The comedy “Woe from Wit” by A. S. Griboyedov is undoubtedly a work of great social significance. It reflected the rebellious time when freedom-loving ideas spread throughout Russia. At the center of the play is Alexander Andreevich Chatsky, who embodied the best features of the progressive noble youth of the beginning of the century. This hero combines two comedy storylines. One (the main one) contains a conflict between the “present century” and the “past century” and proposes a confrontation between Chatsky and Famusov. Another plot point - Chatsky - Sophia - reveals the personal drama of the protagonist.

Sophia, standing between the Famus camp and Chatsky, played a big role in creating the hero’s “minion of torment,” although she herself experienced her own “woe from the mind.” “Sophia is drawn unclearly...” noted Pushkin. Indeed, in her behavior and moods there is a contradiction between a sober mind and sentimental experiences. Her excellent understanding of the characters of her father and Skalozub is combined with complete blindness in relation to Molchalin. Sophia is much taller than her peers, so poisonously portrayed by Griboyedov in the person of the six Tugoukhovsky princesses, for whom it is not love that is important, but a rich “husband-boy”, “husband-servant”. Sophia lives only by love. Molchalin’s low and dependent position even seems to intensify her attraction to him. Her feeling is serious, it gives her the courage not to be afraid of the opinion of the “light”.

We cannot agree that Famusov’s words about Moscow girls: “They won’t say a word in simplicity, they all have a grimace,” have a direct bearing on his daughter. She is always sincere. “What do I need rumors? (Whoever wants, judges that way,” she says. Sophia is not alien to spiritual interests, she is not carried away by secular vanity. Famusov calls her reading books a “whim.” Indeed, then this was news for a noble girl. Sophia is horrified by the fact that her father predicts Skalozub as her groom, who “wouldn’t immediately say that he’s smart.” She also doesn’t like empty cleverness, wit and malicious language. However, Chatsky’s mercilessly logical, sharp thought is alien and unpleasant to her; Sophia has not grown up to her, she is too full of “sensibility.” "She was brought up in the age of Karamzin and Zhukovsky. Her ideal is a timid, dreamy young man, whose image was depicted in sentimental-romantic literature of the late 18th and early 19th centuries. This is exactly how Sofya Molchalin appears.

Her unexpected love for her father's secretary cannot be understood unless you think about everything that happened between her and Chatsky. He attracted her, but suddenly, in a fit of Onegin blues, when he was tired of everything in the world, including her, he went abroad and did not write her a word for three years. Sophia, listening to the lover Chatsky, thinks that he can only “pretend to be in love”, that he “has thought highly of himself.” She exclaims ironically: “The desire to wander attacked him... Ah! If someone loves someone, why bother searching and traveling so far?”

I think that one cannot condemn Sophia for her love for Molchalin. Love for Molchalin is her healthy protest, her bitter reaction to her love for Chatsky, from which she is left with a feeling of disappointment, resentment, insult. Let Molchalin not be as bright as Chatsky, but Molchalin’s feelings (according to her conviction) can be relied upon.

Maybe Molchalin didn’t want Sophia to love him. Molchalin, who pleases everyone, was timidly respectful with her, like “with a janitor’s dog, so that she would be affectionate.” He wanted to gain the sympathy of the boss's daughter. He tried so hard to gain her favor that she mistook this obsequiousness for the deep, reverent love that she encountered in the sentimental French novels that her father so hated.

Sophia saw in Molchalin’s cowardly timidity the noble, chaste timidity of an exalted soul. And it was not immorality that forced her to spend her nights locked up with Molchalin. And many critics reproached her for this. It is precisely confidence in the purity of Molchalin’s thoughts in relation to her, contempt for “rumor” and, of course, love that guides Sophia.

Without seeing Molchalin, she failed to appreciate Chatsky, did not see, like the clever maid Liza, that Chatsky is not only “cheerful and sharp,” but also “sensitive,” that is, not only smart, but also gentle.

It seems to me that when Sophia and Chatsky grew up together, he undoubtedly influenced her. This is what taught Sophia not to turn away from the poor, not to despise them, despite her father’s philosophy - “Whoever is poor is not a match for you.” Three years of separation from Chatsky could not help but change Sophia, and leave an imprint on the false, affected environment of the Moscow “society”.

Chatsky’s freedom-loving thoughts, caustic, caustic ridicule towards people in her circle, especially Molchalin, now irritate Sophia. “Not a man - a snake!” - she speaks about him. And Chatsky feels sincere, ardent love for Sophia. He declares his love for her at his first appearance. There is no secrecy, no falsehood in Chatsky. The strength and nature of his feelings can be judged by the words about Molchalin addressed to Sophia:

But does he have that passion? that feeling?

that ardor?

So that, apart from you, the whole world seems like dust and vanity to him?

Chatsky is having a hard time with his disappointment in his girlfriend. (“And you... who did you prefer over me!”) For his impatience, he reproaches her even for what she is not guilty of before him:

Why did they lure me with hope?

Why didn't they tell me directly?

That you turned everything that happened into laughter?

Goncharov notes in this regard that Chatsky acted out a scene of jealousy without having any right to do so. This speaks not only of the blindness of Sophia in love, but also of the blindness of Chatsky in love. The traditional love triangle is broken. Both Sophia and Molchalin are offended in their feelings. And both are trying to lead with dignity. No matter how hard it was for Sophia, she found the courage and dignity not to burst into tears, not to show her weakness in any way. She is irreconcilable with Molchalin, crawling at her feet. In every word one can feel a proud character worthy of Chatsky. She demands that Molchalin immediately leave their house, and that “from now on it’s as if I didn’t know you.”

In my opinion, Sophia is certainly worthy of Chatsky’s love. She is smart and brave no less than Chatsky, because she managed to endure the consequences of her mistake.

In the article “A Million Torments,” Goncharov noted that Sophia “has the makings of a remarkable nature.” It was not for nothing that Chatsky loved her. She deserves sympathy when her father’s sentence sounds: “To the village, to her aunt, to the wilderness, to Saratov.”

Showing the love “duel” of the heroes, Griboyedov discovers personality not only in Chatsky alone, but also in Sophia. And this also confirms that Sophia is a worthy object of love. But, unfortunately, their love did not materialize. Both are in trouble, and it is difficult to say who “hit” harder, more painfully. With the light hand of Sofia, Chatsky was declared a madman. He is expelled from both the girl’s heart and society.

Thus, the personal drama complicates his public drama, embittering Chatsky more and more against the entire noble Moscow.

Left a reply Guest

So, here is Sophia’s opinion about their past relationship with Chatsky: childhood friendship. Although, contrary to this definition, in Sophia’s words one can also hear resentment towards Chatsky for leaving her. But, from her point of view, Chatsky has no right to reproach her for falling in love with another. She did not give him any obligations. If Chatsky had not been so blinded by his feelings, he would have quickly realized that he had a lucky rival. In fact, he is constantly on the verge of this conjecture. But he just can’t believe her. Firstly, because he himself is in love. And secondly, he cannot possibly imagine that Sophia is capable of loving such an insignificant person as Molchalin is in his eyes.
Sophia's attitude towards Chatsky changed dramatically over three years, and there were several reasons for this. First of all, let us note the woman’s strong and deep resentment: he became bored with her, first he went to see friends, and then he left completely. Chatsky’s very passionate feeling (“kisses his hand with fervor”) evokes doubt, coldness, and even hostility in Sophia. It can quickly pass and burn out. It makes Chatsky too talkative, impudent, and unceremonious. Sophia has a different temperament: more calm, contemplative - and in love she is looking not for “wind, storm”, which threaten “falls”, but for inner peace, spiritual harmony (“Neither worry, nor doubt...”). Chatsky was not only “completely at a loss” on the road, but also at a loss within himself (“his mind and heart are not in harmony”). And in Sophia lives that pure and poetic feeling of falling in love with Molchalin, when “the shyness and timidity of the beloved is so natural and pleasant, when a simple touch on the hand is enough, when the night passes so quickly and imperceptibly while playing the piano and flute.”
Sophia herself has changed over these three years, her attitude towards people and the world has changed. The age of cute fun, funny jokes, carefree laughter has passed; The time has passed when she liked to laugh with Chatsky at others, at loved ones, and the old laughter, apparently, was cheerful, and not evil. Finally, she saw and understood in Chatsky his main vices - pride (“He thought highly of himself...”) and lack of kindness towards people.
Chatsky loves Sophia madly, of course, not only for her external beauty (“At seventeen you blossomed beautifully”). He sees in her, perceives the lofty, ideal, holy (“The face of the most holy praying mantis!”), something that, according to Goncharov, “strongly resembles Pushkin’s Tatyana.” Chatsky feels a spiritual kinship with Sophia, which is manifested in their attitude towards love as the highest value of existence.
Thus, we see that the attitude towards love of the main characters does not coincide at all. . Which leads them to a sad ending! One can also add that For Chatsky, love is a feeling, although ardent, but certainly subordinate to reason, respecting reason, etc. Therefore, in his opinion, Sophia cannot love Molchalin. And for Sophia it is a sentimental French novel with a happy “marriage” ending. Neither one nor the other succeeded.

In his timeless comedy “Woe from Wit,” Griboedov managed to create a whole gallery of truthful and typical characters that are still recognizable today. The images of Chatsky and Sophia are the most interesting for me, because their relationship is far from being as simple as it might seem at first glance.

Both Sophia and Chatsky carry within themselves those qualities that most representatives of Famus society do not possess. They are distinguished by willpower, the ability to experience “living passions,” dedication, and the ability to draw their own conclusions.

Sophia and Chatsky grew up and were brought up together in Famusov’s house:

The habit of being together every day inseparably tied us together with childhood friendship...

During the time spent together, Chatsky managed to recognize in Sophia an intelligent, extraordinary, determined girl and fell in love with her for these qualities. When he, matured, gaining intelligence, having seen a lot, returns to his homeland, we understand that his feelings “were not cooled by the distance, nor by entertainment, nor by a change of place.” He is happy to see Sophia, who has gotten amazingly prettier during the separation, and is sincerely happy to meet.

Chatsky cannot understand that in the three years while he was gone, Famus society left its ugly mark on the girl. Having read French sentimental novels, Sophia longs for love and wants to be loved, but Chatsky is far away, so she chooses to express her feelings a person who is certainly not worthy of her love. A flatterer and a hypocrite, “the most pitiful creature,” Mol-chalin only uses his relationship with Sophia for selfish purposes, hoping for further advancement up the career ladder. But Sophia, overwhelmed by feelings, is unable to see the true face under the mask, and therefore directs sincere, tender, sacrifice-ready love to the coward and sycophant.

Chatsky soon realizes that Sophia does not share his feelings, and wants to know who her chosen one is - his rival. Much says that this lucky man is Molchalin, but Chatsky does not want and cannot believe it, seeing in the palm of his hand the true essence of the low sycophant.

But does he have that passion, that feeling, that ardor, so that except for you the whole world seems like dust and vanity to him? So that every beat of the heart accelerates towards you with Love?

Accepting Sophia's coldness, Chatsky does not demand reciprocal feelings from her, because it is impossible to make a heart love! However, he strives to know the logic of her actions, her choice, he wants to know those merits of Molchalin that made the girl choose him, but he just can’t find them. To believe that Sophia and Molchalin are close, for Chatsky, means the destruction of his faith and ideas, the recognition that Sophia not only did not grow spiritually during the separation, did not learn to critically comprehend what was happening, but also turned into an ordinary representative of Famus society.

Sophia really went through a good school in her father’s house, she learned to pretend, lie, dodge, but she does this not out of selfish interests, but trying to protect her love. She feels a deep dislike for people who speak impartially about her chosen one, so Chatsky, with his ardor, witticisms and attacks, turns into an enemy for the girl. Defending her love, Sophia is even ready to take treacherous revenge on an old close friend who madly loves her: she starts a rumor about Chatsky’s madness. We see that Sophia rejects Chatsky not only out of feminine pride, but also for the same reasons for which Famusov’s Moscow does not accept him: his independent and mocking mind scares Sophia, he is “not his own”, from a different circle:

Will such a mind make a family happy?

Meanwhile, Chatsky is still looking for a definition of Sophia’s feelings and is deceived, because everything that he despises has been elevated to the rank of virtue in noble Moscow. Chatsky still hopes for the clarity of Sophia’s mind and feelings, and therefore once again writes Molchalin off:

With such feelings, with such a soul We love!.. The deceiver laughed at me!

But here is the tragic moment of the solution! This moment is truly cruel and tragic, because everyone suffered from it. What did our heroes learn from this lesson?

Chatsky is so shocked by the simplicity of the solution that he breaks not only the threads connecting him with Famusov’s society, he breaks off his relationship with Sophia, offended and humiliated by her choice to the depths of his soul: Material from the site

Here I am donated to! I don’t know how I curbed my rage! I looked and saw and didn’t believe it!

He cannot contain his emotions, his disappointment, indignation, resentment, and blames Sophia for everything. Losing his composure, he reproaches the girl for deception, although it was in her relationship with Chatsky that Sophia was at least cruel, but honest. Now the girl is really in an unenviable position, but she has enough willpower and self-esteem to break off relations with Molchalin and admit to herself her illusions and mistakes:

From then on, it was as if I didn’t know you. Don’t you dare expect my reproaches, complaints, tears, you’re not worth them. But don't let dawn catch you in the house here. May I never hear from you again.

For everything that happened, Sophia blames “herself all around.” Her situation seems hopeless, since, having rejected Molchalin, having lost her devoted friend Chatsky and being left with an angry father, she is alone again. There will be no one to help her survive grief and humiliation, to support her. But I want to believe that she will cope with everything, and that Chatsky, saying: “You will make peace with him after mature reflection,” is wrong.

Griboedov's comedy once again reminded me that at the origins of people's actions lie ambiguous, often contradictory motives, and in order to correctly unravel them, you need to have not only a clear mind, but also intuition, a wide heart, and an open soul.

Didn't find what you were looking for? Use the search

On this page there is material on the following topics:

• lesson on the topic of images of Chatsky by Sofia Molchalina
• character analysis of Chatsky and Sophia
• love in the understanding of Chatsky and Sophia essay
• Chatsky's love for Sophia and the hypocritical mask of Molchalin
• Woe from Wit portraits of Chatsky and Sophia

Love in the understanding of Chatsky and Sophia" from the work of A.S. Griboyedov "Woe from Wit". The comedy "Woe from Wit" by Griboyedov is undoubtedly a work of great social significance. It reflected the rebellious time when freedom-loving ideas spread throughout Russia. At the center of the play is Alexander Andreevich Chatsky, who embodied the best features of the progressive noble youth of the beginning of the century. This hero combines two comedy storylines. One contains a conflict between the “past century” and the “present century” and proposes a confrontation between Chatsky and Famusov. Another storyline - Chatsky - Sophia - reveals the personal drama of the protagonist.
Sophia, standing between the Famusov society and Chatsky, played a big role in creating the hero’s “millions of torments,” although she herself experienced her own “woe from the mind.” “Sophia is drawn unclearly...” noted Pushkin. Indeed, in her behavior and moods there is a contradiction between a sober mind and sentimental experiences. Her excellent understanding of the characters of her father and Skalozub is combined with complete blindness in relation to Molchalin. Sophia is much taller than her peers, so poisonously depicted by Griboyedov in the person of the six Tugoukhovsky princesses, for whom it is not love that is important, but a rich “husband-boy”, “husband-servant”. Sophia lives only by love. Molchalin’s low and dependent position even seems to intensify her attraction to him. Her feeling is serious, it gives her the courage not to be afraid of the opinion of the “world”.
We cannot agree that Famusov’s words about Moscow girls: “They won’t say a word in simplicity, they all have a grimace,” have a direct bearing on his daughter. She is always sincere. “What is rumor to me? Whoever wants to judge it,” she says. Sophia is not alien to spiritual interests, she is not carried away by secular vanity. Famusov calls her reading books a “whim.” Indeed, then this was news for a noble girl. Sophia is horrified that her father will predict Skalozub as her groom, who “will not utter a smart word right away.” She also does not like empty cleverness, wit and slander. However, Chatsky’s mercilessly logical, sharp thought is alien and unpleasant to her. Sophia has not grown up to her, she is too full of “sensitivity”. She was brought up in the age of Karamzin and Zhukovsky. Her ideal is a timid, dreamy young man, whose image was depicted in sentimental-romantic literature of the late 18th and early 19th centuries. This is exactly how Sofia Molchalin appears to be.
Her unexpected love for her father's secretary cannot be understood unless you think about everything that happened between her and Chatsky. He attracted her, but suddenly, in a fit of Onegin blues, when he was tired of everything in the world, including her, he went abroad and did not write her a word for three years. Sophia, listening to the lover Chatsky, thinks that he can only “pretend to be in love”, that he “has thought highly of himself.” She exclaims ironically: “The desire to wander attacked him... Ah! If someone loves someone, why search for the mind and travel so far?”
I think that one cannot condemn Sophia for her love for Molchalin. Love for Molchalin is her healthy portrait, her bitter reaction to her love for Chatsky, from which she was left with a feeling of disappointment, resentment, insult. Molchalin may not be as bright as Chatsky, but you can rely on Molchalin’s feelings.
Maybe Molchalin didn’t want Sophia to love him. Molchalin was timidly respectful to everyone who pleased her, like “with a janitor’s dog, so that she would be affectionate.” He wanted to gain the sympathy of the boss's daughter. He tried so hard to gain her favor that she mistook this obsequiousness for the deep, reverent love that she met in sentimental French novels, so hated by her father.