The poem "Dead Souls" was conceived by Gogol as a grandiose panorama of Russian society with all its peculiarities and paradoxes. Central problem works - spiritual death and rebirth of representatives of the main Russian estates of that time. The author denounces and ridicules the vices of the landowners, venality and pernicious passions of bureaucracy.
The title itself has a double meaning. "Dead Souls" are not only dead peasants, but also other actually living characters of the work. Calling them dead, Gogol emphasizes their devastated, miserable, "dead" little souls.
History of creation
"Dead Souls" is a poem to which Gogol devoted a significant part of his life. The author repeatedly changed the concept, rewrote and reworked the work. Gogol originally conceived Dead Souls as a humorous novel. However, in the end, I decided to create a work that exposes the problems of Russian society and will serve its spiritual revival. And so the POEM "Dead Souls" appeared.
Gogol wanted to create three volumes of the work. In the first, the author planned to describe the vices and decay of the feudal society of that time. In the second, give your heroes hope for redemption and rebirth. And in the third I intended to describe further way Russia and its society.
However, Gogol managed to finish only the first volume, which appeared in print in 1842. Until his death, Nikolai Vasilievich worked on the second volume. However, just before his death, the author burned the manuscript of the second volume.
The third volume dead souls' was never written. Gogol could not find an answer to the question of what would happen next with Russia. Or maybe I just didn't have time to write about it.
Description of the artwork
One day, in the city of NN appeared very interesting character, which stands out against the background of other old-timers of the city - Pavel Ivanovich Chichikov. After his arrival, he began to actively get acquainted with important people of the city, attended feasts and dinners. A week later, the visitor was already on "you" with all representatives of the city's nobility. Everyone was delighted with the new person who suddenly appeared in the city.
Pavel Ivanovich goes out of town to pay visits to noble landowners: Manilov, Korobochka, Sobakevich, Nozdrev and Plyushkin. With each landowner, he is kind, trying to find an approach to everyone. Natural resourcefulness and resourcefulness help Chichikov to get the location of each landowner. In addition to empty talk, Chichikov talks with the gentlemen about the peasants who died after the revision (“dead souls”) and expresses a desire to buy them. The landowners cannot understand why Chichikov needs such a deal. However, they agree to it.
As a result of his visits, Chichikov acquired more than 400 "dead souls" and was in a hurry to finish his business and leave the city. Useful acquaintances made by Chichikov upon arrival in the city helped him settle all the issues with the documents.
After some time, the landowner Korobochka let slip in the city that Chichikov was buying up "dead souls." The whole city found out about the affairs of Chichikov and was perplexed. Why would such a respected gentleman buy dead peasants? Endless rumors and conjectures have a detrimental effect even on the prosecutor, and he dies of fear.
The poem ends with Chichikov hurriedly leaving the city. Leaving the city, Chichikov sadly recalls his plans shopping dead souls and pledge them to the treasury as living.
Main characters
Qualitatively new hero in Russian literature of that time. Chichikov can be called a representative of the newest class that is just emerging in serf Russia - entrepreneurs, "purchasers". The activity and activity of the hero favorably distinguishes him from the background of other characters in the poem.
The image of Chichikov is distinguished by its incredible versatility, diversity. Even by the appearance of the hero, it is difficult to immediately understand what a person is and what he is like. “In the britzka sat a gentleman who was not handsome, but not bad-looking, neither too fat nor too thin, one cannot say that he was old, but not so much that he was too young.”
It is difficult to understand and embrace the nature of the protagonist. He is changeable, many-sided, able to adapt to any interlocutor, to give the face the desired expression. Thanks to these qualities, Chichikov easily finds mutual language with landlords, officials and wins the right position in society. The ability to charm and win over the right people Chichikov uses to achieve his goal, namely the receipt and accumulation of money. Even his father taught Pavel Ivanovich to deal with those who are richer and take care of money, since only money can pave the way in life.
Chichikov did not earn money honestly: he deceived people, took bribes. Over time, Chichikov's machinations are gaining more and more scope. Pavel Ivanovich strives to increase his fortune by any means, not paying attention to any moral standards and principles.
Gogol defines Chichikov as a man with a vile nature and also considers his soul to be dead.
In his poem Gogol describes typical images landlords of that time: "business executives" (Sobakevich, Korobochka), as well as not serious and wasteful gentlemen (Manilov, Nozdrev).
Nikolai Vasilievich masterfully created the image of the landowner Manilov in the work. By this image alone, Gogol meant a whole class of landowners with similar features. The main qualities of these people are sentimentality, constant fantasies and lack of vigorous activity. The landlords of such a warehouse let the economy take its course, do nothing useful. They are stupid and empty inside. This is exactly what Manilov was like - in his soul not a bad, but mediocre and stupid poseur.
Nastasya Petrovna Korobochka
The landowner, however, differs significantly in character from Manilov. Korobochka is a good and tidy mistress, everything in her estate is going well. However, the landowner's life revolves exclusively around her household. The box does not develop spiritually, it is not interested in anything. She does not understand absolutely anything that does not concern her economy. The box is also one of the images by which Gogol meant a whole class of similar limited landowners who see nothing beyond their household.
The author unequivocally classifies the landowner Nozdrev as not a serious and wasteful gentlemen. Unlike the sentimental Manilov, Nozdryov is full of energy. However, the landowner uses this energy not for the benefit of the economy, but for the sake of his momentary pleasures. Nozdryov plays, wastes money. It is distinguished by its frivolity and idle attitude to life.
Mikhail Semenovich Sobakevich
The image of Sobakevich, created by Gogol, echoes the image of a bear. There is something from a large wild beast in the appearance of the landowner: sluggishness, sedateness, strength. Sobakevich is not concerned about the aesthetic beauty of the things around him, but their reliability and durability. Behind the rough appearance and harsh character lies a cunning, intelligent and resourceful person. According to the author of the poem, it will not be difficult for such landowners as Sobakevich to adapt to the changes and reforms coming in Rus'.
The most unusual representative of the landowner class in Gogol's poem. The old man is distinguished by his extreme stinginess. Moreover, Plyushkin is greedy not only in relation to his peasants, but also in relation to himself. However, such savings make Plushkin a truly poor man. After all, it is his stinginess that does not allow him to find a family.
officialdom
Gogol in the work has a description of several city officials. However, the author in his work does not significantly differentiate them from each other. All officials in "Dead Souls" are a gang of thieves, crooks and embezzlers. These people really care only about their enrichment. Gogol literally describes in a few lines the image of a typical official of that time, rewarding him with the most unflattering qualities.
Analysis of the work
The plot of "Dead Souls" is based on an adventure conceived by Pavel Ivanovich Chichikov. At first glance, Chichikov's plan seems incredible. However, if you look at it, the Russian reality of those times, with its rules and laws, provided opportunities for all sorts of machinations related to serfs.
The fact is that after 1718 in Russian Empire A polling census of peasants was introduced. For each male serf, the master had to pay a tax. However, the census was carried out quite rarely - once every 12-15 years. And if one of the peasants escaped or died, the landowner was forced to pay tax for him anyway. The dead or runaway peasants became a burden for the master. This created fertile ground for various kinds of fraud. Chichikov himself hoped to carry out such a scam.
Nikolai Vasilievich Gogol knew perfectly well how the Russian society with its feudal system. And the whole tragedy of his poem lies in the fact that Chichikov's scam absolutely did not contradict the current Russian legislation. Gogol denounces the distorted relations of man with man, as well as man with the state, speaks of the absurd laws in force at that time. Because of such distortions, events that are contrary to common sense become possible.
"Dead Souls" - classic, which, like no other, is written in the style of Gogol. Quite often, Nikolai Vasilievich based his work on some kind of anecdote or a comical situation. And the more ridiculous and unusual the situation, the more tragic it seems real situation of things.
Pavel Ivanovich Chichikov is central character Gogol's poem Dead Souls. The story about him runs through the entire work, and other characters are largely characterized precisely through their relationship with him. What role does the author assign to this character? “Readers should not be indignant at the author if the faces that have appeared until now have not come to their liking; this is Chichikov’s fault, here he is the complete master, and wherever he pleases, we must drag ourselves there.” It must be said that, although Chichikov occupies a very important place, it cannot be considered simply a description of the fate and all kinds of adventures of this hero. The writer did not reduce his work to the history of one or even several characters.
He saw his task in characterizing the various phenomena of life in Russia, and the image of Chichikov reflects only a certain side of reality. The plot of the poem is inextricably linked precisely with the essence of the protagonist. Who could come up with such a crazy idea - to acquire dead souls in order to then make deals with them? Only to a person who eagerly strives to “acquire”, who does not imagine his existence outside of acquisition and who knows how to find any ways to become the owner of wealth. Chichikov indulges in any scam and speculation, if they promise him solid profits. Speculation with dead souls most clearly reveal the commercial, entrepreneurial warehouse of Chichikov's character. He admires not the one who has a high rank, but the one who owns significant capital.
It should be noted that Gogol reveals the image of Chichikov in a different way than the images of the rest of the heroes of the poem. After all, he could not characterize Chichikov through his attitude to serfdom and through a description of his way of life. Gogol shows this hero in action, in the process of bringing his ideas to life. Chichikov is perhaps the only character whose biography we learn in great detail, and such a selection is quite understandable. After all, the owners of estates are something settled and inert, and Chichikov personifies a new beginning that is emerging in Russian life. A characteristic feature of Chichikov is the incredible versatility of his nature (moreover, these facets often absolutely contradict each other). So, sociability and constant interest in people are combined in him with extreme isolation, and external charm - with shameless predation.
Gogol emphasizes that people like Chichikov are not easy to guess. Chichikov has a peculiar talent for being an opportunist. Finding himself in any new environment, in any environment, he immediately becomes “his”, a close person. He seems streamlined even outwardly: “There was a gentleman sitting in the britzka, not handsome, but not bad-looking, neither too fat nor too thin; one cannot say that he is old, but it is not so that he is too young.” Appearing in the provincial town under the guise of a landowner, Chichikov very quickly enters the “chosen society” and wins universal sympathy. He knows how to show himself as a secular and diversified person. He can support any conversation and at the same time speaks “neither loudly nor quietly, but exactly as it should.
In a word, wherever you turn, he was a very decent person. To each person in which Chichikov is interested, he knows how to find his own, special, approach. He masterfully plays on the weak strings of a person, seeking the location and sympathy of the most diverse people. Chichikov very easily “reincarnates”, changes his behavior, but at the same time he never forgets about his goals. In a conversation with Manilov, he looks almost exactly like Manilov himself.
He is as gallant and courteous, as sensitive as his new friend. Chichikov knows perfectly well how he can produce strong impression on Manilov, and therefore does not skimp on all kinds of confessions and spiritual outpourings.
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Very often in literature, the authors give only a fragmentary biography of their characters, focusing the reader's attention only on a certain moment in the life of the hero. N.V. Gogol did not follow this trend in his story Dead Souls. He describes in detail the life of his main character in the story, Pavel Ivanovich Chichikov, allowing the reader to trace all the stages of the formation of this character.
Chichikov's childhood
Chichikov as a child lived in a simple hut, where the windows did not open at all, even in summer. Chichikov had no friends in childhood, which greatly aggravated an already unhappy existence. His father was ill all the time, which also significantly affected financial condition families. The Chichikov family owned only one family of serfs. This did not allow them to provide a comfortable existence. In general, Chichikov himself has too few memories of his childhood.
However, the situation of Pavel Ivanovich was not hopeless - his parents had sufficient finances to send their son to study. Therefore, despite his childhood, bordering on life simple peasants, Chichikov had the opportunity to break out of poverty.
School education
As Pavel Ivanovich grew older, the main issue was to obtain a proper education and skills that allow him to take a good place in life.
Soon the decision was made, and Pavel Ivanovich became a student of one school. He lived with his distant relative. This made it possible to provide decent living conditions and at the same time save a significant part of the money.
Chichikov was not a particularly gifted student - his knowledge and talent did not allow him to stand out favorably from the crowd of students like him. In this case, Chichikov was saved by his diligence and diligence.
Over time, he learned to please the teachers, which played an important role in his education and created the illusion of a good and exemplary student. Chichikov never saw his father again. They always had a tense relationship - the father did not know how to be affectionate with his son, he always behaved strictly and harshly towards his son, leaving home only reinforced those feelings of remoteness. Chichikov's father died at a time when Pavel Ivanovich was still a student. There was no special inheritance left from his father, so Chichikov decides to sell everything that was. After the sale, he was able to get a thousand rubles, which, of course, was a small amount, but allowed the economical Chichikov to start in life.
Pavel Ivanovich learned to treat money with care even in his youth. During training, he tried in every possible way to find an opportunity to earn money, he usually did not spend the accumulated money, which allowed Chichikov to make a small personal capital. First, Pavel Ivanovich sculpted birds from wax and painted them, then he trained a mouse and was also able to successfully sell it.
Dear readers! We offer to follow in the poem by Nikolai Vasilyevich Gogol "Dead Souls"
At the school, Chichikov also failed to find a friend, the reason for this was, most likely, his stinginess and greed. Pavel Ivanovich was not loved in the team.
Service Chichikov
After graduating from college, Pavel Ivanovich Chichikov begins the civil service. His first workplace and the position was the most common and simple - with a lot of effort, he got a job as an employee in the Treasury.
However, he did not stop looking for a better place. Soon such a position was found and Chichikov began to serve, where he had the opportunity to make significant savings in a dishonest way. However, nothing lasts forever - the new bosses managed to expose Chichikov.
After this incident, Chichikov has no choice but to start all over again. He works in small, insignificant positions in different cities until he gets a chance to become a customs worker, which Chichikov takes advantage of.
His service begins to take shape quite successfully and Chichikov even gets promoted to collegiate adviser. However, this did not last long.
His unpleasant story at his last job did not teach him anything - Chichikov again gets involved in a scam, this time he interacts with smugglers. This business turns out to be very profitable, and Pavel Ivanovich soon has significant savings, which is true not for long - his scam was cashed out and Chichikov again loses everything.
Left at broken trough, he has no choice but to start all over again - Chichikov begins his career for the third time. This time he starts working as an attorney. At the same time, Chichikov has a plan for his next scam, which allows him to get rich on empty place- he plans to buy up "dead souls" in order to resell them to get rich. Hoping to carry out his plan, Chichikov takes his only two servants, a chaise and all his savings - 10 thousand, and goes to the county to buy.
| Chapter 1 | Collegiate adviser Pavel Ivanovich Chichikov arrives in provincial city NN. He travels with visits, knowing how to win over people. At the evening at the governor's, he meets the landowners Manilov, Sobakevich, and later Nozdrev |
| Chapters 2–6. Chichikov's travels | Chichikov visits the landlords Manilov, Korobochka, Nozdrev, Sobakevich, Plyushkin, buys "dead souls" from them. “My heroes follow one after another, one more vulgar than the other” (Gogol) |
| Chapters 7–9. city officials | Upon returning to NN, Chichikov hurries to complete the deals. A rumor is circulating in the city that he is a millionaire, the ladies strive to marry Chichikov. The appearance of Nozdryov, who is interested in whether Chichikov sold many dead people, arouses suspicion among the city society. The situation is aggravated by Korobochka, who, fearing that she sold cheap, came to find out how much the “dead souls” are now. Rumors are crawling around the city, including about the impending kidnapping of the governor's daughter by Chichikov. Chichikov decides to leave the city |
| Chapter 10 | The excited city society gathers at the police chief to discuss latest events. It turns out that no one really knows who Chichikov is. The postmaster suggests that he is Captain Kopeikin. Fearless, a kind person with a heroic fate opposes the world of "dead souls" in the poem |
| Chapter 11 | Chichikov leaves the city not without obstacles. The author describes the life story of his hero - his childhood, teaching, relationships with comrades, service in the Treasury, failed attempt to make money through collusion with smugglers, about his plan to get rich by buying up "dead souls" |
| The cart of Chichikov, on which, at the beginning of the poem, the hero enters the city of NN, goes around the landowners and leaves the city, symbolizes the path, the road along which all of Rus' rushed |
| Already at the beginning, a hint is given that the “wheel” of the britzka is “crooked”, that it cannot master the Russian space. Chichikov's "Road" does not correspond to the essence of Russian nature ("life in truth") |
| From the very beginning, the Russian road knocks Chichikov off the “wrong” path he had planned. An unplanned meeting with Korobochka will lead to exposure, as will an unforeseen meeting with Nozdryov. Thus, the "stupid" Russian life begins to confuse the "smart" plans and the "correct" calculations of Chichikov. She leads him astray, throws him into the mud, pushes him to unexpected and reckless actions. |
| At the end of the poem, the author introduces the image of a troika bird, symbolizing all of Russia: "Oh, threesome! bird troika, who invented you?<…>and there she rushed, rushed, rushed! ..<…> Isn't that how you, Rus', that brisk, unbeatable troika, are rushing about?<…> and rushes, all inspired by God! .. Rus', where are you rushing, give me an answer? Doesn't give an answer.<…> everything that is on the earth flies past, and other peoples and states squinting aside and give it the way" |
Pavel Ivanovich Chichikov
Image functions| Status | From the poor nobles. An official, a collegiate adviser, who amassed capital through embezzlement and bribery. He pretends to be a Kherson landowner to acquire "dead souls" |
| Interests | The goal in life is the accumulation of capital for rich life: “He imagined ahead of him life in all contentment, with all sorts of prosperity, crews, a house perfectly arranged, delicious lunches, that's what constantly rushed in my head his" |
| Portrait | There is nothing remarkable in Chichikov's appearance: “Not handsome, but not bad-looking, neither too fat nor too thin; you can’t say that it’s old, but it’s not so that it’s too young ” |
| Manners | Manners Delicateness and coarse physiology: “Never allows himself an obscene word”, “in receptions<… > something solid”, “knew how to flatter everyone”, “entered sideways”, “sat obliquely”, “put a clove in his nose”, "brought a snuffbox, at the bottom of which violets", But: "blew his nose extremely loudly", "nose<…> sounded like a trumpet", "plucked two hairs out of his nose" |
| Dynamism of the image | The only character whose biography is described in detail by the author, which allows us to trace the history of the formation of Chichikov's character as a socio-psychological type |
| The originality of the image | Chichikov is separated from the landlord-bureaucratic world as a completely new phenomenon. |
Images of landowners
Manilov| Meaning of the name | Formed from the verb "to lure", "to lure" |
| Characteristic | « Neither this nor that, neither in the city of Bogdan, nor in the village of Selifan". Lazy, prone to fruitless daydreaming, projecting, sentimentality |
| Portrait | Built on the principle of pumping positive quality to excess, turning into negative. “His features were not devoid of pleasantness, but this pleasantness seemed to have been too much transferred to sugar.” “In the first minute of a conversation with him, you can’t help but say: what a pleasant and kind person! next<…>you won’t say anything, but on the third you will say: the devil knows what it is! and move away" |
| Furnishing details | Things surrounding Manilov testify to his inability to live. A gazebo with the inscription "Temple of Solitary Reflection", a book with a bookmark on page 14, lying in the office for two years, not a single tree near the huts of the village of Manilov. The names of Manilov's children - Themistoclus and Alkid - make fun of his claims and semi-education ( Greek name Themistocles receives the Latin ending " yus») |
| The meaning of the image | « Manilovshchina»- a tendency to create chimeras, pseudo-philosophizing is a universal human phenomenon. Manilov - the first stage of the deadness of the soul, which consists in the absence of at least some "enthusiasm" |
| Meaning of the name | Thrift, incredulity, stupidity, stubbornness |
| Characteristic | “One of those mothers, small landowners who cry for crop failures, losses<…>meanwhile, little by little they are collecting money in colorful bags placed in the drawers of chests of drawers. Interests are focused on the economy |
| Furnishing details | The pettiness, limited interests of Korobochka are emphasized by bird-animal images: neighbors - Bobrov, Svinin; Chichikov, who had fallen out of the britzka, had mud on his back and side, "like a boar's"; the scarecrow in the hostess's cap is a parodic double of Korobochka. Things in the house reflect her naive idea of beauty and her circle of entertainment (darning, fortune-telling, cooking) |
| The meaning of the image | In the image of Korobochka, Gogol depicts a universal phenomenon - "club-headedness", stubbornness, rigidity in its limitations. “A different and respectable, and even a statesman, but in reality it turns out a perfect Box. Once you’ve hacked something into your head, you can’t overpower him with anything. ” “Does Box really stand that low on the endless ladder of human perfection? Is it really so great the abyss separating her from her sister, inaccessible enclosed by the walls of an aristocratic house<…> yawning over an unfinished book”, expressing “rejected thoughts<…>about what kind of political upheaval is being prepared in France, what direction fashionable Catholicism has taken" |
| Meaning of the name | The surname Nozdrev is a metonymy of the nose (“poking one’s nose into one’s own business”, “keeping one’s nose in the wind”, “staying with your nose”). “A sensitive nose could hear him for several tens of miles, where there was a fair with all sorts of congresses and balls ...” |
| Characteristic | "Broken fellow", reveler, always getting into unpleasant stories; main passion - to spoil his neighbor, while he continued to consider himself a friend of the one to whom he spoiled» |
| Portrait | The portrait is based on metonymy (whiskers): “He sometimes returned home with only one sideburn, and then quite thin. But his healthy and full cheeks were so well created and contained so much plant power that the sideburns soon grew again, even better than before. |
| Furnishing details | Nozdryov's things reflect the character of their owner: randomness, disorder, passion for exaggeration. The stable where most of the stalls are empty, the pond where fish of unprecedented size used to be found, the field where Nozdryov caught a hare for hind legs. Nozdrev's office: sabers, guns, Turkish daggers, one of which has the inscription "Master Saveliy Sibiryakov" carved on it (an alogism emphasizing the absurdity of lies). The pipe in the hurdy-gurdy, which did not want to stop, reflects his nature. Even the fleas in Nozdrev's house are especially aggressive |
| The meaning of the image | Like Nozdryov, a person acts and " with noble appearance, with a star on his chest». "And he will shit like a simple collegiate registrar." Nozdryov is the first to reveal Chichikov's secret about "dead souls", confirms that Chichikov is a spy and that he himself helped Chichikov organize the kidnapping of the governor's daughter |
| Meaning of the name | In the name of Sobakevich, zoological assimilation consistently continues |
| Characteristic | The landowner-fist, distinguished by rudeness and straightforwardness, speaks badly of everyone behind the back, gives evil characteristics to city officials. Unfriendly, clumsy |
| Portrait | Sounds like "on medium size bear." “To complete the resemblance, the tailcoat on him was completely bearish in color, the sleeves were long, the pantaloons were long, he stepped with his feet and at random and stepped incessantly on other people's legs. The complexion was red-hot, hot, which happens on a copper penny. He had face, “over the decoration of which nature was not wise for long,<…> but just chopped from the whole shoulder, grabbed an ax once- nose came out, enough in another- her lips came out, she poked out her eyes with a large drill and, without scraping, let them into the light, saying: “lives!” "Bear! perfect bear! Need something like this strange convergence: he was even called Mikhail Semenovich" |
| Furnishing details | In Sobakevich's estate, "symmetry" struggles with "convenience." Extra windows are clogged, the interfering column has been removed. Sobakevich's furniture is rough, but durable. "All objects are they said: “And I, too, Sobakevich!” The paintings depict commanders similar to Sobakevich: "with such thick thighs and an unheard-of mustache that a shiver passed through the body." Sobakevich treats food accordingly, neglecting sophistication in favor of abundance: “I’d rather eat two dishes, but eat in moderation, as the soul requires” |
| The meaning of the image | Fist type. “Yes, now you have peasants under your control: you are in harmony with them and, of course, you won’t offend them, because they are yours, you |
| Meaning of the name | Bun - a symbol of contentment, excess - contrasts with the bleak existence of the landowner |
| Characteristic | Gogol gives the image of Plyushkin in development - he shows the gradual degradation, as a result of which the "thrifty owner" turns into a "hole in humanity." The whole nature of Plyushkin is completely subordinate to the suspiciousness and pettiness that have grown to incredible proportions. |
| Portrait | Depicted using hyperbolization. He appears as a sexless being: “For a long time he could not recognize what gender the figure was: a woman or a man. The dress she wore was completely indefinite, very much like a woman's dress. hood; on his head is a cap, which village yard women wear; only one voice seemed to him somewhat hoarse for a woman. “His face was nothing special; it was almost the same as that of many thin old men, one chin only protruded very far ahead, so that he had to cover it with a handkerchief every time so as not to spit; small eyes had not yet gone out and were running from under high-growing eyebrows like mice.<…> Much more remarkable was his outfit: no means and efforts could have got to the bottom of what his dressing gown was concocted from: the sleeves and upper floors were so greasy and shiny that they looked like yuft, which is used for boots.<…>In a word, if Chichikov had met him, so dressed up, somewhere at the church doors, he would probably have given him a copper penny. |
| Furnishing details | The objects surrounding Plyushkin bear the imprint of decay, decay, decay: a worn cap on the table, “two quills stained with ink, dried up as if in consumption, a toothpick, completely yellowed, which the owner, perhaps, was picking his teeth even before the French invasion of Moscow ”, a pile of rubbish on the floor, where Plyushkin collects useful, in his opinion, things. Bureau where the landowner deposits the money received from Chichikov, which "destined to be buried until<...>they will not bury him." Plyushkin's farm has a huge scope, but all the good is lost: “Lay and haystacks turned into pure manure, flour<…>into stone" |
| The meaning of the image | The limit of the fall of man. " And to such insignificance pettiness, filth, a person could condescend! Plushkin's image becomes youth warning: “Take it with you on the road, leaving the soft youthful years in severe hardening courage, take with you all human movements, do not leave them on the road: you will not raise them later! |
Approaching the courtyard, Chichikov noticed the owner himself on the porch, who was standing in a green chalon frock coat, with his hand to his forehead in the form of an umbrella over his eyes, in order to get a better look at the approaching carriage. As the britzka drew nearer to the porch, his eyes grew merrier and his smile widened more and more.
Pavel Ivanovich! he cried at last, when Chichikov got out of the britzka. - Violently you did remember us!
Both friends kissed very hard, and _______ took his guest into the room. Although the time during which they will pass through the entrance hall, the hallway and the dining room is somewhat short, we will try to see if we can somehow use it and say something about the owner of the house. But here the author must admit that similar enterprise very hard. Much easier to portray characters big size: there, just throw paint with all your hands onto the canvas, black scorching eyes, hanging eyebrows, a forehead cut with a wrinkle, a cloak thrown over your shoulder, black or scarlet like fire, and the portrait is ready; but all these gentlemen, of whom there are many in the world, who look very similar to each other, but meanwhile, if you look closely, you will see many of the most elusive features - these gentlemen are terribly difficult for portraits. Here you will have to strain your attention strongly until you force all the subtle, almost invisible features to stand out in front of you, and in general you will have to deepen the already sophisticated in
the science of probing a glance.
God alone could tell what the character of ________ was. There is a kind of people known by the name: people are so-so, neither this nor that, neither in the city of Bogdan nor in the village of Selifan, according to the proverb. Maybe _______ should join them. In his eyes he was a prominent person; his features were not devoid of pleasantness, but this pleasantness seemed to have been conveyed too much sugar; in his manners and turns there was something ingratiating himself with favors and acquaintances. He smiled enticingly, was blond, with blue eyes. In the first minute of a conversation with him, you cannot but say: "What a pleasant and kind person!" In the next minute you will say nothing, and in the third you will say: "The devil knows what it is!" - and move away if you don’t move away, you will feel mortal boredom.
N.V. Gogol "Dead Souls"
IN 1. How did N.V. Gogol himself define the genre of Dead Souls?
AT 2. Specify the hero's last name to be inserted in place of the gaps.
AT 3. In the first volume of Dead Souls, Chichikov visited five landowners. Indicate with a number what the landowner from the above passage was in the order in which they were.
AT 4. What is the name of the image of the appearance of the hero in literary work(facial features, figures, facial expressions, gestures, clothes)?
AT 5. What technique is based on the juxtaposition of contrasting images, which we encounter, for example, in the following fragment: “It is much easier to portray characters of a large size: there, just throw paint with all your hands onto the canvas, black scorching eyes, hanging eyebrows, a forehead cut with a wrinkle, a black or scarlet cloak thrown over your shoulder - and the portrait is ready; but all these gentlemen, of whom there are many in the world, who look very similar to each other, but meanwhile, if you look closely, you will see many of the most elusive features - these gentlemen are terribly difficult for portraits.
AT 6. Read again the fragment quoted in the previous task. The principles of the image correspond to the principles of what literary and artistic direction "characters of large size"?
AT 7. Which folk genre is used in the above fragment to characterize the hero?
2 - Manilov
4 - portrait
5 - antithesis
6 - romanticism
7 - proverb
Happy is the writer who, past boring, nasty characters, striking in their sad reality, approaches characters that show the high dignity of a man who, from the great pool of daily revolving images, chose only a few exceptions, who, not once changing the sublime order of his lyre, did not descend from his peak to his poor, insignificant brethren, and, without touching the earth, all plunged into his images, far torn away from her and exalted. His wonderful destiny is doubly enviable: he is among them, as in native family; and meanwhile his glory is far and loudly carried. He fumigated human eyes with an intoxicating smoke; he wonderfully flattered them, hiding the sad in life, showing them beautiful person. Everyone, applauding, rushes after him and rushes after his solemn chariot. Great world poet they call him, soaring high above all other geniuses of the world, as an eagle soars above other high-flyers. At his name alone, young passionate hearts are already filled with trembling, response tears shine in all eyes ... There is no equal to him in strength - he is a god! But such is not the destiny, and another is the fate of the writer, who dared to bring out everything that is every minute before his eyes and that indifferent eyes do not see - all the terrible, amazing mire of trifles that have entangled our life, the whole depth of the cold, fragmented, everyday characters with which ours is teeming. an earthly, sometimes bitter and boring road, and with the strong strength of an inexorable chisel that dared to expose them convexly and brightly to the eyes of the people! He cannot gather popular applause, he cannot see grateful tears and the unanimous delight of the souls excited by him; a sixteen-year-old girl with a dizzy head and heroic enthusiasm will not fly towards him; he will not forget in the sweet charm of the sounds he himself has expelled; finally, he cannot escape from the modern court, the hypocritically insensitive modern court, which will call the creatures cherished by him insignificant and low, will allot him a contemptible corner in the row of writers who insult humanity, will give him the qualities of the heroes depicted by him, will take away his heart, and soul, and the divine flame of talent. For the modern court does not recognize that the glasses are equally wonderful, looking around the suns and conveying the movements of unnoticed insects; for not: the modern court recognizes that a lot of depth of soul is needed in order to illuminate the picture taken from a contemptible life, and elevate it to the pearl of creation; for the modern court does not recognize that high enthusiastic laughter is worthy to stand next to high lyrical movement and that there is a whole abyss between it and the antics of a farce buffoon!
The modern court does not recognize this and will turn everything into a reproach and reproach to the unrecognized writer; without separation, without answer, without participation, like a familyless traveler, he will be left alone in the middle of the road. Severe is his field, and he will bitterly feel his loneliness.
And for a long time it was determined for me by a wonderful power to go hand in hand with my strange characters to survey the whole vastly rushing life, to survey it through laughter visible to the world and invisible, unknown to it tears! And the time is still far away when, in a different key, a menacing blizzard of inspiration will rise from a head clothed in holy horror and in the brilliance and will sense in a confused trembling the majestic thunder of other speeches ...
(N.V. Gogol "Dead Souls")
IN 1. What kind of literature does the work of N.V. Gogol's "Dead Souls", from which this fragment is taken?
AT 3. This fragment is an extra-plot element containing the author's feelings and thoughts and giving him a direct opportunity to communicate with the reader. What is the name of such an element of the composition of the work, characteristic of "Dead Souls" by N.V. Gogol?
AT 4. Indicate the name of the artistic means based on the comparison of two objects, with the help of which the image of the writer depicting light colors was created.
sides of reality: "The great world poet is called him, soaring high above all other geniuses of the world, as an eagle soars above other high-flying ones."
AT 5. Which artistic medium based on figurative meaning words by similarity, N.V. Gogol uses in the words: "... a formidable blizzard of inspiration will rise ..."?
AT 6. What is the name of artistic technique, based on the opposition of objects and phenomena: ".... through laughter visible to the world and invisible, unknown to him tears"?
AT 7. What are the names of bright artistic definitions, which gives the author's reflections figurativeness and expressiveness: “But this is not the lot, and the other fate of the writer, who dared to bring out everything that is every minute before the eyes and which is not seen indifferent eyes, - all terrible, amazing mud of trifles that have entangled our life, all the depth cold, fragmented, everyday characters..."?
C1. Which type of writer is closer to the author and why?
C2. Which of the Russian poets of the XIX century. touched upon in his works the theme of the relationship between the poet and the reader, and in what ways are their reflections close to the reasoning of N.V. Gogol?
Happy is the traveler who, after a long, boring road with its cold, slush, mud, sleepless stationmasters, with the rattling of bells, repairs, squabbles, coachmen, blacksmiths and all kinds of road scoundrels, he finally sees a familiar roof with lights rushing towards him, and familiar rooms will appear before him, the joyful cry of people running out to meet them, the noise and running around of children and soothing quiet speeches, interrupted by flaming kisses , domineering to exterminate all the sad from the memory. Happy is the family man who has such a corner, but woe to the bachelor!
Happy is the writer who, past boring, nasty characters, striking in their sad reality, approaches characters that show the high dignity of a man, who from the great pool of daily revolving images chose only a few exceptions, who never changed the sublime order of his lyre, did not descend from the top to his poor, worthless brethren, and, without touching the earth, he plunged into his images far removed from it and exalted. His wonderful destiny is doubly enviable: he is among them as in his own family; and meanwhile his glory is far and loudly carried. He fumigated human eyes with an intoxicating smoke; he wonderfully flattered them, hiding the sadness in life, showing them a wonderful person. Everyone, applauding, rushes after him and rushes after his solemn chariot. They call him the great world poet, soaring high above all other geniuses of the world, as an eagle soars above other high-flying ones. At his name alone, young passionate hearts are already filled with trepidation, response tears shine in all eyes ... There is no equal to him in strength - he is God! But such is not the fate, and another is the fate of the writer, who dared to bring out everything that is every minute before his eyes and that indifferent eyes do not see - all the terrible, amazing tika of trifles that have entangled our life, the whole depth of the cold, fragmented, everyday characters with which ours is teeming. an earthly, sometimes bitter and boring road, and with the strong strength of an inexorable chisel that dared to expose them convexly and brightly to the eyes of the people! He cannot gather popular applause, he cannot see grateful tears and the unanimous delight of the souls excited by him; a sixteen-year-old girl with a dizzy head and heroic enthusiasm will not fly towards him; he will not forget in the sweet charm of the sounds he himself has expelled; finally, he cannot escape from the modern court, the hypocritically insensitive modern court, which will call the creatures cherished by him insignificant and low, will allot him a contemptible corner in the row of writers who insult humanity, will give him the qualities of the heroes depicted by him, will take away his heart, and soul, and the divine flame of talent. For the modern court does not recognize that the glasses are equally wonderful, looking around the suns and conveying the movements of unnoticed insects; for the modern court does not recognize that much depth of soul is needed in order to illuminate the picture taken from a contemptible life and elevate it to the pearl of creation; for the modern court does not recognize that high enthusiastic laughter is worthy to stand next to high lyrical movement and that there is a whole abyss between it and the antics of a farce buffoon! The modern court does not recognize this and will turn everything into a reproach and reproach to the unrecognized writer; without separation, without answer, without participation, like a familyless traveler, he will be left alone in the middle of the road. Severe is his field, and he will bitterly feel his loneliness.
(N.V. Gogol "Dead Souls")
IN 1.What is the name of literary direction, the principles of which are partly formulated in the second part of the presented fragment (“call out everything that is every minute before our eyes and that indifferent eyes do not see - all the terrible, amazing mire of trifles that have entangled our life”)?
AT 2.Indicate the term that denotes the repetition of a word or group of words at the beginning of adjacent phrases (“happy traveler ... happy writer ...”).
AT 3.What is the name of figurative definitions, which are a traditional means of artistic representation (“boring road”, “ardent hearts”, etc.)?
AT 4.Indicate the type of trail, which is based on the transfer of the properties of some objects and phenomena to others (“flame of talent”).
AT 5.IN this fragment two types of writers are opposed. What term denotes such an opposition of objects, phenomena or characters in work of art?
AT 6.Indicate the technique used by the author in the following phrase: "... soaring high above all other geniuses of the world, as an eagle soars above other high-flying ones."
C1.How does the above passage reveal the problem of the relationship between the artist and the crowd?
C2.Which of the domestic prose writers or poets addressed the topic of destination artistic creativity and in what way is their position consonant with the thoughts of the author of "Dead Souls"?
IN 1. realism
AT 2. anaphora
AT 3. epithet
AT 4. metaphor
AT 5. antithesis
AT 6. comparison
It would be necessary to describe the office rooms through which our heroes passed, but the author has a strong timidity towards all public places. If he happened to pass them even in a brilliant and ennobled form, with lacquered floors and tables, he tried to run as quickly as possible, humbly lowering and lowering his eyes to the ground, and therefore he does not know at all how everything prospers and flourishes there. Our heroes saw a lot of paper, both rough and white, bent heads, wide necks, tailcoats, coats of provincial cut, and even just some kind of light gray jacket, which came off very abruptly, which, turning its head to one side and laying it almost on the very paper, wrote out briskly and some kind of protocol about taking away land or a typo of an estate seized by some peaceful landowner, quietly living out his life under court, having made himself and children and grandchildren under his protection, and short expressions were heard in fits and starts, uttered in a hoarse voice: “Lend it, Fedosey Fedoseevich, business for No. 368!" "You're always going to drag the cork out of the state-owned inkwell somewhere!" Sometimes a more majestic voice, no doubt one of the chiefs, was heard imperatively: "Now, copy it! otherwise they will take off their boots and you will sit with me for six days without eating." The noise from the feathers was great and looked like several wagons with brushwood were passing through a forest littered a quarter of an arshin with withered leaves.
Chichikov and Manilov went up to the first table, where two more officials were sitting. young years, and asked: "Let me know where the affairs of the fortresses are here?"
"What do you need?" said both officials, turning around.
"And I need to apply."
"And what did you buy this?"
"I would like to know first where the fortress table is, here or elsewhere?"
"Yes, tell me first what you bought and at what price, so we'll tell you where, otherwise you can't know."
Chichikov immediately saw that the officials were simply curious, like all young officials, and wanted to give more weight and significance to themselves and their occupations.
"Listen, dear ones," he said, "I know very well that all the affairs of the fortresses, no matter the price, are in one place, and therefore I ask you to show us the table, and if you do not know what you have is done, so we will ask others." The officials did not answer this, one of them only pointed his finger at the corner of the room, where some old man was sitting at the table, rewriting some papers. Chichikov and Manilov walked between the tables straight to him. The old man was very attentive.
"Let me know," said Chichikov with a bow: "is there business on the fortresses?"
The old man raised his eyes and said with an emphasis: "There are no cases of fortresses here."
"Where is it?"
"It's on a fortress expedition."
"And where is the fortress expedition?"
"This is at Ivan Antonovich's."
"And where is Ivan Antonovich?"
"Let me know," said Chichikov with a bow: "is there a fortress table here?"
Ivan Antonovich did not seem to have heard, and was completely absorbed in the papers without answering anything. It was suddenly evident that he was already a man of prudent years, not like a young chatterer and a helicopter dancer. Ivan Antonovich seemed to be well over forty years old; his hair was black and thick; the whole middle of his face protruded forward and went into his nose, in a word, it was that face that is called in the hostel a jug snout.
"May I ask if there is a fortress expedition here?" Chichikov said.
"Here," said Ivan Antonovich, turning his pitcher-shaped snout and taking a sip again to write.
“But my business is this: I bought peasants from various owners of the local district for the conclusion: there is a bill of sale, it remains to be done.”
"Are there any sellers?"
"Some are here, and others have a power of attorney."
"Did you bring the request?"
"I also brought a request. I would like ... I need to hurry ... so, can't I, for example, finish the job today?"
"Yes, today! It's impossible today," said Ivan Antonovich. "We need to make more inquiries, whether there are still prohibitions." "However, as far as speeding things up, so Ivan Grigoryevich, chairman, I big friend..."
"But Ivan Grigoryevich is not alone; there are others," said Ivan Antonovich sternly.
Chichikov understood the catch, which Ivan Antonovich wrapped up, and said: "Others will not be offended either, I myself served, I know the matter ..."
"Go to Ivan Grigoryevich," said Ivan Antonovich in a somewhat gentler voice: "let him give the order to whom he follows, but the case will not stand up for us."
"Here, he will lead you into the presence!" said Ivan Antonovich, nodding his head, and one of the clergymen, who were right there, made sacrifices to Themis with such zeal that both sleeves burst at the elbows and the lining had long climbed from there, for which he received a collegiate registrar in his time, served our friends as once Virgil served Dante, and led them into the presence room, where there were only wide chairs, and in them, in front of the table behind a mirror and two thick books, sat one, like the sun, the chairman. At this point, the new Virgil felt such reverence that he did not dare to put his foot there and turned back, showing his back, worn out like a matting, with a chicken feather stuck somewhere. Entering the hall of presence, they saw that the chairman was not alone; Sobakevich was sitting next to him, completely eclipsed by the mirror. The arrival of the guests made an exclamation, government chairs were pushed back noisily. Sobakevich also got up from his chair and became visible from all sides with his long sleeves. The chairman took Chichikov into his arms, and the room of presence resounded with kisses; asked each other about health; it turned out that both had lower back pain, which was immediately attributed to a sedentary life.
(N.V. Gogol "Dead Souls")
IN 1. Specify the genre of the work from which the fragment is taken.
AT 2. What exactly does Chichikov want to purchase in the above scene?
AT 3. Establish a correspondence between the three characters appearing (mentioned) in this fragment and the characteristic given to them in the work.
AT 4. Establish a correspondence between the three main characters appearing in this fragment and the interior of their houses.
For each position in the first column, select the corresponding position from the second column.
| CHARACTERS | INTERIOR |
| A) MANILOV | 1) “From the middle of the ceiling hung a chandelier in a canvas bag, which, from the dust, became like a silk cocoon in which a worm sits. In the corner of the room there was piled on the floor a pile of things that were coarser and unworthy to lie on the tables. |
| B) CHICHIKOV | 2) “Something was always missing in his house: in the living room there was beautiful furniture, upholstered in smart silk fabric, which, of course, was very expensive; but it was not enough for two chairs, and the chairs were covered with just matting ... " |
| B) SOBAKEVICH | 3) “In the pictures, everyone was great, all the Greek generals, engraved in full growth ...” |
| 4) “While the visiting gentleman was inspecting his room, his belongings were brought in: first of all, a suitcase made of white leather ...” |
AT 5. What method of allegorical expressiveness does Gogol use when describing a public place: “Our heroes saw ... some kind of gray jacket ... which, turning its head to one side ... wrote out some protocol smartly and boldly”?
AT 6. What is the name in literary criticism of the pictorial means by which Gogol characterizes the "noise from feathers" in a public place?
AT 7. What remedy psychological image Does Gogol use heroes when characterizing both young officials and an old official?
C1. What is main topic of the given fragment and what figurative means contribute to its disclosure?
C2. Specify the main techniques satirical image, which N.V. Gogol uses in "Dead Souls", and which of the Russian writers of the 19th-20th centuries is the successor of his traditions.
AT 2. Dead Souls
AT 5. Metonymy/metaphor
AT 6. Hyperbole/comparison
The officials did not answer this, one of them only pointed his finger at the corner of the room, where an old man was sitting at the table, rewriting some papers. Chichikov and Manilov walked between the tables straight to him. The old man was very attentive. "Let me know," said Chichikov with a bow, "is there business on the fortresses?"
The old man raised his eyes and said in a slow voice:
- There are no cases on fortresses.
- Where is it?
- It's in the fortress expedition.
- And where is the fortress expedition?
- This is Ivan Antonovich's.
- And where is Ivan Antonovich?
The old man pointed to another corner of the room. Chichikov and Manilov went to Ivan Antonovich. Ivan Antonovich had already turned one eye back and looked sideways at them, but at the same moment he plunged even more attentively into writing.
"Let me know," said Chichikov with a bow, "is there a fortress table here?"
Ivan Antonovich did not seem to have heard, and was completely absorbed in the papers without answering anything. It was suddenly evident that he was already a man of prudent years, not like a young chatterer and a helicopter dancer. Ivan Antonovich seemed to be well over forty years old; his hair was black and thick; the whole middle of his face protruded forward and went into his nose - in a word, it was that face that is called in the hostel a jug snout.
- May I ask, is there a fortress expedition here? Chichikov said.
"Here," said Ivan Antonovich, turning his jug-shaped snout and taking a puff to write again.
- And my business is this: I bought peasants from various owners of the local county for the conclusion: there is a bill of sale, it remains to be done.
Are there any sellers?
- Some here, and from others power of attorney.
- Have you received a request?
- I brought a request. I'd like to... I need to hurry up... so can't, for example, finish the job today!
- Yes today! today it is impossible, - said Ivan Antonovich. - It is necessary to make more inquiries, whether there are still prohibitions.
- However, as far as speeding things up, Ivan Grigoryevich, the chairman, is a great friend of mine ...
- Why, Ivan Grigorievich is not alone; there are others, - said Ivan Antonovich sternly.
Chichikov understood the hitch that Ivan Antonovich wrapped up and said:
- Others will not be offended either, I myself served, I know the matter ...
- Go to Ivan Grigoryevich, - said Ivan Antonovich in a somewhat more gentle voice, - let him give an order to who should, but the matter will not stand up for us.
Chichikov, taking a piece of paper out of his pocket, placed it in front of Ivan Antonovich, which he did not notice at all and immediately covered it with a book. Chichikov was about to point it out to him, but Ivan Antonovich indicated with a movement of his head that it was not necessary to show it.
- Here he will lead you into the presence! - said Ivan Antonovich, nodding his head, and one of the clergymen, who were right there, made sacrifices to Themis with such zeal that both sleeves burst at the elbows and the lining climbed out for a long time, for which he received a collegiate registrar in his time, served our friends, how once Virgil served Dante, and led them into the presence room, where there were only wide armchairs and in them in front of the table, behind a mirror and two thick books, the chairman sat alone, like the sun. At this point, the new Virgil felt such reverence that he did not dare to put his foot there and turned back, showing his back, worn out like a matting, with a chicken feather stuck somewhere. Entering the hall of presence, they saw that the chairman was not alone; Sobakevich was sitting next to him, completely eclipsed by the mirror. The arrival of the guests made an exclamation, government chairs were pushed back noisily. Sobakevich also got up from his chair and became visible from all sides with his long sleeves. The chairman took Chichikov into his arms, and the room of presence resounded with kisses; asked each other about health; it turned out that both had lower back pain, which was immediately attributed to a sedentary life.
