Dead Souls is a story about a landowner. Landowners in the poem "Dead Souls" by Gogol. Landlord Rus' in the poem by N.V. Gogol's "Dead Souls"

A short essay-discussion on the topic Artistic Rus' in the poem “Dead Souls”, the image of Russia, “ Russia of the dead souls", images of landowners and officials

The poem "Dead Souls" is one of the most significant works Russian literature. Gogol masterfully reflected the problems of Russia, its vices and shortcomings. He identified unique types of people who have a special national flavor. The writer’s goal was to “illuminate a picture taken from a despicable life,” and he succeeded. Therefore, the most vivid and realistic image in the work was Russia - the homeland dead souls.

The author decided to show the degradation of Russia using the example of the nobility - the main supporting class of the state. If even the nobles are dead souls, what can we say about the other, lower strata of society who look to the courtiers and landowners as examples to follow? Description of vices " the best people Fatherland" the writer begins with the hypocritical and lazy dreamer Manilov. This inactive person “sits away” his fortune and does not justify his privileged position. Such people can only talk, but are not going to do anything for the good of their homeland, so they only take from Russia, but do not give it anything in return.

After Manilov, Gogol introduces us to the thrifty Korobochka. It would seem, what is the vice? A woman runs the house and works to the envy of everyone. However, a very strong vice is obvious in her - greed. Profit became the only meaning of life for her. For the sake of profit or out of greed, she kills more than one peasant to death, therefore her activities are worse than Manilov’s inactivity. It also kills the future of Russia, because Korobochki are desperate enemies of progress.

The ruined Nozdryov is the antithesis of Korobochka. This man has undermined the credibility of his class, because he has sunk to the extreme degree of dishonor. He wanders in the status of “a guest worse than a Tatar” and is forced to live at the mercy of other nobles. He squandered the property of his ancestors, leaving his descendants poor and disgraced. It was because of such frivolous and vicious people that Russia gradually became merchant, and not noble. The privileged class began to humiliate itself in front of uneducated and greedy traders.

Then the author depicted the type of economic landowner Sobakevich. However, he did not become a positive image either. He turned out to be so narrow-minded and limited that after getting to know his club-headed person it became clear: with such people Russia will not move forward and will not become better. They look into the past and are ready to stay in it forever.

The gallery of images of landowners in the poem “Dead Souls” is closed by the miser Plyushkin (), who embodies the extreme degradation of the human being: “A person could condescend to such insignificance, pettiness, disgusting!” - writes the author. Gogol. The landowner destroyed all the goods he had earned, drove away the children and starved the peasants to death with poverty. With such people, Russia is in danger of falling into the abyss.

In the poem, Gogol reveals the vices of the city, as well as the bureaucratic class, which represents the state and, in this case, discredits it. District officials of the city of N thought only about how to line their pockets and deceive the townspeople. They are all connected by a single criminal network that surrounds the city. Patriotism is alien to them, like other moral concepts. In depicting this, the author does not mean just one city, he means the whole of autocratic Russia.

The new type of person that Chichikov represents in the poem is hardly better than the old ones. As a bankrupt nobleman, he is forced to make a living through fraud. “It’s fairest,” writes Gogol, “to call him the owner-acquirer.” Chichikov's life credo is to save a penny. Therefore, the hero makes money in every possible way, not disdaining crime. Gogol also mercilessly ridicules the vices of this new type in order to prove that Russia is not on the same path with him.

Thus, Gogol described a gallery of images of landowners, revealing the pressing problems of the country. This is how the image of Russia in the poem “Dead Souls” was formed from fragments, an image long-suffering and deep, in need of change. And the author still hopes for a good future. The extraordinary potential of the Russian is manifested in the images of the “Yaroslavl efficient man”, the carpenter-hero Stepan Probka, the miracle shoemaker Makeich Telyatin, the carriage maker Mezheev. The people's love of freedom, their spiritual wealth, and their “lively and lively” mind give Gogol incentives to believe in his country and love it no matter what. Therefore, he compares Rus' with a flying “unbeatable troika”, which is shunned by “other peoples and states.”

Interesting? Save it on your wall!

The compositional basis of Gogol’s poem “Dead Souls” is Chichikov’s travels through the cities and provinces of Russia. According to the author’s plan, the reader is invited to “travel all over Rus' with the hero and bring out many different characters.” In the first volume of Dead Souls, Nikolai Vasilyevich Gogol introduces the reader to a number of characters who represent “ dark kingdom", familiar from the plays of A. N. Ostrovsky. The types created by the writer are relevant to this day, and many proper names have become common nouns over time, although in Lately V colloquial speech are used less and less. Below is a description of the characters in the poem. In Dead Souls, the main characters are landowners and the main adventurer, whose adventures form the basis of the plot.

Chichikov, main character“Dead Souls”, travels around Russia, buying documents for dead peasants who, according to the audit book, are still listed as alive. In the first chapters of the work, the author tries in every possible way to emphasize that Chichikov was a completely ordinary, unremarkable person. Knowing how to find an approach to every person, Chichikov was able to achieve favor, respect and recognition in any society he encountered without any problems. Pavel Ivanovich is ready to do anything to achieve his goal: he lies, impersonates another person, flatters, takes advantage of other people. But at the same time, he seems to readers to be an absolutely charming person! Gogol masterfully showed the multifaceted human personality, which combines depravity and the desire for virtue.

Another hero of Gogol’s “Dead Souls” is Manilov. Chichikov comes to him first. Manilov gives the impression of a carefree person who does not care about worldly problems. Manilov found a wife to match himself - the same dreamy young lady. Servants took care of the house, and teachers came to their two children, Themistoclus and Alcidus. It was difficult to determine Manilov’s character: Gogol himself says that in the first minute one might think “what an amazing person!”, a little later one might be disappointed in the hero, and after another minute one would become convinced that they couldn’t say anything about Manilov at all. There are no desires in it, no life itself. The landowner spends his time in abstract thoughts, completely ignoring everyday problems. Manilov easily gave the dead souls to Chichikov without asking about the legal details.

If we continue the list of characters in the story, then the next one will be Korobochka Nastasya Petrovna, an old lonely widow who lives in a small village. Chichikov came to her by accident: the coachman Selifan lost his way and turned onto the wrong road. The hero was forced to stop for the night. External attributes were an indicator of the landowner’s internal state: everything in her house was done efficiently and firmly, but nevertheless there were a lot of flies everywhere. Korobochka was a real entrepreneur, because she was used to seeing in every person only a potential buyer. Nastasya Petrovna was remembered by the reader for the fact that she did not agree to the deal. Chichikov persuaded the landowner and promised to give her several blue papers for petitions, but until he agreed next time to definitely order flour, honey and lard from Korobochka, Pavel Ivanovich did not receive several dozen dead souls.

Next on the list was Nozdryov- a carouser, a liar and a merry fellow, a playmaker. The meaning of his life was entertainment; even two children could not keep the landowner at home for more than a few days. Nozdryov often got into various situations, but thanks to his innate talent for finding a way out of any situation, he always got away with it. Nozdryov communicated easily with people, even with those with whom he managed to quarrel; after a while he communicated as if with old friends. However, many tried not to have anything in common with Nozdryov: the landowner hundreds of times came up with various fables about others, telling them at balls and dinner parties. It seemed that Nozdryov was not at all bothered by the fact that he often lost his property at cards - he certainly wanted to win back. The image of Nozdryov is very important for characterizing other heroes of the poem, in particular Chichikov. After all, Nozdryov was the only person with whom Chichikov did not make a deal and indeed did not want to meet with him anymore. Pavel Ivanovich barely managed to escape from Nozdryov, but Chichikov could not even imagine under what circumstances he would see this man again.

Sobakevich was the fourth seller of dead souls. to his appearance and his behavior resembled a bear, even the interior of his house and household utensils were huge, inappropriate and bulky. From the very beginning, the author focuses on Sobakevich’s thriftiness and prudence. It was he who first suggested that Chichikov buy documents for the peasants. Chichikov was surprised by this turn of events, but did not argue. The landowner was also remembered for raising prices on the peasants, despite the fact that the latter were long dead. He talked about their professional skills or personal qualities, trying to sell documents at a higher price than Chichikov offered.

Surprisingly, this particular hero has a much greater chance of spiritual rebirth, because Sobakevich sees how small people have become, how insignificant they are in their aspirations.

This list of characteristics of the heroes of “Dead Souls” shows the most important characters for understanding the plot, but do not forget about coachman Selifane, and about servant of Pavel Ivanovich, and about good-natured landowner Plyushkin. Being a master of words, Gogol created very vivid portraits of heroes and their types, which is why all the descriptions of the heroes of Dead Souls are so easily remembered and immediately recognizable.

Work test

Images of landowners and their comparison with Chichikov (“Based on the poem “Dead Souls”)

"Dead Souls" is one of the brightest works of Russian and world literature, the pinnacle of art. Gogol's mastery. One of the main themes in Gogol's TV is Yavl. The theme is about the Russian landowner class, about the Russian nobility as the ruling class, about its fate and role in public life. It is characteristic that the main way of depicting landowners in Ggol is yavl. satire. The images of landowners reflect the process of gradual gradation of the landowner class, revealing all its faults and shortcomings. Gogol’s satire is colored with irony and “hits right in the forehead.” Gogol’s laughter seems good-natured, but he spares no one, every phrase has a deep, hidden meaning, subtext. The poem is structured as the story of the adventures of Chichikov, an official who buys up “dead souls.” The composition of the poem allowed the author to talk about different landowners and their villages. Gogol creates five characters, five portraits that are so different from each other, and at the same time in each of them appear typical features Russian landowner. Our acquaintance begins with Manilov and ends with Plyushkin. This sequence has its own logic: from one landowner to another the process of impoverishment deepens human personality, is developing more and more scary picture disintegration of serf society

Manilov (I chapter) opens a portrait gallery of landowners. His character is already evident in his surname itself. The description begins with a picture of the village of Manilovka, which “could lure few with its location.” The author ironically describes the manor's courtyard, with the pretense of an "English garden with an overgrown pond", sparse with bushes and with a pale inscription "Temple of Solitary Reflection." Speaking about Manilov, the author exclaims: “God alone could say what Manilov’s character was.” He is kind by nature, polite, courteous, but all this took on ugly forms in him. Manilov is beautiful-hearted and sentimental to the point of cloying. Relations between people seem to him idyllic and festive. Manilov did not know life at all; reality was replaced by empty fantasy. He loved to think and dream, sometimes even about things useful for the peasants. But his spotlight was far from the demands of life. He did not know and never thought about the real needs of the peasants. (or M. lives in an illusory world, and the process of fantasy itself gives him great pleasure, he is a sentimental dreamer, incapable of practical action)
Manilov considers himself a bearer of spiritual culture. Once in the army he was considered the most educated man. The author speaks ironically about the situation in Manilov’s house, in which “something was always missing,” and about his sugary relationship with his wife. At the time of the conversation about dead souls, Manilov was compared to an overly smart minister. In comparison with other landowners, Manilov indeed seems to be an enlightened man, but this is only an appearance

The third chapter of the poem is devoted to the image of Korobochka, which Gogol classifies as one of those “small landowners who complain about crop failures, losses and keep their heads somewhat to one side, and meanwhile little by little collect money in colorful bags placed in the drawers of the chest of drawers!” (or M. and Korobochka are in a way antipodes: Manilov’s vulgarity is hidden behind high phases, behind discussions about the good of the Motherland, and in Korobochka spiritual poverty appears in its natural form. Korobochka does not pretend to be a high culture: in its entire appearance a very unpretentious simplicity. This is emphasized by Gogol in the appearance of the heroine: he points out her shabby and unattractive appearance. This simplicity reveals itself in her relationships with people - the strengthening of her wealth, it is no coincidence that Chichikov sees traces of skillful management in her estate. This economy reveals her inner insignificance. She has no feelings other than the desire to acquire and benefit. Korobochka trades with peasants with the same efficiency with which she sells other items of her household. the difference between an animate and an inanimate being. In Chichikov’s proposal, only one thing frightens her: the prospect of missing something, not taking what can be obtained for “dead souls.” Korobochka is not going to give them up to Chichikov on the cheap. Gogol awarded her the epithet “club-headed.”) This money comes from the sale of a wide variety of nat products. households Korobochka understood the benefits of trading and after much persuasion agrees to sell such unusual product like dead souls

When moving to the image of Nozdryov, Gogol emphasizes the contrast between him and the box. In contrast to the immobile landowner, Nozdryov is distinguished by his daring and “broad scope of nature.” He is mobile, ready to do any business, without thinking about what, but all his activity is devoid of ideas and goals. Therefore, all his impulses end as easily as they begin, without any positive results: “Everything ends either in trifles, or in all kinds of stories.” . His activity is aimed at burning life. He is a carouser and a reckless driver. Nozdryov finds himself everywhere where the pleasures of life can await him. Unlike Korobochka, Nozdryov is not prone to petty hoarding. His ideal is people who always know how to have fun through life, unencumbered by any worries. In the chapter about Nozdryov there are few details reflecting the life of his serfs, but the description of the landowner itself provides comprehensive information about this, since for Nozdryov serfs and property are equivalent concepts. Both are a source of burning life. Wherever Nozdryov appears, there is chaos, a scandal. In Nozdryov’s understanding, his life is filled with meaning. In this respect, he resembles Manilov, but differs in that he likes to lie and embellish. In a conversation with Chichikov, he brags about absolutely everything: a stallion, a pond, a dog, and he simply does not exhaust himself in his lies. A lie for the sake of the lie itself. In relations with people, Nozdryov is free from any norms and principles. He gets along with people easily, but does not stay true to his word or anyone else's. In Nozdryov’s desire to cause discord in someone else’s life, one can feel the desire to harm everyone. As a result, all the versatility of the hero is devoid of any positive beginning. Gogol called Nozdryov a “historical man.” (“Nozdryov was in some respects a historical man”) Not a single meeting where he was present was complete without stories.

Unlike Nozdryov, Sobakevich cannot be considered a person with his head in the clouds. This hero stands firmly on the ground, does not indulge himself with illusions, soberly evaluates people and life, knows how to act and achieve what he wants. When characterizing his life, Gogol notes the thoroughness and fundamental nature of everything. These are natural features of Sobakevich’s life. He and the furnishings of his house bear the stamp of clumsiness and ugliness. Physical strength and clumsiness appear in the appearance of the hero himself. "He looked like average size bear," Gogol writes about him. The animal nature predominates in Sobakevich. He is devoid of any spiritual needs, far from daydreaming, philosophizing and noble impulses of the soul. The meaning of his life is to satiate his stomach. He himself has a negative attitude towards everything that connected with culture and enlightenment: “Enlightenment is a harmful invention.” In him, a landowner and a hoarder coexist. Unlike Korobochka, he understands the environment well and understands the time in which he lives, knows the people. Unlike other landowners, he immediately. understood the essence of Chichikov. Sobakevich is a cunning rogue, an arrogant businessman, who is difficult to deceive and evaluates everything around him only from the point of view of his own benefit. His conversation with Chichikov reveals the psychology of a kulak who knows how to force peasants to work for themselves and extract maximum benefit from it. He is straightforward, quite rude and does not believe in anything. Unlike Manilov, in his perception all people are robbers, scoundrels, fools. (Everything in Sobakevich’s house was surprisingly reminiscent of himself. Each thing seemed to say: “And I, too, Sobakevich”
The last landowner whom Chichikov visits, Plyushkin, is similar in aspirations to K. and S., but his desire for hoarding takes on the character of a comprehensive passion. His only purpose in life is to accumulate things. As a result, he does not distinguish the important, the necessary from the trifles, the useful from the unimportant. Everything he comes across is of interest. Plyushkin becomes a slave to things. The thirst for hoarding pushes him along the path of all sorts of restrictions. But he himself does not experience any unpleasant sensations from this. Unlike other landowners, his life story is given in full. She reveals the origins of his passion. The greater the thirst for hoarding becomes, the more insignificant his life becomes. At a certain stage of degradation, Plyushkin ceases to feel the need to communicate with people. He began to perceive his children as plunderers of his property, not experiencing any joy when meeting them. As a result, he ended up in all alone. Gogol dwells in detail on the description of the situation of the peasants of this rich landowner. *************************************** **********************************Chichikov

In "M.d." Gogol typifies the images of Russian landowners, officials and peasants. The only person who stands out big picture Russian life is Chichikov. Revealing his image, the author tells about his origin and the formation of his character. Chichikov is a character whose life story is given in every detail. From the eleventh chapter we learn that Pavlusha belonged to a poor noble family. His father left him an inheritance of half a copper and a covenant to study diligently, please teachers and bosses and, most importantly, to take care and save a penny. Chichikov quickly realized that all lofty concepts only interfere with the achievement of his cherished goal. He makes his way in life through his own efforts, without relying on anyone’s patronage. He builds his well-being at the expense of other people: deception, bribery, embezzlement, fraud at customs - the main character’s tools. No setbacks can break his thirst for profit. And every time he commits unseemly acts, he easily finds excuses for himself.
With each chapter we see more and more new possibilities of Chichikov: with Manilov he is cloyingly amiable, with Korobochka he is petty-insistent and rude, with Nozdryov he is assertive and cowardly, with Sobakevich he bargains insidiously and relentlessly, Plyushkina conquers with his “generosity.”
But let us pay special attention to those moments of the poem where Chichikov does not need to disguise himself and change himself for the sake of adaptation, where he is left alone with himself. While inspecting the city of N, our hero “teared off a poster nailed to a post so that when he got home he could read it thoroughly,” and after reading it, “folded it neatly and put it in his little chest, where he used to put everything he came across.” This collection of unnecessary things, careful storage of rubbish vividly resembles Plyushkin’s habits. Chichikov and Manilov are brought together by uncertainty, due to which all assumptions about him turn out to be equally possible. Nozdryov notices that Chichikov is similar to Sobakevich: “No straightforwardness, no sincerity! Perfect Sobakevich.” Chichikov’s character contains Manilov’s love for phrases, Korobochka’s pettiness, Nozdrev’s narcissism, Sobakevich’s rude tight-fistedness, cold cynicism, and Plyushkin’s greed. It is easy for Chichikov to turn out to be a mirror of any of these interlocutors, because he has all the qualities that form the basis of their characters. Still, Chichikov differs from his counterparts on the estates; he is a man of new times, a businessman and acquirer, and has everything necessary qualities: “He is pleasant in turns and actions, and glib in business games,” but he is also a “dead soul,” because the joy of life is inaccessible to him.
Chichikov knows how to adapt to any world, even his appearance is such that he will suit any situation: “not handsome, but not bad-looking either,” “not too fat, not too thin,” “middle-aged man” - everything about him is vague , nothing stands out.
The idea of ​​success, enterprise, and practicality overshadow all human motives in him. The "selflessness", patience and strength of character of the protagonist allow him to constantly be reborn and show enormous energy to achieve his goal.
Chichikov is forced to flee the city, but this time he achieved his goal, moved one step closer to his faceless “happiness”, and everything else is no longer important to him.

MANILOV. “...The landowner... is not yet an old man at all...” “...He smiled enticingly, was blond, with blue eyes...” Eyes “sweet as sugar.” The expression on his face was “not only sweet, but even cloying...” “...his facial features were not devoid of pleasantness, but this pleasantness seemed to have too much sugar in it...” “His wife... however, they were completely pleased with each other. Despite the fact that more than eight years had passed of their marriage, each of them still brought the other a piece of an apple, or a piece of candy, or a nut and spoke in a touchingly tender voice, expressing perfect love..." Sons - Alcides and Themistoclus: "Themistoclus!" said Manilov, turning to the elder..." "Here is the younger one, Alcides, he is not so fast..." "...Manilov will be more delicate than Sobakevich..." "...In the first minute of conversation with him you can’t help but say : “What a nice and a kind person!” The next minute you won’t say anything, and the third you’ll say: “The devil knows what it is!” - and move away; If you don’t leave, you will feel mortal boredom.” “...God alone could have said what Manilov’s character was like. There is a kind of people known by the name: so-so people, neither this nor that, neither in the city of Bogdan, nor in the village of Selifan, according to the proverb. Maybe Manilov should join them...” “You won’t get any lively or even arrogant words from him, which you can hear from almost anyone if you touch an object that is bullying him. Everyone has their own enthusiasm [...] in a word, everyone has their own, but Manilov had nothing." "At home he spoke very little and for the most part he reflected and thought, but what he was thinking about, did God even know." Manilov is "hard of hearing," he writes beautifully ("It's nicely written... there's no need to rewrite it..." (Chichikov about Manilov). "It's impossible to manage a farm." tell him to do something, he never even went to the fields, the farming somehow went on by itself..." "Of course, one could notice that there are many other things to do in the house, besides long kisses and surprises, and a lot could be done various requests. Why, for example, is the kitchen cooking stupidly and uselessly? Why is the thief the housekeeper? Why are all the servants uncharitably sleeping and hanging out the rest of the time? But all these are low things, and Manilova? she was brought up well." "There was always something missing in his house: in the living room there was beautiful furniture covered in smart silk fabric, which was probably quite expensive; for several years, he always warned his guest with the words: “Don’t sit on these chairs, they are not ready yet.” “In another room there was no furniture at all, although it was said in the first days after marriage: “Darling, you will need “Tomorrow I’ll work hard to put furniture in this room, at least for a while,” he tells his wife.." “In his office there was always some kind of book, bookmarked on page 14, which he had been constantly reading for two years.” Attitude towards the peasants: “ When a man came to him and, scratching the back of his head with his hand, said, “Master, let me go away to work and earn some money.” “Go,” he said, smoking a pipe, and it didn’t even occur to him that the man was going to drink.” Mr. Manilov - hospitable, cordial owner: "... As the chaise approached the porch, his eyes became more cheerful and his smile spread more and more..." Attitude towards people: "... there was something ingratiating in his techniques and turns of phrase dispositions and acquaintances..." BOX "... Collegiate secretary [...] Nastasya Petrovna..." "an elderly woman, in some kind of sleeping cap, put on hastily, with a flannel around her neck..." ". ..One of those mothers, small landowners who cry about crop failures, losses and keep their heads somewhat to one side, and meanwhile they collect a little money in colorful bags placed in the drawers of the chest of drawers..." Mistress: "...You, mother “The pancakes are very tasty,” said Chichikov...” “...the landowner did not keep any notes or lists, but knew almost everyone by heart...” (peasants). “About “dead” souls - to Chichikov: “... Maybe you, my father, are deceiving me, but they... they are somehow worth more...” “... it’s better if I wait a little, maybe they’ll come merchants, let me apply it to the prices..." "...What a clubhead! - Chichikov said to himself, “...She saw that the deal definitely seemed to be profitable, but it was just too new and unprecedented; and therefore she began to be very afraid that this buyer would somehow cheat her...” She believes and in God and in evil spirits: “... The power of the cross is with us! What passions are you talking about! - said the old woman, crossing herself...” “... yes, apparently, God sent him as a punishment. I saw such an ugly one; and the horns are longer bull..." (Thought about the devil).

In the following chapters the reader gets acquainted with Nozdrev, Sobakevich and Plyushkin.

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

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

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

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

This image in the poem is static - no internal changes occur to the hero throughout the entire narrative. Manilov's main qualities are sentimentality, dreaminess, excessive complacency, courtesy and courtesy. This is what is visible, what lies on the surface. It is these features that are emphasized in the description of the hero’s appearance. Manilov “was a distinguished man, his facial features were not devoid of pleasantness, but this pleasantness seemed to have too much sugar in it; in his techniques and turns there was something ingratiating favor and acquaintance. He smiled enticingly, was blond, with blue eyes.”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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