Gogol was introduced into great literature ("Evenings on a Farm near Dikanka 1831-1832"), which amazed contemporaries with the extraordinary originality of poetic material: "... everyone was delighted with this lively description of a singing and dancing tribe, this fresh pictures Little Russian nature, this cheerfulness, simple-hearted and at the same time crafty. How amazed we were at the Russian book, which made us laugh, we, who had not laughed since the time of Fonvizin!" Pushkin wrote.

The cycle "Evenings", written over two and a half years, included the stories "Sorochinsky Fair", "Evening on the Eve of Ivan Kupala", "May Night or a Drowned Woman", which made up the first part of the collection (1831).

Gogol's appeal to the Ukrainian theme was natural: the writer's childhood and youth were spent in Ukraine, he was always interested in Ukrainian culture and literature, he was especially fascinated by oral folk art talented people. It is known with what persistence Gogol collected information about Ukrainian folk customs, rituals, legends, beliefs.

The main object of the image in the "evenings" becomes folk life, and the main character is the Ukrainian people - wise, crafty, freedom-loving, noble, daring and sincerely generous.

real hero books - the people, their character, manifested in fairy tales and legends. Ukrainian fairy tales are scary and bewitching at the same time, in them goodness is not always rewarded explicitly, but, in the end, retribution comes for all deeds - bad and good. "May Night, or the Drowned Woman" is based on many legends about "restless souls" who died innocently. A beautiful kind lady suffers the bullying of a witch-stepmother. Unable to stand it, she rushes into the pond and becomes a mermaid. Together with other mermaids, she tries to punish her stepmother, drags her into the water, but she is insidious and cunning. The stepmother turned into a mermaid. And the poor lady "cannot swim freely like a fish, she sinks and falls to the bottom like a key." The mermaid asks for help Levko, the son of the head, who does not have happiness. Levko loves the beautiful Galya, but the cunning father of the lad himself has plans for the girl and "does not hear" when his son asks for permission to marry. Levko and the mermaid meet in a dream. Pannochka tells the guy about her stepmother and asks: "Help me, find her!" The request turns out to be easily fulfilled: after watching how the mermaids play "at kite", Levko immediately sees one who likes to be an evil and predatory kite, which is not so transparent and pure, "something turns black inside her." A grateful pannochka helps Levka to connect his life with his beloved girl. The story told by Gogol is permeated with lyricism, Ukrainian songs, and is shrouded in poetic sadness. There is a lot of kindness in it and there is no Christian intransigence towards suicides. They are not cursed, they are unhappy. N.V. Gogol grew up in the atmosphere of the Ukrainian song and fairy tale, perfectly conveyed it in his books, managed to captivate readers with the poetry of Little Russian folk legends.

A feature of stories about Ukrainian life is a masterful combination of the real and the fantastic. Gogol's fantasy is based on the fantasy of folklore, so witches, mermaids and sorcerers living and acting next to people are not so much scary as funny, and the main motive of "Evenings" is the victory of the earthly, human over the mysterious, otherworldly.

Gogol began his creative activity as a romantic. However, he soon turned to critical realism opened a new chapter in it. How did the realist artist Gogol develop under beneficial influence Pushkin. But he was not a simple imitator of the ancestor of new Russian literature.

The originality of Gogol was that he was the first to give the broadest image of the county landowner-bureaucratic Russia and " little man”, a resident of St. Petersburg corners.

Gogol was a brilliant satirist who castigated "vulgarity vulgar person”, which ultimately exposed the social contradictions of contemporary Russian reality.

This social orientation of Gogol is also reflected in the composition of his works. Outstretched and plot conflict in them are not love and family circumstances, but events of social significance. At the same time, the plot in Gogol serves only as a pretext for a broad depiction of everyday life and the disclosure of characters-types.

Deep insight into the essence of the main socio-economic phenomena of contemporary life allowed Gogol, brilliant artist words, draw images of great generalizing power.

The names of Khlestakov, Manilov, Korobochka, Nozdrev, Sobakevich and others became household names. Even the secondary faces drawn by Gogol on the pages of his works (for example, in Dead Souls): Pelageya, the serf girl of Korobochka, or Ivan Antonovich, the “jug snout”, have great power of generalization, typicality. Gogol emphasizes in the character of the hero one or two of his most significant features. Often he exaggerates them, which makes the image even more vivid and convex.

The goals of a vivid, satirical depiction of heroes are served by Gogol's careful selection of many details and their sharp exaggeration. So, for example, portraits of the heroes of "Dead Souls" were created. These details in Gogol are mostly everyday: things, clothes, housing of the hero.

If in romantic stories Gogol are given underlined scenic landscapes, giving the work a certain elation of tone, then in his realistic works, especially in "Dead Souls", the landscape is one of the means of depicting types, characterizing heroes.

The subject, social orientation and ideological coverage of the phenomena of life and the characters of people determined the originality literary speech Gogol.

The two worlds depicted by Gogol - the folk collective and the "existents" - determined the main features of the writer's speech: his speech is either enthusiastic, imbued with lyricism when he talks about the people, about the homeland (in "Evenings", in "Taras Bulba", in digressions"Dead Souls"), then it becomes close to live colloquial (in everyday paintings and the scenes of "Evenings" or when the story is about bureaucratic-landowner Russia).

The originality of Gogol's language lies in a wider use than that of his predecessors and contemporaries, simply folk speech, dialectisms, Ukrainianisms. Gogol loved and subtly felt folk colloquial speech and skillfully applied all its shades to characterize his heroes and phenomena. public life.

1) the periodic structure of the phrase, when many sentences are combined into one whole (“Taras saw how the Cossack ranks became vague and how despondency, indecent for the brave, began to quietly hug the Cossack heads, but was silent: he wanted to give everything time to get used to them and to despondency, induced by farewell to his comrades, and meanwhile, in silence, he was preparing at once and suddenly to wake them all, shouting in a Cossack way, so that again and with greater force than before, courage would return to everyone’s soul, which only the Slavic breed is capable of, a wide a mighty rock before others, like the sea before shallow rivers”);

2) the introduction of lyrical dialogues and monologues (such, for example, is the conversation between Levko and Ganna in the first chapter of May Night, the monologues are appeals to the Cossacks of Koshevoy, Taras Bulba, Bovdyug in Taras Bulba);

3) an abundance of exclamatory and interrogative sentences (for example, in the description of the Ukrainian night in May Night);

4) emotional epithets that convey the power of the author's inspiration, born of love for native nature(description of the day in " Sorochinskaya Fair") or to folk collective("Taras Bulba").

Gogol uses folk speech in different ways. IN early works(in "Evenings") its bearer is the narrator. The author puts into his mouth both vernacular (everyday words and phrases), and such appeals to listeners who are familiarly good-natured, characteristic of this environment: “Honestly, I’m already tired of talking! what do you do

The character of a person, his social status, profession - all this is unusually clearly and accurately revealed in the speech of Gogol's characters.

The strength of Gogol the stylist is in his humor. Gogol's humor - "laughter through tears" - was due to the contradictions of the Russian reality of his time, mainly - the contradictions between the people and the anti-people essence of the noble state. In his articles on Dead Souls, Belinsky showed that Gogol's humor "consists in opposition to the ideal

life with the reality of life. He wrote: "Humor is the most powerful tool of the spirit of negation, which destroys the old and prepares the new."

Gogol's verbal painting contributes to artistic clairvoyance, which reveals the inner image of a person and transforms him. Of course, the word has “incomplete clarity” (according to A.F. Losev), but it reveals what is hidden in the representation. Everything worthless and petty was deduced by N.V. Gogol "outside" and "felt" in fullness and unity. Note that only contemplative and creative reading reveals the significance of “little things” and “collectiveness” in the works of N.V. Gogol. A.S. Pushkin vigilantly noticed the innovative features of N.V. Gogol - humor, poetry, lyricism and imagery. N.V. Gogol was "captured by the power of the word", he showed special skill in what is called "accuracy". The descriptiveness of Gogol's style is the most important aesthetic principle, based not on a simple synthesis of the arts (poetry and painting); it is also a special syllable, a unique language that harbors a grain of picturesqueness. The roots of Gogol's language are in "contemplation", more precisely, in two opposite features of "vision". Andrei Bely noticed that N.V. Gogol does not have “normal” vision: his eye is either wide open, expanded, or squinted, narrowed.

“Gogol's images, the names of Gogol's types, Gogol's expressions have entered the national language. New words are derived from them, for example, manilovshchina, nozdrevshchina, tryapichkinstvo, in Sobakevichevsky way and so on. [...]

None of the others classical writers did not create such a number of types as Gogol, which would enter into literary and everyday life as common nouns.

During his lifetime, Belinsky called Gogol "a brilliant poet and the first writer modern Russia". Gogol laid the foundation for the use in Russian literature of the folk-everyday language and the reflection of the feelings of the whole people. Thanks to the genius of Gogol, the style of colloquial and everyday speech was freed from “conditional constraints and literary cliches. An absolutely new language appeared in Rus', distinguished by its simplicity and accuracy, strength and closeness to nature; turns of speech, invented by Gogol, quickly entered into general use. The great writer enriched the Russian language with new phraseological phrases and words. Gogol saw his main purpose in "bringing the language of fiction closer to the lively and apt colloquial speech of the people"

One of the characteristic features of Gogol's style, which A. Bely points out, was Gogol's ability to skillfully mix Russian and Ukrainian speech, High style and jargon, clerical, landlord, hunting, lackey, gambling, philistine, the language of kitchen workers and artisans, interspersing archaisms and neologisms into the speech of both characters and the author's speech. Vinogradov notes that the genre of Gogol's earliest prose is in the style of the Karamzin school and is distinguished by a high, serious, pathetic narrative style. Gogol, understanding the value Ukrainian folklore, really wanted to become a "truly folk writer" and tried to involve a variety of oral folk speech in the Russian literary and artistic narrative system. The writer connected the reliability of the reality he conveyed with the degree of mastery of the class, estate, professional style of the language and dialect of the latter. As a result, the language of Gogol's narration acquires several stylistic and linguistic planes, becomes very heterogeneous. Vinogradov notes that in early editions " dead souls»Gogol's use of clerical vocabulary and phraseology was wider, freer and more natural. With a touch of irony, Gogol uses clerical and bureaucratic-official expressions when describing "non-official", everyday situations and the life of officials. Gogol's vernacular style is intertwined with clerical and business style. Gogol sought to introduce vernacular into the literary language different layers society (small and middle nobility, urban intelligentsia and officials) and by mixing them with the literary and bookish language to find a new Russian literary language. In Notes of a Madman and in The Nose, Gogol uses the clerical and official style much more than other styles of vernacular. Sometimes Gogol resorted to an ironic description of the content invested by society in a particular word. For example: “In a word, they were what is called happy”; “There was nothing else in this secluded or, as we say, beautiful square.”

Gogol believed that the literary and bookish language of the upper classes was painfully affected by borrowings from foreign, "foreign" languages, it is impossible to find foreign words, which could describe Russian life with the same accuracy as Russian words; as a result of which some foreign words were used in a distorted sense, some were assigned a different meaning, while some native Russian words irrevocably disappeared from use.

Gogol closely linking the secular narrative language with the Europeanized Russian-French salon language, not only denied and parodied it, but also openly opposed his style of narration to the language norms that corresponded to the salon-ladies' language. In addition, Gogol also struggled with the mixed half-French, half-common Russian language of romanticism. Gogol contrasts romantic style realistic style, reflecting reality more fully and believably.

As regards the national scientific language Gogol saw the peculiarity of the Russian scientific language in its adequacy, accuracy, brevity and objectivity, in the absence of the need to embellish it. Gogol saw the sources of the Russian scientific language in Church Slavonic, peasant and folk poetry.

Gogol strove to include in his language the professional speech of not only the nobility, but also the bourgeois class. Attaching great importance to the peasant language, Gogol replenishes his vocabulary by writing down the names, terminology and phraseology of accessories and parts of the peasant costume, inventory and household utensils peasant hut, arable farming, laundry, beekeeping, forestry and gardening, weaving, fishing, traditional medicine, that is, everything connected with the peasant language and its dialects. The language of crafts and technical specialties was just as interesting to the writer as the language of noble life, hobbies and entertainment. Hunting, gambling, military dialects and jargon attracted close attention Gogol.

Gogol sought to find ways to reform the relationship between his contemporary literary language and the professional language of the church. He introduced church symbols and phraseology into literary speech,

Already in his first stories, Gogol, using the Ukrainian literary tradition, depicts the people through the realistic atmosphere of the folk language, Ukrainian rituals, beliefs, fairy tales, proverbs and songs,

Gogol contrasts not only the complex, artificially embellished language of Panich, far from living oral folk speech, with the simple, intelligible, folk-everyday language of Foma Grigorievich, but their images are also opposed to each other.

when comparing two editions of "Evenings" the rapid change in Gogol's style towards the use of expressive diversity of living colloquial speech. Gogol eliminates in the second edition the standard, monotonous literary vocabulary and phraseological turns or replaces it with synonymous more expressive, dynamic expressions from live speech.

An important role was played for Gogol by the principle of metaphorical animation.

The author of "The Overcoat" is close to the environment in which his hero lives, Gukovsky writes, he understands the worries and problems, dreams and reality of Akaky Akakievich's life, he talks about everything firsthand, but as an acquaintance who knew Akaky Akakievich's relatives, and official. the narrator shares with the reader a detailed description of habits and individual moments the lives of the heroes and their relatives, thus acting as omniscient.

The author combines "a pure comic tale, built on a language game, puns, deliberate tongue-tied tongue" with a description in sublime, emphatically pathetic from the point of view of rhetoric tones when we are talking not about really lofty concepts and phenomena, but, on the contrary, about something everyday and petty.

“I never created anything in my imagination and did not have this property. The only thing that came out well for me was what I took from reality, from the data known to me. I have never painted portraits in the sense of a mere copy. I created a portrait, but I created it as a result of consideration, not imagination "

Important point in the destruction of the forms of book syntax in Gogol was connected with the methods of including in the author's speech an improperly direct, "alien speech", with their constantly fluctuating ratio. The writer included "foreign speech" in the author's narrative, often contradicting the author's point of view, without any warnings or reservations. This led to a comic displacement of different semantic planes, to sharp "jumps" of expression, changes in narrative tone, at the same time, this ratio serves as Gogol's means of creating comic repetitions.

Gogol's text is characterized by an atmosphere of trifles, as an example, the description of Bashmachkin's reaction to Petrovich's barbarously calm statement about the cost of production new overcoat: "One and a half hundred rubles for an overcoat!" exclaimed poor Akaki Akakievich, clasping his hands, screamed, perhaps for the first time in his life, for he was always distinguished by the quietness of his voice.

Gogol often describes the details of the narrative in great detail, while the writer shows the redundancy of any quality by the redundancy of the means of grammatical expression of this very quality, for example, the doctor’s voice is neither loud nor quiet, but extremely soft and magnetic (Nose).

in "The Overcoat" there are more detailed, specific, substantive descriptions of objects, things, people, etc. than in other works of Gogol. The writer gives a detailed portrait of the hero, his clothes and even food.

Gogol mixed the Ukrainian language with various dialects and styles of the Russian language. And the style Ukrainian language directly related to the nature actor works. Gogol combined the Ukrainian vernacular with Russian through the vernacular "pea panich" from Evenings on a Farm near Dikanka.

You need to know that Akaky Akakievich spoke for the most part prepositions, adverbs and, finally, such particles that have absolutely no meaning. (Overcoat); “Still ... there is something like that ... some kind of that ...” (Dead Souls).

The originality of Gogol's language lies in the fact that he deliberately uses tautology, syntactic synonymy, unusual words and phrases, metaphorical and metonymic displacements and alogisms. The writer piles up verbs and nouns, lists completely incompatible things and objects in one row, and even resorts to grammatical inaccuracies of expressions.

Numerous features of Gogol's language are an explanation for the fact that the writer's language simply and naturally entered both literary and everyday Russian.

Similar information.

Artistic features in the work of Gogol

Gogol began his creative activity as a romantic. However, he soon turned to critical realism and opened a new chapter in it. As a realist artist, Gogol developed under the beneficial influence of Pushkin. But he was not a simple imitator of the ancestor of new Russian literature.

The originality of Gogol was that he was the first to give the broadest image of the county landowner-bureaucratic Russia and the "little man", a resident of St. Petersburg corners.

Gogol was a brilliant satirist who scourged the "vulgarity of a vulgar person", exposing to the utmost the social contradictions of contemporary Russian reality.

This social orientation of Gogol is also reflected in the composition of his works. The plot and plot conflict in them are not love and family circumstances, but events of social significance. At the same time, the plot in Gogol serves only as a pretext for a broad depiction of everyday life and the disclosure of characters-types.

Deep insight into the essence of the main socio-economic phenomena of his contemporary life allowed Gogol, a brilliant artist of the word, to draw images of enormous generalizing power.

The names of Khlestakov, Manilov, Korobochka, Nozdrev, Sobakevich and others became household names. Even the secondary faces drawn by Gogol on the pages of his works (for example, in Dead Souls): Pelageya, the serf girl of Korobochka, or Ivan Antonovich, the “jug snout”, have great power of generalization, typicality. Gogol emphasizes in the character of the hero one or two of his most significant features. Often he exaggerates them, which makes the image even more vivid and convex.

The goals of a vivid, satirical depiction of heroes are served by Gogol's careful selection of many details and their sharp exaggeration. So, for example, portraits of the heroes of "Dead Souls" were created. These details in Gogol are mostly everyday: things, clothes, housing of the hero.

If in Gogol's romantic stories emphatically picturesque landscapes are given, giving the work a certain elation of tone, then in his realistic works, especially in "Dead Souls", the landscape is one of the means of depicting types, characteristics of heroes.

The subject, social orientation and ideological coverage of the phenomena of life and the characters of people determined the originality of Gogol's literary speech.

The two worlds depicted by Gogol - the folk collective and the "existents" - determined the main features of the writer's speech: his speech is enthusiastic, imbued with lyricism when he talks about the people, about the homeland (in "Evenings", in "Taras Bulba", in lyrical digressions of "Dead Souls"), then it becomes close to live colloquial (in everyday paintings and scenes of "Evenings" or when the story is about bureaucratic-landowner Russia).

The originality of Gogol's language lies in the wider use of common speech, dialectisms, and Ukrainianisms than that of his predecessors and contemporaries. Gogol loved and subtly felt folk colloquial speech and skillfully applied all its shades to characterize his heroes and phenomena of public life.

1) the periodic structure of the phrase, when many sentences are combined into one whole (“Taras saw how the Cossack ranks became vague and how despondency, indecent for the brave, began to quietly hug the Cossack heads, but was silent: he wanted to give everything time to get used to them and to despondency, induced by farewell to his comrades, and meanwhile, in silence, he was preparing at once and suddenly to wake them all, shouting in a Cossack way, so that again and with greater force than before, courage would return to everyone’s soul, which only the Slavic breed is capable of, a wide a mighty rock before others, like the sea before shallow rivers”);

2) the introduction of lyrical dialogues and monologues (such, for example, is the conversation between Levko and Ganna in the first chapter of May Night, the monologues are appeals to the Cossacks of Koshevoy, Taras Bulba, Bovdyug in Taras Bulba);

3) an abundance of exclamatory and interrogative sentences (for example, in the description of the Ukrainian night in May Night);

4) emotional epithets that convey the power of the author's inspiration, born of love for the native nature (description of the day in the "Sorochinsky Fair") or for the folk group ("Taras Bulba").

Gogol uses folk speech in different ways. In early works (in "Evenings") the narrator is its bearer. The author puts into his mouth both vernacular (everyday words and phrases), and such appeals to listeners who are familiarly good-natured, characteristic of this environment: “Honestly, I’m already tired of talking! what do you do

The character of a person, his social status, profession - all this is unusually clearly and accurately revealed in the speech of Gogol's characters.

The strength of Gogol the stylist is in his humor. Gogol's humor - "laughter through tears" - was due to the contradictions of the Russian reality of his time, mainly - the contradictions between the people and the anti-people essence of the noble state. In his articles on Dead Souls, Belinsky showed that Gogol's humor "consists in opposition to the ideal

life with the reality of life. He wrote: "Humor is the most powerful tool of the spirit of negation, which destroys the old and prepares the new."

Narrative features in N.V. Gogol's story "The Overcoat"

FEATURES OF NARRATORY IN N.V. GOGOL
"OVERCOAT"
TABLE OF CONTENTS
INTRODUCTION 3
1. Historical reference 4
2. Features of the disclosure of the idea of ​​the story 5
3. Characteristics narration 6
4. The image of a "significant person" in story 9
CONCLUSION 12
REFERENCES 13
INTRODUCTION
Among the remarkable figures of Russian and world culture, a place of honor belongs to Nikolai Vasilyevich Gogol. ingenious master poetic word, he created great works that captivate with the depth and truthfulness of their images, the power of creative generalization of life, and artistic perfection.
It is known that the works of great writers, in terms of the depth of content, the meaning of artistic images, go far beyond the historical time when they appeared. The largest artistic creations live for centuries and millennia, arousing the interest of many generations of readers, giving them aesthetic pleasure. This happens because creative generalizations outstanding artists words illuminate universal problems, help people of different historical periods understand many very dissimilar phenomena of life.
Each new era judges the writer in its own way, perceiving in his work close to her artistic principles. The historical existence of literary phenomena is very complex. Here often periods of wide interest in the writer, his works are replaced by decades and even centuries of a decrease or extinction of interest in them. With all that, over time, there is a process of gradual disclosure of the artistic potential of classical works. In the emergence of this potential, the decisive role belongs to the talent, the individuality of the artist, his connections with reality. That is why finding out the place of the writer in the movement of life, in the development of society and literature is very important not only for understanding his originality, but also for clarifying the fate of his work. Ignoring the historical approach to the artistic heritage gives rise to subjectivism, all sorts of arbitrary judgments and "concepts".
1. Historical background
The idea of ​​"The Overcoat" first arose in Gogol in 1834 under the impression of a clerical anecdote about a poor official who, at the cost of incredible efforts, fulfilled his old dream of buying a hunting rifle and lost this gun on the very first hunt. Everyone laughed at the joke, says P. V. Annenkov in his memoirs. But in Gogol, this story caused a completely different reaction. He listened to her and bowed his head thoughtfully. This anecdote sunk deep into the soul of the writer, and it served as an impetus for the creation of one of the best works Gogol.
Work on The Overcoat began in 1839 abroad and was roughly completed in the spring of 1841. Initially, the story was called "The Tale of the Official Stealing the Overcoat."
"The Overcoat" occupies a special place in the cycle of St. Petersburg stories. Popular in the 1930s, the story of an unfortunate, needy official was embodied by Gogol in a work of art, which Herzen called "colossal".
With his story, Gogol first of all dissociated himself from the development of a plot about a poor official, which was characteristic of the reactionary writers of the 30s, and was their target for ridicule and vulgar scoffing. The polemical address was indicated by Gogol quite clearly: Bashmachkin "was what is called the eternal titular adviser, over whom, as you know, they worked hard and sharpened enough various writers who have a commendable habit of attacking those who cannot bite."
2. Features of the disclosure of the idea of ​​the story
"The Overcoat", like Gogol's other stories about humiliated person, is in succession with Pushkin's "Station Master". Based on the creative experience of Pushkin, Gogol created deeply original artistic generalizations in St. Petersburg stories. The author's focus stationmaster"there was an image of sharp clashes of a" small "man with nobles, the mighty of the world this, clashes that resulted in the collapse of the hero's happiness. Gogol reflected more social inequality"small" people, showing not only their defenselessness, but also the harsh struggle for everyday existence. Image life destiny Gogol's heroes are inextricably merged with the disclosure of constant social oppression, which, dooming the "little" person to suffering, mercilessly disfigures him, erasing the living human individuality.
That deep drama that is imbued with "The Overcoat" is revealed, on the one hand, in the outline ordinary and the other is in showing the "shocks" of the hero. On this internal clash, the development of the plot in the story is built primarily. This is how the peaceful life of a man who, with four hundred salaries, knew how to be satisfied with his lot, went on, and would have reached, perhaps, to a ripe old age, if there weren’t various disasters scattered on the road of life, not only titular, but even secret, real, outward and all advisers. The story about the acquisition of an overcoat is everyday life, revealed in its dramatic tension. An ordinary, ordinary phenomenon appears as a "calamity"; an insignificant event, as in a focus, concentrates in itself a reflection of the essential aspects of reality.
The tension and drama of these clashes make the ending of the story organic, into which the author introduces fantasy. Fiction in "The Overcoat" is necessary element revealing the main idea of ​​the story.
3. Characteristic features of the narrative
"The Overcoat" is one of those works in which the writer resorts to the method of narration on behalf of the narrator. But the narrator in The Overcoat is not at all like Rudy Panka, who carries with him a special, sharply expressed manner of narration; he does not look like the narrator from the story about the quarrel, which is distinguished by its bright "characteristic". In "The Overcoat" the narrator is not brought to the fore, but at the same time this image is clearly felt in the story. “Where exactly the inviting official lived, unfortunately, we cannot say; memory is beginning to change us greatly, and everything that is in Petersburg, all the streets and houses have merged and mixed up so much in the head that it is very difficult to get something decent from there. form". While retaining the features of some external innocence, the narrator in "The Overcoat" is far from the "spontaneity" of narrators belonging to the patriarchal world.
"The Overcoat" is by no means written in the manner of a tale; nevertheless, in a number of places Gogol subtly notes language features narrator: "... Akaky Akakievich was born just before night, if only memory serves, on March 23 ... Mother was still lying on the bed opposite the door, and on the right hand stood the godfather, an excellent man, Ivan Ivanovich Eroshkin, who served as head clerk in the Senate , and godfather, the wife of a district officer, a woman of rare virtues, Arina Semyonovna Belobryubykova "; “In such a state, Petrovich usually very willingly yielded and agreed, every time he even bowed and thanked. Then, however, the wife would come, crying that her husband was drunk and therefore took it cheaply; but you used to add one dime, and the thing was hat."
The image of the narrator carries a clearly expressed sympathy for an obscure, simple person. Along with this, the writer, in separate episodes of the narrative, also expresses in a direct, immediate form his attitude towards the hero of the work. This determines the lyric-pathetic stream of the story, which is revealed both in the words about the cruel "inhumanity" and in reflections in connection with the death of Akaky Akakievich ("the creature disappeared and disappeared").
Creating "The Overcoat", Gogol relied on his enormous creative achievements in the use of wealth vernacular. Unlike a number of his other works, the writer in this story almost did not turn to a picturesque and concrete description of life, the "environment" of the hero, which made it possible to clearly outline his psychological appearance. The most important creative task that Gogol set himself in The Overcoat was, first of all, to clearly show the microscopic world of the humiliated hero, and then to characterize the relationship of the repressed person with the social world around him. Consistently implementing this creative task, Gogol achieved an amazing concentration of verbal expression, extraordinary accuracy artistic word. “There, in this rewriting, he saw some kind of his own diverse and pleasant world. Pleasure was expressed on his face;
some letters he had favorites, to which if he got to me, he was not himself: he laughed, and winked, and helped with his lips, so that in his face, it seemed, one could read every letter that his pen drew.
The richness and accuracy of Gogol's metaphor is an integral feature of the description of the actions of the hero, the events of his life. “Akaky Akakievich for some time began to feel that he was somehow especially strongly baked in his back and shoulder, despite the fact that he tried to run across the legal space as soon as possible. He finally thought if there were any sins in his overcoat Having examined her carefully at home, he discovered that in two or three places, namely on the back and on the shoulders, she became an exact sickle. An aptly found word, an expressive metaphor very often seems to sum up a whole narrative episode. “He returned home in the happiest mood, threw off his overcoat and hung it carefully on the wall, admiring once again the cloth and lining, and then purposely pulled out, for comparison, his old hood, completely spread out. He looked at him, and he even laughed : such was the difference! And for a long time later at dinner he kept smiling, as soon as the position in which the hood was located came to his mind.
Characterizing real place hero in public life, his attitude to reality, the writer widely uses the method of internal comparisons, which becomes the organizing principle in the construction of the sentence itself, in the selection of its lexical composition. “If rewards were given to him in proportion to his zeal, he, to his amazement, perhaps even would have ended up in state councilors; but he served, as the wits, his comrades, put a buckle in his buttonhole and acquired hemorrhoids in the lower back.”
Internal comparisons in the narrative speech of the "Overcoat" are very diverse, they are built on the collision of the imaginary and the real, the sublime and the prosaic. "Fire sometimes showed in his eyes, even the most daring and courageous thoughts flashed through his head: maybe put a marten on his collar." Or: "Thanks to the generous help of the Petersburg climate, the disease went faster than expected, and when the doctor appeared, he, feeling his pulse, found nothing to do but prescribe a poultice, the only thing already so that the patient would not be left without a beneficent medical assistance
The use of internal comparisons in the structure of a sentence or a whole group of sentences is often combined with underlining, "playing" on one stressed word. If Akaky Akakiyevich looked at anything, he saw his clean lines written out in even handwriting on everything, and only if, from nowhere coming from, the horse’s muzzle was placed on his shoulder and blowing a whole wind into his cheek with his nostrils, then he only noticed that he's not in the middle of the line, but rather in the middle of the street."
4. The image of a "significant person" in the story
Gogol brilliantly uses the "play" of words for the expressive characterization of heroes, phenomena of social reality. In this sense, the disclosure of the various semantic shades of the word "significant" that appears in the description of a "significant person" is very interesting. “You need to know that one significant person recently became a significant person, and before that time he was an insignificant person. However, his place was not considered significant even now in comparison with others, even more significant. But there will always be such a circle of people for whom the insignificant in in the eyes of others, there is already significant. However, he tried to increase the significance by many other means. Mapping in different connections"significant" with "insignificant" gives an ironic character to the story about a high-ranking person.
For satirical purposes, Gogol with great skill combines seemingly mutually exclusive semantic meanings words and achieves a remarkable effect. "The police made an order to catch the dead man, by all means, alive or dead, and punish him, as an example to others, in the most severe way." The constant formula of the zealots of order about the capture and punishment of the guilty appears here in its comic absurdity.
The image of a "significant person" shows the cruelty of representatives of power and law. Drawing the insults to which Akaky Akakievich was subjected in the department, Gogol showed "how much inhumanity there is in man, how much ferocious rudeness is hidden in refined and educated secularism."
Gogol creates a satirically generalized type of person - a representative of the bureaucratic power of Russia. His position is not essential, this is the boss in general. The way it behaves with Bashmachkin, all "significant persons" behave.
The scene at the general's is the ideological culmination of the story. Here, the social tragedy of the "little man" in the conditions of autocratic Russia is shown with the greatest force.
It is characteristic that Gogol does not even give a name to this hero of his. Unlike Bashmachkin and Petrovich, the “significant person” is depicted with satirical colors: “The methods and customs of a significant person were solid and majestic, but not polysyllabic. and at last word he usually looked very significantly into the face of the one to whom he spoke ... His usual conversation with the lower ones resounded with severity and consisted of almost three phrases: "How dare you? Do you know with whom you are talking? Do you understand who is standing in front of you?"
In his relations with the "lower ones", in his social practice, the "significant person" expresses the prevailing "norms"; his personal qualities do not play any significant role. "He was in the shower a kind person, good with comrades, helpful ...", "but as soon as he happened to be in a society where there were people at least one rank lower than him, there he was just at least out of hand."
The personification of brute and brutal force, the "significant person" cares only about the inviolability of the "foundations", that there is not even a hint of free thought. Bashmachkin's appeal to a "significant person" for help arouses the wrath of a high-ranking person. When Bashmachkin timidly remarks: "... I dared to bother Your Excellency because the secretaries of that ... unreliable people ..." - a storm of indignation falls upon him. "What, what, what?" said a significant person. "Where did you get such a spirit? where did you get such thoughts from? What kind of rampage has spread among young people against bosses and superiors!"
Very strong impression, which produces this scolding of Bashmachkin, causes the complete satisfaction of the "significant person". He is intoxicated with the thought that "his word can even deprive a person of feelings."
Scenes depicting a "significant person" expand and generalize the impact of the social order that predetermined the course of Akaky Akakievich's entire life and led him to his death. One of the editions of the "Overcoat" contains the following lines: "But we, however, completely ignored main reason of all misfortune, namely a significant person. "Undoubtedly, this place was modified by the writer under the pressure of censorship requirements, in the printed text it acquired a different edition. "But we, however, completely left one significant person, who, really, is hardly was not the cause of a fantastic direction, however, of a completely true story.
Bashmachkin's meeting with a "significant person" is shown in "The Overcoat" as a collision not with a bad person, but with the "usual" order, with the constant practice of "those in power." Bashmachkin suffers not from the inhumanity of individual people, but from the lack of rights in which he is placed by his social position. Depicting a "little" person in The Overcoat, Gogol acted as a great humanist. His humanism was not abstract and contemplative, but active, social character. The writer defended the rights of those people who are deprived of them in society. The words "I am your brother" were a reflection of the ideas of social justice, social equality.
Akaky Akakievich is drawn by a man who dutifully bears his heavy cross in life without raising his voice of protest against the cruelties of society. Bashmachkin is a victim who is unaware of the tragedy of his situation, who does not think about the possibility of a different life. In the original version of the epilogue of the story, the writer bitterly noted the resignation to fate, the resignation of Bashmachkin. "A creature disappeared and disappeared, protected by no one and dear to no one, not interesting to anyone, not even turning the gaze of a natural observer on itself and only dutifully enduring clerical ridicule and never in all his life uttered a grumble about his fate and did not know Is there a better fate in the world?
The "humility" of the hero of "The Overcoat" by no means signified Gogol's reconciliation with reality. Showing the hero as an uncomplaining victim of society, the writer expressed his bold protest against social order.
CONCLUSION
Based on the principles of realism and democratic humanism, Gogol's artistic works had a huge impact on the development of public self-consciousness, the spiritual culture of Russia and other countries. His work was a significant effective factor in the growth of advanced social thought.
Gogol's literary activity was characterized by ideological and creative contradictions, especially strong in last period his life. These contradictions have often been used and are used in our time in order to interpret the life and literary path of Gogol, his artistic heritage in a spirit of open conservatism. However, this kind of interpretation comes into irreconcilable conflict with the truth. Main stream creative activity Gogol had as its source not false views, which were somehow reflected in his works, but progressive, emancipatory ideas, so vividly expressed in them. It was not prejudices and delusions that determined the content, the essence of the writer's creative creations, but their deep truth in life, the remarkable artistic discoveries made by him.
Gogol's realistic masterpieces are a major contribution to the treasury of Russian and world literature. The artistic generalizations created by the writer have become the property of all progressive mankind and arouse the keenest interest of readers of various nationalities. Gogol boldly asserted new creative principles, which had a wide impact on literature, received their further development in the works of outstanding Russian writers and writers of other countries.
BIBLIOGRAPHY
1. Mashinsky S. Art world Gogol. M. : "Enlightenment", 1971
2. N.V. Gogol: History and Modernity: On the 175th Anniversary of the Birth / Comp. V.V. Kozhinov, E.I. Osetrov, P.G. Palamarchuk. - M.: Sov. Russia, 1985.
3. Khrapchenko M. B. Nikolai Gogol. literary path. greatness of the writer. - M. Sovremennik, 1984.

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