What features of Sophia are revealed in these phenomena. The image of Sophia in the comedy "Woe from Wit

The intrigue of the play is built around it. The unexpected inheritance of the girl, the arrival of her uncle Starodum, the failed kidnapping and three suitors at once, who compete with each other, form the basis of the plot.

Sophia received a good education, was brought up in a family of deeply decent and noble people. She became an orphan early. Since her uncle Starodum lives in distant Siberia, Mrs. Prostakova, as a relative, takes Sophia into her house and manages her small inheritance. Without a twinge of conscience, she robs the ward and seeks to marry her to her brother in order to finally take over all the girl's property.

Prostakova knows that Sophia has a fiancé - officer Milon. Young people love each other, but this imperious landowner does not care at all. She was not accustomed to let go of even a small benefit. Prostakova manages to cover her tracks in such a way that Milon searches in vain for six months until she accidentally meets her in this house.

Upon learning that Sophia has become a rich heiress, the landowner decides to marry her to her son. Now she courts the girl in every possible way, behaves kindly and considerately, although before she did not stand on ceremony with the orphan. When Prostakova's plans fall apart, she plots an insidious kidnapping of Sophia in order to pass her off as Mitrofan by force. All goodies plays stand up for the girl and save her from a cruel fate.

It was no coincidence that Fonvizin called his heroine Sophia, which in Greek means "wisdom". The girl is quite smart and reasonable. She also has wisdom and good heart. Sofya forgives Prostakov for the offenses caused, and in the final scene she is the first to rush to the aid of the landowner.

The girl is faithful to her fiancé Milon and does not succumb to the persuasion of the Skotinins, although she does not openly protest. When Milon tries to blame the girl for this fact, Sophia explains that at that time she was in the complete power of Prostakova, it would be stupid to annoy the evil relative in vain. When Sophia is dragged by force to the crown, the prudent girl does not look like a frightened sheep. She fights back and calls for help.

At the same time, the girl is ready to submit to the will of her uncle when choosing a groom: “Uncle! Do not doubt my obedience." Sofya deeply respects Starodum, appreciates his advice. She is reading a French book on the education of girls and asks: "Give me the rules that I must follow."

Interesting reasoning Sophia about moral values. She believes that the heart is enough only when the conscience is calm, strictly observing the rules of virtue, a person can achieve happiness. The girl strives to win the respect of worthy people and at the same time worries that the unworthy will become embittered when they find out about her unwillingness to communicate with them. She wants to avoid any bad thoughts about herself and believes that wealth should be honestly earned, and being born in noble family does not make a person noble. After talking with his niece, Starodum is delighted with her honesty and understanding of the true human qualities.

In the image of a patient, modest and meek heroine, Denis Fonvizin probably portrayed his ideal woman. Starodum teaches Sophia that she should not only be a friend to her husband, but also follow him in everything: “It is necessary, my friend, that your husband obey reason, and you your husband, and both will be completely prosperous.” The girl sincerely agrees with her uncle.

Everyone is captivated by the lively character of Sophia. She can joke and even make her lover jealous. Her language is refined and bookish, which adds to the contrast with the rude and ignorant statements of the Skotinins.

In the image of Sophia, the author presented to us the result of the correct principles of raising Starodum, as opposed to Mitrofanushka, who was raised by Prostakova. These two characters are exactly the opposite. As far as the girl is smart, so the son of the landowner is stupid. Sofya is grateful to her guardian, while Mitrofan pushes her mother away when she needs support. The girl is always kind and merciful, appreciates honesty and decency in people, a minor is very often cruel and selfish, respects only strength and wealth.

Contrasted in comedy and two main female images: Sophia and Prostakova. The despotic landowner personifies outdated ideas about the role of women in society. She believes that a decent girl should not be able to read, be interested in many things. Marriage for Prostakova is a means of obtaining power and material wealth. She does not put her husband in anything, she even beats him. Marriage for the young heroine is a union of two hearts, sealed with mutual respect and understanding.

Municipal budgetary educational institution "MBOU secondary school No. 34" Comedy A.S. Griboyedova "Woe from Wit" Development by Ermolaeva Inna Leonidovna, Teacher of the Russian language and literature of the first qualification category Recommended: 9th grade 2016

The history of creation The idea of ​​the comedy arose in 1820 (according to some sources, already in 1816), but active work on the text began in Tiflis after Griboyedov returned from Persia.

History of creation By the beginning of 1822, the first two acts were written, and in the spring and summer of 1823, the first version of the play was completed in Moscow. It was here that the writer could replenish his observations on the life and customs of the Moscow nobility, "breathe the air" of secular living rooms. But even then the work does not stop: in 1824, a new version, which has the name "Woe from Wit" (originally - "Woe to the Mind").

The wide popularity of the work In 1825, excerpts from the I and III acts of the comedy were printed with large censorship cuts. "Woe from Wit" diverged in the lists. Pushkin's friend Decembrist I.I. Pushchin brought Griboyedov's comedy to the poet in Mikhailovskoye. She was received enthusiastically, especially by the Decembrists. For the first time, the comedy "Woe from Wit" with significant cuts was published after the death of the author in 1833, and it was fully published only in 1862. I.I. Pushchin

Genre There are two storylines in the comedy "Woe from Wit": love and socio-political. central hero both is Chatsky. Griboyedov created a comedy that touches not only on topical social problems, but also moral questions. It was important for Griboedov that his characters, first of all, cause laughter - the laughter of the audience over those shortcomings and vices that are characteristic of themselves.

Composition 2 action development of action 3 action climax 1 action start 4 action denouement There are 4 actions in the play:

Plot The plot of the work is based on a dramatic conflict, a stormy clash between a smart, noble and freedom-loving hero with the noble environment surrounding him. As a result, "woe from one's own mind" was drunk to the fullest by the hero himself.

Act one Who, according to Lisa, suits Sophia as a groom? How does Sofia characterize Skalozub? About whom does Liza speak with admiration? How many years was Chatsky absent? What connects Sophia with Chatsky? Reread the scene of Sophia's meeting with Chatsky.

Act one How does Famusov feel about the unexpected arrival of Chatsky? What worries Famusov? How does Chatsky characterize Moscow society?

Act two Read Famusov's monologue expressively. "Petrushka ..." What can be said about Famusov's lifestyle based on this monologue? How did Famusov react to Chatsky’s words “Let me get married, what would you tell me”? What century does Famusov bow down to? Expressive reading Famusov’s monologue “That’s it, you are all proud!...” On what basis did Famusov conclude that Chatsky is a dangerous person?

Act two How does Famusov behave when Skalozub appears? Prove by the content of the text that Skalozub limited person? Expressive reading of Chatsky's monologue "And who are the judges?". Whom does Chatsky denounce in this monologue? What trait of Molchalin's character is revealed in his behavior with Sophia after his fall from a horse?

Action two Expressive reading by roles 12 phenomena 2 actions. How is the character of Molchalin revealed in this phenomenon?

Act three What qualities does Sophia appreciate in Molchalin? Why does Chatsky conclude: "Shalit, she does not love him." Expressive reading by roles 3 phenomena 3 actions. How is the character of Molchalin and Chatsky revealed in this phenomenon?

Act Three Among Famusov's guests, Chatsky meets his old friend Platon Mikhailovich. How does Platon Mikhailovich evaluate his lifestyle? For what purpose do the prince and princess Tugoukhovsky come to the ball?

Act Three With whom does Khlestova come to Famusov's house? How does she treat her servants? How does one behave in a Famus society? What can be said about the behavior of Molchalin in relation to Khlestova?

Act Three What new trait of Molchalin's character does Chatsky note? (Javl. 13) How did it happen that Chatsky was declared insane? What does the Famus society see as the reason for this? Prove the content of the comedy text. An expressive reading of Chatsky's monologue "There is an insignificant meeting in that room ..." How does this monologue characterize Chatsky?

Act Four How does Chatsky perceive Repetilova? What role does Zagoretsky play in comedy? Does the Famus society believe in Chatsky's madness? Prove with examples from the text. How Chatsky himself reacts to gossip Famus Society? How does Chatsky witness an unexpected scene?

Action Four Expressive reading by roles 12 phenomena 4 actions. Give an assessment of the behavior of each character in this phenomenon. Give a description of Famusov based on the content of the 13th phenomenon.

Act Four An expressive reading of Chatsky's monologue “I won't come to my senses ... I'm guilty ...” Why does Chatsky flee Moscow?

A detailed answer to the question What do you think will happen in Famusov's house after the revealing scene? (written reply)

Independent work Task: Find A.S. Griboyedov "Woe from Wit" aphorisms and write them out.

Independent work Task: continue the aphorism, remember from whose mouth it sounds. 1. happy hours… 2 . Sin does not matter, ... 3. Think about it. ... 4. And grief ... 5. I don't care ... 6. - Where is it better? ... 7. And suddenly struck ... 8 . Dream ... 9. I would be glad to serve, ... 10. Fresh tradition, ...

Aphorisms 11. Who serves the cause, ... 12. Ah! He tell love the end, ... 13. Houses are new, ... 14., he is small ... 15. Ah! Evil tongues ... 16. But in order to have children, ... 17. Who is poor, ... 18. But by the way, he will reach known degrees, ... 19. Is it possible for walks ... 20. And, for sure, he began ...

Aphorisms 21. What kind of commission, the creator, ... 22. And the golden bag, ... 23. Bypass us more than all sorrows ... 24. Signed, ... 25. A little light already on my feet! ... 26. And the smoke of the Fatherland ... 27. That's it, you are all proud! … 28. What does he say! … 29. Who are the judges? ... 30. And who is in love - ...

Consider the features of the comedy created by Fonvizin ("Undergrowth"). The analysis of this work is the topic of this article. This play is a masterpiece. domestic literature 18th century. This work is included today in the fund of the Russian classical literature. It affects whole line "eternal problems". And the beauty of a high style still attracts many readers today. The name of this play is associated with a decree issued by Peter I, according to which "undergrowths" (young nobles) are forbidden to enter the service and marry without education.

The history of the creation of the play

Back in 1778, the idea of ​​this comedy arose from its author, who is Fonvizin. "Undergrowth", the analysis of which we are interested in, was written in 1782 and presented to the public in the same year. It should briefly highlight the time of creation of the play that interests us.

During the reign of Catherine II, Fonvizin wrote "Undergrowth". The analysis of the heroes presented below proves that they were the heroes of their time. The period in the development of our country is associated with the dominance of ideas. They were borrowed by the Russians from the French enlighteners. The spread of these ideas, their great popularity among the educated philistinism and the nobility was largely facilitated by the Empress herself. She, as you know, corresponded with Diderot, Voltaire, d'Alembert. In addition, Catherine II opened libraries and schools, supported the development of art and culture in Russia by various means.

Continuing to describe the comedy created by D. I. Fonvizin ("Undergrowth"), analyzing its features, it should be noted that, as a representative of his era, the author, of course, shared the ideas that prevailed at that time in noble society. He tried to reflect them in his work, revealing not only positive aspects to readers and viewers, but also pointing out misconceptions and shortcomings.

"Undergrowth" - an example of classicism

Analysis of the comedy "Undergrowth" by Fonvizin requires considering this play as part of cultural era And literary tradition. This work is considered one of the best examples of classicism. In the play, there is a unity of action (there are no secondary plot lines in it, only the struggle for Sophia's hand and her property is described), places (the characters do not move long distances, all events take place either near the Prostakovs' house or inside it), and time ( all events take no more than a day). In addition, he used "talking" surnames, which are traditional for the classic play, Fonvizin ("Undergrowth"). Analysis shows that, following tradition, he divided his characters into positive and negative ones. Positive ones are Pravdin, Starodum, Milon, Sophia. They are opposed to Prostakov, Mitrofan, Skotinin by D. I. Fonvizin (the play "Undergrowth"). An analysis of their names shows that they let the reader understand which features in the image of this or that character are prevalent. For example, the personification of morality and truth in the work is Pravdin.

A new genre of comedy, its features

"Undergrowth" at the time of its creation was an important step forward in the development of literature in our country, in particular, drama. Denis Ivanovich Fonvizin created a new socio-political. It harmoniously combines a number of realistic scenes depicted with sarcasm, irony, laughter from the lives of some ordinary representatives of high society (the nobility) with sermons about morality, virtue, the need to educate human qualities that were characteristic of enlighteners. At the same time, instructive monologues do not burden the perception of the play. They complement this work, as a result of which it becomes deeper.

First action

The play is divided into 5 acts, the author of which is Fonvizin ("Undergrowth"). Analysis of the work involves a description of the organization of the text. In the first act we get acquainted with the Prostakovs, Pravdin, Sofya, Mitrofan, Skotinin. The characters' characters emerge immediately, and the reader understands that the Skotinin and Prostakovs - and Sophia and Pravdin - are positive. In the first act, the exposition and the plot of this work take place. In the exposition, we get to know the characters, we learn that Sofya lives in the care of the Prostakovs, who is going to be married off as Skotinin. Reading a letter from Starodum is the beginning of the play. Sophia now turns out to be a rich heiress. From day to day, her uncle returns to take the girl to him.

The development of events in the play created by Fonvizin ("Undergrowth")

We continue the analysis of the work with a description of how events unfolded. 2nd, 3rd and 4th actions are their development. We get acquainted with Starodum and Milon. Prostakova and Skotinin are trying to please Starodum, but their flattery, falsity, lack of education and a huge thirst for profit only repels. They look stupid and funny. The most ridiculous scene of this work is Mitrofan's interrogation, during which the stupidity of not only this young man, but also his mother is exposed.

Climax and denouement

5th act - climax and denouement. It should be noted that the opinions of researchers about what moment should be considered the culmination differ. There are 3 most popular versions. According to the first, this is the abduction of Prostakova Sofya, according to the second, Pravdin’s reading of a letter stating that Prostakova’s estate is being transferred under his care, and, finally, the third version is Prostakova’s rage after she understands her own impotence and tries to “recoup "on his servants. Each of these versions is true, since it considers with different points view of the work of interest to us. The first one, for example, highlights storyline dedicated to Sophia's marriage. An analysis of the episode of Fonvizin's comedy "Undergrowth" associated with marriage, indeed, allows us to consider it the key in the work. The second version examines the play from a socio-political point of view, highlighting the moment when justice triumphs on the estate. The third focuses on the historical one, according to which Prostakova is the personification of the weakened principles and ideals of the old nobility, which, however, still do not believe in their own defeat. This nobility, according to the author, is based on ignorance, lack of education, as well as low moral standards. During the denouement, everyone leaves Prostakova. She has nothing left. Pointing to her, Starodum says that this is " worthy fruits"malice".

Negative characters

As we have already noted, the main characters are clearly divided into negative and positive. Mitrofan, Skotinin and Prostakov - bad guys. Prostakova is a woman seeking profit, uneducated, rude, domineering. She knows how to flatter for profit. However, Prostakova loves her son. Prostakov appears as the "shadow" of his wife. This is an inactive character. His word means little. Skotinin is the brother of Mrs. Prostakova. This is an equally uneducated and stupid person, rather cruel, like his sister, greedy for money. For him, a walk to the pigs in the barnyard is the best thing to do. Mitrofan is a typical son of his mother. This is a spoiled young man of 16 years old, who inherited from his uncle a love for pigs.

Issues and heredity

In the play, it should be noted, an important place is given to the issue of family ties and heredity Fonvizin ("Undergrowth"). Analyzing this issue, let's say, for example, that Prostakova is only married to her husband (a "simple" person who does not want much). However, she is actually Skotinina, akin to her brother. Her son absorbed the qualities of both his parents - "animal" qualities and stupidity from his mother and lack of will from his father.

Similar family ties can be traced between Sophia and Starodum. Both of them are honest, virtuous, educated. The girl listens to her uncle attentively, respects him, "absorbs" science. Pairs of opposites create negative and positive characters. Children - spoiled stupid Mitrofan and meek smart Sophia. Parents love children, but they approach their upbringing differently - Starodub talks on the topics of truth, honor, morality, and Prostakova only pampers Mitrofan and says that education is not useful to him. A couple of grooms - Milon, who sees the ideal and his friend in Sophia, who loves her, and Skotinin, who calculates the fortune that he will receive after marrying this girl. At the same time, Sophia as a person is not interesting to him. Skotinin does not even try to equip his bride with comfortable housing. Prostakov and Pravdin are in reality the "voice of truth", a kind of "auditors". But in the person of the official we find active strength, help and real action, and Prostakov is a passive character. The only thing that this hero could say was to reproach Mitrofan at the end of the play.

Issues raised by the author

Analyzing, it becomes clear that each of the above-described pairs of characters reflects a separate problem that is revealed in the work. This is the problem of education (which is supplemented by the example of half-educated teachers like Kuteikin, as well as impostors like Vralman), upbringing, fathers and children, family life, relationships between spouses, relations of nobles to servants. Each of these problems is considered through the prism of enlightenment ideas. Fonvizin, sharpening his attention to the shortcomings of the era by using comic tricks, the emphasis is on the need to change outdated, traditional, outdated foundations. They drag foolishness, malevolence into the swamp, liken people to animals.

As our analysis of Fonvizin's play "Undergrowth" showed, main idea and the theme of the work is the need to educate the nobility in accordance with educational ideals, the foundations of which are still relevant today.

The image of Sophia in the comedy "Woe from Wit" is the most dramatic. Griboedov, portraying the heroine, completely departs from satirical devices. For him, a 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, raising Sophia above the others, nevertheless made her unhappy.

Characteristics of Sophia ("Woe from Wit"). Opinions of critics

Sophia in her character and spiritual strength is very close to Chatsky. 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 khalda who has no female charm”, in addition, the publicist was also embarrassed by the morality of a girl who secretly meets 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 who were "barely restrained by social propriety". Even Pushkin called Sophia Griboyedov's failure, the poet believed that she was "indistinctly drawn."

The role of Sophia in the comedy "Woe from Wit" for a long time underestimated. Only in 1871, Goncharov, in his article "A Million of Torments", wrote about the virtues of the heroine and her huge role in the play. The critic even compared her with Pushkin's Tatyana Larina. 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 virtues, as they made the girl more alive.

Drama heroine

Sophia is not a character in a social comedy, but the heroine of an everyday drama. Griboedov ("Woe from Wit") for his play was not just called an innovative playwright. He was one of the first to cross comedy and drama, and Sophia is a direct proof of this. She is very passionate nature who lives only strong feelings. This is her similarity with Chatsky, who is also unable to restrain passion.

The wretchedness of Molchalin does not make the girl's love funny, on the contrary, this situation only adds drama to her appearance. Sophia's characterization ("Woe from Wit") is based precisely on her affection. Only the viewer sees the true face of Molchalin, for the heroine he is the 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 decided that the image of Sophia in the comedy "Woe from Wit" is inextricably linked with Molchalin. Love for him determines all the actions of the heroine. It divides the world into two parts: Molchalin and others. Sophia constantly thinks about her lover, apparently, therefore, she does not 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 is well aware that her chosen one will never please her father. These thoughts seriously overshadow the girl's life, but inwardly 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, says that she is overwhelmed with them. What else could have pushed her to this rash step? Even frankness with Chatsky is due precisely to the fact that Sophia's mind was clouded with love. She loses all her common sense and loses her 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 for family happiness and not necessarily. In her mind, her lover is quiet, gentle, and uncomplaining. Sophia does not see that he is a scoundrel, this truth will be revealed to her only in the final. 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 somewhat collective. Using her example, Griboedov 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: “to teach our daughters everything… and dances, and sighs, and singing! As if we are preparing them for wives for buffoons.

That is, it says here that the girls, although they knew a lot, and studied, prepared for only one thing - a successful marriage. And Sophia, like many, builds her life according to the generally accepted pattern.

And on the other hand, she was also brought up by books - French novels that do not give her sleep. The characterization of Sophia ("Woe from Wit") gives us the opportunity to assume that Griboyedov tried to raise the problem of enlightenment and women's education in Russia of his time.

Even the choice of Molchalin as an object of sighing is largely due to sentimental novels that describe the love of a noble girl and a poor young man (or vice versa). Sophia admired the masculinity and devotion of the novel characters. And she considered Molchalin the same book character.

The girl cannot separate reality from fiction, which is why her love ends so sadly.

Sophia and other female images

It is possible to 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 secular lady, which Sophia seeks to go through. It begins with the young ladies of marriageable age - the Tugoukhovsky princesses. Then we see Natalya Dmitrievna Gorich, a newly married young lady. She learns to push her husband around, direct his actions and direct. Here are the ladies who form secular opinion - Khlestakova, Marya Aleksevna, Princess Tugoukhovskaya, Tatyana Yurievna. At the end of their lives, a slightly comical 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 respect. Molchalin is indeed an ideal candidate for making reality life path ladies of the world. While Chatsky is not at all suitable for this role.

Sophia's quotes from the comedy "Woe from Wit"

The most famous statements of the heroine:

• "Happy hours do not watch";
• “What is the rumor to me? Whoever wants, so judges”;
• “You can share laughter with everyone”;
• "Not a man, a snake!";
• "The hero ... not of my novel."

Summing up

The characterization of Sophia shows us the drama of the heroine. "Woe from Wit" denounces and reveals the essence of many social phenomena, including the position of women in the contemporary world of the author. Sophia is a smart, outstanding and passionate person who could make a worthy couple for Chatsky. But the upbringing and environment distorted these noble features, in a sense disfigured the heroine and led to a dramatic finale. The role of Sophia in the comedy "Woe from Wit", thus, is a key and plot-forming one.

Sofia - central actor play, around which the main events of the play are twisted: an unexpected inheritance, the appearance of the girl's uncle, the kidnapping plan and the 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.

Sophia is also opposed to Prostakova. The landowner believes that a woman should not learn to read and write, that marriage for her is only a means to achieve a goal and her own well-being. She does not put her husband in anything, she even beats him. And for Sophia, marriage is a union of loving hearts, based on respect and mutual understanding.