Brief analysis of chapter 6 dead souls. Plyushkin's Garden: Analysis of the Sixth Chapter in N.V. Gogol's Dead Souls. Plushkin - purgatory

Pretty soon Chichikov drove into the middle of a vast village with many huts and streets. Particular dilapidation was noticeable in all village buildings. Then the manor's house appeared: "this strange castle looked like some kind of decrepit invalid." When Pavel Ivanovich drove into the courtyard, he saw a strange figure near one of the buildings. This man scolded the man. Chichikov could not understand for a long time what gender this figure was: "the dress she wore was completely indefinite, very much like a woman's hood, on her head was a cap, which village yard women wear." The guest decided that this was the housekeeper, and asked her where he could find the master. The housekeeper led Chichikov into the rooms.

A complete mess reigned in the house: furniture was heaped up, a lot of all sorts of things lay on the tables, in the corner of the room there was a bunch of some things. Chichikov could see a piece of a wooden shovel and the sole of an old boot. In the house, the guest saw that he was still dealing with a man, and not with a woman. This creature turned out to be Plyushkin.

Pavel Ivanovich was very surprised by such a beggarly appearance of the landowner, who owns more than a thousand souls, full barns of all kinds of food, stocks of canvases, cloth, wood, dishes, etc. Not content with this, the master walked every day through the streets of his village and picked up everything he came across: a woman's rag, an iron nail, a clay shard. Sometimes he also dragged away a bucket, accidentally left by a woman. If Plyushkin was caught at the scene of a crime, he gave his find without talking. When the thing fell into a pile, the landowner swore that the thing was his. There was a time when Plyushkin was just a thrifty owner. He had a wife, two pretty daughters and a son. The landowner was reputed to be an intelligent man, and more than once people came to him to learn how to manage the household. Soon his wife died, the eldest daughter ran away with an officer. Avarice began to appear in the landowner. The son did not obey his father and enlisted in the regiment, for which he was disinherited, the youngest daughter died. Plyushkin was left alone and every year became more and more stingy. He himself forgot what riches he had. Gradually, he turned into a sexless creature, which Chichikov found him to be.

Pavel Ivanovich could not start a conversation for a long time, attracted by such a picturesque view of the host. Finally he started talking about the peasants. Plyushkin had more than one hundred and twenty dead souls. The host was delighted when he learned that the guest would undertake to pay taxes for them, and that he himself would settle the matter with the clerk. They also talked about runaway peasants, of whom Plyushkin had more than seventy. Chichikov immediately decided to buy these peasants and offered twenty-five kopecks per capita. After the auction, new acquaintances agreed on thirty kopecks per soul. To celebrate, Plyushkin wanted to treat Chichikov with liquor filled with various boogers, and last year's Easter cake. Pavel Ivanovich refused, which earned him even more favor with the owner. They immediately made a bill of sale, and for the power of attorney, the owner, reluctantly, allocated a quarter of old paper. In addition, Pavel Ivanovich gave out twenty-four rubles ninety-six kopecks for runaway peasants and forced Plyushkin to write a receipt.

Satisfied with himself, Chichikov said goodbye to the owner and ordered to return to the city. Arriving at the hotel, Pavel Ivanovich found out about the arrival of a new lieutenant, complained about the stale air in the room, ate the lightest supper and crawled under the covers.

Analysis of chapter 6 dead souls and got the best answer

Answer from Music Lover[guru]

Chichikov, approaching the village, sees many huts and streets. But he notices some special dilapidation of peasant houses: rotten logs, leaky roofs. The master's house also left not the best impressions, since "this strange castle looked like some kind of decrepit invalid": two of the windows were open, and even that was patched up. Only the garden "alone was quite picturesque in its pictorial desolation." Nature takes its toll, everything in it is free and beautiful.
But Chichikov had to give up contemplation of natural beauty in order to switch to the landowner's house and the owner himself. Up close, the house was even sadder than from afar. Time did a great job on him: “Nothing was noticeable to enliven the picture - no doors opening, no people coming out from somewhere, no lively troubles and worries at home!” All this was rather strange and surprising for Chichikov.
However, Pavel Ivanovich was even more surprised when he saw the figure of the "housekeeper" who sent him to the house. But this was not the last thing that surprised the guest.
The disorder in the rooms was unusual. A lot of things were piled up here, ranging from furniture to “a lot of all sorts of things”: “a lemon, all dried up”, a glass with some kind of liquid and three flies, a piece of a rag raised somewhere and other rubbish that no one needs. All this was reminiscent of the storeroom of a petty thief: "There was no way to say that a living creature lived in this room."
However, nothing compares to the shock that Chichikov experienced when he found out that this "housekeeper" was in fact the richest landowner Plyushkin. Upon learning this, our hero involuntarily stepped back.
From Plyushkin's portrait description, we learn that he was a thin old man, except that his chin protruded noticeably forward: "The little eyes had not yet gone out and ran from under high-growing eyebrows like mice."
His clothes were no different from those of a beggar. One could simply think that this was an impoverished landowner. But we see through the eyes of Chichikov all the goodness that literally filled Plyushkin's rooms. In addition, this landowner had about a thousand souls, the barns were bursting with an abundance of goods. But now it's all gone for a long time.
Chichikov didn't know how to start the conversation. He used to start like this: “Heard about virtue and the rare properties of the soul, he considered it his duty to personally pay tribute ...”. However, this was not the case. There was no question of any "rare properties of the soul", since Plyushkin is the most dead soul. "Economy" and "order" - that's what Chichikov decided to start with. Although, of course, stinginess and disorder reigned in Plyushkin's house.
Plyushkin immediately made it clear that the intruder should not count on food and even hay for the horse. The business conversation of the heroes went fairly smoothly, although at first Chichikov's proposal surprised Plyushkin.
It is interesting to follow the change in the expression of the old man's face. “The joy that so instantly appeared on his wooden face” from the realization that Chichikov was ready to pay taxes for the dead peasants was replaced by a worried expression on his face. Finally, the hero began to look at Chichikov with suspicion. However, he soon calmed down, though not for long. Every thing in Plyushkin's house proved that his greed knew no bounds: it was a hundred-year-old liquor, and a piece of paper, and a candle replaced with a splinter, and cracker, which Chichikov, of course, did not touch.
How could a person come to this? The answer lies in Plyushkin's life story. It should be noted that Gogol in his poem gives biographies of only two people: Chichikov and Plyushkin. Chichikov is the main character in the poem. And what does Plyushkin have to do with it? It's just that this is the last stage of human necrosis, when stinginess crushes everything under itself.

1. Compositional construction.
2. Storyline.
3. "Dead" soul of Plyushkin.
4. Analysis of the episode.
5. The symbolic image of "dead" souls.

The plot composition of N. V. Gogol's poem "Dead Souls" is constructed in such a way that here one can consider three ideological lines or directions, logically connected and intertwined parts. The first reveals the life of landowners, the second - city officials, and the third - Chichikov himself. Each of the directions, manifesting, contributes to a deeper manifestation of the other two lines.

The action of the poem begins with the arrival of a new person in the provincial town of NN. There is a plot twist. Immediately in the first chapter, Chichikov meets almost all the heroes of the poem. In the second chapter, the movement of the plot is shown, which takes place together with the main character, who goes on a trip to the surrounding villages for his own needs. Chichikov turns out to be visiting one or another landowner, and an interesting feature is visible. The author seems to deliberately arrange his characters in such a way that each new character is even more “vulgar than the other”. Plyushkin is the latest, Chichikov has to communicate with schemes in this series, which means that it can be assumed that it is he who has the most anti-human essence. Chichikov returns to the city, and a colorful picture of the life of city officials unfolds before the reader. These people have long forgotten the meaning of such words as "honesty", "fairness", "decency". The positions they hold fully allow them to lead a prosperous and idle life, in which there is no place for awareness of public debt, compassion for others. Gogol does not try to separately focus attention on the very social elite of the inhabitants of the city, however, fleeting sketches, quick conversations - and the reader already knows everything about these people. Here, for example, the general, at first glance, and seems like a good person, but “... it was sketched in him in some kind of picture disorder ... self-sacrifice, generosity in decisive moments, courage, intelligence - and to all this - a fair amount of a mixture of selfishness, ambition, pride and petty personal ticklishness.

The dominant role in the plot of the work is given to Pavel Ivanovich Chichikov. And it is he, his qualities of character, his life that are under the close attention of the author. Gogol is interested in this new kind of people that appeared in Russia at that time. Capital is their only aspiration, and for its sake they are ready to deceive, mean, flatter. That is, “Dead Souls” is nothing more than a way to examine and understand as deeply as possible the pressing problems of the social life of Russia at that time. Of course, the plot is structured in such a way that the image of landowners and officials occupies the main place in the poem, but Gogol is not limited only to describing reality, he seeks to prompt the reader to think about how tragic and hopeless the life of ordinary people is.

Plyushkin is the last in the gallery of landowners passing before the reader's eyes. Chichikov accidentally learned about this landowner from Sobakevich, who gave a rather unfavorable recommendation to his neighbor on the estate. In the past, Plyushkin was an experienced, hardworking and enterprising person. He was not deprived of intelligence and worldly ingenuity: “Everything flowed vividly and took place in a measured course: mills moved,
felters, cloth factories, carpentry machines, spinning mills worked; everywhere the keen eye of the owner entered into everything and, like an industrious spider, he ran troublesomely, but quickly, along all ends of his economic web. However, everything soon fell apart. The wife is dead. In Plyushkin, who became a widower, suspiciousness and stinginess increased. Then the eldest daughter fled with the staff captain, the son chose the military instead of the civil service, and was excommunicated from home. The youngest daughter died. The family fell apart. Plyushkin turned out to be the only keeper of all wealth.

The absence of family and friends led to an even greater aggravation of the suspicion and stinginess of this person. Gradually, it sinks lower and lower until it turns into "some kind of hole in humanity." Even a prosperous economy is gradually falling apart: “... he became more uncompromising towards buyers who came to take away his household works; the buyers bargained and bargained and, finally, abandoned him altogether, saying that he was a demon, and not a man; hay and bread rotted, stacks and haystacks turned into clean manure, even if you dilute cabbage in them, flour in the cellars turned into stone ... it was terrible to touch the cloth, canvas and household materials: they turned into dust. He put a curse on all the surviving children, which further aggravated his loneliness.

It was in such a distressed condition that Chichikov saw him. In the first moments of acquaintance, the main character for a long time could not understand who was in front of him: a woman or a man. A sexless creature in an old dirty dressing gown was taken by Chichikov for a housekeeper. However, after the main character was very surprised and shocked to find out that the owner of the house was standing in front of him. The author, describing the wealth of Plyushkin, immediately tells how a previously thrifty person starves his peasants, and even himself, wears all kinds of rags instead of clothes, while food disappears in his pantries and cellars, bread and cloth deteriorate. Moreover, the stinginess of the landowner leads to the fact that the entire master's house is littered with all sorts of rubbish, since, walking along the street, Plyushkin collects any objects and things forgotten or left unattended by the serfs, brings them into the house and dumps them in a heap.

In a conversation with Chichikov, the owner complains about his life, complaining about the serfs who rob him. It is they who are responsible for such a plight of the landowner. Plyushkin, owning a thousand souls, cellars and barns full of all kinds of food, is trying to treat Chichikov with a dried, moldy Easter cake left over from his daughter's arrival, to drink a suspicious liquid that was once tincture. In Plyushkin's descriptions, Gogol tries to prove to the reader that such a life story of a landowner is not an accident, but a predetermined course of events. And here in the foreground is not so much the personal tragedy of the protagonist, but the prevailing conditions of social life. Plyushkin gladly agrees to a deal with a visiting gentleman, especially since he takes care of all the paperwork. The landowner is not even aware of why the guest needs "dead" souls. Greed takes possession of the owner so much that he has no time for reflection. The main concern of the owner is how to save paper, which is required for a letter to the chairman. Even the gaps between lines and words cause him regret: “... he began to write, putting out letters that looked like musical notes, holding the agility of his hand every minute, which bounced all over the paper, sparingly sculpting line upon line and not without regret thinking about that there will still be a lot of blank space.” During the conversation, the main character learns that Plyushkin also has runaway serfs, who also lead him into ruin, since they have to pay for them in the revision.

Chichikov offers the owner to make another deal. Trade is booming. Plyushkin's hands tremble with excitement. The owner does not want to give up two kopecks, only to get the money and quickly hide it in one of the drawers of the bureau. After the transaction is completed, Plyushkin carefully counts the banknotes several times, carefully stacks them in order to never take them out again. The painful desire for hoarding takes possession of the landowner so much that he is no longer able to part with the treasures that have fallen into his hands, even if his life or the well-being of his loved ones depends on it. However, human feelings have not completely left the landowner. At some point, he even considers whether to give Chichikov a watch for his generosity, but a noble impulse
passes quickly. Plyushkin again plunges into the abyss of stinginess and loneliness. After the departure of a random gentleman, the old man slowly walks around his pantries, checks on the watchmen, "who stood at all corners, pounding with wooden spatulas into an empty keg." Plyushkin's day ended as usual: "... looked into the kitchen ... ate a lot of cabbage soup with porridge and, having scolded everyone to the last for theft and bad behavior, returned to his room."

The image of Plyushkin, brilliantly created by Gogdle, clearly shows the readers the callousness and deadness of his soul, of everything that is human in a person. Here, as clearly as possible, all the vulgarity and baseness of the serf landowner is manifested. The question inevitably arises: who does the writer call “dead” souls: poor dead peasants or officials and landlords who manage life in Russian districts.

The meaning of the title of the poem by N.V. Gogol can be approached from different angles. The direct meaning of the phrase “dead souls” is serfs, counted only on paper. There is also a figurative meaning of this expression - people with a dead soul, people insensitive, inhuman. Such "dead souls" can be considered all the landowners brought to the stage in the poem.

The appearance of the landowners before the reader has a symbolic meaning: they are arranged according to the degree of necrosis of the human soul. We meet first with Manilov, Korobochka, Nozdrev, Sobakevich, and then with Plyushkin. Why is Plyushkin the last one visited by Chichikov? Let us turn to the episode of Chichikov's visit to Plyushkin in the sixth chapter of the novel.

Chichikov, approaching the village, sees many huts and streets. But he notices some special dilapidation of peasant houses: rotten logs, leaky roofs. The master's house also left not the best impressions, since "this strange castle looked like some kind of decrepit invalid": two of the windows were open, and even that was patched up. Only the garden "alone was quite picturesque in its pictorial desolation." Nature takes its toll, everything in it is free and beautiful.

But Chichikov had to give up contemplation of natural beauty in order to switch to the landowner's house and the owner himself. Up close, the house was even sadder than from afar. Time did a great job on him: “Nothing was noticeable to enliven the picture - no doors opening, no people coming out from somewhere, no lively troubles and worries at home!” All this was rather strange and surprising for Chichikov.

However, Pavel Ivanovich was even more surprised when he saw the figure of the "housekeeper" who sent him to the house. But this was not the last thing that surprised the guest.

The disorder in the rooms was unusual. A lot of things were piled up here, ranging from furniture to “a lot of all sorts of things”: “a lemon, all dried up”, a glass with some kind of liquid and three flies, a piece of a rag raised somewhere and other rubbish that no one needs. All this was reminiscent of the storeroom of a petty thief: "There was no way to say that a living creature lived in this room."

However, nothing compares to the shock that Chichikov experienced when he found out that this "housekeeper" was in fact the richest landowner Plyushkin. Upon learning this, our hero involuntarily stepped back.

From Plyushkin's portrait description, we learn that he was a thin old man, except that his chin protruded noticeably forward: "The little eyes had not yet gone out and ran from under high-growing eyebrows like mice."
His clothes were no different from those of a beggar. One could simply think that this was an impoverished landowner. But we see through the eyes of Chichikov all the goodness that literally filled Plyushkin's rooms. In addition, this landowner had about a thousand souls, the barns were bursting with an abundance of goods. But now it's all gone for a long time.

Chichikov didn't know how to start the conversation. He used to start like this: “Heard about virtue and the rare properties of the soul, he considered it his duty to personally pay tribute ...”. However, this was not the case. There was no question of any "rare properties of the soul", since Plyushkin is the most dead soul. "Economy" and "order" - that's what Chichikov decided to start with. Although, of course, stinginess and disorder reigned in Plyushkin's house.

Plyushkin immediately made it clear that the intruder should not count on food and even hay for the horse. The business conversation of the heroes went fairly smoothly, although at first Chichikov's proposal surprised Plyushkin.
It is interesting to follow the change in the expression of the old man's face. “The joy that so instantly appeared on his wooden face” from the realization that Chichikov was ready to pay taxes for the dead peasants was replaced by a worried expression on his face. Finally, the hero began to look at Chichikov with suspicion. However, he soon calmed down, though not for long. Every thing in Plyushkin's house proved that his greed knew no bounds: it was a hundred-year-old liquor, and a piece of paper, and a candle replaced with a splinter, and cracker, which Chichikov, of course, did not touch.

How could a person come to this? The answer lies in Plyushkin's life story. It should be noted that Gogol in his poem gives biographies of only two people: Chichikov and Plyushkin. Chichikov is the main character in the poem. And what does Plyushkin have to do with it? It's just that this is the last stage of human necrosis, when stinginess crushes everything under itself.

It turns out that once Plyushkin was an excellent family man and owner. But after the death of his wife, everything changed.

“And a person could reach such insignificance, pettiness, filth”

(according to the 6th chapter of Gogol's poem "Dead Souls")

Develop figurative imagination, as well as comparative analysis skills.

Raising a sense of responsibility for their own destiny.

During the classes

Org. moment

Repetition

At the last lesson, we talked about the fact that Gogol's Chichikov did not accidentally get lost and, before getting to Sobakevich, ended up at Korobochka and Nozdryov.

What is gradation?

For what purpose does he resort to such a composition?

Looking at the illustrations, tell us how the "human", "alive" in these characters decreases.

III. Working with the text of a work of art

Today at the lesson, together with Chichikov, we will get acquainted with the last landowner in this row - with Plyushkin. We will try to understand why he closes this row and why Gogol calls him "a hole in humanity", that is, a hole, an empty place.

To answer these questions, we turn to the text of the work and see what details the author draws attention to when portraying Plyushkin. How these details help to understand the character of the hero and the author's intention.

1. Trees and Plushkin's garden.

2. Portrait of Plushkin.

3. His life to the state in which he is now.

4. Gogol about Plushkin.

The limit of a person's moral fall is Plyushkin. Everything human has died in him: it is, in the full sense of the word, a "dead soul." Gogol leads us to this conclusion from the very beginning to the end of Chapter 6, developing and deepening the theme of man's spiritual death.

1. What is the meaning of the name of this Gogol hero? (She emphasizes the “flattenedness”, the distortion of the hero and his soul. He has one concern - he collects all good and rots him, and even makes sure that no one steals. There is a lot of everything and everything disappears, decays, everything is in desolation.)

2. How does our acquaintance with Plyushkin begin? (From the description of the village) Read it.
The description of the village of Plyushkin is expressive, with its log pavement that has fallen into complete disrepair with “a special dilapidation of village huts”: “The log in the huts was dark and old; many roofs blew through like a sieve; on others there was only a horse at the top and poles on the sides in the form of ribs. The windows in the huts were without glass, others were plugged with a rag or zipun.

What impression does the village make, how does Gogol achieve this? (Uses a comparison: "many roofs blew through like a sieve", "on others there was only a ridge at the top and poles on the sides in the form of ribs", "the windows in the huts were without glass, others were plugged with a rag or zipun")

Dictionary work: zipun - a peasant caftan made of homemade cloth.

What else grabs our attention? (Two churches) What figurative and expressive means does the author use when describing them? (Epithets: "deserted wooden and stone, with yellow walls, stained, cracked")

3. And what is the master's house?

Let's read the description of Plyushkin's house and garden from the words: "The master's house began to show itself in parts ..." to the words: "... for a giant castle hung in an iron loop." p. 103-105

Let's pay attention to the details accompanying this description. Why is Plushkin's house compared to a castle? (This shows the irony of the author - knightly times have passed. There is nothing that would enliven this picture - everything seems to have died out here. The giant castle is a symbol of the owner's suspicion, which locks everything.)

(Comparison - "decrepit invalid", antithesis: "castle - invalid")

And why does Gogol describe windows in such detail? (In the master's house, the windows are the same as in the peasants' huts) What, on the basis of this, can be said about the landowner? (The owner of the estate does not care at all not only about his peasants, but he is also of little interest to the state of his own home)
Everything is scary, inexpressive.

The garden alone was picturesquely beautiful. To use an oxymoron: the garden "alone refreshed this vast village and alone was quite picturesque in its picturesque devastation")

In what tone is the garden described? Through whose eyes do we see it? (Through Chichikov's eyes) But this beauty is the beauty of an abandoned cemetery

Does it have signs of life? What does the description of the garden say? (Plyushkin's estate was not always the same as it is now)

Are there any other buildings on the estate? What does it say? ("Everything said that here once the economy flowed on a vast scale:")

4. And against this background, a strange figure appears before Chichikov:

Read and comment on the description of the portrait with the words: “His face did not represent anything special ... just not a tie” pp. 107-108 (Plyushkin’s appearance is such that Chichikov, seeing him at the church, could not resist and gave a copper penny.

“What is the most picturesque detail of the portrait? Plyushkin's first name is "figure". Chichikov does not understand who is in front of him - "a woman or a man", in any case, not a landowner. Chichikov thought it was the housekeeper.

What detail in Plyushkin's portrait is especially significant and why? (These are the eyes: “the little eyes have not yet gone out ... like mice ...” But this detail emphasizes not human liveliness, but animal life, the lively briskness and suspicion of a small animal is conveyed here.)

Plyushkin's clothes are similar to the clothes of a beggar: "in a word, if Chichikov had met him, so dressed up, somewhere at the church doors, he would probably have given him a copper penny.

But it was not a beggar who stood before Chichikov, but a rich landowner, the owner of a thousand souls, whose storerooms and barns were full of all sorts of goods. However, all this goodness turned into dust, as the stinginess that gripped Gilyushkin overshadowed the practical mind of the once good owner.

Are there conflicting details in the description of the portrait? (Earlier, Plyushkin was different: "Too strong feelings were not reflected in his features, but his mind was visible in his eyes; his speech was imbued with experience and knowledge of the world, and it was a pleasure for the guest to listen to him:")

What does Gogol call his hero? ("and he himself finally turned into some kind of hole in humanity") And how do you understand this expression? What is a hole?

Dictionary work: tear - 1. A hole in the clothes is a torn place. Hole pocket. 2. trans. Lack of omission (colloquial). Gaps in the economy. 3. Front slit at the trousers. || reduce crack - and (to 1 and 3 values).

What, in your opinion, then "a hole in humanity"? (Something abnormal, pathological)

5. What details will we highlight when describing the interior? (A picturesque pile that speaks of Plyushkin's incredible stinginess)

Reading the fragment with the words: “He stepped into the dark, wide entrance...” p. 106 What detail in the description of the interior indicates that life has died in this house? (It’s dark and dusty in Plyushkin’s house, it blew cold on Chichikov, like from a cellar. Everything is a mess, and in the corner of the room there is a pile of rubbish, from which sticks out a piece of a wooden shovel and an old boot sole.

A notable detail is the stopped clock: time has died in Plyushkin's house, life has stopped.)

Why did Gogol give a biography only to this hero, spoke about his past, about how the process of his degradation went? (The author had the hope that this hero was capable of moral change. Apparently, it is not by chance that he was given last in the gallery of landowners.

There is another point of view: among all the landowners.

It is important for Gogol to show how a person has turned into a “hole in humanity”, so he reveals the character of the hero in development.)

6. Find details in the story about Plyushkin's past that alarm the reader, forcing him to foresee the terrible present of the hero. Page 109 (Comparison with the "industrious spider" suggests that Gogol does not seek to turn Plyushkin into a tragic face. The writer ends his story about Plyushkin's past with the words: "... such a phenomenon rarely comes across in Russia ..." A spider, a phenomenon - these comparisons speak of the deadness of Plyushkin's nature. Gogol directly calls Plyushkin's face "wooden", although once "a warm beam - a pale reflection of feeling" glides on it.)

7. What reception was given to Chichikov at Plyushkin's? “I haven’t seen guests for a long time ...” p. 112 and “Put the samovar, you hear, but take the key and give it to Mavra to go to the pantry ...”)

8. What is Plyushkin's reaction to Chichikov's proposal to "pay taxes for all the peasants"? Reading from the words: “The proposal seemed to completely astonish Plyushkin. He widened his eyes and looked at him for a long time...” p113

9. Why, after such a reception, was Chichikov "in the most cheerful mood"? (A real gift for him was not only the dead, but also the fugitives "only two hundred and a half people", bought at a price of 30 kopecks.)

Reading Chapter VI, one cannot but pay attention to its lyrical tone. It begins with a lyrical digression about youth, the main feature of which is curiosity; maturity and old age bring indifference to a person. The author’s voice also breaks through in the story about Plyushkin, for example: “And a person could descend to such insignificance, pettiness, disgust! ..”, and this exclamation ends with a fiery appeal to young people: “Take with you on the road ... all movement, do not leave them on the road, do not raise them later ... "

Plyushkin's relationship with the tax-farmers, walking around the village collecting all sorts of rubbish spoke of the fact that Plyushkin's hoarding led to senseless hoarding, bringing only ruin to his household. Everything has fallen into complete decay, the peasants are dying like flies, dozens are on the run. Things are dearer to him than people, in whom he sees only swindlers and thieves.
“And a person could descend to such insignificance, pettiness, disgust! ' exclaims Gogol.

The senselessness of hoarding and stinginess is embodied in the image of Plyushkin

6. Summing up the lesson.

Collective discussion of the problem of lessons.

1. What unites the heroes of the chapters about landlords? (Each of the heroes is individual, each has some kind of “devilish” energy, because everything around them takes on their features: around Nozdryov it smells like a tavern, a scandal, in Sobakevich every thing says: “... and I am also Sobakevich!” Around Manilov even the landscape and the weather have a kind of greyish uncertainty.The same can be said about Korobochka and Plyushkin.

Leads the story Chichikov. It binds together all events and human destinies. Each chapter expands our understanding of Chichikov.)

2. Why does Gogol build chapters II-VI according to approximately the same plan (the surroundings of the estate and the estate itself, the interior of the house, a description of the appearance of the hero, the meeting of the host and guest, a conversation about acquaintances, dinner, the scene of buying and selling dead souls)? What do you see as the meaning of such a construction of chapters? (The repetitive plan of the chapters creates a feeling of the uniformity of the phenomena depicted. In addition, the description is structured in such a way that it makes it possible to characterize the personalities of the landowners.)

7. Evaluation of the work of children in the lesson, marking.

Homework.

Reading chapters I, VII, VIII, IX, H. (provincial city in the poem)