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 Historical reference 4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. Narrative Features 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 depth of content, meaning 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 her 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 of 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, various writers worked hard and sharpened enough, having a commendable habit of leaning on 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 focus of the author of "The Stationmaster" was the image of the sharp clashes of the "little" man with the noble, the mighty of the world this, clashes that resulted in the collapse of the hero's happiness. Gogol more broadly reflected the social inequality of "small" people, showing not only their defenselessness, but also the harsh struggle for everyday existence. Gogol's depiction of the life fate of the heroes is 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 depiction of the ordinary and, on the other, in the display of 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 a necessary element of 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 the linguistic features of the narrator: "... Akaky Akakievich was born against the night, if only memory serves, on March 23 ... Mother was still lying on the bed opposite the door, but right hand there was a godfather, a most excellent man, Ivan Ivanovich Eroshkin, who served as a head clerk in the senate, and a godfather, the wife of a district officer, a woman of rare virtues, Arina Semyonovna Belobryubyakova ";" in this state, Petrovich usually very willingly yielded and agreed, every time he even bowed and thanked. Then, it is true, the wife would come, crying that her husband was drunk and that's why he got it so cheaply; but you used to add one dime, and it's all in the bag."
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 an organizing principle in the construction of the sentence itself, in the selection of its vocabulary. “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 is shown with the greatest force " little man in the conditions of autocratic Russia.
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 a kind person in his soul, good with his 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 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 clash 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 the 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 Gogol's life and literary path, his artistic heritage in the spirit of frank conservatism. However, this kind of interpretation comes into irreconcilable conflict with the truth. The main direction of Gogol's creative activity had as its source not false views, which in one way or another affected his works, but progressive, emancipatory ideas, so clearly expressed in them. It was not prejudices and delusions that determined the content, essence creative creations writer, but their deep life truth, wonderful 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 that had a broad influence on literature and were further developed in the works of outstanding Russian writers and writers from other countries.
BIBLIOGRAPHY
1. Mashinsky S. Artistic world of 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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What characteristic features of Gogol's prose are present in the above fragment of the "Overcoat"?

"Overcoat" N.V. Gogol In the department... but it's better not to say in which department. There is nothing more angry than all kinds of departments, regiments, offices and, in a word, all kinds of official classes. Now every private person considers the whole society to be offended in his face. They say that quite recently a request was received from a police captain, I don’t remember any city, in which he clearly states that state decrees are perishing and that sacred name it is pronounced in vain. And as proof, he attached to the request an enormous volume of some romantic essay, where every ten pages the police captain appears, in places even completely drunk. So, in order to avoid any troubles, it is better to call the department in question one department. So, one official served in one department; the official cannot be said to be very remarkable, short in stature, somewhat pockmarked, somewhat reddish, even somewhat blind-sighted, with a slight bald spot on his forehead, with wrinkles on both sides of his cheeks and a complexion that is called hemorrhoidal. What to do! Petersburg climate is to blame. As for the rank (for we first of all need to announce the rank), he was what is called the eternal titular adviser, over whom, as you know, various writers taunted and sharpened plenty, having a commendable habit of leaning on those who cannot bite . The surname of the official was Bashmachkin. Already by the very name it is clear that it once descended from a shoe; but when, at what time, and how it originated from the shoe, none of this is known. And father, and grandfather, and even brother-in-law, and all the Bashmachkins walked in boots, changing soles only three times a year. His name was Akaky Akakievich. Perhaps, to the reader, it will seem somewhat strange and sought-after, but one can be assured that no one was looking for it, and that such circumstances happened of themselves that it was impossible to give another name ...

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The prose of Nikolai Vasilyevich Gogol has several characteristic features. One of these features is the endowment of the heroes of their works with speaking surnames, such as Korobochka, Sobakevich, Nozdrev, Plyushkin. However, the hero of Gogol's "Overcoat" possesses not only speaking surname, but also speaking name. Bashmachkin, such an insignificant person that even the name Akaki gets from his father, the hero, literally from birth, is deprived of a piece of any individuality. This is also confirmed by the portrait of the hero: "somewhat pockmarked, somewhat reddish, somewhat even blind-eyed", namely the abundance of the word "

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. 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 characteristic features Gogol's style, which A. Bely points to, 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 the most early prose Gogol has the character of the style of the Karamzin school and is distinguished by a high, serious, pathetic narrative style. Gogol, realizing the value of Ukrainian folklore, really wanted to become a "genuine 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 the early editions of 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 that 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 for 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, 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 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, far from live oral folk speech the language of Panich is simple, intelligible, folk-everyday language of Foma Grigorievich, but their images are also opposed to each other.

when comparing two editions of "Evenings" a rapid change in Gogol's style in the direction of using the expressive variety of live colloquial speech. In the second edition, Gogol eliminates the standard, monotonous literary vocabulary and phraseological turns or replaces them with more synonymous, more expressive, dynamic expressions from live oral 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 detailed description habits and individual moments of the life 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 it is 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 "

An important moment 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, a description of Bashmachkin's reaction to Petrovich's barbarously calm statement about the cost of manufacturing a 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.

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INTRODUCTION

Fantasy is special shape display of reality, logically incompatible with the real idea of ​​the world around. It is common in mythology, folklore, art, and in special, grotesque and "supernatural" images expresses a person's worldview.

In literature, fantasy developed on the basis of romanticism, the main principle of which was the image of an exceptional hero acting in exceptional circumstances. This freed the writer from any restrictive rules, gave him the freedom to realize his creative possibilities and abilities. Apparently, this attracted N.V. Gogol, who actively used fantastic elements not only in romantic, but also in realistic works.

Relevance of the topic term paper lies in the fact that N. V. Gogol is an exceptionally original, national writer. He created a captivating image of the Motherland, referring not only to the motives of folk traditions and legends, but also to the facts of real life. The combination of romantic, fantastic and realistic becomes the most important feature Gogol's works and does not destroy romantic conventions. Description of everyday life, comic episodes, national details are successfully combined with fantasy, imagination, fiction, lyrical musicality, characteristic of romanticism, with conditional lyrical landscape, expressing the mood, emotional richness of the story. National flavor and fantasy, appeal to legends, fairy tales, folk legends testify to the formation in the work of N.V. Gogol of a national, original beginning.

According to the Russian philosopher N. Berdyaev, Gogol is "the most enigmatic figure in Russian literature." There was no writer in Russia who would cause such irreconcilable disputes as Gogol.

The purpose of the course work is to highlight the real and the fantastic in " Petersburg stories» N.V. Gogol.

Objectives of the course work:

Consider the artistic world of Gogol;

Analyze the fantastic and the real in Petersburg Tales;

Highlight the features and significance of fantasy and realism in Gogol's Petersburg Tales.

The object of the course work is a cycle of works by Gogol - "Petersburg Tales".

The subject of the course work is the features of the real and the fantastic in these stories of the author.

The work used sources on the theory of literature, materials from the print media, as well as the author's own developments.

Course work consists of three chapters, conclusion-conclusion and a list of used literature.

ARTISTIC WORLD OF GOGOL

Every great artist-- This the whole world. To enter this world, to feel its versatility and unique beauty means to bring oneself closer to the knowledge of the infinite diversity of life, to put oneself on some higher spiritual level, aesthetic development. The work of every great writer is a precious storehouse of artistic and spiritual, one might say, "humanistic" experience, which is of great importance for the progressive development of society.

Shchedrin called fiction a "reduced universe". Studying it, a person acquires wings, turns out to be able to understand history more broadly, deeper, and he is always restless. modern world where he lives. The great past is connected with the present by invisible threads. IN artistic heritage captured the history and soul of the people. That's why it - inexhaustible source his spiritual and emotional enrichment. This is also the real value of the Russian classics.

Gogol's art arose on the foundation that was erected before him by Pushkin. In "Boris Godunov" and "Eugene Onegin", " The Bronze Horseman"And" The Captain's Daughter "the writer made the greatest discoveries. The amazing skill with which Pushkin reflected the fullness of contemporary reality and penetrated the secrets of the spiritual world of his heroes, the insight with which in each of them he saw a reflection of the real processes of social life.

Gogol followed the trail laid by Pushkin, but he went his own way. Pushkin revealed the deep contradictions of modern society. But for all that, the world, artistically realized by the poet, is full of beauty and harmony, the element of negation is balanced by the element of affirmation. Pushkin, after right word Apollon Grigoriev, "was a pure, sublime and harmonious echo of everything, transforming everything into beauty and harmony." The artistic world of Gogol is not so universal and comprehensive. His perception was also different. modern life. There is a lot of light, sun, joy in Pushkin's work. All his poetry is imbued with the indestructible strength of the human spirit, it was the apotheosis of youth, bright hopes and faith, it reflected the seething passions and that “revelry at the feast of life”, about which Belinsky enthusiastically wrote.

In the first half of the 19th century, many great poets and writers lived and worked in Russia. However, in Russian literature it is generally accepted that the “Gogolian” period of Russian literature begins in the 40s of the 19th century. This formulation was proposed by Chernyshevsky. He attributes to Gogol the merit of firmly introducing satirical - or, as it would be more fair to call it, critical - direction into Russian fine literature. Another merit is the foundation of a new school of writers.

Gogol's works, which exposed the social vices of tsarist Russia, constituted one of the most important links in the formation of Russian critical realism. Never before in Russia did the gaze of a satirist penetrate so deeply into the everyday, into the everyday side. social life society.

Gogol's comedy is the comedy of the established, daily, gained strength habits, the comedy of petty life, to which the satirist gave a huge generalizing meaning. After the satire of classicism, Gogol's work was one of the milestones of the new realistic literature. The significance of Gogol for Russian literature was enormous. With the advent of Gogol, literature turned to Russian life, to the Russian people; began to strive for originality, nationality, from the rhetorical strove to become natural, natural. In no other Russian writer has this aspiration achieved such success as in Gogol. To do this, it was necessary to pay attention to the crowd, to the mass, to portray ordinary people, and unpleasant ones were only an exception to general rule. This is a great merit on the part of Gogol. In doing so, he completely changed the view of art itself.

The realism of Gogol, like that of Pushkin, was imbued with the spirit of a fearless analysis of the essence of the social phenomena of our time. But the originality of Gogol's realism consisted in the fact that he combined the breadth of understanding of reality as a whole with a microscopically detailed study of its most hidden nooks and crannies. Gogol depicts his heroes in all the concreteness of their social existence, in all the smallest details of their everyday way of life, their daily existence.

“Why, then, portray poverty, yes poverty, and the imperfection of our life, digging people out of the wilderness, from the remote nooks and crannies of the state?” These opening lines from the second volume of Dead Souls perhaps best reveal the pathos of Gogol's creativity.

Never before have the contradictions of Russian reality been so exposed as in the 1930s and 1940s. critical image its deformities and ugliness became the main task of literature. And Gogol sensed this brilliantly. Explaining in the fourth letter, "Regarding Dead Souls, the reasons for the burning in 1845 of the second volume of the poem, he remarked that it was pointless now" to bring out a few beautiful characters that reveal the high nobility of our breed. And then he writes: “No, there is a time when it is impossible to direct society or even the entire generation towards the beautiful until you show the full depth of its real abomination.”

Gogol was convinced that in the conditions of contemporary Russia, the ideal and beauty of life can be expressed, first of all, through the denial of ugly reality. This was his work, this was the originality of his realism. Gogol's influence on Russian literature was enormous. Not only all young talents rushed to the path indicated by him, but also some writers, who had already gained fame, went along this path, leaving their former one.

Nekrasov, Turgenev, Goncharov, Herzen spoke about their admiration for Gogol and their connections with his work, and in the 20th century we observe Gogol's influence on Mayakovsky. Akhmatova, Zoshchenko, Bulgakov and others. Chernyshevsky claimed that Pushkin is the father of Russian poetry, and Gogol is the father of Russian prose literature.

Belinsky noted that in the author of The Inspector General and Dead Souls, Russian literature found its "most national writer". The critic saw the national significance of Gogol in the fact that with the appearance of this artist, our literature turned exclusively to Russian reality. “Perhaps,” he wrote, “through this it became more one-sided and even monotonous, but also more original, original, and, consequently, true.” A comprehensive depiction of the real processes of life, the study of its "roaring contradictions" - along this path will go all the great Russian literature of the post-Gogol era.

The artistic world of Gogol is unusually original and complex. The seeming simplicity and clarity of his works should not deceive. They bear the imprint of the original, one might say, amazing personality of the great master, his very deep outlook on life. Both are directly related to the art world. Gogol is one of the most complex writers in the world. His fate - literary and worldly - shocks with its drama.

Revealing everything bad, Gogol believed in the triumph of justice, which will win as soon as people realize the fatality of the "bad", and in order to realize it, Gogol ridicules everything contemptible, insignificant. Laughter helps him accomplish this task. Not the kind of laughter that is generated by temporary irritability or bad temper, not that light laughter that serves for idle entertainment, but that which "all flies out of the bright nature of man", at the bottom of which "his eternally beating spring" is enclosed.

The judgment of history, the contemptuous laughter of descendants - this, according to Gogol, will serve as retribution to this vulgar, indifferent world, which can not change anything in itself even in the face of the obvious threat of its senseless death. Artistic creativity Gogol, who embodied in bright, finished types everything negative, everything dark, vulgar and morally wretched, with which Russia was so rich, was for the people of the 40s an inexhaustible source of mental and moral excitement. Dark Gogol types (Sobakevich, Manilov, Nozdrev, Chichikov) were a source of light for them, because they were able to extract from these images the hidden thought of the poet, his poetic and human sorrow; his "invisible tears, unknown to the world", turned into "visible laughter", were both visible and understandable to them.

The great sorrow of the artist went from heart to heart. This helps us to feel the truly "Gogolian" way of narration: the tone of the narrator is mocking, ironic; he mercilessly castigates the vices depicted in Dead Souls. But at the same time, there are lyrical digressions in the work, which depict the silhouettes of Russian peasants, Russian nature, the Russian language, the road, the troika, far ... In these numerous lyrical digressions, we clearly see the position of the author, his attitude to the depicted, all-penetrating his love for his country.

Gogol was one of the most amazing and original masters of the artistic word. Among the great Russian writers, he possessed, perhaps, perhaps the most expressive signs of style. Gogol's language, Gogol's landscape, Gogol's humor, Gogol's manner in depicting a portrait - these expressions have long become commonplace. And yet, the study of Gogol's style and artistic skill is still far from being a fully resolved task.

Domestic literary criticism has done a lot to study the legacy of Gogol - perhaps even more than in relation to some other classics. But can we say that it has already been fully explored? Hardly even sometime in the historically foreseeable future we will have grounds for an affirmative answer to this question. At each new round of history, there is a need to re-read and rethink the work of the great writers of the past in a new way. The classic is inexhaustible. Each epoch opens previously unnoticed facets in the great heritage and finds in it something important for thinking about their own, modern affairs. Much of Gogol's artistic experience today is unusually interesting and instructive.

One of the most beautiful achievements of Gogol's art is the word. Few of the great writers mastered the magic of the word, the art of verbal painting, as completely as Gogol.

He considered not only the language, but also the style "the first necessary tools of any writer." Evaluating the work of any poet or prose writer, Gogol first of all pays attention to his style, which is, as it were, the visiting card of the writer. A syllable by itself does not make a writer, but if there is no syllable, there is no writer.

It is in the syllable that the individuality of the artist, the originality of his vision of the world, his possibilities in revealing the “inner man”, his style are first of all expressed. The syllable reveals all the innermost that is in the writer. In Gogol's view, the syllable is not the external expressiveness of the phrase, it is not the manner of writing, but something much deeper, expressing the fundamental essence of creativity.

Here he is trying to define the most essential feature of Derzhavin's poetry: “Everything in his poetry is large. His style is large, like none of our poets. It is worth paying attention: there is no mediastinum between one and the other phrase. Having said that everything is big with Derzhavin, Gogol immediately, after that, specifies what he means by the word "everything", and begins with a syllable. For to speak of a writer's style means to speak of perhaps the most characteristic thing in his art.

A distinctive feature of Krylov, according to Gogol, is that "the poet and the sage merged into one in him." Hence the picturesqueness and accuracy of the image of Krylov. One merges with the other so naturally, and the image is so true that “you can’t catch his syllable from him. The object, as if not having a verbal shell, appears by itself, in kind before the eyes. The syllable does not express the outward brilliance of the phrase; the nature of the artist peeps through it.

Gogol considered concern for language, for the word, to be the most important thing for a writer. Accuracy in handling the word to a large extent determines the reliability of the image of reality and helps to cognize it. Noting in the article “On the Sovremennik” some of the latest phenomena in Russian literature, Gogol, for example, singles out V. I. Dahl among modern writers. Not owning the art of fiction and in this respect not being a poet, Dahl, however, has a significant advantage: "he sees the matter everywhere and looks at every thing from its practical side." He does not belong to the category of "narrators-inventors", but on the other hand he has an enormous advantage over them: he takes an ordinary case from Everyday life, of which he was a witness or eyewitness, and, without adding anything to it, creates "the most entertaining story."

Language skill is an extremely important, perhaps even the most important, element of writing art. But the concept of artistic mastery, according to Gogol, is even more capacious, because it more directly absorbs all aspects of the work - both its form and content. At the same time, the language of the work is in no way neutral in relation to the content. Understanding this very complex and always individually manifested interconnection within the art of the artistic word lies at the very essence of Gogol's aesthetic position.

Great art never gets old. The classics invade the spiritual life of our society and become part of its self-consciousness.

The artistic world of Gogol, like any other great writer, complex and inexhaustible. Each generation not only re-reads the classics, but also enriches it with its continuously evolving historical experience. This is the secret of the unfading strength and beauty of the artistic heritage.

The artistic world of Gogol is a living spring of poetry, which has been moving forward the spiritual life of millions of people for almost a century and a half. And no matter how far the development of Russian literature went after The Government Inspector and Dead Souls, many of its most outstanding accomplishments were predicted and prepared by Gogol in their origins.

Gogol began his creative activity like a romantic. However, he turned to critical realism, opened a new chapter in it. As a realist artist, Gogol developed under the noble influence of Pushkin, but was not a simple imitator of the founder 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.

The social orientation of Gogol is also reflected in the composition of his works. Outstretched and plot conflict they are not love and family circumstances, but events public interest. At the same time, the plot serves only as an excuse 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 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 heroes. 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 describing the types, characteristics of the heroes. The subject, social orientation and ideological coverage of the phenomena of life and the characters of people determined the originality literary speech Gogol. Two worlds depicted by the writer - folk group and "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 the lyrical digressions of "Dead Souls" ), then it becomes close to live colloquial (in everyday paintings and scenes of "Evenings ..." or in narratives about bureaucratic-landowner Russia).

The originality of Gogol's language lies in the wider use of common language, dialectisms, and Ukrainianisms than that of his predecessors and contemporaries.

Gogol loved and subtly felt folk colloquial speech, skillfully applied all its shades to characterize his heroes and phenomena of social life.

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. In his articles on Dead Souls, Belinsky showed that Gogol's humor "consists in opposition to the ideal of 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."