Outline of a lesson in literature (grade 9) on the topic: The role of lyrical digressions in Gogol’s poem “Dead Souls.” The role and place of lyrical digressions in N. V. Gogol’s poem “Dead Souls”

1. Gogol's talent as a writer.
2. Main topics lyrical digressions.
3. The role and place of lyrical digressions in the poem.
4. The life-affirming pathos of retreats.

What a huge, what an original plot! What a varied bunch! All Rus' will appear in it.
N.V. Gogol

N.V. Gogol, the great Russian writer, had a unique gift. It consisted of an organic combination of incompatible things: sharp, deep satire and amazing poetry. This is the genius of Gogol himself and the immortality of the first volume. Dead souls", "the great and sad book".

It seems to me that the author accurately guessed the soul of Russia itself: the funny and the great, the low and the poetic live in it in inextricable unity. This character of the "sixth part of the earth with the name Brief Rus'"accurately reflect deviations from the main outline of the work. In Gogol's poem " Dead Souls“There are two types of digressions - epic, which serve to reveal the characters and images of the characters, and lyrical, reflecting the author’s thoughts and experiences about the fate of Russia and its people.

Both of them contribute to revealing the main idea of ​​the work. However, lyrical digressions, despite their relatively small number in the poem, are more important. They explain both the essence of the author’s intention and determine the genre and nature of the narrative.

“A lyrical appeal to Russia” and its people—this is how Gogol himself characterized the lyrical digressions in “Dead Souls.” The writer called his work a poem, a poetic creation of a special kind, occupying a middle place between a novel and an epic. A lyrical monologue about Russia and the Russian people is organically combined with criticism of the existing world order.

Particularly vivid and deep impressions are left by lyrical digressions that link together the themes of the country and the road. The image of the road has been relevant and significant for Russia since ancient Russian literature. This is largely explained by the large expanses of Rus', which were fateful for all its inhabitants. On the road the heroes spend most in my life, the choice of paths has always been relevant, starting with the plots of Russian folk tales. The road is life.

In Dead Souls, the road is an image that permeates the entire plot: Chichikov finds his “enterprise” on the road, and Gogol himself lyrical reflections constantly resorts to this image, trying to “travel all of Rus' with the hero.” He either imagines himself on the road, or the whole of Rus' appears in the projection of the road. “Before, long ago, in the summer of my youth... it was fun for me to drive up to an unfamiliar place for the first time... Now I indifferently approach any unfamiliar village and indifferently look at its vulgar appearance; my chilled gaze feels uncomfortable; It’s not funny to me... and indifferent silence keeps my motionless lips. O my youth! O my conscience! Lyrical digressions highlight those negative sides lives that the author ridicules. They show alive soul countries, those healthy forces, capable of leading her on the right path, choosing the right road.

The soulless, callous world of dead characters is contrasted lyrical image Russia, about which Gogol always wrote with love and admiration. We see how the tone of the narrative changes when the author turns to images and themes of people's life, to the dream of the future of Russia. It contains sad reflections, a gentle joke, and, finally, genuine lyrical emotion.

The lyrical lines describing the power, strength, courage, dexterity, talent, wisdom of the Russian people, their love for freedom are imbued with a special feeling. The current situation of the people, their enslavement, did not coincide with the share that they truly deserved. Deserted villages, unsettled life, ignorance and indifference are dragging Russia into the past. This is personified by the dead souls of the shown landowners and the provincial elite.

In the story about Captain Kopeikin, the author emphasizes that this is a picture not only of a single province, but of the entire country, which is ruled by the landowners and officials shown in the poem. These are people who belong to the past. But also main character Chichikov's poem differs from this gallery of characters only in his focus on the future. The thirst for profit at any cost characterizes Chichikov as a representative of the emerging and gaining strength of a new bourgeois society. Money for him is a means of achieving a career and comfort. Gogol very accurately noted typical features new class in Russia: vital energy, efficiency of actions and at the same time callousness and greed, the desire to get rich at the expense of other people's labor. The essence of their life is the same destruction of the “living” soul.

You can often find the definition that Gogol’s poem sounds optimistic. It seems to me that this optimism is still restrained. The first volume of the poem ends with a question, but the second and third never saw completion. Gogol expresses faith, but not confidence. He's drawing light images ordinary people, which for the author are the embodiment of the ideals of spirituality, courage, love of freedom, thereby showing that Russia has healthy forces. And this strength is its people. The “three bird” rushing across the vast expanses of the Russian land, in his words, “could only have been born among a lively people.” Researchers of Gogol’s work correctly noted: “The image of the “Russian troika”, acquiring symbolic meaning, is inextricably linked by the author with the images of the “efficient Yaroslavl peasant”, who with one ax and a chisel made a strong carriage, and the coachman, perched “on God knows what” and dashingly driving the troika. After all, it is only thanks to such people that Rus' rushes forward, striking the beholder of this miracle.”

Gogol, warning against the “death of the soul” of his readers, appeals to them to preserve their teenage years"all-human movements". One of the significant lyrical digressions of the work is about the role of the writer in society. He talks about two types of writers and notes that the true writer is not the one who “wonderfully flattered people by hiding the sad things in life,” but the one who “turned inside out” all the “terrible, amazing mud of little things that envelop our lives.”

In terms of their ideological and emotional intensity, the lyrical digressions of “Dead Souls” are like “a ray of light in dark kingdom”, promoting insight and catharsis, purification. I think that this expression, introduced into Russian criticism by N. A. Dobrolyubov later, can be fully attributed to “Dead Souls.”

Gogol saw a different Russia in his dreams. The image of a three-bird is a symbol of the power of the Fatherland. And he was right. Russia and its people were worried different times, but the world has always looked back at Russia and listened to it. She really is like that - at the same time clumsy, and impetuous, and reliable, and unpredictable, she is familiar with both bitter defeats and the joy of victories. The writer’s faith in Russia is endless, but there is also anxiety about where this “britchka” will lead, or rather “rush,” which, like Cinderella’s pumpkin, turns into the mythical “three bird.” After all, it is filled not only with life-affirming pathos? Why a scoundrel, why be so rude to others?..” The writer was sure that the birth of a “new man” was inevitable in the Russian expanses, a man for whom the power of money is above all else. Gogol called Chichikov an acquirer, and to some extent justified him: “Acquisition is the fault of everything; because of him, deeds were carried out that the world calls not very pure.” But what upsets the writer most of all is the fact that such acquirers are meekly accepted by others as decent people: “But it’s not so hard that they will be dissatisfied with the hero, it’s hard because there lives in the soul an irresistible confidence that they were the same hero, the same Chichikov readers would be pleased. Do not the author look into his soul, do not stir at the bottom of it that which is escaping and hiding from the light...”

The role of lyrical digressions in Gogol’s poem “Dead Souls”.

Performed by Egupova A.G.

Lesson Objectives : 1) identify genre features poems "Dead Souls" and their

Conditionality of the complex and original concept of the work;

2) repeat the concepts of “poem”, “lyrical digressions”;

3) analyze the role of lyrical digressions in defining the genre

Works;

4) find out the writer’s attitude towards his creation.

During the classes.

1.The teacher's word. Problematic question.What meaning did the author put into this designation of the genre of his novel? Why your prosaic satirical work Gogol called it a poem, not a novel?Regulatory UUD

2. Conversation. Let's remember what a poem is as a genre (type) of lyric-epic works? Name the works you have previously read that belong to the genre of the poem.

3. The teacher's word. Thus, we can conclude that the poem as a genre (type) of lyric-epic works combines plot, eventfulness (which is characteristic of epic) and open expression by the author or lyrical hero of his feelings (which is characteristic of lyric poetry).

4.Work with the “Dictionary of Literary Terms”.General educational educational institutions.

5. Conversation. Regulatory UUD

So, first we will determine the presence of a narrative, plot, epic element in “Dead Souls”. How does it manifest itself? Which character in the work is associated with the image?

Why did the genre designation “novel” cease to satisfy the writer?

What gave Gogol the right to call “Dead Souls” a prose “poem”, how did he himself define the genre of his work?

How do you think. What elements of the poem as a genre of “chanting” are present in “Dead Souls”? name these elements.

How do lyrical digressions differ from author’s digressions? Give examples of author's digressions.

What role do lyrical digressions play in “Dead Souls”? What are they dedicated to? Why are they the main feature of “Dead Souls” as a poem?

The main theme of the poem is Rus', its past, present and future, and all the lyrical digressions at least briefly touch upon and develop this theme.

Gogol's lyrical digressions serve to expand artistic space, creation complete image Rus' - from everyday details to large-scale images filled with philosophical content (bird - three)

The theme “roads” is the second the most important topic 2Dead Souls”, related to the theme of Russia. The road is an image that organizes the entire plot, and Gogol introduces himself into lyrical digressions as a man of the road (“Before, long ago, in the years of my youth...”)

Thus, lyrical digressions are a very important part of Dead Souls.

How Gogol appears in the poem, thanks to lyrical works? What is the role of the author in Dead Souls?

6. Work on expressive means . Groups are given tables with tasks and reference material– definitions of tropes.Logical universal actions

1 group. Lyrical digression in chapter 6, beginning with the words: “Before, long ago, in the summer... I was amazed...”

1Inversion - changing the usual order of something 2Repetitions 3Appeals, exclamations. 4Parcellation 5Denominative sentences. 6 Synonyms 7 Antonyms 8 Homogeneous members 9 Comparisons 10 Metaphorical epithets 11 Sound writing: alliteration 12 Sound writing: Assonance

2nd group. A lyrical digression in Chapter 5 with the words: “The Russian people express themselves strongly!”

1 Inversion 2 Repetitions 3 Appeals, exclamations. 4 Gradation. 5 Synonyms 6 Personifications 7 Metaphorical epithets 9 Phraseologisms.

3rd group. A lyrical digression in chapter 11 with the words: “And what kind of Russian doesn’t like driving fast!... for a month some seem motionless.”

1 Inversion 2 Repetitions 3 Appeals, exclamations. 4 Synonyms 5 Gradation. 6 Personifications 7 Metaphorical epithets8 Vernacular. 9Rhetorical questions. 10Antonyms. 11Parcellation

4th group. Lyrical digression in chapter 11 with the words: “Eh, three! The troika bird drills into the air.”

1Inversion 2Repetitions 3Appeals, exclamations.4Hyperbole.5Gradation.6Personifications 7Metaphorical epithets 9Rhetorical questions.10Sayings, catchphrases. 11Parcellation 12.Anaphora

5 group. A lyrical digression in chapter 11 with the words: “Aren’t you, too, Rus', so lively…”

1Repetitions 2Addresses, exclamations.3Synonyms.4Metaphorical epithets

5Rhetorical questions.6Parcellation.7.Anaphora

6 group. A lyrical digression in chapter 11 with the words: “Rus! Rus!…"

1Personifications.2Appeals, exclamations.3Repetitions. 4Metaphorical5Rhetorical questions.6Parcellation7. Anaphora

7. Generalization of the topic.Group performance according to tables.Communicative UUD

8. Reflection. General educational educational institutions.

9.Homework.1).At home, in writing, try to formulate an answer to the question: “Why did Gogol call his prose satirical work a poem?” 2).Individual message “Lyrical digressions in “Eugene Onegin” by A. S. Pushkin and “Dead Souls” by N. V. Gogol. 3).Write out characters, which, in your opinion, can be classified as “living” and “dead” in Russia.

The role of lyrical digressions in the poem "Dead Souls"

N.V. Gogol is one of the greatest figures Russian literature. The pinnacle of his work is the poem "Dead Souls". All the main features of the author’s talent are reflected in it.

The most important role in compositional structure"Dead Souls" play lyrical digressions and insert episodes, characteristic of the poem as literary genre. In them, Gogol touches on the most acute Russian public issues. The author’s thoughts about the high purpose of man, about the fate of the Motherland and the people are contrasted here gloomy pictures Russian life.

At the beginning of the poem, lyrical digressions are in the nature of the author’s statements about his heroes, but as their action unfolds internal theme is becoming increasingly wider and more multifaceted.

Having talked about Manilov and Korobochka, the author interrupts the story so that the picture of life drawn becomes clearer to the reader. The author's digression, which interrupts the story about Korobochka, contains a comparison with her “sister” from aristocratic society, who, despite her different appearance, is no different from the local mistress.

After visiting Nozdryov, Chichikov meets a beautiful blonde on the road. The description of this meeting ends with the author’s remarkable digression: “Wherever in life, whether among the callous, rough-poor and unkempt and moldy low-lying ranks of it, or among the monotonously cold and boringly neat upper classes, everywhere at least once you will meet on the way to a person, a phenomenon unlike everything he has ever seen before, which will at least once awaken in him a feeling not similar to those that he is destined to feel all his life.” But what is characteristic of many people, what appears “across” any kind of sorrows - all this is completely alien to Chichikov, whose cold prudence is compared here with the direct manifestation of feelings.

The lyrical digression at the end of the fifth chapter is of a completely different nature. Here the author is no longer talking about the hero, not about the attitude towards him, but about the mighty Russian man, about the talent of the Russian people. Outwardly, this lyrical digression seems to have little connection with the entire previous development of the action, but it is very important for revealing the main idea of ​​the poem: real Russia- these are not Sobakevichs, Nozdryovs and boxes, but the people, the element of the people.

In close contact with lyrical statements about the Russian word and national character there is also that author’s digression that opens the sixth chapter.

The story about Plyushkin is interrupted by the author’s angry words, which have a deep generalizing meaning: “And a person could condescend to such insignificance, pettiness, and disgusting!”

Of considerable importance are lyrical statements about creative and life destiny writer in Gogol’s contemporary society, about two different destinies awaiting the writer who creates “exalted images” and the realist writer, satirist. This lyrical digression, full of deep thoughts and vivid generalizations, reflected not only the writer’s views on art, but also his attitude towards the ruling elite of society, towards the people. It defines and ideological path writer and his assessment of the main social forces.

In the chapters devoted to the depiction of the city, we encounter the author’s statements about the extreme irritability of ranks and classes - “now all ranks and classes are so irritated in our country that everything that is in a printed book already seems to them to be a person: this is apparently how they are disposed in the air." Gogol ends his description of the general confusion with reflections on human delusions, on the false paths that humanity has often followed in its history - “but the current generation laughs and arrogantly, proudly begins a series of new delusions, which the descendants will also laugh at later.”

The writer's civic pathos reaches particular strength in the lyrical digression - "Rus, Rus'! I see you from my wonderful, beautiful distance." Like the lyrical monologue at the beginning of the seventh chapter, this lyrical digression forms a clear line between two major links in the narrative - the city scenes and the story of Chichikov’s origins. Here, in a broad sense, the theme of Russia appears, in which it was “poor, scattered and uncomfortable,” but where heroes cannot but be born. The author's lyrical statements seem to be interrupted by the invasion of rough everyday prose. “And a mighty space threateningly embraces me, reflecting with terrible force in my depths; my eyes were illuminated with an unnatural power: oh! what a sparkling, wonderful distance, unfamiliar to the earth! Rus'!

Hold it, hold it, you fool! - Chichikov shouted to Selifan.

Here I am with a broadsword! - shouted a courier galloping towards him with a mustache as long as an arshin. “Don’t you see, damn your soul: it’s a government carriage!” “And, like a ghost, the troika disappeared with thunder and dust.”

The vulgarity, emptiness, baseness of life emerge even more clearly against the background of sublime lyrical lines. This technique of contrast was used by Gogol with great skill. Thanks to such a sharp contrast, we better understand the vile traits of the heroes of Dead Souls.

Immediately after this, the author shares with the reader the thoughts that the racing troika and the long road evoke in him. “How strange, and alluring, and carrying, and wonderful in the word road! and how wonderful it itself, this road.” One after another, Gogol sketches here pictures of Russian nature that appear before the gaze of a traveler racing on fast horses along an autumn road. Both in the general mood of the author’s monologue and in the quickly changing pictures, a hint of the image of a bird-three is clearly felt, from which this lyrical digression is separated by a large chapter dedicated to the adventures of Chichikov.

A high sense of patriotism pervades the image of Russia that concludes the first volume of the poem, an image that embodies the ideal that illuminated the artist’s path when depicting petty, vulgar life.

This is the role of lyrical digressions in the composition of the poem. But the most important thing is that they express many of the author’s views on art and relationships between people. On the pages of the poem, Gogol wanted not only to expose, but also to assert his moral ideal, and expressed it in his wonderful lyrical digressions, which reflected all his thoughts and feelings, and above all, a great feeling of love for his people and fatherland, the belief that his homeland will break out of the power of the “swamp lights” and return to the true path: the path living soul.

The poem “Dead Souls” differs in genre from other works of Russian literature. Lyrical digressions make it even brighter. They prove that N.V. Gogol created precisely the poem, but not in verse, but in prose.

The role of retreats

N.V. Gogol is constantly present in the text of the poem. The reader feels it all the time; sometimes he seems to forget about the plot of the text and is led astray. Why does the great classic do this:

• Helps to more easily cope with the indignation caused by the characters’ actions.
• Adds humor to the text.
• Creates separate independent works.
• Changes the impression of general description the routine life of landowners who have lost their soul.

The writer wants the reader to know his relationship to events and people. That is why he shares his thoughts, shows anger or regret.

Philosophical reasoning

Some digressions suggest speculating on the features human personality and being.

• About thick and thin. The writer divides men into two kinds depending on their fatness. He finds distinctive properties their character. Thin ones are resourceful and unreliable. They easily adapt to situations and change their behavior. Fat people are businessmen who more often gain weight in society.
• Two types of characters. Large portraits and difficult for portraitists. Some are open and understandable, others hide not only their appearance, but also everything inside.
• Passion and man. Human feelings vary in strength. He can be visited by the most beautiful passions, or base and petty ones. Someone dreams of insignificant trinkets, but somewhere a feeling is born great love. Passion changes a person, it can turn him into a worm and lead to the loss of his soul.
• About scoundrels and virtues. How do scoundrels appear? The classic believes that the fault is in the acquisition. The stronger a person’s desire to acquire, the faster he loses virtues.
• About a human. Age changes personality. It's hard to imagine yourself in old age. The young man becomes bitter and loses his humanity life path. Even the grave is more merciful: it is written about the burial of a person. Old age loses its sensuality, it is cold and lifeless.

Love for Russia

Such digressions clearly show the peculiarity of Russian people and nature. The author's boundless love for his homeland is higher than other feelings. No obstacles will stop Russia. She will endure and take the wide, clear road, get out of all the contradictions of life.

• Rus' - Troika. The road along which the country is heading evokes delight in Gogol’s soul. Russia is free, it loves speed and movement. The author believes that the country will find a path to a happy future for the people.
• Roads. Roads of retreat are a force that conquers a person. He cannot sit still, he strives forward. Roads help him see new things, look at himself from the outside. The road at night, on a bright day and in a clear morning is different. But she's always good.
• Rus. Gogol is transported to the beautiful far away and tries to examine the Russian expanses. He admires the beauty, the ability to hide the melancholy, sadness and tears of the inhabitants. The vastness of the country captivates and frightens. Why was it given to Russia?
• Russian communication. Gogol compares the treatment of Russians with other nations. The landowners of the province change their conversation style depending on the state of the interlocutor: the number of souls. The “Prometheus” of the office becomes a “partridge” at the doors of the authorities. A person changes even outwardly, he becomes lower in servility, and with a lower class, louder and bolder.
• Russian speech. The word spoken by the Russian people is apt and significant. It can be compared to things cut out with an axe. The word created by the Russian mind comes from the very heart. It is “sweeping, smart” and reflects the character and identity of the people.

Selected stories

Some of the lyrical digressions have their own plot. They can be read as an independent work, taken out of the context of the poem. They will not lose their meaning.

• The Tale of Captain Kopeikin. The most striking part of the book. Censorship sought to remove the story from Dead Souls. The story of a war participant seeking help from the authorities is a difficult one. Having achieved nothing, he becomes a robber.
• Kif Mokievich and Mokiy Kifovich. Two characters, living according to their own laws, connect all the characters that have passed before the reader. The strong Mokiy wastes what is given to him by God. Bogatyrs are taken out and turned into weak-spirited people. They are endowed special qualities, they don’t understand what they could become, what benefit they could bring to the people.
• Peasants of the village Lousy arrogance. Talented people are enslaved, but remain hardworking and bright. A story about how, during a popular revolt in a village with a telling (as Gogol likes) name