our time, then how would he talk
Sophia? I think that after watching serials about bandits, prisoners, cops and
streets with broken lamps, she would not have spoken so ornately:
"Happy hours do not watch," but would say simply and clearly:
"Where is the buzz, boilers do not cut!".
LITERATURE
Shevaldyshev, Suvorov, Korndorf. English textbook.
Publishing House of Literature on foreign languages. M. 1955

What a horror you have drawn! However, I have to agree that not only culture and morality have fallen low, but also the language, which is becoming more and more vulgarized, becoming trashy and dirty. The mind is depleted, followed by speech.
True, people who do not give in to decay and rot keep everything in a decent form. In such families, the younger generation continues the tradition.
Upbringing and education great importance they began to attach in the 18th century, when Fonvizin showed who was brought up by ignorant landowners, preparing Mitrofanushki to serve the Fatherland. And in the 19th century, gentlemen nobles already spoke French, children read them French classics, although they also knew the language of Lomonosov. AND Thanks a lot Pushkin must be said for the development of the Russian language! But education became especially important during the years Soviet power when it became universal, accessible to both the peasant and the worker.
And now, in a society of owners, rushing to profits and incomes by any means at the expense of the people, I happened to see all this horror: it has become difficult to put education, language and literature above consumer demands. Capitalists don't need smart people, that's why they are glad to see chewing animals, ready to buy even vodka, even smoking mixtures.
Thank you for your indifference.