S1- What is the role of Sophia’s dream in revealing the heroine’s mental torment? Griboyedov dreamed of grief from his mind in a dream. Watch Sophia's dream in grief from his mind.

Sleeping Sofya Famusova

Comedy heroine A.S. Griboedova“Woe from Wit” Sophia, in order to hide her confusion in connection with the sudden appearance of her father, Famusov, makes excuses, tells her dream about love - a possible dream, psychologically justified, but clearly fictitious:

“Tell you a dream: then you will understand...

Let me... see... first

Flowery meadow; and I was looking for grass,

Some, I don’t remember in reality.

Suddenly a nice person, one of those we

We'll see - it's like we've known each other forever,

He appeared here with me; and insinuating and smart,

But timid... You know, who is born in poverty...

Famusov responds only to the last words: “Oh, mother, don’t finish the blow! Anyone who is poor is not a match for you.”

Sophia continues:

“Then everything disappeared: both the meadow and the heavens.

We are in a dark room. To complete the miracle.

The floor opened - and you are from there,

Pale as death, and hair on end!

Then the doors opened with a bang,

Some are not people or animals,

We were separated - and they tortured the one sitting with me.

It’s like he’s dearer to me than all the treasures,

I want to go to him - you bring with you:

We are accompanied by groans, roars, laughter, whistles of monsters,

He shouts after him."

The dream is a talented invention, but Sophia doesn’t know it, she knows it Griboyedov. In this dream - the real state of the heroine, the recognition of her lover, the background - a meadow, flowers, and the hero himself - from sentimental novels that girls of that time read. Moreover, the “dream” turned out to be prophetic.

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Characteristics of Sophia: not an angel, but a woman

Alexander Sergeevich Griboedov is one of the Russian literary geniuses of the early 19th century, who passed away too early (he tragically died in the diplomatic service at the age of 34). A nobleman, a versatile educated man who built a brilliant career in the diplomatic field, Griboyedov managed to write very little. The pen of this talented writer was subject to translations from foreign languages, drama, prose and poetry, and among his works the most famous was the play in verse “Woe from Wit”, the writing of which was completed in 1824. The main ideas of the play include the irreconcilable confrontation between two worldviews - adherents of the old, ossified way of life and young love of freedom. Among the many images, the main character, Sofya Famusova, stands out. It is full of contradictions and ambiguous. There is some understatement in it. Such is Sophia’s characterization (“Woe from Wit” does not elevate anyone to an ideal), that the girl cannot be unambiguously classified as a purely positive hero. Not stupid, according to the author himself, but not yet intelligent. The situation forces her to play the role of a liar, lie to her father and dodge in order to hide her feelings for the man whom he considers unworthy of her hand. A young seventeen-year-old charmer, she has enough willpower to have her own views on things, sometimes completely contrary to the foundations of her environment.

If for Sophia’s father, Famusov, the opinion of society is above all, then the girl herself allows herself to speak contemptuously about assessments from strangers. Sometimes it seems that the main characteristics of Sophia in the comedy “Woe from Wit” are the desire for freedom from the imposed will, passion for a different, independent life and naive purity of thoughts. Like every young girl, she wants the love and devotion of a worthy man, which she sees in her father’s secretary, Molchalin. Having created an ideal image of her lover in her imagination, she does not notice the discrepancy between her fantasies and reality. She does not want to notice the feelings of Alexander Chatsky, who is in love with her and shares many of her aspirations, close to her in spirit. Someone who, against the backdrop of her surroundings - her father, Colonel Skalozub, Molchalin and others - may seem like a breath of clean air during a time of suffocation.

Famus Society

Her love for Molchalin is also a unique characteristic of Sophia. “Woe from Wit” shows him as a kind of antipode to the main character, Chatsky. A quiet, modest, silent person “on his own mind.” But in her eyes he looks like a romantic hero. The girl's passionate nature helps her convince herself of the exclusivity of this mediocre man. At the same time, Chatsky, who embodies the spirit of love of freedom, honesty, directness and rejection of the old mores of society and their adherents, seems rude and evil to Sophia.

Sergei Yursky as Chatsky, Tatyana Doronina as Sophia

The girl does not understand that she herself is in many ways similar to him. She is also not concerned about the opinion of the crowd, she allows herself to be spontaneous, not to restrain her feelings for the sake of society and to show her emotional impulses in front of strangers. A certain confidence in the correctness of one’s actions and feelings is another characteristic of Sophia. “Woe from Wit” still does not fully reveal the character of the heroine (even A.S. Pushkin expressed the opinion that this image was written “unclearly”). Possessing a lively mind and an exalted nature, Sophia does not have sufficient steadfastness in her convictions and the fortitude to defend them.

Goncharov viewed the images of Sofia Famusova and Pushkin’s Tatyana Larina as similar in many ways. Indeed, the characterization of Sophia (“Woe from Wit”) and Tatiana (“Eugene Onegin”), in the intoxication of love, forgot about everything and wandered around the house, as if in a fit of sleepwalking, is indicative. Both heroines are ready to open their feelings with childish simplicity and spontaneity.

As the play “Woe from Wit” progresses, the characterization of Sophia in the eyes of the reader changes. From a naive and kind girl, she turns into a slanderer and a person ready, for the sake of petty vindictiveness, to destroy Chatsky’s authority in the eyes of his acquaintances. Thus, she loses his respect and destroys warm feelings. Her punishment is Molchalin’s infidelity and shame in the eyes of society.

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Identify the functional significance of Sophia’s dream.

Remember what the functions of sleep are in a literary work. Show that most often the characters’ dreams serve as psychological characteristics, anticipate future events, and are perceived as a metaphor for life. Dreams are associated with the movement of the plot and philosophical and aesthetic problems. Note that a dream in literature is both a subject of description, an artistic device, and a special means of understanding the world.

Next, identify the functional significance of Sophia’s dream. Make sure that the heroine’s dream is an improvisation, it is invented, fictitious. Determine in what specific situation this improvisation is born. Remember that Famusov almost found his daughter alone with Molchalin early in the morning on the eve of Chatsky’s arrival. Therefore, with her story, Sophia seeks to distract her father’s attention, divert suspicion from her lover, etc. At the same time, she hints at her feelings for someone who was “born in poverty,” trying to figure out Famusov’s potential attitude towards this.

Describe Sophia’s main dream images (“flowery meadow”, “heaven”, “dark room”, “some kind of non-people or animals”, etc.) and show how the heroine’s inner world, her dreams of happiness with “nice person” and awareness of the inevitable obstacles to their implementation.

Think about whether Sophia’s dream can be called “prophetic.” Explain why literary scholars call it a “reverse” dream.

Summing up your thoughts, draw a conclusion about the high semantic and aesthetic significance of Sophia’s dream.

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Sophia's dream in grief from madness
Sophia's sleep analysis
replicas of woe from mind the meaning of Sophia's dream

I.A. Goncharov wrote about the comedy “Woe from Wit” that it is “a picture of morals, and a gallery of living types, and an ever-burning, sharp satire,” which presents noble Moscow in the 10-20s of the 19th century. According to Goncharov, each of the main characters of the comedy experiences “its own million torments.” Sophia also survives him.

Raised by Famusov and Madame Rosier in accordance with the rules of raising Moscow young ladies, Sophia was taught “dancing, singing, tenderness, and sighs.” Her tastes and ideas about the world around her were formed under the influence of French sentimental novels. She imagines herself as the heroine of a novel, so she has a poor understanding of people. S. rejects the love of the overly sarcastic Chatsky. She does not want to become the wife of the stupid, rude, but rich Skalozub and chooses Molchalin. Molchalin plays the role of a platonic lover in front of S. and can sublimely remain silent until dawn alone with his beloved. S. gives preference to Molchalin because he finds in him many virtues necessary for “a boy-husband, a servant-husband, one of a wife’s pages.” She likes that Molchalin is shy, compliant, and respectful.

Meanwhile, S. is smart and resourceful. She gives the right characteristics to those around her. In Skalozub she sees a stupid, narrow-minded soldier who “can never utter a smart word,” who can only talk about “fruits and rows,” “about buttonholes and edgings.” She can’t even imagine herself as the wife of such a man: “I don’t care whether he’s in the water or not.” In her father, Sophia sees a grumpy old man who does not stand on ceremony with his subordinates and servants. Yes, and S. evaluates Molchalin’s qualities correctly, but, blinded by love for him, does not want to notice his pretense..

Sophia is resourceful like a woman. She skillfully distracts her father’s attention from Molchalin’s presence in the living room in the early hours of the morning. To disguise her fainting and fear after Molchalin's fall from his horse, she finds truthful explanations, declaring that she is very sensitive to the misfortunes of others. Wanting to punish Chatsky for his caustic attitude towards Molchalin, it is Sophia who spreads the rumor about Chatsky's madness. The romantic, sentimental mask is now torn off from Sophia and the face of an irritated, vindictive Moscow young lady is revealed.

But retribution awaits S., too, because her love intoxication has dissipated. She witnessed the betrayal of Molchalin, who spoke insultingly about her and flirted with Lisa. This deals a blow to S.’s pride, and her vengeful nature is revealed again. “I’ll tell my father the whole truth,” she decides with annoyance. This once again proves that her love for Molchalin was not real, but bookish, invented, but this love makes her go through her “millions of torments.”

She is depressed by the need to constantly hide from her father, which simply fails her common sense. The situation itself deprives her of the opportunity to reason: “What do I care about? Who do I care about? About them? About the whole universe?” From the very beginning you can sympathize with Sophia. But there is as much freedom in choosing it as there is predetermination. She chose and fell in love with a convenient man: soft, quiet and resigned (this is how he appears...

They were once united. It is this combination of the openness of the protagonist and the closedness of the heroine that creates additional tension in their conflict. Leads to a completely special tension in their relationship, as if smoldering under the “crust” of the external form of communication. Let's continue the conversation about the first meeting between Chatsky and Sophia. In the same calmly ironic series, following the Frenchman Guillaume, Chatsky mentions...

Conceived and executed as close to Chatsky. Critics N.K. Piksanov and I.A. Goncharov compare Sofya Famusova with Tatyana Larina. Her dream is extremely important for understanding the image of the heroine. The dream told by Sophia contains, as it were, a formula for her soul and a unique program of action. Here, for the first time, Sophia herself names those traits of her personality that Goncharov appreciated so highly. Sophia's dream is significant for...

Prepare for every hour, Pass us past all sorrows, And the lordly anger, and the lordly love. These lines reveal the main thing in Lisa’s character, and they are correlated with folk proverbs about lordly affection. So, Sophia and Lisa open the first act of the comedy “Woe from Wit”. Who are they? Sophia is a young lady, the daughter of a rich Moscow gentleman. Lisa is a servant, a serf girl, taken from the village. ...

Sleeping Sophia

“Tell you a dream: then you will understand...

Let me... see... first

Flowery meadow; and I was looking for grass,

Some, I don’t remember in reality.

Suddenly a nice person, one of those we

We'll see - it's like we've known each other forever,

He appeared here with me; and insinuating and smart,

But timid... You know, who is born in poverty...

Famusov responds only to the last words: “Oh, mother, don’t finish the blow! Anyone who is poor is not a match for you.”

Sophia continues:

“Then everything disappeared: both the meadow and the heavens.

We are in a dark room. To complete the miracle.

The floor opened - and you are from there,

Pale as death, and hair on end!

Then the doors opened with a bang,

Some are not people or animals,

We were separated - and they tortured the one sitting with me.

It’s like he’s dearer to me than all the treasures,

I want to go to him - you bring with you:

We are accompanied by groans, roars, laughter, whistles of monsters,

He shouts after him."

*****

Characteristics of Sophia: not an angel, but a woman

Famus Society

Sergei Yursky as Chatsky, Tatyana Doronina as Sophia

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Woe to Wit - Woe to Wit

How do real events relate to Sofia’s fictional dream?

Directly correlated, the fictitious dream partially became prophetic. “We are apart” - Sofia and Molchalin will really separate for a reason that shocked Sofia (the revealed betrayal of Molchalin). The motif of the open earth (“the floor opened up”) characterizes Sophia’s future state. The father's anger will also become real and become a real comedy event. “The laughter, the whistling of monsters,” symbolizing secular gossip, did not become a real comedy event, since Sofia’s relationship with Molchalin did not have time to become famous in the world.

Details - grass is mentioned, divination is an ancient sign of love; portrait detail “hair on end”, “either people, or animals” - those who can condemn S’s love for M lose their human appearance for her; “the floor opened up” - a reference to the realized metaphor - “the earth opened up under our feet”

Tatyana Larina, Svetlana, “The Groom” Pushkin One of the traditions of classicism is “speaking” surnames. GF because some of his qualities are reported about the character.

But many believe that the surname Chatsky (Chadsky) is consonant with the surname of Chaadaev, who was a friend of Griboyedov.

Chatsky - there is an opinion that the word “chad” - smoke, clouded his mind. Woe from the mind - because an intelligent person behaved foolishly, love and jealousy clouded his mind.

CHAADAEV Petr Yakovlevich, Russian thinker and publicist.
He graduated from the verbal department of the Faculty of Philosophy of Moscow University (1811). He took part in the Patriotic War of 1812. After retiring (1821), he did a lot of self-education and turned to religion and philosophy. He lived abroad (1823-1826), met Schelling, with whom he later corresponded. In 1836, Chaadaev’s “Philosophical Letter” was published in the Telescope magazine. The harsh criticism it contained of Russia's past and present caused a shock effect in society. The reaction of the authorities was harsh: the magazine was closed, Chaadaev was declared crazy. He was under police and medical supervision for more than a year. Then the surveillance was lifted, and Chaadaev returned to the intellectual life of Moscow society. He maintained relationships with people of very different views and beliefs: Kireevsky, Khomyakov, Herzen, Granovsky, Vl. Odoevsky and others. Chaadaev was a friend of Griboyedov. Pushkin dedicated several poems to him. (Love, hope, quiet glory did not bless us for long with deception...)

In his drafts, Griboyedov writes the name of the main character somewhat differently - Chadsky. Interestingly, later Chaadaev largely repeated the fate of his prototype, and by the end of his life he was declared insane by the highest imperial decree.

Woe to Wit - Woe to Wit

The title “highlights” a lot in the work. The first option (“Woe to Wit”) is more tragic, and in the second option the tragedy is reduced by introducing the comic.

“Woe from Wit” - this phraseological unit contains an ironic assessment. Chatsky is offended by Sofia - she fell in love with someone else, and Chatsky’s offense serves as a reason for war, which Chatsky declares on society.

In the development of the conflict of the play, the comical thing is that the hero’s personal resentment serves as a trigger for the accusations that he throws, blaming society for its many vices.

That is, the everyday private reason for Chatsky’s anger does not correspond to the historical social scale - and it is precisely to the social order that Chatsky puts forward his claims.

Sophia's dream - for what purpose does she tell her dream? (remember the functions of sleep as an artistic device in general)

Realizing that only a stalwart nobleman, a rich man, can become her husband, Sofia tries to understand her father’s reaction to her love for Molchalin, a collegiate assessor, a rootless man. The rank of assessor was obtained by Famuov himself. For this purpose, the heroine invents and tells her dream. (In addition, Sofia diverts her father’s attention from the fact that Molchalin was in her room).

ASG introduces Sophia's story and Famus's reaction to it into the comedy in order to characterize the psychological state of the heroine (confusion, falling in love) and characterize the moral foundations of the family and society (to become the husband of a rich woman, you need to be noble and rich).

It correlates directly with real events: it can be called prophetic. Griboedov, just like his heroine, understands the futility of C.M.’s relationship; but, unlike S, he sees the baseness of her lover.