A heroine who violates moral principles
Having combined the features of classicism and realism in the comedy "Go", the G-dov abandoned the one-sidedness in the depiction of heroes. Therefore, there are no ideal, positive characters in the play, but Chatsky, Sophia, Molchalin, Famusov and others appeared before us as living.
It was not for nothing that Goncharov noted and appreciated in Sophia "the traits of a living and realistic character." Sophia has its pros and cons, advantages and disadvantages. She is smart, decisive, independent. It is no coincidence that the very name of the heroine Sophia is “wise”. Her speech, bright, imaginative, emotional, aphoristic, corresponds to the character of a young girl ("Happy hours are not observed"). Sophia in the comedy plays the difficult role of repelling Chatsky's attack. In critical situations, she shows not only decisiveness and resourcefulness.
Let us recall the episode when, trying to distract the priest's attention from the presence of Molchalin in her room, she composes a dream that allegedly upset her. This dream, invented on the go, testifies to Sophia's subtle mind, her extraordinary literary abilities.
Chatsky fell in love with Sophia primarily for her subtle mind, independence of views, independence in decision-making, in relations with people. The girl's strong, proud character evokes sympathy. Chatsky falls madly in love: "I love you without memory." It is no coincidence that, returning to Moscow from distant countries, he constantly appeals to her mind. Sophia is smart in her own way, she reads a lot ("She has no sleep from French books"), but the subject of her reading is sentimental novels that describe love stories (their heroes are poor and have no position in society).
Sophia admires their loyalty, devotion, willingness to sacrifice everything in the name of love. Under the influence of these novels, she develops an idea of the ideal hero whom she would like to love. And Sophia imagined Molchalin as such a romantic hero. Here is the external line of behavior of Molchalin alone with Sophia: "he will take his hand, press to his heart ...". This is how the heroes of French novels behave.
But Chatsky is not like that. Although he was in love with Sophia, he left her for three whole years and left to wander. During this time, Chatsky did not write a single line. And in Sophia significant changes took place, her attitude towards Chatsky changed. The psychology of young girls is such that they need love, affection, attention, admiration. They may not endure separation.
So it happened with Sophia. But in Chatsky, love did not die out. Hence the love drama - misunderstanding of one hero by another. In the play "Go," each character draws up a life scheme for himself. Here is the main conflict according to G-Dov (conflict of life and scheme). There is nothing wrong with the fact that a young girl wants to feel like the heroine of a novel, worse is another - she does not see the difference between romantic fiction and life, does not know how to distinguish a true feeling from a fake. She loves something, but her chosen one is serving a confession: And now I take the form of a lover To please the daughter of such a person ...
Following literary clichés leads to a tragic denouement, bitter insight, the collapse of ideals. Sophia has her own plan, in her family life she wants to be happy. Perhaps that is why she chose Molchalin, who can be commanded, who so corresponds to the role of "husband-boy, husband-servant." Sophia rejects Chatsky not only because of a feeling of offended female pride, but also because the independent, impudent, freedom-loving and rebellious Chatsky scares her: "But will such a mind make the family happy?" Therefore, the G-dov wrote about his heroine: "A girl who is not stupid herself prefers a fool to a clever man."
At the end of the play, Chatsky accuses the heroine of oblivion of "female fear and shame": And dear, for whom the former friend and female fear and shame are forgotten - Behind the door is hiding, afraid to be responsible. And Chatsky, and Katenin, and even Pushkin accused the heroine: "Sophia overstepped the boundaries of behavior set by the young lady of her circle. She violated decency!" Sophia thereby challenged the old views on love and marriage. If Chatsky shakes social foundations, then Sophia - moral ones. And the tsarist censorship forbade this play to be published and put on stage not because of Chatsky's seditious speech, but because of Sophia's violation of moral norms of behavior.