Introduction
In conclusion, it is concluded how, with the help of details that expose the main facets of the characters with particular clarity, Gogol creates extremely specific, brightly individual types, exceptional at the same time in terms of the breadth of generalization. Each character represents a special side of Russian reality, recognizable by readers precisely by the little things. In addition, the details help reveal central problem poems are the problems of the necrosis of the living soul. Gogol's heroes seem to be lost in the endless world of things, they themselves turn into something “objective”, unspiritual.
Art world Poems "Dead Souls"
The poem "Dead Souls" by Nikolai Vasilyevich Gogol is one of the most brilliant works of Russian literature. Its innovation lies primarily in the fact that the individual aspects of Russian life, outlined with such sharpness by Gogol earlier, are now combined by him into a huge realistic canvas, which captures the appearance of all of Nicholas Russia, from the provincial landowner outback and provincial city to Petersburg, where the evil of life appears in a unique change of pictures and images, closely interconnected by unity artistic intent.
In Gogol's poem there are so many problems that deeply disturbed the advanced Russian people, so much indignation and admiration, contempt and lyrical excitement, warming humor and laughter, often beating to death, that there is nothing surprising in the fact that it turned out to be one of the most significant works of literature. critical realism first half of XIX century and the totality of the material, tonality, sublimity and nobility of purpose, faith in the future with great force affected public consciousness Russia.
But Gogol's work, as a phenomenon great art and is relevant today. Its enduring significance in the mental and moral life humanity is determined by the fact that it makes you think not only about the life that is depicted in it, about scary world what is called serfdom noble Russia but also over the meaning of life in general, over the purpose of man.
Gogol himself wrote to V. A. Zhukovsky: “What a huge, what an original plot! What a varied bunch! All Rus' will appear in it, ”he himself determined the scope of his work - all Rus'.
Gogol's idea was grandiose: like Dante Alighieri, to depict Chichikov's path first in "hell" - Volume I " dead souls”, then to “purgatory” - Volume II and to “paradise” - Volume III. But this plan was not carried out to the end. Only the first volume has reached the reader in full, which tells about the adventures of the “acquirer” Chichikov, who buys actually dead, but legally alive, that is, not deleted from the audit lists, souls.
Showing the heroes in close connection with the disclosure of the theme of Russia and the people, Gogol paid great attention to the embodiment of that specific, social and everyday environment that gave birth to them and from which they are, in essence, inseparable. The image of the environment has acquired general significance also because the writer in "Dead Souls" concerns not only the fates of the heroes, but also the fates of social structure.
Public environment revealed in the poem as a diverse and complex phenomenon. This included the prevailing views that have an impact on people, and the established norms of behavior, forms of education, however, with particular clarity, Dead Souls reveals the significance of the living conditions in which people find themselves. The relationship between a person and the social environment for Gogol was the starting point in showing the psychology and behavior of the characters. Their vices do not come from the inner nature of a person, but are an expression of specific life conditions and circumstances.
When considering the ways of depicting the characters in Dead Souls, they usually note the role of portrait sketches and everyday details, which found here an exceptionally masterful image. There is no doubt that Gogol paid great attention to the everyday environment, carefully writing out the material environment, the material world, in the sphere of which five of his heroes live; Manilov, Korobochka, Nozdrev, Sobakevich and Plyushkin.
Principles for revealing the characters of landlords
The plot of "Dead Souls" serves, first of all, as a means of revealing characters. The author reproduces life situations in which his heroes, entering into relationships with each other, fighting among themselves, manifest themselves in actions, in feelings, in experiences.
The basis of the plot of the poem is the purchase - sale of the dead showers - and there is a key to the manifestation of characters, for each of the landlords and officials in their own way reacts to Chichikov's fraudulent proposal. This reaction to the greatest extent reveals the originality of a particular character. The speech in "Dead Souls" is not so much about Chichikov, but about the people he encounters on the way to the implementation of the plan. The characters depicted by Gogol with exhaustive completeness have become common nouns. The artist creates them by the method of "typing" and the method of "microscopic analysis". With amazing skill, Gogol embodies both the structure of statements and the peculiarities of vocabulary.
All researchers point to essential component Gogol's image - an external portrait of the "hero". Gogol describes the color of the face, the eyes of the hair, clothes, manner of carrying oneself, gait, gestures, facial expressions, distributing light and shadows with great art, linking everything into an organic whole.
Outlining the appearance of the hero, his "remarkable" features, the writer in the course of the narrative sets off, emphasizes some of the features. This also applies to Manilov's smile, which does not leave his face.
The impression that Manilov creates at first, as he gets to know him better, closely "gazes" at him, is constantly changing:
“In the first minute of a conversation with him, you can’t say anything: what a pleasant and a kind person! The next minute you say nothing, and the third you say: the devil knows what it is! And move away; if you don’t move away, you will feel mortal boredom.”
Being aloof from the real processes of life, Manilov creates his own illusory world; completely incapable of any practical action; does not bear to call a spade a spade; his sentimental refinement is also reflected in the vocabulary of speech.
Highlighting certain dominant features not only did not limit the completeness and concreteness of the depiction of the characters, but just allowed Gogol to achieve a holistic, vivid disclosure of the "fragmented" characters. Combining all other aspects of the image around the leading features, the writer achieved its exceptional expressiveness and relief. Gogol consciously avoided images that were vague, vague in outline, amorphous in artistic modeling. The desire for concreteness in life was determined by those great social tasks that the writer set for himself.
Depicting everyday life, everyday feelings, desires, aspirations, Gogol widely developed a method for characterizing heroes, social structure through portrait and household parts. Revealing the images of characters in close connection and their dependence on general conditions life, Gogol strives for maximum expressiveness of the various elements of the narrative. None of the artistic details that are used by the writer when depicting characters exists by itself, it always attracts inseparable connection with the image, is a means of characterizing one or another of its sides.
An important element in the depiction of the hero in "Dead Souls" is his portrait. In an effort to convexly draw the characters of the poem, to make them memorable, Gogol masterfully recreates the external features of the hero, his gestures, demeanor. Each hero has his own special, unique appearance, which will never allow him to mix with any other character. Without deploying the full variety individual features hero, the writer highlights the main, characteristic in the portrait. artistic portrait in the poem it is distinguished by sculptural clarity, a clearly expressed accentuation of the leading features. The ingenious power of the portrait images created by Gogol lies in the fact that the portrait for him is the key to the inner world of the characters.
According to the principle of highlighting characteristic, memorable details, a description of various aspects of the characters' way of life is built in Dead Souls. Something was always missing in Manilov's house: in the living room there was beautiful furniture, upholstered in smart silk fabric, which, no doubt, was very expensive; but it was not enough for two armchairs, and the armchairs were simply upholstered with matting; however, for several years the host warned his guest every time with the words: “Do not sit on these chairs, they are not ready yet” ...
Arriving at a new estate, Chichikov each time finds himself in his own little world. Object-everyday details accurately and subtly described by Gogol help the protagonist of the poem to get acquainted with the laws of this little world. It is important for Chichikov to understand what kind of person he met, he pays attention to the smallest details of the life of each new acquaintance, his appearance. The picture seen by Chichikov is supplemented by the author's remarks and descriptions. The author penetrates into the depth of each phenomenon, trying to generalize particulars. Gogol shows how the individuality of the characters is manifested in each thing.
The room was hung with old wallpaper; pictures with some birds; between the windows there are small antique mirrors with dark frames in the form of curled leaves; behind every mirror there was either a letter, or an old pack of cards, or a stocking; wall clock with painted flowers on the dial ... "
If Manilov’s vulgarity somehow dressed up in patterned clothes of pomp, then in the image of Korobochka, the reduction of a person, the spiritual poverty of the “masters of life” appear in their natural state. Unlike Manilov, Korobochka is characterized by the absence of any claims to higher culture, some kind of peculiar, very unpretentious "simplicity". The absence of "splendor" is emphasized by Gogol already in the external portrait of Korobochka, which captures her unattractive appearance: "... The hostess, an elderly woman, in some kind of greasy cap, put on hastily, with a flannel around her neck ..."
And already at breakfast, “she was dressed better than yesterday - in a dark dress and no longer in a greasy cap, but there was still something imposed on her neck.”
That well-known worldly spontaneity, which attracts attention when moving from the image of Manilov to the image of Korobochka, is revealed, first of all, as an expression of rough prosaism and everyday life, prudent and tenacious practicality. All Korobochka's thoughts and desires centered around the economic strengthening of her estate, around incessant hoarding. Local isolation from the world merges immediately with a thirst for enrichment. Korobochka, unlike Manilov, is not an inactive dreamer, but a sober acquirer who is always swarming around his home. Chichikov saw traces of skillful management in her estate, tangible results of her constant concern for increasing wealth.
But Korobochka's "thriftiness" just reveals her inner insignificance. Acquisitive impulses and aspirations fill the entire consciousness of the Box, leaving no room for any other feelings. She seeks to benefit from everything, from household trifles to the profitable sale of serfs. The little box sells them when it seems necessary to her, with the same usual efficiency and prudence with which she sells hemp, lard and bird feathers to passing buyers. Serfs for her are, first of all, her property, which she has the right to dispose of as she pleases. The difference between "animate" property and inanimate property is not for Korobochka any significant and decisive.
A thrifty old woman does not like to part with any of her things without using it to the end, without any residue. Chichikov's offer to yield to him dead Souls opens up a tempting prospect for Korobochka to benefit from the dead serfs. Korobochka is not so much surprised by the unusualness of Chichikov's appeal as he is frightened by the prospect of missing something, not taking what can be obtained for dead souls.
No wonder Chichikov calls Korobochka "club-headed". This epithet very aptly characterizes the essence of the landowner. Being aloof from the wide stream of life, Korobochka cannot, however, not experience its influence, she tries to adapt to life. But this adaptation takes place within the framework of a poor perception of reality.
The pursuit of profit gives rise to the cunning and resourcefulness of the Box. But this cunning bears the stamp of hardened primitiveness. Knowing how to painstakingly accumulate money, Korobochka is not able to understand any of the complex phenomena of life, to understand them, is not able to correctly assess the people she has to deal with. Everything that falls into her field of vision, she measures with the usual, long-established microscopic standards. Reality in the perception of the Box is devoid of any movement; there is no real development for it.
Emphasizing the typicality of his hero, the writer depicts him as a representative of a whole category of people. Hence the juxtaposition of the hero with a vast group of people encountered in life - a juxtaposition that is usually a kind of introduction to inner world image.
In contrast to the immobile landowner, busy laying off the coins and fifty dollars, Nozdryov is distinguished by a violent prowess, a “wide” scope of nature. He is extremely active, mobile, perky. Without thinking for a moment, Nozdryov is ready to do any business, everything that comes to his mind for one reason or another:
“At that very moment, he offered you to go anywhere, even to the ends of the world, to enter into whatever enterprise you want, to change everything that is, for whatever you want.”
Nozdryov's activity is devoid of any guiding idea, goal. This is the activity of a person who is free from any obligations to create something, to achieve real results its activities. With the same ease, Nozdryov both starts any of his undertakings and abandons him, immediately forgetting what attracted his attention some time ago. Nozdryov's passion for various activities changes very quickly, never leading to any positive consequences. All that he is up to, ends either in trifles, or in various kinds of "stories", to which Nozdryov great master.
The scenes with Nozdryov are stingy with details reflecting serf life, but the whole characterization of Nozdryov is given in such a way that it does not actually leave any ambiguities regarding this side of life. Nowhere and about nothing Nozdryov does not recognize any restrictions or restraining principles. For him, only his own desires and motives that he puts above all else. Everything that belongs to Nozdryov should serve to satisfy these desires. Deprived human dignity, he is not able to even in the slightest degree to reckon with the dignity of other people, especially serfs. Depicting the details of Nozdryov's life, Gogol ironically sets off his extreme affection for animals, which were the subject of his special concerns.
And because Nozdryov does not carry anything humanly significant, his stormy manifestation of life takes on a specific character. Everywhere, wherever Nozdryov appears, turmoil, turmoil, squabbles are started.
At the same time, to Nozdryov himself, his life seems saturated to the brim, full and meaningful. Here Nozdrev resembles Manilov in some ways, but Nozdrev's stormy "activity" differs significantly from Manilov's contemplative daydreaming. Nozdryov, who loves on a grand scale, creates an infinitely exaggerated idea of his being, his activities, his possibilities and successes.
In the freedom with which Nozdryov composes, there is not only swagger, but also impudence, stemming from the fundamental features of his character. Having no firm criteria for evaluating people and not actually seeing the need for such criteria, Nozdryov quickly and easily converges with any person who meets on his life path. With all his acquaintances, he is a familiar, keeps with them on a short leg, immediately switching to intimate forms of treatment. Everyone who was in company with him, with whom he barely had time to chat, Nozdryov considers his friend and friend. But just as in everything else, he never remains true either to his words or to his relationships with people. Nozdryov belongs to the category of those people who "will make friends, it seems, forever, but it almost always happens that the friend who makes friends will fight with him that same evening at a friendly feast." The transformation from friend to foe, and vice versa, takes place with lightning speed. Nozdryov's bosom friend in a minute can become worthless rubbish, just as one who is branded with the name of a scoundrel most often turns back into a beloved friend. Moreover, at the same time the same person can be called both a scoundrel and a friend. This lack of any stable moral criteria in Nozdryov is shaded by Gogol.
In itself, the desire to bring chaos, confusion, the desire to mischief everywhere expressively characterizes moral character Nozdryova. But other features are connected with this, revealing his complete immorality. The fact that Nozdryov is dishonest is widely known in the circle of his acquaintances, he has sufficiently proven himself from this side. In terms of cheating, Nozdrev is not an amateur, but a person with experience, constantly improving his “art”.
A variety of types of insignificant, vulgar people, depicted in "Dead Souls", shows how deeply Gogol illuminated feudal reality, ruthlessly ridiculing the "masters of life". The denunciation seemed not only to their inactivity, isolation from reality, to which the content of the images of the landowners is often reduced; Gogol's satire spent more wide circle phenomena and aspects of life.
Sobakevich, on the other hand, cannot be ranked among the people who hover in the clouds, indulge themselves with illusions. On the contrary, he stands on the ground with both feet, very soberly assesses people and life. When necessary, Sobakevich knows how to act and achieve what he wants. Describing the everyday way of life of Sobakevich, Gogol highlights the fact that here everything "was stubborn, without shaking, in some kind of strong and clumsy order." Solidity, fundamentality - distinctive features, both Sobakevich himself, and the everyday environment that surrounds him.
Small details, details, constantly introduced by the author and drawn by him with extraordinary skill, help the reader not only to be transported into the world into which the author introduces, but also to understand the hero's soul - rude, clumsy.
Physical strength and ugly clumsiness also appear in the guise of Sobakevich himself:
“When Chichikov glanced askance at Sobakevich, this time he turned out to be quite similar to him. medium size bear. To complete the resemblance, his tailcoat was completely bear-colored, the sleeves were long, the pantaloons were long, he stepped with his feet at random and stepped on other people's legs. The complexion was red-hot, hot, which happens on copper nickel". And here the appearance of the hero reveals to the reader certain aspects of his spiritual make-up - rudeness and stubbornness, the predominance of the animal nature.
Sobakevich emphasizes his clumsy movements. Selection special features gives remarkable expressiveness to the portrait of Sobakevich - a cunning and crafty businessman.
The comparison with the bear is not only external; it leads to the revelation psychological characteristics. The animal nature dominates Sobakevich's nature and does not think about any high spiritual demands. He is far from philosophy, dreams and impulses. According to his firm conviction, the only thing in life can only be taking care of his own existence, which he is also not inclined to complicate.
The saturation of the stomach here is in the foreground and is the most important moment, which, in essence, determines the content and meaning of his life.
Rejecting unnecessary sophistication, Sobakevich holds firm and prudent practicality. Unlike Korobochka, Sobakevich understands well environment, knows people. This is a cunning and arrogant businessman.
In an effort to achieve the desired results, Sobakevich does not want to be embarrassed by anyone or anything. The deep hypocrisy of an experienced businessman is as characteristic of him as the frankness of a cynic.
Various people, with whom he has to meet, according to Sobakevich, do not differ at all from each other, they are all equally swindlers and swindlers. Here the peculiar nihilism of the merchant, the nihilism of the owner - the acquirer, is manifested. Even imagination does not tell him any images noble people nor an honest, direct relationship between them. He has the ability of active action, he knows how to get along in life, but it was in this image that the artist with particular force exposed base feelings and aspirations.
Like Korobochka and Sobakevich, Plyushkin is preoccupied with the accumulation of wealth; like them he is dominated by selfish feelings and desires. But these egoistic feelings and desires take on in Plyushkin the character of an all-encompassing passion, dominating stinginess over everything. The accumulation of things, material values becomes for him the only life purpose outside of which absolutely nothing exists. The insatiable greed of the collector leads to the fact that he loses a sense of the significance of things, ceases to distinguish the important from the trifle, the useful from the insignificant. With such internal depreciation objective world unimportant, insignificant, insignificant inevitably acquires a special attraction; Plyushkin focuses his attention on it. In an effort to strengthen his well-being, Plyushkin turns into a devoted, tireless slave of things, a slave of his passion. The thirst for accumulation pushes him onto the path of all sorts of restrictions in relation to himself. Fearing ruin, Plyushkin induces severe "economy" in his own life. He does not allow himself the slightest excess and, moreover, is ready to eat from hand to mouth, dress in all sorts of rags, and limit all other expenses to the limit.
Plyushkin himself did not experience any particular discomfort from these restrictive measures, which he voluntarily imposed on himself. The passion for expanding wealth so captured him that he did not want to notice even what seemed to be his own. To an outsider's eye, Plyushkin appears to be a creature, extremely amorphous and indefinite:
“While he (Chichikov) was examining all the strange decoration, a side door opened, and the same housekeeper that he met in the yard came in. But then he saw that it was more of a housekeeper than a housekeeper: the housekeeper, at least, did not shave his beard, but this one, on the contrary, shaved, and, it seemed, quite rarely, because his entire chin with the lower part of the cheek looked like on a comb made of iron wire, which is used to clean horses in the stable. For all the amorphous appearance of Plyushkin, separate sharp features appear in his whole portrait. In this combination of general formlessness with sharply prominent features, there is the whole of Plyushkin.
But with special attention when describing Plyushkin's portrait, the writer dwells on the hero's costume:
“His outfit was much more remarkable: it was impossible to get to the bottom of what his dressing gown was concocted from by any means and efforts: the sleeves and upper floors were so greasy and glossy that they looked like yuft, which goes on boots; behind, instead of two, four floors dangled, from which cotton paper climbed in flakes. He also had something tied around his neck that could not be made out: whether it was a stocking, a garter, or an underbelly, but not a tie.
This description vividly reveals the most important feature of Plyushkin - his all-consuming stinginess. In the image of Plyushkin, Gogol brilliantly showed both the strength of pernicious passion and its gradual increase.
One of the important ideas of the poem is the idea of a thing that enslaves a person. But Plyushkin was not always a greedy and rude miser; once he was known as a thrifty owner and good family man, distinguished by experience and knowledge of the world. He became a stupid miser due to life circumstances and conditions. Unlike other landlords, who are taken outside of their biographies, Plyushkin is depicted in the process of development; his biography reflected the deepest degradation a person can reach under certain conditions of his life existence.
Insatiable stinginess destroys all human ties, all communication between Plyushkin and people. Absorbed by the only concern of his life, Plyushkin does not feel any need for either friendly relations or connections with the outside world. He treats everyone who visits his estate with obvious suspicion, seeing in any visitor his ill-wisher and even a potential enemy:
“I haven’t seen guests for a long time,” he said, yes, I must admit, I see little use in them. They started an obscene custom to visit each other, and in the household there are omissions ... and feed their horses with hay!
Terrible stinginess created an impassable abyss between Plyushkin and his children; in relation to them, he does not want to go to even the most insignificant actions.
Having cut off ties with the outside world, Plyushkin remains alone in his money-grubbing, closed in his cold egoism. He is constantly seized with fear, not even for his own fate, but for the safety of his belongings.
Depicting Plyushkin, Gogol clearly shows the plight of his peasants. We find a reflection of the life of serfs in different places chapter devoted to Plushkin. In essence, this theme runs through the entire description of the details of his life, his psychological appearance and behavior. It is revealed not only in Plyushkin's conversations with Chichikov, but also in the scenes with Proshka, with Mavra, in the depiction of individual bright pictures and details.
Conclusion
Gogol's hero artistic poem
When reading "Dead Souls" one sometimes wants to cry out, like many Gogol's heroes: "The devil knows what it is!" - and put down the book. Amazing details twist like intricate patterns and take us along. And only a vague bewilderment, and a voice common sense do not allow the reader to finally succumb to the attractive absurdity and take it for granted. In fact, we involuntarily plunge into the world of details and only then suddenly realize that they are strange to the extreme.
Indeed, "Dead Souls" shows us the whole variety of such "little things" - landscape, portrait, interior details, detailed comparisons, again - abounding in details.
Bibliography:
1. N. V. Gogol. Full composition of writings. Publishing house " Fiction»; M., 1967.
2. V. G. Belinsky. Collected works. M., 1962.
3. Gogol N.V. Full composition of writings. In 8 volumes. Publishing house "Fiction"; M., 1967.
4. Belinsky VG Complete Works. In 13 volumes. M., 1955.
5. Vertices. The book about outstanding works Russian literature. Compilation and general edition by S. I. Mashinsky. M., 1978.
6. Zolotoussky I. P. Gogol. M., 1979. (series "Life wonderful people»)
7. Mann Yu. V. On the poetics of "Dead Souls" - In the collection: Russian classical literature. M., 1969.
8. Khrapchenko M. B. “Dead Souls” by N. V. Gogol. M., 1952.
9. Dokusov A. M., Kachurin M. G. N. V. Gogol’s poem “Dead Souls” in school learning. M., "Enlightenment"; 1982.
The main topic of the study is the definition of the role of subject-household and portrait details in creating images of landowners in N.V. Gogol's poem "Dead Souls".
The purpose of this work was to study the Gogol method of characterizing heroes, the social structure through details. The details of the life of the heroes attracted the attention of the writer in his early works. In Dead Souls, however, the use of artistic detail is extraordinarily extended. “That is why the creation of the poem“ Dead Souls ”is great,” wrote Belinsky, “that it reveals and dissects life to the smallest detail, and these trifles are given general meaning».
It is no coincidence that Gogol opens his gallery of portraits of local rulers with the image of Manilov, who, at first glance, seems to have considerable attractive features. He himself is sincerely convinced of his high spiritual organization, and that he lives in the sphere of high human interests. At the first meeting, Manilov seems to be a prominent person, “his facial features were not devoid of pleasantness, but this pleasantness seemed to be too sugary”, in his receptions and turns there was something ingratiating with location and acquaintance.
The details of Korobochka's life introduce us to her before she has time to tell about herself:
“The room was hung with old wallpaper; pictures with some birds; between the windows there are small antique mirrors with dark frames in the form of curled leaves; behind every mirror there was either a letter, or an old pack of cards, or a stocking; wall clock with painted flowers on the dial ... "
It is clear to the reader that this room may belong to a zealous landlady, one of those landowners who knows both money and her serfs, lives closed in her estate, as in a box, and her thriftiness eventually develops into hoarding.
Just as when the narrative switches from Manilov to Korobochka, the internal juxtaposition of these images is clearly felt, so when moving to the image of Nozdryov, the contrast between Korobochka and this new character is clearly revealed:
“The face of Nozdryov, it is true, is already somewhat familiar to the reader. Everyone had to meet a lot of such people. They are called broken little ones, they are known even in childhood and at school for good comrades... They soon get to know each other, and before you have time to look back, they already tell you: you ... They are always talkers, revelers, reckless people, prominent people. Thus, the writer clearly emphasizes that the character he portrays is not a unique, sad exception, but an ordinary, widespread character. This is the character that "our earthly, sometimes bitter and boring road is teeming with."
Sobakevich, on the other hand, cannot be ranked among the people who hover in the clouds, indulge themselves with illusions. On the contrary, he stands on the ground with both feet, very soberly assesses people and life. Describing the everyday way of life of Sobakevich, Gogol highlights the fact that here everything "was stubborn, without shaking, in some kind of strong and clumsy order." Solidity, fundamentality are the distinguishing features of both Sobakevich himself and the everyday environment that surrounds him.
At the same time, on all way of life, starting with the details of everyday life, there is a seal of clumsiness, ugliness. The furniture in Sobakevich's house “had some strange resemblance to the owner of the house himself; in the corner of the living room stood a pot-bellied walnut office on absurd four legs, a perfect bear. The table, the armchairs, the chairs—everything was of the most heaviest and restless quality; in a word, every object, every chair, seemed to say: “And I, too, Sobakevich!” or: “And I also look a lot like Sobakevich!”
Like Korobochka and Sobakevich, Plyushkin is preoccupied with the accumulation of wealth; like them he is dominated by selfish feelings and desires. But these egoistic feelings and desires take on in Plyushkin the character of an all-encompassing passion, dominating stinginess over everything. The accumulation of things, material values becomes for him the only life goal, outside of which absolutely nothing exists. The insatiable greed of the collector leads to the fact that he loses a sense of the significance of things, ceases to distinguish the important from the trifle, the useful from the insignificant. With such an internal devaluation of the objective world, the unimportant, insignificant, insignificant inevitably acquires a special attraction; Plyushkin focuses his attention on it. In an effort to strengthen his well-being, Plyushkin turns into a devoted, tireless slave of things, a slave of his passion.
Detailing the phenomena depicted has become important artistic device for a writer determined to "bring out the whole vast, stunning picture of the little things that have entangled our lives." A bright, memorable detail makes the reader take a closer look at the hero, take a closer look at his inner world. All the characters in the poem are reflected in the objects around them.
It would seem that small and, at first glance, unimportant details are involved in the creation complete system images in the work. It is through the part that Gogol depicts the whole - the environment, the environment in which the characters' characters were formed and which is filled with the results of their life practice and social activities.
The images of the landowners created by the writer are historically specific. They carry the most essential, typical signs of the spiritual degeneration of the local nobility. But, at the same time, they reflected universal human vices. That's why the characters from "Dead Souls" have become household names.
An idle dreamer, a dreamer who does not know how and does not want to engage in useful work, we call Manilov; liar, braggart, brawler - Nozdrev; greedy miser - Plyushkin; clumsy bumpkin, stepping on everyone's feet - Sobakevich; mentally limited person - "clubhead".
Thus, each hero represents a special side of Russian reality, recognizable by the reader just the little things. In addition, the details help to reveal the central problem of the poem - the problem of the necrosis of the living soul. Gogol's heroes seem to be lost in the endless world of things, they themselves turn into something “objective”, unspiritual.
Singing tender and naive songs to each other in front of the whole crowd. It is impossible to break away from the folklore tale of Foma Grigoryevich in "The Evening on the Eve of Ivan Kupala", where Gogol's aesthetic discovery consists in the unprecedented psychological complexity of the narrator, the simple-hearted sexton, but also an almost romantic poet. The world of folk thinking is rich, folklore and fairy tales are combined in it with ...
In terms of compatibility with other colors, expressing shades of mood, the meaning that the poet wanted to put into his poetic lines. CHAPTER II. The sound coloring of A. Blok's lyrics In complex artistic structure In Blok's poems, sound performs the function of the finest instrument of art. Nearby live in Blok's poems sounds realistic, earthly, and sounds-symbols, sounds - messengers ...
Nikolai Vasilyevich Gogol noted that the main theme of "Dead Souls" was contemporary Russia. The author believed that "it is impossible otherwise to direct society or even the whole generation towards the beautiful, until you show the full depth of its real abomination." That is why the poem presents a satire on landed nobility, bureaucracy and others social groups. The composition of the work is subordinated to this task of the author.
The image of Chichikov, traveling around the country in search of the necessary connections and wealth, allows N.V. Gogol to show various aspects of reality: life, customs, characters, landscapes. In the first chapter, the author gives short specifications main actors, including the landowners. Further, five chapters, from the second to the sixth, are devoted to each of the landowners from whom Pavel Ivanovich Chichikov is going to purchase "dead souls" in order to pawn them in a bank as living ones.
The content of the chapters is built according to the same plan. homestead view, general state economy, the manor's house and its decoration, the characteristics of the landowner, a description of his relationship with Chichikov. A special place is occupied by the presentation of bargaining, the transaction itself for the purchase of audit souls. Also, the order of appearance of the landowners in the poem is not accidental. The author himself in "Selected places from correspondence with friends" noted that "heroes follow one after another, one more vulgar than the other."
Chichikov is the first to visit Manilov. This landowner has not completely lost his humanity. He is characterized by daydreaming, good-heartedness, the desire to "follow some sort of science." In the poem, Gogol conveys the image of Manilov in this way: “In his eyes, he was a prominent person; his facial features were not devoid of pleasantness, but this pleasantness seemed to be 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.
The furnishings of Manilov's house are a strange mixture of fine things and broken furniture. You can remember, for example, chairs that were still “upholstered in just matting,” and for several years the owner told guests that these chairs were “not ready yet.”
Manilov's irresponsibility is also confirmed by the fact that he not only does not know how many peasants have died, but, it seems, does not have a very good idea of \u200b\u200bthe state of affairs on his estate, indifferently confirms the clerk's answer that "no one counted the dead." This character spends his time in empty dreams, for example, that “it would be nice to build a stone bridge”, on which there would be shops on both sides where they would sell the necessary goods.
Precisely enough, Manilov's habits characterize such details as "... some book, bookmarked on the fourteenth page, which he has been reading constantly for two years" and located on the windowsills "... hills of ash knocked out of a pipe, arranged not without diligence in very beautiful rows ... ".
Although Manilov was amazed in the first seconds by Chichikov's proposals to sell "dead souls", but, reassured by his best friend Pavel Ivanovich that this does not contradict the interests of the state, he even offers to make a bill of sale at his own expense. The author gives an exact description of this hero: "There is a kind of people known by the name: people are so-so, neither this nor that ... Maybe Manilova should join them."
The mastery of the author manifested itself not only in typification, but also in the individualization of images. Gogol's genius was reflected in the art of using artistic details. The same detail inherent in a certain image is repeated, enhanced. Such, for example, is Manilov's cloyingness, which was also reflected in the character's exaggeratedly courteous, sugary speech. The author of the poem "dared" to describe "fragmented, everyday characters", presented them "to the eyes of the people." Probably, it is this property of the work that attracts the attention of new generations of readers, gives them not only aesthetic pleasure, but also teaches a moral lesson.
Nikolai Vasilyevich Gogol noted that the main theme of "Dead Souls" was contemporary Russia. The author believed that "it is impossible otherwise to direct society or even the whole generation towards the beautiful, until you show the full depth of its real abomination." That is why the poem presents a satire on the local nobility, bureaucracy and other social groups. The composition of the work is subordinated to this task of the author.
The image of Chichikov, traveling around the country in search of the necessary connections and wealth, allows N.V. Gogol to show various aspects of reality: life, customs, characters, landscapes. In the first chapter, the author gives short descriptions of the main actors, including the landowners. Further, five chapters, from the second to the sixth, are devoted to each of the landowners from whom Pavel Ivanovich Chichikov is going to purchase "dead souls" in order to pawn them in a bank as living ones.
The content of the chapters is built according to the same plan. View of the estate, general condition of the economy, the manor house and its decoration, characteristics of the landowner, description of his relationship with Chichikov. A special place is occupied by the presentation of bargaining, the transaction itself for the purchase of audit souls. Also, the order of appearance of the landowners in the poem is not accidental. The author himself in "Selected places from correspondence with friends" noted that "one after another my heroes follow, one more vulgar than the other."
Chichikov is the first to visit Manilov. This landowner has not completely lost his humanity. He is characterized by daydreaming, good-heartedness, the desire to "follow some sort of science." In the poem, Gogol conveys the image of Manilov in this way: “In his eyes, he was a prominent person; his facial features were not devoid of pleasantness, but this pleasantness seemed to be 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.
The furnishings of Manilov's house are a strange mixture of fine things and broken furniture. You can remember, for example, chairs that were still “upholstered in just matting,” and for several years the owner told guests that these chairs were “not ready yet.”
Manilov's irresponsibility is also confirmed by the fact that he not only does not know how many peasants have died, but, it seems, does not have a very good idea of \u200b\u200bthe state of affairs on his estate, indifferently confirms the clerk's answer that "no one counted the dead." This character spends his time in empty dreams, for example, that “it would be nice to build a stone bridge”, on which there would be shops on both sides where they would sell the necessary goods.
Precisely enough, Manilov's habits characterize such details as "... some book, bookmarked on the fourteenth page, which he has been reading constantly for two years" and located on the windowsills "... hills of ash knocked out of a pipe, arranged not without diligence in very beautiful rows ... ".
Although Manilov was amazed in the first seconds by Chichikov's proposals to sell "dead souls", but, reassured by his best friend Pavel Ivanovich that this does not contradict the interests of the state, he even offers to make a bill of sale at his own expense. The author gives an exact description of this hero: "There is a kind of people known by the name: people are so-so, neither this nor that ... Maybe Manilova should join them."
The mastery of the author manifested itself not only in typification, but also in the individualization of images. Gogol's genius was reflected in the art of using artistic details. The same detail inherent in a certain image is repeated, enhanced. Such, for example, is Manilov's cloyingness, which was also reflected in the character's exaggeratedly courteous, sugary speech. The author of the poem "dared" to describe "fragmented, everyday characters", presented them "to the eyes of the people." Probably, it is this property of the work that attracts the attention of new generations of readers, gives them not only aesthetic pleasure, but also teaches a moral lesson.
Nikolai Vasilyevich Gogol noted that the main theme of "Dead Souls" was contemporary Russia. The author believed that "it is impossible otherwise to direct society or even the whole generation towards the beautiful, until you show the full depth of its real abomination." That is why the poem presents a satire on the local nobility, bureaucracy and other social groups. The composition of the work is subordinated to this task of the author.
The image of Chichikov, traveling around the country in search of the necessary connections and wealth, allows N.V. Gogol to show various aspects of reality: life, customs, characters, landscapes. In the first chapter, the author gives short descriptions of the main actors, including the landowners. Further, five chapters, from the second to the sixth, are devoted to each of the landowners from whom Pavel Ivanovich Chichikov is going to purchase "dead souls" in order to pawn them in a bank as living ones.
The content of the chapters is built according to the same plan. View of the estate, general condition of the economy, the manor house and its decoration, characteristics of the landowner, description of his relationship with Chichikov. A special place is occupied by the presentation of bargaining, the transaction itself for the purchase of audit souls. Also, the order of appearance of the landowners in the poem is not accidental. The author himself in "Selected places from correspondence with friends" noted that "one after another my heroes follow, one more vulgar than the other."
Chichikov is the first to visit Manilov. This landowner has not completely lost his humanity. He is characterized by daydreaming, good-heartedness, the desire to "follow some sort of science." In the poem, Gogol conveys the image of Manilov in this way: “In his eyes, he was a prominent person; his facial features were not devoid of pleasantness, but this pleasantness seemed to be 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.
The furnishings of Manilov's house are a strange mixture of fine things and broken furniture. You can remember, for example, chairs that were still “upholstered in just matting,” and for several years the owner told guests that these chairs were “not ready yet.”
Manilov's irresponsibility is also confirmed by the fact that he not only does not know how many peasants have died, but, it seems, does not have a very good idea of \u200b\u200bthe state of affairs on his estate, indifferently confirms the clerk's answer that "no one counted the dead." This character spends his time in empty dreams, for example, that “it would be nice to build a stone bridge”, on which there would be shops on both sides where they would sell the necessary goods.
Precisely enough, Manilov's habits characterize such details as "... some book, bookmarked on the fourteenth page, which he has been reading constantly for two years" and located on the windowsills "... hills of ash knocked out of a pipe, arranged not without diligence in very beautiful rows ... ".
Although Manilov was amazed in the first seconds by Chichikov's proposals to sell "dead souls", but, reassured by his best friend Pavel Ivanovich that this does not contradict the interests of the state, he even offers to make a bill of sale at his own expense. The author gives an exact description of this hero: "There is a kind of people known by the name: people are so-so, neither this nor that ... Maybe Manilova should join them."
The mastery of the author manifested itself not only in typification, but also in the individualization of images. Gogol's genius was reflected in the art of using artistic details. The same detail inherent in a certain image is repeated, enhanced. Such, for example, is Manilov's cloyingness, which was also reflected in the character's exaggeratedly courteous, sugary speech. The author of the poem "dared" to describe "fragmented, everyday characters", presented them "to the eyes of the people." Probably, it is this property of the work that attracts the attention of new generations of readers, gives them not only aesthetic pleasure, but also teaches a moral lesson.
Nikolai Vasilyevich Gogol noted that the main theme of "Dead Souls" was contemporary Russia. The author believed that "it is impossible otherwise to direct society or even the whole generation towards the beautiful, until you show the full depth of its real abomination." That is why the poem presents a satire on the local nobility, bureaucracy and other social groups. The composition of the work is subordinated to this task of the author.
The image of Chichikov, traveling around the country in search of the necessary connections and wealth, allows N.V. Gogol to show various aspects of reality: life, customs, characters, landscapes. In the first chapter, the author gives short descriptions of the main actors, including the landowners. Further, five chapters, from the second to the sixth, are devoted to each of the landowners from whom Pavel Ivanovich Chichikov is going to purchase "dead souls" in order to pawn them in a bank as living ones.
The content of the chapters is built according to the same plan. View of the estate, general condition of the economy, the manor house and its decoration, characteristics of the landowner, description of his relationship with Chichikov. A special place is occupied by the presentation of bargaining, the transaction itself for the purchase of audit souls. Also, the order of appearance of the landowners in the poem is not accidental. The author himself in "Selected places from correspondence with friends" noted that "one after another my heroes follow, one more vulgar than the other."
Chichikov is the first to visit Manilov. This landowner has not completely lost his humanity. He is characterized by daydreaming, good-heartedness, the desire to "follow some sort of science." In the poem, Gogol conveys the image of Manilov in this way: “In his eyes, he was a prominent person; his facial features were not devoid of pleasantness, but this pleasantness seemed to be 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.
The furnishings of Manilov's house are a strange mixture of fine things and broken furniture. You can remember, for example, chairs that were still “upholstered in just matting,” and for several years the owner told guests that these chairs were “not ready yet.”
Manilov's irresponsibility is also confirmed by the fact that he not only does not know how many peasants have died, but, it seems, does not have a very good idea of \u200b\u200bthe state of affairs on his estate, indifferently confirms the clerk's answer that "no one counted the dead." This character spends his time in empty dreams, for example, that “it would be nice to build a stone bridge”, on which there would be shops on both sides where they would sell the necessary goods.
Precisely enough, Manilov's habits characterize such details as "... some book, bookmarked on the fourteenth page, which he has been reading constantly for two years" and located on the windowsills "... hills of ash knocked out of a pipe, arranged not without diligence in very beautiful rows ... ".
Although Manilov was amazed in the first seconds by Chichikov's proposals to sell "dead souls", but, reassured by his best friend Pavel Ivanovich that this does not contradict the interests of the state, he even offers to make a bill of sale at his own expense. The author gives an exact description of this hero: "There is a kind of people known by the name: people are so-so, neither this nor that ... Maybe Manilova should join them."
The mastery of the author manifested itself not only in typification, but also in the individualization of images. Gogol's genius was reflected in the art of using artistic details. The same detail inherent in a certain image is repeated, enhanced. Such, for example, is Manilov's cloyingness, which was also reflected in the character's exaggeratedly courteous, sugary speech. The author of the poem "dared" to describe "fragmented, everyday characters", presented them "to the eyes of the people." Probably, it is this property of the work that attracts the attention of new generations of readers, gives them not only aesthetic pleasure, but also teaches a moral lesson.
