Sofya Famustova is the daughter of a wealthy landowner, Pavel. A young beauty “of marriageable age”, not just entering the society of high society, but originally born into it. To be more precise: in a family that maintains a secular society. Sophia is young and beautiful - these are her main distinctive features. She is trained in all appropriate manners and performs standard girlish duties around the house: reading aloud French writers, plays the piano, receives guests with a smile and kindly in his father’s house. The young lady was raised without maternal warmth (Pavel was widowed early), however, she was not deprived of care and attention. Since childhood, she was assigned an excellent nanny, who replaced her with a loved one.
Sophia loves her father and named brother, Chatsky. They are not related to each other by blood, but Famusov raised Chatsky in his home, replacing his untimely departed parents. The reader learns from the comedy a little later that Chatsky is crazy about Sofia and his feelings are far from related. As for Sophia herself, it is worth noting that the girl is far from stupid, not a coward, however, with the young lady’s self-determination, things are really not going smoothly. Although, such behavior can be easily justified adolescence and, of course, the influence of society, which gave Sophia a comfortable life, ignorant of real experiences.
Characteristics of the heroine
(Sophia. Artist P. Sokolov, 1866)
Sophia, despite direct relation to a secular society that lives by “Famustism”, has its own personal opinion and does not want to merge with the public. The first opposition to everything that happens around her is visible in her persistent love for self-improvement. Sofya Pavlovna loves to read, which incredibly irritates her father. He is indignant at Sonechka’s desire to re-read French literature; he considers this an incomprehensible, empty activity, especially for a young lady.
Further, the defense against general opinion goes much deeper: “What do I hear?” Sophia speaks about their secret connection with Molchalin. At a time when a young man frantically weighs all the pros and cons, young Famustova, without a twinge of conscience, spends evenings and nights with him on secret dates, knowing full well that such relationships put a stigma on her reputation. In the century described in the comedy by Griboyedov himself, such communication between a man and a woman was considered tantamount to a thoughtless riotous life on the part of a girl from a family with a big name.
(The role of Sophia, USSR artist Vera Ershova "Woe from Wit", 1939)
However, no matter how much her soul strives for isolation and liberation from human opinion, Sophia rationally stops her heartfelt choice. Molchalin - not because she is in love, but because it is calmer and more profitable than with the vilified Chatsky, who has loved her from an early age. Sympathy is sympathy, and her rank initially suited her, so she used it for its intended purpose.
The image of the heroine in the work
(Anna Snatkina in the image of Sofia Famusova, One Actor Theater - project of E. Rozhdestvenskaya)
Sophia is not an evil character. Moderately open, moderately naive and oh, how good. At 18, she became an almost perfect wife and woman, not lacking in intelligence and intelligence.
Its main role in Griboyedov’s work is to show that it is difficult to escape the general opinion in a small circle. And it doesn’t matter: 10 people - neighbors in your house make up this very thing " public opinion“or, defending your personal opinion, you will have to go against the established iron system of those who need rank, money and the mask of the most ideal person.
Sophia herself, a “front-line comrade” and Chatsky’s beloved girlfriend, could not overcome the desire to live in comfort. It is not certain that Sophia was afraid of rumors or difficulties with gossip. Most likely, this is not vanity and fears, but a thoughtful choice, with an application for a long and happy future, concerning, first of all, herself, and then everyone who stood closer.
9th grade students are often assigned an essay on the topic “The image of Sophia in the comedy “Woe from Wit” by A.S. Griboyedov.” Here is a sample essay on the specified topic. However, before we start writing the essay, let's remember the main characteristics of Sophia's image.
Essay text.
“Griboedov belongs to the most powerful manifestations of the Russian spirit,” Belinsky once said. Having tragically died at the age of thirty-four, Griboyedov undoubtedly did not create everything that he could have accomplished using his creative powers. He was not destined to realize numerous creative plans, striking in their wide scope and depth. A brilliant poet and thinker, he remained in history as the author of one famous work. But Pushkin said: “Griboedov did his thing: he already wrote “Woe from Wit” . These words contain recognition of Griboyedov’s great historical service to Russian literature.
In “Woe from Wit” Griboedov put forward the main social and ideological theme of his turning point - the theme of irreconcilable hostility between the defenders of the old, inert way of life and the supporters of the new worldview, the new free life.
The main character of the comedy Chatsky is seen as in relationships with representatives Famusov society, and so with Sophia, whom he loves. That's why Sophia plays an important role in the comedy and her attitude not only towards Chatsky, but also towards Molchalin. The image of Sofia Pavlovna is complex. She is endowed by nature good qualities: strong mind and independent character. She is capable of deeply experiencing and sincerely loving. For a girl of the noble circle she received good education and education. The heroine enjoys reading French literature. Famusov, Sophia's father, says:
She can't sleep from French books,
And the Russians make it hard for me to sleep.
This girl is neither good nor bad. So, for example, when Pushkin first became acquainted with Griboedov’s play, the image of Sophia seemed to him “not clearly written.”
I want to try to understand her character. It itself is very complex. In Sophia, “good instincts and lies” are intricately intertwined. She has to dodge and lie so as not to betray her love to her stupid father. She is forced to hide her feelings not only because of fear of her father; It hurts her when in things that are poetic and beautiful for her they see only harsh prose. Chatsky’s love for Sophia will help us understand one truth: the character of the heroine in some important way matches the main thing positive hero all comedy. At seventeen years old, she not only “bloomed beautifully,” as Chatsky says about her, but also shows an enviable will, unthinkable for people like Molchalin, Skalozub, or even her father. It is enough to compare Famusov’s “what will Princess Marya Aleksevna say,” Molchalin’s “I am independent, but I must depend on others,” and Sophia’s remark: “What do I hear? Whoever wants to, judges that way.” This statement is not just “words.” The heroine is guided by them literally at every step: both when she receives Molchalin in her room, and when, in front of Skalozub and Chatsky, she runs shouting to Osip: “Ah! My God! fell, killed himself! - and she herself falls unconscious, without thinking about the impression of others.
But, unfortunately, all these positive traits character could not be developed in Famus society. Here is how I. A. Goncharov wrote about this in his critical sketch “A Million Torments”: “It is difficult to be unsympathetic to Sofya Pavlovna: she has strong inclinations of a remarkable nature, a lively mind, passion and feminine softness. It is ruined in the stuffiness, where not a single ray of light, not a single stream penetrates fresh air" At the same time, Sophia is a child of her society. She drew her ideas about people and life from French sentimental novels, and it was this sentimental literature that developed Sophia's dreaminess and sensitivity. She says about Molchalin:
He will take your hand and press it to your heart,
He will sigh from the depths of his soul,
Not a free word, and so the whole night passes,
Hand in hand, and doesn’t take his eyes off me.
Therefore, it was no coincidence that she paid attention to Molchalin, who, with his words and behavior, reminded her of her favorite heroes. However, it cannot be said that the heroine is blinded: she is able to evaluate her chosen one sensibly and critically:
Of course, he doesn’t have this mind,
What a genius is to others, oh to others a plague,
Which is fast, brilliant and quick against it...
Sophia is absolutely confident in herself, in her actions, in her feelings. Although in all this, perhaps, a significant role is played by that spontaneity, not the corruption of her nature, which allows us to compare her with Pushkin’s Tatyana Larina. But there is also a significant difference between them. Tatyana embodies ideal character Russian woman, as Pushkin imagines her, Possessing highest degree positive qualities soul, she loves an extraordinary person, worthy of her in a number of qualities. Sophia’s chosen one, unfortunately, is different, but this is visible only to us and Chatsky. Sophia, blinded by Molchalin’s advances, sees only good things in him.
At Sophia’s first meeting with Chatsky, she does not show the same interest in him, she is cold and unkind. This puzzled Chatsky a little and even upset him. In vain he tried to insert into the conversation the witticisms that had previously amused Sophia so much. They only led to an even more indifferent and slightly angry response from Sophia: “Has it ever happened, through a mistake or in sadness, that you said something good about someone?”. Sophia maintains her proud opinion of Chatsky until the end of the play: "Not a man - a snake." The next meetings between Sophia and Chatsky differ little from each other. But in Act 3, Chatsky decides to “pretend once in his life” and begins to praise Molchalin in front of Sophia. Sophia managed to get rid of Chatsky’s obsessive questions, but she herself gets carried away and completely loses herself in her feelings, again without thinking at all about the consequences, which once again proves to us the strength of her character. To Chatsky’s question: “Why did you get to know him so briefly?”, she replies: “I didn’t try! God brought us together." This is enough for Chatsky to finally understand who Sophia is in love with.
The heroine paints a full-length portrait of Molchalin, giving it the most rosy coloring, perhaps hoping in her soul to reconcile not only herself, but also others, with this love. Sophia loves Molchalin, but hides it from her father, who, of course, would not recognize him as a son-in-law, knowing that he is poor. The heroine sees a lot of good in her father’s secretary:
...yielding, modest, quiet,
Not a shadow of worry in his face,
And there are no wrongdoings in my soul,
He doesn’t cut strangers at random, -
That's why I love him.
Sophia also fell in love with Molchalin because she, a girl with character, needed a person in her life whom she could control.
“The desire to patronize a loved one, poor, modest, who does not dare raise his eyes to her, to elevate him to oneself, to one’s circle, to give him family rights” -
this is its goal, according to I. A. Goncharov. Chatsky naturally does not want to listen to Sophia. For him, Molchalin is a person not worthy of respect, much less the love of a girl like Sophia.
We involuntarily think: what attracted Sophia to Molchalin? Perhaps his appearance or deep way of thinking? Of course not. The boredom that reigns in the Famusovs' house primarily affects the girl's young, trembling heart. The soul of the young and beautiful Sophia is filled with the romantic expectation of love; she, like all girls of her age, wants to be loved and love herself. Having unraveled Sophia’s secret aspirations, Molchalin turns out to be nearby, he lives in the house. A young man of good appearance, moderately educated, quickly takes on the role of a lover and enchanted. Compliments, courtship, and Molchalin’s constant presence do their job. A girl falls in love without being able to choose or compare.
Sophia involuntarily hears Molchalin's conversation with Liza and suddenly sees her chosen one in a different light. She realized that in fact Molchalin assumed the guise of a lover only “to please the daughter of such a man.” He needed Sophia only in order to take advantage of her influence at the right moment. His goal was also to get a higher rank, so he, according to the behests of his father, pleased “all people without exception.” Perhaps someday Sophia would have learned about Molchalin’s true intentions and she would not have been so hurt. But now she has lost a man who was very suitable for the role of a boy-husband, a servant-husband. It seems that she will be able to find such a person and repeat the fate of Natalya Dmitrievna Gorich and Princess Tugoukhovskaya. And if Sophia had grown up in a different environment, she might have chosen Chatsky. But she chooses the person who suits her best, since she cannot imagine any other hero. And in the end, according to Goncharov’s remark, “heaviest of all, even Chatsky” is Sophia.
Griboyedov introduced us to the heroine of the comedy as a dramatic person. This is the only character who is conceived and executed as close to Chatsky.
So, in his comedy A. S. Griboedov managed to show not only the time in which he lived, but also created unforgettable images, interesting and to the modern reader and to the viewer. Therefore, as Goncharov says, “Woe from Wit” stands apart in literature and differs from other works in its youthfulness, freshness and stronger vitality.
A few more ideas for an essay on the topic “The image of Sophia in the comedy “Woe from Wit”
WORTH FROM MIND
(Comedy, 1824; published with omissions - 1833; completely - 1862)
Sofia (Sofia) Pavlovna Famusova - central female character comedies; The 17-year-old daughter of the owner of the Moscow house in which the action takes place; after the death of her mother, she was raised by “madame”, the old woman Rosier, who, for an “extra” 500 rubles. moved as a teacher to another house. S.'s childhood friend was Chatsky; he also became the hero of her first adolescent “novel.” But during the three years that Chatsky was absent, both S herself and her heartfelt affection changed. On the one hand, S. became a “victim” of Moscow habits and mores, on the other hand, a “victim” of the latest Russian (and Rousseauian) literature, the Karamzin literary school.
She imagines herself as a sentimental heroine of a “sensitive” novel and therefore rejects both the overly caustic, un-Moscow-bold Chatsky, and the traditionally Moscow fiancé, Colonel Skalozub, limited but rich (her father dreams of this match). Having “calculated” S. and skillfully played the role of a platonic admirer who is ready to remain sublimely silent alone with his beloved until dawn, Molchalin, her father’s obsequious secretary and, in essence, lived in the Famusovs’ house, finds a corner in her heart.
In the end, everyone is unhappy with her. And Chatsky, who cannot believe that his S. is fascinated by such an insignificance, and his father. One blames Moscow for everything with its retrograde influence, the other, on the contrary, explains everything with the influence of the French, the fashions of the Kuznetsky Bridge and reading books. Both are right to some extent. Without the opportunity to develop mentally in Chatsky’s absence, S. quietly becomes infected with the “Moscow” spirit - and at the same time replaces his personality with the conventional image of a fashionable heroine. She behaves either like Julia from Rousseau’s novel or like a Moscow gossip; The author of the comedy is ironic about both the “mask”.
In the 1st village, Famusov finds Molchalin (who has just left the maid’s room) in the living room with Sofia; to divert her attention, S. comes up with a dream that she supposedly had. Naturally, this dream is “constructed” according to the laws of a ballad in the spirit of Zhukovsky, whom Griboyedov condemned in print, and in place of the “creepy” ballad characters, Famusov, wholly unsuitable for this, is substituted (“The sex is revealed - and you are from there, / Pale as death , and hair standing on end!”) and Molchalin (“Then the doors opened with thunder / Some people, not animals, / We were separated - and they tormented the one who was sitting with me”). Repeating the usual comedic “move”, Griboyedov forces S. to put the ballad plot in an inappropriate size and style, in this case - a fable; and Famusova - to “quote” the ending of Zhukovsky’s ballad “Svetlana”: “Where there are miracles, there is little supply.”
In the 2nd day, having learned about Molchalin’s fall from his horse, S. again behaves not like a well-bred young lady, but like a heroine in love in a novel - she faints: “Fell! Killed!” All the more contrasting is her typically “Moscow” behavior in the 3rd day, during the ball, when S. angrily turns Chatsky’s rhetoric (“I can beware of madness”) against himself and spreads a rumor about insanity ex-lover. The romantic mask has been torn off, and underneath is the face of an irritated Moscow young lady.
And therefore, retribution awaits her, too, “double”, literary and everyday. At the end of the comedy, S’s love dope will dissipate, the novel plot she invented will collapse, and she herself will learn about her departure from Moscow. This happens in the 11th episode, when S. accidentally witnesses how Molchalin flirts with Liza and speaks insultingly about her. The father immediately appears (“...and his hair stood on end”), surrounded by servants with candles; a ballad dream comes true live; Famusov promises his daughter to send her away from Moscow “to the village, to her aunt, to the wilderness, to Saratov,” and to remove Molchalin (“We are apart and they tortured the one who was sitting with me”).
Image of Sofia.
Woe from Wit" is one of the most outstanding works Russian literature of the 19th century. Some people appreciate in the comedy the picture of Moscow morals of that
era, the creation of living images. Others value diversity of speech,
morality, which the play still supplies everyone with.
Among the many images important place occupied by Famusov's daughter, she is one of the most controversial heroines in a comedy, the central female character.
Sophia is a young lady, the daughter of a rich Moscow gentleman. As a child, she lost her mother and was raised by Madame Rosier, but later lost her too due to her father’s greed. Sophia has a complex relationship with her father: there are lies, understatement and mistrust between them. On the part of the daughter, this is a white lie (she does not reveal her connection with Molchalin, so as not to upset her father). The father, without asking Sofia’s opinion, dreams of marrying her off to Skalozub (because of his position in society, because he “aims to be a general”). The relationship with the future groom of Famusov's daughter is negative, neutral - on Skalozub's part (he needs a "general's wife", but spiritual qualities, the presence of love between them does not interest him). Sophia speaks contemptuously about her possible husband (“He never said a smart word”). But Skalozub is not the only contender for Sofia’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 Famusov society (this became the reason for her joining this society). Upon Chatsky’s return to Moscow, he encounters Sofia’s coldness, trying to establish old feelings with her. But his jokes about mutual acquaintances (at whom they laughed together) only cause Famusov’s daughter irritation (“Not a man - a snake”).
Sophia is proud, proud, knows how to inspire respect, and her opinion is taken into account in society. Translated from Greek, her name means wisdom. Sophia is very pretty. Chatsky immediately notes this upon his return to Moscow:
Yes, sir, and now,
Inimitable, and you know it,
And therefore modest, do not look at the light,
Aren't you in love? please give me an answer.
Sofya Pavlovna is smart. She, just like Chatsky, is a thirsty nature, living with a strong feeling. And even if the object of her passion is wretched and pitiful (although Molchalin does not seem like that to Sophia herself) - this does not make the situation funny, on the contrary, it deepens its drama. From this feeling one can draw many conclusions about the environment in which Sophia was raised and about the people around her. The boredom that reigns in the Famusovs' house, first of all, affects 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 of her age, wants to be loved and love herself. Having unraveled Sophia’s secret aspirations, Molchalin is nearby. A young man of good appearance, quite educated, quickly takes on the role of an enchanted hero. The heroine falls in love, being under the influence of French novels, without being able to choose or compare. However, she falls in love with a fictional image. She presents Molchalin as a hero with intelligence, but financially poor. According to Sophia, his surroundings took up arms against him. But her feelings were influenced not only French novels. In Famus society, ladies are looking for a “servant husband.” Molchalin is ideally suited to this role: “Of course, he doesn’t have this mind, What a genius is for some, and for others a plague, Which is quick, brilliant and will soon become disgusting... Is this kind of mind going to make a family happy?” (Sophia). Another character trait of Sophia is manifested in her love for him. She challenges Famus society by falling in love with a person lower than her. social status. But Sophia does not reveal this connection, which characterizes her as a loving and caring daughter.
Through her image the education of the female part of the nobility is shown. Blind imitation of fashion was typical of the ladies of that time.
Oh! France! Not in the world better edge! –
The two princesses, sisters, decided, repeating
A lesson that has been taught to them since childhood.
Among the Moscow princesses, Sophia stands out strong character: not so susceptible to foreign influence. Her judgments are often objective, and her characteristics are accurate (about Skalozub: “He never said a smart word”).
Another difference between Sophia and other representatives of Famus society is her friendly relationship with Lisa. She replaces Sofya Pavlovna's friend. And if Famusov’s daughter fell in love with Molchalin under the influence of novels, then the relationship with Lizonka is completely pure.
Sofia Pavlovna's speech is contrasted with the poor language of the women's environment. Her monologues contain good manners, erudition, and independence of judgment. Some of Sophia’s phrases have become proverbs: “The hero is not my novel.”
But the influence of the Famus society is too great. Sophia does not like Chatsky’s barbs towards their friends. She spreads rumors about his madness with the ease characteristic of Moscow ladies.
The image of Sofia Pavlovna is a contrast to the representatives of Famus society and, at the same time, reflects some of the details inherent in the ladies of that time. Her image is “not clearly drawn” (Pushkin).
The image of Sophia in the comedy “Woe from Wit” is the most dramatic. Griboedov, portraying the heroine, completely departs from satirical techniques. For him, the girl is a living person, and not a stereotyped image, like her father and other representatives of the world. Let's try to figure out why the writer, while elevating Sophia above others, still made her unhappy.
Characteristics of Sophia (“Woe from Wit”). Critics' opinions
Sophia is very close to Chatsky in her character and spiritual strength. Griboyedov put a lot of effort into creating this female image, however, critics of the time had a different opinion. So, P. Vyazemsky called her “a chald who has no feminine charm,” in addition, the publicist was confused by the morality of a girl who secretly meets with a young man and even receives him in her bedroom. N. Nadezhdin agreed with the last statement: “Sofya is the ideal of a Moscow young lady... with low feelings, but strong desires", which were "barely restrained by secular decency." Even Pushkin called Sophia Griboedov’s failure; the poet believed that she was “not clearly outlined.”
The role of Sophia in the comedy "Woe from Wit" for a long time underestimated. Only in 1871, Goncharov, in his article “A Million Torments,” wrote about the merits of the heroine and her huge role in the play. The critic even compared her to Tatiana Larina Pushkin. But the most valuable thing is that he was able to notice and appreciate the realism of Sophia’s character. Even her negative traits became in some way an advantage, as they made the girl more lively.
Drama heroine
Not a character in a social comedy, but a heroine domestic drama is Sophia. Griboedov (“Woe from Wit”) was called an innovative playwright for his play for a reason. He was one of the first to manage to cross comedy and drama, and Sophia is direct proof of this. She is a very passionate person who lives only strong feelings. This is her similarity with Chatsky, who is also unable to restrain his passion.
Molchalin’s wretchedness does not make the girl’s love funny; on the contrary, this situation only adds drama to her appearance. The characterization of Sophia (“Woe from Wit”) is based precisely on her affection. Only the viewer sees Molchalin’s true face, but for the heroine he is an ideal. She appears as a girl capable of real feelings, who cannot pretend and does not want to.
Sofia and Molchalin - grief from love
We have decided that the image of Sophia in the comedy “Woe from Wit” is inextricably linked with Molchalin. Love for him determines all the heroine’s actions. She divides the world into two parts: Molchalin and others. Sophia constantly thinks about her lover, apparently that’s why she doesn’t notice what kind of people surround her.
The girl is in the grip of an incredibly strong first love. However, her feelings are not free and joyless. She understands well that her chosen one will never please her father. These thoughts seriously darken the girl’s life, but internally she is ready to fight for her love to the last.
Sophia's monologue (“Woe from Wit”), in which she confesses her feelings to Lisa, suggests that she is overwhelmed with them. What else could have pushed her to take this rash step? Even frankness with Chatsky is due precisely to the fact that Sophia’s mind is clouded by love. She loses all her common sense and loses the ability to reason. However, she herself believes that she treats Molchalin very critically and sensibly: “He doesn’t have this mind…”, but she immediately says that having a special mind is not necessary for family happiness. In her mind, her lover is quiet, gentle and uncomplaining. Sophia does not see that he is a scoundrel; this truth will only be revealed to her in the finale. The girl will witness how her beloved takes care of Lisa. This discovery literally destroys her. The episode is rightfully considered the most dramatic moment of the play.
Sentimental Novels and Women's Education
The image of Sophia in the comedy “Woe from Wit” is not only dramatic, but also in some way collective. Using her example, Griboyedov shows the tragedy of girls from secular society. After all, what is the reason that she not only fell in love with a scoundrel, but also slandered Chatsky, who loves her? The author gives a direct answer to this question: “teach our daughters everything... and dancing, and sighing, and singing! It’s as if we are preparing them as wives for buffoons.”
That is, it says here that the girls, although they knew a lot and were trained, were preparing for only one thing - a successful marriage. And Sophia, like many, builds her life according to the generally accepted model.
On the other hand, she was also raised by books - French novels that keep her awake. The characterization of Sophia (“Woe from Wit”) gives us the opportunity to assume that Griboedov was trying to raise the problem of enlightenment and women’s education in Russia of his time.
Even the choice of Molchalin as a subject of admiration was largely due to sentimental novels that described the love of a noble girl and a poor young man (or vice versa). Sophia admired masculinity and devotion novel heroes. And she considered Molchalin to be the same book character.
The girl cannot separate reality from fiction, which is why her love ends so sadly.
Sophia and other female images
You can also consider the image of Sophia in the comedy “Woe from Wit” in the context of other secular girls and ladies. Using the example of other heroines, Griboyedov shows the path of a society lady, which Sophia strives to follow. It begins with young ladies of marriageable age - the Tugoukhovsky princesses. Then we see Natalya Dmitrievna Gorich, a recently married young lady. She learns to push her husband around, direct his actions and guide him. Here are the ladies who shape secular opinion - Khlestakova, Marya Aleksevna, Princess Tugoukhovskaya, Tatyana Yuryevna. At the end of their lives, a slightly comic image of the countess grandmother awaits them all.
Sophia's monologue (“Woe from Wit”), in which she extols the virtues of her lover and says that he is perfect for the role of a spouse, is indicative in this regard. Molchalin is truly the ideal candidate to make it a reality life path ladies of the world. While Chatsky is not at all suitable for this role.
Quotes from Sophia from the comedy “Woe from Wit”
The most famous sayings of the heroine:
- “Happy hours don’t watch”;
- “What is the rumor to me? Whoever wants, judges as he wants”;
- “You can share laughter with everyone”;
- “Not a man, a snake!”;
- “The hero... not of my novel.”
Let's sum it up
The characterization of Sophia shows us the drama of the heroine. “Woe from Wit” exposes and reveals the essence of many social phenomena, including the position of women in modern author world. Sophia is an intelligent, extraordinary and passionate person who could make a worthy match for Chatsky. But upbringing and environment distorted these noble traits, in a sense disfigured the heroine and led to a dramatic ending. The role of Sophia in the comedy “Woe from Wit” is thus key and plot-forming.
