Images of landowners in dead souls. Images of landowners in the poem “Dead Souls” by Gogol

Gogol offers a whole gallery of images of Russian landowners. In each character the author finds something typical and special.

In general, the images of landowners in the poem “Dead Souls” convey the traits of those who filled Russia and did not allow it to follow the path of development.

Manilov

The first landowner does not have a name, only a surname - Manilov. The landowner tried to create a semblance of a foreign country in the Russian outback, but his desires remained a hint of the architecture of the sophistication and thoughtfulness of real masters. The essence of character is empty idleness. Manilov is immersed in dreams, building impossible projects. He creates underground passages, tall towers, beautiful bridges. At this time, everything around is decaying and collapsing. The peasants are poor, the rooms in the manor house are empty, the furniture is falling into disrepair. The landowner lives without worries and labor. Outwardly, everything on the estate goes on as usual, nothing changes due to inaction, but everything is not eternal and nothing can appear from laziness. Manilov is not alone. Such landowners can be found in any city. The first impression is that he is a pleasant person, but almost immediately it becomes boring and unbearable to be with him. The concept of “Manilovism” began to exist after the publication of the poem. This word was used to explain an idle, meaningless way of life, without purpose or real action. Such landowners lived by dreams. They absorbed what they inherited and spent the labors of the peasants who came to them. The gentlemen were not interested in farming. They thought they were living a rich life inner strength mind, but laziness consumed their minds, and they gradually moved away from real work, their souls became dead. This can probably explain why the classic chose Manilov first. The “dead” soul of a living person is worth less than those who lived their lives in work, even after death it is useful to those like Manilov. They can “flatter” with their help the scoundrels Chichikovs.

Box

The next classic chosen is a female character. Landowner Korobochka. This is a club-headed woman who sells everything she has. The landowner's name is Nastasya Petrovna. One feels some similarity with Russian fairy tales, but it is in the name that the character is typical for the Russian hinterland. The “speaking” surname is again played up by Gogol. Everything on the estate is hidden in a box and accumulated. The landowner puts money into bags. How many are there? Can not imagine. But what are they for, what is the purpose of accumulation, for whom? Nobody will give an answer. Accumulation for the purpose of accumulation. The scary thing is that for Nastasya Petrovna it doesn’t matter what to trade: living souls (serf girls), dead people, hemp or honey. The woman, who was created by God to continue the human race, found her purpose in selling, became hardened and became indifferent and indifferent to everything except money. For her, the main thing is not to sell things short. The author compares the image to a swarm of flies that flock to the dirt to profit. Another dangerous thing is that they multiply quickly. How many of these Boxes are there in the country? More and more.

Nozdryov

The drunkard, gambler and fighter Nozdryov is the next character. The essence of his character is meanness. He is ready to “muck” anyone, indiscriminately, with meaning. Nozdryov does not set specific goals for himself. He is disorderly, uncollected and cheekily arrogant. Everything around the landowner is the same: in the stable there are horses and a goat, in the house there is a wolf cub. He is ready to play checkers for the dead, sells and exchanges. There is no honor or honesty in the character, only lies and deceit. Communication with Nozdryov more often ends in a fight, but this is if the person is weaker. The strong, on the contrary, beat the landowner. The landowner was not changed by love. She probably didn't exist. I feel sorry for the troublemaker's wife. She died quickly, leaving two children in whom she had no interest. The children have a nanny, according to her description, she is “cute”; Nozdryov brings her gifts from the fair. The author hints at the relationship between the landowner and the nanny, since one can hardly count on selflessness and respect from him. The brawler takes more care of dogs than of his loved ones. Gogol warns the reader that the Nozdrevs will not leave Rus' for a long time. The only good thing is that Nozdryov cunning Chichikov couldn't buy dead souls.

Sobakevich

Landowner - fist, bear, stone. The name of the landowner cannot be different - Mikhailo Semenych. Everyone in the Sobakevich breed is strong: the father was a real hero. He went after the bear alone. It is interesting that the classic gives a description of his wife, Feodulia Ivanovna, but says nothing about the children. As if there is nothing to discuss here. There are children, they are as strong as anyone in the landowner's breed. They probably live independently somewhere separate from their father. It becomes clear that everything is similar on their estates. Another interesting detail is that the master was never sick. At first perception, Sobakevich is somewhat different than the previous characters. But gradually you realize that he also has no soul. She became callous and died. What remained was clumsiness and a stranglehold. He raises the price of the product without even thinking about the essence of the item being sold. A rude owner rules the estate. He doesn’t see the good in anyone, everyone is a swindler and deceiver. Irony shines through the words of the classic when Sobakevich finds one decent man in the city and calls him a pig. In fact, Sobakevich himself is exactly the way he imagines people. He gains a trot when trade begins, and calms down when the goods are sold profitably.

Plyushkin

The image of this landowner can be considered a masterpiece of a brilliant author. What will Manilov’s mismanagement lead to? What will happen to Korobochka, who is passionate about hoarding? How will the drunken brawler Nozdryov live? All characters are reflected in Plyushkin. Even outwardly completely incomparable with him, Sobakevich lives in the hero. One can imagine where the devastation of Plyushkin’s soul began - with frugality. One landowner is more vulgar and “more terrible” than another, but Plyushkin is the result. His life is a series of meaningless days; even the fabulous Koschey, languishing over gold, does not evoke such disgust as a still living person. Plyushkin does not understand why he needs all the rubbish that he collects, but he can no longer refuse such an activity. Particular feelings are evoked by the pages where they describe the meetings of the landowner with his daughter and her children. The grandfather allows his grandchildren to sit on his lap and play with a button. The spiritual death of the hero is obvious. The father does not feel affection for his loved ones. He is stingy and greedy so much that he even starves himself. A stale cake, a dirty drink, a heap of rubbish against the backdrop of huge piles of rotting grain, bins full of flour, damaged rolls of cloth. The absurdity of reality and the disintegration of personality is the tragedy of Russian life.

Serfdom leads to a loss of humanity in Russian landowners. It's scary to realize how dead their souls are. Dead peasants look more alive. Images of landowners appear before the readers one after another. Their vulgarity and promiscuity are frightening. There is a degeneration of the nobility and a flourishing of vices.

The image of Manilov in the poem by N.V. Gogol's "Dead Souls"

The gallery of landowners in the poem “Dead Souls” opens with the image of Manilov. This is the first character to whom Chichikov turns with a request for dead souls. What determines Manilov’s “superiority”? Gogol’s famous statement is that his heroes are one more vulgar than the other. It turns out that Manilov in the poem represents the first, least, degree moral degradation. However, modern researchers interpret the order of appearance of landowners in “Dead Souls” in a different sense, equating the first volume of Gogol’s poem with the first part “ Divine Comedy» Dante (“Hell”).

Manilov’s dreaminess and romanticism already at the very beginning of the poem creates a sharp contrast to Chichikov’s immoral adventure.

There is another reason here. According to I. Zolotussky, “every time Chichikov meets one of the landowners, he inspects his ideals. Manilov is family life, a woman, children...” This “part” of Chichikov’s ideal is exactly the best thing that is in the hero’s “roughly material” dream of contentment and comfort. Therefore, the story of Chichikov’s adventures begins with Manilov.

This image in the poem is static - nothing happens to the hero. internal changes throughout the entire story. Manilov's main qualities are sentimentality, dreaminess, excessive complacency, courtesy and courtesy. This is what is visible, what lies on the surface. It is these features that are emphasized in the description of the hero’s appearance. Manilov “was a distinguished man, his facial features were not devoid of pleasantness, but this pleasantness seemed to have too much sugar in it; in his techniques and turns there was something ingratiating favor and acquaintance. He smiled enticingly, was blond, with blue eyes.”

However, Gogol then proceeds to describe inner world Manilov, and the reader’s first impression of the landowner’s “niceness” is removed. “In the first minute of a conversation with him, you can’t help but say: “What a pleasant and kind person!” The next minute you don’t say anything, and in the third you say: “The devil knows what it is!” - and you move away: if you don’t move away , you will feel mortal boredom. You won’t get any lively or even arrogant words from him, which you can hear from almost anyone if you touch an object that offends him.” With a bit of irony, the author lists the traditional “interests” of landowners: passion for greyhounds, music, gourmetism, career advancement. Manilov is not interested in anything in life, he has no “enthusiasm”. He says very little, he often thinks and reflects, but about what - “does God... know.” So several more characteristic properties of this landowner are clearly identified - uncertainty, indifference to everything, inertia and infantilism of life perception. “There is a kind of people,” writes Gogol, “known by the name: so-so people, neither this nor that, neither in the city of Bogdan, nor in the village of Selifan...” Manilov belongs to this type of people.

The writer emphasizes the “lack of formality and vagueness” of the hero’s inner world with a characteristic landscape. So. the weather on the day when Chichikov came to Manilov, in highest degree vague: “The day was either clear or gloomy, but somehow light gray, which only happens on the old uniforms of garrison soldiers..."

In the description of the master's estate, new features of Manilov are revealed to us. Here we already see a person claiming to be “educated,” “cultured,” “aristocratic,” but all the hero’s attempts to seem like an educated and sophisticated aristocrat are vulgar and absurd. Thus, Manilov’s house stands “alone on the Jurassic, that is, on a hill open to all the winds,” but the mountain on which the estate stands is “clad with trimmed turf,” on it “are scattered, in English, two or three flower beds with lilac and yellow bushes.” acacias." Nearby you can see a gazebo “with wooden blue columns” and the inscription “Temple of Solitary Reflection.” And next to the “temple” is an overgrown pond covered with greenery, along which, “picturesquely picking up their dresses and tucking in on all sides,” two women wander, dragging their tattered nonsense behind them. In these scenes one can discern Gogol's parody of sentimental stories and novels.

The same claims to “education” are discernible in the ancient Greek names that Manilov awarded his children - Alcides and Themistoclus. The landowner's superficial education turned into outright stupidity: even Chichikov, upon hearing these names, experienced some surprise, and it is easy to imagine the reaction of the local residents.

However ancient greek names here is not only a vivid characterization of Manilov. “Alcides” and “Themistocles” set the theme of history in the poem, the motif of heroism, which is present throughout the entire narrative. Thus, the name “Themistocles” reminds us of Themistocles, a statesman and commander from Athens, who won brilliant victories in battles with the Persians. The life of the commander was very stormy, eventful, full of significant events (against the backdrop of this heroic theme Manilov’s inaction, passivity becomes even more noticeable).

Manilov’s “incompleteness of nature” (nature seemed to stop at the hero’s “pleasant” appearance, without “reporting” his character, temperament, and love of life) is also reflected in the description of his home environment.

In everything Manilov does, there is incompleteness that creates disharmony. A number of interior details testify to the hero’s inclination towards luxury and sophistication, but in this very inclination there is still the same incompleteness, the impossibility of finishing the job. In Manilov’s living room there is “wonderful furniture covered in smart silk fabric,” which is “very expensive,” but there is not enough for two armchairs, and the armchairs are “simply upholstered in matting.” In the evening, a “dandy candlestick made of dark bronze with three antique graces” is served on the table, and next to it is placed “a simple copper invalid, lame, curled to one side and covered in fat...”. For two years now, the hero has been reading the same book, reaching only the fourteenth page.

All the landowner's activities are meaningless and absurd, just like his dreams. So, having seen Chichikov off, he dreams of huge house“with such a high belvedere that you can even see Moscow from there.” But the culmination of Manilov’s image is “slides of ash knocked out of a pipe, arranged, not without effort, in very beautiful rows.” Like all “noble gentlemen,” Manilov smokes a pipe. Therefore, in his office there is a kind of “cult of tobacco”, which is poured into caps, and in a tabashka, and “just in a heap on the table.” So Gogol emphasizes that Manilov’s “passing of time” is completely meaningless.

The hero’s speech, “delicate”, florid, fully corresponds to his inner appearance. Discussing the sale of dead souls with Chichikov, he wonders “whether this negotiation will not be in accordance with civil regulations and future views of Russia.” However, Pavel Ivanovich, who added two or three book turns to the conversation, manages to convince him of the complete legality of this transaction - Manilov gives Chichikov the dead peasants and even takes over the registration of the deed of sale. Only complete insensitivity can explain the fact that he, wanting to please his friend, decided to give Chichikov dead souls. And the blasphemous phrase that he utters at the same time: “dead souls are in some way complete rubbish” - for Gogol, a deeply religious man, is evidence that the soul of Manilov himself is dead.

Thus, upon closer examination, the illusory nature of his “positive” qualities - sensitivity and sentimentality - becomes noticeable. His feelings do no good to anyone, they are not real, but only fiction, it’s just a manner. Manilov does not evaluate people from the point of view of the criteria of good and evil. Those around you simply fall into a general atmosphere of complacency and dreaminess. In fact. Manilov is indifferent to life itself.

Korobochka Nastasya Petrovna - widow-landowner, college secretary; the second (after Manilov and before Nozdrev) “saleswoman” of dead souls. Chichikov gets to her (chapter 3) by accident: the drunken coachman Selifan misses many turns on the way back from Manilov. The “darkness” of the night, the thunderous atmosphere that accompanied the arrival at Nastasya Petrovna’s, the frighteningly snake-like hissing of the wall clock, Korobochka’s constant memories of her deceased husband, Chichikov’s confession (the very next morning) that the day before yesterday she had been dreaming about the “cursed” devil all night - all this makes the reader wary. But Chichikov’s morning meeting with Korobochka completely deceives the reader’s expectations, separates her image from the fairy-tale-fantastic background, and completely dissolves her in everyday life.

The surname Korobochka metaphorically expresses the essence of her nature: thrifty, distrustful, fearful, feeble-minded, stubborn and superstitious.

Korobochka is “one of those mothers, small landowners who cry about crop failures, losses and keep their heads somewhat to one side, and meanwhile they little by little collect money into colorful bags... In one... rubles, in another fifty rubles, in the third quarters...”. A chest of drawers where, in addition to linen, night blouses, skeins of thread, a torn cloak, and bags of money are kept. - analogue of Korobochka. (Identical to the image of Korobochka is also Chichikov’s box with drawers, partitions, nooks and crannies, a hidden box for money. Symbolically, the Box opened, making Chichikov’s secret public. Thus, the magic casket, a box with a “double bottom”, gives away its secret thanks to Korobochka.)

If in the image of Manilov Gogol exposed the myth of the enlightened master, then in the image of Korobochka the writer dispelled the idea of ​​a thrifty and businesslike landowner who wisely manages the farm, takes care of the peasants, and preserves the family hearth. The patriarchal nature of this landowner is not at all the careful preservation of traditions about which Pushkin wrote: “They kept in their peaceful life / The habits of dear old times.” The box seems simply stuck in the past; time seemed to have stopped for her and began to move in a vicious circle of petty household worries that consumed and killed her soul. Indeed, unlike Manilov, she is always busy with housework. This is evidenced by the seeded vegetable gardens, the bird house filled with “every domestic creature,” and the “properly maintained” peasant huts. Her village is well-kept, and the peasants living in it do not suffer from poverty. Everything speaks of the housewife’s neatness and her ability to manage the estate. But this is not a manifestation of a living economic mind. The box simply follows a kind of “program of action”, that is, it grows, sells and buys. And only in this plane can she think. There can be no talk of any spiritual needs here.

A metonymic transfer characteristic of Gogol is a scarecrow on a long pole in the mistress’s cap, reinforcing the impression of the comic nonsense of the frugality of a lonely widow, saving for someone unknown and not seeing beyond her nose. The things in Korobochka's house, on the one hand, reflect Korobochka's naive ideas about lush beauty; on the other, her hoarding and range of home entertainment (fortune telling by cards, mending, embroidery and cooking): “the household room is hung with old striped wallpaper; paintings with some birds: between the windows there are old small mirrors with dark frames in the form of curled leaves: behind each mirror there was either a letter, or an old deck of cards, or a stocking: a wall clock with flowers painted on the dial...”

Korobochka's house with old small mirrors, hissing clocks and pictures, behind which there is always something hidden, lush feather beds and hearty food tells us about the patriarchal way of life of the housewife. But this simplicity borders on ignorance, an unwillingness to know anything beyond the scope of her concerns. In everything, she thoughtlessly follows the usual patterns: a visitor means “merchant”, a thing “from Moscow” means “ good job" and so on. Korobochka's thinking is limited, as is the vicious circle of her life - even to the city located not far from the estate, she only went out a couple of times.

The way Korobochka communicates with Chichikov betrays her stupidity, which is not in the least hindered by her practical acumen and desire not to miss out on benefits. This is most clearly manifested in the scene buying and selling dead shower. The box appears extremely stupid, unable to grasp the essence of Chichikov’s “profitable” offer. She takes him literally: “Do you want to dig them out of the ground?” - asks the landowner. Korobochka’s fear of selling dead souls is absurd and ridiculous, since she is not so much frightened by the item of trade itself, but is more worried about how not to sell it cheap, and suddenly the dead souls will come in handy for some reason in the household. Even Chichikov cannot stand Korobochka’s impenetrable stupidity. His opinion of her amazingly agrees with the author’s: this is a “club-headed” landowner. Korobochka decides to sell the “souls” out of fear and superstition, because Chichikov dried the devil to her and almost cursed her (“get lost and begone with your whole village!”), especially since she saw the devil in a dream: “disgusting, and the horns- it’s longer than bull’s.”

The fear of selling too cheap forces Korobochka to go to the city to find out the price of “dead souls”, equipping a tarantass, “more like a thick-cheeked, convex watermelon placed on wheels... The watermelon was filled with chintz pillows in the form of pouches, bolsters and simple pillows, stuffed with bags of bread, rolls , skins, quickies and pretzels from choux pastry" Watermelon tarantas Boxes are another analogue of her image, along with a chest of drawers, a box and colorful bags full of money.

Gogol shows readers that people like her are not capable of any movement - neither external nor internal, because the soul in them is dead and can no longer be reborn.

The very location of the village of Korobochki (away from the main road, on a side branch of life) indicates its “hopelessness”, “futility” of any hopes for its possible correction and revival. In this she is similar to Manilov - and occupies one of the lowest places in the “hierarchy” of the heroes of the poem.

The main character traits of Nozdryov are arrogance, boasting, a tendency to rowdy, energy and unpredictability. Gogol notes that people of this type are always “talkers, revelers, reckless drivers”, in their faces you can always see “something open, direct, daring”, they are desperate players, lovers of taking a walk. They are sociable and unceremonious, “they will make friends, it seems, forever: but it almost always happens that the one who makes friends will fight with them that same evening at a friendly party.”

Revealing the image of Nozdryov. Gogol masterfully uses various artistic media. First of all, the portrait of the hero itself is expressive. In his portrait there is something that is reminiscent of a folklore good fellow: “He was of average height, a very well-built fellow, with full rosy cheeks, teeth white as snow and jet-black sideburns. It was fresh, like blood and milk; his health seemed to jump from his face.” Of course, there is obvious irony in this description. It is not for nothing that the author, further talking about the fights in which Nozdryov constantly gets involved, notes that “his full cheeks were so well created and contained so much plant power that his sideburns soon grew back,” when in the next mess they were pulled out for him. There is something of an animal in this hero (remember, he was among dogs “just like a father among a family”), but also the definition of “ historical person"was given to him for a reason. The author’s description of this landowner contains not only irony and mockery, but also another motive - the motive of unrealized possibilities contained in this nature

It is characteristic that Nozdryov has an attractive appearance, physical strength, he laughs “with that ringing laugh that only fresh, healthy man..." The motif of Russian heroism that appears in Nozdryov’s depiction is comically reduced. The contrast between his outer appearance and inner appearance is enormous: the hero’s life is meaningless, the “exploits” of this “hero” do not go further than card cheating or a fight calmed down at a fair. Nozdryov is only “the appearance of a broad nature. He is impudent, a drunkard, a liar, he is at the same time a coward and a completely insignificant person.

The landscape that frames the episode of Chichikov’s visit to the landowner is also characteristic. “Nozdryov led his guests through a field, which in many places consisted of hummocks. The guests had to make their way between fallow fields and armored fields... In many places their feet squeezed out the water under them, the place was so low. At first they were careful and stepped carefully, but then, seeing that it was of no use, they walked straight, not distinguishing where there was more and where there was less dirt.” This landscape speaks of the disturbed economy of the landowner and at the same time symbolizes Nozdryov’s carelessness.

Thus, the hero’s lifestyle is already devoid of any order. The landowner's economy fell into complete decline. His stable stood empty, his watermill was empty, his house was in disarray and neglect. And only the kennel is in his good condition. “Among dogs, Nozdryov...is just like a father among a family,” notes Gogol. This comparison sets the theme of the hero’s “slander” in the story. As S. Shevyrev notes, Nozdryov “is very similar to a dog: for no reason at the same time he barks, nibbles, and caresses.”

The hero is prone to lies, deceit, and empty chatter. He can easily slander, slander a person, spread gossip about him, “a fable that is more stupid than it is difficult to invent.” It is characteristic that Nozdryov lies for no apparent reason, “out of love for art.” So, having come up with a story about the governor’s daughter, he continues to lie further, involving himself in this story. The reason for this is simple: Nozdryov understood that “he could have caused trouble in this way, but he could no longer hold his tongue. However, it was difficult, because such interesting details presented themselves that could not be refused..."

His penchant for deception and trickery also manifests itself during a card game. That’s why the game often ends in a fight: “they beat him with their boots, or they gave him a hard time on his thick and very good sideburns...”

The character of the hero, his interests and lifestyle are reflected in the interior of his house. There are no books or papers in Nozdryov’s office, but there are hanging sabers, guns, Turkish daggers and pipes of various kinds - “wooden, clay, meerschaum, smoked and unsmoked, covered with suede and uncovered.” In this interior, one object is symbolic - a barrel organ, in which there is “one pipe, very lively, which did not want to calm down.” This expressive detail symbolizes the character of the hero, his restlessness, and irrepressible energy.

Nozdryov is unusually “active”, energetic, his nimbleness and liveliness of character push him to new and new “undertakings”. So, he loves to change: a gun, a dog, horses - everything instantly becomes an object of exchange. If he has money, then at the fair he immediately buys “all sorts of things”: clamps, smoking candles, raisins, tobacco, pistols, herrings, paintings, pots, etc. However, the purchased things are rarely delivered home - to this the same day he can lose everything.

Nozdryov is very consistent in his behavior during the purchase and sale of dead souls. He immediately tries to sell Chichikov a stallion, dogs, a barrel organ, then starts an exchange of chaises and a game of checkers. Noticing Nozdryov's trickery. Chichikov refuses to play. And then the “historical” man causes a scandal, a fight, and only the appearance of the police captain in the house saves Chichikov.

Nozdryov’s speech and manners are also characteristic. He talks loudly, emotionally, often screaming. His speech is very colorful and varied in composition.

In addition, it is worth noting the static nature of this image. Gogol gives the character of Nozdryov as already formed, ready-made; the background of this character is closed to the reader; throughout the narrative, no internal changes occur to the hero.

Thus, the character created by Gogol - a braggart, a talker, a reckless driver, a reveler, a gambler, a rowdy and argumentative person, a lover of drinking and making up something - is colorful and easily recognizable. The hero is typical, and at the same time, thanks to a number of details, special little things, the writer was able to emphasize his individuality.

The image of Sobakevich in the poem by N.V. Gogol's "Dead Souls"

Sobakevich comes fourth in the gallery of Gogol's landowners. Sobakevich's main traits are intelligence. efficiency, practical acumen, but at the same time he is characterized by tight-fistedness, a kind of ponderous stability in his views. character, lifestyle. These features are already noticeable in the portrait of the hero, who looks like a bear." average size" And his name is Mikhail Semenovich. “To complete the similarity, the tailcoat he was wearing was completely bear-colored, the sleeves were long, the trousers were long, he walked with his feet this way and that, constantly stepping on other people’s feet. The complexion had a red-hot, hot complexion, like what happens on a copper coin.”

In Sobakevich’s portrait we can feel the grotesque motive of the hero’s rapprochement with an animal, with a thing. Thus, Gogol emphasizes the limited interests of the landowner in the world of material life.

Gogol also reveals the qualities of the hero through landscape, interior and dialogues. Sobakevich's village is "quite large." To the left and right of it are “two forests, birch and pine, like two roofs, one dark, the other lighter.” Already these forests speak of the landowner’s thriftiness and his practical savvy.

The owner's estate is fully consistent with the external and internal appearance. Sobakevich does not care at all about aesthetics, the external beauty of the objects around him, thinking only about their functionality. Chichikov, approaching Sobakevich’s house, notes that during construction, obviously, “the architect constantly struggled with the taste of the owner.” “The architect was a pedant and wanted symmetry, the owner wanted convenience...” notes Gogol. This “convenience”, concern for the functionality of objects, is manifested in Sobakevich in everything. The landowner's yard is surrounded by a "strong and excessively thick wooden lattice", the stables and barns are made of full-weight, thick logs, even the village huts of the peasants are "cut down marvelously" - "everything ... is fitted tightly and properly."

The situation in Sobakevich’s house reproduces the same “strong, clumsy order.” The table, armchairs, chairs - everything is “of the heaviest and most restless quality”; in the corner of the living room there is a “pot-bellied walnut bureau on the most absurd four legs, a perfect bear.” On the walls hang paintings of “Greek generals” - “unusually strong and tall fellows, with such thick thighs and an incredible mustache that a shiver runs through the body.”

It is characteristic that the motif of heroism reappears here, “playing the role of a positive ideological pole in the poem.” And this motif is set not only by images of Greek commanders, but also by the portrait of Sobakevich himself. having “the strongest and most wonderfully polished image.” This motif reflects Gogol’s dream of Russian heroism, which, according to the writer, lies not only in physical strength, but also in the “countless wealth of the Russian spirit.” The writer captures here the very essence of the Russian soul: “Russian movements will rise... and they will see how deeply rooted into Slavic nature that which slipped only through the nature of other peoples.”

However, in the image of Sobakevich, the “wealth of the Russian spirit” is suppressed by the world of material life. The landowner is concerned only with preserving his wealth and the abundance of the table. Most of all, he loves to eat well and tasty, not recognizing foreign diets. So, Sobakevich’s lunch is very “varied”: stuffed lamb stomach is served with cabbage soup, followed by “lamb side with porridge”, cheesecakes, stuffed turkey and jam. “When I have pork, give me the whole pig on the table, lamb - bring the whole ram, bring the whole goose?” - he says to Chichikov. Here Gogol debunks gluttony, one of the human vices that Orthodoxy fights.

It is characteristic that Sobakevnch is far from stupid: he immediately realized the essence of Pavel Ivanovich’s lengthy speech and quickly appointed his exchange for the dead peasants. The landowner is logical and consistent when bargaining with Chichikov. And he himself looks in such a way that it becomes clear; he is “one of those faces, over the finishing of which nature did not spend a long time... she grabbed with an ax once - the nose came out, she grabbed it another time - the lips came out, she picked at the eyes with a large drill...” It seems that he is only interested in how to fill his stomach more tightly . But behind this appearance lies a smart, evil and dangerous predator. No wonder Sobakevich recalls how his father could kill a bear. He himself turned out to be able to “overwhelm” another powerful and terrible predator - Chichikov. The scene of purchase and sale in this chapter is fundamentally different from all similar scenes with other landowners: here it is not Chichikov, but Sobakevich who leads the party. He, unlike the others, immediately understands the essence of the fraudulent transaction, which does not bother him at all, and begins to conduct real bargaining. Chichikov understands that in front of him is a serious, dangerous enemy who should be feared, and therefore accepts the rules of the game. Sobakevich, like Chichikov, is not embarrassed by the unusualness and immorality of the transaction: there is a seller, there is a buyer, there is a product. Chichikov, trying to bring down the price, reminds that “the whole thing is just wow... who needs it?” To which Soba-kevich reasonably remarks: “Well, you’re buying, so you need a wife.”

Sobakevich is insightful and endowed in his own way with a sober look on things. He has no illusions about city officials: “they are all swindlers: the whole city is like this: the swindler sits on the swindler and drives the swindler.” The words of the hero here contain the truth of the author, his position.

Sobakevich's intelligence, his insight and, at the same time, the “wildness”, unsociability, and unsociability of the landowner are manifested in his speech. Sobakevich expresses himself very clearly, concisely, without excessive “prettiness” or floridity. Thus, to Chichikov’s lengthy rantings about the burdensome landowner’s obligation to pay taxes for revision souls who have “finished the career of life,” Mikhail Ivanova “reacts” with one phrase: “Do you need dead souls?” When discussing acquaintances, the landowner may swear and use “strong words.”

The image of Sobakevich in the poem is static: readers are not presented with the hero’s life story, or any of his spiritual changes. However, the character that appears before us is lively and multifaceted. As in the chapters devoted to other landowners, Gogol uses here all the elements of the composition (landscape, interior, portrait, speech), subordinating them to the leitmotif of this image.

The image of Plyushkin in the poem by N.V. Gogol's "Dead Souls"

The gallery of “dead souls” ends in the poem with Plyushkin.

Plyushkin's main traits are stinginess, greed, thirst for accumulation and enrichment. wariness and suspicion. These features are masterfully conveyed in the portrait of the hero, in the landscape, in the description; settings and dialogues.

Plyushkin's appearance is very expressive. “His face did not represent anything special: it was almost the same as that of many thin old men, one chin only protruded very far forward, so he had to cover it with a handkerchief every time so as not to spit: his small eyes had not yet gone out and ran around from under high eyebrows, like mice, when, sticking their sharp muzzles out of dark holes, pricking their ears and blinking their noses, they look to see if a cat is hiding somewhere...” Plyushkin’s outfit is noteworthy - a greasy and torn robe, rags wrapped around his neck...

Small running eyes, similar to mice, indicate Plyushkin’s wariness and suspicion, generated by fear for his property. His rags resemble the clothes of a beggar, but not of a landowner with more than a thousand souls.

The motif of poverty continues to develop in the description of the landowner's village. In all the village buildings, “some kind of special dilapidation” is noticeable; the huts are made of old and dark logs, the roofs look like a sieve, and there is no glass in the windows. Plyushkin’s own house looks like “some kind of decrepit invalid.” In some places it is one floor, in others it is two, there is green mold on the fence and gates, a “naked plaster lattice” can be seen through the decrepit walls, only two of the windows are open, the rest are closed or boarded up. The “beggarly appearance” here metaphorically conveys the spiritual poverty of the hero, the severe limitation of his world acceptance by a pathological passion for hoarding.

Behind the house stretches a garden, equally overgrown and decayed, which, however, is “quite picturesque in its picturesque desolation.” “The connected tops of trees growing in freedom lay on the heavenly horizon like green clouds and irregular domes. A white colossal birch trunk... rose from this green thicket and rounded in the air like... a sparkling marble column... In places green thickets, illuminated by the sun, diverged..." A dazzling white marble birch trunk, green thickets, a bright, sparkling sun - in the brightness of its colors and Due to the presence of lighting effects, this landscape contrasts with the description of the interior decoration of the landowner's house, recreating the atmosphere of lifelessness, death, and grave.

Entering Plyushkin's house, Chichikov immediately finds himself in darkness. “He stepped into the dark, wide hallway, from which a cold breath blew, as if from a cellar. From the hallway he found himself in a room “also dark, slightly illuminated by the light coming out from under a wide crack located at the bottom of the door.” Further, Gogol develops the motif of death and lifelessness outlined here. In another room of the landowner (where Chichikov ends up) there is a broken chair, “a clock with a stopped pendulum, to which a spider has already attached its web”: a chandelier in a canvas bag, thanks to a layer of dust, similar “to a silk cocoon in which a worm sits.” On the walls, Pavel Ivanovich notices several paintings, but their subjects are quite definite - a battle with screaming soldiers and drowning horses, a still life with a “duck hanging head down.”

In the corner of the room, a huge pile of old rubbish is piled on the floor; through a huge layer of dust, Chichikov notices a piece of a wooden shovel and an old boot sole. This picture is symbolic. According to I. Zolotussky, the Plyushkin pile is “a tombstone above the ideal of a materialist.” The researcher notes that every time Chichikov meets one of the landowners, he makes an “examination of his ideals.” Plyushkin in this case “represents” fortune, wealth. In fact, this is the most important thing that Chichikov strives for. It is financial independence that opens the way for him to comfort, happiness, well-being, etc. All this is inextricably fused in Pavel Ivanovich’s mind with home, family, family ties, “heirs,” and respect in society.

Plyushkin takes the opposite route in the poem. The hero seems to reveal to us reverse side Chichikov's ideal - we see that the landowner's house is completely neglected, he has no family, he has severed all friendly and family ties, and there is not a hint of respect in the reviews of other landowners about him.

But Plyushkin was once a thrifty owner, married, and “a neighbor stopped by to have lunch with him” and learn housekeeping from him. And everything was no worse with him than with others: a “friendly and talkative hostess”, famous for her hospitality, two pretty daughters, “blond and fresh as roses”, a son, a “broken boy”, and even a French teacher. But his “good mistress” and his youngest daughter died, the eldest ran away with the captain, “the time has come for his son to serve,” and Plyushkin was left alone. Gogol carefully traces this process of disintegration of the human personality, the development of his pathological passion in the hero.

The lonely life of a landowner, widowhood, “gray hair in coarse hair,” dryness and rationalism of character (“ human feelings...were not deep in it") - all this provided “full food for stinginess.” Indulging in his vice, Plyushkin gradually ruined his entire household. Thus, his hay and bread rotted, flour in the cellars turned into stone, canvases and materials “turned to dust.”

Plyushkin's passion for hoarding became truly pathological: every day he walked the streets of his village and collected everything that came to hand: an old sole, a woman's rag, an iron nail, a clay shard. There was so much in the landowner’s yard: “barrels, crosses, tubs, lagoons, jugs with and without stigmas, twins, baskets...”. “If someone had looked into the work yard, where there was a stock of all sorts of wood and utensils that had never been used, he would have wondered if he had ended up in Moscow at the wood chip yard, where efficient mothers-in-law and mother-in-law go every day... detail your household supplies..." writes Gogol.

Submitting to the thirst for profit and enrichment, the hero gradually lost all human feelings: he ceased to be interested in the lives of his children and grandchildren, quarreled with his neighbors, and drove away all the guests.

The character of the hero in the poem is entirely consistent with his speech. As V. Litvinov notes, Plyushkin’s speech is “one continuous grumbling”: complaints about relatives, peasants and abuse with his servants.

In the scene of buying and selling dead souls, Plyushkin, like Sobakevich, begins to bargain with Chichikov. However, if Sobakevich. not caring about the moral side of the issue, probably guesses the essence of Chichikov’s scam, then Plyushkin doesn’t even think about it. Having heard that he could make a “profit,” the landowner seemed to forget about everything: he “waited,” “his hands trembled,” he “took the money from Chichikov in both hands and carried it to the office with the same caution as if would be carrying some liquid, every minute afraid of spilling it.” Thus, moral side the question leaves him by itself - it simply fades under the pressure of the hero’s “surging feelings.”

It is these “feelings” that take the landowner out of the category of “indifferent”. Belinsky considered Plyushkin a “comical person,” disgusting and disgusting, denying him the significance of his feelings. However, in the context of the author’s creative plan and the hero’s life story presented in the poem, this character seems to be the most complex among Gogol’s landowners. It was Plyushkin (together with Chichikov), according to Gogol’s plan, who was supposed to appear morally reborn in the third volume of the poem.

1. Most interesting place in the poem there are chapters dedicated to five landowners.
2. The image of Manilov.
3. Image of the Box.
4. The image of Sobakevich.
5. Image of Nozdryov!
6. The image of Plyushkin.
7. The role of images of landowners in the novel.

The most interesting place in I. V. Gogol’s poem “Dead Souls” is the chapters dedicated to five landowners: Manilov, Korobochka, Nozdryov, Sobakevich and Plyushkin. It is easy to notice that the chapters are arranged in a special sequence: from the least to the greatest degree of degradation of the characters.

The surname of the landowner Manilov is derived from the verb “to beckon.” The main features of this character are daydreaming, sentimentality and laziness. Gogol characterizes his hero as follows: “... a so-so person, neither this nor that, neither in the city of Bogdan, nor in the village of Selifan.” Manilov's house is located on the Jurassic, which is blown by all the winds, which speaks of his frivolity and inability to think realistically. The landowner loves to indulge in his dreams in the gazebo, on which there is an inscription: “Temple of Solitary Reflection.” This is the only thing discreet place for Manilov, where he can calmly fantasize about some completely unrealistic projects. But, it seems to him, digging an underground passage from the house or building a stone bridge across a pond are completely normal ideas. Housekeeping is not Manilov’s thing. Everything is going wrong on his estate, and the hero doesn’t even care about it.

Gogol says that Manilov’s hospitality and good looks are too cloying: “In the first minute of conversation with him, you can’t help but say: “What a pleasant and kind person!” The next time... you won’t say anything, and the third time you’ll say: “The devil knows what it is!” - and move away!..” This is manifested not only in the manners of the landowner, but also in his relationship with his wife. They lisp with each other all the time, and this greatly amuses the author.

The image of this hero has become one of the key ones for literature. From him came the name of such a phenomenon as “Manilovism”, which means the unnaturalness of a person.

Another no less striking character in the story is the landowner Korobochka. Her surname was chosen by Gogol not by chance. By nature, the landowner is immensely economical and superstitious. Korobochka is the type of woman who can cry about a bad harvest, but still always saves a pretty penny for herself. Her chest of drawers, in addition to all sorts of nonsense, is filled with bags of money. The box is very petty, it only cares about maintaining household, in him she sees the meaning of life. Gogol gives her entourage “animal” surnames: Bobrov and Svinin, which once again emphasizes that the heroine is passionate only about her estate. The author highlights his cudgel-headedness among other “advantages” of his character. Korobochka demonstrates this quality in a situation when Chichikov tries to negotiate with her about the sale of “dead souls.” The heroine thinks that her interlocutor is going to dig them out of the graves dead peasants. She is in no hurry to sell her “wealth”, but instead tries to slip hemp and honey. Korobochka agrees to Chichikov's proposal only after he mentions the devil.

The next landowner whom Chichikov visited was Sobakevich. His image was composed by N.V. Gogol from everything big: big boots, cheesecakes “much larger than a plate,” “a turkey the size of a calf.” Even this character’s health is heroic. Thanks to such descriptions, the author achieves comic effect. By parading the great exploits of the heroes, Gogol thereby emphasizes the true essence of Sobakevich himself, whose main qualities can be called rudeness and clumsiness. All the objects in the house are as bulky and clumsy as their owner: a table, chairs, a wooden bureau - everything seems to shout: “And I, too, are Sobakevich!” In his opinion, everyone around is liars and the last scammers. The human soul is not at all important to him; Sobakevich’s interest lies only in money.

From all of the above, we can conclude that Sobakevich is one of the most “dead souls” of the poem. There is nothing spiritual for him. The only things valuable to this hero are money and things. He is only interested in “earthly” matters.

Most bright character, in my opinion, is Nozdryov. This is the image of an inveterate reveler. The author is ironic about his character, speaking of him as a “historical” person. In relation to his hero, Gogol uses the figurative meaning of this word. Nozdryov’s “historicism” lies in the fact that he always ends up in some kind of story: he either gets drunk at a buffet, or mercilessly lies about the horse he allegedly acquired. Like any rake, he adores women. But the most important feature of Nozdryov’s character is the great desire to “spoil one’s neighbor.” Not once did he commit vile acts. For example, he told fictitious stories, disrupted a wedding, upset a trade deal, etc. But the most outstanding thing about his character is that after all his tricks, without a twinge of conscience, he continued to consider himself a comrade of the victim.

According to tradition, in the poem the furnishings in the house of each landowner correspond to the character of its owner. So Nozdryov’s home is imbued with the spirit of excitement and boasting. According to Nozdryov himself, in his domain there was once “a fish of such size that two people could hardly pull it out.” Its walls are haphazardly covered in paint, as the men whitewash them. His office, instead of books and papers, is filled with weapons. Nozdryov likes to exchange some things for others, not because of money or some other material interest, but simply because he is fascinated by this process. Since all kinds of tricks are main passion character, it is not difficult for him to fool Chichikov, whom Nozdryov gets drunk and tries to deceive when playing checkers.

What else can be said about Nozdrev? His description will tell everything much better: “...he sometimes returned home with only his sideburns, and then quite runny. But his healthy and full cheeks were so well created and contained so much plant power that his sideburns soon grew back, even better than before.”

And the final image in the gallery of Russian “dead souls” is a landowner named Plyushkin. As you know, in the poem all the names are speaking. Only "Plyushkin" is given in figurative meaning. It looks more like a completely dried out cracker rather than a bun. The image of the landowner Plyushkin is very sloppy. Gogol mentions his double chin, which he has to constantly cover, as well as his greasy robe, which evokes nothing but disgust in the reader. The author gives his hero a very succinct definition: “a hole in humanity.” This character is a symbol of the decadent mood and decay of all living things. And again the house speaks for its owner: the bread in the storerooms is rotting, the gates and fences are covered with mold, and the roofs in the huts are completely leaky. Gogol adds short story about the fate of his hero, whose wife first died, and after that his daughter ran away with the headquarters captain. These events became for Plyushkin last moments real life. After this, time stopped for the hero.

All images of N.V. Gogol are very bright and unique in their own way. But there is one main idea that unites them. The author, showing clear examples of the degradation of humanity, urges readers not to become a “dead soul,” but to always remain “alive.”

In this article we will describe the image of landowners created by Gogol in the poem “Dead Souls”. The table we have compiled will help you remember the information. We will sequentially talk about the five heroes presented by the author in this work.

The image of landowners in the poem “Dead Souls” by N.V. Gogol is briefly described in the following table.

landowner	Characteristic	Attitude towards the request for the sale of dead souls
Manilov	Vulgar and empty. For two years, a book with a bookmark on one page has been lying in his office. His speech is sweet and cloying.	I was surprised. He thinks that this is illegal, but he cannot refuse such a pleasant person. Gives it to peasants for free. At the same time, he does not know how many souls he has.
Box	She knows the value of money, is practical and economical. Stingy, stupid, club-headed, hoarding landowner.	He wants to know what Chichikov’s souls are for. The number of deaths is known exactly (18 people). He looks at dead souls as if they were hemp or lard: they might come in handy on the farm.
Nozdryov	Counts good friend, however, he is always ready to spoil a friend. Kutila, card player, "broken fellow." When talking, he constantly jumps from subject to subject and uses swear words.	It would seem that it was easiest for Chichikov to get them from this landowner, but he was the only one who left him with nothing.
Sobakevich	Uncouth, clumsy, rude, unable to express feelings. A tough, evil serf owner who never misses a profit.	The smartest of all landowners. He immediately saw through the guest and made a deal to his advantage.
Plyushkin	Once upon a time he had a family, children, and he himself was a thrifty owner. But the death of the mistress turned this man into a miser. He became, like many widowers, stingy and suspicious.	I was amazed and delighted by his offer, since there would be income. He agreed to sell the souls for 30 kopecks (78 souls in total).

Gogol's portrayal of landowners

In the works of Nikolai Vasilyevich, one of the main themes is the landowner class in Russia, as well as the ruling class (nobility), its role in the life of society and its fate.

The main method used by Gogol to portray various characters is satire. The process of gradual degeneration of the landowner class was reflected in the heroes created by his pen. Nikolai Vasilyevich reveals shortcomings and vices. Gogol's satire is colored with irony, which helped this writer speak directly about what was impossible to talk about openly under censorship conditions. At the same time, Nikolai Vasilyevich’s laughter seems good-natured to us, but he does not spare anyone. Each phrase has a hidden subtext, deep meaning. Irony is generally a characteristic element of Gogol's satire. It is present not only in the speech of the author himself, but also in the speech of the heroes.

Irony is one of the essential features of Gogol’s poetics; it adds greater realism to the narrative and becomes a means of analyzing the surrounding reality.

Compositional structure of the poem

Images of landowners in the poem largest work this author, are given in the most comprehensive and complete manner. It is constructed as the story of the adventures of the official Chichikov, who buys up “dead souls.” The composition of the poem allowed the author to tell about different villages and the owners living in them. Almost half of the first volume (five of eleven chapters) is devoted to characterization different types landowners in Russia. Nikolai Vasilyevich created five portraits, not similar friends on each other, however, in each of them at the same time there are features that are typical of the Russian serf owner. Acquaintance with them begins with Manilov and ends with Plyushkin. This construction is not accidental. There is a logic to this sequence: the process of impoverishment of a person’s personality deepens from one image to another, it unfolds more and more as scary picture collapse of serf society.

Meeting Manilov

Manilov - representing the image of landowners in the poem "Dead Souls". The table only briefly describes it. Let us introduce you closer to this hero. The character of Manilov, which is described in the first chapter, is already manifested in the surname itself. The story about this hero begins with an image of the village of Manilovka, which is capable of “luring” few people with its location. The author describes with irony the master's courtyard, created as an imitation with a pond, bushes and the inscription "Temple of Solitary Reflection." External details help the writer create the image of the landowners in the poem "Dead Souls".

Manilov: character of the hero

The author, speaking about Manilov, exclaims that only God knows what kind of character this man had. By nature he is kind, courteous, polite, but all this takes on ugly, exaggerated forms in his image. sentimental and beautiful to the point of cloying. The relationships between people seem festive and idyllic to him. Various relationships, in general, are one of the details that create the image of the landowners in the poem “Dead Souls”. Manilov did not know life at all; reality was replaced by empty fantasy. This hero loved to dream and think, sometimes even about things useful to the peasants. However, his ideas were far from the needs of life. He did not know about the real needs of the serfs and never even thought about them. Manilov considers himself a bearer of culture. He was considered the most educated man in the army. Nikolai Vasilyevich speaks ironically about the house of this landowner, in which there was always “something missing,” as well as about his sugary relationship with his wife.

Chichikov's conversation with Manilov about buying dead souls

In an episode of a conversation about buying dead souls, Manilov is compared to an overly smart minister. Gogol's irony here intrudes, as if accidentally, into a forbidden area. Such a comparison means that the minister is not so different from Manilov, and “Manilovism” represents typical phenomenon vulgar bureaucratic world.

Box

Let us describe another image of landowners in the poem “Dead Souls”. The table has already briefly introduced you to Korobochka. We learn about her in the third chapter of the poem. Gogol classifies this heroine as one of the small landowners who complain about losses and crop failures and always keep their heads somewhat to one side, while collecting money little by little into bags placed in the chest of drawers. This money is obtained by selling a variety of subsistence products. Korobochka's interests and outlook are completely focused on her estate. Her entire life and economy are patriarchal in nature.

How did Korobochka react to Chichikov’s proposal?

The landowner realized that trade dead souls profitable, and agreed after much persuasion to sell them. The author, describing the image of landowners in the poem “Dead Souls” (Korobochka and other heroes), is ironic. For a long time, the “club-headed” one cannot figure out what exactly is required of her, which infuriates Chichikov. After that, she bargains with him for a long time, afraid of making a mistake.

Nozdryov

In the image of Nozdryov in the fifth chapter, Gogol depicts a completely different form of decomposition of the nobility. This hero is a man of what is called a “jack of all trades.” In his very face there was something daring, direct, open. He is also characterized by a “breadth of nature.” According to the ironic remark of Nikolai Vasilyevich, Nozdryov is a “historical man”, since not a single meeting that he managed to attend was ever complete without stories. He loses a lot of money at cards with a light heart, beats a simpleton at a fair and immediately “squanders it all.” This hero is an utter liar and a reckless braggart, a real master"pouring bullets" He behaves defiantly everywhere, if not aggressively. This character’s speech is replete with swear words, and he has a passion for “spoiling his neighbor.” Gogol created in Russian literature a new socio-psychological type of so-called Nozdrevism. In many ways, the image of landowners in the poem “Dead Souls” is innovative. A brief image of the following heroes is described below.

Sobakevich

The author’s satire in the image of Sobakevich, whom we meet in the fifth chapter, takes on a more accusatory character. This character bears little resemblance to previous landowners. This is a tight-fisted, cunning tradesman, a “kulak landowner.” He is alien to the violent extravagance of Nozdryov, the dreamy complacency of Manilov, as well as Korobochka’s hoarding. Sobakevich has iron grip, he is laconic, on his own mind. There are few people who could deceive him. Everything about this landowner is strong and durable. In all the everyday objects surrounding him, Gogol finds a reflection of the character traits of this person. Everything surprisingly resembles the hero himself in his house. Each thing, as the author notes, seemed to say that she was “also Sobakevich.”

Nikolai Vasilyevich portrays a figure that amazes with its rudeness. This man seemed to Chichikov to look like a bear. Sobakevich is a cynic who is not ashamed of moral ugliness in others or in himself. He is far from enlightened. This is a die-hard serf owner who only cares about his own peasants. It is interesting that, apart from this hero, no one understood the true essence of the “scoundrel” Chichikov, but Sobakevich perfectly understood the essence of the proposal, reflecting the spirit of the times: everything can be sold and bought, the maximum benefit should be obtained. This is the generalized image of the landowners in the poem of the work, however, it is not limited to the depiction of only these characters. We present to you the next landowner.

Plyushkin

The sixth chapter is dedicated to Plyushkin. On it, the characteristics of the landowners in the poem “Dead Souls” are completed. The name of this hero has become a household word, denoting moral degradation and stinginess. This image is the last degree of degeneration of the landowner class. Gogol begins his acquaintance with the character, as usual, with a description of the estate and village of the landowner. At the same time, a “particular disrepair” was noticeable on all buildings. Nikolai Vasilyevich describes a picture of the ruin of a once rich serf owner. Its cause is not idleness and extravagance, but the painful stinginess of the owner. Gogol calls this landowner “a hole in humanity.” Myself appearance Its characteristic feature is that it is a sexless creature resembling a housekeeper. This character no longer causes laughter, only bitter disappointment.

Conclusion

The image of landowners in the poem “Dead Souls” (the table is presented above) is revealed by the author in many ways. The five characters that Gogol created in the work depict the diverse state of this class. Plyushkin, Sobakevich, Nozdrev, Korobochka, Manilov - different shapes one phenomenon - spiritual, social and economic decline. The characteristics of landowners in Gogol's poem "Dead Souls" prove this.

IMAGES
LANDSCAPE IN THE POEM N.V. GOGOL “DEAD SOULS”

Dead
souls... This phrase can be written
without quotes - and then it will be
mean not only dead peasants,
diligently bought by Pavel Ivanovich
Chichikov, but also the necrosis of all the main
characters in the poem who prove death
humanity.

Composition
“Dead Souls” (sequence of meetings
Chichikov with landowners) reflects
Gogol's ideas about possible degrees
human degradation. "In sequence
My heroes follow, one more vulgar than the other,”
- the writer notes. In fact, if
Manilov still retains some
attractiveness, then Plyushkin, bringing up the rear
gallery of feudal landowners, already
openly called “a hole in humanity.”

Creating
images of Manilov, Korobochka, Nozdryov,
Sobakevich, Plyushkin, Gogol resorts to
general techniques of realistic typification -
image of a village, manor house,
portrait of the owner, office, conversations about
city ​​officials and dead souls... In
in cases where it is necessary,
The biography of the character also appears before us.

In the image
Manilov captured the type of idle
dreamer, “romantic slacker.”
The landowner's economy is in full
decline. “The manor house stood alone on
Yura, that is, on a hill open to everyone
whatever winds it pleases to blow...”
The housekeeper steals, “stupid and useless
preparing in the kitchen”, “empty in the pantry”, “unclean
and drunken servants.” Meanwhile, a “gazebo” was erected
with a flat green dome, wooden
blue columns and the inscription: “Temple
solitary reflection”... Manilov’s dreams
absurd and absurd. “Sometimes... he talked about
how nice it would be if suddenly from home
lead an underground passage or through a pond
build a stone bridge...” Gogol
shows that Manilov is vulgar and stupid,
he has no real spiritual interests. "IN
there was always some kind of book in his office,
laid by a bookmark on the fourteenth
page that he was constantly reading already
two years". vulgarity family life -
relationship with his wife, raising Alcides and
Themistoclus, feigned sweetness of speech
(“May day”, “name day of the heart”) -
confirms the insight of portraiture
character characteristics. “First
a minute of talking with him you can’t help but say:
“What a nice and kind person!” IN
you won’t say anything for the next minute, but
the third time you say: “The devil knows what it is!”
- and move away; if you don't leave,
you will feel mortal boredom.” Gogol with
amazing artistic power
shows Manilov's deadness,
the worthlessness of his life. Behind the outside
attractiveness hides spiritual
emptiness.

Image
Korobochka's hoarder is already deprived of those “attractive”
features that distinguish Manilov. And again
before us is a type - “one of those mothers,
small landowners who... are recruiting
little by little money into colorful bags,
placed on dresser drawers.” Interests
The boxes are entirely focused on
farm. “Strong-browed” and “club-headed”
Nastasya Petrovna is afraid to sell herself short,
selling dead souls to Chichikov. Curious
“silent scene” that appears in this
chapter. We find similar scenes almost in
all chapters showing conclusion
Chichikov's deal with another landowner. This
special artistic technique, peculiar
temporary suspension of action: it
allows you to show with special convexity
spiritual emptiness of Pavel Ivanovich and his
interlocutors. At the end of the third chapter, Gogol
speaks about the typicality of the image of Korobochka,
insignificance of the difference between it and another
an aristocratic lady.

Gallery
dead souls continues in Nozdryov's poem. How
and other landowners, he is not internally
develops, does not change depending on
age. “Nozdryov, at thirty-five years old, was
exactly the same as he was in
eighteen and twenty: eager to go for a walk.”
The portrait of a dashing reveler is satirical and
sarcastic at the same time. "It was
medium height, very well built

well done with
full rosy cheeks... Health,
it seemed sosplashed
from his face." However, Chichikov notes that
Nozdryov had one smaller sideburn and not
as thick as the other (the result is another
fights). Passion for lies and card game in
explains a lot that not one
meeting where Nozdryov was present, not
without history. Life of a landowner
absolutely soulless. There was no
there are noticeable traces of what happens in the offices,
that is, books or paper; only the saber hung
and two guns...”
Of course, Nozdryov's farm is ruined.
Even lunch consists of dishes that
burned or, on the contrary, not cooked.

Attempt
Chichikov buy dead souls from Nozdryov -
fatal mistake. It was Nozdryov
spills a secret at the governor's ball.
Arrival in the city of Korobochka, who wanted to find out
“why do dead souls walk,” confirms
the words of the dashing “talker”.

Image
Nozdryov is no less typical than the images
Manilov or Korobochki. Gogol writes: “Nozdryov
will not be removed from the world for a long time. He's everywhere
between us and maybe just walks in
another caftan; but frivolously
people are undiscerning, and a person in another
the caftan seems to them like a different person.”

Listed
above typification techniques are used by Gogol
and for artistic comprehension of the image
Sobakevich. Description of the village and farm
landowner indicates a certain
prosperity. “The yard was surrounded by strong and
an excessively thick wooden lattice.
The landowner seemed to be fussing a lot about
strength... Village huts of men also
they were cut down amazingly... everything was fitted
tight

And
properly".

Describing
appearance of Sobakevich, Gogol resorts to
zoological assimilation - comparison
landowner with a bear. So-bakevich -
glutton. In his judgments about food he
rises to a kind of “gastronomic”
pathetic: “When I have pork - all
let's put the pig on the table, lamb - that's all
drag the ram, the goose - the whole goose!” However,
Sobakevich, and this is how he differs from
Plyushkin and most other landowners,
except perhaps the Box, inherent
some economic spirit: does not ruin
own serfs, seeks
known order in the economy, profitable
sells dead souls to Chichikov, great
knows business and human qualities
their peasants.

Limit
the extent of human fall is captured
Gogol in the image of the richest landowner
provinces - more than a thousand serfs -
Plyushkina. The character's biography allows
trace the path from the “thrifty” owner
to a half-crazy miser. “But it was
the time when he... was married and a family man, and
a neighbor stopped by for lunch..., to meet him
two pretty daughters came out..., ran out
son... The owner himself came to the table in a frock coat...
But the good housewife died; part of the keys, and with
them small worries, went over to him. Plyushkin
became more restless and, like all widowers,
more suspicious and stingy.” Soon the family
completely disintegrated, and in Plyushkino they developed
unprecedented pettiness and suspicion,
“...he himself finally turned to some
a hole in humanity." So, not at all
social conditions led the landowner to
the last frontier of moral decline.
A tragedy is playing out before us (namely
tragedy!) loneliness, developing into
a nightmarish picture of lonely old age.

In the village
Plyushkina Chichikov notices “some kind of
special disrepair." Entering the house, Chichikov
sees a strange pile of furniture and
some street trash... Plyushkin -
an insignificant slave of his own things. He
lives worse than the “last shepherd”
Sobakevich.” Countless Riches
are wasted... Involuntarily attracts attention
Plyushkin's attention and beggarly appearance... Sad
and Gogol’s words sound warningly: “And
to such insignificance, pettiness, disgusting
a man could come down! could have changed so much!.,
anything can happen to a person.”

So
image of landowners in “Dead Souls”
unites many common features: idleness,
vulgarity, spiritual emptiness. However, Gogol
would not, it seems to me, be great
a writer, if he limited himself only to the “social”
explaining the reasons for spiritual
characters' failures. He,
indeed, creates “typical
characters in typical circumstances”,
but “circumstances” may also include
conditions of internal mental life
person. I repeat that Plyushkin’s fall did not
is directly related to his position as a landowner.
Can't the loss of a family even break
himself strong man, representative
any class or estate? In a word, realism
Gogol includes the deepest
psychologism. This is what makes the poem interesting
to the modern reader.

to the world
dead souls are contrasted in the poem by faith
into the “mysterious” Russian people, into their
inexhaustible moral potential. IN
at the end of the poem an image of an endless
road and a trio of birds rushing forward. IN
this indomitable movement is felt
the writer's confidence in the great
purpose of Russia, in the possibility
spiritual resurrection of humanity.