Chapter "Dead Souls" Lyrical digressions and inserted episodes
1 The argument about “thick and thin officials” the author resorts to a generalization of the images of civil servants. Greed, bribery, servility are their characteristic features. Seeming at first glance, the opposition of thick and thin actually reveals the common negative features of both.
Second Discourse on two types of characters.
Third Discourse on the "shades and subtleties of conversion." "On the Shades and Subtleties of Our Appeal" (ch. 3); it speaks of fawning over the rich, servility, self-humiliation of officials before superiors and an arrogant attitude towards subordinates.
Fourth Thought on the vitality of the Nozdryovs.
5 "On the Russian people and their language" Chichikov's reflection on the "glorious grandmother". The author's thoughts about the apt Russian word and the "brisk Russian mind".
the author notes that the language, speech of the people reflects its national character; a feature of the Russian word and Russian speech is amazing accuracy.
Sixth Memoirs of the author about his youth. Thinking about a person (“And a person could descend to such insignificance, pettiness, disgustingness ...”).
7 "About two types of writers, about their destinies and destinies" About the peasants bought by Chichikov. the author contrasts the writer-realist and the writer of the romantic direction, points out the characteristic features of the work of the romantic writer, speaks of the wonderful lot of this writer. With bitterness, Gogol writes about the fate of a realist writer who dared to portray the truth. Reflecting on the realist writer, Gogol determined the meaning of his work.
Eighth On the power of the police officer.
Ninth On the rebellion of the peasants of the village of Vshivaya-Spes.
10 "Much has happened in the world of delusions" The Tale of Captain Kopeikin. (a lyrical digression about the world chronicle of mankind, about its delusions is a manifestation of the Christian views of the writer. All mankind has gone from the straight road and is on the brink of the abyss. Gogol indicates to everyone that the direct and bright path of mankind consists in following the moral values laid down in Christian teaching. ) Eleventh “Rus! Rus'!...” The road. A story about Kif Mokeevich and his son. Discourse on the virtuous hero and the scoundrel hero. Troika.
"On the expanses of Rus', the national character and the bird troika"; the final lines of "Dead Souls" are connected with the theme of Russia, with the author's reflections on the Russian national character, on the Russia-state. The symbolic image of the troika bird expressed Gogol's faith in Russia as a state to which a great historical mission was destined from above. At the same time, one can trace the idea of the originality of Russia's path, as well as the idea of the difficulty of foreseeing specific forms of Russia's long-term development.
What is the role of lyrical digressions in the first volume of N.V. Gogol "Dead Souls"
In the poem "Dead Souls" the author used a lot of lyrical digressions. They express Gogol's deeply personal thoughts and experiences. Lyrical digressions serve as a kind of commentary and create a certain mood. In some cases, they kind of slow down the story in interesting places, which helps keep the reader on their toes. In the first half of the work, satirical digressions predominate, in the second - elegiac and pathetic, in which an upbeat mood is created; they are often written in rhythmic prose and are close in style to poetic speech.
The author often uses digressions that are not directly related to the plot, in which, starting from a small detail, he goes far beyond the plot. But the main theme of the poem is Russia, and all lyrical digressions develop this theme in one way or another. Gogol's lyrical digressions serve to expand the artistic space, to create a holistic image of Rus', from everyday details, generalizations (“Peace was of a certain kind, because the hotel was also of a certain kind, that is, exactly the same as there are hotels in provincial cities ...”) to large-scale images filled with philosophical content (a trio bird).
The theme of the road is the second most important theme of "Dead Souls" associated with the theme of Russia. The road is an image that organizes the whole plot, and Gogol introduces himself into lyrical digressions as a man of the path. “Before, a long time ago, in the summers of my youth ... it was fun for me to drive up to an unfamiliar place for the first time ... Now I indifferently drive up to any unfamiliar village and indifferently look at its vulgar appearance; my chilled gaze is uncomfortable, it’s not funny to me, .. and an indifferent silence is kept by my motionless lips. O my youth! Oh, my conscience!” In lyrical digressions, Gogol is revealed as a deeply feeling, emotional person who is concerned about questions about the role of a writer in Russia. The author’s reasoning about different types of writers is interesting: “Happy is the writer who, past the characters of boring, nasty, ... without touching the ground, plunged into his far away and exalted images ... But such is not the lot and other fate of the writer who dared to call out everything that is every minute before the eyes and that indifferent eyes do not see ... His field is harsh, and he will bitterly feel his loneliness. Gogol ranks himself precisely with the latter type. At the end of his poem, he responds to possible accusations "from the so-called patriots", demanding that everything said about Russia be equally laudable, good, sublime, accusing "those who think not about not doing evil, but about not they said they were doing bad things. At the same time, Gogol also speaks of “connoisseurs of literature” who have their own idea of the purpose of writing (“It’s better to present us with something beautiful, fascinating”). Gogol is disappointed in his readers in advance: “It is hard that an irresistible confidence lives in the soul that the same hero ... readers would be satisfied.”
Lyrical digressions are a very important part of any work. By the abundance of lyrical digressions, the poem "Dead Souls" can be compared with the novel by A.S. Pushkin "Eugene Onegin". This feature of these works is associated with their genres - a poem in prose and a novel in verse. In "Eugene Onegin" lyrical digressions introduce the true protagonist of the novel - Pushkin - a man of his era, surrounded by her attributes and signs. Gogol in his poem acts primarily as a thinker and contemplator, trying to unravel the mysterious bird-troika - the symbol of Rus'. The two most important themes of the author's reflections - the theme of Russia and the theme of the road - merge in a lyrical digression: “Aren't you, Rus, that a lively, unhindered troika rushing about? ...Rus! where are you going? Give an answer. Doesn't give an answer." Lyrical digressions in "Dead Souls" are often deeper, philosophically serious than Pushkin's. The writer draws a very broad, voluminous picture of the Russian life of his time, supplementing it with his own judgments and the author's individuality, and it is lyrical digressions that play the main role in this.
Rus' and the Russian people in "Dead Souls"
"... A Russian person is capable of anything and gets used to any climate. Send him even to Kamchatka, but give only warm mittens, he will clap his hands, an ax in his hands, and went to cut himself a new hut ..."
"... to St. Petersburg, where, as you know, our ardent youth strives from all sides of Russia - to serve, to shine, to curry favor, or simply to grab the tops of a colorless, ice-cold, deceptive public education ..."
“... we in Russia, if they haven’t caught up with foreigners in some other way, then they have far surpassed them in the ability to address. It is impossible to count all the shades and subtleties of our address. he will speak in almost the same voice and the same language with a millionaire and with a petty tobacco dealer, although, of course, in his soul he will scoff in moderation before the first. souls, they will speak in a completely different way than with the one who has three hundred of them, and with the one who has three hundred of them, they will again speak differently from the one with five hundred of them, but with the one with five hundred, again not like with the one who has eight hundred of them - in a word, even ascend to a million, there are still shades ... "" ... Rus! Rus! I see you, from my wonderful, beautiful far away I see you: poor, scattered and it is uncomfortable in you; the impudent divas of nature, crowned with impudent divas of art, cities with multi-window high palaces, grown into cliffs, picture trees and ivy, grown into houses, will not amuse, will not frighten the eyes, in the noise and in the eternal dust of waterfalls; the head will not tip back to look at the stone blocks piled up endlessly above it and in the heights; they will not flash through the dark arches thrown one on top of the other, entangled in grape branches, ivy and countless millions of wild roses, the eternal lines of shining mountains rushing into the clear silver skies will not flash through them in the distance ... "The first volume of Dead Souls ends with a description of the rapidly flying ahead of the troika, which is a real apotheosis of Russia and the Russian character: "And what Russian does not like fast driving? Does his soul, seeking to spin, take a walk, sometimes say: "Damn it all!" "Is his soul not to love her? ... Oh, troika! troika bird, who invented you? to know that you could have been born to a brisk people, in that land that does not like to joke, but spread out to half the world with smooth smoothness .. "Rus, where are you rushing to? give me an answer. Doesn't give an answer. A bell fills with a wonderful ringing; the air torn to pieces rumbles and becomes a wind; everything that is on the ground flies past, and, looking askance, step aside and give it way other peoples and states.
Nesterova I.A. Conceptual analysis of the work Dead Souls // Encyclopedia of the Nesterovs
Analysis of the development of the plot in Gogol's work "Dead Souls".
Dead Souls is a pronounced social work in which the author sharply critically portrays contemporary reality, sometimes drawing it satirically.
It should be noted that in the work you can see the presence of elements of the following genres:
Romanticism;
Realism;
critical realism.
A typical hero in typical circumstances.
Such aspects of life as inaction, idleness and embezzlement, which Gogol shows, in many ways continue to develop the theme of The Inspector General.
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Plot development |
Lyrical digressions, inserted episodes, scenes |
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Chichikov's arrival in the provincial town. Exposure, connection. |
Discussing thin and thick. |
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Chichikov in the Manilov estate. |
Reasoning about two types of characters: "It is much easier to portray characters ..." |
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Chichikov at Korobochka |
Discourse on the shades and subtleties of communication. |
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Chichikov at the inn and at Nozdrev's house |
Thought about the survivability of Nozdryov. |
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Chichikov in the estate of Sobakevich |
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Chichikov at Plushkin's |
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Chichikov in the city in the civil chamber |
About two writers, about peasants bought by Chichikov. |
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Ball at the Governor's. Climax. Chichikov is a millionaire. Catastrophe. |
On the power of the police officer. |
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Trouble in the city |
About the rebellion of the peasants of the village. "Nice arrogance". |
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Confusion of officials. |
A story about captain Kopeikin. |
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Chichikov's flight from the city. The education of Chichikov. |
The plot is based on three centers: Chichikov, landowners and officials.
The gallery of landlords is a gradation of types, of which "one is more vulgar than the other." Gogol builds images on external contrasts and dissimilarity, emphasizing unity and the absence of human principles growing from one image to another.
Manilov - oblivion - daydreaming
Box - stingy - petty squalor
Nozdrev - indifference - rogue
At the same time, each of them is characterized by the following qualities: personal self-interest, moral squalor, lack of civic ideals, life at the expense of serfs.
Chichikov and Sobakevich are two swindlers.
Gogol uses artistic details, life, environment, environment as a means of characterizing the characters. Gogol creates a temple of solitary reflection. The speech of the characters is used as a means of characterizing them.
Nozdrev is characterized by familiarity, swagger, and rudeness of speech. Sobakevich is characterized by laconicism and accuracy.
The peculiarity of Gogol's satire is irony and the ascent to great generalizations: "Another minister is not a stupid person, but take a closer look - Korobochka."
The material world of the heroes of the poem is determined by their spiritual misery.
"The chief of police is a smart man ... we played whist with him until morning"
"A very good mayor ... amazingly embroiders"
Officials are the development of the theme of the auditor in the context of inaction, idleness and embezzlement.
The story of Chichikov is the story of a rogue, a scoundrel, he is an entrepreneur and a hero in whom a "dead soul", which means the absence of healthy human principles, is combined with resourcefulness of mind, enterprise, extraordinary energy and desire for profit.
Gogol in his letters and notes called "Dead Souls" either a poem, or a story, or a novel. In the publisher's copy identified as a poem. Belinsky called a novel, which in meaning can mean a story-story or an epic novel. The author's title of the work as a poem is legitimate, since the epic nature of the narration and its character correspond to the genre. The narrative is interrupted more than 10 times, which even more clearly sets off the thoughts expressed by the author. At the same time, there are lyrical digressions, inserted episodes and scenes in which Gogol not only gives the author's commentary on the image or situation, but also expresses his thoughts about life and Russia.
Goals: familiarization with the originality of the genre structure of "Dead Souls", with the main task facing N.V. Gogol when writing this work.
Tasks.
- Develop the ability to analyze the text, find expressive means of lyrics in a prose work; the ability to prove one's point of view, arguing it.
- To cultivate a love for literature, an interest in the classics and the work of N.V. Gogol.
Plan.
- Organizing time.
- Explanation of the topic.
- Fixing the topic. (Work in groups.)
- Generalization of the topic. (Performance of groups.)
- Summing up the lesson.
- Homework.
During the classes
1. Organizational moment. (Goals, objectives, topic, epigraphs for the lesson.)
The topic of today's lesson: “Genre originality of the poem by N.V. Gogol's Dead Souls. In this lesson, we will get acquainted with the originality of the genre structure of "Dead Souls", with the main task that the writer faced when writing this work, we will learn to find expressive means in the lyrical digressions of the poem.
The epigraph to the lesson is the statement of L.N. Tolstoy about the poem by N.V. Gogol "Dead Souls":
"Not a novel, not a story - something completely original."
2. Explanation of the topic.
The genre nature of Dead Souls is complex. Gogol himself defined the genre of his work, calling "Dead Souls" a poem. For us, such a definition of the genre sounds somewhat paradoxical. In our mind, a poem is something written in verse. What is written in prose is most often a novel, story or short story. Therefore, we do not understand why Gogol called his work a poem.
Can we call "Dead Souls" a novel? Only if the adventures of Chichikov, his ingenious scam, would be the center of the work. But the story about the adventure of the hero is not an end in itself for the writer, but only a means for revealing the main idea: to present Rus' in his work. Therefore, it is impossible to attribute this work entirely to the genre of the novel. (A novel is a literary novel, an epic work of great form, in which the narrative is focused on the fate of individuals, in their relationship to the world around them, on the formation of their characters and self-awareness.)
We can rightfully call "Dead Souls" a poem. (A poem is a large poetic work on a historical, heroic or sublime lyrical theme.)
The image of reality in this work passes through the prism of the author's perception.
In "Dead Souls" there are two objects of depiction: objective reality (typical for the epic) and the inner world of the individual (typical for the lyrics).
The inner world of the personality is conveyed with the help of lyrical digressions. In each chapter, lyrical digressions:
- in the first chapter - a discussion about thick and thin;
- in the second, an argument about two types of characters;
- in the third chapter - a discussion about the "shades and subtleties of conversion";
- in the fourth chapter - the idea of the survivability of the Nozdryovs;
- in the fifth chapter - Chichikov's reflections "about the glorious grandmother"; the author's thoughts about the apt Russian word and the "brisk Russian mind";
- in the sixth chapter - the author's memories of his youth; thinking about a person.
- in the seventh chapter - about two writers, about peasants bought by Chichikov;
- in the eighth chapter - about the power of the police officer;
- in the ninth chapter - about the rebellion of the peasants of the village of Vshivaya-Spes;
- in the tenth chapter - "The Tale of Captain Kopeikin";
- in the eleventh chapter - digressions about Rus', about the road, a story about Kif Mokeevich and his son; reasoning about a virtuous hero and a scoundrel hero; thinking about a bird - a troika.
The introduction of the image of the author into the work makes it possible to link together one's own life path with the path of Russia. This is the most important task of the poem: to show the path of Russia in the past, present and future, as well as the indissolubility of the fate of the writer and his homeland.
The image of the author in the poem expanded the plot boundaries, allowed readers to pose a number of philosophical problems: the life path of a person, the role of an artist in society, the peculiarities of the Russian character, false and true patriotism, Russia's destiny in the fate of Europe, and much more.
It is in lyrical digressions that the author's position is formulated. Gogol turned to the lyric-epic genre to show the confrontation between the living and the dead in the very essence of Russia. The dead is shown by the writer at the level of the plot: all the heroes of the poem are infected with this deadness, all without exception: landowners, officials, the protagonist and even peasants. But their revival is possible, Gogol decided to show the revival of the soul in 2-3 volumes of the poem.
But in the first volume, the writer could only show a living thing capable of being reborn at the level of lyrical digressions.
Also, the poem used to be called the works of Homer, Dante. For example, Dante's Divine Comedy. And the connection between the "Divine Comedy" and "Dead Souls" was noticed by contemporaries (Herzen, Vyazemsky). This once again clarifies the genre organization of Dead Souls.
The special poetry of the language also gives the right to be called a poem "To Dead Souls". Despite the fact that this is a prose work, the language of the poem is so poetic, even musical, saturated with expressive means, that the difference between prose and poetry disappears.
3. Fixing the topic.
So let's try to analyze several lyrical works of the poem, find the expressive means that the author uses in them. Let's try to see that feature of the language, its musicality, which is present mainly in the lyrics. In lyrical digressions, the writer uses techniques characteristic of a poetic text. Find these tricks.
Groups are given tables with tasks.
| 1 group. Lyrical digression in chapter 6, beginning, with the words: “Before, long ago, in the summer ... it amazed me ...” | ||
| № | Expressive means | Examples |
| 1 | Inversion is a change in the usual order of something (words in a sentence, plot elements). | |
| 2 | Repetitions (repetitions of words or cognate words, roots). | |
| 3 | Appeals, exclamations. | |
| 4 | Parceling (the technique of dividing a phrase into parts or even into separate words in the form of an independent incomplete sentence. Its goal is to give speech intonational expression by means of its jerky pronunciation). | |
| 5 | Name suggestions. | |
| 6 | Synonyms (words that are close in meaning). | |
| 7 | Antonyms (words with opposite meanings). | |
| 8 | Homogeneous members (syntactic means: words with the meaning of listing facts, events). | |
| 9 | Comparisons (one object is compared with another). | |
| 10 | ||
| 11 | Sound writing: alliteration (repetition of identical or homogeneous consonants). | |
| 12 | Sound writing: Assonance (consonance of vowels). | |
| 2 group. Lyrical digression in chapter 5 with the words: “The Russian people express themselves strongly!” | ||
| № | Expressive means | Examples |
| 1 | ||
| 2 | ||
| 3 | Appeals, exclamations. | |
| 4 | gradation. | |
| 5 | ||
| 6 | ||
| 7 | Metaphorical epithets (metaphor is a means of artistic representation, the use of a word in a figurative sense to define an object or phenomenon that is similar to it in individual features or sides; an epithet is a colorful adjective through which the author's attitude to the subject is expressed). | |
| 8 | vernacular. | |
| 9 | Phraseologisms. | |
| 3rd group. A lyrical digression in chapter 11 with the words: “And what kind of Russian does not like fast driving! ... For a month, some seem to be motionless.” | ||
| № | Expressive means | Examples |
| 1 | Inversion is a change in the usual order of something (words in a sentence, plot elements). | |
| 2 | Repetitions (repetitions of words or cognate words, roots). | |
| 3 | Appeals, exclamations. | |
| 4 | Synonyms (words that are close in meaning). | |
| 5 | gradation. | |
| 6 | Personifications (an inanimate object is endowed with living qualities). | |
| 7 | Metaphorical epithets (metaphor is a means of artistic representation, the use of a word in a figurative sense to define an object or phenomenon that is similar to it in individual features or sides; an epithet is a colorful adjective through which the author's attitude to the subject is expressed). | |
| 8 | vernacular. | |
| 9 | Rhetorical questions. | |
| 10 | Antonyms. | |
| 11 | Parceling (the technique of dividing a phrase into parts or even into separate words in the form of an independent incomplete sentence. Its goal is to give speech intonational expression by means of its jerky pronunciation). | |
| 4 group. Lyrical digression in chapter 11 with the words: “Oh, troika! The troika bird drills the air. | ||
| № | Expressive means | Examples |
| 1 | Inversion is a change in the usual order of something (words in a sentence, plot elements). | |
| 2 | Repetitions (repetitions of words or cognate words, roots). | |
| 3 | Appeals, exclamations. | |
| 4 | Hyperbola. | |
| 5 | gradation. | |
| 6 | Personifications (an inanimate object is endowed with living qualities). | |
| 7 | Metaphorical epithets (metaphor is a means of artistic representation, the use of a word in a figurative sense to define an object or phenomenon that is similar to it in individual features or sides; an epithet is a colorful adjective through which the author's attitude to the subject is expressed). | |
| 8 | vernacular. | |
| 9 | Rhetorical questions. | |
| 10 | Sayings, catchphrases. | |
| 11 | ||
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5 group. A lyrical digression in chapter 11 with the words: “Isn’t it you, Rus', that is lively ...” |
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| № | Expressive means | Examples |
| 1 | Repetitions (repetitions of words or cognate words, roots). | |
| 2 | Appeals, exclamations. | |
| 3 | Synonyms. | |
| 4 | Metaphorical epithets (metaphor is a means of artistic representation, the use of a word in a figurative sense to define an object or phenomenon that is similar to it in individual features or sides; an epithet is a colorful adjective through which the author's attitude to the subject is expressed). | |
| 5 | Rhetorical questions. | |
| 6 | Parceling. (The technique of dividing a phrase into parts or even into separate words in the form of an independent incomplete sentence. Its goal is to give speech intonational expression by means of its jerky pronunciation.) Anaphora (the same beginning of sentences). |
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6 group. Lyrical digression in chapter 11 with the words: “Rus! Rus!…" |
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| № | Expressive means | Examples |
| 1 | Avatars. | |
| 2 | Appeals, exclamations. | |
| 3 | Replays. | |
| 4 | Metaphorical epithets (metaphor is a means of artistic representation, the use of a word in a figurative sense to define an object or phenomenon that is similar to it in individual features or sides; an epithet is a colorful adjective through which the author's attitude to the subject is expressed). | |
| 5 | Rhetorical questions. | |
| 6 | Parceling. (The technique of dividing a phrase into parts or even into separate words in the form of an independent incomplete sentence. Its goal is to give speech intonational expression by means of its jerky pronunciation). Anaphora (the same beginning of sentences). |
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4. Generalization of the topic.
Performance of groups according to the tables (see Appendix).
5. Summing up the lesson.
We tried to prove that we really have a poem in front of us, since the author uses many expressive means in lyrical digressions.
This genre of "Dead Souls" made it possible to show the whole of Russia, to give a deeply philosophical, generalized vision of the path of Russia and its fate in the future.
The image of Rus' as a racing horse is not only symbolic, but also rooted in Russian classical literature (A.S. Pushkin, A.A. Blok).
Summing up the results of today's lesson, I would like to listen to you, what did you learn new, what did you learn in the lesson?
6. Homework.
Summarize all the material on the poem by N.V. Gogol "Dead Souls". Prepare for tests. Write an essay.
