Sofia- Starodum's niece (daughter of his sister); S.'s mother is Prostakov's matchmaker and in-law (like S.) Prostakov's howl. Sophia - in Greek means "wisdom". However, the name of the heroine receives a special connotation in the comedy: the wisdom of S. is not rational, not wisdom, so to speak, of the mind, but the wisdom of the soul, heart, feelings, the wisdom of virtue.
The image of S. is at the center of the plot. On the one hand, S. is an orphan, and the Prostakovs took advantage of this in the absence of her guardian Starodum (“We, seeing that we were left alone, took her to our village and oversee her estate as our own” - d. 1, yavl. V). The news of the arrival of Starodum in Moscow causes a real panic in the house of Prostakova, who understands that now she will have to part with the income from the estate of S. On the other hand, S. is a marriageable girl, and she has a lover (Milon), to whom she promised her hand and heart, however, Prostakova will read her brother Skotinin as her husband. From a letter from Starodum, Prostakov and Skotinin learn that S. is the heiress of his uncle's 10,000 rubles; and now Mitrofan is also wooing her, encouraged to marry by her mother, Prostakova.
Skotinin and Mitrofan do not like S, and S. does not like them, openly despising and laughing at both. Positive characters are grouped around S. and actively contribute to her release from the petty and selfish tutelage of Prostakova. In the course of the action, the barriers to the marriage of S. with Milon are crumbling, and the estate of Prostakova, as a result of this whole story, falls under the care of the authorities.
Throughout the comedy, the character of S. remains unchanged: she is faithful to Milon, has sincere reverence for Starodum and respects Pravdin. S. is smart, she immediately notices that Prostakova "has become affectionate to the very base" and that she "reads" her "and the bride to her son" (d. 2, phenom. II), mocking (she taunts the jealous of her for Skotinin and Mitrofan Milon), sensitive and kind (with ardor she expresses her joy when Starodum agrees to her marriage to Milon; at the moment of happiness, she forgives Prostakov for the harm done and pities the "evil fury"). S. comes from honest nobles who gave her an education (she reads in French the essay of Fénelon on the upbringing of girls). Her simple feelings are humane: honor and wealth, she believes, should be gained by labor (d. 2, yavl. V), meekness and obedience to elders are decent for a girl, but she can and should defend her love. When Starodum, not yet knowing Milon, wants to marry S. to a certain young man, S. is “embarrassed” and believes that the choice of a groom also depends on her heart. Starodum confirms C's opinion, and she immediately calms down, declaring her "obedience".
Fonvizin made a lot of efforts to give S. lively features. To this end, he used the techniques of Western melodrama, combining dramatic moments with sensitive ones. However, he was more interested in raising an honest person worthy of the title of nobleman. In her youth, his heroine needed an experienced leader-mentor. She entered a new, perhaps the most responsible phase of life, and the playwright did not pass by this. S.'s natural virtue was to be given a mental cut. On the threshold of the wedding, Starodum gives S. advice, from the content of which it becomes clear how he (and the author of The Undergrowth) understands the correct upbringing of girls and women.
Most of all, Starodum is afraid of the influence of "light", with its temptations capable of corrupting an innocent, pure and virtuous soul. Therefore, in the "light", says Starodum, the first step is important, the ability to put oneself forward and recommend oneself. The general rule is: friendship must be made with those who deserve it, that is, choose friends. S. is inexperienced and asks to clarify whether the preference of some will bring anger to others. Starodum teaches her that one should not expect evil from people who despise you, evil comes from those who themselves are worthy of contempt, but envy the virtues of their neighbor. S. considers such people miserable, because such people are unhappy. Starodum warns: pity should not stop before evil, and virtue should follow its own path. Wasting time on the education of the "evil", whom S. calls "unfortunate", should not be, since every person, if he has a conscience, must himself awaken virtuous feelings in himself. Learning the lesson, S. concludes that it is necessary to clearly and firmly show the evil person the baseness of his soul. Starodum adds: the mind of such a person is not a direct mind, that is, crafty, cunning, dishonest. True happiness comes from virtue and direct reason. Like Pravdin, S. understands happiness in the spirit of ordinary ideas: nobility, wealth. However, Starodum explains to her that nobility and wealth are not just titles and money, but "signs" of a person's state and civil status, imposing moral obligations on him. Starodum teaches S. to distinguish between the real and the imaginary, external brilliance and internal dignity; he is opposed to selfish happiness. And S. learns his lessons. She is also sure that a person does not live alone, that everyone owes each other. But if this is so, then why, thinks C, the mind does not clarify such a simple truth. Starodum in response pronounces a wonderful phrase: "The direct price of the mind gives good manners." It is the soul, the “intelligent heart,” that makes an honest person “completely honest.” So for S. the most important educational concepts (mind, honor, service to the fatherland, the position of an honest person, good manners, etc.) are clarified. The seeds of Starodum fall on fertile ground, because the "inner feeling" of the originally virtuous S. tells her the same thing.
From general concepts about a nobleman and his positions, Starodum transfers the conversation to a person, to the personal side of his life, to the family hearth. Having turned from the path of virtue, the husband and wife cease to love each other, feel mutual friendly affection and turn life together into hell, forgetting about the house and children. Starodum again and again reminds S: “virtue replaces everything, and nothing can replace virtue”; at the same time, he does not forget about the intimate side of marriage: “Only, perhaps, do not have love for your husband, which was like friendship b. Have a friendship for him that would resemble love. Ultimately, the husband needs the power of the mind (“prudence”), the wife needs virtue, the husband obeys reason, the wife obeys her husband. The old norms acquire a new content, and the soul and the "virtue" emanating from it again become the basis of family harmony. Therefore, the education of an honest person - man or woman - consists in the enlightenment of the soul.
"Undergrowth" was written in the era of the reign of Catherine II, when the issues of social relations, upbringing and education of young people were especially relevant. In the play, the author not only raises the acute problems of contemporary society, but also illustrates the ideological concept with vivid collective images. One of these characters in comedy is Sophia. Fonvizin's "Undergrowth" is, first of all, a classic comedy that illuminates the enlightening ideas of humanism. In the image of Sophia, the author portrayed a perfect example of a Russian woman of the Enlightenment - educated, smart, short, kind and modest. The girl respects her parents, treats older and more authoritative people with respect, is open to receiving true moral guidelines.
According to the plot of the play, Sophia had a difficult fate. Even at a young age, the girl's father died, and half a year before the events described in the work, her mother. Since her uncle, Starodum, was in the service in Siberia, Sophia, by the will of fate, falls into the care of the rude, cruel and stupid Prostakova.
The landowner is going to marry the girl without her knowledge to her brother Skotinin. However, the news about Sophia's inheritance radically changes Prostakova's plans - the woman decides to woo her underage son Mitrofan in order to receive her share of the inheritance. The apogee of the marriage story is the kidnapping of Sophia on the orders of the landowner, while the issue of the girl’s marriage has already been resolved - Starodum approved Sophia’s choice to marry the honest and kind Milon. However, the ending of the comedy is happy for the girl - she remains with her loved one.
Sofia and Mitrofan
In "Undergrowth" the central characters are Sophia and Mitrofan. In addition to the fact that both of them are the youngest images of the play, the heroes also appear in the play as antipodes. Sofya is an orphan who has to take care of herself, while Mitrofan is a spoiled sissy. The girl strives for knowledge, takes her future seriously, develops as a person with her own opinion, while the young man is a weak-willed, stupid, obeying Prostakov in everything and an infantile character.
In the play, the author pays special attention to the issue of education of each of the characters, pointing out that good, correct education is the basis for the development of a strong independent personality. This becomes clear when analyzing the images of Sophia and Mitrofan within the storyline. The girl was brought up in an enlightened noble family, where the most important value was respect and love for parents, good manners, honesty, justice and mercy to those in need, which formed the basis of Sophia's virtuous nature. Mitrofan, on the other hand, was brought up by the despotic, cruel, deceitful Prostakova and weak-willed Prostakov, having adopted all the negative traits from them. In comedy, Sophia is a symbol of purity, modesty, inner beauty and virtue.
She is just such a person, whom Starodum speaks of in his instructions, and whom the author himself admires.
Sofia and Prostakova
The image of Sophia in "Undergrowth" is also opposed to the second main female image of the play - Prostakova. The girl and the landowner personify two diametrically opposed views on the role of women in the family and society. Prostakova does not love and does not respect her husband, she can scold him or even hit him - the wedding itself for her was more of an opportunity to get a large household into her possession. For Sophia, marriage is an important thoughtful step, the union of two people who love and respect each other, fully accomplished and congenial personalities. The girl has long loved Milon, remains faithful to him, while the young man serves his homeland, is honest and open before him. In marriage, for Sophia, not material wealth is important, but warm relationships, well-being and understanding.
Prostakova acts as the bearer of the values and foundations of the long-obsolete Domostroy, according to the norms of which a woman does not need to be educated, understand high matters and talk about serious things, instead, she should only deal with housekeeping and children, mired in daily household routine. The image of Sophia is innovative for Russian literature, as it embodies new, enlightening views on the role of women in society. In the work, she acts as the bearer of true wisdom, kindness, honesty, cordiality and human warmth. The reader is presented not with a peasant woman or a cook, but with an educated girl who has her own views and opinions. A comparative description of Sophia in The Undergrowth makes it clear that in her image Fonvizin portrayed his own ideal of a renewed, enlightened, harmonious personality of enlightenment.
On literature Comparative characteristics of Sophia and Mitrofan. Summary: Speech and nominal characteristics of the heroes of the comedy D.I. Fonvizin "Undergrowth
Comparative characteristics of Sophia and Mitrofan. Summary: Speech and nominal characteristics of the heroes of the comedy D.I. Fonvizin "Undergrowth
In Fonvizin's comedy "Undergrowth" there are many demonstrative characters. Despite the variety of characters, two heroes stand at the head of the play - the undersized Mitrofan and his complete opposite Sophia.
Sophia is the only positive female character, which suggests that it is in her that the image of the ideal female upbringing that Fonvizin imagined is contained. In comparison with Mitrofan, such qualities of Sophia as a craving for knowledge, good breeding, respect for elders, kindness, and modesty clearly stand out. It is these qualities, according to the author, that a well-behaved girl should have.
The fate of Sophia brought her many misfortunes. She grew up without a father, and when she grew up, she lost her mother. Since there was no news from her uncle Starodum, who was in Siberia, for a long time, she fell under the care of the Prostakovs. The Prostakov family, led by the eccentric Mrs. Prostakova, gave Sophia a very difficult life. They forcibly stopped her communication with Milon, a young man for whom Sophia had sincere and mutual feelings. She was constantly watched, reproached with a piece of bread and limited in everything. But despite this treatment, Sophia never complained and always treated the Prostakovs respectfully.
Sophia is also inherent in loyalty. Despite the fact that she did not see her chosen one for half a year and did not receive news from him, she did not change her feelings. All this time she continued to love him. When it turned out that Starodum was not only alive, but also earned a large fortune in the North, of which he made Sonya the heiress, everyone around fussed. They tried to force her to marry both Skotinin and Mitrofan, but she was not going to give up her feelings.
Sophia more than once acts as a very educated girl. Her speech is very respectful and literate, and she prefers to spend her free time reading instructive literature. Having met his niece for the first time in a long time, Starodum was pleased with both her upbringing and her disposition. He notes with pleasure that Sophia grew up exactly the way he wanted to see her, and even chose the chosen one, whom he himself had found for her.
Sophia is opposed to both Mitrofan and Mrs. Prostakova. She is the standard of female virtue, an example for the noblewomen of that era. In it, Fonvizin concluded all the virtues that he considered important and key for girls.
Some interesting essays
- Analysis of Bunin's story Beauty essay
Ivan Alekseevich Bunin wrote the story in the seventieth year of his life. At this age, you rethink your life, you see people through and through. To understand a person, you can simply look at his attitude towards others.
I like to go to the forest in April. I love listening to how nature wakes up in spring. When the snow begins to melt, the murmur of streams is heard everywhere.
This article presents a quotation image and characterization of Sophia in the comedy "Undergrowth" by Fonvizin, a description of the features of the moral ideal in the heroine.
See:
The image and characteristics of Sophia in the comedy "Undergrowth" Fonvizin
Sophia, like other heroes of the comedy, has a "talking" name that reflects her personality. Translated from the Greek name "Sophia" means "wisdom", "reasonableness". Indeed, in "Undergrowth" Sophia is a wise, reasonable girl.
Sophia - noblewoman, niece:
"...She's a noblewoman..."
"... Her uncle, Mr. Starodum, went to Siberia..."
Sophia is an orphan. Her father died when she was an infant. Sophia's mother died six months before the events described in the play. After the death of her mother, Sophia finds herself in the "paws" of the evil Prostakovs:
"... After her father, she remained a baby. For six months, as her mother, and my fiancé, a stroke occurred ... From which she went to the other world ..."Sophia has her own estate (village), inherited from her parents:
"... what is found in the villages..."
"...we oversee her property as our own..."Sophia is related to:
"... Although according to my husband, however, I am peculiar to her ..."
The Prostakovs forcibly keep Sofya at their place and, apparently, appropriate the income from her estate:
"... he, seeing me in the hands of others, will find a way to help me out ..."
"...I found out in Moscow that you live here against your will..."The Prostakovs hope to marry Sophia to, and then to, but their plans are frustrated with the arrival of Starodum:
"... Why don't I see my bride? Where is she? In the evening there will be an agreement, so isn't it time for her to say that she is being married off? .."
"...will read me as a bride to his son..."
Sophia has many virtues ("perfections"). She has all the "pleasures" of the female:
"... you combine both sexes of perfection in yourself..."
"...God gave you all the amenities of your sex..."Sophia is a sensitive girl:
"... And mine admires, seeing your sensitivity ..." (Starodum about Sophia)Sophia is an honest girl:
"...I see in you the heart of an honest man..."Sophia is an educated girl. She reads clever French books:
"... I was now reading a book [...] French. Fenelon, about the education of girls ..."(* Francois Fenelon - French writer)
Sophia is a patient, meek girl. She dutifully suffers insults from the Prostakovs:
"... How many sorrows I have endured since the day of our separation! My unscrupulous in-laws..."
"....To get rid of their rudeness..."Sophia knows how to appreciate kindness. She greatly appreciates her kind uncle Starodum:
"...Uncle! My true happiness is that I have you. I know the price..."
In the end, Sophia remains with her lover,:
"... This is from the officer who was looking to marry you and for whom you yourself wanted to go..."
"... I am in love and have the happiness of being loved..."
Criticism about the image of Sophia in the comedy "Undergrowth"
Sofya the orphan lives in Prostakova's house; her father and mother have died; the Prostakovs have placed her in their house and manage her estate.<...>
Prostakova is not averse to marrying Skotinin to Sofya, when suddenly they bring a letter to Sofya from an uncle who lives in Siberia, and who is now going to the village; he has amassed ten thousand in income and makes Sophia their heiress.<...>
... young man Milon. He is in love with Sofya, and Sofya is in love with him: these faces ... are honest, noble, educated, in a word, those who, in contrast to fools, ... speak cleverly in common places and resemble each other like two drops water..."
(S. S. Dudyshkin, article "Works of Fonvizin", 1847)
It was a quotation image and characterization of Sophia in the comedy "Undergrowth" by Fonvizin: a description of the character and personality of the heroine. Untitled
speechand nominalcharacteristics of heroescomedy
DI. Fonvizin "Undergrowth"
A recently read comedy by D.I. Fonvizina “Undergrowth” made me think about the question: “Is it possible to know the character of a person, his moral principles just by name and speech; and whether the name and the words she uttered are connected at all in her personality. Let's do some research on this topic.
Initially, we note that the author quite aptly selects the names of the main characters. It is unlikely that this fact can be attributed solely to the author's desire to give "provocative and memorable" names to the heroes. Rather, it should be assumed that Fonvizin is trying in this way to strengthen the impression received from the play. A deep connoisseur of human souls, Fonvizin understands that the names of the characters are just what the average layman pays attention to most often. Thus, being a great satirist, the author initially sets the reader in a comical mood. Now let's get closer to the comedy itself.
So, the names of the heroes:
Mitrofan. According to the directory of male names, the name is of Greek origin, translated from Latin means "manifested by the mother." It should be assumed that the name can be deciphered as "sissy", i.e. a person, perhaps in everything guarded by his mother, loving and respecting her more than his father. This name perfectly conveys the whole nature of the hero.
Thus, the author manages to overcome the contradiction: on the one hand, his comedy is connected with the traditions of classicism, so all the characters wear speech masks; on the other hand, in the speech characteristics of the characters, he manages to achieve their individualization, which gives the "Undergrowth" the features of realism.
For independent work students can be invited to write an essay "Speech characteristics of Mitrofan and Eremeevna."
How to download a free essay? . And a link to this essay; Speech characteristics of the heroes of the comedy D. I. Fonvizin "Undergrowth" already in your bookmarks.Additional essays on the topic
Dramaturgy Undergrowth Dramaturgy of the 60-90s of the XVIII century. Satirical poems Comedies Analysis of the work Social comedy "Undergrowth" Creative method Criticism about the work of D. I. Fonvizin P. A. Vyazemsky G. P. Makogonenko P. Weil, A. Genis Themes of the essays "Questions (abridged)" Biography of D. I Fonvizina Depiction of the nobility in D. I. Fonvizin's comedy "Undergrowth" Images of negative characters in Fonvizin's comedy "Undergrowth" Complete works of D. I. Fonvizin "Yuri Miloslavsky, or the Russians in 1612" Problems reflected in
The comedy "Undergrowth" is rightly considered the pinnacle of Fonvizin's work and all domestic dramaturgy of the 18th century. Keeping in touch with the worldview of classicism, comedy has become a deeply innovative work. The play ridicules vices (rudeness, cruelty, stupidity, ignorance, greed), which, according to the author, require immediate correction. The problem of education is central to the ideas of the Enlightenment, it is the main one in Fonvizin's comedy, which is emphasized by its title. (Undergrowth - a young nobleman, a teenager who received home education). Observed in comedy and the rule of three unities. The action of the play
Everything that came out from the pen of D. I. Fonvizin bore the imprint of satirical talent and political freethinking. However, these qualities were revealed to the greatest extent in his plays. The most successful of them - the comedy "Undergrowth" (1782) - deserved not only the loudest, but also the longest fame in Russian dramaturgy of the 18th century. The very first staging of the performance based on "Undergrowth", which took place in St. Petersburg in 1872, was an extraordinary success among the noble intelligentsia. Grateful
In the work of Fonvizin, one of the main topics is the education of a young nobleman. It develops most fully and deeply in his comedy "Undergrowth". But the author poses the problem much broader. The very upbringing of Mitrofanushka is the result of the entire social and domestic way of life of the feudal landowners. So the play about education gradually develops into a sharp denunciation of serfdom as a whole. This is the first social comedy-satire in Russia. In the composition of this work, the author still follows the traditions of classicism. He observes the rule of three unities: places (events
The first thing that the modern reader of the comedy “Undergrowth” pays attention to is the names of the characters. “Speaking” surnames immediately establish the attitude of the reader (spectator) to their owners. He ceases to be a more or less objective witness of the action being played out, he psychologically already becomes a participant in it. He was deprived of the opportunity to evaluate the heroes and their actions. From the very beginning, from the names of the characters, the reader was told where the negative characters are and where the positive ones are. And the role of the reader is reduced to
No wonder Alexander Sergeevich Pushkin called the author of the comedy "Undergrowth" Denis Ivanovich Fonvizin "The brave lord of satire." He wrote many honest, courageous and fair works, but the pinnacle of his work is considered to be the Undergrowth, in which the author posed many controversial issues before society. But the main problem raised by Fonvizin in his famous work was the problem of educating a new generation of progressively thinking people. When Russia was ruled by the great Emperor Peter the Great, he issued a decree forcing the children of the nobles to teach
I read Fonvizin's comedy "Undergrowth" and I want to express my impressions about the negative characters. Prostakova is presented as an imperious, uneducated Russian woman. She is very greedy and in order to grab more of someone else's often, she flatters and “puts on” a mask of nobility, but an animal grin continually peeps out from under the mask, which looks ridiculous and ridiculous. Prostakova’s speech: rude in addressing servants (“swindler”, “cattle”, “thieves’ mug” - tailor Trishka; “beast”, “scum” - nanny Ermeevna), caring and affectionate in
Sofya - Starodum's niece (daughter of his sister); S.'s mother is Prostakov's matchmaker and in-law (like S.) Prostakov's howl. Sophia - in Greek means "wisdom". However, the name of the heroine receives a special connotation in the comedy: the wisdom of S. is not rational, not wisdom, so to speak, of the mind, but the wisdom of the soul, heart, feelings, the wisdom of virtue. The image of S. is at the center of the plot. On the one hand, S. is an orphan, and the Prostakovs took advantage of this in the absence of her guardian Starodum (“We, seeing that we were left alone, took her to our village and oversee her estate as our own” - d. 1, yavl. V). The news of the arrival of Starodum in Moscow causes a real panic in the house of Prostakova, who understands that now she will have to part with the income from the estate of S. On the other hand, S. is a marriageable girl, and she has a lover (Milon), to whom she promised her hand and heart, however, Prostakova will read her brother Skotinin as her husband. From a letter from Starodum, Prostakov and Skotinin learn that S. is the heiress of his uncle's 10,000 rubles; and now Mitrofan is also wooing her, encouraged to marry by her mother, Prostakova. Skotinin and Mitrofan do not like S, and S. does not like them, openly despising and laughing at both. Positive characters are grouped around S. and actively contribute to her release from the petty and selfish tutelage of Prostakova. In the course of the action, the barriers to the marriage of S. with Milon are crumbling, and the estate of Prostakova, as a result of this whole story, falls under the care of the authorities. Throughout the comedy, the character of S. remains unchanged: she is faithful to Milon, has sincere reverence for Starodum and respects Pravdin. S. is smart, she immediately notices that Prostakova "has become affectionate to the very base" and that she "reads" her "and the bride to her son" (d. 2, phenom. II), mocking (she taunts the jealous of her for Skotinin and Mitrofan Milon), sensitive and kind (with ardor she expresses her joy when Starodum agrees to her marriage to Milon; at the moment of happiness, she forgives Prostakov for the harm done and pities the "evil fury"). S. comes from honest nobles who gave her an education (she reads in French the essay of Fénelon on the upbringing of girls). Her simple feelings are humane: honor and wealth, she believes, should be gained by labor (d. 2, yavl. V), meekness and obedience to elders are decent for a girl, but she can and should defend her love. When Starodum, not yet knowing Milon, wants to marry S. to a certain young man, S. is “embarrassed” and believes that the choice of a groom also depends on her heart. Starodum confirms C's opinion, and she immediately calms down, declaring her "obedience". Fonvizin made a lot of efforts to give S. lively features. To this end, he used the techniques of Western melodrama, combining dramatic moments with sensitive ones. However, he was more interested in raising an honest person worthy of the title of nobleman. In her youth, his heroine needed an experienced leader-mentor. She entered a new, perhaps the most responsible phase of life, and the playwright did not pass by this. S.'s natural virtue was to be given a mental cut. On the threshold of the wedding, Starodum gives S. advice, from the content of which it becomes clear how he (and the author of The Undergrowth) understands the correct upbringing of girls and women. Most of all, Starodum is afraid of the influence of "light", with its temptations capable of corrupting an innocent, pure and virtuous soul. Therefore, in the "light", says Starodum, the first step is important, the ability to put oneself forward and recommend oneself. The general rule is: friendship must be made with those who deserve it, that is, choose friends. S. is inexperienced and asks to clarify whether the preference of some will bring anger to others. Starodum teaches her that one should not expect evil from people who despise you, evil comes from those who themselves are worthy of contempt, but envy the virtues of their neighbor. S. considers such people miserable, because such people are unhappy. Starodum warns: pity should not stop before evil, and virtue should follow its own path. Wasting time on the education of the "evil", whom S. calls "unfortunate", should not be, since every person, if he has a conscience, must himself awaken virtuous feelings in himself. Learning the lesson, S. concludes that it is necessary to clearly and firmly show the evil person the baseness of his soul. Starodum adds: the mind of such a person is not a direct mind, that is, crafty, cunning, dishonest. True happiness comes from virtue and direct reason. Like Pravdin, S. understands happiness in the spirit of ordinary ideas: nobility, wealth. However, Starodum explains to her that nobility and wealth are not just titles and money, but "signs" of a person's state and civil status, imposing moral obligations on him. Starodum teaches S. to distinguish between the real and the imaginary, external brilliance and internal dignity; he is opposed to selfish happiness. And S. learns his lessons. She is also sure that a person does not live alone, that everyone owes each other. But if this is so, then why, thinks C, the mind does not clarify such a simple truth. Starodum in response pronounces a wonderful phrase: "The direct price of the mind gives good manners." It is the soul, the “intelligent heart,” that makes an honest person “completely honest.” So for S. the most important educational concepts (mind, honor, service to the fatherland, the position of an honest person, good manners, etc.) are clarified. The seeds of Starodum fall on fertile ground, because the "inner feeling" of the originally virtuous S. tells her the same thing. From general concepts about a nobleman and his positions, Starodum transfers the conversation to a person, to the personal side of his life, to the family hearth. Having turned from the path of virtue, the husband and wife cease to love each other, feel mutual friendly affection and turn life together into hell, forgetting about the house and children. Starodum again and again reminds S: “virtue replaces everything, and nothing can replace virtue”; at the same time, he does not forget about the intimate side of marriage: “Only, perhaps, do not have love for your husband, which was like friendship b. Have a friendship for him that would resemble love. Ultimately, the husband needs the power of the mind (“prudence”), the wife needs virtue, the husband obeys reason, the wife obeys her husband. The old norms acquire a new content, and the soul and the "virtue" emanating from it again become the basis of family harmony. Therefore, the education of an honest person - man or woman - consists in the enlightenment of the soul.
Sophia's life story
Sophia is the central character of the play, around whom the main events of the play revolve: an unexpected inheritance, the appearance of the girl's uncle, a kidnapping plan and three suitors fighting each other.
The heroine is well educated, she is left without parents early and ends up in the house of the Prostakovs, who are trying to take over her small inheritance. Knowing that Sophia has a fiancé Milon, Prostakova is trying to marry her off to her brother Skotinin in order to finally seize the girl's fortune.
When the landowner finds out that Sofya is a rich heiress, she decides to marry her to Mitrofan. Previously, without ceremony in dealing with an orphan, now Prostakova is amiable and courteous. Realizing that her plans are not destined to come true, the landowner plots the kidnapping of the heroine and a forced marriage. However, Starodum, Milon and Pravdin manage to prevent this deceit.
The moral values of the heroine
Sophia in Greek means wisdom. The girl has the wisdom of the mind and the sensitivity of the heart. At the end of the play, she forgives Prostakov and rushes to her aid herself.
Despite the attacks of Prostakova and Skotinin, Sophia remains faithful to her fiancé. At the same time, she is ready to obey the will of her uncle when he says that he has in mind a suitable party for her. The fact is that she infinitely trusts her uncle, asks for his advice and rules to follow.
Sophia talks a lot about life values. For her, conscience and heart are inextricably linked - the calmness of one directly depends on the contentment of the other, and for this it is necessary to strictly observe the rules of virtue. She wants to receive respect from those whom she respects, seeks to prevent bad thoughts about herself. It is also important for her the concept of honestly earning one's fortune and the conviction that being born in a noble family does not make a person noble.
The author's ideal of a woman
In the image of Sophia, modest and well-mannered, D.I. Fonvizin outlined his feminine ideal. The main principle of family life for her is Starodum's words of instruction that the head of the family should be a husband who obeys reason, and the wife is obliged to obey him in everything. Only then will the family be strong and happy.
The image of Sophia Fonvizin seeks to make alive and mobile. This is reflected in the refined language of the heroine, she is no stranger to jokes and even manipulation of people - she can easily make her lover jealous.
Sofia and other heroes
Sophia, brought up by Starodum, is directly opposed to Mitrofanushka, who was greatly influenced by Prostakova. Sophia's mind is inversely proportional to the stupidity of the undergrowth. The girl relies on her uncle in everything, is grateful to him for the advice that he shared with her, and Mitrofan renounces her mother at the most difficult moment of her life. The heroine is kind, appreciates the honesty and decency of others, and Mitrofan is cruel, only strength and wealth attract his attention.
